Vincent van Gogh, The Starry Night, 1889, oil on canvas, 73 x 92 cm.

Acquired through the Lillie P. Bliss Bequest. Courtesy of The Museum of Modern Art

Chief Editors
Alex Grey, Allyson Grey
Creative Director, Graphic Design
Marisa Scirocco
Managing Editor
Delvin Solkinson
Press Manager
Eli Morgan
Media Assistant
Syd Gnosis
Contributing Designers
Eli Morgan
Syd Gnosis
Feature Photographers
Neil Fleming, Jim Misti, Jason Ware
Front Cover
Allyson Grey, Chaos, Order and Secret Writing
Series, (detail) 2011, 20 x 20 cm.
astrophotography: NASA, ESA, Hubble Team
Back Cover
Mati Klarwein, Angel of New York
Published by CoSM Press
Phone : 845.297.2323
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www.cosm.org
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All content copyright 2011 by the artists and contributors.
Contact them directly for licensing inquiries.
CoSM Journal, published by CoSM Press, provides
a forum for the emergence of Visionary Culture.
CoSM Journal shares with its readers the work and
stories of artists, thinkers, and community builders
who are dedicated to transformative living and a
commitment to the integration of wisdom and the
arts. CoSM Journal is offered to inform, connect, and
inspire this evolving global awareness. The Chapel
of Sacred Mirrors, CoSM, is located at 46 Deer Hill
Rd, Wappingers Falls, New York 12590.   CoSM is a
sanctuary for contemplation and a center for events
encouraging the creative spirit. The Sacred Mirrors are
a series of paintings that allow us to see ourselves and
each other as reflections of the divine. CoSM provides
a public exhibition of the Sacred Mirrors and the most
outstanding works of mystical art by Alex Grey. The
Chapel of Sacred Mirrors is a 501(c)(3) organization,
supported solely by charitable donations from the
community. If you would like to make a contribution
to the Chapel of Sacred Mirrors please send checks to
CoSM or make donations on-line at cosm.org.
CoSM Journal has been created with
sincere dedication to the community and the
environment. It is produced on 50% recycled,
30% post consumer waste paper that is green
E certified. The production facility at Green
Solutions Printing is Certified Ancient Forest
Friendly, carbon neutral, powered by wind
energy and is a certified triple bottom line
company by B Lab. Deep thanks to Bob Frankel
for his generous help with this production.
COSMIC CREATIVITY
by A lex G rey and A llyson G rey
The word “universe” comes from the
words “uni,” or one, and “verse,” a song
or poem. God is the divine artist and
the universe is the continually evolving
masterpiece of creation.

Stars are
being born and dying in the great
nebula, planetary systems are in a state
of dynamic flux, developing increasing
Whirlpool Galaxy by Earl of Rosse in 1845 complexity with capacity to host life
and awareness.  The earliest known
illustration of a “whirlpool galaxy”, created by Lord Earl of Rosse in 1845,
influenced Van Gogh’s composition of “Starry Night” (1889). Science has
revolutionized our comprehension of the vastness of the cosmos.  An
entire genre of “Cosmic Art” developed in the twentieth and twenty-
first century by artists who consciously aligned themselves with the
force that moves the stars.
Over a century ago, the psychiatrist R.M. Bucke  had  a  mystical
experience that he called “cosmic consciousness.” The characteristics
of this brief but life-defining experience were an inner light; a sense of
immortality, moral elevation, and intellectual illumination; loss of the
fear of death; loss of a sense of sin. In the state of cosmic consciousness
the universe seemed vividly like a living presence and not made of dead
matter.   In his book on the subject published in 1901, Bucke suggested
that the experience of cosmic consciousness was occurring with greater
frequency as humanity evolved and with noticeably expanded reports
in modern times.   The  mystic realms  reflected in the art of today’s
visionary cosmonauts mirror the universe within, and attest to the
truth of Bucke’s statement.
God creates a universe in order for the cosmos to become self-
aware. The unitive mystical experience is the basis of religion. The Koran
says, “To know oneself is to know Allah.” The watchword of Judaism, says,
“Adonay is One.” Realization and alignment with our source activates
and empowers our channels of invention and discovery.  Uniting with
the nature-field expands the identity of the individual beyond the
bounds of body and ego, toward universal Self realization.
Deep graditude to the visionary artists, poets, futurists and philosophers
that have joined this CoSMologue in celebrating the creative force.
 José arguelles...102
Cosmic Being
C o SM Journal volume 7 www.cosm.org
ingo swann...108
ernst fuchs...10 Cosmic Art
Opening to Divinity Graham hancock...112
herman smorenburg...16 Universal Creativity
Art of Inspiration James oroc...118
Alex Grey...22 Cosmic - Quantum Consciousness art by Satoshi Sakamoto
CoSM and the Path of Art paul laffoley..124
anderson debernardi...24 Illuminated Cosmology
Cosmo-Vision Lowry Burgess...130
amanda sage...30 Eternal Presence
Cosmic Remembering Leyolah Antara...136 Kundalini Dance
mati klarwein...36 Nassim haramein...140
The Way Beyond Cosmic Physics art by Peter Gric
Terence Mckenna...44 Vusamazulu Credo Mutwa...146
Opening the Doors of Creativity art by Robert Venosa Song of the Stars
Dennis mckenna...52 Allyson Grey...150
Life in the Cosmos art by Martina Hoffmann Language of Light
Alex Grey...60 david rothenberg...154
The One Why Birds Sing art by Alex Grey
Deepak Chopra...62 delvin solkinson...158
Cosmic Creativity Visionary Biodynamics
Peter Gric...68 Rudolph Steiner...162
Dimensional Art  Celestial Cartography
Andrew cohen...72 Shipibo Maestras..164
Cultivating Creativity art by Alex Grey Healing Patterns of the Shipibo
Matthew fox...78 Robert Beer...170
The Art of Spirit Tibetan Art & Creativity
De Es...80 John Miles...176
Creative Space Synergy and Synaesthesia
gil bruvel...86 Eli morgan...182
Art of the Mythic The International Family of Light
Hanalisa omer...92 Brian JAmes...188
Bridging Earth and Heaven Constructing CoSM
flordemayo..98 CoSM community...192
Grandmother Cosmos
cosmic Gallery...194
astrophotography : NASA, ESA and M. Livio
 The Divine Artist Kimuru
Murungu niwe muchori wa into bionthe na nthe yonthe
“God is the divine artist and the universe is the  iombikaga ntuko cionthe iri kiumbire kiamagegania kiria
continually evolving masterpiece of creation.” - Alex Grey gituraga kumbika.

arabic japanese
‫ةفحت وه نوكلاو ينابرلا نانفلاوه هللا‬ 神は偉大な芸術家である。彼は宇宙の森羅万象そのものを
‫روطتلا ةمئاد قلخلا‬ 作品として作り続ける巨匠である。

brazilian portuguese mandarin

Deus é o divino artista e o universo é a continuidade  天是神性的藝術家
envolvente da criação de Sua obra prima. 而宇宙為其不停演化之傑作

french maori
Dieu est l’artiste divin, et le cosmos est son chef Ko te Atua te kaiwhakata tapu rawa, ko te rangi te
d’oeuvre en évolution constante. whakaahua e tipu tonu.

German russian
Gott ist der allmächtige Künstler und das Universum Господь - божественный художник, Вселенная -
ist das sich fortwährend entwickelnde Meisterwerk der беспрерывно развивающийся шедевр Творения.
Erschaffung.

hebrew shipibo
.‫םיהולא‬, ‫םוקיהו ימיימשה ןמאה‬, ‫תפומ תריצי‬ Pachakamaq apunchipaq awaq kanmi, tukuy pacha ancha
‫האירבה לש תחתפתמ םלועל‬ sumaq awasqan.

Hindi spanish
भगवान दिव्य कलाकार है और ब्रह्मांड निर्माण की Dios es el artista divina y el universo es su obra maestra
लगातार विकसित हो उत्कृष्ट कृति है que nunca termina de evolver.

Alex Grey, background art: Earth Energy

8 Alex Grey,detail art from top to bottom: Mind, Artist Hand, Metamorphosis, Cosmic Christ, Galaxy, Cosmic Christ, Diamond Being detail art from top to bottom: Cosmic Elf, Healing, One Family, Cosmic Love, Liberation through Seeing , The Promise, Cosmic Christ 9
 The past and the future are visions that the
creative spirit, in its awareness of eternity,
blends to make the time present in our
existence. Thus the artist, in contemplation,
creates both history and eternity. I maintain
that the concepts of time and eternity are the
stuff of poetry and that biography is a musical
arrangement of the uproar made by our blood
pulsating behind the listening walls of our
eardrums. Our engagement calendar is nothing
but the most readily available symbol of a
man’s engagement with the certainty and the
eternal duration of being and that of his death.
The question of beginnings certainly moves
the few who are in any way concerned with
the creations of science and art. And for these
few the vision of the past and the future often
blends into the creative present. The certainty
that what is past will reappear in the future, gives
the present its depth, sets it to work and makes
it fruitful. It is precisely  here that we find an
essential element of creativity: the rediscovery
of forgotten life. It is not too unusual for a vision
of the future to coincide with the recognition
that something believed dead or forever lost to
us is very much alive because it can enter our
awareness again. 

Mary with the Infant Jesus, 1960 - 62, rezin-oil glaze on paper
Ernst fuchs
Opening to Divinity
10 11
 The work of art is simply a monument to
the temporal within eternity. Art alone
can confer and transmit to other ages an
enduring validity of what is otherwise
trapped in its own limited period. Only the
spirit of the artist can fix what is ephemeral
and ineffable, hence doomed to be forever
lost to us otherwise.
The motifs of art and the runes of fate are
joined, as if in an equation, by the thread of
life. The way to the paints goes of necessity
through situations and “stations.” Not that
the artist wants to or needs to use his art to
illustrate his life, but the images of his creation
emerge only from certain viewpoints that are
not randomly accessible. Not every image
is recognizable from every viewpoint. It is
a matter of discovering the precise points
of contact between the viewpoint and the
original image: the landscape as a panorama
of the most varied vistas upon the central
range of archetypal images.
Every artist has an invisible “stage manager”
in the form of the reigning zeitgeist, which
is hidden from most of his contemporaries,
though the artist may catch a glimpse of it
once or several times in the mirror of his
talent. He is aware of it and wrestles with
it in seeking the best possible expression of
this interruption of eternity into time. 

12 Atlantis, 1973, egg tempera and resin oil on canvas 13

 The paradoxes and anachronisms resulting
from this struggle confuse or baffle only the
devotees of foreground actuality. But those
who seek in history the traces of eternity will
find them in the expressions of genius, in the
imperishable signs of the spirit. 
Art is the nourishment of the complete human
being; it is the condition of his existence,
the medium in which his life is suspended,
and since art knows no exhaustion, it is the
medium of an eternal life, an inexhaustible
life. For it is in art that the creative force
expresses its inexhaustibility.
It is art that opens us to the Thou, the Other,
the Unknown. In the obscurity of one’s own
creative process one knows even without
the aid of reason how significant the work
is. It is as in dreams, where images create
themselves and utter the ineffable to which
no analysis can do justice. One might say that
the soul paints what only the dreamer sees.
Images alone enable us to grasp the
overabundance of the incomprehensible.
By their means, that which cannot be
articulated can be revealed. Language is itself
a work of art.   Who can ever encompass
it in all its possibilities? What an infinite
variety of things gets itself stated within
the constellations of the oral cavity, and yet
not everything has been said or defined. As
in the Talmud, commentary follows upon
commentary, words upon words. In contrast
the image is always a definition, and words
cannot add to it or take away from it. They
are at best a musical accompaniment, a kind
of key ring for keys that must be already in
one’s possession. How does one find those
keys without resorting to language, to logic?
I call it contemplation. It gains access to
meaning by intuition, and whoever is capable
of dreaming with his eyes on an image can
come close to its meaning.
Excerpted from essay, “Fuchs On Fuchs,” from the book Ernst Fuchs.
www.ernstfuchs-zentrum.com
14 Christ Triumphant, 1962 - 65, pencil on canvas, 200 x 200 cm. 15
 Through the ages, people confronted with the mysterious, creative
and seemingly supernatural gifts of some unique and talented
individuals have, more or less, regarded these individuals as mediators
between heaven and earth.  The beauty, mystery and grandness of
their fruits, stimulates our curiosity, stills our minds, encourages us
to open our hearts, and sometimes even fills our eyes with tears.  It is
these qualities of art that make the soul of the spectator merge with
the soul of the painting. 

Herman Smorenburg
art of Inspiration

“The man who never in his mind and thoughts

traveled to heaven is no artist. - William Blake
16 Into The Light, oil on wood, 50 x 70 cm. 17
 Any form of art, be it painting, poem or symphony, can be the bearer
of a heavenly presence, just as any of the senses may function as a
channel between this “angelic” presence and our souls. 

Sometimes art confronts us with the unexplored and hidden parts

of our inner world, as if the mysterious angel has ascended from
hell. It makes us realize that birth into light is sometimes preceded
by descent into darkness. 

18 The Silence Beyond, oil on wood, 121 x 97 cm. 19

 The artist has an almost priestly calling, a responsibility concerning
the quality of his own life. He can only integrate and express in his
work those aspects of life he knows by intuition or has actually
experienced. A meditative attitude to life, in this respect, is more
open to the subtle whisperings of inspiration than a more superficial
and outwardly directed life.

The word ‘inspiration’ refers to ‘being in the spirit’. Somebody

who is inspired is open to the workings of the higher mind, to the
whispers of the deeper self. The visionary artist of direct inspiration
can be surprised by a wave of inner activity during the inspiration
process, and receives his creative energy all at once, in the form of
images, music or ideas. The boundary line between the unconscious
and conscious inner world of the visionary artist is very thin, and
often accompanied by experiences of intense dream activity. Those
inspired gradually, follow a fascinating process where mental and
spiritual operations combine.

Dutch painter Herman Smorenburg was born in Alkmaar in 1958.

At an early age he began expressing his imagination by drawing
and painting. At the age of fifteen, he started a great search into
the mysteries of consciousness and the exploration of its hidden
dimensions. Today, a successful painter, he plans to help create a
museum for imaginative realistic art in the Netherlands.
20 Sacred Fire, oil on wood, 35 x 21 cm. www.hermansmorenburg.com 21
COSM AND THE PATH OF ART
adapted from Art Psalms by Alex Grey

The name CoSM is an acronym for

Chapel of Sacred Mirrors, and the word
“cosm” relates to a realm or world –
microcosm, mesocosm, macrocosm,
anthropocosm. The original Greek
word “kosmos” refers both to order and
adornment. The universe is a harmonious
arrangement with a deep and beautiful
order.  The stars are the ornament of
heaven.  “Cosmetic” shares the root
word cosmos.  Adornment aligns the
adorned with celestial order.  Art aligns
the appreciator with the ornamental
beauty of the cosmos.  Ornament is
human consciousness mirroring and
expressing the abundance of creative
Nature.  Divine Imagination overflows
with numinous flora and fauna, an
endless well of patterns springing from a
single paisley mustard seed, spirallically
growing, interweaving, disobeying the
gravity of death and spreading  via the
visionary domain throughout world
culture. The inner realms undulate with
infinite iridescent swirls and artists of
all times, everywhere, labor to express
a fragment of the fantastic richness,
immersed in the elemental flow of life,
the cascade of rivers and clouds, the
rhythm of mountains and valleys, the
swirl of flames and galaxies. Fractal wave
fronts from both inner and outer worlds
collide in the art of ornament. The artist
participates in the flow of universal
creativity that is both the adorning
energy and the order of the cosmos.

Alex Grey, Planetary Prayers, 2010, acrylic on canvas, 203 x 91 cm. 23

 Anderson debernardi
cosmo-vision

24 Transformacion Shamanica (detail), 2010, oil on canvas, 65 x 50 cm. 25

 “I met Andy Debernardi twenty-five years ago in Pucallpa, in the
Peruvian Amazon. He was one of the first disciples of visionary artist
Pablo Amaringo. Andy was at that time only eighteen years old,
and actually moved to Pablo’s home in order to dedicate himself
fully to his art. From the very beginning, I realized that he was
probably the most gifted of all the young people who came to the
“Usko-Ayar Amazonian School of Painting.” He has an unusual power
of observation. All plants and animals are depicted in their properly
ecological environment. For a while he specialized in birds, to the
point of illustrating the work of famous ornithologists. He has also
made a series of extraordinary paintings of the so-called ‘plant
teachers,’ plants considered sacred and used by indigenous shamans
and mestizo ‘vegetalistas’. ”
– Luis Eduardo Luna

26 Sinfonia Shamanica, 2010, oil on canvas, 71 x 91 cm. 27

 I believe that the life of the rainforest and its culture must not be
destroyed. The plants are a gift of the natural mother and to protect
it is our responsibility.
- Anderson Debernardi

28 Adan Visionario (detail), 2010, oil on canvas, 110 x 90 cm. andydm13@yahoo.com 29

 Amanda Sage
Cosmic remembering

In surrendering
to the power of
creativity, an opening
appears through which one
becomes a tool in channeling
cosmic artistic code. Creativity
is the portal through which
we discover our full capabilities,
widening our perspective as
electrical & spiritual full spectrum
beings. By allowing feeling to guide
the brush, I elevate through shape,
color & contrast as I unveil possibilities.
My only expectation; that I be
surprised in profound ways beyond my
present imagination and beliefs. When
one is in that state of cosmic union,
or vortex, one dances with creation
and everything synchs together, as if
grand slabs of the universe meet in
perfect ratio and a sound is let off,
a vibration. This vibration is visual
when it is painted, and has the
power to transform. It is time
to start dancing. In all creative
mediums we can find a
connection to the cosmic
that will guide us and
bless our paths.
30 Sharing Rays (detail), 2010, acrylic egg tempera and oil on canvas, 76 x 102 cm. 31
 Through
my work I
aim to shatter the
‘illusion of separation’,
to challenge the viewer
to question, and evolve out
of ignorance, conditioning and
ingrained genetic habits. In life,
I strive to take responsibility for
the effect of my existence, and
through my actions and images,
inspire others to think/dream
beyond their immediate capacity.
Ultimately I seek to create portals
that open to the infinite possibilities
of being and expressing, so that we
may remember and re-discover who
we are, where we originate and where
we are headed. My aspiration is to
paint messages, visions and narratives
that communicate with an ‘older
and wiser us’, awakening ancient
memory; as well as the ‘present us’,
that we may grow up and accept
the responsibilities towards
ourselves, each other and the
rest of existence on this
planet… now.

32 Spirit Rising, 2009, oil and egg tempera on canvas, 46 x 61 cm. 33

 Amanda Sage at the forefront of a new generation of visionary
artists using art as a tool for personal, spiritual and planetary
growth and transformation. Born 1978 in Denver, Colorado, her
adventurous spirit carried her to Bali, then on to Vienna, Austria to
study classical painting with Michael Fuchs, resulting in her long-time
painting assistantship to Ernst Fuchs.

34 Xochitlanenzi (Flowing Sunrise), 2010, acrylic casein and oil on canvas, 10 x 13 cm. www.amandasage.com 35
 mati klarwein
The Way Beyond

36 Air, Earth, Fire, Water, 1968-1969 retouch in 2000, oil and tempera on canvas on board, 78 cm diameter 37
 This house was no
ordinary house. It
had many rooms with
magic doors. To begin
with, the space you left
behind, once you closed a
door upon it, will be no more.
You’ll never find it again. So you must
take with you that which you cherish and
worship most and cannot afford to lose (and that
also goes for people you love.) Now, to enter a new space, you
must never repeat your previous gesture of opening a door again.
If you had thrust down the door knob with your right hand and
pushed the door open with your left hand, you must never repeat
that gesture again or you will disappear in a puff of smoke and get
reincarnated into, say, a banana tree, and you will have to start the
whole karmic wheel of evolution all over again. You’ll have to think
up an infinite number of ways of door-opening gestures like turning
the doorknob with your toes and pushing it open with your behind
and walk in backwards. Or push the handle down with your nose
and crash through the door with the momentum that the corridor
allows you to gather. Once you’ve succeeded in opening a door, you There is one door, however, that opens up to what looks like a
will always enter an exotic and different world where you’ll learn and bathroom, or a birthroom, where you sit on a furlined toilet shaped
accumulate exciting new information on how to improve your life. stool and are given an undetermined amount of time to give birth
to a tulpa. A tulpa is a being that comes to this life out of someone
else’s dream.  In this case, however, the only person you can ‘bring to
life’ will be your ideal companion for life, your astral husband or your
cosmic wife.

38 Villa de Los Misterios, 1990, oil and tempera on canvas, 130 x 162 cm. 39
 The text itself is a double spiral. One
text begins spiralling from the central
eye of cognition with St. John’s “In the
beginning was the word” etc. In Hebrew
the three root consonants could mean ‘word’
but could also mean ‘name’ or ‘object’ or ‘matter’ or
‘thing’. Depends on what vowel you flavor your consonants
with and we all know how easily vowels change with time and moods.
40 Landscape Perceived, 1963, oil and tempera on canvas, 80 x 112 cm.
The second spiral of the text, “Know
before whom you stand, the Holy of
Holies, the Holy One blessed may He be,” is
a classic dictum engraved on the inside walls of
synagogues. This spiral starts in infinity and meets
the beginning of the first text inside the central eye, that
famous arena where the micro- and macro-cosmos meet for a
cup of tea and a quick game of bridge.
Landscape Described, 1963, oil and tempera on canvas, 80 x 112 cm. 41

42 Nuetrina, 2000, oil and tempera on canvas on board, 73 x 81 cm.
Mati Klarwein was born in Hamburg in 1932. He studied with
painter Fernand Leger, who introduced him to the art of
Salvador Dalí, Buñuel, and the world of surrealism. Later in
his life, he befriended Dalí. In Paris, he also met Viennese
fantastic realist painter Ernst Fuchs.”Ernst insisted on
teaching me his mixed technique of Van Eyck and the
Flemish school. I learned it in one week and sold
every one of my paintings ever since.” Klarwein
moved to New York in 1965. By then his work
was considered to be inspired by surrealism
and the so-called psychedelic movement of
the time. Mati passed away on the 7th of
March, 2002 in his home in Majorca.
www.matiklarweinart.com 43
 Opening the
Doors of Creativity
Terence McKenna
art by Robert Venosa

If we stand back and look at the universe,

we see that at its early moments it was
very simple, it was a plenum, it was without
characters or characteristics. It was what in
Hindu mythology is called ‘the Turiya’ which
is described as attribute-less. It takes a while
to undergo a declension into more creative
realms. The precondition for creativity
is disequilibrium, what mathematicians
now call Chaos. Through the life of the
universe, as temperatures have fallen, more
and more complex, compound structures
have arisen. Out of that state of creative
fecundity, more creativity is manifest. The
universe is an art making machine, an engine
for the production of ever more novel
forms of connectedness, ever more exotic
juxtapositions of disparate elements.

44 Goddess Head (detail), 2010, oil on canvas, 23 x 30 cm. 45

 Human history is on a collision course with
a transcendental object of some sort.   It
is not going to be business as usual into
the endless unfolding confines of the
future. The very fact that human history is
occurring on this planet, the very fact that
a primate has left the ordinary pattern of
primate activity and gone into the business
of running stock markets, molecular biology
labs and art museums, indicates to me the
nearby presence, in another dimension, of
a kind of hyper-organizing force, or what
I call ‘the transcendental object.’ I believe
that this transcendental object is casting
an enormous shadow over the human
historical landscape. You don’t have to give
yourself over to fundamentalist religion to
connect with the fact that human history is
an adventure. This adventure has a number
of startling reverses and sudden plot shifts
that are very difficult to anticipate, and we
are coming up on one of those.

46 Sophia (detail), 2010, oil on canvas, 30 x 30 cm. 47

 No one of us knows what the shape of
a new civilization will be. The ordinary
linear expectations of history are breaking
down and the truth of the eminence of
the mystery is breaking through all the
structures of denial of the male dominator
paradigm that has been in place so long.
The way to make this birth process smooth,
the way to bring it to a conclusion that will
not betray the thousands and thousands of
generations of people who suffered birth
and disease, migration and starvation, and
lonely death so that we could sit here today,
the redeeming of the human enterprise, all
lies in helping this thing come to birth. Each
artist is an antennae to the transcendental
Other. As we go with our own history into
that thing and create unique confluence
of our uniqueness and its uniqueness, we
collectively create an arrow out of history,
out of time, perhaps even out of matter, that
will redeem the idea that humans are good.
This is the promise of art and its fulfillment is
never more near than the present moment.

48 photo by Tim Porter Yage Alter (detail), 2007, tempera and watercolor on paper, 41 x 30 cm. 49
 Venosa’s paintings are a Viconian crescendo
of organic and flame-like surfaces that
support a human landscape which is beyond
historical identification, that is in fact a
idealized mnemonic reflection of being as
possibility. The figures, often dwarfed by
the titanic but undefined environments
around them, are ourselves: as we have
seen ourselves in dream, in psychedelic
states, and in idealized recollection. If there
is a too-muchness, it is the too-muchness
of creative overflow, a revelation of the
appetite of paint to become information
for the observing mind, to affirm, to heal,
to change and mutate before our startled
lives. This work does all that and points
deeper, into future time, when we shall
scale the canyon walls of the individual
mind and emerge at last into a power to
make beauty so irresistibly intense that
it will stop time in its tracks. Venosa gives
summation to the strivings of one epoch
even as he opens the door to a future that
affirms the transcendental proposition that
true humanness is not only possible, but is
now, at long last, upon us.

www.deoxy.org/mckenna.htm

50 Portrait of Terence McKenna, 1999, oil on canvas, 40 x 64 cm. www.venosa.com 51

 As we move out into the universe, we’re going to find that
life is the rule rather than the exception, or at least is much
more common than we think. Life, and the molecules
of life, permeate the cosmos. In that respect, you could
think of the universe like a big incubator, dotted here
and there with these warm, moist, fecund petri dishes
that we call planets. To carry the analogy a little farther
(and perhaps too far) you could think of these scattered
concentrations of life as the organelles of the cell. The
galaxy itself resembles a cell on the cosmic scale.  Unlike
biological cells, galaxies don’t divide; or do they? We can’t
really know. I think the Hindus probably have it right;
consciousness is the most primal entity, and everything
in the Universe is built up from there; the Universe is
dreaming itself.  If life in the universe is widespread, our
concept of the far-future fate of the cosmos completely
changes. The usual scenario in physics (the theory this
week!) is that the Universe just continues to expand
forever and lose energy, all the stars go out eventually
(we’re talking a couple trillion years downstream here),
and the universe becomes a pretty dreary place, kind
of like a trashed-out tavern after a night of debauchery.
Not anyplace you’d want to be.   And who’s going to
clean up the mess, anyway? But actually none of that’s

Life in the cosmos going to happen, or it may, but we’ll have figured out an
escape hatch and walked through it long before. This is
almost never talked about in far-future cosmological
Dennis McKenna scenarios: the inevitability that conscious beings, in an
effort to save their own necks (if they still have necks),
Art by Martina Hoffmann will intervene to escape or avert the long-term entropic
death of the cosmos. This seems so astoundingly obvious
to me because it is in fact big news; it means that all of
our projections and assumptions are incorrect, because
of the unpredictable (dare I say ‘quantum’?) influence that
‘consciousness’ will exert on the outcome. 

52 Spirit (detail), 2002, oil on canvas, 40 x 30 cm. 53

 You find the same fundamental organizing principles
throughout the Universe (at least that is the assumption,
though we don’t really know). The Hermetic philosophers
had it right: As above, so below. Matter, energy and space/
time are fractal structures. The Universe is a hologram.
We assume that the laws of physics and chemistry are
everywhere the same, at the molecular and quantum
levels, and at the macro levels. So, processes that
govern the structure and function of the body (or any
biological system) are the same processes that underlie
the structure of stars, galaxies, planets, and probably all
organisms, wherever and whatever they might be.  Among
the key concepts is that of emergent properties; matter is
self-organizing. Given similar conditions anywhere in the
universe, matter will self-organize into similar chemical,
molecular systems. Complex physical/chemical systems
will self-organize within the same set of organizational
constraints wherever they are. Quantum and atomic
processes are  everywhere  fundamentally the same.
Out of sufficiently complex sets of physical/chemical
processes, life will appear spontaneously as an emergent
property; out of sufficiently complex living systems,
consciousness will manifest as an emergent property.
This understanding, if valid, is tremendously optimistic
and hopeful. It means that life will emerge whenever and
wherever conditions allow it; and consciousness will
emerge from life wherever it achieves a sufficient level
of complexity. This means that the Universe, far from
being a wasteland in which life is exceedingly rare, rather
is permeated by life, and in many cases, consciousness.
The entire universe is alive, and conscious. Humans are
just one manifestation of this self-organizing fractal
system. So, we may sacrifice the notion that we are
somehow unique, in favor of the much more interesting
idea that life, and consciousness, are the rule, rather
than the exception. This perspective may be humbling,
but it is also tremendously affirming. Not only are we
not alone, we are blessed to be participants – only one
species among many – in the evolution of the universe. 

54 Inana’s Descent (detail), 2010, oil on canvas, 31 x 31 cm. 55

 There is an inherent creative principle built into the
very fabric of the Universe; into the core of being and
especially inherent to sentient beings. The universe is
God, and by extension, so are we, by virtue of being
part of that universe. More specifically, the universe is
God in the process of becoming.  We don’t completely
understand it, but we should not hesitate to remind
ourselves what a wondrous thing it is.  How unlikely it
all is, and yet, here we are! We are privileged to be co-
evolving with all sentient life in the universe, in a shared
odyssey of awakening. We already exist in a perfect
state of grace. The perfect expression of that grace is
that we are a work in progress, evolving toward greater
sentience, understanding, and consciousness.
The picture of the earth from space that was transmitted
from the Apollo 17 mission that showed our planet as a
tiny blue marble swimming in the vast cosmic darkness,
was one of the major events for our species in the
twentieth century.  It changed our perspective and our
understanding of ourselves completely; it was a wakeup
call.  Unfortunately, we are a species that likes to sleep,
and although that iconic image had great impact,
we seem to be forgetting the lessons that it made so
abundantly clear: that the earth is so small and fragile;
that we are all in this boat (or spaceship) together; and
that we need to learn how, somehow, to take care of
it, and to take care of each other. This is the primary
thing we need to realize as a species; this is the primary
mission and purpose of life on earth. 

56 Snake Charmer (detail), 2010, oil on canvas, 22 x 30 cm. 57

 Think for yourself, and believe in yourself.
Keep your skeptical antennae tuned and in
good working order at all times. We are free to
develop our own hypotheses, which should be
based on available evidence. When it comes to
faith, have faith in yourself.  And don’t forget to
love, laugh, be kind to each other.   Don’t take
things too seriously, especially yourself. If the
universe is a cosmic joke, remember to giggle.
And remember to be astonished!

For the last twenty-five years, Dennis McKenna

has pursued the interdisciplinary study of
ethnopharmacology and plant hallucinogens
doing research and writing in this field. He
currently works as a scientific consultant
to clients in the herbal, nutritional, and
pharmaceutical industries.

www.plantintelligence.org

58 Shaman Queen (detail), 2010, oil on canvas, 22 x 30 cm. www.martinahoffmann.com 59

 The one Alex Grey
from Art Psalms

Fifteen billion years ago,

Before the beginning,
In the Studio of Eternity
There was a blank canvas,
Nothingness,
Pregnant with the possibility of Everything.
Then - A MIRACLE !
Our Collective Being,
The Divine Artist - the Creator God,
Aching to express, to exist,
Exploded itself/ourself into a cascade of lightselves.
A cosmic orgasm
Big-banged us into creation,
Perfect in ratios, rhythms, and forms.
The Universe is a storm of light emerging,
Ever birthing, ever dying
Plasma selves, atom selves, molecular selves, cell selves,
Conscious lumps of DNA.
Ascending selves scaling evolving chains of Being.
Souls inside brightening,
Hardening into botanical and biological bodies.
Plant self, animal self,
Myself, yourself, ourselves,
Family selves, city self, nation self,
An earth full of eyes sees everything on earth
And we are that!
Planet self, star self, galactic self,
Self as galactic cluster,
Self as entire web of Cosmos
With amnesia.
Our current artistic dilemma is to wake up
To the truth that we are the One Godself,
Creating the Universe - Every day.

60 Alex Grey, Love is a Cosmic Force, acrylic on canvas, 76 x 101 cm. 61

 Cosmic creativity
Deepak Chopra
CoSMologue with Alex Grey
62 Andrew Jones, Deepak (detail), 2010, digital. www.androidjones.com 63
 “We are evolving toward unity consciousness
where we experience ourselves as cosmic
beings participating in the evolution of the
universe. The human body is part of the cosmic
body. The human mind is part of the cosmic
mind. Awakening to this cosmic dimension
of ourselves is profoundly restorative. With
that experience and understanding, we bring
healing to our wounded planet and a new sense
of adventure to the human journey.”
From Foreword by Deepak Chopra in The Living
Universe by Duane Elgin

Alex Grey: The experience of the “cosmic

body” activates new channels of creativity.
Can you speak about the influence that your
experience of the cosmic body has had on your
own creative process?
Deepak Chopra: As we expand our sense of self
and understand that our identity “I” cannot
be squeezed into the volume of a body or a
span of a lifetime, a new channel of creativity
opens up for us. My existence as a being is
dependent on my heart, lungs, and kidneys as it
is on the sun, photosynthesis, the air, the rivers,
and the earth. I have a personal body and a
cosmic body and they are both equally mine
and equally vital to my existence. This is the
great insight of wisdom traditions particularly
Vedanta which says “Aham Brahamsmi” -
“I am the Universe.” Since we have the infinite
consciousness that projects as the universe,
“the creator,” our personal creativity attunes to
cosmic creativity.  This is the kind of creativity
that brings major revolutions such as Einstein’s
insights into relativity and time. I owe all of my
insights that lead to my books, to alignment
with cosmic intelligence.

64 astrophotography: www.flemingastrophotography.com/ 65
 AG: “The Transcendental Artist” is the name of
a portrait I did of you as Lord Krishna playing
the flute to his beloved. The tap root of your
heritage is in the deep wisdom of India where
Krishna is a God incarnate and when he plays a
melody, everyone is enchanted. Can you describe
how the Vedic tradition regards the arts?
DC: Krishna is the cosmic alchemist. He is
warrior, lover, magician, healer, transformer,
and wizard all at once. His art is the universe
itself, in all its glory and beauty. Art mirrors life
and the state of consciousness in which life
is lived. The ultimate goal of art is getting in
touch with cosmic beauty and harmony and
transcending into unity consciousness. 
AG: As we peer into the microcosm and
macrocosm of the natural world through the
lens of science, how does an experience of
cosmic identity relate to the evolving universal
spirituality?
DC: Our journey towards enlightenment goes
through several stages: soul consciousness,
cosmic consciousness, divine consciousness,
and unity consciousness. Each stage of
consciousness creates its own reality.  Biology,
perception, cognition, and the state of our
nervous system transform as we move to higher
states of consciousness. This is the journey
we must all undertake as we move from our
microcosmic identity to our cosmic identity.
Deepak Chopra is a world-renowned authority
in the field of mind-body healing, a best-selling
author, and the founder of the Chopra Center
for Wellbeing. Heralded by  Time Magazine  as
the “poet-prophet of alternative medicine,” he
is also the host of the popular weekly Wellness
Radio program on Sirius/XM Stars.

66 www.chopra.com Alex Grey, The Transcendental Artist , 1999, charcol on paper, 23 x 30 in. 67
 Pe t e r g r i c
dimensional Art

Imagine that every self-reflecting and

conscious being grows over a period
of billions of reincarnations and
transformations into an entity, into
something we call God. Things do this in
order to grow and actually ‘to become’
other new universes that are the size and
complexity of the one we live in. Imagine
that we as humans are little children in
a cosmic kindergarten, making our first
steps trying to create new worlds, new
realities, and new dimensions. The drive to
be creative is inherent in every child. The
real purpose of making art is to follow the
deep-rooted need to learn and practice
creating an entirely new universe.

68 Flying Object, 1998, acrylic on fiberboard, 30 x 40 cm. 69

The “Artificial Spaces” paintings are based
on three-dimensional geometries built
with something like a “virtual building
block system” using mathematical and
algorithmic concepts. The creation of
these images becomes a play with complex
spaces and perspectives in order to
create normally unaccessible places in
a completely artificial arrangement of
space and light. By translating these virtual
concepts into paint, Gric attempts to enter
into those imaginary sites, and render them
tactile. He seeks to give form and substance,
bringing them out of their virtual state to
a substantial manifestation.

Peter Gric was born in Brno, a city in former

Czechoslovakia, in 1968. Already in his
early childhood his parents recognized
and supported his talent for drawing and
painting. In 1988 he came to Vienna to
study at the Academy of Fine Arts in the
master class of Prof. Arik Brauer. In the early
nineties Peter Gric started to discover the
possibilities of computer graphics for his
paintings. From then on his organic-surreal
visual imagery was enriched by complex
architectural structures and artifacts.
In place of using pencil and sketchbook
he designed his compositions with 3D
visualization software, and transferred
virtual reality into painting.
www.gric.at

70 Realignment, 2007, acrylic on fiberboard, 25 x 20 cm. 71

cultivating Creativity
Andrew Cohen
CoSMologue with Alex Grey

Alex Grey: Would you share your reflections

on the connection between creativity and
spirituality?
Andrew Cohen: I’ve committed my entire
life to the in-depth study of the relationship
between creativity and spirituality. The
evolutionary impulse is inherently a creative
impulse. The path I teach, Evolutionary
Enlightenment, interprets higher spiritual
development as transcending all that
prevents embracing the relationship between
spirituality and creativity and instead taking
responsibility for it. A deeply realized
individual is passionately and creatively
engaged with the life process, empowering
them to transform the world into a better
and more evolved place. The spiritual
impulse, from the first cause to the present
moment, is essentially a creative impulse.
The urge to create is the manifest expression
of God. We are all here to discover this
and be inspired to become creative human
beings, ceasing to live lives not only of
material consumption, but also emotional,
psychological and spiritual consumption.
We want to bring the light of enlightened
awareness into the realm of manifestation.

Grey, Transfiguration
AlexCosmic (detail),
Christ (detail) 1999, 1993
oil on   linen, 581 x 386 cm. 73
oil on
wood
 AG: A comment you once made always comes
to my mind when I am describing the final
Sacred Mirror, “Spiritual World.”   The piece is
an actual mirror with a sunburst in the center
that obliterates the head of the viewer.  In the
center of the starburst, is the word ‘God’. I
recall you saying “Who are we really? It took
a powerful force to bring this world into form
and we are still, every day, God creating the
universe.” The ultimate realization of the
Sacred Mirrors is that we are the One Creative
Force, the Godself, illuminating the world.  
AC: The creative principle is the fundamental
urge to become. At higher levels of self and
consciousness, the unique and miraculous
capacity of humans is the compulsion to
innovate and create new things. The spiritual
impulse is experienced as an ecstatic urgency
to evolve our level of consciousness. The
individual who experiences the creative
impulse may not be free from ego, but the
nature of the impulse itself is inherently free
from the duality between self and God. This
is the goal for the post-modern self, aspiring
to transcend post-modern world-centric
confusion and attain post-post-modern
cosmo-centric clarity.
AG: Through dark ages and renaissance
breakthroughs, the evolution of consciousness
has been an alchemical process revealed
through art history. Our ecosphere is in a time
of great instability. However, many cultures are
coming together catalyzing a force, a new kind
of world spirit.  Visionaries are pointing the way.  
AC: It is easier to stay in our comfort zone.
Truly creative individuals relentlessly push
their own edges. What would our lives look
like if we all found a higher reason and a
higher purpose to live? There is a correlation
between our spiritual practice, our urge to
evolve, the way we live our lives, and the
World Process. 
74 Alex Grey, Spiritual World, 1985-86, sandblasted mirror with illumination, 213 x 117 cm. 75
 As we evolve, our embrace of the creative world
process grows.  When an ethnocentric orientation
falls away, a world-centric embrace emerges. We no
longer see ourself as part of a particular bloodline,
ethnic group, or tribe.  We now see ourself as
a citizen of the planet Earth.  A world-centric
perspective then gives way to the next higher level,
the cosmo-centric perspective. Who we are, at the
deepest level of consciousness, is the urge to create.
This is the same energy and intelligence that birthed
the cosmos.  A cosmo-centric orientation informs
our awareness from the highest to the lowest levels
of human experience.  It’s new territory and what
could be more exciting?
For the world process to evolve it has to happen
through us.  Those at a world-centric level reaching
towards a cosmo-centric level know that there
is nobody in the driver’s seat except us.  We have
transcended the notion of a mythical God in the
sky.  As courageous individuals, we realize that it’s
up to us to affect the change that needs to occur.
We can no longer sit back and say “It’s not my fault
or my problem that the world is such a mess.” 
Spiritual awakening is realizing that we actually
created our universe.   Taking responsibility for
creating new structures in consciousness means not
just thinking about what is possible, but actualizing
the possibility

Andrew Cohen is an internationally respected

spiritual teacher, cultural visionary, and founder of
the global nonprofit EnlightenNext and the award-
winning EnlightenNext magazine. For the last
twenty-four years, Cohen has been traveling the
world giving public lectures and intensive retreats.
Through his writings, his teachings, and his ongoing
dialogues with leading philosophers, scientists,
and mystics, he has become known as one of the
defining voices of the new evolutionary spirituality.
www.andrewcohen.org

76 Alex Grey, Wonder, Zena Gazing at the Moon, (detail), 1996, acrylic on paper, 41 x 51 cm. www.alexgrey.com 77
 the art of spirit
Matthew Fox
CoSMologue with Alex Grey
“We surrender ourselves in art or love to a potential
restoration with the union of the cosmos which once
existed and was then lost.” –Otto Rank  with community, nation and world, a cosmocentric identity,
Alex Grey: Can you talk about how creativity sacralizes our
relationship with the world?  MF: Human consciousness exists for recognizing wholeness,
Matthew Fox:  Sacredness is in the curves, colors, shapes,
breath, body and dance of existence itself. These most primal
elements can so easily be taken for granted. Recovering a
sense of the sacred means realizing and incarnating the
profound wonders of everyday existence.  There is a new
frontier of physics, psychology, and religion that recognizes
creativity as a pivotal axis.
AG: It is an exciting time because, in spite of all the religious
strife in the world, many religions support tolerance and
interfaith dialogue is more accepted and encouraged today
than ever before. The Parliament of World Religions in 1893
opened America to yoga and Eastern religions.  At CoSM
we say that art is our religion because unique expressions
of sacred art are found in every wisdom tradition.  We
recognize our part of this tapestry of the sacred that has
found expression throughout human history and feel the
unity with all world religions.
MF: Science is an evolving tradition that feeds us with
wonders about our origins, our universe and our fruitful
and generative world. Science also feeds spirituality, and
challenges religion to dig to the core truths of connectedness,
love, unity, compassion and passion. Science can also be an
ally and a resource for 21st century art.
AG: Otto Rank talks about the process of establishing and
redefining our own identity. Who we think we are is defined
by the experiences we have. Awe dissolves boundaries
between ourselves and the object of our astonishment.
78 astrophotography : www.flemingastrophotography.com
Facing the mystery of the cosmos is at the crux of a
consciousness evolution. A view of the earth from the moon
was evolutionary and changed the thinking of humanity
forever.  A new vision can shake us and fill us with amazement
that can reestablish a lost identity with the cosmic process.
Expanding from a personal small self to a self in relationship
is the Grail.
for appreciating the beauty of order and for welcoming the
disorder of chaos.  The mystery is that we exist at all and
how our species fits into the cosmic order. Humanity has
created awful chaos, but when we honor the order within
the chaos and prioritize beauty, we experience authentic
satisfaction. The divine can be found in what is wild, not just
what is certain or domestic. The creative spirit can lasso or
steer our wildness into something powerful, beautiful and
nourishing to others. Human consciousness has certainly
been used in creating war and hatred but it doesn’t have
to be so.  Today’s physics, psychology and religion have so
much potential for good. In past civilizations a continent
was enough to keep cultures separate, the center of their
small worlds.   Now we have the internet and satellites
and civilizations mingle and affect one another directly
moment to moment.   The survival of our species is at
stake and we are running out of time and space. Purifying
religion is essential now.  Cosmic creativity is real and must
be offered in our religions, in our homes, in our media and
in our schools.  Ignorance of cosmic creativity as displayed
in the daily news is especially dangerous to young minds
all over the world. Art is not dessert. It cannot be limited
to a weekend activity.  Art and creativity is fundamental
to our lives and our values everywhere on the planet.
Matthew Fox is a spiritual theologian, an Episcopal priest
and an activist.  As a spiritual theologian he has written
thirty books that have been translated into forty-six
languages. He has been renewing the ancient tradition of
Creation Spirituality.
www.matthewfox.org 79
 De ES
Creative Space
The navigator has laid out
all his compasses and maps
before him and has plotted
the course of his ship far
beyond the horizon. The wings
of fortune have buoyed him and
he discovers visions of his arrival
mirrored in the “crystal egg of
ancient wisdom”. When a ray of
the divine light of inspiration
strikes its inner core, a mantle
of stillness cloaks the site of
departure.   The trajectories of
the course of the journey begin
to curve inward.  The ships in the
harbour are abandoned and the
symbols on the map fade away. The
inner voice speaks: “You are already
here. You never left.”

80 Inner Journey, 1965, egg tempera and oil on board. 150 x130 cm. 81
 I enjoy the sensation of viewing a painting that
provides the illusion of deep space. The deeper
one can see into the painting, the more exciting
the image becomes. The effect in “No End” is
produced by the elongated central perspective.
I did not utilize any geometric tools or rulers, as
it would have taken me ages to work everything
out to geometric perfection. Rather, I employed my
experience as an Engineering School graduate to develop
the painting strictly by my own senses.
In the case of the central perspective, the subject disappears
in the central point - also called the point of escape. I
attempted to expand the spatial dimension beyond this point.
My intent was to portray the desire of humankind to escape the
confines of matter, space and time and grope for the dimensions
beyond. We are tied into a structure of cosmic dimension and
destiny. We want to find a way out. We attempt this through science,
always expanding our macro and microcosm at the same time. As a
result, we are constantly expanding our level of empirical knowledge.
However, we fail to escape this material dimension and find the gateway
to the beyond.
We are a creature of cosmic dimensions. We are in the cosmos and the
cosmos is in us. Art can remind us of this truth and inspire us to become
more receptive to the cosmic creativity which keeps all life flowing.
82 No End, 1964, tempera and oil on board, 115 x 100 cm 83
 The “Dome of Peace” is a synthesis of the arts by
the Austrian artist De Es.  It is a House of Inspiration
in service to the realization of the dreams of
humanity: World Unity, World Peace and World
Culture. As a living Sign of the Time, the “Dome of
Peace” shall point the direction to a humane and
dignified future, everywhere on our planet. It is an
exhibition and performance center, as well as a hall
of contemplation, congregation and celebration,
dedicated to all planetary citizens.
De Es Schwertberger was born in 1942 in Austria.
After graduated from an engineering school, he
studied the painting technique of the Old Masters
with Ernst Fuchs. Moving to New York, he opened a
Gallery for Transformative Art and started a cycle
of 100 paintings for the Dome of Peace which he
completed after moving back to Vienna. Here he set
up a studio and gallery then began to sculpt over
100 ‘Planetarians’. Next emerged a new dynamic
style which shows swarm-like formations of soul-
figures, embedded in streaming energy patterns and
elemental space-systems. 

Firmament,  1988, oil on canvas, 200 x 200 cm 

84 from the “Light of Light Cycle’, (paintings for the Dome of Peace) www.dees.at 85
 Gil bruvel
Art of the mythic
 “The function of the artist is to mythologize the world.”
                                                                                      
– Joseph Campbell

Reconsidering the way we think about cosmic creativity,

as a term and category that practically flies off the
canvas, I’d like to invoke the work of Joseph Campbell
and his statement that “the function of the artist is to
mythologize the world.”  Taken in this context, cosmic
creativity explores more profound imaginative realms,
ones that need not necessarily exist as separate from
the world, or as some other form of “reality.”  An artist
who mythologizes the world uses his or her aesthetic
and subconscious as the landscape for exploration of
imaginative experience, collective personal mythology,
dreams and visions, and the intuitive world.  The
resulting symbols and colors, figures and stories, forms
and landscapes not only dissolve the gap between
“real” and “unreal,”  but also help us to imagine and
expand our limited perceptions of the world: “to make”
as Joseph Campbell says, “all forms of time visible.”  

86 The City (detail), 1991, graphite and gouache on paper board, 38 x 80 cm. 87
 Cosmic creativity, indeed all visionary art, exposes
the link between the conscious and unconscious
minds, with their distinct landscapes and ways of
perceiving the workings of the universe, so that
the mystery of the transformative process--that
process of individual growth and movement--may
be, if not revealed, then at least contemplated. 
This is why, so often, we see canvases filled with
seemingly contrasting elements juxtaposed or
organic forms interacting with structures to
produce something that is part human, part
idea, part consciousness, and part spirit.  Cosmic
creativity attempts to “ride the mystery” as Joseph
Campbell would say, the great unknowable engine
that is at the center of all life.  Although we may
not be able to ultimately express the mystery,
to locate it in time and space, we can approach
it with a vocabulary of images and metaphors
through art and mythology and dream in which
we collectively and individually participate. 
Cosmic creativity, through its use of metaphor
and images, lays a common ground for humanity,
a kind of common mythology, one in which we
can each find a place for, and a piece of, ourselves. 
By participating in this collective mythology, or
mystery, if you will, we become the creators of
our own stories, the heroes of our own personal
myths.  This is the function of art in which,
according to Campbell, “myths are public dreams
[and] dreams are private myths.”
While any artist can tap into the vast pool of
Myth, the Cosmic Visionary brings the myth, with
its complex systems and mindscapes, literally
into focus and into the world.  The Cosmic
Visionary rescues Myth from the storybook, from
the world of dream, even from religion, and puts
it on display, allowing audiences to experience
the mystery of the universe in a form without
words.  In this way, the unknowable can be
touched, through the process of perception and
intuition.  Viewers of Cosmic Visionary art feel a
subterranean tug, a pull of the psyche, something
88 Planetscape The Seed, 2008, oil on board, 46 x 46 cm. that wants to rise to the surface because what 89
 I will here call “Cosmic Visionaryism” ultimately
seeks a spiritual connection between the self and
psyche and intuition and dream.  Thus, the work
of the Cosmic Visionary, rather than being other-
worldly, is essentially human.
In my own work, I find that the art locates me
in places where my ideas are most real; that is,
the canvases represent imaginative worlds and
landscapes that are genuine, actual, and true. It is
the special providence of Cosmic Visionaryism to
remind the everyday seeker that the timeless and
the eternal are within reach, and to inspire us to
“awe,” which, in the end, is what Joseph Campbell
says, “moves us forward.”
Gil Bruvel made the decision to spend his life
creating art while taking drawing lessons  and
learning sculpture basics at age nine, working with
oil paint by age twelve.  The local environment of
France where he grew up, had an enormous and
lasting influence on his palette, giving him luminous
colors he continues to use today. Since moving to
the United States, he has started to experiment
with  bronze  sculpture, mixed media and digital
modelling as   he continues to study the creative
process in artistic expression. 

90 The WInd, 2011, cupro-nickel, 56 wide x 41 tall x 38 cm deep. www.bruvel.com 91

 Hanlisa Omer
Bridging Earth and Heaven
“Just as a human fetus begins in the navel and pushes out
in one direction and the other, to all four sides, similarly,
God began creating the world from the foundation
stone of the Temple, and from there founded the world.” 
(Midrash Tanhuma, Pekudei 3)

In Hebrew the word ‘Cosmos’ translates as ‘Olam’

which, in today’s usage means the ‘Created World’.
Its archetypal meaning is the ‘Hidden’, ‘Unknown’ and
‘Concealed’ This is what ‘Cosmic Creativity’ is about:
it’s a play between the Revealed & Concealed exposing
the unknown and unconscious within countless forms,
patterns images, phenomena, and e-motions.   Then,
exhausted, it returns to the Unnamable, a mystery
for the thinking mind In Darkness. It is the healing
and revitalizing phase in the enduring process of ever
renewing creation.

92 Awakening , 1999, oil on board, 100 x 100 cm. 93

 According to the Jewish tradition, the First & Second
Temples in Jerusalem were destroyed in consequence
of bitter religious antagonism within the tribes of
Israel, which, thus weakened from within, weren’t
able to hold out against invasions from outside.
Throughout its history, the city of Jerusalem has
undergone awesome upheavals, destructions and
rebuilding that go on even to this day. The unceasing
warring and contention of the nations over the Holy
Land intensified the yearning of the suffering people
for Peace and Harmony. The invocations of humankind
for Wholesome Peace fused into the archetypal ideal
and myth of the “Heavenly Jerusalem” artwork series.
The challenge of the fulfillment of Humankind’s
reaching adulthood depends on its ability to heal the
enormous gap between its holistic heavenly ideals and
aching earthly realities. The Heavenly Jerusalem ideals,
approached through visual symbolic expression,
convey messages of unity through diversity, unity of
the male and female, communication between the
heavenly and earthly, brotherhood between the three
religions that turn to Jerusalem as their common
spiritual cradle and envisioning the myth of Heavenly
Jerusalem with the living heart. May the seed of
this artistic and spiritual effort spurt the growth of
goodwill in the People for healing Jerusalem.

94 Realization, 1999, oil on board, 90 x 120 cm. 95

 “Orientation” is one of the four visionary artworks
of “The Quest for Heavenly Jerusalem” series. Each
detail of this utopian vision contains collective
information and archetypes in a condensed
symbolic form. It was designed to be used as the
board of a spiritual game “The Quest for Heavenly
Jerusalem.” The pictorial composition is based on the
underlying conceptual structure of the Kabbalistic
Tree of Life. The higher spheres are symbolized by
the “Merkavah: the Heavenly Chariot.” It’s living
awareness is held up by the “Mastermind” orb in
which the countenance of the Divine Presence
encompasses the body of the Mover Metatron.
Her eyes lift His “Wings of Perception.” In the lower
part of the “Mastermind” are three joined beings
symbolizing the three monotheistic religions whose
spiritual cradle is in Jerusalem. From the crown
descend the four letters of the Divine Name YHWH.
The Merkavah, from Hebrew meaning “amalgam” or
“vehicle,” is propelled by the constantly renewing
energy of the DNA double loop. Its Heart Engine
is the temple, formed as a multi-celled impossible
three dimensional cube: the “Abode of Dimensional
Transformation.” The pilgrims of the Lost Tribes are drawn
to Earthly Jerusalem where they are ascending through
twelve light beams to the Heavenly Temple Merkava for
Re-membering, Reconciliation and Re-union.
Hanalisa Omer comes from an after-War Holocaust
survival family of Communist Czechoslovakia and
immigrated to Israel. She worked as an illustrator, artist
& Yoga teacher, actively participating in Interfaith
and ecological projects in Jerusalem. Currently, she
is illustrating spiritual children’s books. Today, being a
grandmother spurs her to go on with creative and social
activities connecting “Earthly and Heavenly Jerusalem.”
www.hanalisaart.com

96 Orientation, 1996, oil on board, 90 x 120 cm 97

 grandmother cosmos Recipes for the Sacred Bath
Flordemayo Remember to set your intention and express your gratitude, as
all Sacred Bathing begins and ends with a prayer.
“My body is connected to the Great Source like a thread of light”.
Dried Herb Bath
As a human race we have not yet learned to clear our ancestral
trauma. Where I come from we have a practice passed down to us Take a handful (or about 2/3’s of a cup) of Rue, Rosemary and
from the beginning of time. It is called Sacred Bathing or Spiritual Sweet Basil (purple basil) and place it in a stock pot. Add a
Baths. Many people already have an awareness of this, but bathing gallon of water and bring this to a boil. Let it simmer for about
is not just the way the western mind thinks of soap and water, it is 10 minutes and then strain tea and pour it into a full bathtub.
how we think of working with the herbs.  
Soak in the bath for at least 30 minutes.
It is important to find a way of stepping into a natural ritual. In
other words, finding something that your body calls for and Fresh Herb Bath
stepping into your natural way of ritual. This is not necessarily
If you have access to fresh herbs that are over seven inches in
what everybody else is doing. As children of the cosmos we all
length you can use them instead of dried herbs. Turn the water
have a sense of knowing, yet to deepen that knowing, we have to
on for your bath, and place a good handful of each of the herbs
be in silence to determine what we need.
(rue, rosemary and sweet basil) in the water. Let the herbs soak in
In the beginning, we are taught about baths of preparation for a the water for 10 minutes, and then get into the tub. To increase
mystical journey, for bringing light forth, for giving birth to a child, the circulation you can swat your self with the bundle of herbs,
or for departing from our physical bodies. Sacred Baths are a way and then scrub your body with the herbs. 
of empowerment, a way to know yourself and to cleanse all of
Soak in the bath for at least 30 minutes..
your bodies; physical, etheric, emotional. For me these are the first
steps of becoming self-empowered. 
Fresh Lemon Bath
We are taught that the Earth is a living Planet. As the sustainer of
Start to fill up your bathtub with water.
all its inhabitants, the Earth is going through gestation. This has
Cut lemon into 4 quarters.
happened before and will continue throughout the life of our
Use I quarter of the Lemon, for 1 quarter of your body.
planet Earth. In other words, She is re-birthing a new Earth. When
Use the lemon to scrub your body.
women get ready to give birth, or ‘bring light’ as my mother would
say, we go through a natural labor for a period of hours or days. Soak in the bath for at least 30 minutes.
Our bodies still go through changes even after the birth. The same
is true with the Earth. We all need to do all we can to help ease our “Always the prayers and intentions come first….”  Flordemayo
change as we move into the future. 
We are interwoven threads of light through which we
communicate.   Not only are the threads within and around our
physical bodies, but around the bodies of all living things. They
are around the planet Earth and all other planets. Our universe is
that vibration and light which is the intelligence of all creation, my
beloved Mother, Creator, Maker of the Heavens and Earth. 
“With intent and prayer we can absorb all we need to survive”.

98 astrophotography: NASA, ESA, and the Hubble SM4 ERO Team flower photography: Maria Alice Campos Freire 99
 a Cosmic Blessing
Mother you give us life bring us hope.
Deliver us from ignorance.
Embrace us with your cloak of protection
Show us the way,
Hold our hands,  is right, my mother shared with me the teachings
Give us straight roads,
Remove all obstacles.
Awaken us into this Sacred Dawn.
Allow us to shine like the dew of the dawn.  prayer and the teachings of spirit that I have been
Little stars of light setting on the greens of nature.
Beautiful yellow light of honey.
Bringer of a new day.
Hope of tomorrow…Spirit of the Feminine.
Bring us from the darkness into the light
100 astrophotography: NASA, ESA, and The Hubble Heritage Team
“I am a woman of prayer, and a healer. I have
been trained since I was a very little child, in
the ways of women’s medicine and spiritual
wellness. From herbs, to insights into doing what
of the old ways. I have always been a seer and
a dreamer. I am called by the Beloved Creator
to share my visions and the teachings of the
Grandmother Plant and to share the freedom of
given. I founded the Institute for Natural and
Traditional Knowledge, and I am a member of
The International Council of Thirteen Indigenous
Grandmothers.”
–Flordemayo
www.flordemayo.us
photo of Flordemayo: Beverly Ramsey 101
 CoSMic Being
Interview with José Argüelles
It was a warm summer Day-Out-of-Time at the the number over the top. Then figure out how many
Prophets Conference: 2012 Tipping Point when of these ten billion stars have planets! The
José Argüelles gave his last in-person public galaxies are rotating at tremendous rates
presentation before retiring to Australia of speed. All the stars inside them are
to anchor in for 2012.  It was here, in rotating at tremendous rates of
an Anu Totem circle, that CoSM met speed, and all the planets, too!
with Jose Argüelles for an activating The Earth goes around on its
CoSMologue. José declared axis at the rate of nineteen
that this interview with CoSM miles a second,  but thanks
Journal would likely be his last to the relative stability
in-person interview. of gravity within
the atmosphere, we
The whole universe is a don’t even notice it.
living thing. We have strict Everything is moving
divisions between organic at a really fast
and inorganic matter, but rate. The minimum
what the biosphere shows operating unit of
is that organic matter the universe system
depends upon inorganic in discussion here
matter, like minerals and is a galaxy. Our
water. There is a symbiosis galaxy is called the
between the organic and ‘local galaxy’ or the
the inorganic that actually ‘Milky Way galaxy’. We
creates one whole. In that know that the galactic
sense, the whole universe is a structure has an axis. In
gigantic living organism.  cosmic science the axis
has two poles. There is
The universe is constructed
a black hole at the center
basically of galaxies. People don’t
and from these poles there is
realize that 100 years ago no one even
a continuous plasma issuing out.
knew about galaxies. Some astronomers
The whole is a living organism and
observed nebulae, but not until 1923 and
generates the plasmas that we receive
‘24 did Edwin Hubble prove that our galaxy is
which activate us. The star systems are
one of many galaxies out there.  Now, because of
like the atoms. In each solar system the star is
the Hubble space craft, we know there are more than
the nucleus, and the atoms going around it are the
ten billion galaxies. The galaxies are like the cellular structure
planets. The whole thing is constructed like that, it’s a really
of the living organism: the universe. The average galaxy has more than
fabulous operation of a fabulous organism. 
ten billion stars. Compute ten billion times ten billion and that puts
galactic shield : www.xavidesigns.com  : galactic language : Xavi and Phong
102 astrophotography: NASA, ESA and Q.D. Wang 103
 Humans are cosmic beings. We are cosmos. Where ever there is space
living, breathing, eating cosmic entities the mind can travel. The difference
who are taking in both electronic between space and mind, is that space
solar radiation and cosmic radiation. is what you might call an inert medium
We are recycling the cosmos. The and mind is a high velocity telepathic
indigenous and aboriginal people medium traveling through that space.
knew this at an instinctual telepathic The human imagination ultimately is not
level. Everything that we do is part of any different then the totality of cosmic
that cosmic remembrance. As long as space and it can travel through cosmic
we are in the cosmic remembrance, space as different telepathic time beams.
we are participating in the whole
The message of the Galactic Maya is
cosmic process. Now we are realizing
that “You are in the wrong time. If you
at a planetary level that we are all one
can really understand that, just stop.
planetary tribe, one planetary organism,
You can fix your life and make it so
that is capacitating intelligence. We
much better and realize that there are
will be making our dreamtime circles,
values that you are missing out on by
growing our veggies and creating our art
watching television every night”.
that will make us feel more connected to
the whole cosmic order and the cosmic I have gone around for many years
pattern. That’s where we are evolving to pointing out that we are living in an
and what we are going back to.  artificial time bubble and everyone’s
looking at their watch as I am talking.
The creative human imagination is
By living in this artificial bubble we are
the cosmos. The brain is a bicameral,
allowing ourselves to become divorced
bionumeral computer, a hardwire. Mind
from the biosphere and live in our little
consists of a number of mental spheres.
technospheric bubble. Humans are
There is preconscious mental sphere,
committing suicide as a species and
unconscious, conscious, continuing
looking like we are going to take the
conscious, super conscious, and
rest of the planet with us. The message
subliminal conscious which capacitate
is ‘Wake up. This is not the way to fulfill
the different streams of intelligence.
the cosmic life pattern. As attached as
Those mental spheres have no real
you may be to all your material things,
boundaries. When we open up to the
it’s really at the expense of the whole
whole functioning of our total mental
system.” People are so locked into these
possibility then there are no limits
feelings that they need money, need a
and the mind opens up to become
career, need to be a professional, and
co-extensive with the cosmos itself.
because of that it’s a hard rain thats
The mind is inseparable from space
going to fall until we get the message.
and space is co-extensive with the
The hard rain is already starting to fall. 

104 astrophotography: NASA, ESA, and the Hubble SM4 ERO Team 105
 natural order. The whole vision I have of a prime moving
value of a new society is transforming earth into a work
of art. The whole of civilization can be involved in this
artistic re-patterning of the social and psychic forms
that we have been operating in.

Our spirit has been involved in matter and now its

evolving out of matter. Our evolutionary cycle is that
we are going to be 51% spirit and 49% matter and that
is just going to just keep going up until we finally are
completely absorbed into the cosmos as the cosmos.

José Argüelles was the initiator of the Harmonic

Convergence global peace meditation, founder of the
annual Whole Earth Festival in California, and one of the
originators of the Earth Day concept. His work creating
a new art culture inspired from Mayan Cosmology has
inspired an entire generation of people around the
world. Jose passed over to the other side on March
23, 2011. His life and work will be celebrated far into 
the future.

It’s absolutely mandatory that we get back into the natural

frequency of synchronization. All our patterns of thinking
are jumbled into this Gregorian calendar, mechanical
clock way of thinking. That’s the root habit that has to
be broken. It is not hard to shift patterns. There is no
reason why we can’t just shift gears into a new time, go
organic, decentralize, and set up teams to reteach people
what it means to live a self-sustaining lifestyle. There is
so much creative construction that could occur, it just
needs to get coordinated, mobilized and mapped out.
This could change the face of the Earth in five years and
have a whole new social system in place. The premium in
societies will be given to creating art. People are going
into a new collective telepathic frame of mind and can
do collective art forms and integrate themselves with the

art : Jose Arguelles

106 galactic language : Xavi and Phong www.lawoftime.org www.greatmystery.org 107
 Ingo swann cosmic art
If the subjective visions of the inner man
have found themselves out of place in
relation to contemporary artistic values
and standards, they have nevertheless
suffered to develop out of sight of those
powerful curators and critics who have
looked askance on such departures from
the materialistic norms. In retrospect,
this underground growth of artistic
expression in the transcendental, the
psychic, and the metaphysical can be seen
to be not unmighty, but rather grand and
poignant, deeply meaningful, and of vast
importance to modern discovery in the
realm of extended human consciousness. 

There is always something subtle flowing

and thrilling through the limited sensuous
consciousness of the human being,
something that moves contrariwise
and adjacent to what eyes can see and
ears can hear. Those who seek to limit
their possibilities to what their senses
perceive have lost themselves to the
perceived world, a world that often is
cruel and unyielding in its limitations.
But before the grand inner man, that
humanistic potential that can transcend
physical limits via imaginative, visionary,
and paranormal perceptual qualities,
the walls to consciousness inbuilt in
the physical universe drop away and
disintegrate in trails of cosmic dust,
infinite pathways that sparkle before his
supranormal inquiring mind. 

108 Ingo Swann, Feminine Rising (detail), 1997, oil on canvas, 89 x 117 cm. www.biomindsuperpowers.com 109
 In their involvement with the intangible
concepts, transcendental artists seek
to reveal their expansive mental and
spiritual experience, their inner and
subjective as well as psychic awareness
- those universes beyond the concrete
where images, emotions, and infinite
but familiar understandings of ideas
endlessly unfold. In considering any
of the transcendental peripheries, the
mind or the spiritual awareness of self
does not float on a stream of temporal
or visual concrete conclusions, but does
defy space and time, as well as usual
arrangements of matter and energy. 

The arena of “mind” in which this type

of creation takes place, this “space of
mind,” has dimensions that consist of all
imaginable basic kinds of values that the
human spirit - the immortal element of
the human - might wish to realize. We
know and generally acknowledge that
the universal concepts that illuminate
the greatest reaches of even concrete
realities are metaphysical concepts. These
are the most general and fundamental
predicates of being, without which life
would become exceedingly dull.

Ingo Swann is a renowned cosmic artist

and author, best known for his work as co-
creator of the discipline and writer on the
subject of  remote viewing, specifically
the Stargate Project.

110 Blanding Sloan, Untitled, 1955, aniline dyes on paper, 64 x 51 cm. 111
 Universal creativity
Graham Hancock
CoSMologue with Alex Grey

Alex Grey:  The creative intelligence at the source

of our cosmos is potentially accessible to us as we
consciously align with it.   To be aware of our cosmic
origins, allows us to acknowledge the mystery and
infinitude of true source.   You’ve spent your life
exploring these dimensions.

Graham Hancock: Cosmic creativity is an instrument

of the senses and an exploration of the widest
possible range of reality. It’s open, not closed into
a narrow reference frame. It’s willing to receive
whatever is there, explore and develop it. Creativity
can’t be contained in an enclosure. It needs to be
open to any possibilities. Open to the possibility
that the material realm is not the only realm
and that we are part of a much wider, invisible,
inaccessible totality. ‘Cosmic’ doesn’t simply mean
what is generally conceived as the cosmos, it’s the
measurable observable universe and whatever lays
beyond. It includes all possible dimensions.

AG: The cosmos, in its original meaning, included

inner and outer space, all space, all form and
nonform. The cosmos is the order and pattern of
everything.

112 astrophotography: www.flemingastrophotography.com 113

 GH: Cosmos is a word that means different things
to different people. It’s used in many hermetic or
alchemical texts. The Lament in Asclepius contains
within it the notion of the cosmos as everything that
can possibly exist. 

AG: The french translator and philosopher, Henry

Corbin wrote about the visionary imagination in
the work of Ibn Arabi, a Sufi mystic.   He spoke of a
visionary organ of perception that atrophies without
exercise, but if healthy, beholds the ‘intermediate
realm’ where God meets God. William Blake called
it “the Divine imagination.”   The imagination is our
angel because it connects us with the transcendental
realms beyond physical form that are the origin of
all creation. The intermediate unites this material
dimension and the transcendental without-form
dimension. Ibn Arabi’s angelology is a celestial
hierarchy in a highly articulated world. 

GH : The word ‘shaman’ comes from the Tungus

Mongol. They are ritual functionaries who entered
trance to penetrate the spirit world.   They were
called ‘amán’ or ‘one who knows’. What the shaman’s
call the Spirit World is not so different from what
Quantum Physicists call Parallel Dimensions. When
we review the phenomenon of UFO sightings, ET
contacts and abductions, we have to consider
the possibility that we might be dealing with
interdimensional rather than simply extraplanetary
visitors. Since we are a culture that is exploring space
with spaceships, its very easy for us to jump to the
conclusion that we are dealing with beings a bit like
us but from very far away who have mastered the
technology to conquer interstellar space. If we are
going to explain this phenomena, we need to take
into account the psychic as well as the physical
aspects of this experience. 

astrophotography : www.mistisoftware.com/astronomy, www.galaxyphoto.com - Jason Ware

114 egypt photography : Marisa Scirocco 115
 AG: Over thousands of years, the evolving
consciousness of humanity has crystallized  in
successive waves  of world  civilizations. Today,
humanity’s relationship with Nature is obviously out
of balance and we need a new sacred understanding
of the universe for the dawning planetary
civilization.  The shamanic perspective takes us back
to the root of culture, where Nature is integrated
with a sense of the holy.
GH : We are grappling with a gigantic mystery about
the nature of reality and non-physical intelligence
which is reaching out to us in a number of ways. Works
of visionary art guide people through these realms,
people who might not have had those experiences.
You just need to look at these incredible images
and they start to work on your consciousness in an
extraordinary fashion. 
It’s obvious that we need to return to enchantment.
We need to reintroduce magic into our lives. Above
all else, we need to replace hatred with love. I
strongly feel that while we permit society to disallow
sovereignty over our own consciousnesses, there will
continue to be serious conflict and consequences.  It
just takes a few people to begin the process of
change. Sometimes changes for the better can sweep
through society very rapidly once an idea takes root. I
ultimately do remain optimistic that this will happen
and believe that ancient and sacred plants are once
again coming to our rescue and reminding us that
there are no boundaries, there are no borders, and
there are no barriers. We are part of the web of life
and a beautiful and glorious universe.
Graham Hancock travelled to the Amazon to drink
a visionary brew used by shamans for more than
4000 years. His experiences with the Vine of Souls
led to his latest work,  Entangled. His books have
sold more than five million copies worldwide and
have been translated into twenty-seven languages.
He has become recognized as an unconventional
thinker who raises controversial questions about
humanity’s past. 

116 www.grahamhancock.com astrophotography : NASA, ESA, F. Paresce, R. O’Connell, and the Wide Field Camera 117
 Cosmic Consciousness =
Quantum Consciousness
James Oroc
art by Satoshi Sakamoto

As we entered the 21st century, the dominant

world-view of the previous 450 years, known as
the Newtonian Paradigm, was already crumbling
from a scientific revolution that began some
seventy-five years earlier.  This new ‘Quantum
Paradigm’ is making the 20th century’s world-view
seem as naïve and fantastical as the idea of a flat
planet with a cosmos that revolved around it.
This evolution (if summarized crudely) comes
from the realization that the Newtonian view of
the Universe as a series of discrete and individual
points in space and time, a vast billiard table
where balls roll around and collide into each
other, is an entirely human construction. in fact,
this is as far from a true view of reality as the
idea that the Earth sits on a giant turtle’s back
and there are earthquakes when he moves. 
The new scientific vision of reality and the
Universe, a vision that has emerged unwanted
from a century of data created to prove the
Newtonian Paradigm, now states that nothing
really exists as an individual point in space and
time (since nothing is at rest).  The new view is
that reality is an infinite series of interwoven
fields where all things affect and influence each
other, even theoretically across the breadth of
the known Universe. 
118 The Mystery of Aomori (detail), 2011, oil on canvas, 41 x 32 cm. 119
 In this sometimes hard-to-grasp vision of reality,
mass and matter, the most Newtonian of values
upon which we built an entire world-view that
has steadily torn our planet apart, are now seen
to be an intense disturbance in the Universal
Field that makes up less than 4% of the true
Universe. Our resonant holographic Universe
is now believed to be mostly pure energy and
information, from which our physical ‘reality’
emerges as an inexplicable flowering in space
and time, a momentary singularity constantly
emerging out of what the Newtonian paradigm
had considered a ‘cosmic/quantum vacuum,’
devoid of anything at all. 

Most importantly, consciousness, seen  for the

past two centuries  as an accidental by-product
of organic chemistry, is now forcing its way back
into our world-view. For, thanks to Heisenberg, it
now appears that it is consciousness itself, or at
least the act of observation, that causes the wave-
function of an electron to collapse, determining
its position in Space, and thus creating both time
and our physical reality by its appearance.

Consciousness, and with it humanity, is returning

to the center of reality, acting, as all the Mystics
throughout history have told us, as the ‘vehicle
of existence,’ while the universe begins to appear
(as Sir James Jean said) “more like a great thought
than as a great machine.” Physicists now theorize
that consciousness is actually ‘embedded’ into
the structure of the universe, or even that reality
is consciousness,  as the Hindu’s, Buddhists, and
many other ancient cultures have believed, with
the universe of matter nothing but a construct
created out of the blizzard of information that
constantly surrounds us. 

120 Plutor (detail), 1988, oil on canvas, 65.2 x 53 cm. 121

 Human consciousness is also theorized to have
a quantum origin, a ‘transmission’ that we both
receive from, and send back to, the ‘quantum
vacuum’ in a sort of self-generating feedback
loop that permeates the very cosmos and creates
our ‘reality.’  This so-called quantum vacuum, now
called the zero-point field, is now believed to be
super-dense and have a holographic crystal-like
structure capable of carrying infinite amounts
of information. All forms of consciousness, and
it can be argued that all forms of matter down
to the subatomic level exhibit varying degrees of
consciousness, can thus be seen as engaged in the
process of informing the quantum vacuum by the
period of their existence. 
The record of each individual existence is
contained in a unique wave that travels through
the quantum vacuum crossing other waves
that then combine their information through a
process known as entanglement. All these waves,
created by the act of consciousness, are forever
entangling in the infinite creation of a single
quantum wave, or as systems theorist, Ervin
Laszlo puts it, “informing the Mind of God,” that
exists outside of space and time, and within the
structure of zero-point field itself. 
Increasingly realized to be resonating everywhere,
Cosmic Consciousness, the Creator of all things,
is now being ‘scientifically’ rediscovered within
the cradle of the quantum “vacuum”, at a time
we desperately need to realize that there is more
than just human consciousness in the world. 
Can you hear the sound of one hand clapping?
Journalist, photographer, and artist James Oroc
was born in the small South Pacific nation of
Aotearoa. Since 1998 he has been pursuing and
reporting on the cutting edge of extreme sports in
more than 40 countries around the globe, his work
appearing in magazines, films, and on MTV Sports.

www.jamesoroc.com
122 Satoshi Sakamoto, Codama (detail), 2006, oil on canvas, 73 x 38 cm. www.myspace.com/maxoputer 123
 Paul laffoley
illuminated cosmology

124 The Cosmolux, 1979, acrylic oil and india ink with press on vinyl letters on linen, 187 x 187 cm 125
 The beginning of the world dream as the cosmic task is to turn
the four dimensional world we live in into the fifth dimension.
How that is going to be possible is through harvesting all the
black holes in the cosmos and bringing them to one place,
then shoving all the rest of the universe through that! What
people have found out about black holes is that they are not
so bad.  It’s not like going into a veggie chopper where you
lose coherence. The universe will systematically take a galaxy
and compress it. Then you will have all these different galaxies
that are compressed to become larger and larger black holes
that could sweep through the pluriverse. 
Every once and a while I have a chance to go toe to toe with
a physicist who thinks he’s got it all worked out on defining
dimensionality, but they can’t explain the inhabitance, the
passage in and out of it, what’s in there, the actual experience.
Buckminster Fuller said to get a higher dimension all you do
is reduce the angles between them, but he is still thinking
of something totally physical that he can comprehend. A
mobius strip has one edge and one surface. If you take an
asymmetric shadow and run it around the strip, you will see
it wraps around and switches edges, so you literally have seen
the other side of a shadow. These investigations go beyond
mass and consciousness. I claim that dimensionality is the
new form of the Grecian notion of fate, or “that which has
ultimate meaning,” because it’s something that you can never
get to, but you know it’s there. Dimensionality is telonomic
rather than teleological, because teleological means the goal
is known, whereas telonomic means the goal grows in terms
of understanding as you approach its end. The challenge of
history is how you unite fate and free will.
These Cosmological Diagrams are created in my mind before
they become paintings.  I prefer to convey this information
through art then putting it in a book because with a painting,
all the details are there right in front of the viewer.  I call my
work “new medieval illuminated manuscripts.”

126 The Context Of The Bauharoque, 1981, india ink with press type letters on acid-free board, 22 x 28 cm 127
 This “Geochronmechane,” a time machine, works with
geostationary orbit and has a seven mile cube that
contains the mechanism, crystalline graphite wires that
come back to the earth, and piezoelectric crystals.  
Following studies at Harvard University and Brown
University in the Classics, Philosophy and Architecture,
Paul Laffoley came to New York where he began as a
studio assistant to the visionary, Frederick Kiesler, and
was recruited for late night TV viewing by Andy Warhol.
Laffoley worked for eighteen months on a design for the
World Trade Center Towers under the direction of architect
Minoru Yamasaki. Following his suggestion that bridges
be constructed between the two towers for safety, he was
summarily fired by Yamasaki. The Boston Visionary Cell, in
which Laffoley currently lives, was formally incorporated
in 1971, as a non-profit art association encouraging art and
architecture of the visionary genre.

128 The Geochronmachine, 1990, serigraph on acid-free paper, 81 x 81 cm. www.paullaffoley.net 129
 lowry burgess
eternal presence
In 1989, Lowry Burgess became the first artist to reach orbit
- literally. Working with NASA, the Pittsburg based artist
launched “Boundless Cubic Lunar Aperture” into space
on board a shuttle mission, and the sculpture completed
93 orbits around the earth. That work consisted of a cube
containing water gathered from the eighteen greatest
rivers in the world and from geysers, glaciers, wells, and
springs all over the planet.  Burgess distilled these waters
together on the surface of the Dead Sea, combined them
Boundless Cubic Lunar Aperture, 1990, holograms, radio waves, glass, waters, sap of
trees, bronze, copper, silver, iron, granite, ferrite magnets, video, slow-scan vacuum,
130 texts, radio-telescopes, short-wave radio, petrified wood and more.
with all the elements from the periodic table, and then
sealed the final product in a vacuum chamber. Once in
space, weightlessness completed the work. As Burgess
suggests, “The whole concept of the work required zero
gravity. It’s about the release of everything and nothing into
floating freedom : weightlessness.” The cube now resides in
an underground shaft near Walden Pond in Massachusetts
where it hovers in a permanent magnetic field. “Boundless
Cubic Lunar Aperture” embodies Burgess’ interest in the
infinite as manifested in the physical world around us.
131
 Begun in 1966, “The Quiet Axis” explores the earth, universe, cosmology,
and humankind’s relationship to those elements. The series is comprised
of eight elaborate artworks, created under the seas and oceans, on deserts
and mountaintops, and in outer space, as well as sixty corresponding
preparatory projects. The paintings describe visions or dreams Burgess
has experienced. He refers to these paintings as “visionary portals” or
“gateways” that connect the viewer to aspects of “The Quiet Axis.” One
of the earliest incarnations of “The Quiet Axis” took form in 1968, in
Cambridge, Massachusetts, where Burgess had a “waking vision” of a lake
of water lilies located in Afghanistan. In 1974, he traveled to Afghanistan’s
Valley of Kushkak where he placed twelve holographic plates of water
lilies in six pits along a 1.5-mile axis on the valley floor. Each plate was set
at a 12-degree angle, creating one of eight aspects of the Inclined Galactik
Light Pond. The painting “Vision Portal : Lotus,” is a visual manifestation
of the artist’s dream. 

“Vision Portal : Rose,” depicts a vision in which Burgess saw a rose-like

scarlet axis entering the earth in the Pacific Ocean, opposite Afghanistan.
This painting is connected to the Utopic Vessel, another aspect of the
Quiet Axis project released in the Pacific Ocean near Easter Island in
1978. At that time, Burgess imagined that drops of water, displaced by
the submerged Utopic Vessel, ascended into the atmosphere in an act
of purification and then re-entered the flow of earthly waters in Yellow
Springs, Pennsylvania, at the Diamond Spring.  This vision inspired
Burgess to create a video image of the purified spring waters that he
then transformed into sound and broadcast by short-wave signal to the
moon’s reflective surface. When the signals bounced back to the earth,
they were captured via radio telescope, and Burgess turned them into
holograms at Massachusetts Institute of Technology.
132 Vision Portal : Rose, 2007, oil on canvas, 462 x 304 cm. 133
 “Vision Portal : Lily,” with its deep red seed at the center, refers to the
sixth major aspect of the Quiet Axis, the Seeds of the Infinite Absolute.
Burgess melded twelve metals, distilled at the foot of Mount Whitney,
into two metal seeds that were then filled with an emulsion of the essence
of 44 trees, 52 flowers, 36 waters, 32 bloods, and 120 hopes. In July 2007, he
placed one seed on top of the Taygetos Mountains (elevation 8,000 feet)
in Greece and released the second seed into the 20,000-foot Calypso
Deep, where the African tectonic plate slips under the European Plate. 
The final painting, “Vision Portal : Crocus,” represents Memory Forms of
the Unmanifest, a distillation of a vast set of visions and texts. Like all
of the other works in the exhibition, this is not simply a painting. These
“manifestations,” are tied to an artistic practice that combines physics
with philosophy while demonstrating an intense sensitivity to humankind’s
place within the greater reaches of the infinite. 
Burgess invites the viewer to stand at the threshold of these “portals,” and
consider the immensity of the physical universe. These works offer entry to
the artist’s unique poetic vision and his forty-year quest in search of what
Lowry Burgess calls “the soul of the world, wherein they are neither object
nor belief - where darkness and light are one and an eternal presence.”
(Excerpt from Forum 61 November 10, 2007 - March 23, 2008, Carnegie Museum of Art)

Vision Portal : Crocus, 2007, oil on canvas, 467 x 284 cm. top left to right: Vision Portal : Lotus, 2007, oil on canvas, 467 x 284 cm.
134 http://artscool.cfa.cmu.edu/~burgess/ Vision Portal : Lily, 2007, oil on canvas, 429 x 292 cm. 135
 Kundalini Dance
Embodying the cosmic flows of creation Over 22 years ago in the central desert of Australia, I

Leyolah Antara had a deep communion with the Cosmic Mother Earth,
the divine feminine force of creation. It was then I came to
realize that Earth, Gaia Sophia, was a planetary intelligence
that I could tap into. Through my breath, intention, and dance,
I opened to the Cosmic Mother and she lit me up,  sparking my
luminescent body, igniting my inner heart flame and illuminating
my consciousness with her creative intelligence. In that initial
communion, she indicated that the Earth and humanity are in a
time of accelerated awakening and purification. Through calling in
the serpent power Shakti, the Kundalini earth current, Earth would
support us to clear any negative emotions and karmic imprints
stored in our bodies and chakras that veiled our true creative
potential. 

Collectively, after ages of suppression, silence and forgetfulness, we

now integrate our remembrance of the divine feminine as a
creative force of life.   Through my devotional intention to serve
humanity’s awakening, I have developed a sacred alchemical energy
dance practice, which I call Kundalini Dance. In the Kundalini Dance
practice we connect to the Earth’s Kundalini energy, her golden core.
By tapping into the Earth’s magnetic energy, we allow the divine
feminine creative force of Shakti to flow through our bodies. Shakti
is the primordial birther and sustainer of all life, a fluid container of
divine feminine consciousness. As we embody the Cosmic Mother
through Kundalini Dance, we open to the field of infinite possibility
to co-create with her, as we remember ourselves, reflections of
divinity. Shakti longs to merge with the holy father Shiva, the sun
of divine consciousness and source of creation. Meeting in unity
and balance, they birth the holy spirit and ignite a spark of divine
ecstasy in every cell of our bodies. Ecstasy is an alchemical
force, a re-birther and awakener. Ecstasy is who we truly are
with love at our core.

136 137
 The Kundalini Dance practice can
bring us an awareness of the cycles,
patterns and behavioral loops that
we have been living in. Surrendering
our bodies and embodying the
cosmic flows of creation, we are
beckoned to transform those false,
fear based, misaligned egoic aspects
of consciousness, redefining and
recreating the reality we choose
to live. I no longer consider our
spiritual work a luxury, but rather a
necessity for humanity to make our
next collective evolutionary leap.
Taking the time for our personal
spiritual evolution has never been
so crucial.

Opening to the cosmic flows of

creation through Kundalini Dance,
we purify fear and self doubt,
freeing us to be worthy expressions
of the cosmic creative essence of
life. When we intend to  co-create
with divinity, our creations serve
the evolution of consciousness,
the birthing of the newly awakened
humanity.

Leyolah Antara teaches Divine

Feminine embodiment programs for
women.  She created and founded
Kundalini Dance which is an ecstatic
tantric shamanic dance practice. 
Her work is deeply transformative
and supports the emergence of life
changing shifts in consciousness
and the fulfillment of a richer,
more creatively inspired life.

www.leyolahantara.com
Art : Amanda Sage, Wo-manifest (detail), 2009, www.kundalini-dance.com
oil and casein on wood, 30 x 70 cm. photos : Kylee Dawn www.evolvedproductions.ca
138 139
 Cosmic physics The new physics of the future and certainly the
new science will reflect the understanding that
Nassim Haramein no system is isolated, that no matter what you
do you cannot separate anything from anything
Art by Peter Gric else, and that closed systems do not exist. 
Everything is interdependent on everything else
and the structure of self-organizing systems in
our universe, such as our incredibly complex
biosphere, is evidence of this interdependence.
Our universe is permeated by a connective
medium we call space. This medium is, in fact, the
metrical structure that connects all things.  An
atom is 99.99999…% space.  Connecting all things,
this self-organizing agent makes it possible for
incredibly complex systems to organize in a
relatively short amount of time. In my latest
paper, The Schwarzschild Proton, we calculated
how much energy or information is present in the
space or vacuum fluctuation inside the proton
shell and found the mass of the universe.   This
means that all the information of all atoms or
protons is present within each one of them
through the medium of the vacuum. Space defines
matter and matter informs space in a continuous
feedback of a unified learning universe.

When you look at nature you see patterns

everywhere. The structure of a flower, the branches
of a tree, the nervous system of a human being - all
of these patterns have a recursive fractal structure
which implies feedback. The universe organizes
relationships to obtain coherent behavior and
information exchange. Recognizing patterns in
nature is crucial to identifying our relationship
to the universe and developing an appropriate
scientific and philosophical understanding of our
place within it.  

140 Passage, 2010, acrylic on fiberboard, 21 x 21 cm. 141

 You are part of an infinite scale of relationships that extends
from the universal and multiversal size, all the way to the
infinite density that makes up every one of your atoms. This
relationship and exchange of information generates a specific
topological structure we call a double torus, and can be found
at all the scales including yours. The cosmos and our universe
have a very specific rotational and Coriolis structure and all
things interact through these structures that can be seen in
the galactic double torus structure, the plasma dynamics on
our sun, the weather patterns of our planet or the electron-
positron structure of the atom.
When you write a graph where you plot the frequencies of
objects against their radius from the universal scale all the
way down to the Planck’s distance billions of times smaller
than the atom, the microtubule biological structures that are
Space-Warp Machine (detail), 2010, Acrylic on fiberboard, 25 x 50 cm.
142 astrophotography : www.mistisoftware.com/astronomy
part of the cytoskeleton of cells such as neurons, happened to
fall nicely approximately in the middle of the scale.  You are
part of the information network crossing event horizons from
infinitely big to infinitely small. You are part of the mechanism
from which the universe learns about itself. 
We are influenced by all things, and in return we influence all
things.  However, there are very specific scale relationships
that cannot be violated. The sun has a very large influence
on us, but we have a very small influence on it.  This scale
relationship between things is what provides order to our
universe. My research shows that in ancient civilizations and
modern events, our evolution has been largely influenced by
advanced civilizations that have been overseeing our growth
and developments, and attempting to guide us toward higher
levels of consciousness, in time for our civilization to survive
and enter the larger community of our galactic neighborhood.
143
 By observing the cosmos and understanding its fundamental
patterns, we can better understand the root of creation and the
patterns that rule our existence. Nature is self-organizing because
of a fundamental feedback structure at the root of creation.  That
system learns about itself and all that is conscious. If the cosmos
is trying to communicate something, it would be to love and
support each other. We are all part of the same adventure.  We
are all connected. 

Realizing the fundamental energetic medium embedded in the

structure of space (called vacuum fluctuations at the quantum
level), we understand its primary geometric dynamics.  We learn
to tap the source of infinite energy and societies based on scarcity
and competition, are transformed into a global community that
realizes the infinite amount of energy and resources available in
our universe with no need to fight each other for anything.

Cosmic creativity invokes the amazing creative power found in

a balanced and enlightened person. Cosmic creativity is what
inspired Einstein to write about the law of relativity, Tesla to invent
the AC generator, and Renoir to paint “A Girl with a Watering Can.”

You are made of billions of little infinities called atoms, part of

an incredible wheelwork of nature, infinitely vast.  Access to this
network depends on your capacity to turn your senses inwards
towards the infinitely small within you, towards the singularity
that connects us all.  Take the time every day to come to that
center and experience your infinite nature.

Nassim Haramein was born in Geneva, Switzerland in 1962. As early

as nine years old, Nassim was already developing the basis for a
unified hyperdimensional theory of matter and energy, which he
called the “Holofractographic Universe.” Nassim has spent his life
researching the fundamental geometry of hyperspace, studying
theoretical physics, cosmology, quantum mechanics, biology,
chemistry, anthropology and ancient civilizations. Combining this
knowledge with a keen observation of the behavior of nature, he
discovered a specific geometric array fundamental to creation, the
basis of his Unified Field Theory.

www.theresonanceproject.org

144 Space-Warp Machine (detail), 2010, Acrylic on fiberboard, 25 x 50 cm. www.gric.at 145
 The Song of the Stars is truly the song of
Africa, for you will find legends and lore
about the Sun and the Moon, and all the
stars throughout this vast continent. And
the mythology, and even the histories
of our people, are full of descriptions,
not only of the stars and planets, but
of the intelligent beings that belong to
them, and how they have interacted with
human beings.
For example, the Dogon speak of visitors
that came from what we call “Star of the
Wolf,” Peri Orifici Orimbisi (Sirius). We
believe that it was the very first star from
songs of the stars which mankind was driven away after a
gigantic war against the sea-dwelling fish
people. We believe that we were brought
Vusamazulu Credo Mutwa to this world inside a hollowed-out
moon by the two sons of Nommo, the
great and kindly father of the sea-people
of that world.
For the people of Africa, the skies are full
of life; yes, even the origin of life may be
attributed to the stars! On the plains of
Africa, it has seemed to many people,
that there are the Herds of Eternity;
but really, for the African mind, the
living animals of the Serengeti plains are
reflections of their heavenly cousins. The
Herds of Eternity are really in the stars;
there also is to be found the origin and
destiny of humanity.

146 astrophotography of Sirius A and B : NASA, ESA and G. Bacon 147

 Life can take many forms. Look at the
forms that life can take on this planet
alone. Here in the bush, there are insects
you could easily mistake for rocks or for
pieces of bark - until one of them stings
you, that is. Life does not have to consist
of bipeds who move and breathe and
smoke cigars as we do. The universe is
a gigantic chamber of possibility where
everything has the chance and the right
to happen; and so we must not have cut-
and-dried theories regarding just how
life should look. Life could surprise us!
Take these teachings: That we are all
brothers and sisters; the children of one
father and mother; that all human beings
are interconnected; that we share many
thoughts and feelings that we imagine
about the world, about the future, about
each other; and that the images and
dreams we hold in our minds and hearts
do matter. Treat children and animals
with kindness, and pass this wisdom
on to the generations to come, and I
assure you that there will come a time
when our grandchildren, or our great-
great grandchildren will live in a world
of beauty and harmony. And they will
hear a far-off music, a beautiful, cosmic
music, that will lift them beyond all
fear, all suffering and limitation, into a
universal brotherhood, beyond this little
world and its fearful dreams. That music
will draw closer and yet closer with its
message of hope and becoming. That
music is the Song of the Stars. Indaba.
Credo Mutwa  is a South African Zulu
Sangoma and High Sanusi. Besides being
a traditional shamanic healer, he is an
expert on the occult history of Africa,
a world acclaimed author, artist, poet,
sculptor, and nature conservationist.

www.credomutwa.com

148 Mark Henson, Spiral Genesis (detail), 2004, oil on canvas, 121 x 152 cm. www.sacredlight.to 149
 Allyson grey Language of Light

150 Chaos, Order & Secret Writing Series, 2011, oil on wood panel, 20 x 20 cm. 151
 Cosmic art reflects visions of order and
chaos.  In the most expansive view of the
cosmos, Hubble photographs, there appear
to be clusters of galaxies, a chaotic field
at the macro level.  At the micro level,
subatomic activity has been analyzed by
smashing atoms and in those photographs
there appears a tangle of spinning light
shards that ricochet off of each other, a
web of concatenations that charge our
atmosphere. We all breath in each others
skin cells and share atoms with ancient
history.  The Greek word “cosmos” refers to
the order of both inner and outer realms.  one might experience in transcendental
This work is a language of light in spectral
colors.  These worlds of light occur on every
level.  The white light is the void that unites
all forms.  In the bliss realm, some of us have
seen the white light surrounding all beings
and things, connecting it all. My paintings
honor the white light ground of being
by allowing it, as much as possible, to be
exposed around every square cell.  spirits revelations manifested through
152
The concepts chaos, order and secret writing
symbolically expressed in the compositions,
colors and systems of my art, represent an
essentialized world view that has long been
the content of my oeuvre.
Chaos in these paintings symbolizes the
material world where distinctions and
judgments are made.  Explosions and drifts
of thousands of spectrally arranged squares
in the artwork represent the presence of
entropy, disorder and unpredictability that
exist in every system in the physical world.
Order in the work, the interconnected
harmonious patterns, suggest bliss realms
states of mystic unity sometimes called
Nirvana, heaven or the infinite Divine.
The Secret Writing in this series is comprised
of twenty unpronounceable letters,
corresponding to the nameless presence
existent in all sacred writing, the spirit
imbedded in communication that cannot
be reduced to concepts.  Sacred writing
in every culture is like a window revealing
creative expression in the material world.
www.allysongrey.com
153
 WHY BIRDS SING
David Rothenberg
art by Alex Grey

For some time now, I have been very interested

in music in the more-than-human-world,
music beyond, before and maybe after human
beings. There is a whole history of music
long before humans were here. All human
wind instruments developed in response to
hearing these sounds over thousands of years.
This is the oldest music we know. However
and whenever human music developed, it all
came from the natural world rhythms and the
melodies of birds.

Birds all have their own aesthetic sense.

Each species is like a world unto itself. The
Marsh Warbler migrates to Africa for the
winter. The males fly back first to gather in
trees and sing cacophonous new songs unlike
the ones they sang before their African
winter.  Listening to recorded tracks of this
crazy mixture of tunes, we find upon slowing
down the songs, that they have learned bird
songs sounding very resonant with what
we identify as African music.  Singing these
‘Birds have a natural aesthetic sense, they appreciate beauty’ songs all together sounds like a free jazz
- Charles Darwin jam session. When the females show up the
males stop singing these songs entirely.
154 Ohio Song, 2001, oil on linen 28 x 36 cm. 155
 A more primitive bird is the lyer of Australia.
The lyer is a unusual species with strange
characteristic. It sings one of the most
complicated songs, like a peace of music
with its own rules. The lyer bird mates in the
winter, six months before all other birds in the
region. When winter comes, the male imitates
mating songs of other birds to convince the
females that mating season has arrived.
Every bird species has stories with odd
senses of complexity. They live in a rich
sonic environment and show interest in odd
sounds. They are curious and when they
hear something unusual,  they  try to figure
out what it is. In my musical improvisations,
I don’t usually imitate what birds are singing,
and don’t try to sound just like them. Birds can
be taken more seriously, as musicians like to
travel around the world and play music with
others who don’t speak the same language.
Birds sing because they have to.  They must.
It is of their very essence. It is what they
have evolved to do, just like people must
make music. It cannot be proven that they
sing to defend territories and attract mates.
Their song is their identity and the essence
of their species.
156 Hummingbird, 2005, acrylic on wood, 20 x 25 cm
We owe it to ourselves as artists, listeners, and
participants in the great web of living evolution
to tune in to the oldest kind of music we can
know, the music made by other species.  We
should listen carefully, allowing the sounds to
enter a zone we humans can perceive. Speeding
up or slowing down the music can impact our
own sense of time so that we can glean greater
meaning from the surrounding world.  A world
full of beauty and music, deeper down and far
more ancient than our own single species, is a
world much richer and more valuable, and the
deepest possible source of experience.
Listen long, carefully, and slowly to whales;
listen fast as the wind to birds.  Consider the
silences, and find your own way to join in
the music.
David Rothenberg has written and performed
on the relationship between humanity and
nature for many years.  He is the author of
Why Birds Sing, on making music with birds.
Rothenberg is also a composer and jazz
clarinetist as well as a professor of philosophy
and music at the New Jersey Institute
of Technology.
www.davidrothenberg.net 157
 traditional cultures have known that our
planet is part of a plenum of stars systems,
galaxies and even  whole universes. Many of
these same cultures also understood that
human intelligence is just one form of cosmic
intelligence that may also be found in all living
and non-living things and can be observed in

visionary biodynamics the patterns that form from these interwoven

relationships. 

Delvin Solkinson Biodynamics is centered around a toolkit of

farming practices that emerged in the early
twentieth century by visionary Rudolph
Steiner. He realized that the earth’s modern
“Nature and our life are forms, results and environmental crisis was separating people
expressions of cosmic creativity. Biodynamics from the soil, plants and animals that they
opens an awareness of cosmic effects which depended upon to survive, while also cutting
improve agriculture for the benefit of all. The them off from the vitalizing influence of
idea of a sentient earth and universe is a basis cosmic and spiritual energies that came from
of biodynamics. The widening perception the sun, moon, planets, and stars. Biodynamics
of supernatural phenomena in nature or in looks at the organic farm as an organism with
ourselves will bring all holistic approaches of different organs, all working together, much
agriculture together” like the human body does. Recognizing that
each farm is an organ in a bioregional body,
– Thomas Luthi, President of Demeter International biodynamics also sees that the different
From the cosmic horizon of our planetary bioregions on the planet come together as
nook in the multiverse, we can see light from aspects of a larger Gaian organism, and that
stars trillions of miles away. Stellar energies different planets and stars come together
and star dust travel through the vastness to form a Cosmo-Gaia, all complex cells in a
of space before they reach our humble sentient universe. These different organisms
homeworld, mixing with the matter and communicate in a language that expresses the
energy collected here already from all corners patterns of the universe guiding growth and
of the cosmos.  Since the advent of awareness, change on the planet. 

www.pabloamaringo.com
158 art : Pablo Amaringo, Sacha-Uya (cara de la selva) (details), 2004, Goushe on paper, 48 x 61 cm. astrophotography : www.hubblesite.org 159
 Agricultural practices of biodynamics are
guided by a calendar connecting planting
and harvesting with cosmic timings. It charts
the cycles of the solar system in relationship
to the stars of the zodiac. Composting with
superplants like yarrow, chamomile, stinging
nettle, oak, dandelion, valerian and horsetail
along with cow manure and quartz crystal,
biodynamics helps to support and balance
living systems. These methods help plants and
soil receive nutrients, light and subtle cosmic
energies which promote the development
of healthy symbiotic ecologies.  Food and
medicine grown biodynamically have better
flavor and nutritional qualities which last
longer than conventional products.
A mixed biodynamic farm includes sustainable
houses, barns, beehives and birdhouses. Here
we find crop and graze lands, woodlands, ponds,
marshes and other natural spaces. Using crop
rotation, organic fertilizer and natural pest
management, this type of design cultivates
biodiversity, which is highly productive with
a small ecological footprint. The biodynamic
approach values self-sufficiency and direct
consumer relationships, thus harmonizing us
with the natural patterns into which we are
woven. 
In a world where organic food is becoming co-
opted by corporations, biodynamics represents
the next level of intentional lifestyle and
conscious consumerism. By connecting with
the patterns of the universe, we can co-create
a harmonic World Community.
Delvin Solkinson lives in a tiny coastal
rainforest village on the Northwest Coast of
Canada where he runs permaculture programs
and cares for community education gardens.

photos: Robyn Hume Photography, www.poxin.org www.gaiacraft.com

160 astrophotography: www.hubblesite.org 161
 CELESTIAL CARTOGRAPHY
Rudolph Steiner

If we observe the earth’s crust and its

vegetation correctly, we can see in the
crystals, the mountains, the budding and
sprouting plant monuments of a living,
creative past which is now in process of
dying.  We shall never understand plant life
unless we bear in mind that everything which
happens on the earth is but a reflection of
what is taking place in the cosmos. 
The essential causes of what happens on
the earth do not lie outside the human
being; they lie within humankind. And if
earthly consciousness is to expand to cosmic
consciousness, humanity must realize that the
earth is made over long stretches of time, in
the likeness of humanity itself. There is no
better means of lulling the human being to
sleep than to impress upon him that he has no
share in the course taken by earth’s existence.
Everything connected with the inner force of
reproduction and growth - everything that
contributes to the sequence of generations in
the plants - works through these forces which
come down from the cosmos.
.
Excerpted from Agriculture : An Introductory Reader by
Rudolph Steiner (edited Richard Thorton Smith)
www.rudolfsteinerweb.com

photo of Big Sur, Cailfornia, courtesy of Peggy Horan

162 astrophotography: www.hubblesite.org, www.mistisoftware.com/astronomy 163
 Healing Patterns
of the Shipibo
The Temple of the Way of Light
Every living thing has patterns. In the Shipibo cosmo-
vision, the universe is made from sound. When the
patterns are broken there is illness. Negative spirits
place bad patterns on people, too. Our job is to fix
the patterns or take bad patterns away. We work in a
different world where we can see the problems and how
to heal them. Most people cannot see in this world. 
 
The designs come from our ancestors and the plant
spirits. When we drink ayahuasca, we see the patterns
in our mareacion (the effect of the medicine) and hear
the songs of the plants (ikaros). The designs are the
medicine and the songs of the plants. The plant spirits
teach them to us and show us how to heal illnesses and
how to help people. 
Shipibo designs come from seeing the sacred healing
energies that come from the plants. They can be seen
as the codes of the ikaros that express their healing
energies and are seen by the Onanya healers in their
visions. The patterns on their art are external two
dimensional manifestations of these energies. The
Onanya weave these geometric designs into the
bodies of their patients to bring order and harmony
and to reconfigure the patients’ energy bodies. The
patterns correlate to a variety of different senses. The
Onanya “see the songs” and “hear the designs” at the
same time in a phenomenon known as synesthesia, the
blending of the senses. These design energies come
from the plants singing in ceremony and from their
dietas (deities). The plant doctors’ ikaros work through
the Onanya penetrating the patient’s energy body to
heal and protect it.
Some illnesses come from harmful designs
that have been picked up by  the patient. The
Onanya work to pull off the bad patterns, brushing
and blowing them away from the body of the
patient.  Negative spirits also sometimes try to interfere
with the healing process by singing their own harmful
songs, so the Onanya must work to fight off these
negative spirits in ceremony whilst cleaning the patient.
164 165
 The Onanya use healing odors, colognes
made from various medicinal plants,
such as mapacho, a native tobacco used
to clean negative energies and transmit
positive energies. Through the use of
these healing odors, the Onanya places
the intricate geometric patterns of the
ikaros onto their patients. Due to the
nature of the work against negative spirits
and their persistence to interfere in the
healing process, multiple treatments are
needed before a cure can be completed.
When a patient is cured, the energetic
body of the patient is covered with the
designs that you see in the textiles.   At
the end of a course of treatment (i.e. a
workshop), the Onanya then cover the
patient’s body with different ikaros
called arkana’s. Arkana means protection
and they are used to seal the other
healing designs that have been laid into
the energy body providing a protection
coating, a form of spiritual armor to
protect against further negative energies
being picked up externally.
Ikaros are medicine from the plants. They
heal people. The plants have healing power
which comes out of them in the patterns.
We see and hear the songs when we drink
ayahuasca. The song is the most important
medicine of the plants. We wear the
designs on our clothing as they protect
us. If you have the designs on your walls
they will protect your house. The designs
represent the sound of the ikaros. We see
the designs in our visions. They come into
our thoughts. We see AND hear the ikaros.
The designs ARE the ikaros. 

166 167
  
The Temple of the Way of Light is a
Shipibo shamanic healing center rooted in
the healing traditions of Shipibo healers
(Onanya). We bring guests from around
the world together with the Onanya to
work with plant medicines in a safe, caring,
sustainable and spiritual environment,
and seek to create a mutual relationship
of respect and transformation, both
spiritual and social. Through their healing
journeys at the Temple in a setting where
sharing and community are at the heart
of the process, guests are empowered
to return to their lives with a much
greater awareness of the transformative
possibilities of cooperation and
communication, within their own
families, organizations and communities,
and across cultural boundaries. 
 
Many  threats which face the Shipibo
people and their traditional culture.
Encroachment on their ancestral lands
by loggers and oil companies, both legal
and illegal, is an ever-growing problem,
as it is in so much of the Amazon region.
Their ancient healing practices are also
increasingly threatened by the coming
of Western medicine and by missionary
activity which renounce the use of
traditional shamanic healing practices.
Perhaps even more grave is the societal
impact of western influences through
unguided media outlets such as radio,
television and internet.

www.templeofthewayoflight.org

photos by Carlos Nunez and Matthew Watherston

design weaves by the Shipibo Maestras from the Temple of the Way of Light
168 photos
special thanks : Matthew
to Dakini BeccaWatherston andWatherston
and Matthew Carlos Nunez 169
 Robert Beer
Tibetan art & creativity
Perhaps the first thing to say about Tibetan Buddhist Art is that it
is anonymous, with the artist seemingly functioning as a skillful
instrument who is capable of accurately depicting any of the
figures from its vast pantheon of deities. Then, given that these
deities have precise iconographic forms, colors, postures and
attributes, the very act of visually rendering them can appear
more like a process of painting by numbers than a process of
creative imagination or artistic freedom. The same may be
said of Indian classical music, where to the untrained ear one
raga seems pretty much the same as any other, while for the
performers themselves each raga is like a unique universe of
emotive expression and creative improvisation. This analogy
is actually quite accurate, for the ‘nine dramatic sentiments’
(navanatyarasa) of Indian dance, music and drama, are also
characteristics of the powerful semi-wrathful tantric deities of
Vajrayana Buddhism. These sentiments are: sensual or erotic,
regal or heroic, repulsive or stern, jocular or playful, wrathful
or threatening, terrifying or frightening, compassionate or
loving, dignified or majestic, and peaceful or serene.

Within the structural framework of these apparent constraints,
one’s individuality as a creative human being with a need for
personal expression can tend to dissolve into the subject
matter one is depicting.  For, in the framework of a tradition
growth is vertical as well as horizontal, and there comes a
point in the process of learning where one feels one has
tapped into the actual source of the tradition. And what is
unique about the Indo-Tibetan Vajrayana traditions is that they
are ‘living traditions,’ which have been transmitted by a lineage
of teachers since their origin or ‘revelation,’ many of which
are believed to derive from the spoken words of the Buddha
himself. Essentially, this means that the entire spectrum of the
Buddhist teaching traditions are encapsulated in the symbolic
and visual forms of its vast pantheon of peaceful and wrathful
deities. Or, as The Dalai Lama says, “In short, the quickest way
to become a Buddha is to imagine yourself as one.”
170 The Mahasiddha Shantideva - The Lazy Monk (detail), 1986. gouache on paper, 28 x 22 cm. 171
 Shantideva, the ‘lazy monk’, was always ridiculed by his fellow
monks at the famous Indian Buddhist monastery of Nalanda
for doing little more than eating and sleeping, until the abbot
decreed that he must either demonstrate his knowledge
in a discourse, or else leave the monastery. All of the monks
assembled at dawn on the appointed day to watch Shantideva
make a fool of himself, but unbeknown to them the abbot
had instructed him to recite the mantra of the wisdom-deity
Manjushri all night. This he did, until just before dawn Manjushri
manifested in his cell and bestowed the power of divine speech
upon him.  Thus, it was that in front of the entire monastic
assembly Shantideva began his discourse by levitating above
the throne and delivering the sublime discourse on developing
bodhicitta, or the ‘mind of enlightenment,” that is now famously
known as “A Guide to the Bodhisattva’s Way of Life.”
Ghantapa, the ‘bell-holder,’ was a highly realized yogin living in
eastern India who once refused to honour King Devapala. The
king decided to humiliate him by sending a courtesan’s daughter
to seduce him. This young girl first came to Ghantapa’s hut as a
servant, but over the course of time she gave birth to his child.
After hearing this news Devapala came with his entourage to
publicly ridicule this fallen yogin, and found him holding his
child in one arm and a pot of alcohol in the other. Enraged
by the king’s accusations Ghantapa threw the child and pot to
the ground, whereupon they instantly transformed into a vajra
and bell, while a great flood arose from their impact. Grasping
the vajra and bell, Ghantapa embraced his consort and flew
into the sky with her as they transformed themselves into
manifestations of Chakrasamvara and his consort, Vajravarahi.
In great repentance, the king and all his subjects bowed down
before Ghantapa, and through the power of their prayers the
bodhisattva Avalokiteshvara came to stem the floodwater
with his feet. 
Robert Beer has studied and practiced Tibetan Buddhist Art
for the past forty years, while always maintaining an openness
to all other spiritual traditions, especially those dealing with
the parapsychology of death, rebirth and the afterlife. He lived
in India and Nepal where he studied with several of the finest
Tibetan artists living at that time. Since then, he has worked at
developing his understanding of these highly esoteric subjects
and the contexts in which they arise.

The Mahasiddha Shantideva - The Lazy Monk, 1986, gouache on paper, 28 x 22 cm.
The Mahasiddha Ghantapa - The Bell Holder, 1987, gouache on paper, 28 x 22 cm.
172 www.tibetanart.com 173
 This complex Buddhist mandala
was painted by the artist
Sundar Sinkhwal and took ten
months to complete. It depicts
the sixteen-armed ‘Highest
Yoga Tantra’ deity, Hevajra and
his consort Nairatma on its
central dais, with eight yogini
goddesses surrounding them
in a lotus circle, and another
eight goddesses occupying the
four gateways and corners of
the mandala palace. Encircling
this elaborate square palace
are three wheels of lotuses,
vajras and flames to protect
against floods, earthquakes
and fire, and outside this is the
symbolic circle of the ‘eight
great charnel grounds.’

The trinity of deities in

the sky above the mandala
represent the “Three Jewels’
of the Buddha,” the Buddha,
his dharma teachings, and his
sangha or spiritual community.
The outer frame or ‘torana’
of this painting depicts an
assembly of mythical creatures
and auspicious symbols, which
traditionally appear in the
Newar art and architecture of
the Kathmandu Valley.

Sundar Sinkhwal, Hevajra Mandala (Seventeen Deity), 2005, gouache on cotton, 100 x 79 cm.
174 www.tibetanart.com 175
 John Miles
Synergy and Synaesthesia
text by Robert Beer

176 The Spirit of Totnes, 1998, oil & acrylic on canvas, 152 x 179cm. 177
 As a naturally gifted draughtsman with great technical versatility,
John Miles wielded the brush with dexterity, speed and confidence.
Figuratively, he was able to draw from life without any apparent
struggle to render the form he observed. Nature Herself was his
real teacher, and the sublimity of form displayed in nature, such
as leaf and stem structures, tidal patterns, seashells, galaxies,
waves, water, and the naked human form were the primal sources
from which he drew. In his youth, he was greatly influenced by
a book entitled Sensitive Chaos, written by Theodor Schwenk,
a student of Rudolf Steiner, who explored the natural forms
that permeate both the microcosm and macrocosm. This natural
sublimity is revealed in the amorphous molecular and cellular
forms that spatially constellate John’s compositions, with all the
refined grace of the finest Islamic calligraphy. He once astonished
a visiting Japanese Zen Master by spontaneous replicating his
highly formulated brushstrokes with rapier-like precision.

Of particular impact are John’s intricate circular mandala

paintings, which represent the apex of his visionary skill, devotion
and patience. Some of these large canvases took several years to
complete, and he would repeatedly return to them after periodic
forays into smaller works, or disastrous romantic adventures.
‘Synaesthesia’, meaning the ‘crossing of the senses,’ was a word
John always prefixed to these compositions, which in many
ways evokes their titles better than any other, for essentially
they are a sumptuous, sensual, spatial interplay of form, colour
and line. These paintings were executed on raw unprimed Irish
linen canvas, with an amorphous nebula of sprayed synthetic
dye forming the dark surface on which a multitude of ‘passages’
could play in acrylic, gouache and oil colours. The spatial
relationships of these passages resulted in the illusion of deep
visual perspectives and tonal harmonies, which are as structured
in their chaotic sensitivity as the scored musical notation of any
great classical composition. His used a unique artistic vocabulary,
a highly intelligent visual language of grace notes and poetic
lines. Like Blake, common sense made him poignantly aware that
each little flower is a product of ages, and that eternity is in love
with the products of time. Or, as Picasso once replied to some
art critics who were discussing the development of his work,
“I do not evolve. I am!” This is the work of John Miles for our
appreciation, but whatever one may think, he was more than that. 
178 The Weaver of Dreams (detail), 1980, oil & acrylic on canvas, 180 x 149 cm. 179
 John Francis Beverley Miles was born in Cardiff, South Wales,
in September 1944. From an early age he was confident and self-
assured, nurtured in his mother’s love and his father’s radical
individuality. The world was a joyous cosmology, ripe for discovery
and artistic exploration. In his youth he wrote, “The least that I
am going to attain is the Sun.”  He was a master of games, quizzes
and puzzles, an accomplished etymologist and horticulturalist
who knew the Latin names of countless species. He took great
delight in the nickname of ‘Rasputin’ that his doctor bestowed on
him, with his Herculean body, freckled skin, red beard, demonic
laugh, and his long gracefully curving tobacco pipe that echoed
the calligraphy of his brushstrokes and handwriting. Like all
artists of the soul’s code, of life itself, John had to grapple with
this spiritual dilemma, of the dualism between the notion of a
self and its total absence.

180 The Seeds of Life, circa 1984, oil & acrylic on canvas, 122 x 122 cm. www.tibetanart.com 181
 International Family of Light
by Eli Morgan
For the past ten years, I have had the honor to be a part of the global
phenomenon of CoSM. At the heart of this movement are the artists,
Allyson Grey and Alex Grey. Although their medium of choice is paint, the
Grey’s  influence transcends the canvas. They are teachers, performers,
community leaders, visionaries, inspirational forces of natures. I have
witnessed their international call to action, and seen them rally and uplift
people with their love and vision. 
From Bali to Moscow, Melbourne to Mexico City, CoSM and  the
Grey’s  bring out the best in people.  Through lectures, workshops, and
live-painting celebrations, they encourage anyone attending to love
and see deeply, guiding all toward a connection with creativity and
spirituality.  Traveling with the Greys, I have had the privilege to see
this International Family of Light  first hand. All ages, races, walks of
life, coming together in the harmony of art, learning, dancing, creating
together, expressing themselves individually and collectively, sharing the
experience, the magic palpable in air.

182 Mexico City 2010 183

 In São Paulo, Brazil, for twenty hours straight,
the Greys painted one mural together before
twenty-five thousand party goers. Crowded
around the stage, a sea of faces were transfixed
as the canvas came to life. In Portland, Oregon,
twelve-hundred guests lined up for hours to
meet them, all smiles, each person feeling they
had had an intimate moment with Alex and
Allyson. It is that kind of presence, that gives the
Grey’s the ability to live-paint with the boom
and beats of the music, and the intensity of the
dance floor.  Their live-painting is a wonder to
behold. The channel of creativity flows through
them on stage: Allyson’s precision stillness
that is personified by her colorful and sublime
secret language, Alex, at times, rocking to the
music, lays down bold strokes, and renders a
master work at every event. 

Sao Paolo, Brazil, 2008

184 Projections on Moscow building with skyline Moscow 2012 185

St. Basil’s Cathedral, Moscow, 2010
By zig-zagging the globe Alex and Allyson have
facilitated uniting the love tribe all over the
world. They  have been the catalysts, bringing
together the community in celebration. I have
heard this in every city, from promoter and
participant alike.  A beautiful swirl of energy at
every event, there are always new friends sharing
with me how their lives were changed for the
better by attending.   For all of you that have
been there, you know exactly what I mean. And
for those yet to come, please join us at CoSM
in the Hudson Valley, for one of our CoSMic
celebrations, and check the web site for when
CoSM  is coming to a town near you.
Eli Morgan: Born in Freedom, Indiana, raised
in Northern California, and trained in New
York City, Eli studied photography and graphic
design at the School of Visual Arts. In 2001, Eli
Borobodur, Java, 2010

produced CoSM’s first benefit party in NYC. This

led to coordinating and managing hundreds
of events for CoSM and becoming the  Grey’s
Events Coordinator and Road Manager. Eli
is the Creative Director and Chief Designer
for CoSM and co-founder of CoSM: Journal
of Visionary Culture. As an international art
director, photographer and event organizer, Eli
is committed to world transformation through
awareness, art and celebration.

Rainbow Serpent Festival, Australia, 2011

186 Projections
Teotihuacan,onMexico,
Moscow 2010
building with skyline photos, design and layout : Eli Morgan, eli@cosm.org 187
 Being a builder has heavily influenced my artwork,
and being an artist has made me a better builder.
Constructing CoSM Building a house is much like producing a theatrical
performance. On one side you have contingent
Brian James phases of work resulting in a structure, and on
the other you have a sequence of scenes resulting
in a narrative. With the right planning, intention,
rhythm and economy of motion, building can be
a dance.  Can you imagine a shed that takes 1,111
songs to build?

Fusing the concept of work with prayer, the

construction team at CoSM pursues the task at
hand with military organization and familial care.
Over the past three years, we’ve been waging art;
throwing events, renovating two large buildings
on the property and constructing a third. We’re in
the planning stages now for a new gallery which
will house the Progress of the Soul exhibit and the
TOOL shrine.

188 photos : Brian James and the CoSM Crew 189

 I came to CoSM seeking my higher self, to
be in service, learn and teach art, and help
build the Chapel of Sacred Mirrors. The
temple is dedicated to the harmony of
separate truths through loving awareness
and will be an altar to all of the world‘s
religions. The main structure will be as
detailed and symbolic as the artwork
it frames.  With a combination of paint,
color, lighting programs and sound, we
are creating a 3D environment for the
Grey’s artwork.
Brian James  studied law and worked as
a divorce mediator before becoming a
contractor, carpenter,  martial artist, fire
dancer, producer, lighting designer and
installation artist.  He has served CoSM
for almost three years as  construction
coordinator, chief builder and in-house
event producer.

191
Alex Grey, Study for CoSM, 2009, terracotta pencil on paper, 38 x 56 cm.
 The CoSM Community
192 photos courtesy of Susan Buck, Alex Grey, Eli Morgan, Brian James and Marisa Scirocco 193
 Visionary art can carry us into the wonders of outer space, and
the imaginal worlds of inner space. It illuminates the celestial
context into which everything in our world is connected.  The
cosmic gallery shares a universe of artwork from all parts of our
planet. The unique expressions of each artist and the threads
that weave them together are shimmering reflections into the
global visionary arts movement.

194 Amanda Sage, The Watcher, www.amandasage.com astrophotograpgy : www.mistisoftware.com/astronomy 195

 Raul Casillas, Entanglement on the Verge of Extinction, 2007, oil on wood, 122 x 51 cm.

Raul Casillas
www.raulcasillas.com

196
 Blooming, 2011, digital, 29 x 39 cm. Maeana, 2010, digital, 41 x 56 cm.

198
Between Worlds, 2009, digital, 31 x 31 cm.

www.artbyryanjohnson.com
ryan johnson
199
 Douglas Lakota : www.lakotaart.com

Topology of Spirit, 2009, acrylic on panel, 39 x 39 cm.

The Everlasting Knowitail (detail)

The Everlasting Knowitall, 2010-2011, acrylic on panel, 122 x 61 cm.

200 Junk DNA, 2010, acrylicacrylic
DNA, 2009-2010, on panel, 117 x 122
on panel, cm.x 121.92 cm.
116.84 201
 The Frank brothers : www.cosmocto.com

David Frank, Sky Being, 2011, acrylic and wood stain on maple, 37 x 61 cm. Daniel Frank, Jaguar Medicine, 2011, acrylic on canvas, 31 x 61 cm.

202 203
 Chord of Life, 2010, acrylic on canvas, 122 x 122 cm.

Thomas asfor
www.thomasasfor.com
Reflections of Myself, 2010, acrylic on canvas, 71 x 60 cm.

204
 shane haltman
www.ShaneHaltman.com
bassbus.ca

206 astrophotograpgy
Big Hau, 2011,: www.galaxyphoto.com
airbrush and traditional brush mural technique, 34,686 sq. cm.
- jason ware Shane “Big Hau” Haltman, Big Hau, 2011, Airbrush and traditional brush mural technique, 1138 sq. ft 207
 Surrender to the Divine Providence, 2011,acrylic on primed masonite with matte varnish, 30 x 25 cm.

Peak, 2009, acrylic on primed masonite with matte varnish, 41 x 30 cm.

Jaret Johnston
www.feedbackart.com
208
 210
Journey to the Valley of the Moon, 1996, oils on linen, 121 x .91 cm.

The Triptych, 1995, oils on linen, 121 x 91 cm.

www.inspiregeneratecreate.com
Carolea Chandrika Steinhardt
 Catherine Bean, Weser Lotus Buddha Eyes (detail), 2010, hand cut glass and mixed media mosaic
installation, 53 x 71 cm. www.knowonelife.com 

Kathryn ‘Ka’ June, Aswan, 2010, oil on canvas, 30 x 40 cm. www.serpentfeathers.com

Nathan Snyder, Tri Nano Tech, 2011, lampworked borosilicate glass, 6.35 cm diameter.
www.snydersglassfire.com
212 213
 Carey Thompson, Maria Divina, 2010, oil on canvas, 81 x 102 cm. www.galactivation.com

Brigid Marlin, The Annunciation, 1989, mische technique, 60 x 127 cm. www.brigidmarlin.com Kelli Bickman, Christ Buddha, acrylic on canvas, Francene Hart, Earth Prayers, 2009, watercolor,
18 x 12 cm. www.kellibickman.net 41 x 56 cm. www.francenehart.com
214 215
 Simon Haiduk, Inside Clover Grove, 2010, digital paint & mixed media, 56 x 91 cm.
www.symbiosonic.com

Mark Henson, Guardians of the Sacrament, 2006, oil on canvas, 96 x 167 cm. www.sacredlight.to Simon Haiduk, Divine Encounter, 2010, digital paint and mixed media, 91 x 152 cm.
www.symbiosonic.com
216 217
 Bérangère Maïa Parizeau, Neirika, 2010,
ritual art video still

Chris Dyer, Moment of Truth, 2011, acrylic tempera and oil, 76 x 91 cm. www.positivecreations.ca  Ashely Foreman, Plugged In, 2011, acrylic tempera Christine Marsh, Tobacco Spirit, 2010, colored
oil, 76.2 x 91.44 cm. www.MysticTransmissions.com pencil, 22 x 30 cm. www.christinemarsh.com
218 219
 Sandeep Chandran, Shiva in Contemplation, 2010, digital 3D. www.visionarytemple.com

Ryan Tottle, Conscious Feminine, 2010, chavant clay, 25 x 61 cm. www.ryantottle.blogspot.com Shaun Friesen, Digital Union: Prometheus, 2010, Bethan McFadden, Prima, 2009, pencil on
digital installation, 68 x 101cm. www.FreeZen.ca paper, 60 x 42 cm. www.bethanmcfadden.com
220 221
 Bruce Rimell, The Three-Tiered Garden Within (detail, left), 2010, acrylics inks and markers on
canvas, 60 x 120 cm. Kykeon (detail, right), 2009, acrylics inks and markers on canvas, 30 x 82 cm.

Collyn Gold, Breaking Dawn, 2010, ink gouache and acrylic on paper, 76 x 56 cm. Bruce Rimell, The Dream Of Jaguar Slash’ (detail), 2011, acrylics inks and markers on canvas,
www.collyngold.com  60 x 120 cm. www.biroz.net
222
 Anna Kumashov, Maps (detail), 2011, digital media. www.cosmicarmour.com

Ian Arremony, WhisperSphere, 2010, lampworked borosilicate, 4 cm diameter. Al-Lisa Tresierra McKay, Portal of Transcendence~Dialing 2012, Kat Lunoe, All-Beneficent Ra-Hoor-Khuit,
www.ianarremony.com 2011, acrylic and oil on canvas, 76 x 91 cm. 2009, oil on gesso board, 41 x 51 cm.
www.mothershipmovement.org www.nondualelf.com 225
 Jean-Luc Bozzoli, Starseeds Tryptic, 1980’s, acrylics. www.eyewithin.com Daniel B. Holeman, Meo Meditator Light, 2011, pen ink oil and computer enhanced, 46 x 76 cm.
www.awakenvisions.com
226 227
 Della Burford, Shaman’s Eyes, 2011, watercolor and liquid acrylic, 61 x 46 cm.
www.woodstreamstudio.com

Lindy Kehoe, Unveiling A Beyul, 2011, acrylic stone ground pigments and gold leaf on canvas,
Melissa Shemanna, Kundalini Rainbow-Serpent Priestess, 2010, tempera and oil on linen, 80 x 120 cm. 91 x 121 cm. www.goldensunyata.com
www.honeybeetemple.com
228 229
 Josh (Le Josh) Smith, Creation Stories, 2009, pen and marker on paper, 23 x 32 cm. Annie Klein, Saraswati of the Waters, 2011, acrylic mural at Divinitree, 152 x 213 cm.
www.lejosh.com www.newhorizonfilms.co.uk

Lauren Churchill, Breathe, 2010, ink and color pencil, 48 x 61 cm. Erich Heinemann, Choque Chinchay (Rainbow Jaguar), 2011, oil pastel with alkyd oils on paper,
www.dharmawakenings.com 35 x 56 cm. www.deepvisioning.com
230 231
 Nathan Hutchinson, Animus Mercurius, 2009, oils on board, 58 x 71 cm. www.nathanhutchinson.net Nicole Mizoguchi, Paradise, 2006, pastel on paper, 56 x 76 cm. www.nicolemiz.com

Deb DeLisi, Gaia & The Ocean Kingdom (left), 2010, mixed media on canvas, 60 x 91 cm. Nicole Mizoguchi, Light Awakening Mandala, 2011, color pencil on paper, 20 x 28 cm.
Level 14 (right), 2010, digital. www.delisiart.com www.nicolemiz.com
232 233
 Chris Morphis, This is My Love for You, 2010, oil on canvas, 89 x 132 cm. www.morphisart.com

Martin Bridge, Mycelial Messenger, 2011, acrylic on panel, 122 x 81 cm. www.bridge.ritualarts.org Lara B. Sorensen, Lakshmi, 2010, acrylic on panel, Grigor Kotnani, Unsuspecting End, 2009, oil on
61 x 76 cm. www.Larabsorensen.com canvas, 117 x 152 cm. www.grigorkotnani.com
234 235
 Tsang Man Tung, Spiritual Ascension - Radiant Flow Drawing, 2011, ink on water color paper,
38 x 25 cm. www.allpamamahealingcircle.wordpress.com allpamama.hc@gmail.com

Imago Dei, Samatrabhadra and Samatrabhadri, 2008, acrylic and water based oil on canvas, 91 x 122 cm. Robin de Lavis, Flight to Home, 2011, acrylic on canvas, 76 x 102 cm,  www.lavisart.com
www.imagodeiart.com
236 237
 Shane
Franz “Big Little
Landl, Hau” Spirit
Haltman, Bigtempera
, 2001, Hau, 2011,
andAirbrush and traditional
oil on canvas, 220 x 160brush mural technique, 1138 sq. ft
cm. www.canamo.piranho.de
www.ShaneHaltman.com, bassbus.ca (to learn more about bus project itself)

Robert Pasternak, Secrets of the Universe No.12, 2011, Digital/Adobe Illustrator, Eric Montross, Sunset Temple, 2011, digital alchemy, 9 x 11 cm. www.illuminertia.com
www.robertpasternak.net 239
 Ross Trebilcock, Hermes Trismegistus, 2000, oil on panel, 120 x 170 cm. www.rosstrebilcock.com Narada Das, Universal Yoga Mandala (detail), 2007, digital montage, 59  x  84 cm.
240 www.yogaverse.com 241
 Cee, On, 2011, acrylic on panel, 61 x 61 cm. www.presentnonexistence.org/ceeart

Dan Cohen,World Weave, 2009, oil and mixed media, 107 x 107 cm. www.dc-creativelabs.com Jamie Lee, Nature of Being, 2006, acrylic on canvas, 117 x 117 cm. www.mythirdeye.info
242 243
 Cody Chancellor, Two Shrooms, 2004, oil on canvas, 102 x 127 cm. www.chancellor.net

Gabe Marquez, Cthulhu: Version 11, 2011, polymer clay and enamel, 64 x 33 x 38 cm. Ciaran Shaman, Contact, 2011, color pencil, 46 x 36 cm. www.ciaranshaman.co.uk
www.gabemarquez.com
244 245
 Robert Marion, Erica Snowlake + 500 painters, Roberts Creek Community Mandala, 2009,  Daniel Martins, Exploration Stargate, 2010, media on wood panel, 122 x 122 cm.
latex on asphalt, 1,829 cm. across, photo : Chris Yeske, www.robertscreekmandala.org www.brainscamstudios.com

ARTmuffin, Page from the Book of Gosh’ (detail), 2010, acrylic and sharpie on canvas, 20 x 25 cm. Chris Varthalamis, Transcendent Pendant, 2011, Piercarla Garusi, Tu Sei Spirito Infinito, 2010, acrylic
www.artmuffin.com digital photoshop alchemy and illustrator, medium, 76 x 101 cm. www.piercarla-paintings.co.uk
246 38 x 38 cm, www.arahant30.deviantart.com 247
 Kim MOn
Cee, , 2011,Pliny’s
Evans,  acrylic on panel,
Nereid 61 x 61 cm.
, 2011, mixed www.presentnonexistence.org/ceeart
media & digital, 40 x 28 cm. www.kimevans.com

Sukhi Barber, Emanation, 2010, bronze, 62 x 52 x 36 cm. www.sukhibarber.com Journeyboy, KiakraExploration

Daniel Martins, , 2010, oil on canvas board,
Stargate, 66 x 102
2010, media cm. www.journeyboy.com
on wood panel, 122 x 122 cm.
www.brainscamstudios.com
248 249
 Alex Sastoque, Visions of the Great Hexagon, 2008, oil on canvas, 70 x 100 cm.
www.alexsastoque.com

Jae Conner, Tiger Morph, tattoo ink on skin - entire thigh, www.electriclotustattoo.com Vacio Cielo, Yuiknoma, Return to the Origin, 2011, Photo Collage. www.wix.com/chacopaix/el-vacio-cielo

250 251
 Crystal Stader, Rebuilt and Renewed, 2011, acrylic and oil on canvas, 61 x 61 cm. Silvia Pastore, In the Absence of Saint George, 2010, oil on canvas, 49 x 70 cm. www.silviapastore.com
www.crystalized-art.com

Crystal Stader, Nurturing Self Affinity, 2009, acrylic and oil on canvas, 122 x 152 cm. Janet Morgan, Whoa! (From the Wild Woman Series), 2010, watercolor and oilstick, 66 x 101 cm.
www.crystalized-art.com www.janetmorgan.net
252 astrophotograpgy : www.mistisoftware.com/astronomy 253
 Mandela Shabazz, Outer Demons, 2011, acrylic on canvas, 27 x 35 cm. www.outerdemons.com

Steve Shorts, Mescalito, 2010, oil on canvas, 91 x 152 cm. Mani C. Price, Know Thy Self, 2010, oil on canvas, 56 x 71 cm. www.manitheuncanny.com
254 255
 John N. Grunwell, Calabi-Yau Transcends the Observable Universe (Slight Return), 2011,
marker and acrylic on panel-mounted paper, 41 x 61 cm. http://mahajohn.com

Paul Mezinskas, Mystic Tears, 2010, colored pencil on illustration board, 76 x 102 cm. Aaron Landman, Flourishing, 2010, watercolor Penny Slinger, Creatrix (detail), 2010, digital
VowOneWisdom@gmail.com on paper, 46 x 36 cm. www.aaronlandman.com collage, 41 x 61 cm. www.64dakinioracle.org
256 257
 Elisa Rose Mountain, Spirits Fly, 2010, Nikki Moon, Where is Dragonfly?, 2006,
tempera and oil on board, 30 x 46 cm. photography, 22 x 28 cm. www.nikkimoon.com
www.elisarosemountain.com

Shannon Brown, All In One, 2011, acrylic on canvas, 51 x 76 cm. www.shamanicportraits.com Amy Livingstone, Buddha, 2009, Brian Paul Smith, Thank You, 2009,
acrylic on canvas, 122 x 122 cm. Lenticular Hologram, 55 x 71 cm.
258 www.sacredartstudio.net www.holographicfractaluniverse.com 259
 astrophotography
in the Cosmic gallery

Jim
MIsti
Jason
Wa r e

Neil
Fleming

www.flemingastrophotography.com
www.mistisoftware.com/astronomy

www.galaxyphoto.com
Erika McGinnis, Tengri, 2000, oil, 91 x 122 cm. www.erikamcginnisart.com
260
 www.imaginaryrealism.com

www.imaginaryeditions.com www.imaginaryrealism.com
 www.alchemeyez.com

www.tribe13.com
 www.keithprossick.

www.asova.org

www.visibleman.net
266 267
www.mokshafamily.org www.communityartsandculture.org
Fear of Death is
Holy Hell Psychoactive Poetry
Earthghost
Inspired journeying
Fear of the Unknown
from Holy Hell: Pyschoactive Poetry through Laos, Burning
Man and New York
Death is the greatest gift. “S. W. Whelan’s new book of during the last five
Some say you, Mother, are pure grippingly innovative poetry, years has brought
potentiality, the supreme Creatrix ‘Holy Hell,’ will literally blow about Earthghost
beyond and beneath actuality. your mind. He masterfully from the land of ideas
I know thee, I have come brings the mysteriously into reality.
to know thee.  I have touched confusing wonder of our
your seed-Nature in sweet, slow dying. collective unconscious world Earthghost is 165
In all my little deaths into a genuine, heartful acres of native
I die into you as I leave a fresh meeting with our conscious bushland/
field of gently laughing void. mind’s desire to grasp life’s forest that lies in
It is clear that your love
existential meanings...then the beautiful Yarra
twists and turns their shared Valley, one hour East
is unconditional and eternal
perspectives in ways that of Melbourne in
because we who live are assured to die.
bring those meanings alive South Eastern
Let death, esoteric flower of life,
and feed us at all levels of Australia.
Goddess Mother, flood my brain our hungry awareness. If you
as I return into your gaping Emptiness. are open to playing in the An Antipodean sister
Fold it over me, surround me, underlying paradoxes of life for CoSM.
squeeze my nervous system and diving into the existential We feel fortunate to
until the life erupts out mystery of it all, this book will be given this
for a few seconds. feed your soul.” opportunity to open
Not too soon—I want the slow foreplay
– Bill Bauman, Ph.D., up this property to
of awhile living life to build
Founder of the Center those who wish to be
the pressure for a juicy death.
for Soulful Living interactive and effective in creating a site where the consciousness
Formless One,
exploring community can meet and express. We will be hosting a variety
at that instant
shake every particle of my being
of art workshops, ceremonies and small events over the coming year. If you
into annihilation by love of You.
are in or traveling to South Eastern Australia and wish to visit or be involved
Mother, I cannot but know thee.
please contact us through the web site.
Even in forgetfulness, I know thee. please contact us at
At the right time, violate my mind. All love, Thy and <mOUSe----- www.earthghost.org.au
Close around me like a closing eye.

‘Holy Hell: Psychoactive Poetry’ by S. W. Whelan is Art by

available at amazon.com and barnesandnoble.com Gabriel Charvit
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 Every piece made by hand using traditional methods by individual,
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CoSM Readers may take 10% off their order using code “COSM10” during Checkout!

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Expressive Arts Programs to connect with Your Eco-Creative Self

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no art background is needed

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contact Susan E. Fox
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delvin@CoSM.org
 Galactic trading cards

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glyph : myspace.com/artbyxavi
astrophoto: NASA www.elvism.com

CoSM Journal
provides a forum
for the emergence
of visionary
culture and shares
with its readers the presenting the new release
work and stories
of artists, thinkers, record label
and community music publishing
builders who are consulting
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 USKO-AYAR AMAZONIAN
“The light is eternal and will exist
with or without our physical body.
It will continue to evolve even

SCHOOL OF PAINTING when we’re no longer physically

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Now the USKO-AYAR Amazonian Painting
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of all people who need it.  We give sincere journeys is on personal healing, inner exploration,
thanks in advance to all who unite in this self-discovery and spiritual growth.
noble cause.
www.know-thyself.org
Contact:
Jr. L.M. Sanchez Cerro info@know-thyself.org
No.465, Pucallpa, Peru
jvamaringo@yahoo.com.mx 
51 061 486697

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276 277
 www.lastgasp.com www.jonathanappleseed.com/cosmieosis

New from Law of Time Press

Time, Synchronicity and Calendar Change:

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South’s new book reveals the mystery of
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Although time (and not too much of it) will tell, I suspect
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AGM Tours is fortunate to work with local and international artists,

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In 2011, AGM Tours proudly presented the Alex Grey and Allyson Grey Australian
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portfolio of visionary paintings, drawings, and multimedia to art, science,
and music lovers across the country.
AGM Tours looks forward to presenting future events for artists,
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Visit our website for info on upcoming events:
• Omega Institute
• Mount Madonna Center www.freezen.ca
• CoSM
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631- 882-8167 cat@catmcguire.com
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 Endless gratitude to all who are exploring
new territory in their work and have
contributed to this CoSMologue. We are
thankful for the space sponsors whose
generous support covered the printing and
design costs of the Journal, this would not
have happened without you. We offer this
publication to every person dedicated
to becoming conscious.
You are all visionaries.
Cosmic Love,
Delvin Solkinson and
Marisa Scirocco

Amanda Sage, Fierce Prayer , 2010, oil on canvas, 91 x 122 cm www.amandasage.com