Summer Solstice 2004: issue one

Eyes of the soul—and ears of the soul, and hands and

feet and tongue and voice. Surely that is one of the most
precious functions and services of art—to help us see more,
feel more, know more, love more, express more, than we
thought possible. If the word “soul” represents, among other
things, the best part of the personality, then art as the
evocative display of the soul is the best part of art... Although
traditionally the “soul” was taken to mean a mental entity

Prostration by Alex Grey, 1993-95, oil on linen, 56x72 in.

divorced from a material body, more sophisticated notions
view the soul as the integrative function of the personal-
ity wherever it might appear. That is, “soul” no longer
means merely that which transcends, but that which
transcends and includes. The highest, deepest, widest
art is therefore integrative art, or
integral art. Integral art takes as its terrain
body, mind, and spirit in self, culture, and nature.

---Ken Wilber, from the foreword of Phil Jacobson’s

forthcoming book, Eyes of the Soul
 summer solstice 2004
“This call for a world-wide fellowship that lifts
neighborly concern beyond one’s tribe, race, class and
nation, is in reality a call for an all-embracing and
unconditional love for all people...
When I speak of love I am not speaking of some Matthew Fox
sentimental and weak response. I am speaking of that On Sacred Mirrors
force which all of the great religions have seen as p.6
the supreme unifying principle of life. Love is some-
how the key that unlocks the door which leads to
ultimate reality.
This Hindu-Muslim-Christian-Jewish-
Buddhist belief about ultimate reality is Kenji Williams
beautifully summed up in the first epistle of p.15
Saint John:
‘Let us love one another; for love is God Celestial Time
and everyone that loveth is born of God and Full Moon Calendar
p.31
knoweth God. He that loveth not knoweth
not God; for God is love. If we love one
another God dwelleth in us, and his love is
perfected in us.’ Alex Stark
Let us hope that this spirit will become p.33
the order of the day. We can no longer afford
to worship the god of hate or bow before the
altar of retaliation.
The oceans of history are made turbu-
lent by the ever-rising tides of hate. History Gabrielle Roth p.13 Photo Gallery P.35
is cluttered with the wreckage of nations and
individuals that pursued this self-defeating CoSM Gallery
path of hate. Oliver Vernon P.­­37
As Arnold Toynbee says :
‘Love is the ultimate force that makes for
the saving choice of life and good against the
damning choice of death and evil.’ Paul Laffoley
Therefore the first hope in our inventory must be p.10
the hope that love is going to have the last word.”

excerpted from
Beyond Vietnam: A Time to Break Silence Textile Existence:
Arlequin p.21
By Rev. Martin Luther King Transformative Living:
April 4th, 1967­ Omega Institute p.23

Esalen Art Center p.25
Poetry Strange Reality
Liz Rymland p.9 Zena Grey p.29
Marie-Elizabeth Mundheim p.40

Published by Entheon Press ROneflections
the Sacred Mirrors
Chief Editors:
Alex Grey, Allyson Grey by M atthew F ox
Creative Directors, Graphic Design, Nothing is more crucial for the survival of
Production and Advertising:
our species than renewing our sense of the sacred.
Eli Morgan, Marisa Scirocco
At least that is what a dream told me several
Contributing Writers:
years ago, one of those dreams so lucid and so
Contributing Artists:
Matthew Fox Dean Chamberlain
powerful that it woke me up. As I
Alex Stark Alex Grey lay sleeping, a voice spoke to me:
Zena Grey Allyson Grey “There is nothing wrong with the
Liz Rymland Paul Laffoley human race today except one
Marie-Elizabeth Mundheim Oliver Vernon thing: We have lost the sense
Alex Grey Eli Morgan of the sacred.” And I woke up,
Allyson Grey Marisa Scirocco startled.
Marisa Scirocco Kenji Williams The Chapel of
Eli Morgan Sacred Mirrors offers us a
Kenji Williams unique opportunity for spiritual
Jayson Fann renewal by contemplation of
transformative art. By locat-
ing the sacred in us, Alex
Proof Reader: Grey’s art is an affront to all
Grace fear-based and guilt-based
ideologies that tell us we do
Website: www.cosm.org not have what it takes, that
Email: Delvin@cosm.org salvation or wholeness must
always come from the out-
side. In contrast, Alex, like
Cover Art: Sophia (detail) by Alex Grey, 1989, acrylic on canvas Hildegard, the visionary
mystic from the twelfth
CoSM Journal, published by the Chapel of Sacred Mirrors, provides
century, proposes that our
a forum for the emergence of Visionary Culture. CoSM Journal
beauty, grace and radiance
shares with it’s readers the work and stories of artists, thinkers, and
community builders who are dedicated to transformative living, and
comes from inside—that
committed to the integration of wisdom and the arts. CoSM Journal we already have “all that is
is offered to inform, connect, and inspire this evolving global aware- necessary inside us.” Alex’s
ness. art invites us to reflect on our
inner beauty. Contemplating
the art in the Chapel of
The Chapel of Sacred Mirrors (CoSM) is a sanctuary in New York Sacred Mirrors is certainly not
City for contemplation and a center for events encouraging the creative narcissistic navel gazing.
spirit. The Sacred Mirrors, on display in the Chapel, are a series of It is stirring the “Buddha
paintings that allow us to see ourselves and each other as reflections of Nature,” or“Christ within,”
the divine. CoSM provides a public exhibition of the Sacred Mirrors the “Shekinah,” “Goddess,”
and the most outstanding works of mystical art by Alex Grey. The “Imago Dei” or image of God,
Chapel of Sacred Mirrors is a 501(c)(3) organization, supported solely by the “Divine Spark” in all of
charitable donations from the community. us. Paintings in the Chapel
invite us to meditate on our
unseen layers of innerness, the
many layers of subtle energetic
fields and the anatomical
CoSM Journal is printed with recycled paper and soy-based inks.
embodiment of our Incarnation
(God-made-flesh).

SPIRITUAL ENERGY SYSTEM

continued on p. 7 1981, acrylic on canvas, 84x46 in.
 Physically, emotionally, energetically, psychically, and spir-
itually, we embody many layers and depths of being at once. We are
our ancestors and our experiences of glory, we are our enemies and the
abused, we are Buddha and Christ, everyman and everywoman, the per-
petrator and the victim. It behooves us to pay attention to each station
of these Sacred Mirrors.
An ancient mystical teaching, summarized as “speculative
mysticism”, describes individuals as “mirrors of God”. (The word for
“mirror” in Latin is “speculum.”) To the speculative mystic we are each
reflections of God. Saint Paul, on one of his better days, put it this
way: “And we, with our unveiled faces reflecting like mirrors the glory of
the Lord, all grow brighter and brighter as we are turned into the image
that we reflect.” (2 Cor. 3:18) We do indeed reflect the glory or doxa
or radiance of the Cosmic Christ and the Buddha Nature and Alex’s
art assists us in experiencing this deep truth. But only if our faces are
“unveiled,” that is to say only if we work out of our true (or inner) selves
and not our outer or superficial, veiled, personas. We need to know our-
selves honestly and deeply for this divine image to shine. But St. Paul
is challenging us by suggesting that we grow “brighter and brighter”
into our divine mirrorhood, into being true images of God.
Life’s joys and sorrows, ecstasies and disappointments, all render us more
glorious and resplendent reflectors of Divinity. Or does it?
A meditative walk through the Chapel of Sacred Mirrors helps us
recover our own cosmic and spiritual dimension, providing good medicine and
profound healing for our typically fragmented and neurotic postmodern soul.
Corporate culture’s ubiquitous distractions, Religion’s alienation from and
negativity toward nature, along with the mindset of scientific materialism
have effectively destroyed our sense of community and kinship with the
cosmos.
PSYCHIC ENERGY SYSTEM SPIRITUAL ENERGY SYSTEM UNIVERSAL MIND LATTICE
1980, acrylic on linen, 84x46 in. 1981, acrylic on canvas, 84x46 in. 1981, acrylic on canvas, 84x46 in.
p.7
In contrast, Russian Orthodox philosopher Nicolas Berdyaev expresses
a cosmic sense of transfiguration when he writes: “The central idea of the Eastern
fathers was that of theosis, the divinization of all creatures, the transfiguration of
the world, the idea of the cosmos, and not the idea of personal salvation…. Only
later Christian consciousness began to value the idea of hell more than the idea
of the transfiguration and divinization of the world…. The kingdom of God is
the transfiguration of the world, universal resurrection, a new heaven and a new
earth.” It is this sense of cosmic transfiguration that is regained for us in the
Chapel of Sacred Mirrors.
The Chapel facilitates healing the dissonance between body and soul.
Materialism denies the possibility of redemptive spirituality. Augustinian sus-
picion of physicality alienates the soul from physical nature. Today’s physics
teaches us that matter is slow moving light (“frozen light”, according to David
Bohm), ending the opposition between energy and matter. Body and matter are
not obstacles to spirit, but rather unique incarnations of spiritual light, a mes-
sage of the Sacred Mirrors. In our bodies, not outside them, fighting them, or in
spite of them, we recognize spirit in its multiple and beautiful variations. Truly,
this incarnational spirituality honors the holiness of flesh, our flesh and that of
all living things. Unembodied light is far more abundant in the universe than
embodied light. Privileged to exist as embodied light, we shouldn’t denounce our
embodiment, but reverence and utilize it in communion with other light beings in a
symphony of divine celebration.
Alex Grey’s Chapel of Sacred Mirrors helps us see a sense of the sacred
in everyday things—our family and love relationships, the processes of birth, aging
and dying. Sexuality is not tawdry, but again sacred as it once was in the Song of
Songs and as it is in some religions of the world. Grey’s powerful visionary art
can re-enchant our existence by reminding us of the infinite Mystery surrounding
and abiding within us.
Matthew Fox is the founder and president of the University
Creation Spirituality (UCS) located in downtown Oakland, California. UCS is
unique in its commitment to bring spirit to education and our professions. He is
author of 24 books, including the best selling Original Blessing.
creationspirituality.info
AVALOKITESVARA CHRIST SOPHIA
1982-83, acrylic on linen, 84x46 in. 1982-85, oil on linen, 84x46 in. 1989, acrylic on canvas, 84x46 in.
 Entheogenic Free-Style
Lizbeth Rymland

The other night I awakened as hovercraft circling some kind of dusty Architect of Being
gem-encrusted queen sleeping upright on a night throne on the Nazca Plain. 
She burned gold and crimson under my firefly hovercraft lights, “Symbol-myths are energy portals - being in the presence
though she was covered with dust, beautiful, nodding. of them is like facing something totally beyond yourself.
Circling her head coming closer I heard her mumbling: They appear as beings of greater maturity, aliveness, and
internal complexity than you. Their capacity to generate an
“Examining the spectrum of monstrification we can rapidly recognize that energy of a different and more intense nature that you are capable of
monstrification extrudes at the source point of circulation blunting.  generating, elicits the classic sublime response, which transcends
If disease is born from an inhibition of soul-life, soul-life circulation beauty: joy combined with horror at the rush of the infinite.”
is the key to reanimation across the numbzones of deadification and
separation blunting.  Sorry things have deadened, numbness expands like the — Paul Laffoley , The Phenomenology of Revelation
flabby of banality in every direction.  Coyotes will be released to unplug
fixity. First the gold elevators of the Trump Tower open to reveal first­one
giant Indian clown, a Koshari.  He is mammoth brown -- broad jawed with
raggedy clothes but this one’s raggedy is electrified.  He wears a
polka-dotted hat with a broad brim and pom-poms hanging from it.  He stands
in the gold open elevator of the Trump Tower as the first sign of the others
to come down one after another like a slurry of blessings that open the
elevators to infiltrate the city. This heyokeh secretly carries in his
briefcase a medicine bundle with spangled gak to infect with blessing the
atrocities in every dead man’s quarter:  Corporate showrooms, sexslave
camps, bad masons, boardrooms and bedrooms of each and every character that
Christ would spit from his mouth for being neither hot nor cold.  The polka
dot Heyokeh exits the elevator, walks behind a screen where he is
simultaneously cloaked in a suit carrying a suitcase through the city filled

The Five Principals of Geezer Art, 2003, Ink, vinyl lettering and photocollage on board, 31 x 31 in.
and leaking with spangles as holy as the saliva and bodily fluids exchanged
between Christ’s and Magdalene’s.  Sopping wet from Christ sperm and
Magdalene’s blessed foam, Entrails everywhere are enlivened and golden,
heightened elongate till dancing.  Take your dreary dead man’s cloak and
silkenwebbery you are covered with greasy plaid stuff and bless it with the
gak from the polka-dotted contrary’s spotted apocryphal bible.
*Deadification occurs when the rapid rise of wonder and awe and love in
one’s tissue is met with sudden denial or shock or battery and somehow the
denied one is distracted and doesn’t meet this rupture with full-blown
howling or more simply, unlike the traumatized animal who has just shammed
dead and rises to shake the trauma off the spine, we sometimes forget after
springing to our feet to shake the trauma off the spine.

Hey! Yer tailbone is stuck in the inverted position!  Stick a finger in and
yank the tailbone down!  Take the spangles from the contrary’s briefcase and
sup of it from your long fingertips.  It lives in you he/she lives
everywhere!  In fact, examining the broad spectrum of monstrification
we can rapidly recognize that monstrification extrudes at the source point
of circulation blunting and that soul life circulation
across fixed borders of ancestral and familial separation and forgetting
is the key to reanimation across the numbzones.”

p.9
 Paul Laffoley’s artwork Dimensionality:
The Manifestation of Fate, 1992
heralds a new and visionary stage Oil, acrylic, ink, and lettering on canvas
in culture and human understanding. 98 1/2 x 49 1/2 inches
First exhibited in the late 1960’s, Courtesy of the artist and
his mind-expanding mandalas draw together ­­Kent Gallery, New York
all fields of human knowledge and offer
hyper-imaginative glimpses into the possibilities Subject:
The Natural Octave of Spatiality and
of time-travel, levitating gyroscopes and plant
Temporality
houses. Laffoley sees the future and paints it.
Symbol Evocation:
What distinguishes Paul’s work from modern and post-modern art is his encyclopedic and The Geometric Force of the Tension
integrative non-ironic mapping of levels of being and thorough acquaintance with the between Fate and Will
transcendental domain of reality. Laffoley invents terms like Aetheiapolis, Nihilatron and the
Bauharoque because new ways of thinking demand a new vocabulary. To truly appreciate one
of Paul’s artworks is to become familiar with how psychotronics, sacred geometry, and UFO’s
may be related, or to contemplate the source of consciousness itself. In viewing Paul’s art, we
are confronted by our own level of ignorance, presenting us with both a challenge and an
opportunity to learn. The artist calls his paintings “architectonic thoughtforms,” suggesting
that each piece is a dwelling constructed and inhabited by his psyche, and making an exhibition
of his artwork a kind of “thought-city”, designed and governed by the artist himself.
­Paul Laffoley’s intriguing biography reflects the strange uniqueness of his art. Born
into an Irish Catholic family in Cambridge, Massachusetts in 1940, Paul spoke his first word,
“Constantinople,” at six months, and then remained silent until the age of four when he was
diagnosed as slightly autistic. At that age he began to draw and paint. In his senior year at
Brown University he was given eight electroshock treatments for a nervous breakdown, but
managed to graduate with a triple major of Classics, Art History and Philosophy. He studied
at Harvard Graduate School of Design, and apprenticed with the visionary architect
Frederick Kiesler. In 1968 he moved into an eighteen by thirty foot utility room to found a
one-man ”think tank” and creative unit called the Boston Visionary Cell where he has lived
and worked for over 35 years. Laffoley supported himself for some time, with a job at the
Boston Museum of Science, returning to the BVC to eat, sleep and work on multimedia
renderings of his visions of alternative futures and complex realities. During a routine
CAT-scan of his head in 1992, a miniature metallic “implant,” 3/8 of an inch long, was
discovered in the occipital lobe of his brain, near the pineal gland. Local M.U.F.O.N. (Mutual
U.F.O. Network) investigators declared it to be an alien nanotechnological laboratory. He has
come to believe the “implant” is extraterrestrial in origin and is the main motivation behind his
ideas and ­­­theories. Paul shows with Kent Gallery, New York City, and was recently honored
with a retrospective at the Austin Museum of Art.
“I literally have one foot in the grave so I have a connection
The Lion Footed with death. At first I wasn’t experiencing any phantom limb
A few years ago, while installing a solo show in a Manhattan gallery, Paul fell from a sensation, so I got twelve people, candles and did a séance at the
ladder and shattered the bones in his ankle. Several surgeries and many months later, the injury Psychotronic Association. They were into it. We discovered that when
refused to heal and Paul had his foot and lower leg amputated. Through his indomitable spirit the amputated foreleg and foot passed over into the spirit realm an astral
and much physical therapy, Paul walks again. He commissioned an illustrious artist to create lioness got it. I had to reason with the young lioness’s father to get it
for him a comfortable prosthetic lion’s foot. Here’s how Laffoley describes his foot: back. After the séance was over, my foot started to hurt. I had gotten it
“Eighteen centimeters below the knee is where the cup starts. It resembles the front back. With the new leg ­­on I feel it’s almost like having a real leg. I bump
foot and angle of the way a lion stands. Stan Winston, FX to the stars in Holly wood, made into things and I know it’s there. My whole life I wanted a lion’s foot.
this foot. He probably took something off the shelf and modified it for my prosthetic. People say they want a rabbit’s foot. When I was six years old I was
thinking about this stuff, so be careful what you pray for.”

p.11 For more information on Paul Laffoley, go to www.kentfineart.net


Reinventing Contemporary Shamanism
My world, as I had to reinvent and redefine it for myself, is totally shamanic.
The world we live in does not embrace or understand contemporary shamanism, which is
the transformation of cultural and personal wounds into creative forms. My work clearly
falls into the Shamanic paradigm and needs a contemporary denotation. It is a marriage of
Art and Healing, and one who practices their art as medicine or their medicine as art falls
into this category. If we include people like Sam Shepard, Patti Smith and Alex Grey,
we see their art has an edge, and it is madness that calls us to dance that edge between
everything, dark and light, that place where we are disillusioned of all the contraries.
Dance was the first way that we had of expressing our connection to the
divine. It was the most primordial in the sense that the drummer was within.
The Shamanic Paradigm dating back to about 75,000 years ago, came out of a
wonder of our environment. We began asking questions like, “Who am I and how
do I connect to my world?”. The way we connect on a primal level to our
environment is through moving. The truth of existence is being, which is an
action, a verb. We become a part of that action through moving with the
waves, with the cycles, with the patterns; to become an expression of the
changing seasons and the night and day cycles. Out of this grew all shamanic forms.
The 5 Rhythms as a Map
One day the drums were calling to me and I began to dance, accessing different states of
consciousness through the dance and it was then I began finding the maps. When you
want to go inside to the essence, to the core of it all, you have to have a map - so I began
my career as a map maker. This is how the 5 Rhythms came and all the maps that
followed. It was a hologram, a medicine wheel, a map to how the psyche is formed,
wounded and healed. It came out of, and I consider it to be, the essential Feminine
Spiritual path which comes from the body. I was the captive audience, I named and
articulated them, but the rhythms were there. They were in orgasm, child birth,
place, people, they were in everything you’ve ever done.
The first rhythm, Flowing, is the feminine, the idea you are the receiver, the
receptor, letting it all in. Then we move to the Staccato period when you define
what you are experiencing and what you want to express. This takes us into
the real heart and passion of the creation and there is a dynamic that happens
between the feminine and masculine - between the body and the heart that
takes over and we enter the Chaos realm.
p.13
This is like a seed that is created and becomes its own
dynamic entity and we begin to learn to serve it. If we
are able to go into this unknown place with our creation,
then we have entered the realm of the intuitive artist. Out
of that comes the fourth rhythm of Lyrical - a place of trance,
of no ego - an energy of letting our creation be what it wants
to be and is now being.
Then we move into Stillness, which has its own
energy and we have become detached from whatever it is we’ve
been a channel for. This is the DNA of the creative process
which I fell upon, a continuous process that is recreating itself
through movement. It is a map about energy which is never fixed
and always in flux. ­
Mirrors
I have about 150 teachers all over the United States, Europe, and
the British isles who are teaching the 5 Rhythms. The teachers training requires
people to do 400 plus hours of the work, then they can be certified as teachers.
The most advanced section of the training is Mirrors. It is about owning your own ego.
First we go through the 5 Rhythms where we get our physical bodies in motion, in flux,
in energy; grounded and centered. Next there is the Heartbeat level which is embodying
and expressing our emotional world in a very fluid, free form way and we practice being
different emotions. The third level is about the life cycles. Once we have opened our
bodies to dance, we begin to feel and attach feelings to certain relationships. We need
to cleanse and look at our life, our death and everything in between. We see the sacred
teachers of Mother for body, Father for heart, self for self, society and the Universe,
or God, or the Universal Principal, or Great Spirit; whatever name we want to put
on that. Each of us has to have a direct relationship to these energies.
Once we have realized that there is indeed no one to blame; not our Mother, not our
Father, not our self, not our society and not our God - that the problem must have
another name - and that is Ego. We begin to work with the concept of Ego Trip, which
is not who we truly are, it is who we are not. So this is a forum to invite the ego to
center stage and witness. I am not teaching people to teach this whole journey because
that is overwhelming. I am teaching them to teach the 5 Rhythms knowing that it will
catalyze and inspire all of these other changes organically over a period of life. Because,
life itself is designed to enlighten us if we choose to wake up and see what the life cycles
are today. That is the beauty of being in a room with all ages of students and teachers
because we are dealing with all levels of maturity that learn from one another. It is
really a path that is designed to give us the tools and maps to resurrect ourselves, rein-
vent ourselves, to heal, if heal means to bring oneself back into wholeness and therefore
holiness, or the sacred self.
The above were excerpts from a conversation between Gabrielle Roth, Alex Grey,
Marisa Scirocco, and Eli Morgan at Spirit New York on April 8th, 2004.
For more information on workshops, music and books by
Gabrielle, go to www.5rhythms.com

FUTURESOUND
CoSM: Your music has been referred to as evolutionary.
Can you talk about this?
Kenji Williams: Making music and performing is my spiritual
practice, my study and discipline. Through my work I learn about myself
and the world. It is a vehicle that is integral to my own evolution.
Ken Wilber, evolutionary theorist and scholar, would use the term, Integral art.
The integral artist utilizes his or her art as a transformative spiritual practice.
A composer infuses their music with levels of transformative power intending
that the power be transmitted to the world.
CoSM: How is performing live important to your music?
KW: The true beauty of music comes forth
when you share it with people, which is a give and
take deal. The musician feeds off the vibe of the
collective, the audience receives it and sends the
energy back to charge the musicians. Electronic
music often uses material from CD’s or vinyl.
I love that, but an analog instrument, like a
violin, cannot be replicated. The violin is so
expressive, and makes a beautiful balance
with the electronics. Electronic violin
is surprising to the audience. I create
resonant harmonies intended to heal
people, and open up chakras. I’d like
to touch the rock music scene, the
avant garde art scene and
mainstream pop.
CoSM: Does performing live impact the spiritual message of your music?
KW: More than a spiritual message, I’d like to communicate a spiritual experi-
ence. Experiencing transformation is far more powerful than studying or reading about
transformation. I am essentially in meditation when I perform, and intend to bring the
audience into that state with me. The music takes the audience on a journey, telling
a story through sensory stimulation, rather than thoughts.
CoSM: Tell us about your work with Alex Grey on the Worldspirit Project.
KW: Worldspirit is a unique collaboration. On Dec 12th, 2003, Alex and I
performed for an audience of over 1000 people in Oakland, California. This event was
called ”Worldspirit” produced by a new media company called Magnetic Presence.
The idea was to document the live show, and release it on a DVD. This project
originated from an earlier event I created at the Infinite Kaos warehouse in San Francisco,
a spontaneous fundraising party ­for the Chapel of Sacred Mirrors and my album “Original
Face”. It was a musical, spoken word collaboration. I wrote sample loops and melodies
based on poems and rants by Alex.
p.15
This spontaneous event sold out in
three days. Straight off the airplane
from New York, without rehearsal,
Alex and I did the hour-long audio
visual performance based on loose ideas
we’d discussed on the phone. Alex recited
poetry and spoken word, with paintings
projected on a screen, while I performed
using a soundtrack and violin. Alex is
an amazing human being - not only an
incredibly talented painter, but a
provocative poet and performer.
The response from people was amazing
and I felt an incredible connection with Alex
while performing. I had invited my friend, the
founder of Magnetic Presence, Eric Kalabacos, who
approached me the next day, interested in bringing the
collaboration to the next level. Eric has an unusual
combination of experience - years of event production,
smart business skills, and a teacher of Buddhism. He
embodies the perfect elements - a trusted relationship with
the focus and discipline to take the project from concept to
completion. Magnetic Presence Company is the right venue
to produce and distribute the work worldwide.
With the Worldspirit event in Oakland, we had more
time to collaborate conceptually and musically. There were three
large screens to project Alex’s images, and a second stage for
compatible performances - a politically charged performance by
Chris Sia, a dance performance by Sayoko Yazawa and a team of
accomplished video artists called Aura from Tokyo. Worldspirit
was a complex and spectacular production that performed to a
sell-out crowd. The whole community of San Francisco came
together. Since late December, I’ve been editing countless
hours of video utilizing all of my skills as a musician,
composer, and filmmaker. It’s not only a beautiful film, but
the message is very important and powerful. My friend-
ship, love and respect for Alex and Eric has deepened
throughout this project. Worldspirit can provide a
beacon of hope, an example of what is possible when
people collaborate with discipline, focus and
maintain a positive vision for the world. To create
a harmonious world we need to visualize it, bring
it into existence through art, and translate it
vividly through creative vision and sound.
Worldspirit is an icon for this message
and does not end here.
To learn more about, and hear
the music of Kenji Williams,
go to www.kenjiwilliams.com
 Walk down Manhattan’s still-industrial
West 27th Street, past warehouses and a Harley-
Davidson shop, and you will see gigantic finely
crafted wooden doors marked with Spirit New York’s
emblematic seven pointed star. This West Chelsea
neighborhood in recent years has been transforming
from a no-man’s land of raw spaces for doing the dirty
work, to the glamorous center of the art world in New York City and therefore the art capitol
of the world. First, galleries from SoHo and 57th Street moved to the West 20’s in droves, a
migration that is still ongoing. Now clubs are finding their way there. The giant interiors
of factory buildings are being hollowed out and turned into party spaces.
The nightclub, Spirit New York is a special example.
Spirit explains their use of the seven pointed starsymbol as an association with
Native American myth. The seven pointed star is regarded as sacred and magical in many
traditions. Counting the head, arms, legs and two wings of a figure, there are seven
points, referring to a higher or angelic being. For Kabbalists the seven pointed
star represents the sphere of Netzach, the symbol of victory and the
ability to rise above ourselves. Wiccans call it the faery star. The inner order of
Aleister Crowley uses the seven pointed star as an important part of their seal.
Seven colors of the rainbow, seven notes of the musical scale, seven days of
creation, the seven chakras or centers of the subtle body... seven is
associated with sacredness, healing and creativity. Using this mystical symbol
as their logo, Spirit New York is making the connection between
entertainment, wellness and the sacred. What is more
healing than working your body, releasing stress through ecstatic dance?
What is more sacred than bonding with the tribe in joy and celebration
after working hard on the hunt? Our society provides these outlets to
city hunters and gatherers and now one club is making an offering
in the context of Spirit. Including visionary art, dance
and music influenced by world cultures and sacred traditions,
Spirit New York creates a holistic nightlife atmosphere that offers
an uplifting personal ­journey.
The Chapel of Sacred Mirrors (CoSM) is
proud to have been invited to open upstairs from Spirit
New York. Paintings by Alex and Allyson Grey are on display
in the nightclub, and will be joined by artworks by other world class
visionary artists. On the fourth floor of Spirit New York, CoSM will
open to the public for regular gallery hours, as well as during Spirit’s Friday
and Saturday night dance parties, serving as the ultimate chill space and late-night
pilgrimage within the Spirit New York building. See you there.
­ —Allyson Grey
www.movingventures.org
 Ever mischievous, this untamable soul lulls you into its
world through poetic beauty and renders you venerable.
Once you are there, she laughs at your new found delight
of who was hidden beneath the surface. The
team that dreamed life into this unique project
began their respective journeys in hidden
corners around the world. Serendipitous
elements drew them together so their fates
would undeniably intertwine. The time
was 1997, and place, the wonderland of
San Francisco. Discovering the
dwindling remains of a well-worn late-
night cabaret circuit welcoming them
as family, a house of theatrical
costumers infuse a diverse culture
and energy to revitalize and
reinvent a timeless tradition.
Merging the art 0f circus with
vaudeville style performance,
they brought street theater
indoors and unleashed classic
theater onto the city sidewalk,
transforming art to life.
This is the inspiration with
which four unique and
eclectic experimental
artists conjure image
after image by unveiling
a collection of clothing,
diverse as the layers
of personality that
play beneath our
facades.”

p.21
 Not through denial or through better manipulation of the environment, but through deepening
our experience of life. Calamities can be seen as part of life’s lessons in a process of learning
and growing.I’d like Omega to bring that process out into society. Omega in Costa Rica, for
instance, allows people, at a time when they are slowing down, to retreat and look deeply into
their lives. I’d like to create retreat centers in other locations and reach even more people by
holding conferences, as well as having a strong presence on the web. Omega would like to
partner with young people to explore the next generation of this work. Places like Omega
are trying to breath Spiritual Activism into society and reflect inner values out to the
For over 25 years, Omega Institute has been at the forefront world. Being devoted to higher consciousness means shifting significantly from the
of holistic education featuring some of the greatest think- “I consciousness” to “We consciousness “. Omega events should be an island and
ers, teachers, authors and artists of our time in a beautiful retreat a retreat apart from the normal confines of life. I’d like to plan a three day music
event with excellent musicians and entertainment in a range of styles with the
setting. The following are excerpts taken from a conversation
intention to motivate and effect participants to work for the preservation of the
with Stephan, a cofounder and the CEO of Omega Institute, planet.
and Alex and Allyson Grey at Omega’s Maho Bay retreat
center in the Caribbean in January, 2004. The Dalai Lama said that he certainly supported public concern for freeing Tibet, but
the one issue he would recommend focusing on is repairing our environment. Omega
CoSM: Stephan, could you briefly describe your concept of “Timeshifting”? has sponsored many retreats that consider that issue. America is like an octopus
with it’s tentacles out to every other country in the world. To live a life-
SR: Time is the rhythm dimension of life, and each moment has style of relative comfort, our country is sucking the world’s resources
a slightly different rhythm. In our culture the rhythm dimension dry. Corporate greed is deeply locked in and a shift will not be quick
is speeding up. Timeshifting is recognizing that it is impossible or easy. Despite all of my conscious awareness about conserving
to live life successfully at only one speed. Mastery of life is and recycling, the planet could not sustain 6 billion of me. We’re
the capacity to shift your internal rhythm to synergize with so entrenched in our culture that we’re unable to even imagine
the rhythm around you. When you ride a 20 speed bicycle up healing the damage we’re doing. We’re like fish swimming in the
an incline, down a hill or on a level, you shift gears so can sea, not knowing that we are in the sea.
ride the various terrains with ease. Most people are only
synchronized with one rhythm which might be “fast all Shifting to thoughts of creativity, I suppose the notion of “Visionary
the time.” They feel at odds with life when it slows down. Culture,” the subtitle of our zine, would be the ability to be flying
Stress is simply our resistance to being with what’s so in fish, able to get a glimpse of the ocean we’re swimming in. The
this present moment. Being in rhythm with life around you role of visionary creativity lies in scenario planning - paint-
releases you from stress. ing a picture of the future with the creative fluidity of the
imagination. In your painting ”Gaia”, you portray a vision of
CoSM: Tell us a bit about the Omega conference entitled two different scenarios - a vision of the world going to hell and
a vision of nature as paradise. In one ayahuasca journey that I
SR: Living A Fearless Life.”Omega participants want to open them- had I was sitting there embracing the entire realm of the possible.
selves up, explore and expand their consciousness. Fear means When fear came up it was the fear of looking at that level of reality
closing down, to wall off and protect ourselves from our environ- and creativity. The kind of education that Omega stands for is more
ment and from other people. Fear can be contagious. Our society about gaining perspective and wisdom through our experiences and
today seems ruled by fear. Surprisingly, people who I consider very less about just imparting information. In ancient societies, or ancestral
reasonable live with a high level of fear. Living a fearless life doesn’t societies, the wisdom keepers, the Grandmother or Grandfather were
mean denying terrible things happen or denying there are causes for revered and called upon for counsel. An information based society lacks
certain fears, but greatness has always been accomplished through acts reverence for wisdom. Elders are devalued. Wisdom often comes from
of courage and compassion exhibited by people who are willing to step having contact with inspired teachers, being in the vibration and vicinity
beyond their fear. Robert Kennedy Jr., Michael Moore and the other pre- of those who have insight. Omega provides a place for the transmission of
senters at the conference are people who have fear but are not ruled by fear. wisdom and for the deep personal experiences that lead people to their
It was a powerfully inspiring conference. own source of wisdom. The wisdom that can refocus our society toward
sustainability is there right now and needs to be heeded.
We heard that from everyone who attended. Omega has been holding conferences and
developing retreat centers in new locations. How do you see Omega evolving in the Check out Stephan Rechtschaffen’s
future?Omega provides tools and practices to enhance the joys and deal with books including, Timeshifting.
the adversities of life. In our society, we assume that if we do things well, we For more information on Omega Institute go to www.eomega.org
won’t have any problems, we’ll have a perfect life with two kids, a wife, a house
and a car and nothing will go wrong, but everybody’s got stuff going wrong.
How do we deal with these adversities?
p.2­3
 Transformative Living
At Esalen Institute the experiment that started 0ver 40 years ago for
developing integral transformative practices still lives. Magic swirls all
around you as monarch butterflies guide you along the cliffs. Below, white
horse driven waves crash against the backs of dinosaurs and dragons. It is
this mixture of mysticism, science, and social awareness that makes Esalen
a historic learning center.
At the edge of the west, where the land ends and the vast pacific
begins, the Esalen Arts Center continues the traditions of art as a force of
healing and transformation.
CoSM: Esalen Art Center workshops cover visual art, music
and dance. In your experience, which expression provides the most
profound transformation in people?
Jason Fann: At the Esalen Arts Center hundreds of people explore their
creativity in a multitude of different mediums of expression. I cannot say
that one form of artistic expression provides or facilitates more
transformation than another. Transformation is most profoundly
facilitated by an intention and desire to open to new possibilities
within oneself. Transformation happens when who we are
comes to the edge of who we are. At that point we are faced
with the most profound creative choices, awakening to live
and express our truest authentic self. People intuit what
medium will best assist and be a tool for expression,
the mode that wakes us up and demands our
attention. The primary goal of The Esalen
Arts Center is to create experiences that
enrich the quality of people’s lives by
offering opportunities, tools and
inspiration for finding a unique
voice and creative passion.
Monterey Bay and San Francisco University.
For information go to
www.esalen.org
p.25
CoSM: The Multi-Cultural arts program is a beautiful and ambitious project.
How do you feel this program can help heal and change the world?
Jayson Fann: Esalen provides year-round programs featuring international guest
artists to teach, perform and collaborate on projects. The aim of the Multi-Cultural
Arts Program is to create opportunities for increased understanding and appreciation of
diverse cultural and ethnic backgrounds through the creative arts. This summer Esalen
will offer a Multi–Cultural Arts Festival on July 2-9 featuring artists from around the
world. We look forward to the performances of a master percussionist from Brazil, a
brilliant young singer and dancer from Burkina Faso, a Huichol artist from Mexico,
Tibetan monks who will create a sand mandala, and a Persian dance company.
Hands for Peace, another project of the Multi-Cultural Arts Program, will bring
artists together to work collectively on large scale community projects centered
around the principles of non- violence. A mural started at the annual peace summit
in Salinas California, hosted by Partners for Peace and founded by the Mayor
of Salinas, is continuing its creation at Esalen. The mural is a growing
giant mandala, currently with over three thousand colorful hand prints,
sacred images and prayers for world peace. Artists from fifteen dif-
ferent countries of every continent have contributed to the project.
The Hands for Peace Mandala will be on public display during
the Arts festival on July 4th 2004, will travel to City Hall
in Salinas and to an Arab–Israeli peace conference, and
will be an interactive ongoing exhibit in schools and
communities throughout the U.S. and abroad.
This is one example of a successful project in the
Arts Program for which we’ve received tremendous
positive feedback from artists and participants.
Esalen hopes to be a learning environment
that reflects and celebrates the diverse
global community.
Jayson Fann has been the Esalen Arts Center
Manager for the past five years. Jayson is a musician,
visual artist, community educator and
the founder of Hands for Peace, an
international organization devoted
to bridging people through
creativity and the arts. After
studying at the University of
Ghanain West Africa, Jayson
served as a special consultant
teaching at California State University at
p.24 www.thoratreides.com
 Strange Reality People may be assholes, but we’re the ones deciding that, and if we
recognize intelligence in people, we may actually learn something. Last night, I
with Zena Grey was looking at people on the subway and that voice in my head wasn’t whisper-
ing evil comments about them. Instead of being resigned and cynical, I actually
thought how beautiful everyone was and how much we have to be thankful for.
I have a few questions: Everything that occurs in life, exists in our minds. We decide who sucks or that
If I had to choose between being blind or deaf, which would I choose? Sound is fiercely we hate homework or whether life is pointless or meaningful.
intoxicating. What would my life be if there was no music. I know so many songs, though, What creates attraction? For me, attraction has nothing to do
if I became deaf now, my head would act as a CD player. But what keeps one song in your with appearance. Short term attraction, a glance on the subway, depends on
head forever? I wish I knew the properties that engrain music in your head, a mathematics appearance. You’ll never see that person again and you don’t know anything
to the note patterns that are somehow pleasing to the brain. about them so physical appearance is all you have to go on. But with true
Two nights ago it rained like a beast. I hadn’t heard rain that beautiful, thunder friends, the more brilliantly interesting they are, the greater is my attrac-
that stunning, lightning that awesome in a long time. I felt like a little kid, except without tion to them. At one of those typical girly sleepovers where everyone was
the fear. The imagination, that belief in the closet monster, was so wonderfully carefree. talking about who is hot, I named one of my best friends and all I heard was
Now my fears are consumed by reality. I felt my house shaking from the thunder and I “eeewww” !!! That’s when I realized that personality attracts me more that
loved it. Even the patter of hard rain against the air conditioner was freakishly satisfying. physical appearance. One relationship that’s true can be a life-altering experi-
ence -- to actually feel like I can express myself without being afraid of rejection.
And never being able to hear the voice of the one person you truly love -- I could never live
without that.
“Live like you love...then everything can be beautiful.”
But sight is one of the most beautiful things one can be granted. I want to see every-

thing, not only the most magnificently breathtaking paintings of the Sistine Chapel and
- Zena Lotus Grey, age 15, 2004
the passionflowers of the most awesome gardens, but even George Bush and the horribly
grotesque, mangled bodies of exploded children in Iraq. My eyes should witness it all.
Can I matter in the world? Recently, I had this epiphany: It’s not whom you’re
friends with and how much power and money you have that determines how you affect the
world. You affect people around you all the time. You may feel powerless and then a
friend remembers something you said years ago, or some little thing you did with them
once, you realize that you mean something to everyone. I remember this kid from pre-k that we are all part of the solution
I don’t think I ever talked to. I just remember his face, watched him play with blocks and These are websites dedicated to awareness,
steal my graham crackers. His memory is still with me. Who’s remembering me? eco-consciousness art and community:
When, as a child, does the transition from ephemeral love to eternal hate begin?
Voltaire says we’re born as blank slates; that as a child we’re perfect, waiting for life to democracynow.org bioneers.org
have an effect on us. We become tainted, when society influences us. Some children look votesmart.org integralnaked.org
so perfect, so happy, so in love with everything and everyone. What turns this perfect themeatrix.com
child into a racist, a homophobic, a drug addict? You can blame the parents, society, their opencenter.org
surroundings, but children begin early to think for themselves. From innocent to tainted Art naropa.edu
-- when does the transformation occur? beksinski.pl freewillastrology.com
What feelings are real, which are acting? Life is what you make it. You say you’re chetzar.com
bored, you’re bored, you say you’re depressed, you’re depressed. Everyone has their little story venosa.com
they lug around about the past. Fuck that. Why should we be walking around upset because burningman.org
of something that happened when we were a kid? Why the hell are we clinging to the past raycaesar.com
like a security blanket? There are more important problems to complain about: let’s get these Music
assholes out of the white house, let’s start a revolution, let’s change the world. Not: let’s radiohead.com
be pissed off because the teacher is out to get you...it’s so ordinary. Not: let’s get in a toolband.com
relationship that doesn’t work and complain about it...way to be original. I can cry on pinkfloyd-co.com
demand, laugh on demand, love on demand, hate on demand. I’m an actor, but I’m not a aperfectcircle.com
robot. It’s my decision how it’s going to be for me and only I can change my mind. We’re ratm.com
living in the now; life is happening this moment, not back then. We can’t guarantee how ween.com
much of our lives we have left. Why not consciously live every moment.

p.29
 Message from Allyson and Alex Grey

Earlier this year, our dear friends Eli Morgan and Marisa Scirocco, came to
us with the idea of publishing a journal to highlight the work of artists
and organizations with a transformative vision. Designed as a zine or small
periodical, the focus of this journal would be on visionary art, music,
dance, poetry, fashion/style and enlightened business.

The Chapel of Sacred Mirrors (CoSM) represents the context of seeing oneself
and the world as a reflection of the divine. The CoSM Journal extends this
message of inter-reflectivity by bringing together artists working in various
disciplines who have discovered the same truth. Our world is dominated by
the shrillness of the corporate media which tends to darken our perception
of the world. We’d like CoSM Journal to stand for the “still small voice” of
conscience and consciousness pointing to the possibilities of human
potential, the force for creating a better world.

The concept of creating The Chapel of Sacred Mirrors has been our life’s
dream for over fifteen years during which time, we’ve spoken about it to
everyone who would listen. With the advice and support of close friends,
we began holding regular gatherings on the full moon to pray on and
contemplate the journey to the Chapel, a place that many have told us,
exists already in the “future land”. The monthly gatherings started out as
small private affairs with some of the Chapel project’s most devoted
supporters. Soon, we opened the meetings to the public and held them
in our studio/home in Brooklyn. The energy and momentum of the full
moon gatherings grew and percolated as we opened our doors to anyone
who wished to pray with us about creating the Chapel. Hundreds came
every month and through our prayers, Spirit New York appeared and
offered us space in their building. With the help of donations from
people all over the country, this raw space is being transformed into the
first temporary Chapel of Sacred Mirrors, which we’re calling CoSM.
It has always been our goal for this unique and valuable collection of art
to have a permanent home of it’s own, to serve as a context for a
multi-cultural, interfaith community that values the interconnectedness of
all life. A permanent home is still a priority and our ultimate goal. For five
years, CoSM in Spirit New York will shine a light on the integration of
creativity and spirituality in all modes of artistic expression. We are grateful for
this opportunity to build a sacred site for a community of creative friends.

www.cosm.org
p.31
In the End is the Beginning
The Summer Solstice and the Marking of Time
by Alex Stark­
The summer solstice on June 21st is one of the
key dates in the solar calendar. The sun has reached its
highest point in the sky, thereby creating the longest
day in the year. It is a traditional time for celebration
and rejoicing, and cultures around the world have
dedicated considerable resources and effort to mark
its passing. In cosmic terms, the solar god is at the
pinnacle of his power. Similarly, the Earth goddess
is also ripe with the fruit of abundance and fertility.
The crops, which provide sustenance to the human
participants of this cosmic drama, are ready for the
taking. The midsummer moon, in the meantime, has
grown to its own fullness, and is considered by many
cultures to be a harbinger of strength and success;
among the Celts, it was associated with the oak, the
hardiest of trees. This is a time of great power, in which
the archetypal forces find themselves in perfect balance.
The Chinese, like many other peoples, have associated
this time with the element of fire and its attributes in clarity,
enlightenment, charisma, passion, and achievement. Suitably,
it was celebrated with great bonfires and round-the-clock rituals.
This potential for constant renewal is made
physical in the cyclical process of time. Recognition
of time and of experience as cyclical is at the
heart of our relationship to nature. Traditional
peoples around the world recognize this
perennial philosophy, often referring to this
dialectic as a return to the moment of
creation. Time is never seen as linear but
rather as an eternal return to a new
beginning, full of promise and hope. Every
ending is a new beginning. Celebrations at
this time of the year should therefore focus
on the joyful recognition of the abundance of
nature and on the impermanence of this
bounty, on the miracle of life and on the
mystery of death. One without the other is
not only unbalanced, it is meaningless.

There is, however, a darker side to this moment

because it presages the impending decline of Autumn and
the forthcoming winter solstice six months later. At that
time the sun, weakened by the force of the approaching
winter, will travel low across the sky in the shortest and
darkest day of the year. Whereas the summer solstice
represents the apogee of light and an opening to
consciousness in the vitality of life, the winter solstice,
its twin brother, represents a descent to the world of
shadow and a return to the unconscious and, ultimately,
to death in the colds of winter. Just as the summer
solstice cannot be understood without reference to the
winter solstice, it is important also to remember that
moments of happiness and revelation will necessarily be
followed by their twin experiences of sadness and despair.
The passing of time reflects and instructs us as to the
importance of both: in order to grow and to create, it is essential
to suffer a metaphorical death, which then leads to rebirth into a
new consciousness.
p.33
www.alexstark.com
 Chapel of Sacred Mirrors Benefit Party, Portland Oregon, 2004 A. Eli Morgan, Marisa Scirocco, Elliot Resnick, Allyson Grey, Alex Grey
B. James Horan, Deeper in Zen: Benefit Party, Portland Oregon, 2004
1. Drew Hannah plays the gong for Full Moon Gathering 1. Chapel Guardian; CoSM-NYC
2. Lynzee Dava; Infinite Kaos benefit party, San Francisco, CA 2002 2. Shelley & Lauren Redmond, and friend; Full Moon Gathering
3. Nastasia and Monique; Infinite Kaos benefit party, 3. Oliver Vernon, Sound Tribe Sector 9 concert, 2003
San Francisco, CA 2002 4. Alex Grey; CoSM-NYC
4. Richard Wolfe, Alex Grey, Rhoda Rossman, Allyson Grey; 5. John Lloyd; CoSM-NYC, Full Moon Gathering
Infinite Kaos benefit party, San Francisco, CA 2002 6. Paul Crisafi; CoSM-NYC construction
5. Alex Stark, Elias Lopez Garcia; Full Moon Gathering 7. Alex Grey, Anthony Ward; CoSM-NYC,
6. Allyson Grey, David Ayala; Full Moon Gathering Full Moon Gathering 1
7. Goa Gill, Alex Grey, Penny Slinger; 8. Cameron Dubes, Alex Grey, Bex Frankel;
Infinite Kaos benefit party, CoSM-NYC
San Francisco, CA 2002 9. Terrence Pompey, Imani; CoSM-NYC, A B
­Full Moon Gathering
2 4
10. Lauren Peterson; Construction
of guardian
1
3 3 6

4 5

5 7
2
6 7

11 12
10
8 9
8 9

13 14 15

10 16
12

8. Alex and Allyson Grey; 11. Eli Morgan, Shea Murdock, Robbie Wooton,
11 Alex and Allyson Grey; CoSM-NYC
Worldspirit, Oakland, CA, 2003
9. Kenji Williams; Worldspirit, 12. Sharon Fulcher: Construction of guardian

Oakland, CA, 2003 13. Mara Indra, Architect, describes her vision of a

10. Alex Stark; Full Moon Gathering curved wall in CoSM-NYC, with electrician Carlos

11. Worldspirit guests; Oakland, CA, 2003 Lobaina.

12. Marie-Elizabeth Mundheim; Full Moon Gathering
14. Nathaniel Smith, Marisa Scirocco, Mark Peebler;
Full Moon Gathering
15. Skye Keyes & friend, Beigen Brothers;
CoSM-NYC construction
16. Drew Hannah and friend; Full Moon Gathering

CoSM-NYC under construction CoSM-NYC under construction

p.35
CoSM Gallery
­ liver Vernon oliververnon.com
O
Left: The Wanderer 11, 2003
Acrylic on canvas
12x16”

Right: Satellite Generator, 2003

Acrylic on canvas
60x84”

p.3­7
 Free Fall
Climbing my way out of the
past
parashakti.org into a future I don’t yet see,
I feel free, for a moment, then fall.
Free, for a moment, then fall.
Free…fall.
Not how I pictured it at all.
Old patterns linger
even as my fingers
touch the edge of the new.
Can it really be true?
Or is everything that seems new
just the product of conditioning
I haven’t seen yet?
I’m willing to bet
sometimes that this is so.
Conditioning steam rolls
its way through that which felt new,
www.braindropssf.com and the few pieces of freedom fall again
into the patterns of the past.
Why doesn’t the new last
beyond a fast glimpse of freedom?

Climbing my way out of the past

into a future I don’t yet see,
I feel free, for a moment, then fall.
Free, for a moment, then fall.
Free…fall.
Somewhere, I find a ray of hope
that isn’t extinguished by the rote
repetition of pattern after pattern.
A hope that stays alive
and is willing to strive
for a future that can survive the past
to find its independence.
Where the new truly is new
and I find myself with few ties
to the limitations that were so binding
and confining when I was in free…fall.
Where my heart flies freely on steady wings,
not encumbered by the same old things,
and instead of falling, embraces all.

Marie-Elizabeth Mundheim

p.40
 lightingdesigns.com
innertraditions.com

Thank you!
This goes out to all the visionaries that helped
to create this journal and to all the readers,
may CoSM continue to connect
creative people across the planet.

We welcome all forms of transformative

art, music, and dance. If you‘d like to be a
part of CoSM Journal please contact us.
We‘d love to get your feedback,
hear about your community events and
your creative endeavors.

Peace, Love, and Respect,

Eli Morgan and Marisa Scirocco
eomega.org
 Paul Laffoley
photograph by
Dean Chamberlain
www.deanchamberlain.com