Educators From The United States

"I subject my awareness to the perfection of being, The perfection of wisdom and perfection of love, All of these being co-present in the Vast Expanse. I share this panorama of Being And appreciate all I can share it with… The seamless interweaving of consciousness With each moment Create perfection wherever you go With your awareness."

"The infinite vibratory levels, The dimensions of interconnectedness Are without end. There is nothing independent. All beings and things are residents in your awareness."

"It is the prayer of my innermost being To realize my supreme identity In the liberated play of consciousness, The Vast Expanse. Now is the moment, Here is the place of Liberation."

"I acknowledge the privilege of being alive In a human body at this moment, Endowed with senses, memories, emotions, thoughts, And the space of mind in its wisdom aspect."

"Between our fear of failure And our ultimate potential We are called to action, A line must be drawn. Commit to Realization And experimentation, Stay centered in the Uncreated Source of Creation, Leave the critics behind. Let Love draw the line."

"All Beings and Things are radiances interweaving, Seamlessly welded to the boundless ground."

"Behold, Just Behold. To speechlessly and artlessly Behold the Infinite One, The inseparable ground from whence all forms are drawn, Dissolves the tyranny of separation, The war of opposites, Caused by drawing lines."

"We separate. We oppose. We dramatize. We exaggerate. We add colors. We make it beautiful. We make it ugly. We separate."

"Our minds are artists, always drawing lines. Making decisions, differentiating One thing from another, Calling it something. This is the way we know. This is how we think. We define by drawing the line."

"Drawing the line, The Boundary line Between this form and that Is what the mind does."

"Bathe your eyes in images Divine, All Heaven unfolds, the opposites combine. Your eyes become temple domes for the Pleides Crystalline mandalas inhabited by Deities. Blessing every moment you see As glimpses of eternity."

"Embryonic artworks grow In the womb heart of the artists, Until the fever of making seizes their limbs, And they deliver their art through labors of love."

"Universal Creativity, Flow through me, From my heart Through my mind to my hand, Infuse my work with spirit To feed hungry souls."

"Mystic Art affirms the holy mystery and the ideals of truth, goodness and beauty. No other artistic ideal can fulfill the longing soul like the creation and appreciation of relevant sacred art."

"Mystic Art is spirit expressed into matter. A mystic artist receives and transmits revelation, providing their art as a medium for messages from the divine matrix of Creation."

"42. PRESERVATION AND RENEWAL OF WHAT REMAINS OF THE LIFEWEB IS STILL A POSSIBILITY. 43. SCIENCE AND SPIRIT MUST COMBINE FORCES THROUGHOUT ART, BRIDGING KNOWLEDGE WITH WISDOM, ENTERING HISTORY THROUGH CREATIVE ACTION. 44. FORGIVENESS OF HUMANITY BY THE WEB OF LIFE WILL BEGIN WHEN RITUALS OF CONFESSION OF WRONGDOING ARE ENACTED WORLDWIDE AND PRAYERS FOR HEALING THE LIFEWEB ARE COLLECTIVELY ENGAGED. 45. WHETHER OR NOT THE NEW ALLIANCE OF COLLECTIVE INTELLIGENCES CAN SAVE THE UNFINISHED MASTERPIECE OF LIFE ON EARTH IS UNKNOWN; HOWEVER, THE PLAN IS UNDER WAY."

"40. ALL CREATURES ARE HOLY AND EACH ARE GOD’S CHILDREN. REVERE AND PROTECT THEM AND THEIR HOME."

"36. HUMANITY MUST BE AWAKENED, AND CREATIVE SPIRITUALITY HAS A VITAL AND HEALING ROLE IN THE ARCHETYPE OF AN UNDOGMATIC AND LOVINGLY ECSTATIC RELIGION. ALL ARE CALLED TO SEE THEIR OWN DIVINE BEAUTY AND UNFINISHED MASTERPIECE STATUS. 37. BUILDING SACRED SPACE TOGETHER IS A TASK BEYOND OUR INDIVIDUALITY TO WHICH WE CAN DEDICATE OURSELVES AND PROVE THE POSSIBILITY OF PEOPLE GETTING ALONG AND MAKING SOMETHING BEAUTIFUL TOGETHER. 38. THE DAWN OF PLANETARY CONSCIOUSNESS IS UP TO EACH OF US AS ARTISTS OF INNER LIGHT."

"22. BECOME A WORTHY CONDUIT OF GOD’S LOVE AND CREATIVE POWER OF REALIZATION. 23. LIKE A LIGHTNING FLASH, WHEN CONDITIONS ARE PRESENT, THE LIGHT SUDDENLY FILLS US, ILLUMINATING THE WORLD FOR AN INSTANT."

"7. CREATING SACRED SPACE MIRRORS GOD’S CREATION. 8. OUR CHALLENGE AS CO-CREATORS IS TO MIRROR GOD’S LOVE AND BEAUTY IN ALL OUR CREATIONS."

"1. GOD CREATES THE COSMOS WITH LOVE. 2. WHEN WE CREATE WITH LOVE WE ALIGN OURSELVES WITH THE GOD FORCE. 3. THE COSMOS AND OUR WORLD IS GOD’S EVOLVING CREATION, AN UNFINISHED MASTERPIECE WE EACH CO-CREATE."

"Our current artistic dilemma is to wake up To the truth that we are the One Godself, Creating the Universe — Every day."

"uni : one verse : poem or song Godself sings one song moment by moment with infinite variations"

"Creators aligned with Divine Will Make the soul perceptible. Artist priests with minimal dogma Transfix, transform, and evolve The chaotic melding of cultures, Through the dross of ego To superconsciousness fusion With the Nature-field."

"We seek through art To recover our center, To remember our soul's task, To stop sleepwalking in confusion, To stop managing our depression, To harness the passion of inexhaustible love, To find the One Godself Hidden throughout creation, Art is the scab healing the wound Of the separate self-illusion."

"The Sacred Mirrors speak to our highest aspirations as a species: universal compassion, respect for all life, a deep appreciation of all cultures and wisdom traditions, awakened consciousness and a full flowering of our human potential. In a "chapel of beauty," they could contribute to the radical raising of awareness we so desperately need if we are to successfully navigate our way to a saner, more loving and life-affirming civilization."

"A universal spiritual art would be art that any person would recognize as having a spiritual intention. It could speak to the heart and soul of the individual and orient them toward the greater aspect of their own being, their interconnectedness with all life and the cosmos. A universal spiritual art would return the viewer to their own ultimate identity, which lies beyond representation, but can be pointed to when our inspired visions are brilliantly transmitted. The challenge to artists today is to integrate the vast history of art from as many cultures as possible, to reach deep inside themselves for their own personal insights into the transcendental and allow this to coalesce into the most powerful imagery possible."

"People generally begin to understand my work after they’ve had some experience with the subtle visionary inner-worlds. These altered states can occur in many ways, from meditation to psychedelics to near-death experiences. A fellow in Japan came to my exhibit and showed me a five-inch elliptical scar over his heart where he had been struck nearly dead by lightning. He claimed that he had entered the "universal mind lattice," one of the "sacred mirrors" I’ve painted, during his near-death experience. What these various experiences or altered states have in common is the person who experiences them is profoundly transformed. They now know there are dimensions beyond the physical that are deeply mysterious and equally infinite to the outer worlds."

"Every artist who’s really into their work disappears into the creative flow. This is akin to some of the concentration-oriented meditations of the various sacred traditions. Images come in all different ways. You can get visions when you’re tripping on drugs, when you’re dreaming or in a hypnogogic state before dropping off to sleep, while listening to music or even waiting for the subway."

"The twentieth-century Surrealists operated in a territory without clear moral order: a dreamship adrift in the ocean of the unconscious. … The visions of the Surrealists help to define a dream realm where any bizarre juxtaposition is possible. A profound truth resides in such strangeness, for these visions can shock us into deepening our acknowledgement and appreciation of the Great Mystery."

"Art can be a spiritual practice. Not all artists consider this to be true for them, but with the proper motivation and focus, it can be. A spiritual practice is an activity that enables you to develop the qualities of mental clarity, mindfulness of the moment, wisdom, compassion and access to revelations of higher mystic states of awareness. A contemplative method, such as yoga or meditation, will stabilize and assist in the progress of spiritual awareness. An artist’s craft can become a contemplative method, and the creations may provide outward signs of an inner spiritual journey."

"I was bom on November 29, 1953, which makes me a Sagittarius. I'm no astrologer, but I am interested in its symbols. The Sagittarian is a centaur archer aiming for the stars. You could say this is the sign of a philosophical idealist, someone who aims high. The horse/human hybrid aiming higher unites the animal body, the human mind and the flaming-arrow spirit. Sagittarius is also a fire sign; fire shows up strongly as a motif in my work."

"Around the age of 20, I was doing unusual performance pieces focused on the exploration of polarities. This was a somewhat naive and intuitive venture based on my dreams and visions. I hadn’t yet encountered Taoism or other mystical teachings related to duality and the union of opposites. … One of my more dramatic polarity performances was to journey up to the North Magnetic Pole. After returning from the Pole, having spent all my money, two life-changing events occurred: At a party, I took LSD for the first time. Sitting with my physical eyes closed, my inner eye moved through a beautiful spiral tunnel. The walls of the tunnel seemed like living mother-of-pearl; it felt like a spiritual rebirth canal. I was in the darkness, spiraling toward the light. The curling space going from black to gray to white suggested to me the resolution of all polarities. My artistic rendering of this event was titled "The Polar Unity Spiral." Soon after this, I changed my name to Grey as a way of bringing the opposites together. The other life-changing event was meeting my wife, Allyson, that same evening. She was the only other person at the party who had taken LSD. We made a profound connection at that time, and have been together ever since. It’s been twenty-five years."

"I worked as a medical illustrator for about ten years. It was not my career ambition; it was a way to finance my addiction to art and support my family. Medical illustration gave me the opportunity to investigate and portray the bodily systems in dramatic ways. Prior to my work as a medical illustrator, I prepared bodies at a medical-school morgue, which provided important training for understanding the fleeting nature of life. It also provided unforgettable studies into the iridescent, fibrous architecture that forms our physical body."

"I've noticed various stages of receptivity to my art. The work points to a mystic core of truth at the heart of all wisdom traditions and affirms an integral universal spirituality. If you have ever had a mystical experience you will understand my work immediately, if not it may take awhile. The human species is evolving and waking up to our self-destructive bender called materialism and the 20th century. Human evolution will allow access to dormant visionary physiology that allows us to see clearly, to more easily see when people are lying, and to recognize the common heart of love behind all our dualistic thoughts."

"The Artist is a tiny reflection of the One Creative Spirit that generates and is all realities. God creates the cosmos with love. God is the creator of the unfinished masterpiece, "Time/Space Continuum," which each of us helps co-create. The artist faces the blank canvas and invents new realities, and in a very tiny microcosmic way this reflects the macrocosm. The highest art aligns us with the "Divine Imagination," as Blake called it, and empowers our Soul, catalyzing our path to becoming the greatest person we can be."

"Perhaps the Russians have done the right thing, after all, in abolishing copyright. It is well known that conscious and unconscious appropriation, borrowing, adapting, plagiarizing, and plain stealing are variously, and always have been, part and parcel of the process of artistic creation. The attempt to make sense out of copyright reaches its limit in folk song. For here is the illustration par excellence of the law of Plagiarism. The folk song is, by definition and, as far as we can tell, by reality, entirely a product of plagiarism."

"Never was there a more perfect demonstration of the truth asserted by Daniel Webster, that, of all contrivances for defrauding the working people of a country, arbitrary issues of paper money are the most effective."

"The British representative was an ambassador, and had a spacious, suitable, and well-furnished house in which he could entertain fitly and largely, and to which the highest Russian officials thought it an honor to be invited. The American representatives were simply ministers; from time immemorial had never had such a house; had generally no adequate place for entertaining; had to live in apartments such as they might happen to find vacant in various parts of the town—sometimes in very poor quarters, sometimes in better; were obliged to furnish them at their own expense; had, therefore, never been able to obtain a tithe of that social influence, so powerful in Russia, which was exercised by the British Embassy."

"The British ambassador was Sir Robert Morier. He too was a strong character, though lacking apparently in some of General [der Infanterie] von Schweinitz's more kindly qualities. He was big, roughish, and at times so brusque that he might almost be called brutal. When bullying was needed it was generally understood that he could do it con amore."

"I was... told by a person who had known him [future Emperor Nicholas II] intimately from his childhood, that, though courteous, his main characteristic was an absolute indifference to most persons and things about him, and that he never showed a spark of ambition of any sort. This was confirmed by what I afterward saw of him at court. He seemed to stand about listlessly, speaking in a good-natured way to this or that person when it was easier than not to do so; but on the whole, indifferent to all which went on about him. After his accession to the throne, one of the best judges in Europe, who had many opportunities to observe him closely, said to me, "He knows nothing of his empire or of his people; he never goes out of his house, if he can help it." This explains in some degree the insufficiency of his program for the Peace Conference at The Hague and for the Japanese War, which, as I revise these lines, is bringing fearful disaster and disgrace upon Russia."

"A change had indeed been brought by the emancipation of the serfs, but there was little outward sign of it. The muzhik remained, to all appearance, what he was before: in fact, as our train drew into St. Petersburg, the peasants, with their sheepskin caftans, cropped hair, and stupid faces, brought back the old impressions so vividly that I seemed not to have been absent a week. The old atmosphere of repression was evident everywhere. I had begun my experience of it under Nicholas I, had seen a more liberal policy under Alexander II, but now found a recurrence of reaction, and everywhere a pressure which deadened all efforts at initiating a better condition of things."

"Persons who clamor for governmental control of American railways should visit Germany, and above all Russia, to see how such control results. In Germany its defects are evident enough; people are made to travel in carriages which our main lines would not think of using, and with a lack of conveniences which with us would provoke a revolt; but the most amazing thing about this administration in Russia is to see how, after all this vast expenditure, the whole atmosphere of the country seems to paralyze energy."

"For similar folly, our own country, in the transition from the colonial period, also paid a fearful price; and from a like catastrophe the United States has been twice saved in our time by the arguments formulated by Turgot."

"Refusing to heed his argument the French people had again to be punished more severely than in John Law's time: the over-issue of assignats and mandats during the Revolution came forty years after his warning; and paper money inflation was again paid for by widespread bankruptcy and ruin."

"Turgot's attempt... showed how the results that had followed Law's issues of paper money must follow all such issues. As regards currency inflation, Turgot saw that the issue of paper money beyond the point where it is convertible into coin is the beginning of disaster—that a standard of value must have value, just as a standard of length must have length, or a standard of capacity, capacity, or a standard of weight, weight. He showed that if a larger amount of the circulating medium is issued than is called for by the business of the country, it will begin to be discredited, and that paper, if its issue be not controlled by its relation to some real standard of value, inevitably depreciates no matter what stamp it bears. Turgot developed his argument [on currency inflation] with a depth, strength, clearness, and breadth, which have amazed every dispassionate reader from that day to this. It still remains one of the best presentations of this subject ever made; and what adds to our wonder is that it was not the result of a study of authorities, but was worked out wholly from his own observation and thought. Up to this time there were no authorities and no received doctrine on the subject; there were simply records of financial practice more or less vicious; it was reserved for this young student, in a letter not intended for publication, to lay down for the first time the great law in which the modern world, after all its puzzling and costly experiences, has found safety."

"This whole theory [of John Law and Jean Terrasson], as dear to French financial schemers in the eighteenth century as to American "Greenbackers" in the nineteenth, had resulted, under the Orleans Regency and Louis XV, in ruin to France financially and morally, had culminated in the utter destruction of all prosperity, the rooting out of great numbers of the most important industries, and the grinding down of the working people even to starvation."

"He [Turgot] now, in 1749, at the age of twenty two, wrote... a letter which has been an object of wonder among political thinkers ever since. Its subject was paper money. Discussing the ideas of John Law, and especially the essay of Terrasson which had supported them, he dissected them mercilessly, but in a way useful not only in those times but in these. ...Terrasson's arguments in behalf of unlimited issues of paper had been put forth in 1720. ...and he declared that the material used for bearing the sign of value is indifferent ...and that if a sovereign issues enough of paper promises, he will be able to loan or even to give money in unlimited amounts to his needy subjects. ...without danger of depreciation. ...Terrasson also made the distinction between the note of a business man and notes issued by a government, that the former comes back and must be paid, but that the latter need not come back and can be kept afloat forever by simple governmental command, thus becoming that blessed thing—worshiped widely, not many years since, in our own country—"fiat money.""

"His [Turgot's] first important literary and scholastic effort was a treatise On the Existence of God. Few fragments of it remain, but we are helped to understand him when we learn that he asserted, and to the end of his life maintained, his belief in an Almighty Creator and Upholder of the Universe. It did, indeed, at a later period suit the purposes of his enemies, exasperated by his tolerant spirit and his reforming plans, to proclaim him an atheist; but that sort of charge has been the commonest of missiles against troublesome thinkers in all times."

"The French philosophy of the eighteenth century was in full strength. Those were the years in which Voltaire ruled European opinion, and Turgot could not but take account of his influence. Yet no one could apparently be more unlike those who were especially named as the French philosophers of the eighteenth century. He remained reverential; he was never blasphemous, never blatant; he was careful to avoid giving needless pain or arousing fruitless discussion; and, while the tendency of his whole thinking was evidently removing him from the orthodoxy of the Church, his was a broader and deeper philosophy than that which was then dominant."