Tag Archives: kyle fite

THE GOLDEN GATE

goldgate

THE GOLDEN GATE-2000 D Lincoln Cent/Magical Mirror (“YOUR Penny [via Corrosion Corp Mission One] is…’Pre-Loaded’ with a unique configuration of very precise and specific energies, a living structure which is awaiting contact with the unique configurations within-and composing-YOURSELF. When it is discovered, all the forces combine and a new configuration is formed containing the necessary elements to poke a hole into Reality’s Fabric, serving as a ‘Middle Ground’ between yourself and the Zone now functioning as your launch pad into the New World of Numisgnosis”-from “Sing This Corrosion Ch.1).

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The Core of Corrosion

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The Agents of Corrosion (i.e. the Copper Carrying Coterie of the Corrosion Corp) are linked via this Group to the Motherboard and Mainframe which is known as the Cult of Phred.

What IS the Cult of Phred-and how could anyone take such a name seriously when there are so many high fallutin’ Latin, French and Enochian Words to use)?

The Cultus (as we were wont to call it) began as a joke made decades ago by a high schooler I never met. The joke was caught in a psychic net by the First Agent. This would be developed to a degree and then passed onto myself when, under auspicious circumstances, I met the First Agent in Rockford, Illinois c. 1997.

As the Second Agent, I took the Cabalistic Cues surrounding this occasion and sent the Yellow Tennis Ball with Smiley Face back across the Court of Last Resort.

The Score?

Love Under Will.

We would go on to discover the Haunted Photocopier and the Cryptic Crossword, receive Communications from the Ghost of William Burroughs and begin mapping the Psychosphere of the American Midwest from one Dunkin Donuts to another. Later on we would locate a tentacled monstrosity occupying the skies above Vienna.

bill

“I’d have spoken to others but these guys were the only ones online at the time…”

The result of all these impossible to believe, yet wholly true, adventures was a Manifesto on the Elixir Vitae which begins with the growth of a single sentient coffee bean in Africa.

coffee

All four elements evoke the Triple Tongued Flame in this photo taken at Space Buddhaa HQ in Kootenay Bay, B.C 

If this sounds more Doom Patrol than Golden Dawn, it was…and is.

The First Agent died in 2002.

I had received an audio-missive from him where he stated with clarity and sobriety:

“Life is a Game.

“But it’s a very Serious Game…”

radio

Some messages will come through no matter what….

Now, I recall when I first became enamored with William Blake. I was a teenager and devoured his works with an obsessive rapacity. I quickly learned, through biographical accounts, of his Brother, Robert, with whom William claimed to be in Spirit-Contact. It would be Robert who helped William develop his unique method of printmaking from beyond the grave.

As a young and inexperienced teen-primate seeking to “become himself,” I sought to be like Blake. I guess the 80’s rock stars just didn’t cut it as role-models. My classmates sported the look and sputtered out the (non) values. Meanwhile, I carried around a volume of essays by Harold Bloom and felt that I was nearing Escape Velocity.

harold

“My Name is Harold Bloom…and I’m a Role Model for Teenagers. Now put down the Potter and go read some Milton. ” 

Time is folding inward.

The Past is throwing up its Gems as a tidal wave crushes the beach. The Future is showering down Stars which set fire to the Urth.

Corrosion implies two things:

Dissolution and Growth.

As alluded to in our last blog, the Numisgnostic doesn’t “grade coins” as does the Numismatic. The most wretched and worn of discs may very well serve as the Cornerstone for a Church Not Made With Hands.

Copper is the Conductor-not the THING ITSELF.

penny

A Magical Mirror in Action 

In this sense, Numisgnosis connects to Spagyrics.

Hell, your HUMAN BODY connects to Spagyrics. It is an ongoing process where growth and decay rely upon each other. As a Branch of Alchemy, we bear influence on the automatic process of Growth/Decay to give it a new direction in accordance with particular spiritual aims.

Those who align with the Corrosion Corp do so in conjunction with the Cult of Phred (C.o.P.) and, thus, become “Coppers.”
This makes of the Initiate a Magical Mirror, a Conductor (implying both Mediumship and active participation in directing movement-and, thus, consequence/effect-on the train track gridwork of experience).

WHAT are we CONDUCTING?

This Question cost the First Agent his Mortal Life. It wasn’t pretty. In fact, it sucked Donkey Balls. Total Fucking Hell.

I helped pull the necktie from his dead throat.

“A Serious Game,” indeed.

These days I’m in Communion with Agent One. It’s a Time Jump from imagining how Robert Blake communicated with his Brother to being in the same sort of direct communication with Agent One.

In essence, The Corrosion Corp takes advantage of the Growth/Decay process on multiple planes of experience to wake up the Sleeping Soul-Self and then rescue it from the Whirlpool into which it has been born.

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Turtles all the way UP!

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An Image, a Visage-as I’m wont to scrawl (pencil, watercolor, red wine and gold ink).

This is Devadatta of the Lotus Sutra. There are various views on Devadatta but he is often understood as a Villian, the Doer of Evil who, according to the Saddarma Pundarika, is promised Salvation and Buddhahood. Holding the heritage of a “right bastard,” this Promise presents a “Hope in Hell” for those who feel fully FUBAR. It’s one of several amazing proclamations in the Lotus Sutra. If Devadatta will make it, so can anyone else. But there is another proclamation. It is revealed that Devadatta was the One who originally taught the Human Entity who would become Buddha, the Enlightened One.

From the Stars, from SPACE, comes the Word. Despite the corruption of Time, Space is, at the End, what it was at the Beginning. “Divided,” as the Goddess Nuit says in the Book of the Law, “For Love’s Sake, for the Chance of Union.”

We might then view Devadatta as both Cause and Effect. The Connective Interlude is evident in our individual lives. From Hubris and Hatred to Shame and Despair, we are Devadatta. Shakyamuni, in his Final Revelation, offers the Lotus as the Grand Symbol of the Simultaneity of Cause and Effect. Application of this revelation is a form of Magic.

I recall reading a list of Magical Powers in Tibetan Buddhism. Each Power had a corresponding Stage of Enlightenent.

Which comes first, the Chicken or the Egg?

In my own experience, I’ve found the Quest for Strange Powers as an alluring achievement to be a Dead End Road. It’s only been when a certain Understanding-or Gnosis-has been entered that the Powers download. They arrive and we are amazed. We can teleport, shift through time, read another’s mind. But all of our previous ambitions have gone up in flames.

The New Ability flows along the Lines of Understanding.

With this image I endeavored to capture a Moment in Time wherein Devadatta Soulshifts, Space flowing into Time. The Sinister shimmers into the Sacred. The Damned becomes Daemonic.

Devadatta makes me reflect on Yeats’ classic line:

“The best lack all conviction, while the worst are full of passionate intensity”

With Shakyamuni’s Revelation, the “Best” is restored, given a place on the Stage of Time wherein its long locked “passionate intensity” might be reclaimed.

We find this possibility in the Japanese doctrine of Ichinen Sanzen or “3000 Realms in a Single Moment of Life.”

In essence, this Teaching shows how our Life shifts from place to place on a “Map” of Being. One minute we are in a Realm filled with Contentment and Bliss, the next we are catapulted straight into Hell. We are granted reprieve in some diversion and the Wheel turns again.

Despite all of these transitions, each Realm, as mapped out in Buddhist Teaching, contains the others. This includes the Adamantine Core of the Buddha World. Because of this fact, any circumstance may serve as a Vehicle of the Great Way.
What is required is Consciousness and Attunement. How does one begin to cultivate these qualities? If you’re reading these words, your Path has already brought you to such a state. In the vast, sprawling Spaces of this Universe (and many others), the Awakening Mind within yourself is not unlike Nichiren’s metaphor of the one-eyed turtle who rises from the floor of the ocean once every thousand years. The chances of this turtle finding a floating sandalwood log on the surface of the sea and emerging with his head through its hollow is almost impossible. Nichiren likens this improbability to our incarnation as a human being and, through this human life, encountering the Liberation of the Lotus Sutra.

Were this a lottery, one would be a fool to bet in it. And yet it is the winning hand of one’s life. I’m reminded of an experience where I was in a bar, throwing darts. I had been recruited to play on a team, despite a total lack of skill or basic understanding of the game. Our team was down one person and so someone’s boyfriend was called in (fresh out of prison, as I recall).

He stepped up, threw a Hat Trick and when the machine went wild, he asked, with genuine shock:

“What did I do?”

He had to be TOLD that he kicked ass.

This is the Message of the Lotus Sutra. You are already kicking ass. But (to again reference that pugnacious monk, Nichiren), we fail to see our own eyebrows…and we fail to see the Buddha whose Dwelling is within us.

It’s not “Turtles All The Way Down.”

It’s “Turtles All The Way UP.”

And the Turtle is Gamera.

gamera

The Goal of Alchemy was purported to be the Transmutation of Lead into Gold. This might also be translated as Transforming the Shit of our Lives into the Diamond Mind of Bodhicitta, a glorious reminder that our present level of consciousness is, itself, such a rare and magnificent thing in this Multiverse. From this, we may jaunt, jump, volt or simply stumble from one Realm to Another in the twinkling of an eye.

So-! Devadatta. Cause and Effect. Waking up.

It’s happening right now. Nor is there any other place for this to BE.

SOUL SPLIT

split soul

SOUL SPLIT

Artflip with 1997 D Lincoln Cent

This coin was selected from a handful of loose change to function as a magical object whereby one might FLIP from one Self-Identification to Another.

There is a basic aspiration in Magical Systems toward contact-and union-with a “Higher Self.” However, this impulse may become crippled if pursued along lines of linear logic (i.e. “I sense-or imagine-a Higher or Better State of Being than in which I seem to presently exist. I am unsatisfactory but if I change enough, I might encounter-might even BECOME-the ‘Better Self’ “).

The problem with this angle is that we are attempting to open to the Higher Being from within our identification with the Lower (which we might call the “Unsatisfactory Being”).

What is needed is a sudden shift of consciousness whereby we can actually let go of the UB “on the spot.”

If we actually do this, even for just a brief moment, we will see the UB from the viewpoint of the Higher Self, which is simply an individualized extension of Perfected Being as a Whole. This creates a scenario of “Re-Entry” into Timespace. All we previously saw within ourselves (the uncomfortableness, the pain, the imagined imperfection, the “itch” to get out) is now seen as the “Playing Field” in a Spiritual Game wherein Gaming is our PASSION. This shift can be envisioned as a Penny flipped from one side to the other and turned upside down. The means to do this will be detailed further in the forthcoming book “SING THIS CORROSION” but the premise is really quite simple. It turns the Profane into the Sacred, Poison into Amrita and Duldrum into a Lovely Adventure. The goal is not to have a “tripped out experience,” reflected upon with a half-baked “Whoa,” but to wash, rinse and repeat until one Soul Shifts at Will into a life resembling Dorothy’s crash down from a black and white Kansas into a Technicolor Mission of Love.

THE METAMORPHIC TAROT OF THE SPIRITS

magus

Magus of the Spirits, an Analog to the Master of the Masonic Lodge

The METAMORPHIC TAROT OF THE SPIRITS was originally conceived of as “The Lucky Hoodoo Tarot,” a visual venture into traditional Tarot structure through the lens of Michael Bertiaux’s Lucky Hoodoo lessons (from his Voudon-Gnostic Workbook). The foundation of this work was fairly simple. In these early lessons we learn of the Hoodoo “team” composed of the Spirits of the transmigrated Atlanteans Magi (the Hoo) and the Spirits of the Dead (the Doo). These entities occupy, respectively, the Western and Northern sectors of the Magical Circle of Lucky Hoodoo. As we move on in both study and practice, the Circle “rounds out” and we have all four quadrants inhabited and governed by the Major Players in the Voudon Pantheon. These arenas of Life and Being naturally gravitate toward expression through the 4 suits of the Tarot and their elemental correspondences.

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SAMEDHI GATE-Arcana 13 of the MTS

The 22 Greater Arcana, with their baseline archetypes, effortlessly lend themselves to expression through the forms of Voudon symbol and vision (similar to the African embrace and transmutation of Catholic Iconography). This approach to the System of Tarot has already been utilized with great power and beauty in Salllie Ann Glassman’s New Orleans Voodoo Tarot deck.

With the Metamorphic Tarot, I sought to develop the images as an exploration, what Bertiaux would call “research.” The creation of the deck was not after the manner of simply illustrating a particular interpretation of the cards as neatly hung onto a preestablished system. Rather, I looked into the basic energy field of each Arcana and sought to work within these as types of “Gnostic Spaces” wherein the Spirits belonging to particular zones in the Vuduverse might manifest through form. The cards, then, became a vehicle for a type of mediumship.

lion

THE MASTER THE LION-One of the vital links to the Ti Bon Ange which we encounter in the Monastery of the Seven Rays

Although this deck is ready to function as an oracular device, the emergence of the images was, itself, oracular. Thus, the Metamorphic Tarot exists as a collection of “research notes” in the form of a minature gallery, the conclusions of which are to be determined by the reader in communion with his or her own Spirit contacts. My personal commentary on the cards (in the accompanying booklet) is that of the “researcher” but cannot be an authoritative explanation of their esoteric content which is accessed through the forms and not defined by them.

hoodoowheel

The Wheel of Fortune manifests in the MTS as the Circle of Lucky Hoodoo

We are now able to take preorders for this deck and its accompanying booklet which is signed by the author and will include its tipped on color plate front cover. Order will be shipped from the US. Previously, we experienced many frustrating delays in shipments when mailing from Canada and are very happy to say that this shall be no more!

Each deck is hand cut and assembled. Book and cards are offered for $64 + post. If interested in purchase, please contact us at kylefite@yahoo.com

SpaceBuddhaa & The Angels

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Angel King (sketchbook study)

Spacebuddhaa.com has been a bit silent as of late. This hasn’t been for want of activity. We have recently relocated and are at work on a new Tarot along Angelic-Spiritist lines. This is much more than an idea around which we are crafting our current cards. The theme of Angels is, of course, a popular one and has appeal to the “mass market” of “Lite Spirituality.” Often, we find depictions of Angelic Being in soft human guise, gently robed and winged, wearing halos to illumine a sweet smile. Such images may, indeed, serve to express the presence of certain messengers. However, there are MANY ways in which Angelic Beings take form. These range from the phantasmagoric to the abstract. In fact, abstraction is often the best manner in which to give expression to the energies and intelligence emerging from a homeland beyond 3-Dimensional Spacetime.

Angelic Beings are, traditionally, Messengers of God. We might see them as “Rays of God,” specialized extensions of the Divine Mind interfacing with human experience. With this in mind, the SpaceBuddhaa Angelic Tarot is not so much focused on an artistic rendition of well-known Angelic “personalities” (Gabriel, Rafael and so on ) as it is on Angelic Presence as a FUNCTIONING of the Divine Will. This deck will not only serve as an oracular means to identify energy patterns at work in one’s environment but will be a means to build up Angelic Forms at the Crossroads between realms. Techniques for this approach will be detailed in the book accompanying the deck.

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The SpaceBuddhaa Angel Tarot (pencil layouts)

We are also working on several other magical items intended for use with the deck including a Quartz Yesodian Contact Altar. This is a device whereby the cards may be incorporated into vigils and acts of service on behalf of others.

We have received a lot of wonderful feedback around the previous Spacebuddhaa Tarots. Creating and producing these has been an ongoing learning experience and it has been especially encouraging to have heard from recipients of the Bardo Bear Tarot who found in its playful and innocent nature a means to access a joyful and healing creativity. Some of this response came from longtime students of “darker” esoteric paths.

The Spacebuddhaa Angelic Tarot is neither “Dark” nor “Light” but endeavors to express the first verse of the Spacebuddhaa Sutra which declares that “Love is Powered by the Infinite.” Between Void & Form there is a mystical matrix wherein the Angelic Powers operate. Some will know these powers, perhaps, by other names. We chose to embrace the word “Angelic” after many recent and personal events transpired with a deep focus on this particular form.

Like a prism, the rays of Light flow outward and return to their singular Source.

_/\_

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Angel of Presence (private collection)

MINDCRAFT-HEARTCRAFT

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The Temple of Space Hoodoo in Minecraft

It was a dark and stormy night. More precisely, it was dark, cold and Space Hoodoo HQ was buried in a blizzard. Power down and internet cut.

What to do?

Build a virtual temple in Minecraft. After all, the laptop still has another two hours left before it goes the way of the hot water heater!

Having been immersed for some time in the world of “Spiritual Gaming,” there is a type of “carry-over” into all gaming exercises. It’s rather akin to applying post-meditational practice. For a period of time, one might endeavor to keep Mindfulness high in an office setting. One’s place of work then changes and the challenges of the “Cubical Labyrinth” shift to a Farmland Forray.

Same Mind, New Projections.

I initially downloaded Minecraft to play with my son. Despite the ease with which every kid in 2nd Grade seems to navigate through this virtual space, I’ve found the learning curve to be a bit challenging.

But it’s all part of the Game…which is to say a Spiritual Engagement with the Game.

My goal was fairly simple. Build up a sacred space to move about and be present within.

This goal was based on understanding that the ingame “Avatar” (the figure or character we identify with and help to move about) is connected to both ourselves from the Game Dimension and to what we might call our “Higher Self” in a more developed Space of Awareness and Function. The Gamespace provides a sort of Connective Field between these two “selves.”

Down the line, a multitude of selves will be linked in communication but to start, we ought simply consider the Avatar as a link between who we are as “players” and who we may YET BECOME through contact with a Being who has BECOME IT.
This is not an automatic process. It requires something of an “agreement” between the Mind and its Field of Projection and Input.

Once this is “agreement” is…well, agreed upon…the virtual space can be worked within to specific effect. If all phenomena reflects a projection of mind upon its funadmental void-nature, then the phenomenal manifestation of ANY gamespace is in the same category as the so-called “external world.” Different “laws” or “rules” apply-but, for our purposes (regarding the gamespace as a field for spiritual exercise), there IS no difference, save for the possibilities we can take advantage of there which may be more difficult in the “organic world.”

In building THE TEMPLE OF SPACE HOODOO, there was attention to detail, simple as it may be. A location was selected and cleared (this functioned as a “cleansing” in the same way we might smudge a home or sprinkle consecrated waters to purify the environment).

Building up the single room Sanctuary was done in the manner of erecting a Shrine, which is to say establishing a Contact Zone. One enters and ascends steps to reach the altarspace in this specific temple. This lifts the self into an awareness that “ordinary thinking” is left behind and a higher dimension has been entered.

In this particular dimensional space, I placed two altars of summoning with books of enchantment side by side. This is because, within this structure, Space Hoodoo is both Kyle & Jedrik as two terminals of the same “battery.”

books

Twin Tomes of Summoning

The altar faces toward the open door of the Temple. This is to allow the projection of the powers summoned into the larger world outside, what we call “ordinary life.”

That which is “summoned” is what we will call Space Buddhaa, the Buddhaa of the Future.

Previously, I had read several passages in the immaculate Sutra of Hui Neng, the Sixth Patriarch of the Dyanna or Zen School.

Therein, Hui Neng speaks of the Mahaprajnaparamita.

This term is actually quite simple. It means the Great (Maha) Wisdom (Prajna) of Enlightenment (Paramita). As one who preached the “Sudden Path,” Hui Neng sees this Profound State as being within every single person.

In fact, he says there is no other Buddha to be found.

This is why Spacebuddhaa says: “Contact your Inner Self…and say ‘Hi’.”

It’s a basic prescription for the Path.

Hui Neng goes on to say 3 remarkable things.

First he tells us:

“A foolish passing thought makes one an ordinary man, while an enlightened second thought makes one a Buddha.”

He repeats this:

“A passing thought that clings to sense-objects is klesa (defilement), while a second thought that frees one from attachment is Bodhi.”

And then he brings down the hammer:

“The Mahaprajnaparamita is the most exalted, the first and the foremost. It neither stays, nor goes, nor comes. By means of it Buddhas of the past, present and the future generations attain Buddhahood.”

son

Want Enlightenment? It’s in your HANDS!  

The Buddhas become Buddhas?

How can this be?

Simply, by dissolving the idea that one is not a Buddha and then knowing that “a Buddha” is “THE Buddha.”

The Dyanna School states that klesas are Bodhi. This is one of the “wild Zen teachings” but it can be misapplied. One can realize the True Nature of one’s Being while out on the town, getting drunk, getting laid. But just because one is doing such things doesn’t mean that one is realizing the True Nature of Being.

Hui Neng says that even meditation, entering the “Void” or doing all those wonderful things that give “merit” are fruitless unless one realizes their True Nature.

What does this have to do with Minecraft?

In this case, the structure I was able to build became a means to stay within this state of awareness.

The first realization one needs is that one is actually BECOMING A BUDDHA when aware of that “enlightened second thought.” You don’t think this. You feel it and you KNOW IT.

I had this experience while reading the text. Even as I absorbed Hui Neng’s words, my mind wandered into thoughts of a negative nature. I found myself being drawn into a deep dislike for a particular person. And then I just stopped. Not by strength of mind or some warm and fuzzy regard for the goodness inherent in all beings. No need for a bumper sticker “Namaste.” I just thought “OK, Kyle, whatever. You’re going to keep on disliking this person for a long time. Get back to it later. Listen to what Hui Neng is saying…”

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“Fuck Hate. Stay with the Sutra.” -Hui Neng

THIS was detachment. I wasn’t replacing repulsion with attraction. I was just letting it go because I had more important things to be focusing in on at the moment.

I became a Buddha right then and there. But, of course, I DID get back to the “first thought” later. And then I “fell from Grace,” becoming an “ordinary man” with all my klesas and crap.

That is until the “klesas and crap” were hit with the touchstone expressed in the words of Dih Ping Tze as he comments on Hui Leng’s words:

“To use the mind means to let the one mind (i.e. Universal Mind) manifest itself everywhere. When we let our mind dwell on piety or evil, piety or evil manifests itself, but our Essence of Mind (or Primoridal Mind) is thereby obscured. But when our mind dwells on nothing, we realize that all the worlds of the ten quarters are nothing but manifestations of One Mind.”

This simple self-remembering manifests the 10 world model of Buddhism. Each of the ten worlds contain each other. Thus, the “lowest world of Hell” also contains the Buddha World. To shift from world to world can be instantaneous.

It can be…SUDDEN.

My Avatar in Minecraft carries the same Name-Link as it does in Second Life: Hoodoo Pilot.

If both engines are running at the same time, this creates an interesting “Tri-Location” with the 3 of us operating in our respective dimensions. It should be evident that this multiplicity can be vastly extended.

The Minecraft Space, i found, asked the most intentionality on my part. It was critical to not just place an Avatar in a pre-fab space but to actually create the space in the way one would arrange a “Magical Temple.”

Upon completion of the Temple, I walked outside to view it and, instantly, the skies opened and rain began to fall. I was not simply joining with my Avatar as a link to Bodhi…HE was in direct communion with his environment. The rain fell as a cleansing benediction, a magical “housewarming gift” from the One Mind.

I then re-entered the Temple space and heard a hissing sound. Through the windows behind the altar, I could see a massive SPIDER crawling over the sands. For those who have worked with Voudon-Gnosticism, this will be seen as Ti Zaraquin, one of the Arachno-Loa, a Master Mind of Connective Systems on the Inner Plane.

Hook up: Successful.

spider

They said it wasn’t Voudon. I said “You haven’t met this guy!”

At this point, the area was charged up as a functional shrine. I sat in the other room and could see the altarspace with the pages of its twin-books fluttering like butterfly wings. This was the equivalent of chanting, slipping prayer-beads, making prostration. Kyle’s mind flickered between klesas and the “good thought.” But the chant continued in the virtual space, the chant which is one with One Mind (The Buddha), making no distinction between first and second thought.

The computer screen became a Sacred Image, “living legos” becoming the focus of Mind and retained in memory (its evocation ever experienced in “Present Space”). This is the second goal I wished to achieve by building this Temple. To encode it in Mindspace where it would be accessed even after “logging out.”

There is no difference between the Memory and Present Observation. Both evoke the same image into Awareness and the Image, if agreed upon, reflects the Bodhi which is Always in its state of “Thusness.”

It’s Mindcraft.

treasure

The Treasure Chest which always opens. Built outside Temple Space Hoodoo.

“May I draw your intention to the fact that only mind is mentioned and not heart in the translation of this sutra. The reason is that the Chinese character meaning heart and mind, is the same. Each time mind essence is referred to it means heart-mind. Keep this in your consciousness as you read the sutra. Learn to think-feel from the depths of your being. Discard sentimentality; feel the real.”

-Joe Miller, Foreward to the 1969 American Version of the Sutra of Hui Leng

RETURN OF THE HOODOO PILOT BARDO TAROT

tarot10

We enter Time at the Spiral Gate.

As inquiries and requests for The HOODOO PILOT BARDO TAROT have continued to come rolling in to Space Hoodoo HQ, I have decided to rewrite the original booklet which accompanied the first run of the deck. Initially, I offered a short introduction to the Tarot, followed by a series of comments and quips on each one of these idiosyncratic cards. I use the term “idiosyncratic” because the symbols and images employed in creating this deck were quite eclectic and personal. In my own treating of the Tarot Keys, I have depicted an extremely diverse array of themes. We find in this Magical Gallery an Egyptian Priestess, the Nordic God Odin, an old school crystal radio and a tower built from coffee cups.

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It’s a bit of a mix.

For myself, this mix comes together without any problem. This is because the Tarot is really a “skeleton” upon which we cultivate a “new skin” whereby it may walk, talk and serve as a Traveling Companion on our personal path through this world (and others).

This is one of the primary uses of the Tarot, to open what we call M.A.P.s (or Mandala Access Points). As a whole, the Tarot offers a depiction of reality in its many facets, fitting the diversified components into a harmonious unified structure. For those who have worked with the Tarot in conjunction with the Qabalistic Tree of Life, this is apparent. The Tree lays out a schematic of our World from the mundane realm of bodily life and sense impressions (Malkuth, the “Kingdom”) to the heights of transcendental and supernal glory (Kether, the “Crown”). Any card drawn can be located on this map and help us to orient our inner compass thereby.

tarot1

However, each card also connects into our life condition as a type of “perfection in potentia.” The symbolic framework of each image is related to in a very personal way as we discern its connection to whatever we happen to be dealing with and what we may BECOME by means of that process.

Thus the interplay between the Personal and Universal, Individual and Cosmic, is an absolutely vital aspect of making the Tarot “work” in ANY fashion.

tarot5

Wittgenstien once remarked that the whole purpose of Philosophy is to discover connections. Hence, Philosophy wasn’t something reserved for those who would read endless volumes of heady books and argue with others over the correct way to assess life, the universe and everything. To be a Philosopher meant being engaged with an active examination of life itself. It doesn’t matter whether your views might later be overturned. That’s the whole POINT. To keep pushing in deeper, to keep swimming out into the stars with change and transmutation expressing a dynamic process of development.
After writing the book meant to put all Philosophical questions to rest forever, Wittgenstein was challenged by a friend who, making a simple “naughty gesture,” poked a hole through his airtight approach. All wrapped up and good to go? Not anymore. And so he went back to work, endlessly attacking the new problem, discovering new connections, questioning more than postulating.

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In fact, I find this to be one of the most powerful things about Wittgenstein’s philosophy. He presents more questions than answers. Where some present a point of view meant to seat people in a room where they can spend the rest of their lives, Wittgenstein was picking the locks on doors leading into unexplored vistas.

For some, being a Philosopher means erecting a castle. For Ludwig Wittgenstein, it meant GETTING ON THE TRAIN.
Think of the Tarot like THIS. You are a Philosopher and the Tarot is your Train. And you’re going to ride with interesting passengers.

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With this thought in mind, we relaunch the HOODOO PILOT BARDO TAROT. I wished to write more extensively on each card, describing what it’s loaded with, why its content was important to me and why I fit it into the Tarot Structure as I did. It’s my feeling that in doing so, this deck will serve as more than a “variation on a theme.” It can indicate considerations which forge the connections of which Wittgenstein wrote. The idea is not to turn up images which have been mastered by the intellect but to open gates whereby the Mind & Heart, known as one thing, can look with new eyes at M.A.P. location, fueling up for movement.

Just as THE Tarot is a Living Organic Verity, given expression in endless symbols, so it is that Mandalas depict RELATIONSHIPS which are always in motion and never static. This requires motion, Thelemic “GO-ING,” if you will (no pun intended), a coming into a direct knowing of the Balance and Symmetry therein shown.

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Part Portable Gallery, Magical Autobiography and Divination System, we offer this deck for $55 + post. If interested in purchasing this pack, please contact us at kylefite@yahoo.com. Each deck is made to order, cut by hand and will be shipped with its accompanying book.

We will continue to post Tarot updates on this blog and also at www.spacebuddhaa.com

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“Ultimately, being lost in the Labyrinth is the same thing as being on the Royal Road…the real purpose of any Tarot is not to poke at and predict a possible future but to present a Form-Vehicle whereby we function as Co-Creators with the Cosmic Mind, fashioning from Illusion a Work of Amazing Artistry.”

-Kyle Fite, The Hoodoo Pilot Bardo Tarot (original booklet)

WITTGENSTEINCRAFT

block opsA peaceful stroll through nature…

This evening I played BLOCK OPS for Android.

The opening level was very simple, very easy-which suited me just fine as I’m not, by any means, a great touchscreen gamer. I probably took three hits to the head while trying to get my enemy into the crosshairs.

The simplicity of this shooter, however, had me thinking of Wittgenstein.

I’ll explain:

With a background in “Spiritual Gaming,” I, along with many others who regard Gamespace as a rich field for personal growth, development and help for others, automatically began relating to BLOCK OPS in these terms. Each foe on the battlefield could be “read” in a number of ways. If we see them as obstacles in our life, a run through the game is akin to riding with Ganesh and knocking down walls. If a more meditative stance can be held, each target is a score increasing a desired quality in the area of Personal Power, a prayer bead being slipped along a string. One could even move through this Gamespace on behalf of another person, shooting down (or building up) aspects of their lives as needed.

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This semi-automatic Vajra is gonna pop a cap in the ass of your assumptions 

This approach to gaming is certainly not my “invention.” I worked for a long time in the Prosperity Path video games known as “Orbs” for a variety of purposes. These games constitute a type of “practice” which is guided by the “theory” behind how and why they work.

Simplified down to the bone, we have the technology of sympathetic magic at work here. We have before us an image and this image is linked to something not immediately connected to it in a direct cause and effect relationship. Take the image of a Voodoo Doll, for example. It’s just a figurine. But it gets “named” and “dressed up” in such a way to be associated with a person you wish to help or harm. So our little mannequin gets christened Tom, Dick or Harry (or Mr. Thomas Richard Harry) and you drive a nail through its chest. The goal is to give Mr. Harry a heart attack (or maybe just a bad case of heartburn-because as vindictive as you are, you’re not homicidal).

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Tom would soon be needing some Pepto

There is a difference between just wishing a rock would fall on Harry’s head and taking this sort of action to actively magnetize an event. But there HAS to be a link whereby such action in the “ritual room” can replicate itself in Harry’s life, yes?

This is where the “theory” end of things empowers action toward a desired end.

First, there must be an “agreement” between the Magician and his Method. And here’s where, playing BLOCK OPS, I recalled the words of Wittgenstein:

“Whether a proposition can turn out true or false after all depends on what I make count as determinants for that proposition.”

Utilizing video games and virtual environments as magical tools and spaces requires an adjustment of determinants whereby the proposition that this is a workable method can be acted upon with effect.

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Ludwig Wittgenstein designed and built this house the first time he played Minecraft  

A magician working in the field of Radionics recently commented that machines and procedures do not have to be overly complicated. The whole idea of a “magical machine” is to serve as a “labor saving device.” But some folks simply can’t accept this. As this magician noted, they NEED a lot of complexity to feel like they are actually doing something. In this case, elaborate ritual becomes a tool to give the thinking self enough “stuff to do,” allowing the intuitive self to operate outside this mental block.

However, the more the intuitve self engages with manipulating forces and forms outside of “standard” cause and effect scenarios, the more that personal technique will be sharpened toward establishing transmissive links.

If it were really this easy, one might ask, then we should be able to find a treasure chest in some Xbox game and expect our check to be in the mail. In my experience, it can actually work like this at the beginning. I’ve seen it with Spiritual Gaming and I’ve seen it in ritual and religion. For example, the Nichiren Buddhists extol the chant Nam Myoho Renge Kyo. It’s the answer to everything. Many in this sect will encourage members to “chant for stuff” (a new job, getting laid, whatever…see the movie “The Last Detail” with Jack Nicholson for a wonderful depiction of this). I was personally told that one should never chant for Enlightenment (Buddha say WHAT???). The logic was that the chant is ITSELF total Enlightenment. Don’t waste time trying to attain what’s right there. Improve your “Life Condition” (however you are thus inclined).

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Buddowsky determines Determinants

So, with the genie out of the bottle, newbies go in for their “heart’s desires.” And suddenly STUFF HAPPENS! Bing badda boom. If this isn’t encouragement to keep going, I don’t know what IS!

I was once faced with a severe financial difficulty and utilized a video game to change up the situation. Miracles ensued overnight. I actually had the fleeting thought that I was ready to quit the day job and just keep the udders on the cash cow flowing.

The udders dried up pretty fast.

Why?

Because the dynamics of the situation changed. The mindset which forged the initial link wasn’t sufficient to keep that particular line of communication endlessly open. It’s like taking out a loan that saves your life…but the bank stops doling out the cash at a certain point.

It WORKED-but to keep it working requires a “leveling up” into the next phase of operation.

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All Grunts lead us to a BOSS

Genies grant 3 wishes. How about wishing the Genie to tell you of his ORIGINS? Reverse engineer the machine and find out how it works!

Now here come the Siddhis, the magical powers spoken of in Buddhist Sutras. Each Siddhi is linked to a new stage of awareness, what we can call Gnosis (direct knowing) of a larger arena of consciousness. And this is something of a safeguard against the abuse of magical powers. It’s not foolproof as there remain plenty of magi higher up on the food chain who will eat you up and shit you out. But there does seem to be a natural link between unfolding states of consciousness and the powers attributed to them. Certain states of consciousness eradicate what might be regarded as the goals and needs of “black magic.” It’s hard to maintain a selfish agenda when one’s sense of self is dissolving.

With this in mind, it is, in my opinion, ideal to transfer outward gestures of Sadhana (spiritual practice) into the realms of image through virtual reality. This involves a questioning of the nature of “knowing” (and the quote above from Wittgenstein is taken from his notes “On Certainty,” something we tend to readily assume we possess but seldom examine).

WHAT, precisely, are our “determinants” for “knowing?”

And HOW might these change?

For some, this is a scary step. It requires going beyond the “tried and true” assumptions which have kept our physical bodies alive since we first learned that “the stove is hot.” The stove doesn’t exist. But going with this notion, we might conclude that the wall against which it is set doesn’t exist, either. So we try to walk through it and break our (equally non-existent) nose.

All elements of this experience say “You dumb ass, the wall exists and you’re an idiot for trying to be the kid with the spoon in The Matrix!”

Some determinants are hard to shake. So you accept them and they give rise to a proposition (“There’s a fucking WALL THERE!”).

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Highly regarded Philosophy Professor scorns Solipsism before Freshman Class 

But this may very well be a case of the proverbial Cart and Horse.

Just because you “know” doesn’t mean such “knowledge” reveals anything true about the situation. The wall against which you just bloodied your face has already moved through space with the revolution of the globe and won’t return to that location for another solar year. And even THEN, the space, itself, will have changed. The event has already passed into non-existence and cannot be demonstrated in and of itself. You remember it-but your remembering is a function of consciousness which can only occur in the present. It is only labeled “in the past.” No one else can remember it FOR YOU. If a “witness” was present, they can only evoke their OWN recollection. An agreement upon the “Objectivity” of the event rests in mutually shared associations communicated through language. But it remains an “agreement,” not a demonstration of objective reality.

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“I’m going crazy-but I can’t be SURE that I am…and it’s driving me CRAZY!”

This descent into epistemology is not meant to be a circuitous game, good for intellectual parlance over two pots of coffee. It is a key to working Gamespace as a Shaman. By regarding sense impressions as ultimately (or immediately) insubstantial (and yet somehow experienced), we come into a space whereby virtual objects may be related to as what we can call “actual objects.” This entry into liminal space begins when we can start to understand “actual objects” as “virtual objects,” when we can enter into a contemplative zone and examine how we perceive, categorize, “know” and relate. We are doing more than just looking at how the “gears of the mind” work. We are getting at the Source from which those gears manifest and into which they dissolve.

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This Source we call Space Buddhaa. It is both Transcendent and Immanent. In 2015 we will be publishing the Space Buddhaa Sutra which will be a supportive text for the LAMAL Tarot. This text is a conglomerate fusion of impressions from T’ien T’ai Buddhism, Kenneth Grant’s Mystic Extraterrestrialism, Zen Reactivity, Christic Vudu and Mediumistic Magic. Any complexity of form or system is brought back to several simple tenets whereby the Sutra is intended to engender offspring.

LAM is the LAMA, the Guru Within, the Silence which subsumes “Determinants of Restriction” in a Da’athian Double Vortex. It’s not so esoteric. It’s just a bit outside the typical way humans live and die. Upon accepting the dissolution of form into space, we may feel more inclined to do as the band TOOL admonishes:

Push the Envelope…
…watch it BEND.

This is Hyperdimensional Origami. The Space Buddhaa Sutra is not a “received text” nor is it a “grimoire” or “new revelation.”  It is form of Bushido for the Ronin doubling as a Monk without a Monastery, a visionary voyage intended to create as much as it destroys. A breath in. A breath out.

And the Awareness of the Fire silently burning between.

-Hoodoo Pilot

Vessels Of Vision: The Gnostic Artist As Magician Of The Crossroads

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Six-fold Ma’atian Mind-by Kyle Fite (private collection)

Vessels Of Vision

The Gnostic Artist As Magician Of The Crossroads

By Kyle Fite

“My adepts stand upright; their head above the heavens, their feet below the hells.”

These words, taken from Aleister Crowley’s Liber Tzaddi, describe an exalted state of consciousness belonging to the Magician who performs his Art from a place between polarities, functioning as a type of bridge between the worlds. We find this theme exemplified in many great figures epitomizing the shamanic ideal. In Vudu, Papa Legbha is Lord of the Crossroads. Hermes, as patron of Alchemy, embodies the union of Sun and Moon, the Above and Below. Abraxas and Baphomet, familiar to the Gnostics and Templars, fuse the sundry elements and kingdoms of nature into an androgynous whole. Bisexual figures, such as Loki, and those who roam between the Realms, such as Odin, also typify this theme of bringing together forces generally compartmentalized-and contrasted-as opposites.

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Abraxas instructs young art student on how to “pull it all together”

The English Artist and Poet, William Blake, observed, in his Marriage of Heaven & Hell:

“Without Contraries is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human existence. From these contraries spring what the religious call Good & Evil. Good is the passive that obeys Reason. Evil is the active springing from Energy.

Good is Heaven. Evil is Hell.”

In Blake’s vision, these elements are to be wed, their “love-play” evoking the activity wherein movement from one extreme to the other turns to dynamic development and serves the growth principle underlying the rise and fall of human life on the planet. The vision is ultimately mystical and cosmic, bringing together the great polarities of temporality and eternality or Being and Non-Being.

It is the intent of this essay to examine how this recurring theme of polarity and unity relates to the Artist as Magician. The work of the Magical Artist is not simply to focus on some “arcane” subject matter for depiction but rather a process which allows him to create and bestow his work as a type of shaman. Both the creative act and resultant artistry function as gateways between the realms in that they evoke and partake of the fusion point which is the natural home of both magician and artist.

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William Blake knew how to “Break on through to the Other Side!”

To begin, we must ask: What, precisely, is “Magical” or “Occult Art?” Simple depiction of something we might regard as “magical” does not seem to warrant such a definition. This would be better understood as illustration whose subject happens to be something we regard as “arcane,” be it an archaic symbol culled from an old tome or figures shown engaging in ritualistic operations. These sorts of pictures adorn the cover of many popular books on magic and are often examples of generic illustration or graphic design. It requires neither understanding nor the active play of any occult energy to generate such images.

“Magical Art” should, by definition, partake of the quality or energy of “Magic.” It holds and radiates its own charge, something beyond the bounds of mere depiction. It is the difference between a pleasing sculpture and a fetish object in which it said that a spirit resides. The aesthetic of the latter becomes a vehicle for its indwelling force or intelligence.

Now, a firm and definitive demarcation between “Magical” and “Non-Magical” art is not entirely possible. Any attempt at doing so will crash and burn as quickly as the aesthetic conundrum as to what constitutes art itself. After a manner, all art, even the utilitarian illustrative work we mentioned above, partakes of some sort of “magical method.” But we do distinguish between such work and that art which translates the power and intelligence connected to a transcendent region of consciousness as a living verity. Therefore, we must assert and seek out certain qualities found in the generation of-and participation in-given works of art, qualities which satisfy and express the shamanic impulse and mystical need of the individual.

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The Art of Sean Woodward in which aesthetic content is put into ritual use 

We now need to establish what the magician is, what constitutes his “Magic.” As there is great variance in understanding these simple words, we wish to achieve some degree of clarity from which to proceed.

We find in the great magical figures alluded to above that element of “in-betweeness.” There is within these mythic personas an integrative network bridging the gap between areas of experience typically held at bay from one another. These gaps are established by the observation and reinforcement of contrast. Although this contrast is necessary for our world to maintain its existence, it remains a double-edged sword. On one hand, it provides consciousness with a field of operation whereby its unfoldment and evolution may occur. On the other, it forms the material prison of some Gnostic philosophies by subjecting limitless spirit to the limiting conditions of a dualistic universe functioning in space and time. The Artist as Magician steps outside of the confines of the latter description to serve the former.

Returning to Liber Tzaddi, Crowley wrote:

“I reveal unto you a great mystery. Ye stand between the abyss of height and the abyss of depth. In either awaits you a companion; and that Companion is yourself. Ye can have no other companion. Many have arisen, being wise. They have said ‘Seek out the glittering image in the place ever golden and unite yourselves with it.’ Many have arisen, being foolish. They have said ‘Stoop down unto the darkly splendid world and be wedded to that Blind Creature of the Slime. I who am beyond Wisdom and Folly, arise and say unto you: achieve both weddings! Unite yourselves with both! Beware, beware, I say, lest ye seek after the one and lose the other!”

Within these poetic verses we find the adept not only reconciling the worlds but achieving complete union with all forms of life, for “ye can have no other companion.”

We have here something of a triad. The above and below are united within the one consciousness. But the one consciousness is also united with both the above and below. We are not speaking solely of dissolving the opposites into unity but rather achieving the Gnosis of unity’s union with duality!

When this is understood, the magician may shift from zone to zone at will. Loki, a male giant, may become a female horse. In the Christian Mysteries, Spirit may be transmuted into physical substance via the Mass. In the realm of art, pictures and paintings may become gateways to realms beyond those of which their material elements are made.

Blake knew this and wrote of his own art:

“If the Spectator could Enter into these images in his Imagination approaching them on the Fiery Chariot of his Contemplative Thought, if he could Enter into Noah’s Rainbow or into his bosom or could make a Friend & Companion of one of these Images of wonder which always entreats him to leave mortal things as he must know then would he arise from his Grave, then would he meet the Lord in the Air & then he would be happy.”

If one may enter into such a work of art, it follows that its denizens may also enter into our own world! Furthermore, we are not simply dealing with entities as such but energies of which the art may serve as transmitter.

Michael Bertiaux, in his Voudon-Gnostic Workbook, elaborates on this theme of artist as magician in the paper entitled “What do we mean by the science of Gnostic physics?” He outlines 16 points which provide clarity and direction for the “Gnostic Artist” whose work is to embody the function of the magician. This paper would serve as a wonderful meditation and guide for any artist who is pursuing this approach to their work.

Bertiaux writes:

“The Gnostic artist is also a magician for he materializes thought forms in all that he does. These materializations are not always conscious, hence he is also a type of medium.”

This is a very important point as it indicates that the artist-magician is doing much more than representing esoteric concepts in visual forms. This would be a wholly intellectual endeavor and the Gnostic-artist is concerned with the formation of a vehicle through which actual energies may pass. The methods of Surrealism are implied in the latter portion of this statement.

Bertaiux continues:

“The Gnostic artist is also a magician when he allows the divine energy of creative and cosmic illumination to enter into his multi-dimensional consciousness and thus awaken the angels of their inspiration, which reside in the higher mind fields.”
Both the creation of the art and the experience of its content draw from these “higher mind fields” and it is this double action which constitutes the magical nature of the art.

Perhaps the most important statement in Bertiaux’s paper is this:

“Each work of art comes alive and lives according to the rules whereby he has brought it into existence… There exist certain spells for causing certain things to happen in each Gnostic universe. Each artist must know these if he is to be a Gnostic artist…The Gnostic artist is both a mystical magician and a magickal mystic because he experiences both the total form and total content of each and every universe which rises from his creativity as a work of art.”

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Artwork by Rev. Michael Bertiaux, uniting Worlds at the Crossroads

This connection between magic and mysticism is critical to the artist tapping the “higher mind fields” and then imbuing his work with its life. Hence, we began this essay by addressing the theme of the polarization and unity in the higher god-forms. These beings may all be considered Masters of the “Crossroads,” that is to say that metaspace in which magic and mysticism fuse into a single art.

The magician is first a mystic for he has apprehended the nature of the perceived universe. This is “Lila” or illusion. The notion of permanence is apparent only and seen to have no basis in the perpetually changing energy fields of life itself. Beyond this illusion is the Gnosis of the energy field in its fullness and totality. One experiences something of Cosmic Unity which is beyond the conditions determining the play of Lila in the perceived universe.

The question, then, becomes what to do with the illusory universe. Many mystics, having perceived the changing and temporal nature of the world, have sought refuge in the changeless principle. From Buddhism to Christian Gnosticism, there has been a retreat into the fullness which may be called everything from Nirvana to the Kingdom of Heaven.

The world, however, must have some basis, some origin or source whereby it comes into being. If the changeless principle is all pervasive it follows that the insubstantial and changing universe is one with it. Thus it is has been written that Samsara is Nirvana and “Earthly Desires are Enlightenment.”

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Despite an expected penchant for the exotic, Crowley would find fields of inspiration in the natural world as seen in this landscape

By dissolving the notion of a fundamental divide between unity and duality (which only creates a new duality), the magician is able to experience and bring eternity into time. Illusion is coeval with perception and perception is acted upon to initiate further change in the universe. This particular change, however, is not automatic and following the unconscious rhythms of nature. Instead, it emerges from the will and direction of the magician. This will and direction is liberated through the enlightenment which harmonizes the individual mind of the mage with the cosmic mind of which all seemingly isolated areas of consciousness are seen as part.

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We are able to see with more than the Human Eye

The states of Gnosis described above cannot be induced by the simple application of a specific one size fits all formula. Furthermore, even describing such a state stretches the capacity of language. Hence, Gnostic literature inevitably becomes poetic, moving towards the crossroads between the mind’s intellectual comprehension and the direct knowing of the deeper mind or heart. It is like the challenge of describing how to ride a bicycle-and then going on to give expressing to the thrill and experience of the same. Along the way, the intellectual understanding must melt and surrender to a type of feeling or intuiting which brings things into alignment.

Beyond the challenge of guiding one into such a state, there is a wonderful simplicity as the actual process clicks into place. One has no longer simply imagined an experience. One has experienced and known it. It is now infusing the consciousness. In the case of Gnosis, consciousness is transformed into a vehicle of superconsciousness. Dualities are seen in context of the Unity that sustains them as that same Unity is understood in its dualistic manifestations.
From this “Interzone,” we engage with our art. Perception is enhanced and forms are generated within this crucible.
For myself, the recognizable image is offset with abstraction and symbolic form. It is crucial that these forms be more than metaphor. They need to carry their own charge or life outside of the individual mind. Blake got at this when he emphasized that his work was not “allegory” but “Vision.”

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The Coinologist by Kyle Fite-The lifepulse of any theme may fuel form, transforming both

The symbols-or sigils-thus generated may begin with a definite thought or intention. As Crowley wrote: “Every intentional act is a magical act.” There is, however, the question of how successful or how powerful the magic or spell will be. At times, this intentionality rises from deeper levels within the psyche to impose its form or energy via automatic technique as we often see in the drawings of Austin Osman Spare.

In my own working method, the symbol or image, once projected and “objectified” on paper must then be vivified or “woken up.” Here the original idea or impetus dissolves into a wholly aesthetic embellishment of form.

The artist is now overriding the intellect. Salvador Dali once admonished artists to never think about painting while painting. As paradoxical as this may sound, it points us in the right direction. Only the artist-as magician-can bypass the confines of mental comprehension to establish himself as a bridge between the outward activity and the inward reality. Similarly, the British Magician, Kenneth Grant, offers these words: “It is immaterial whether or not the artist is consciously aware of the direction of his work. It may even be essential to its accomplishment that he is not aware, for an artist manifests his creative power (Shakti) only in his absence.” It is no surprise to find in Grant’s works a tremendous regard for the imagery of the surrealists.

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Dali’s work reminds us that LOOKING is LISTENING

Returning to the notion of the Shaman, we are not exclusively concerned with the creative process for the Gnostic-artist, crucial though it may be. Its reflex is a birth into the world whereby it rises into an independent life. To be strongly imbued with vision and power is to see it communicate to the minds of others, above and below the threshold of the conscious and reasoning mind. The artist is therefore opening gateways whereby human consciousness may ripple into a more expansive field of action. He is a type of evolutionary agent in time and space, forging links between areas of experience which, if held at bay, would otherwise gravitate towards stasis and stagnation.

Such breakthroughs necessitate destruction of old patterns. Hence, surrealism’s precursor was the Dada movement, which could be extraordinarily violent, blasphemous and wholly irrational. It was the breaking down of aesthetic limits and viewpoints in a grand sense, tearing the whole edifice down, spurred on by some inner intensity and vitality. From the ruins, surrealism moved of its own volition to the exploration of the psychological roots of image and form. This not only opened the gates to exploring Freudian themes but began to give rise to images generative of their own iconography. The heart of religion and magic was being excavated from its prison of dogma and returned to the cauldron of its birth.

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Ernst Fuchs, in whose “Spiritual Surrealism” the Sacred and Sensual are wed

Thus we find the Artist-Magician as an essential figure in the modern era, the shaman not entirely embraced by the tribe. Reason, repression and control still abound in the form of Archons who, equating change with destruction and having no awareness of life beyond their isolate form, wield massive weaponry against the unkillable spirit that pulses at the heart of Life. Without liberty or death, the Terra becomes a torture chamber of endless agonies for this spirit. Hence arise the Gnostic visions of a world-prison from which one must escape.

Escape, however, is not found by rejecting the world. Instead, the Artist-Magician makes use of the creative means at his disposal to enter more deeply into the situation, stirring up and ultimately liberating the Light which has been overshadowed, not by outward circumstances but an inward darkness. The Artist is ever involved in a dual process: he is pushing himself to see with ever widening degrees of vision and he is bringing into the world objects and images which resonate with this Vision-power latent in all human beings.

In his talk, On My Painting, the German Expressionist Max Beckmann expressed this thought:

“What is important to me in my work is the identity that is hidden behind so-called reality. I search for a bridge from the given present to the invisible, rather as a famous cabalist once said, ‘If you wish to grasp the invisible, penetrate as deeply as possible into the visible.’ ”

I read these words as a teenager and was baffled by them. Twenty years later, they have become vital to my personal path as both an artist and a spiritual being. Alongside the paper on Gnostic Physics by Michael Bertiaux, this short essay by Beckmann should also be read in its entirety. It is one of the most profound, passionate and poignant statement a Gnostic-Artist might encounter. For two decades, Beckmann’s words have followed me, pushing me more deeply into their meaning. It is not an issue of familiarity or intellectual comprehension. Rather, one must know and live the spirit in this brief essay. It does not lead to some single point of “enlightenment” but opens a door into a hallway leading to further doors, continuing points of breakthrough, initiation and growth.

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The Art of Max Beckmann, mingling the Mundane and Mythic in the alchemy of composition

As stated above, the Gnostic-Artist is not one who simply expands his own understanding and personal power as an independent being. His growing awareness of the unity of all beings, human and otherwise, infuses an ongoing creative work which is given to the human race as a type of gift. He, too, partakes of this activity. As Blake wrote (again, in his Marriage Of Heaven And Hell):

“The worship of God is, Honouring his gifts in other men each according to his genius, and loving the greatest men best. Those who envy or calumniate great men hate God, for there is no other God.”

Human society is in grave need of this shamanic activity especially in its present state of turbulence and uncertainty. I was once going through a difficult period in my life and came across a quote at my local library. I regret that I do not recall the author but the gist was this: When you are lost, go back to the time when you knew what you were doing and begin again there. The true artist is perpetually engaged in this process and his return to the “time of knowing” is transpersonal. As an artist, I know this to be true. I have created works that I have come to regard highly and works that I turn away from in time. Yet “time tries truth” and I find that particular works were simply midwifed by my hand. They arose from some resonance with the larger vision and therefore they can speak, independent of myself, to others on that same level. This is not a cause for self-regard but self-examination. A gateway was passed, a threshold crossed. Initiation is endless and one must always be a moving towards the next breakthrough. On one hand, we may have achieved a “mastery” of the level behind us. This mastery, however, propels us into the challenges of what lies ahead. We rely on the sum of our acquired wisdom and skill to navigate the difficulties at hand. In doing so, we look back to where success arose. It speaks to us from our past and offers guidance into the future.

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Paul Klee-A True Gnostic Artist, he always knew what he was doing!

The Gnostic-Artist has been with us since time immemorial. The most ancient of artifacts and markings on the walls of caves show this. Image has been connected to experience and thereby amplified our adventure in the world. The subconscious mind does not distinguish between fact and fiction. It simply responds with attraction, repulsion or indifference. The conscious mind is overburdened with stimuli from an artificial environment, constructed to restrain those powers which initiate change. The whole scenario is one of love against fear with the great irony of fear’s agenda being so self-defeating. The woes it seeks to combat have been engendered from its own loins.

On the other hand we have the Magi. Millennia have seen the development of schools of thought, techniques of attainment, ways of walking the winding way. As these inventions ossify, the artist arises to follow impulse and intuition. His impetus is not an idea but an inspiration. He will be Dada to Convention and Surrealism to Dogma. Every member of this Cultus, whether he knows himself as such or not, is busy fashioning windows and gates into the Otherworld. Like Jacob’s ladder, powers from Beyond pass to and fro via these turnstiles Matter is becoming Spirit and Spirit is becoming Matter. These sublime transformations are not unlike William Blake’s view towards “a world in a grain of sand” and “Heaven in a wild flower.” Passing through these Gates is not an arduous task. It is simply a shifting of inner vision. As the New World comes into focus, we discover a proliferation of possibilities and a Vessel of Endless Vision to those who would drink from the same.

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Baptism in the Holy Ghost by Kyle Fite (private collection)