WORLDS IN THE MATRIX
SEPTEMBER 21, 2011. I want to give my readers advance notice that I’m preparing a new huge (and I mean huge) product for launch within the next month. The final title has not yet been chosen, so the tentative name is The Matrix Project.
Details will follow soon. Stay tuned.
In the Matrix, we find worlds (systems) within worlds. This is a main feature of Matrix complexity, or labyrinth. Each world, or “painting,” is a whole, and then each world upholds other such worlds.
In the Matrix, there is an operating principle that overshadows all other principles: once controllers choose a key fact, a key piece of information, they then organize other facts that fall into dimensional perspective relative to their central theme.
As an analogy, consider the strategy of realistic painters. They choose their main subject, the person or object they want to feature on the canvas, and then they arrange perspective so that all other persons and objects take their sizes and positions relative to that main character.
This accomplishes something major: it bolsters the feeling that the main character is, indeed, important—because everything else lines up in relation to it.
And of course, we normally perceive reality in the same way. If you’re walking down the street to an appointment in an office building, and you can see the building ahead in the next block, it becomes the main event of the moment, and you see other objects and people on the street as organized around it.
It’s neat, simple, workable.
But what happens when some “architect’s” main character or premise or theme or fact is intentionally false to begin with? What happens then?
You have a consensus around a vacuum.
Although I didn’t quite see it that way, in 1988, when I published my first book, AIDS INC., I see it quite clearly now.
The central factoid in the whole AIDS saga is, of course, HIV.
Once that is asserted as the cause of AIDS, large numbers of experts begin to flesh out the rest of the landscape, setting perspective and dimension and size and position of objects RELATIVE TO HIV.
Which naturally becomes quite convincing, because whenever you place a fact (true or not) in the primary position, position number 1, and then arrange all other facts to shore up number1, you give the impression that you are right and correct. The overall picture yields that conclusion.
All the sub-information streaming from the smaller satellite facts feeds into the number 1 fact, and as a whole, the entire “painting,” the entire structure is MUTUALLY SUPPORTIVE.
This is a powerful effect. No matter where you plug into the structure, the world, the painting, you will find yourself traveling to the central fact, and you will also find yourself traveling to all the subsidiary facts. Everything connects to everything. It’s very convincing.
Some of the most enjoyable crime novels are those in which the case appears to be closed—the primary suspect is put on trial because all available facts and evidence point directly to him. And then the hero comes along and deconstructs the evidence and shows that the picture was false and the real criminal “is still out there.” These stories are enjoyable because they tap into our suspicion that Matrix constructions are clever lies.
But they are much more than clever lies.
Take this example from AIDS INC: In 1985, scientists adopted a new view of antibodies. Up until that time, the body’s production of antibodies “against a particular germ” was generally taken as a good sign. It meant the immune system was working properly and warding off the germ. But suddenly, antibodies against HIV were said to signify desperate trouble for the patient: the patient was very ill, or would become very ill.
In fact, this was the whole reason given for using a test for antibodies as a way of diagnosing pre-AIDS or AIDS.
Why this sudden shift in how antibodies were interpreted?
Well, it took me a while to figure it out, but it was really quite simple. There was a PRIOR assumption that HIV was a lethal virus, and therefore any contact with it signaled probable death. Well, antibodies revealed that, in fact, the patient HAD contacted HIV. Therefore, grave consequences.
So now there were several “facts” contributing to an overall “painting” of AIDS: HIV, the killer germ; antibodies against HIV, indicating that the person had contacted HIV; and the inference that, without successful treatment, the patient would die.
Each “fact” supported each other fact. Each “fact” fed into each other fact. Each “rock in the stream” was washed by the same water.
This is enough to convince most people of truth. This is all it takes.
“Well, wherever I look, I see further confirmation that the number 1 fact is true. All signs point to it. All roads lead to Rome.”
Okay. Go into a shoe store and take one of the salesmen to lunch. Pay him a nice fee for cooperation, go with him to a costume store, rent a minister’s robe, rent out a church for a few hours, pay people on the street to come in and sit in the pews, hire an organist to play some doleful hymn—and then bring in a few folks from a Salvation Army office. Sit them down.
They will assume the shoe salesman is a minister. All facts point to it. The chapel, the music, the congregation, the podium, the robe he’s wearing, his position as the number 1 fact, right up there on the stage, the focus of every person in the room. What’s to doubt? What’s to question? The man has a congregation, which exists in relation to him.
When I was writing AIDS INC., I began to wonder, finally, how scientists had proved HIV caused AIDS. I broke the spell. I questioned the central theme, the number 1 fact. But this was months after intensive research. It took me that long to peer around the whole structure, to throw off the convincing nature of the entire, mutually-feeding world. Everywhere I had looked, all roads led to HIV. All sub-facts propped up the number 1 fact. And the organization of all those sub-facts—their size and position—relative to the number 1 fact, was fairly tight. At least I thought so.
And then somebody whispered in my ear: “Question the number 1 fact.”
When I did, I found holes. Gaping holes. The world of AIDS had been spun as a clever illusion around NON-FACT number 1. That’s what AIDS INC. turned into—my investigation of the holes.
The more I investigated, the more shoddy and cheesy that world became. Whereas, at first, it appeared very polished, I began to see it as a series of cheap infomercial ads promoted by a guy with a phony deep baritone.
In those days a reporter could get to actual scientists, rather than PR flacks—and I discovered that these scientists were also front men. They were winging it at every turn, covering for themselves and their colleagues with bizarre statements that made no sense.
The capper on the whole phony world was: if HIV had never been proved to cause AIDS, if the number 1 fact was not a fact at all, then what did the word “AIDS” mean? What the did the TITLE, THE NAME OF THAT WORLD signify?
And the answer was: nothing.
Yes, people were dying. But from what? Were they all dying from the same cause? Was that a justifiable assertion? Again, the answer was: no.
In other words, people who were dying had been ORGANIZED, from an ivory tower, as identical factoids, in a perspective that seemed to point to HIV, but didn’t.
I offered MUCH detail on all this in the book.
Subjectively speaking, although I didn’t use the word Matrix at the time, I felt I was emerging out of a fog of acceptance of something that was representative of, well, a whole STYLE of architecture. Reality architecture. As in, this is how you design reality. This is how you create a world within a world. This is how you organize and distribute and position a vast array of “facts,” in order to fabricate a sphere—a sphere inside which you can place billions of people, billions of minds.
It was, to say the least, a jolt. On several counts.
Many, many people who were ill (and not ill) were being led to the slaughter, because after an HIV diagnosis, they were being fed an extraordinarily toxic drug, AZT, which prevented cells of the body from replicating. AZT was, in fact, a failed chemo drug.
Scientists of the highest reputation, at the highest levels of the research establishment were, consciously and unconsciously, aiding and abetting this program.
Media stalwarts were climbing on this bandwagon without registering a single doubt.
At the same time, I felt a fiery invigoration, because I had waded through miles of interconnecting roads in this AIDS world and emerged from them, armed with the knowledge about how you build a considerable section of Matrix, and I knew this would be important and it would stand me in good stead from that moment on. I knew I would get the word out, and other people (no matter how many or how few) would begin to see THE REAL AIDS STORY. And if they could make inferences from that, they would also know how other worlds within worlds were built, to confine and deceive and confuse and obfuscate and cause great harm.
It was then that some of my old connections as a reporter began to make a new kind of sense—there were people, insiders, I had interviewed off the record, who were trying to tell me, essentially, about Matrix techniques and strategies…only I hadn’t truly appreciated it. I could go back to them now and re-interview them and add to the knowledge I had absorbed from writing and researching AIDS INC. So I did go back to them. I did interview them.
Two years after AIDS INC was published, my friend and colleague, hypnotherapist Jack True, met me for supper at a cafe in Santa Monica. We talked about the book, and then later that night, we sat down for one of of many interviews I did with him.
He didn’t waste any time. He jumped in with this:
“It’s time you grab the whole story by the throat. Whether or you know it or not, you realized, from the beginning, that your investigation of AIDS was going to turn out to be a breakthrough. But you need to go further. EVERYTHING in the world partakes of that same aspect. It’s all BACKWARDS REALITY. You’ve had telepathic experiences. Lots of them. What do you think they mean? Reality is constructed to minimize and dampen the paranormal. It’s a foreshortened perspective of what actually exists, within us. It’s the same kind of cover story [as AIDS], with different items in it. It’s built the same way. It’s ARCHITECTURE. A stunted form of architecture, posing as THE ONE AND ONLY. Get with it. You know this. Push it. You’ve just gotten off the launching pad. Don’t stop.”
So I didn’t stop.
More coming…
Jon Rappoport