Part 2, How I put together The Matrix Revealed: the paranormal

by Jon Rappoport

October 27, 2013

www.nomorefakenews.com

Many people will not accept their own experience, when it exceeds their rock-hard idea of what reality is all about.

They will change their own past, their own memories, their own perception, if necessary.

This is how deep their loyalty to ordinary reality runs.

Crack after crack could appear in the Matrix, and they would feverishly patch them up, while pretending there are no cracks at all.

“I wasn’t patching anything. I was just painting my house…”

And if you think such people will ever admit to a role in creating their own narrow version of reality in the first place, you’re dreaming.

But an understanding of the Matrix has to involve both what elite controllers are doing to shape the world, and what each person is doing to define the limits of his own experience.

In September of 1974, exhausted, feeling at the end of my rope, wishing I could just take off from Los Angeles and find a place with white sand and blue water and a quiet cabin to sleep in for two weeks…

I found myself, instead, lying on a table in a dim room in a house in West LA, late in the afternoon.

One of the great body healers in the world, Hadidjah Lamas, who practiced a strenuous form of what’s calling Rolfing, was sitting next to me.

But she was just going to put her hands on my head, because that’s what I asked her to do. I had a feeling something might happen. I had a great deal of experience doing a simple form of “laying on of hands,” and I needed that myself now.

She held her hand on my forehead for fifteen minutes or so, and absolutely nothing occurred.

Then, with my eyes open, lying on my back, I saw a black contraption that looked like a mask. It seemed to be made out of iron. It was shaped like a skull. Strips of iron with spaces between them.

It meant nothing to me, but it was quite startling, especially because my eyes were open and this iron mask was sitting there, in the air, about a foot in front of my face.

It began to revolve, spin slowly in place.

It spun faster, and then like a ship gathering momentum, it moved off away from me toward the far end of the room.

It picked up speed and vanished through an open door and was gone.

This was rather astonishing.

I lay there.

Then, at the edges of my perception, little glitters of blue and yellow appeared.

More of them showed up.

Within perhaps 15 or 20 seconds, the blue and yellow were a sparkling field, and the field was all around me, and I was lying in it.

The field was pulsing.

I was going through rapid stages of relaxing, deeper and deeper, sinking into myself.

Finally, I just lay there and looked at and felt the field.

I said, “I think I just had my vacation.”

I got up off the table, stretched, and felt quite fantastic.

As Hadidjah and I talked, I noticed that the pitch of my voice had dropped a few notches.

Later that night, at home, I was sitting in a chair looking out the window, and I noticed—as if it were quite natural—that the trees, the street, the lights in other houses, the lawns were all, how to put this… participating together, collaborating to constitute a painting, a scene. They were animations of ideas. They were expressing themselves. They weren’t merely “there.”

Being “merely there” was an illusion we smugly and rationally employed and projected to assure ourselves that physical reality was solid, straightforward, and monolithic.

Or illusion was an overlay. A concept. A habit.

“Things in space” were actually “doing art” by expressing themselves. In that sense, they were alive, unmistakably so.

You might even say they were delighted at being able to show us what they were.

Whereas we usually perceive in a kind of monotone flat fashion, satisfied with far less, for the duration of our lives.

I realized how far people would go to protect their perceptual overlay on the world.

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Fifteen years later, when I told my friend and colleague, hypnotherapist Jack True, about this experience, he said, “Don’t stop now.”

“Don’t stop what?” I said.

“The whole investigation,” he said. “How we put ordinary reality together and keep manufacturing it. How we keep insisting it’s ordinary.”

The whole story of how I put together The Matrix Revealed is much bigger than what I’ve written here, but this is a significant thread.

What people call “paranormal” isn’t. It’s what happens when the “normal curtain” is taken away.

Richard Jenkins, the extraordinary healer I discuss in my book, The Secret Behind Secret Societies, once told me, “’Normal’ is like taking a wonderful meal, all the parts of it, and putting them together in a grinder and reducing them to a gray mixture. “’Normal’ is the gray stuff. It’s forgetting what you had before.”

Forgetting what you had before.

“Enhanced reality,” “magical reality,” was what we had before.

Since that 1974 experience, I’ve worked on developing exercises that bring us back toward enhanced reality, because information is half of the process of understanding Matrix. The other half is daily practice that yields the actual experience of awake consciousness. I’ve included exercises designed for that purpose in Exit From the Matrix.

For this work, I have to thank, in part, Jack True and several of his patients, who showed me that expanded perception of reality is factual, it can be integrated into life, and it is normal in the best sense of that word.

The investigation of Matrix inevitably leads back to Tibet where, 1500 years ago, exiled teachers from India, who had challenged major premises of the academic culture in their home country, wandered into Tibet and started “schools.”

These schools were very practical in nature. They taught that one’s own experience was paramount, and exercises designed to increase creative power would open doors and reveal secrets about the basis of reality, secrets that had been buried under a welter of ideas that added up to political control.

For a period of time, in Tibet, the control was removed, and as I would put it, infinity was laid out in full view, for those who wanted to see it.

The machinery of the Matrix was set aside, like a foolish joke.

Everything I’ve been doing for the past 20 years is unalterably committed to the conviction that we, now, can provide the punchline to the joke. And live at another level.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 29^th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com