Living the Edgar Cayce Legacy

MASTER OF FINE ARTS: In VISIONARY ART AND CONSCIOUSNESS

Introduction to the Program

Mission Statement

The mission of this program of study is to guide the student in developing a personal vision and in the creative expression of that vision as it relates to those themes of the human experience that transcend time, place and culture, and speak to the essence of that experience as well as to provide the student with the tools to guide other artists in this endeavor.

Description

The Master of Fine Arts degree is the terminal degree for students who have pursued a formal study in the creative arts. This degree program provides the student with a course of advanced study, which embraces a wide variety of creative pursuits including visual arts, performing arts, and writing.

Students entering into a MFA degree program must possess a BFA degree, which is a rigorous study of specific creative activities or a BA in art with at least 40 credits in studio art. This course of study is initially limited to study in the visual arts. The MFA degree prepares qualified individuals to teach art in higher education and/or to become practicing professional fine artists.

This degree program is unique in that it is the first MFA degree to primarily use the Internet as a tool for delivery of courses and critique of artwork produced. This allows students to work where they live while participating in the group critique experience, which is a critical aspect of the educational process.

Another unique aspect of this program is that studies the role of consciousness in the creative process. Finally, the emphasis of this program will be an exploration of artistic expression through the use of tools designed specifically to access the artist's inner vision.

Purpose

As stated in the Mission Statement, the specific purpose of this program of study is to guide the student in developing a personal vision and to guide the creative expression of that vision as it relates to the "grand" themes of the human experience – themes that transcend time, place and culture and speak to the essence of that experience.

This is accomplished by providing tools for accessing the level of inner knowledge that links all human beings in our shared and collective humanity as well as for understanding the metaphoric meanings that lie at the center of creative expression.

This statement of purpose is transpersonal in nature and is strongly linked to the concepts of co-creation with the creative forces as addressed in the Edgar Cayce readings and various other esoteric schools of thought.

The core intention of this approach to art education is to offer a unique program of study that is centered on the spiritual dimension of conscious creative expression as it applies to the visual arts.

The primary intentions for developing this visionary program of study are to explore the power of conscious creativity, to educate artists and art educators in the application of higher order states of consciousness to the process of creative expression, and to support them as they pass this knowledge on to others.

To achieve these goals, all aspects of this program integrate into a holistic prototype for the educational process, which will launch students into the world of art with a powerful foundation that will favorably equip them to effectively handle most eventualities they may encounter in their career as artists and educators.

They will also possess a level of understanding of the role of art and their role as artists/educators that will imbue all of their endeavors with a character, dimension, and depth that transcend the ordinary and commonplace.

In this way the collective human experience is enhanced, enriched, and empowered through the efforts of an ever-increasing number of artists focused on the spiritual dimension of the creative process.

Introduction

Throughout time and across culture, our individual and collective identity as to what it means to be human is in no small way determined by the vision of the storytellers and the image-makers of society.

The power to shape a collective perception of reality is embodied in the creative activities of our artists.

As the focus of these individuals directs our attention to certain aspects of the human condition, our consciousness embraces those aspects and is profoundly affected. That consciousness can be dramatically altered either through the stories told or the images created.

This experience has been played out in every age from the cave paintings created at the dawn of man to the technological blockbuster films of our present time.

Throughout history, we repeatedly observe the power that artists possess to shape individual and collective perception, which in turn forms the foundation for our shared sense of reality. Artistic expression defines the culture of any given group of people.

Oftentimes this artistic expression is a response to external conditions confronting a particular group of people. These conditions can include climate, available resources, landscape, or any other factor that determines the character of the lifestyle of the group as well as their perceived sense of reality.

This accounts for much of the variety of artistic expression we encounter wherever man has settled.

Beyond these external factors exists a common bond that links all of mankind. This common link may best be described as an inner world that is shared by all people no matter where or when they have lived.

This inner world is comprised of the hopes and aspirations, the faith and beliefs, and the desires and longings that every individual possesses. Creative expression that originates from this inner world has the potential to transcend time and place and touch the soul of anyone who encounters it.

It is at this level of expression that art reaches beyond the decorative and is transformed into something sublime, something truly human in character. It is this dimension of expression that separates the human state of being from the rest of creation.

Some might call this "high art" or attribute genius to it, but if we simply look at it as the human soul's response to what it encounters on its path through this world, we have an approachable way to understand its role in our lives.

This explains why we can feel uplifted by a particular piece of music, moved by a painted image, or resonate with a poem or story we encounter, even though we may not be culturally connected to it.

There is a universal character to the human condition that can be shared through the experience of art. This is the power inherent in creative expression. It is this power that we seek to consciously explore through this program of study.

The Transpersonal Dimension of Art

The creative process includes a transpersonal component within it. Simply stated, the founding principle of the transpersonal perspective is the existence of a dimension to human nature that is greater than the individual.

In connecting with this larger part of one's self, we are better able to access creativity, health, and full human performance. In order to gain a clear understanding of the creative process and its potential, it is important to explore how the transpersonal perspective impacts creativity.

Throughout the ages, artists have tapped into the transpersonal dimension of creative expression. From the numerous references in the writings of various artists describing the process of channeling some force or idea that originates beyond ordinary consciousness we can see that this is so.

While these artists may not have been able to readily define this experience, their descriptions have been sufficient to demonstrate more than a casual link to the transpersonal dimension of life.

Other clues also exist to reveal this link between the transpersonal perspective and the creative process. References to metaphysics, esoteric thought, alchemy, shamanism, and non-traditional spiritual practices are among the indicators that this link exists.

While the exploration of these themes may not directly address the transpersonal dimension of the creative process, it does point to an interest in the metaphysical dimension of life on the part of the artist and adds depth and richness to the art created.

Esoteric themes were formally explored in art as early as the fifteenth century. The artwork of artists like Sandro Botticelli is imbued with Neo-Platonic concepts, as is the artwork of Michelangelo and Raphael.

A serious study of the paintings by Leonardo will uncover profound esoteric references that have more to do with this tradition than with Dan Brown's popular fantasies.

In fact, a line can be traced from the Renaissance to modern times that demonstrates many artists were sufficiently fascinated with transpersonal, esoteric, alchemical, and metaphysical themes to include references to them in the art they created.

While the primary interest in these subjects at the time was intellectual, it would not be out of line to consider that these, and other, artists made a connection between the intellectual exploration that they were a part of and the shifts in consciousness that they experienced while creating art.

In the later part of the nineteenth century we find European artists caught up in a renewed interest in esoteric and transpersonal concepts. The romantic spirit that pervaded Europe during this century provided an ideal medium for the growth of such interests.

Possessing unconventional personalities, artists are attracted to unconventional ideas. On a philosophical level, two schools of thought converged in the later half of the century to create a new/old perception of man's place in the universe.

The first evolved out of the efforts of researchers like Eliphas Levi who brought about renewed interest in the western esoteric tradition, which had been supplanted for centuries, and helped it emerge into a favorable and receptive climate.

The second involved individuals like Helena Petrovna Blavatsky who introduced eastern philosophical thought, in the form of Theosophy, to Western Europe. These two forces helped set the stage for a major change in how artists perceive their role in society.

In the art world, a number of divergent forces converged to create a new understanding of the role of art in western culture. From a technical perspective, photography assumed the role of naturalistic and accurate representation of physical reality. This set the stage for other subjects to be explored through artistic expression.

The first major shift came with the Impressionist Movement. Without realizing the implications of their innovation, the Impressionists began the swing of the pendulum that transferred the subject of art away from the outer objective world and placed it squarely in the inner subjective world.

They accomplished this by validating atmosphere and as legitimate subjects for painting. Once this occurred, the door was open to permit all kinds of possibilities.

By the last decade of the 19th century metaphysical themes had gained importance in the creation of all forms of art. Symbolism, a late nineteenth century artistic movement had its roots in the work of artists like William Blake, Henry Fuseli and Francisco Goya.

The Symbolists, bridging the Romanticism and modern abstract art movements, took a major step forward by stating that art was ultimately a consequence of the inner spirit of the artist rather than that of observed nature.

The way was now open to explore the inner realms of human consciousness. Metaphysical concepts deeply influenced Symbolist writers such as Charles Baudelaire and Stéphane Mallarmé, Symbolist composers like Claude Debussy and Eric Satie and Symbolist artists like Paul Gauguin and Odilon Redon, to name just a few.

The list could go on but suffice it to say that Europe, at the turn of the twentieth century experienced a renaissance of thought unlike any seen before or since. To this day, we still feel the impact of this creative and psychic explosion.

Once the Symbolists formally acknowledged the role of the inner spirit in the creation of art, they needed to find a new artistic form for visually expressing that inner spirit.

It could be argued that the early foray by these artists into abstract art was the vehicle of this exploration of the inner world of human consciousness as the primary source of inspiration for the creation of art.

Many of the pioneers in early twentieth century abstract art started out as part of the Symbolist Movement. Artists like Frantisek Kupka, Robert Delaunay, Vasily Kandinsky, Franz Marc, Marc Chagall, Marcel Duchamp, Piet Mondrian, Paul Klee, Giorgio de Chirico, Max Ernst, Jean Arp, Kasimir Malevich, and Constantin Brancusi are just a few well known examples of artists who started out as symbolists.

Esoteric and metaphysical sources were highly influential on a number of the major twentieth century art movements that included Orphism, Der Blaue Reiter (The Blue Rider), Dadaism, De Stijl, Surrealism, Abstract Expressionism, and Minimalism. Artists who were associated with these movements acknowledged metaphysical influences and worked from the inner spirit in the creation of their art.

While no art movement is the product of a single factor, it is impossible to gain a clear understanding of these movements without recognizing the importance the influence of esoteric and metaphysical thought had on them. We are the inheritors of a long and rich tradition of exploring the inner world in the creation of art.

Conscious Creativity

Artists possess an innate knowledge that when they engage in the process of creating art they tap into higher order states of consciousness. This is a powerful and transformative experience for the artist.

When this process is understood and mastered, it can lead to the creation of works of art that touch on the essence of the human experience transcending time, place, or culture and resonate deep within the spirit of any who engage it.

This process can be a two-edged sword. When an individual artist initiates the process of tapping into the source of their inner vision, he or she can sometimes be overwhelmed by it rather than being in control of it.

We have observed numerous examples of this situation, which result in erratic and even self-destructive behavior on the part of the artist. Unfortunately, rather than attempt to understand and master this process, it is considered an unavoidable side effect of creativity, tolerated, and oftentimes approved of by a society, which not only possesses little understanding of creativity but also prefers to distance itself from it.

To complicate the situation, traditional approaches to the study of art consider to primarily as a skills-based educational process. This attitude has left little room for an effective exploration of the inner dimensions of the creative process, let alone the role of consciousness in creative expression.

While an elitist language has been fashioned to describe the technical skills involved in creating art, little or no vocabulary exists in traditional art education to address the inner life of the artist.

For this reason, many art students go through their entire educational career without ever developing a personal vision or even achieving a rudimentary comprehension of how to accomplish this dimension of creative expression. It is no wonder that they have little understanding of the role of consciousness in the creative process.

Artists left to their own designs all too often flounder in their attempt to reconcile their deep inner experiences with external world. Given the priorities of modern society, the two perspectives seem irreconcilable and this can plunge the artist into a state of despair.

This is a tragic and needless waste, as a vocabulary does exist that describes their experiences and resolves the perceived quandary they face. This vocabulary lies within the transpersonal perspective.

It is not difficult to learn, understand, and apply. With this knowledge, the artist now has the tools needed to no longer be the victim of the forces churning inside of him or her but to be able to master conscious creativity.

Despite the profusion of artists over the past century and a half exploring the transpersonal dimension in their work, it is still difficult to find sources that acknowledge the importance of this tradition. The reason for this appears to be the narrow view of art history held by many art historians.

Art historians are just that, they are historians and for that reason possess little understanding of how artists seek inspiration. They must have visible references to advance their theories. They cannot get past the surface view that artists seek inspiration solely from viewing other artwork.

This is only one of many points of inspiration for creative expression. Fortunately there are many non-art sources of information available to the perceptive researcher that reference additional sources.

On the other hand, artists are loathe to share their sources of inspiration to the uninitiated. It is not in their interest as it demystifies the mystique they have expended so much time and energy to nurture.

In fact, like the alchemists of old, they sometimes deliberately provide information that will send causal inquirers off on a false path. At other times, meaning of what an artist says is limited by the level of comprehension of the audience.

Take for example the following passages from the lecture titled, The Creative Act, given by Marcel Duchamp at the Session on the Creative Act, Convention of the American Federation of Arts, Houston, Texas, April 1957

To all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.

If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the esthetic plane about what he is doing or why he is doing it. All his decisions in the artistic execution of the work rest with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out.

If we take this quote on face value, as many authorities have, it appears that Duchamp is stating that the artist is a "mediumistic being" who must be denied "the state of consciousnes on the esthetic plane about what he is doing or why he is doing it".

This statement was made by the individual, who was perhaps the most self-conscious artist of the twentieth century, so is actually being said here. It is only when we get to an ignored passage later in the lecture that we find Duchamp's qualifier, which changes the meaning entirely. Consider this:

In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions. His struggle toward the realization is a series of efforts, pains, satisfaction, refusals, decisions, which also cannot and must not be fully self-conscious, at least on the esthetic plane.

The operational word in this quote is "fully". This word, and its placement in the quote, dramatically changes the meaning of the concept being presented. As is so often the case, Duchamp says one thing and the audience hears another.

Being the prankster that he was, Duchamp was notorious in his pronouncements on art for only disclosing information that the audience was capable of hearing and no more, all the while dropping hints alluding to a grander scheme of things but never volunteering information about it.

While we may never achieve a state of being "fully self-conscious", it is the continuation of the transpersonal tradition in art and the conscious exploration of this grander scheme of things that will be at the core of this MFA degree program.

This does not mean that students participating in this program will be expected or required to produce a form of art that has proved to be as unapproachable as most twentieth century art has proven to be or that they will be expected to create art that takes on the superficial appearance of popular spiritual art.

What is expected on the students' part is that they will consciously work with the transpersonal dimension of the creative process in the creation of their work. This may mean striving to tap into something greater than their individual consciousness and being a conduit for that broader consciousness.

This may mean exploring creative expression as a powerful application of the transpersonal dimension of life. This may mean coming to understand this dimension of life and its application in their work in developing a personal vision that powerfully expresses the universality of the human condition.

Whatever it may mean, this exploration will lead to the creation of art that is focused on a clear expression of some aspect of the human soul that will advance our collective understanding of what it truly means to be human.

Questions about Art to be Addressed in this Program

As we move forward into the 21st Century with so much emphasis placed on technology, democratization of all forms of communication, including the arts, and the media explosion that continues to take place, questions arise concerning the role of the Fine Arts in such an environment.

Listed below are a number of questions that this program of study will explore, and hopefully resolve regarding the role of the fine arts in contemporary 21st Century society.

• What is the role of Art in the 21^st Century?
• Does Art have a place in a technological culture?
• How has technology affected our perception of Art?
• Can Art be created by using technological tools?
• Do we draw the line somewhere regarding technology's role in the creation of Art and if so where?
• Who does Art differ from what we see in the media?
• How is Art different from decorative art?
• Does decoration have a role in Art?
• How does the Transpersonal Perspective alter our perception of Art?
• What role should consciousness play in the creation of Art?
• How does our active imagination impact the creative process?
• How does the creation of Art act as a metaphor, which is applicable to life in general?

Program Structure

Technical Aspects of the Program

MFA degree programs usually consist of a minimum of 60 semester hours of study, divided into 20 individual courses – an outline of the courses for this program of study and course descriptions follows.

While an MFA degree can be earned in as little as two years, this proposed program of study will take four years to complete, with the student taking five courses per year (two courses in the Fall Semester, two courses in the Spring Semester and one course during the summer).

With the exception of the two graduate seminar courses, this program of study can not only be done totally through distance learning, it will be entirely Internet based. Current technology provides a support base for all student to student and student to mentor interactions required of an effective program of study.

Students will access to educational experiences that they would receive in a traditionally taught art program. Students will not be studying and creating in isolation. A strong sense of community is now possible and will be encouraged.

Group instruction can take place in real time. Submission of work and subsequent viewing of same by all students in a course is now technologically possible. Student interaction is also possible. In addition, live group critiques of student's art can take place.

Admissions Requirements

A BFA degree earned from a college or university or a BA in art with at least 40 credits in studio art accredited by an accrediting agency recognized by the US Department of Education.

Only official transcripts sent directly from the Registrar's Office of the college or university to the Atlantic University Office of Admissions will be the accepted documentation of this degree.

Minimum overall GPA of 2.5 with a minimum upper division GPA of 3.0 will be required for admission into the program.

Submission of a portfolio of 20 professional quality slides; minimum of 10 slides of artwork in the media in which the student intends to work in the program; minimum of 5 slides demonstrating the student's proficiency in drawing. Slides should be labeled with name, title, medium, dimension, and date.

An Artist Statement – this paper should be 3-5 typewritten pages, double-spaced, with one inch margins in 12 point serif type.

The information included should consist of pertinent background information including a description of the direction and vision incorporated in art presented in the slide portfolio, an important turning point in your training that led you to take this direction, why you are interested in studying in a program that approaches art from a transpersonal perspective, and future plans once you have earned the MFA Degree.

Three letters of recommendation from qualified individuals who are familiar with either your educational performance or your artwork or both sent in sealed envelopes.

Application Process

November 19, 2007 – Application package will be sent to all inquirers.

Fall Semester

The fall semester will generally begin on the Monday of the last week of August. The course will extend for 15 weeks. Mid-semester critiques will take place during the eighth week of the course. Finals week will generally begin on the Monday of the first week of December.

Spring Semester

The spring semester will generally begin on the Monday of the third week in January. The course will extend for 15 weeks. Mid-semester critiques will take place during the eighth week of the course. Finals week will generally begin on the Monday of the first week in May.

Summer Semester

The only course that will be offered during the summer semester will be the residential offering of the Graduate Seminar course. This will be offered for a two-week period in the middle of July.

Computer and Software Requirements for Students

Students will need to have the following minimum capabilities to successfully participate in this program of study

• Computer – 1.8 gigabyte processor – 1040 RAM –80 gigabyte hard drive
• Video Card – no special video card needed at this time
• Scanner – any color scanner
• Digital Camera – any digital camera capable of a minimum of 5 mega pixels
• Photo Processing Program – Photoshop Elements or Adobe Photoshop
• Broadband Internet Service – Must have the highest speed Internet service available

Course Information

Tentative Outline of Course Work for the MFA Program

Credit Hours
FA 500:	Introduction to a Transpersonal Approach to the Visual Arts	3
FA 505:	Graduate Seminar I (Residential/Distance)	3
FA 506:	Graduate Seminar II (Residential/Travel/Distance)	3
FA 510:	Dream Work, Meditation, and Visual Expression	3
FA 515:	Music, Vibration, and Visual Expression	3
FA 520:	Shamanic Journeying and Visual Expression	3
FA 525:	Experiencing Spirit in Nature through Visual Expression	3
FA 530:	Visual Art and Inner Healing	3
FA 535:	Individual Study (in the major area of study)	24
AH 505:	The Transpersonal Perspective, Esoteric Thought and Western Art, I	3
AH 506:	The Transpersonal Perspective, Esoteric Thought and Western Art, II	3
FA 600:	Individual Project (Thesis Project)	6
Total Credits		60

Descriptions of Courses

FA 500: Introduction to a Transpersonal Approach to the Visual Arts (3-Credits)

This course is an introduction to the principles inherent in the spiritual dimension of the creative process. The student is provided with the foundation for exploring conscious creation and will apply the concepts involved in the creation of artwork. Among the principles to be explored will be art process as mindful meditation, as a metaphor for life, and as a vehicle for self-realization.

The student will initiate a study of the inherent power of visual images and study the impact of these images on the viewing audience. Also included will be a study of the references in the Edgar Cayce Readings on the role of the creative process in the human experience as well as an introduction to the transpersonal perspective.

FA 505: Graduate Seminar I (Residential/Distance) (3-Credits)

This course will provide the student with an in depth exposure to a number of subjects and experiences related to a transpersonal approach to the visual arts. The student will be expected to do individual research and engage in group discussions of the subjects covered.

A model for critiquing art from a transpersonal perspective will be provided and practiced. This course will also provide the opportunity for the student to travel to major art collections, museums, and galleries to view and critique art from a transpersonal perspective. Students will also get to interact with professionals working in various capacities at major US museums as well as meet with a number of gallery owners in major metropolitan areas.

FA 506: Graduate Seminar II (Residential/Distance) (3-Credits)

This course is a continuation of FA 505. Everything done in FA 505 will also be accomplished. The difference is that the student will be provided with the opportunity to travel to another major art center where they will view collections, museums, and galleries and critique art from a transpersonal perspective.

Students will once again get to interact with professionals working in various capacities at major US museums as well as meet with a number of gallery owners in major metropolitan areas to present work that they have created.

FA 510: Dream Work, Meditation, and Visual Expression (3-Credits)

This course will provide the student with an in-depth exploration of the role of dreams and meditation in accessing higher realms of consciousness. Particular attention will be paid to the visual dimension of the dream experience and the use of meditation as a tool for inspiration.

The student will study the fundamental principles of dream work and how to apply this process in their life. A number of different approaches to working with dreams will be explored. A series of individualized projects will be established that will lead to the creation of a body of art based on the student's dreams. This course will also provide the student with an in-depth exploration of the role of meditation and in accessing higher realms of consciousness.

The student will be introduced to various approaches to meditation (including breath work meditation, mindfulness meditation, walking meditation, etc.). Particular attention will be paid to the character and variety of visual imagery that emerges from the process of meditation. A series of individualized projects will be established that will lead to the creation of a body of art based on the student's experiences with meditation.

FA 515: Music, Vibration, and Visual Expression (3-Credits)

Visual Art and music are linked together in that both are expressions of vibrations. The character and quality of vibration as manifested in music and color impact the all dimensions of the human body – physically, mentally, emotionally, and spiritually.

This course will consist of exposing the student to various styles and forms of music to see what kinds of impressions and images they solicit and an exploration of the impact of various modes of music while the student is engaged in creating art.

FA 520: Shamanic Journeying and Visual Expression (3-Credits)

The Shamanic Experience is a universal vehicle of accessing the spirit world that stretches back to prehistoric times. This course will provide the student with an in-depth exploration of the role of shamanic journeying in accessing the various spiritual realms of the shamanic tradition.

The student will be introduced to the fundamental principles of shamanism and will be guided on a series of journeys to the various levels of the shamanic worlds. Particular attention will be paid to the character and variety of visual imagery that emerges from these journeys. A series of individualized projects will be established that will lead to the creation of a body of art based on the student's experiences with shamanic journeys.

FA 525: Experiencing Spirit in Nature through Visual Expression (3-Credits)

Human history is full of antidotal tales concerning energies in nature manifesting in the form of fairies, sprites, devas, and elementals. However these energies are described, there is an underlying experience that is accessible to sensitive individuals. Various artists (including Turner, Van Gogh, Gauguin, and Redon to name a few) have explored this phenomenon. .

This course will provide the student with an in-depth exploration of the experiential dimension of creating art in nature. The student will be guided in techniques that will aid them in shifting their focus so that they may perceive this dimension of nature.

Particular attention will be paid to the character and variety of visual imagery that emerges from this process. A series of individualized projects will be established that will lead to the creation of a body of art based on the student's experiences with nature.

FA 530: Visual Art and Inner Healing (3-Credits)

The creative process has been incorporated into therapeutic process for decades. Unfortunately too many times it is either utilized from an unconscious perspective, having the individual engage in busy work, or in the limited role of diagnosis.

The student will be introduced to principles and processes inherent within the creative process that will provide them with tools to understand and work with the latent power of this process.

The student will explore dimensions of their experiences that have inhibited or blocked their growth and will learn how the creative process can clear these blocks.

A series of individualized projects will be established that will lead to the creation of a body of art based on these concepts. Also to be explored is the power of visual images to affect individuals who view them.

FA 540: Individual Study (In the Student's Major Area of Study) (24 Credits) (eight – 3-Credit hour blocks of coursework)

This course provides the student with an individualized in-depth exploration and application of the spiritual dimensions of the creative process. Emphasis for this course will include the creation of artwork in the student's choice of media on themes agreed upon by the mentor and student that utilize the processes outlined in the program of study. A written report will accompany each 3-credit block of work.

(Each 3-credit course will consist of a predetermined number of pieces of art based on the work habits of the student. Factors considered will include media used, style and technique used by the student, amount of preliminary work required to complete each work, and length of time necessary for each piece of art created. Students will contract with their professor at the beginning of each semester the amount of art work to be produced that semester.)

AH 500: The Transpersonal Perspective, Esoteric Thought and Western Art, I (3-Credits)

A study of the history of art from prehistoric to modern times from the perspective that art reflects the changing view mankind toward itself and its relationship to the expression of the Divine in nature and consciousness. This course will explore the ways that artists express and reflect civilization's ever-changing understanding of this relationship.

AH 501: The Transpersonal Perspective, Esoteric Thought and Western Art, II (3-Credits)

The last quarter of the Nineteenth Century and the entire Twentieth Century has been a time of major changes in the consciousness of Western Civilization. These changes have been reflected in the art produced during this time period. While this art can be viewed as the culmination of a direction initiated in the Fourteenth Century, it can also be perceived as the first steps toward an expression of the spiritual dimension of life.

The thesis of this course will be that a number of modern artists have attempted to represent this dimension of life through abstraction. The student will be presented with a review of modern art from this perspective and a question on where this will lead in art as we enter the next millennium.

FA 600: Individual Project (Thesis Project) (6-Credits)

As a culminating statement of their educational experience, the student will cull and refine a body of art created for this program and, under the close supervision of their mentor, mount, document, and report on an exhibition of that art. In addition, the student will, from the written material required for this program, create a thesis statement on their experiences during their program of study.

Included in this thesis statement (but not limited to) will be experiences and responses to each of the methodologies explored, any shifts in perceptions that took place, and any changes that occurred in their lives as a result of their study.

Total Credits for this Program : 60 Credits

Schedule Options

Schedule for Students in 3-Year Program

First Year
First Semester			Second Semester
FA 500:	Introduction to a Transpersonal  Approach to the Visual Arts	(3 Credits)	FA 510:	Dream Work, Meditation and Visual Expression	(3 Credits)
AH 505:	The Transpersonal Perspective, Esoteric Thought and Western Art, I	(3 Credits)	FA 530:	Visual Art and Inner Healing	(3 Credits)
FA 535:	Advanced Study	(3 Credits)	FA 535:	Advanced Study	(3 Credits)
Summer Semester
FA 505:	Graduate Seminar I				(3 Credits)
Second Year
First Semester			Second Semester
FA 515:	Music, Vibration, and Visual Expression	(3 Credits)	FA 520:	Shamanic Journeying and Visual Expression	(3 Credits)
AH 506:	The Transpersonal Perspective, Esoteric Thought and Western Art, II	(3 Credits)	FA 525:	Experiencing Spirit in Nature through Visual Expression	(3 Credits)
FA 535:	Advanced Study	(3 Credits)	FA 535:	Advanced Study	(3 Credits)
Summer Semester
FA 506:	Graduate Seminar II				(3 Credits)
Third Year
First Semester			Second Semester
FA 535:	Advanced Study	(6 Credits)	FA 535:	Advanced Study	(6 Credits)
FA 600:	Individual Project	(3 Credits)	FA 600:	Individual Project	(3 Credits)

Suggested Schedule for Students in 4-Year Program

Students in this program will be required to take 3 courses in two of their semesters during the 2nd and 3rd year of their program.

First Year
First Semester			Second Semester
FA 500:	Introduction to a Transpersonal Approach to the Visual Arts	(3 Credits)	FA 510:	Dream Work, Meditation and Visual Expression	(3 Credits)
FA 535:	Advanced Study	(3 Credits)	FA 535:	Advanced Study	(3 Credits)
Summer Semester
FA 505:	Graduate Seminar I				(3 Credits)
Second Year
First Semester			Second Semester
FA 515:	Music, Vibration, and Visual Expression	(3 Credits)	FA 520:	Shamanic Journeying and Visual Expression	(3 Credits)
FA 535:	Advanced Study	(3 Credits)	FA 535:	Advanced Study	(3 Credits)
Summer Semester
FA 505:	Graduate Seminar I				(3 Credits)
Third Year
First Semester			Second Semester
AH 505:	The Transpersonal Perspective, Esoteric Thought and Western Art, I	(3 Credits)	FA 530:	Visual Art and Inner Healing	(3 Credits)
FA 525:	Experiencing Spirit in Nature through Visual Expression	(3 Credits)	AH 506:	The Transpersonal Perspective, Esoteric Thought and Western Art, II	(3 Credits)
FA 535:	Advanced Study	(3 Credits)	FA 535:	Advanced Study	(3 Credits)
Fourth Year
First Semester			Second Semester
FA 535:	Advanced Study	(3 Credits)	FA 535:	Advanced Study	(3 Credits)
FA 600:	Individual Project	(3 Credits)	FA 600:	Individual Project	(3 Credits)

Program Originator

R. Gregory Deming is a Professor of Visual Arts and Director of Admissions at Atlantic University. He earned his BFA in graphic arts from Pratt Institute and his MFA in painting from the University of Florida. He has over twenty eight years experience teaching both studio and academic courses in the visual arts while on the faculties of the University of Florida, Louisiana State University at Eunice, Eastern New Mexico University, and Atlantic University.

He is a National Endowment for the Humanities Scholar and as a Citizen Ambassador to the People's Republic of China, participated in a delegation of art professors sponsored by People to People International.

His artwork has been exhibited internationally and has won numerous awards in national and regional exhibitions throughout the country. He has researched the spiritual/metaphysical/alchemical/esoteric influences on modern art for almost 30 years.

In 1995 he developed a concentration of distant-learning art courses for Atlantic University based on a transpersonal/spiritual approach to the visual arts and has taught students all over the world. This MFA in Visionary Art and Consciousness degree is an expansion of the work incorporated in these courses.