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Pantheist art:
the primacy of nature
There is an intimate connection between Pantheism and love of animals and landscapes, and our desire to surround
human aesthetics. Our sense of nature’s overwhelming ourselves with pets and houseplants and gardens.
beauty, and the variety, complexity and interwovenness of that But our aesthetic fascination with nature goes deeper than
beauty is perhaps what gives us the deepest feeling of awe and this. It extends into the basic forms found in nature: spirals,
wonder at the universe. radials, spheres, honeycombs, crackings, branchings, stripes,
The sight of setting suns and cloud-wreathed mountains waves and turbulent flows. We find these forms repeated in
may be what inspires most humans who follow even theistic many different animate and inanimate fields, and fractally at
deities to believe in the power and wisdom of their gods. Yet many different levels: branching in arteries, trees, rivers and
theism also contains within its theology a diversion of lightning; turbulence in clouds and liquids; cracking in skin
attention and feeling away from nature itself, to the supposed and clay and bark; radial forms in sea creatures and stars;
invisible creator who lies behind it. Pantheists are more likely spirals in shells and galaxies and whirlpools. This fascination
to marvel at nature as its own collective creation, more likely with form could also have a partly evolutionary explanation:
to focus intensely on what they see and sense for its own sake, our tendency to recognize and love of these patterns would
rather than as a reflection of something beyond it. drive us to reproduce them, and give us an impetus to tool-
Naturalistic pantheists with a scientific bent may wonder making and art.
how such a powerful feeling of affinity can arise within them. There is also an even more abstract level of fascination,
For me, it is a feeling of identity, based on natural but related to mathematics. Our attraction to relationships based
wonderful causes. First of these is that we evolved within on the golden ratio 1 : 1.618 (see page 3) is one example.
nature and we have an inborn tendency to love the Others are our fascination with musical harmonies, which
matrix from which we emerged. This is what have been known since the time of Pythagoras to be
American naturalist E. O. Wilson connected with simple mathematical ratios.
calls “biophilia,” which he defines What are we to make of these
as “the innately emotional affiliation enigmatic numerical relationships?
of human beings to other living Platonists and other theists might
organisms.” This feeling gave us an argue that these numbers, like others
evolutionary advantage in the past, that show up in maths and nature, are
and helps to motivate us to defend ideas in the mind of God, which God
nature today. It helps to explain our used when designing nature. Our souls
have access to these numbers on the
spiritual plane, and so find them
“From my earliest youth I have been attractive.
spellbound by the formal beauty of Naturalistically-inclined folk would
living things. Nature creates in her see things very differently. Both nature and the
womb an inexhaustible wealth of human brain are constructed of physical entities
wondrous forms, whose beauty and variety
and energy flows, and these combine and relate in
outreach by far all human-created art.”
certain mathematical relationships according to the
Ernst Haeckel, Art Forms in Nature

WPM art and photography galleries:

Editorial: Paul Harrison Design and UK production: First Image US printing and distribution: Blessed Bee Inc.
properties of energy and matter. The fact Art as a form of science central to their thinking and activity.
that we construct mathematics and that Whether we know what their religious
Pantheists have a special fondness for
maths corresponds to nature - the fact beliefs were, or not, there are some
nature’s own creations, and for artists
nature artists like John Constable,
that we find certain mathematical ratios who deal with nature's beauty. Many Claude Monet, Georgia O’Keefe or Andy
in nature pleasing - these wonders are artists have been primarily concerned Goldsworthy where one feels at least a
not an expression of our unity as spirits with nature. The stress on nature in pantheistic feeling towards nature. Their
with an invisible spirit being. They are an Chinese and Japanese art reflects the work reveals a deep obsession with
expression of our unity and community centrality of nature in Taoist and Zen nature, a consistent programme of
with the natural world. They are not a thought. In the case of Western nature investigation of nature, pursued with
sign of our character as primarily artists we can’t conclude from a focus on commitment and dedication.
spiritual entities, but as physical beings nature that they were pantheists - Can there be an explicitly pantheist
comfortably seated in a physical world. though we can conclude that nature was form of visual art? What would be the
character of a pantheist artist? There's
no question of orthodoxy here - although
most artists adopt one or other dominant
approach from their times, all artists are
individualists. It’s a question more of the
source of inspiration and the focus of
attention. For the pantheist artist nature
is central. Art can never rival nature.
Evolution - the continual refinement of
living and non-living forms in interaction
with each other - produces endless
variations and marvels, from the tiny
architectural shells of radiolaria and
diatoms and the microscopic sculptures
of pollen, to the eyes painted on a male
Artist's Shit (Piero Manzoni); Pebbles (© Paul Harrison)
peacock’s ostentatious tail.
Pantheist artists produce reflections
Nature finds as art therefore to break through to of nature, meditations on nature,
As the dadaist Marcel Duchamp once recognition by galleries and critics. variations on nature. At their very best, if
declared “Art is whatever the artist says Once this has been achieved, anything they have instinctive access, they can
is art.” Duchamp went out and the artist claims to be art and wishes to become a byway of evolution, a creator of
purchased a white porcelain urinal, exhibit or sell may receive serious new forms that spring from the same
signed it R. Mutt, and transformed it attention and earn a high price. fountains of creativity that engender
into art, thus proving his thesis. natural forms.
It should be possible for pantheist
Art schools, galleries and critics Nature for the pantheist artist is not
artists to turn this to advantage once
have taken Duchamp's view fully on simply nature in the sentimental sense
they have got past the gatekeepers of
board. The artist Piero Manzoni took of cute animals and lovely landscapes: it
the art bazaar. They can roam beaches
the principle to the extreme in 1961, is nature in all its self-created diversity,
and forests and deserts, picking up
when he had several tins of his own including nature's raw materials and
shells, fossils, wave-beaten roots. They
excrement canned. Labelling them favoured forms, and the mathematical
can exhibit these as their own “work” principles behind them.
“Artist's Shit” he sold them by weight
simply because they selected them,
for the market price of gold on the day For the pantheist, art is another form
gain attention for nature’s originality,
of the sale. of exploration and discovery of nature, in
and help to guide art into more
We can’t all expect critical acclaim some ways similar to science. It may be a
wholesome channels.
discovery of nature as normally
for our plumbing supply purchases,
perceived, in terms of trees or tigers or
excrement or soiled underwear. Implicit Every one of us can “create” such
birdwing butterflies. This level may be
in Duchamp's quote is the prior nature art for our own home galleries,
where photography or representational
question: who is an artist? In practice for ourselves and friends to admire.
art focus. Nature photography allows
the definition applied is: “An artist is Most pantheists and other nature
nature to paint its own portrait. The
whoever is considered an artist by lovers have displays of found and
photographer merely selects which part
galleries and critics.” The primary task purchased items like pebbles, crystals
of nature to present to the viewer. He or
of the would-be successful artist is or tree seeds.
she may also choose to simplify nature,

Magic numbers in maths and art
One of the most fascinating illustrations and discoveries. But these ratios and
of the link between the mind and the numbers are not just mathematical
physical world - between human games: they show up in nature too.
aesthetics and mathematics on the one The 13th century mathematician
hand, and nature on the other - is the Leonardo of Pisa (filius bonacci or son of
“golden ratio” of 1 : 1.618. The number the Bonacci) pondered how a single pair
1.618 is known as Phi. of rabbits might increase in the course
This number was known to the of a year. He assumed that each pair
ancients, not of course in decimal form, produced one new pair per month, and
but as half the square root of five, plus a that rabbits became fertile at age two
half. The Parthenon, noted for the beauty of its proportions, is months. He thus came upon the Fibonacci sequence which
1.618 times as wide as it is tall on its frontal elevation. Its bears his nickname. Each successive number in this
side elevation is root five times longer than it is tall. sequence is the sum of the previous two: so, 1, 1, 2, 3, 5, 8,
Geometrically, the golden ratio can be obtained by 13, 21, 34, 55, 89, 144 and so on. As the numbers grow, the
dividing a line into two parts, in such a way that the shorter ratio of each number to its predecessor gets closer and closer
part is to the longer, as the longer is to the whole: in both to big Phi - and the ratio to its successor gets closer to small
cases this ratio is one to Phi. phi.

Mathematically, Phi has almost magical properties, all of Fibonacci manifests itself in the growth of plants. Many
which follow logically from the geometrical premise: - plants tend to have numbers of petals that correspond to
Fibonacci numbers. Michaelmas daisies, for example, have 55
• Phi plus one, or 2.618, is the same as Phi squared.
and 89 petals. Some large seed heads have Fibonacci
• Phi minus one, or 0.618, is the same as one divided by Phi. numbers of spirals. On many plants leaves tend to grow in a
This smaller number 0.618 is known as phi. Small phi way that allows most light through to the leaves below, and
also has strange properties: this results in growth at the rate of 0.618 leaves per turn
• Small phi plus its square, 0.382, add up to one. around the stem.
• One divided by small phi equals big Phi. The Fibonacci ratios also show up in the WPM’s symbol,
the Nautilus shell. Any point on the Nautilus growth spiral is
• Small phi divided by big Phi equals the square root of
Phi times further from the centre than the point directly
small phi.
below it - so a full turn is needed before Phi is reached. In
• Big Phi divided by small phi equals big Phi squared
certain shells with looser spirals, Phi is reached after only a
It’s fun to play around with these circular relationships quarter turn.

during the processing or exposure, by melted sand that is glass. Ceramics and professionally for a wider market.
increasing contrast, suppressing detail, sculpture often involve the investigation Every one of us can use art as a part
focussing on outlines or dominant of natural materials and how they behave of our pantheist practice. Art is a way of
patterns. Representational art may do under human manipulation. focussing our attention very closely on
the same, and involves perhaps even nature’s fine detail, on the properties of
Or it may be an exploration that goes
closer attention to detail, since the materials and surfaces, on our own skills
back to the mathematical formulae or
artist’s pencil or brush strokes have to and physical limitations in interaction
creative principles that underlie natural
reproduce the thrust of nature’s growth
forms, using them to create new with the materials we use.
patterns, sometimes in the finest detail
phenomena, never seen before, yet in Art can also be subtle evangelism: a
of twigs, leaves, limbs or textures.
the spirit of nature. way of communicating to others the
Pantheist art may be an exploration
beauty of nature, along with ways of
of the constituent forms of nature that
Art as pantheist practice seeing nature afresh, free of the blur of
we often miss - the tree’s bark, the
Pantheism can be expressed not just accepted concepts and stereotypes.
tiger’s markings, the birdwing’s
iridescent patches. Often a photograph through the subject or materials or Finally art can be homage to nature,
or painting that shows the part rather shapes of art, but even through the a way of expressing one’s deep gratitude
than the whole can sharpen and renew simple act of doing art. Here it’s to nature, of cementing one's connection
our perception. It may be a patient and important to remember that every one of to nature, and enshrining it in semi-
systematic exploration of nature’s us can be an artist, at least for ourselves permanent form.
materials such as clay or marble or the and for our families and friends, if not Paul Harrison

Photography as Meditation
I am not a photographer. I am a
meditator. My intent when I take a
photograph is not to record an image,
but a portrait. I have always loved
Annie Liebowitz’s work. I admire the
way she captures what people are
about, not just their image. She once
did a portrait of soccer star Pelle. The
entire image is of his feet. How else do
you photograph a man famous for
using his feet?
She makes portraits. I try to do the
same. I simply make portraits of
natural places and landscapes. Why
nature? I think perhaps it is simply a
matter of sharing. Like some born
again zealot, I head out into the woods
and find “God” there, and I want
everyone else to see. I suppose deep
down there is the hope that if I can
show the divinity in a tree by a stream,
the viewer can trace that divinity back
to nature on their own.
I wander about until I find an
interesting place, and then I give it my
full attention. Tracing each individual
line in the mind’s eye, studying each
shadow, watching the play of light
becomes a sort of mantra. You begin to
place importance on things that you
might not have noticed otherwise.
Sometimes what can be seen with a
casual glance, and what can be felt
about a place is very different.
Sometimes the best illustration of miles
of canyon is only a rock in the middle
of it. Sometimes the best view of an
entire forest is found in one tree. At the
risk of slipping into animism, you find
the spirit of the place. That is the end Meditation: Close or continued thought;
goal. An image that gives a feeling of the turning or revolving of a subject in the mind;
the area, not a view of it. serious contemplation; reflection; musing.
If you look at one of my photos, and
Trees in snow © Shane Smith
you find some of that awe you might sculptures made by hands, or wind
feel gazing at the night sky, or and water? Perhaps all that we can as
pondering trees that live longer than humans can claim of our art, is
nations, then it achieved my goal. But is that it is always at best a poor copy
it art? Is it beautiful? Is the Milky Way of Nature’s own. Shane Smith’s photos can be seen at
art? Is a cheetah's stride? Are the finest Shane Smith

Ice © Paul Harrison

Breaking the cliches

I have been taking serious photographs very interested in doing that. or shores; clouds without horizons. To
for almost thirty years now. I started as a In other places people hated having some extent my photography is engaged
photojournalist, focussing on humans in their photos taken. Sometimes they were in breaking cliches, showing nature in
social contexts, often in poor sensitive about their poverty; some saw unfamiliar ways without the veil of
communities in Britain. As I travelled concepts that humans use to obscure it.
the Western photographer as a
more and more in less urbanized I don’t claim credit for creating my
condescending imperialist; some had
developing countries, the pictures were
cultural beliefs about the evil eye. In photographs. Nature creates. What I do -
more and more of humans in their
some Islamic countries photographing and what any photographer does - is to
ecological relations with nature - in
women was unacceptable. I grew tired of select and collect things as they
agriculture and so on.
all the explanations and pleadings and associated at specific moments in time.
Eventually nature took first place. intrusions involved in taking photos The photograph freezes what Cartier-
One reason was that, instead of getting Bresson called the “privileged moment.”
where people did not initially want me to.
bolder at taking photos of people, I In my book all moments are privileged
The other reason for the shift was a
became increasingly shy - increasingly and will only occur once in all history.
growing interest in capturing elements of
aware of how people felt about me taking
nature. I have always been fascinated by I frame the shot - but the scene takes
their photos. In some places people loved
the less obvious aspects of nature - it own picture in light, engraving itself on
it and insisted on posing or smiling
especially by natural form. To see this film through the photons that ricochet
straight at the camera, sometimes even
free of the ways in which people often off it. This is often just for my own
dressing up in their finest clothes. But
stereotype nature as picture postcard, it benefit, but when others see my pictures
that was not what I wanted as a
photojournalist. I would ask them to look helps to focus on levels that are not the I hope that they are getting a chance to
away from the camera and get on with ones we usually notice, on patterns and learn how to see nature’s creativity and
what they were doing. this. Gradually I textures isolated from the objects that pattern -making for themselves, so that
came to feel that they had a right to have are part of - tree bark as fresco; rock as they can appreciate it directly at the
their photos taken in the way they tile. Or forms isolated from the usual source, without needing a mediator.
wanted. On the other hand I was not reference points - waves without banks Paul Harrison
Sharing in the oratorio of existence
An interview with Paxdora
How long have you been making within their visual manifestation - a What would you like the spectator to
graphics of the kind you do now? non-verbal kind of information. It is take away from viewing your work?
What started you off? actually another kind of language that is My first hope is that these images
I began three years ago by teaching intuited and recognized by the innate would help to kindle that conceptual
myself how to use MS Paint, discovered core of my being. They are like personal creativity that is inherent, but usually
on an old computer someone gave me. chords or thematic melodies that dormant, within most human minds.
A friend started sending me some of her emanate from the creations being My second hope is that they might
photos, beautiful nature scenes which I visually contemplated. The urge that invoke some deeply latent Pantheist
practised on. The discoveries were arises within me is to echo back, adding feelings of awe and reverence towards
endless. My experimentation evolved my own variations, as a celebratory Nature and the Cosmos, and possibly
into a format employing instigate some new spiritual
reflections and reflective meditation upon the divinity
patterning of natural forms within Natural Creation. For
that had always held a me, this a kind of Pantheist
mystical power for me ever evangelizing, and my contri-
since I was a tiny kid. bution toward the formation of
How do you choose a Pantheist memeplex based
your themes? not on verbal doctrine (words)
but on imagery stimulating
The themes are usually
visceral perception.
subliminally imbedded
within Nature - something I would hope that the viewer
magical or evocative that would become infected with a
invites my focus. desire to cultivate her own
Contemplation of a photo unique ability to perceive, from
almost always invokes an as many different perspectives
abstract idea I want to Heart of the Matter © Paxdora as possible, all the glories that
visually realise as an ‘alternative’ image. are and could be manifested within
expression of my profound appreciation,
After some digital fooling around (this Existence. Just hanging upside-down,
a sharing in the ‘oratorio’ of
is a kind of meditation for me), the as children do, would begin to open up
manifestation, and as a way to show
image suddenly becomes and I know one's alternative windows of perception,
other humans how they might be able to
that was the theme I had intuited and and help one to realize that nothing
perceive the natural world in new ways
needed to express. HAS TO be accepted as the only,
that transcend their mundane view.
correct, way of being or having. Any
Many of my pieces convey recurring How do you decide how to shifting of perspective (changing
themes, such as, “Nature is Exemplar”, transform these? positions for a different view) or
and, “Patterns Build Nature.” One thing
The crucial part of my work is in the readjustment of one’s focus can bring so
I’d like to emphasize is that none of my
choices I make, selecting the parts I many other things into our range of
images are presented as a perfected
want to isolate within the photo for observation, which may help us greatly
realization - I have left things
exploration and explosion. This action in wanting to change our stale
deliberately in a “non-finalized” state,
begins to reveal previously obscured viewpoints - to restore our childlike
because the reality we call Existence is
metaphorical content and implicit amazement and wonder about Life and
Ever-Becoming. The caption I wrote for
“clues” about our own unique the sheer joy of discovering the myriad
“Heart of the Matter” says it all: “Just
spirituality and the awesome creative facets of Being.
can’t seem to finish this thing.”
impetus of our divine Cosmos. In some I call my works C.R.O.N.O.graphs -
Are all your basic components natural of the selections I want to convey an Contrived Reflections Of Natural Objects
objects - from photographs and so on? intrinsically dream-like, other-worldly - because contriving is what we humans
Yes, always; the objects and forms of aspect of terrestrial forms that echoes really do best. I mean “reflections” to
Nature contain intrinsic abstract the phenomena of Universal process connote meditations, as my work is a
constructs, vital conceptual clues, in being. very meditative discipline for me.

For me some of your most striking works

Mysterious Island © Oliver Chadwick

show the viewpoint from the interior of
something, like a leaf or an acorn.
This approach intends to show how
we can exercise and develop much greater
empathy by employing our most powerful
and least appreciated attribute, our sap-
ient imagination. When we “make believe”
we are something else, as we did when
we were children, we virtually become the
“other” and begin to see and experience
life from that other perspective. My hope
is to inspire curiosity enough to make
people want to really think about
differences instead of ignoring them.
I am also intrigued by your strange
creations that look like things that
Nature could have created but didn’t get
round to it just yet.
The intrinsic, natural right to exist of
any being or entity that is strange, new,
or unexpected (anomalies) should be
recognized and accepted by humans as
an “amen” (so be it). The fear of the
unknown often does more to harm us (as
Mysterious Island
“Mysterious Island” was the first of Universe of which we’re each a part.
well as to the ‘other’) than its actuality, twenty-one drawings that I was asked to Space and time are other themes to
and if we practice confronting the things produce for a book with the intriguing which I often return. One is easy to
we fear, one by one, we can begin to learn title, the “Gurdjieff Meditation & depict and the other is much more
that they are not as horrible as we had Colouring Book”. tricky. The focal point of this picture is
assumed. I think the point I’m trying to
Whatever its name and origins, it’s the hollow tree trunk. Within it are stars
make is that the “aliens” we keep
probably the most obviously pantheistic and a spiral galaxy, while from it
searching the heavens for may well be
picture I’ve done although, when I drew emerge a curving procession of planets
sitting smack dab in front of our eyes,
it, I didn’t even realise that I was a and a stream of acorns. One of the
within our tangible everyday environment
Pantheist. I was able to interpret my acorns is already growing and, in time,
- and that they have been coexisting with
brief in a way that connected will become another tree to replace the
us in symbiotic harmony, with or without
comfortably with my own deep feelings. old stump as it decays away and dies.
our acknowledgment of their existence.
Looking at it now, I can recognise Nature, in both its tranquil and
Our opinions have nothing to do with
themes that have been influential violent aspects. provides aspects of the
their implicit value in the great Process of
throughout my life, stepping stones on background. Waves pound an undefined
Universal existence.
my own path to Pantheism. Greek shore; lightning splits the clouds; ash
Your titles are very suggestive, how do mythology was an absolute passion of from a volcano becomes a swirling
you arrive at them? mine when I was very young, and the spiral around a crescent Moon whilst
The captions were developed as antics of the Olympians evoked a far huge pinnacles of flame erupt from the
‘backup’ to ensure that the viewer really more profound “religious” response from Sun. And, beneath all this mayhem, life
understands the message should the me that church attendance ever goes on - vines ripen and birds dip low
image alone not strike the subliminal managed, because they seemed so over still water, creatures and things
chords of resonance I intend. The words intrinsically bound up with the beauty, live and die. Maybe the island
are really a form of over-kill, but some mystery and unpredictability of the represents subjective experience,
‘newer people’ on the planet need to have natural world. Distant panpipes start to apparently isolated but in reality
“show & tell” expositions to understand whisper on the breeze in that sun- connected to everything.
subliminal clues. drenched Arcadia of my imagination
I suppose that what I wanted most
Paxdora’s images can be seen at and, in a strange subjective process of
to convey in this picture is a sense of connection, trigger a sense of absolute
energy, renewal and connection with the
wonder and awe that’s the only realistic
/paxdora mysterious.
way any of us have to perceive the Oliver Chadwick

Sculpture: Recreating Nature’s Recursiveness
About fifteen years ago I become aware of Chaos Theory and moved by images on the screen. At the same time I discovered
the fractal imagery so often included in books on the subject. devices called "stepper motors" which break up rotation into
My fondness for such shapes stems, I think, from growing up discrete steps. The thought of being able to use a computer to
in Minnesota under the canopy of hardwood trees. For at least control the movement of real-world objects, not just an array
half the year, their beautiful branches are bare, often of glowing phosphor dots, was irresistible. My first machine
highlighted by a layer of newly fallen snow or spectacularly was an Easter-egg coloring robot. One stepper rotated the egg
covered in sparkling ice. East / West, while the other moved a pen North / South - a
simple two axis plotting device.
My early work focused intensely on building Computer
Numeric Control machines which move tools under computer
guidance by entering numeric co-ordinates in two or three
dimensions. These machines enabled me to make artworks
infused with algorithmic design - forms which could be
expressed by a program or formula. Within a few years, I
moved from drawing on eggs to cutting steel plates and tubes.
I often chose fractal patterns.
It may seem that rigidly controlled machinery moving
various cutting tools in tightly pre-programmed paths could
not be more removed from the natural mechanisms
responsible for towering oaks overhead. But the longer I study
fractal geometry, the more I feel a deep sense of recognition:
I've seen this before - oaks, clouds, mountains, ferns, galactic
I was deeply influenced by the scientific and philosophical
Sand spiral machine © Bruce Shapiro
Bruce's work can be seen at

spirals. The link is recursion. Forms in nature are built from

implications of this relatively new field - specifically, that recursive processes (eddies within eddies that trail from your
regardless of how closely we measure and study them, canoe paddle), just as fractal images are built from recursive
dynamic systems are inherently unpredictable. At the heart of mathematical processes.
this unpredictability, is recursion - the process of taking
In more recent years much of my work has centered
“output” and feeding it back as “input.” The shape of a tree is
around the machines becoming artworks in themselves. In my
a good example: if “branch into two stems from one” is the
current position as Artist-In-Residence at the Science Museum
output process, then by feeding the newly formed branches
of Minnesota, I have the wonderful opportunity to continue
back into this process the familiar tree-form is created. Objects
exploring motion control as an art medium, while at the same
created by recursive processes exhibit fractal geometry - self-
time teaching kids the skills they need to start their own
similarity across scale. A tree is composed of smaller "trees,"
experiments. More information:
which are themselves made up of smaller trees, and so forth.
Recommended reading: The Algorithmic Beauty of Plants,
I spent some time creating fractal images like the
Prusinkiewicz and Lindenmayer,1990.
Mandelbrot set on my computer monitor. But I never felt truly Bruce Shapiro

Members on art
Concern for nature involving the artist’s reciprocal echoing of my own work as being a form of intuitive
the revered subject. & spiritual ‘iconography’ of the Cosmic
Pantheist Art can be a “paean,” a Process. The Mandelbrot Fractals and a
A Pantheist artist, by definition, would great deal of the new Fractal Art that can
most likely be a ‘religious’ or spiritual psalm, a canticle, etc., to the beloved
be found on the Net is also quite
person whose work would be concerned divinity within Nature and All That Is. It
‘pantheistic’ in this regard.
with exploring and expressing the myriad can also be a medium for meditation,
facets of divinity within Nature (or the which may serve to inform, enlighten or Paxdora
Cosmos) in a uniquely personal way. The inspire other humans to view our If there is a criterion for art being
perspectives manifested within the art “sacred” material world in new, considered pantheistic, I don’t think it
would express a lot about the artist’s revelatory ways - and possibly help in would be the religion/philosophy of the
feelings: reverence, love, awe, joyous expanding our scope of human creator. Vivaldi was a priest but his Four
celebration or a meditative exchange perception and awareness. I see much of Seasons might be considered a Pan

Being a third generation pantheist, I was than volcanic magma - so through this the
raised to wonder about the treasure of all artist becomes a force of nature, recreating
that is natural, and this has greatly geological processes. I allow nature to work
influenced me in all my artwork. through me, through my hands. With clay

The artist
I have worked in several media, but you are forced to go with the forces of
none has fascinated me so intensely or for nature, especially gravity. I feel I am
as long as ceramics. Shaping the clay I expressing nature with nature's resources
have always felt a special passion in and forces.

as a force
creating wondrous textures. I use natural I have taught ceramics in schools and
materials to make impressions - acorns, studios for over 30 years and find myself
leaves, nuts, flowers, rocks, shells, always inspired by, and teaching from, a
driftwood, anything I find on beaches. My very pantheistic inner place. I have also

of nature
shapes are very organic and usually have a sold my work over these years. I have felt a
very natural asymmetry. deep inner satisfaction in believing that
I often make folds and patterns in my through teaching and selling, I have
works, often in a chaotic rather than a sparked and enhanced people's awareness
Sheila Rudich Rosenthal regular way. It’s not easy to reproduce of nature. In this way I feel I am expressing
chaos. Humans have a tendency to my deepest self as a pantheistic artist - and
introduce some obviously designed I am spreading the awareness to others. I
regularity. I try to let the chaos feel I am subliminally making a politically
that's typical of nature come active statement with my work and
into my hands as I work. teaching, startling people with the beauty
I like to parallel natural of nature, which overrides all cultural and
processes like the folding and human conflicts that are so widespread
layering of rocks. I love to today, helping them to recognize natural
explore materials, to investigate beauty in other contexts.
different glazing and clay We all have it within us to create things.
effects and to conduct If people could get turned on by creativity,
experiments, like a scientist. it could greatly rehabilitate them and take
I never quite know what will away the purpose of or interest in conflict.
come out of the kiln - I am Love of nature brings out the very best in
always excited when I open the people. We are all tiny pinpoints on a map
door, to see how things have that is so expansive and yet so universal to
turned out, and often they turn all of us - if we focussed on the beauties
out unexpectedly. that we all enjoy and share it would take
The heat inside the kiln ranges away so much of the hatred
Cowhide pot © Sheila Rudich up to 2400 degrees F - hotter that is in the world.

work. Hovaness is a Christian but listen impressing in order to show off beautiful, or interesting natural objects
to ‘Mysterious Mountain’, or to ‘And God virtuosity. Pantheist art needs the degree but not art.
Created Great Whales’. of technique necessary (but no more To be art a thing must be seen by the
I think what makes art pantheistic is than that) to create the piece and make it
artist to be beautiful (not pretty,
work aesthetically. Technique for
a concern for humanity’s place in nature, necessarily, but beautiful) and used - in
technique's sake gets in the way. The art
for nature. But it’s much more than that. a sense isolated and framed - for its
must appear artless (but not be artless).
Pantheist art shares all or most of the beauty. Yet sometimes art is deliberately
Raku pottery comes to mind. The
following features: not beautiful but is deliberately hideous -
technique is transparent. It is there. It
It sees humans as part of a natural must be there, but it must not come an anguished cry at beauty lost or
universe that is just as it is, no more, no between the viewer and the vision. The destroyed. But the ability to see, and feel
less. And it sees the natural universe vision is what counts. must be there. Else the piece will not
(including humans) as wondrous, work. It will be shrill but dull
Natural objects can be used to create
interconnected, and numinous. For it, art. But to do so, they must be selected, propaganda. The vision must signify.
form evolves, and follows function. placed, composed, utilized with an What exists is celebrated, and the
Pantheist art is not concerned with artist’s eye. Else they are just pretty, or self-evolving complexity of all that exists

There are many artists I feel are I make no important distinction
great, but for my money, no one will ever between human and non-human nature,
create anything more beautiful than the so I consider art about man isolated from
cave art at Lascaux, France. I consider nature, or trapped in human technology,
that the closest thing to Pantheist Art. I to be just as pantheistic as any
could never call the artists that created landscape painting. Even religious
those paintings, primitive. Their iconography - of gods and goddesses,
knowledge of line, form and color was saints, etc - is a portrayal of the human
complete. They captured the essence of imagination, and since the imagination is
the animal. also part of Nature, I consider all artwork
Ernie Hopkins - even supernatural religious artwork - to
be pantheistic, depending on the eye of
The most abundant and varied
the observer. Still, it might be appro-
source of Pantheist art is undoubtedly
Gaia, glasswork © Walt Mandell priate to encourage pantheist artists to
the Taoist tradition, which has
explore the artistic potential of non-
influenced Chinese culture for millenia.
is revered. This does not mean that human nature more fully, to balance the
In my office, I have two Taoist works of
pantheistic art portrays everything dominance of art exploring human
art. One is a large contemporary scroll
literally. It is not illustration. nature. Or better yet, to encourage
painting that I bought in Taipei some
It does not see man or nature as depiction of humans interacting with
years ago. It shows a mountainous
sinful. The body is not shameful to it, non-human nature in a holistic way. The
landscape with some small human
nor is sex. It has no use for distinctions artwork could be composed in such a
figures at the base, two friends drinking
of 'higher and lower'. Indeed it finds way that humans do not dominate the
in a hut besides a torrent and a solitary
these laughable. Value is seen not as scene by size or emphasis. But
traveller who is walking along a path that
something God-given, but as meaning ultimately, it should be remembered that
leads into the mountains. The painting
'cherished by someone'. Pantheist art artwork is a human enterprise, and
invites us to follow the path and explore
celebrates existence, even when dealing human nature is naturally of primary
the distant mist-encircled peaks. The
with painful subjects. concern to human artists. Elephant
other is a round slab of veined marble
It is keenly aware of scale within artists, now, that's a different matter.
set in an elaborate wooden frame. The
scale, of forms nested in forms on ever Brer Davananda
pattern is suggestive of storm clouds,
larger or ever diminishing scale, of time and evokes the way in which the Tao If to call an approach to visual art a
periods and their passing, and geological pervades nature. Linked to this is a ‘pantheist approach’ means approaching
time's immensity. It is aware of natural distinguished tradition of poetry and the subject matter in a way that honours
cycles, the days, the seasons, the calligraphy. Poems are often written on the Universe and all within it, then I
weather, the phases of human life, scrolls; the poem and the painting guess that could be called a pantheist
ageing and death. Of fractals and chaos, inform but do not exhaust each other. A approach. But throughout the ages,
of order and pattern. Of evolution. delightful feature of Chinese art is that it there have been artists of all disciplines
It has no concern with an afterlife. It pervades the whole of life. Fabrics and and beliefs who have taken Nature (and
does not preach. It does not pray. It does everyday objects such as brush holders all that that word implies) as the subject
not propagandize. It just shows how you and teapots, even slabs of ink, become of their art. So, no, I don't think there
belong (even when most alienated) to this works of art. Among the works made by can be a ‘specifically pantheist’ approach
wonderful, tragic, comic, beautiful, human hands, the Chinese also place to visual art, if by that one means that
unbearably precious world. It celebrates ‘objets trouves’, gnarled branches and the pantheist approach is recognisable to
life, unity, individuality, diversity, change, interesting looking stones, as the viewer of the artwork. Of course, a
and the intricate webs of cause and effect. representatives of the world of nature. pantheist artist would naturally, or
presumably, have a pantheist approach
In the end it says ‘Thou art that’. And However, while drawn to depictions of
to his/her work. But that would be a
offers the consolation ‘out of this nature, Pantheist art is not limited to
private matter, not something that could
universe you cannot fall'. And without this. Pantheism embraces a wide range
neccessarily be determined from the
preaching, holds up a mirror of empathy, of values which may be represented by
finished artwork by anyone other than
perhaps of compassion - ‘they too are Pantheist artists, realistically or
the artist.
you’. And sometimes speaks of love. But abstractly, as their muse leads them. For
Sue Williams
also of freedom, necessity, chance and example the exploration of human
death. And ever of change and nature is a topic which is of great Nature as art
transformation. Of the great dance that interest to Pantheists and inevitably Last Saturday my children (two boys
goes on till the end of time. receives its expression in art. aged nine and ten) went to Peach
Walt Mandell Tor Myrvang Mountain observatory with their father.

statements of fact. Moreover,
agreeing with Hume, I hold
that these judgements can
The Omniverse and her Children Watch the Birthday Fireworks © Paul Harrison

never be derived from

statements of fact.
According to evolutionary
ethics, evolutionary forces
have shaped human tastes
regarding what is good and
bad. I agree with this, but
nevertheless, this does not
justify the derivation of an
ought from an is. It merely
explains what in fact we do
have positive and negative
tastes for.
I think exactly the same thing
can be said for aesthetic
tastes. Evolutionary forces
have shaped what we
consider beautiful. We can
determine what we in fact
think is beautiful from this
It’s away from city lights, out in the time. (Clifford A. Pickover.) It is a sort of evolutionary perspective, but
woods somewhere - I’ve never been. bridging between math and theology. we cannot derive what we ought to think
Halfway through their time there, the A more general introduction can be is beautiful.
Northern Lights began. Both of them found in: Fractals: The Patterns of Todd Washington
were completely overwhelmed by this Chaos: A New Aesthetic of Art, Science, One approach for ethics and
experience - my elder son lay on his back and Nature (James Briggs). To explore aesthetics is to ask “what ought we do
looking at the sky and refused to move or and create fractal images a great site is: (or deem beautiful), given what we are”.
speak. (He’s hyperactive, so this is big I think another approach worth taking is
news.) My younger son said: ‘It’s like art, Katherine Peil to ask “what do we want our actions (or
but not art. Art made by nature.’ I had a friend who insisted that every art) to say about us”. The latter approach
Joanna Hastings photo he took have at least some small holds that our morality and aesthetics
I cannot believe that anyone could noticeable encroachment of man in it. He define us. What is the self- image we
look at the veins in a leaf, or drops of even went so far as to go and find litter, want to have and how do we promote
water, or feathers on a bird, and not see and move it into his image if the scene that self-image by our actions? As
the Art in it. he found was unspoiled. He said he did it individuals, “our actions, our ideas, and
Linda Kerby memories of us live on, according to
to reflect reality, because in truth we
Nonlinear mathematics and fractal what we do in our lives”.
have touched everything. To Me the
geometry are areas where nature’s order simple fact that art has been made We leave a remembrance of us in the
and beauty can appear divine.(The implies man’s hand in the matter. How memories of those who love us and live
Mandlebrot set has been dubbed the can we say any work of art is natural. after we are gone. As a species, we can
“thumbprint of God”.) If I have Maybe snowflakes? look to noone else for validation and
panentheistic leanings, they are due to Shane Turner appreciation - we are the only conscious
this mathematical precision within the species on this planet. We are
universe (or multiverse as the case may
Can we deduce taste answerable to noone but ourselves.
be.) The fractal concept has helped me from pantheism? This is a more selfish motivation than
gain more precise understanding of what I see little difference between moral wanting to leave a legacy for our
resonates for me personally within judgements and aesthetic judgements children. In the end, it is what we want
nature, unifying things like self- regarding whether one can derive an to see in the mirror, even more than
similarity, geometric precision, and “ought” statement from an “is” what we want to bequeath to our
complex detail on multiple scales. A book statement. In my opinion, moral and children, that i think will be the most
I’ve enjoyed is The Loom of God: aesthetic statements are subjective potent guide of our actions.
Mathematical Tapestries at the edge of statements of taste; they are not Dennis Virtudazo

Great Art
and Nature

Cloud study, Hampstead Heath

Truth only will last
John Constable 1776-1837
It appears to me that pictures have been
over-valued; held up by a blind
admiration as ideal things, and almost as
standards by which nature is to be nature. He would work for hours and a single session. Instead Monet would
judged rather than the reverse; and this days to capture the quintessence of light work, often from a hotel room with a
false estimate has been sanctioned by the and colour, the lensed oscillation of a lily view, on many canvasses at once. He
reflection, the tawny hue of evening light would get out the one that was
extravagant epithets that have been
on a cathedral façade, or the rich deep appropriate for the time and weather and
applied to painters, as ‘the divine’, ‘the
orange-yellow of a sunset mirrored in a light and work on it for a short period,
inspired’, and so forth. Yet, in reality,
pond. Much of his work was done in the then when the light changed, he would
what are the most sublime productions
field, on the Normandy coast, on the put it away and get out the one that was
of the pencil but selections of some of the
Seine, in the forests around Paris. appropriate for the new mood.
forms of nature, and copies of a few of
her evanescent effects; and this is the Yet, paradoxically some of his best His most prolific series relate to his
result, not of inspiration, but of long and known series paintings involved quite garden at Giverny. Here, wanting a more
patient study, under the direction of artificial procedures, precisely because stable framework on which he could
much good sense. art took time while nature’s lights and study the subtle variations of light by
moods were so transient. season and time of day, he laboriously
It was said by Sir Thomas Lawrence,
His paintings of the Thames, Rouen created an artificial garden and pond out
that 'we can never hope to compete with
or the lily pond were not done quickly in of a field by a railway line.
nature in the beauty and delicacy of her
separate forms or colours, - our only
chance lies in selection and combination.' Monet on Monet
Nothing can be more true, - and it may My only desire is an intimate
be added, that selection and combination infusion with nature, and the
are learned from nature herself, who only fate I wish is to have
constantly presents us with compositions worked and lived in harmony
of her own, far more beautiful than the with her laws. The only merit
happiest arranged by human skill. I have is to have painted
Painting is a science, and should be directly from nature with the
pursued as an inquiry into the laws of aim of conveying my
nature. Why, then, should not landscape impressions in front of the
painting be considered as a branch of most fugitive effects. . . I am
natural philosophy, of which pictures are following Nature without
but the experiments? being able to grasp her. I know that to what objects you have before you, a tree,
paint the sea really well, you need to look a house, a field or whatever.
From his Lecture 4, 16 June 1836
at it every hour of every day in the same Merely think here is a little square of
place so that you can understand its way blue, here an oblong of pink, here a streak
In love with light itself in that particular spot; and that is why I of yellow, and paint it just as it looks to
Claude Monet 1840-1926 am working on the same motifs over and you, the exact color and shape, until it
over again, four or six times even. gives you your own naive impression of
Monet is the example of total dedication
to capturing the fleeting changes of When you go out to paint, try to forget the scene before you.

Nature as gallery, feathers, even ice and snow, usually from
the location where he is working, so that
News of the WPM
material and subject
there is a close interdependence of location
Andy Goldsworthy 1956 - and matter. On occasion he has made
Among artists working today Andy things out of nothing, out of the very
Goldsworthy is among the closest attuned absence of material - such as when he lay
to natural pantheism. Nothing is on public on a red rock in a rain shower creating his
record to suggest his religious views, so it’s own dry shadow, or when his frost shadow
Rick Bamford Rick Davis Audrey Pavia
not known if he is consciously a pantheist. sheltered hoary grass from the sun on a
But he sounds like one. Though he has winter’s day. He rearranges natural mater- Following the move of UK membership
made some permanent structures, espec- secretary Oliver Chadwick and WPM
ials to depict his subject matter. Although
information officer Stuart Stell to the
ially walls, he creates mostly ephemeral his topics are always, in some way or other,
panel of directors, elections were held for
works, liable to decay, dry up, blow away, once again some aspect of nature, they are
vacant seats on the Membership Advisory
melt, or fall down. He then photographs almost as diverse as nature. By rearranging Committee. Rick Bamford (New Jersey),
these before they disappear - or even during his materials he delineates nature’s Rick Davis (Ohio), and Audrey Pavia
the process of decay. The vulnerability to favourite shapes and processes in playful (California) were elected.
time, and its effect on his work, is also ways, such as an ammonite spiral made of
part of the work and part of why his work broken pebbles, or a radial explosion of ice.
reflects and embodies nature’s processes.
Conserving Nature
Perhaps more than any other artist
Nature is Goldsworthy’s art gallery. He time and change are his subjects too. He
makes his constructions almost always in will create a work by throwing sticks or
natural settings, in the open air, in places dust into the air and seeing how they fall,
such as Dumfriesshire, the Yorkshire Dales or by embedding materials in huge
The frames of our animated gif at Ecology Fund
or the Lake District in Britain, Grize Fiord snowballs and seeing how they are
in the Northern Territories of Canada, the distributed when these melt. He builds The World Pantheist Movement saved
Australian outback, and even the North Pole. precarious cairn-like columns from wet 35 acres of wildlife habitat by sponsoring
His materials are drawn from nature. rocks cemented together with ice, which two click-for-nature organizations. At
They may be clay, rocks, twigs, leaves, will tumble when the ice melts. Ecology Fund our sponsorship saved
22 acres of rainforest in through the
World Parks Endowment. At Care2’s
Goldsworthy on Goldsworthy not independent of its surroundings, and
the way it sits tells how it came to be there. Race for the Rainforest our sponsorship
I enjoy the freedom of just using my hands saved 13 acres through the Nature
I want to get under the surface. When I
and “found” tools -a sharp stone, the quill Conservancy. In both cases our checks
work with a leaf, rock, stick, it is not just
of a feather, thorns. I take the opportunities were made out directly to the nature
that material in itself, it is an opening into
each day offers: if it is snowing, I work with conservation agencies, and our
the processes of life within and around it.
snow, at leaf-fall it will be with leaves; a contributions also gained 400,000
blown-over tree becomes a source of twigs When I leave it, these processes views for a banner ad for the WPM.
and branches. I stop at a place or pick up a continue. Movement, change, light, growth The Ecology Fund ad was particularly
material because I feel there is something to and decay are the lifeblood of nature, the successful, bringing us 6,500 extra
be discovered. Here is where I can learn. energies that I try to tap through my work. visitors, a much higher click-through
Looking, touching, material, place and I need the shock of touch, the resistance rate than average for Web banner ads.
form are all inseparable from the resulting of place, materials and weather, the earth In September the directors voted
as my source. another $2,000 for similar sponsorship
work. It is difficult to
with Ecology Fund and with The
say where one stops Nature is in a state
RainforestSite. We shall be repeating
and another begins. of change and that
this exercise at regular intervals, leaving
The energy and space change is the key to
a few months’ gap between each so that
around a material are understanding. I want
we are seen by a new round of people.
as important as the my art to be sensitive
energy and space and alert to changes
within. The weather - in material, season
New Celebrants Code
rain, sun, snow, hail, and weather. Each In September the directors officially
mist, calm - is that work grows, stays, adopted a code about celebrants so that we
external space made decays. Process and could fulfil our aim to provide pantheist
visible. When I touch decay are implicit. and nature-lovers with weddings, funerals
a rock, I am touching Transience in my and other ceremonies in keeping with their
and working the work reflects what I beliefs. It’s important to note that WPM
space around it. It is find in nature. Continued on next page
Continued from previous page has a right to feel confidence in the without specific authorization for each
seriousness and capability of a civil one, will need to get WPM certification.
celebrants will not be hierarchs with any
celebrant to provide an adequate and This will be subject to certain
special religious authority.
sensitive service. There will initially be two requirements of knowledge of basic skills
We tried to reach a careful balance. On categories of celebrant: relating to prenuptual and bereavement
the one hand we feel that any member
WPM members who wish to perform a counselling, familiarity with a range of
should be empowered to perform
wedding or funeral for friend or relatives model ceremonies and approaches, and
ceremonies for friends or relatives, in line
will be able to get official WPM character references. For category two we
with our belief that the reverent response
authorization to do so by forwarding a will now need to develop a form of
to nature requires no priestly mediation.
request from those friends or relatives to questionnaire and set reading and collect
Allowing this removes the absurd situa- If they want to some sample ceremonies. If you would
tion where the WPM might have to refer
use WPM name or symbols they should like to get involved in this, you can join
its own members to the Universal Life
also indicate agreement with the World the celebrants list:
Church if they want the status to perform
Pantheist Movement belief statement
a ceremony for friends or relatives. On the
other we feel a responsibility to ensure as ( wpmcelebrant.
far as practicable that anyone publicly Certified celebrants: members wishing Both types of celebrant will have to
advertizing for clients using our name and to advertize celebrant services to the make sure they comply with the law of
symbols should be responsive and public using the WPM name or symbols, the country or US state they wish to
informed. We believe that general public and to perform weddings or funerals celebrate in.

Today, Brenda, I join my life to yours, not only as your husband, but as your
friend, your lover, and your confidant. Let me be the shoulder you lean on, the
rock on which you rest and the companion of your life. With you I will walk my
path from this day forward.

Today, Mike, we begin our new life together. Let us assume our roles as
marriage partners with love, understanding, trust, and mutual fidelity for as
long as we both shall live. I ask you to share this world with me, for good or for
ill. Be my partner, and I will be yours.
Wedding of Beatrice and Mike Mondragon, August 11, 2000
Minister (as they exchange rings)
The circle is the symbol of the sun, earth, and universe. It is the symbol of peace. Let this ring be the symbol of unity and peace in
which your two lives are joined in one unbroken circle. Wherever you go, return unto one another and to your togetherness.

Special events February 14 Equinoxes & Full Moons
Valentine’s Day
November 30 Solstices
February 15
John Tolland’s birthday Birthday of Galileo Winter solstice 2002 2002
December 22 01:15
December 10 February 17 October 21 07:20
Geminids: Starwatching + Giordano Bruno’s 2003 November 20 01:34
Human Rights Day martyrdom Spring equinox
December 19 19:10
January 22 March 8 March 21 01:00
Surrender of native lands International Women’s Day Summer solstice 2003
by Chief Seattle March 14 June 21 19:10 January 18 10:48
Einstein's birthday Autumn equinox
February 2 February 16 23:51
Imbole September 23 10:47
March 18 10:34
February 12 Winter solstice
Almanac [Universal time=GMT, EST + 5, PCT + 8] December 22 07:04 April 16 19:36
Darwin’s birthday

nature and spirituality the WPM and nature
People of every religion are striving to find a we share many of the same genetic codes. Nature and the environment are a central recycling.
theological basis for environmental concern. Living things do not exist in isolation but concern of the World Pantheist Movement.
Our magazine Pan often focuses on
The oriental religions have traditionally in ecological communities, in which all the Our local groups usually meet in natural
green issues – a recent issue was entirely
placed strong emphasis on harmony with members have evolved together into a fine areas, when the weather permits, for hikes
devoted to sustainable living. Our general
nature. In Hinduism, Jainism and balance of interdependence. The planet itself and picnics and star-watching parties.
mailing lists often discuss environmental
Buddhism respect is accorded to living is one vast ecosystem in which life deeply Our view of nature is explained in these concerns and appreciation for nature. We
creatures because they may be incarnations affects, and is affected by, the atmosphere, clause of our belief statement: also have two specialized mailing lists of
of dead humans. In Taoism living simply, in the oceans, and even the solid crust. Human interest: a list for vegetarians, and an
accordance with nature, is the highest goal. • All matter, energy, and life are an inter-
actions have seriously disrupted local and environmental action list which sends out
connected unity of which we are an inseparable
The West has had a much tougher task planetary ecosystems. Our task now is to alerts from the major environmental
part. We rejoice in our existence and seek to
in finding a religious grounding for concern restore the lost balances. organizations. We have bought the domain
participate ever more deeply in this unity
about nature. The Old Testament vision is Pantheism does not believe in an afterlife, where we plan to create
through knowledge, celebration, meditation,
that nature is created primarily for humans in heaven. This earth is our only home, we an action, fun and information-oriented
empathy, love, ethical action and art.
to have dominion over and to use. The New can't hope that God will provide us with a nature site for children and young people.
Testament, the core scripture of Christianity, • We are an integral part of Nature, which we
new earth if we wreck this one. The In the long run we aim to help interested
focuses on ethics towards other humans and should cherish, revere and preserve in all its
responsibility lies on our shoulders alone. local groups to create a network of multi-
shows no concern with duties towards magnificent beauty and diversity. We should
Pantheism has a deep respect for the purpose natural reserves. These will protect
animals or nature. strive to live in harmony with Nature locally and
welfare of animals. In pantheism all animals and enhance biodiversity through natural
globally. We acknowledge the inherent value of
All three main Western/Middle Eastern are equal centres of awareness of the woodlands and shrub areas with native
all life, human and non-human, and strive to
religions see this earth as secondary to an Universe, and as such they demand equal species, and through open areas with
treat all living beings with compassion and
afterlife in heaven. Indeed all three have an respect. Respect does not mean we cannot wildlife-friendly gardening. They will provide
apocalyptic vision of the Last Judgement in use nature and her products, but it does simple lodge-style indoor facilities for
which God himself destroys the earth and As in all matters of ethics, we leave it up pantheist meetings, and a natural setting for
mean we must use them sparingly, wisely,
every living thing on it. to the individual to decide how to apply ceremonies like weddings and funerals. Any
and with deep compassion, always
these principles. For example, many of our structures on these reserves will be built to
Pantheism is one of the oldest religious remaining aware of the impact our actions
members are vegetarians, but many are not: the most environmentally-friendly
traditions, and reserves its deepest may have on other living beings and natural
the choice is yours. What we probably all standards.
reverence for Nature and the Universe. communities.
have in common is a concern for compass-
Nature is central, sacred, and demands to be If you have a deep reverence and
ionate farming, where animals are allowed to
treated with respect, love and care. concern for nature, and would like to find a
lead lives that are as natural as possible.
One of pantheism's basic tenets is the spiritual expression for this that does not
We tend to be aware of the environ- involve turning your back on reason and
unity of all things. The whole universe is a
mental consequences of our actions, and to evidence, then the World Pantheist
unity that was born together in the same
bear these in mind in our choices Movement may be the right place
instant. Nature on earth is also a unity of all
in what we buy and consume. for you.
living beings. We all had a single origin and
When thinking about waste, we
emphasize reducing, re-using and

Everything is fruit to me which thy seasons bring, o nature; from thee

are all things, in thee are all things, to thee all things return.
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