RECOVERING ENERGY

 

SEPTEMBER 7, 2011. After writing about the Magic Theater, I’m figuring out plans for a seminar, how it can best be done, the setting, etc. Meanwhile, I continue to expand on the subject…

 

In the course of a normal person’s life, he attributes power, and therefore, energy, to things, processes, and people outside himself—increasingly so as he grows older.

 

This is laughingly called maturity or realism.

 

Actually, the process is mostly carried on subconsciously. Therefore, the person doesn’t quite understand what has happened to his own energy. He just knows he has less of it.

 

Of course, the basic premise here is that he has a certain finite quantity of energy, and in attributing it to Others, he loses a corresponding amount.

 

“I find out that Others have a lot more energy than I thought they did, so I have less…”

 

Which is absurd, because he can produce new energy.

 

In the Magic Theater, it’s so interesting when the person plays the role of someone to whom he has attributed a great deal of power. All of a sudden, he IS that person and he begins to experience the lost power and energy again, as he speaks FROM that character.

 

It’s a reversal. And quite often, a revelation.

 

We look out at the universe and we see and feel enormous energy there. But we make a comparison: all that energy THERE; much, much, less energy HERE. This literally sets the stage for our conception of our own role—a lower energy role. A role in a much smaller space.

 

This is the machination so many people fail to understand. We create the dimensions of the stage on which we perform our lives.

 

“I fit inside the world. I fit inside the universe.”

 

“There is this large, large space, and I live inside it in a tiny area.”

 

Yes, you do, as soon as you define your role that way.

 

But how could one define it otherwise, except as a vague intellectual proposition?

 

BY TAKING NEW ROLES.

 

BY ENTERING INTO THEATER.

 

BY ASSUMING A ROLE OF GREAT SPACE AND ENERGY.

 

THEATRICALLY.

 

And this is where dialogue is so important. When you SPEAK FROM such a large role, old defining and limiting energy configurations in consciousness break up. They no longer apply in the same way. They were there to bolster the much smaller role. That’s how we define our roles—by creating interior spaces and energy boundaries and shapes to cement in the roles.

 

There is nothing intrinsic in universe or ourselves that implies boundaries around what we can become or do. It may seem that way, but that’s the trick we play on ourselves.

 

None of this has anything to do with biology or brain paths or genes or the body per se. It has to do with conception, how we conceive of what we can do. The scope of it. The size of it. The energy of it.

 

The energy-projection exercises I offer in Mind Control, Mind Freedom, and The Transformations, if practiced on a consistent basis, can revolutionize that conception.

 

Look at the manmade myths of ancient societies. Apollo, Venus, Ra, flying dragons, Krishna, on and on—these are all figures of great power. People attribute power to them and then, correspondingly, invent stories about their own severely limited power. How convenient.

 

Breaking the chains…enter the Magic Theater, where you can play Apollo, Venus, Ra, the dragon. Where you can enter into a dialogue and speak as those figures of power.

 

I’m always amused when someone says, OH I COULDN’T DO THAT. Really? Are you kidding? What do you think you’re doing when you pay ten bucks and walk into a theater and watch an action/fantasy film up there on the big screen? Do you really believe those characters, those moving images have life independent of what you give them there in the dark? Do you really think you’re not momentarily merging with the heroes and becoming them? When you go to a concert, do you think you’re not merging with the music?

 

These are “becoming exercises,” and a thousand years ago, Tibetan magicians were practicing them every day.

 

To extend the practice, now, you enter the Magic Theater and actually SPEAK AS AND FROM those characters.

 

And now we come to an interesting crux. Because you see, people do merge with “roles of power” but they don’t want to admit that. They want to keep that fact in the dark. They want to do it secretly. They think admitting what they’re doing would be embarrassing. As adults, they’re supposed to be beyond that.

 

But who invented those roles and figures of power in the first place? Children? No. Adults.

 

Without too much of a stretch, you could say that adults invent the space and dimensions of their own lives by secretly projecting power to various other “greater personages”…and then living out the consequences of that action. Adults project power, in order to convince themselves they have no power. Yet another absurdity in a long string of absurdities.

 

Which is better? This dim charade, or the hyper-real magic theater, in which we finally speak as the power we have surrendered?

 

I once worked with a family, where the power relationships were causing all sorts of problems. So we went into theater. I staged a series of dialogues, in which the kids and the parents played each other. It was touch and go for a while, and then the whole thing turned into comedy. The dialogues were quite extraordinary, as these people turned out to be fine actors. They knew each others’ roles perfectly. You could feel the energies shooting around the room, and the laughter was explosive. Finally, when the whole thing settled down, the people realized, as the son said, “we’re all crazy.”

 

But not anymore. Father and mother assumed their rightful positions, the kids fell into line—but without force or threats. It wasn’t abject slavery or anything resembling it. Each person had become stronger and smarter. Each person was certainly freer. The right people were making decisions in the right situations. The daughter, in particular, underwent a personal revolution, after she played the role of her mother in the dialogues. The mother had basically been the tyrant in charge, and the daughter loved playing her. When the mother saw herself reflected back at her, through her daughter, she calmed down and dropped her “dictatorship of fear.”

 

The daughter told me she finally understood why her mother had turned into a monster—because somebody had to take charge in the family that was becoming an out-of-control mob. The father got the most out of playing his rebellious son, and told me he loved that part. But now he didn’t need it. He could actually be a father.

 

The two kids and the two parents were able to become a family, because nobody was claiming the others had all the power. That had been worked out through dialogue. It had been experienced. All four people had been power hungry, and at last the hunger had been satisfied. They got that message.

 

The last I heard, the mother was wearing, at Sunday dinners, a T-shirt that said I USED TO BE A MONSTER AND IT WAS GRAND. They built little dolls of each other and burned them in effigy. They told me it was an occasion for much joy and glee. I’m sure Child Protective Services, had they known, would have arrested the parents and sent the kids straight into foster care. But that’s the difference between the play called Government Bureaucracy and what can happen in the Magic Theater. Most people just wouldn’t understand. So be it.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

 

 

 

 

 

 

 

 

 

 

 

 

 

HIDDEN REALITIES

 

AND HUMAN POTENTIAL

 

SEPTEMBER 5, 2011. If you want to talk about Ultimates…

 

All metaphysics is a lie.

 

All theories of universe are lies.

 

All cosmologies are lies.

 

They are all A SUMMING UP of what exists at the highest and deepest levels. But there is no such thing as “the highest level,” because invention, creation, imagination, improvisation bring into existence what never existed before.

 

I continue to drive this point home, because it is our certainty about what exists that walls us off from our own creative potential.

 

What we can create is open, not yet formed, not fixed, not settled.

 

And that is where titanic energies are possible and that is where magic truly occurs.

 

Some people will do everything in their power not to understand this, because they have invested all their chips in being sure about what exists at the highest level.

 

I have no quarrel with this. I merely point out that reality, at any level, is astonishingly expandable and astonishingly create-able. It isn’t fixed, no matter how interesting or ultimate the fix might be.

 

Face it, most metaphysics ends up including the individual as PART OF SOMETHING LARGER. This approach is obsessive with humans. They love to consign themselves to a role in the play where the prime elements are towering above the individual.

 

This is how they diminish their own potential and power and imagination. It’s a fascinating piece of theater.

 

I once had a brilliant professor client who had written a tome about what he called Force X. He had composed a metaphysical tract that laid out a complex series of frequencies and entities, organically evolving, feeding into a universal force that radiated consciousness, arcane knowledge, and spawned “the energy of life,” pouring down into the physical universe.

 

He came to me because he felt he had reached the end of the line with his research. He was, in a way, stymied. He had achieved his goal. He wanted something else, but he didn’t quite know what it was.

 

He was very sure of himself. He could fence, intellectually, with the best of them. He rejected every approach that didn’t merge with his own explorations. He, in fact, made me promise I would never reveal the fact he had come to me, because that would indicate some deficit on his part. And he “knew” he had discovered the secret of life.

 

So, after some fruitless conversation, I convinced him to play the role of his Force X in a dialogue with me. I would play “a skeptical interviewer.” His job was to speak FROM the cosmic mind of Force X.

 

It took us three hours, and then the egg cracked. He finally got in touch with the immense power he had assigned to Force X. He felt it. It was no longer independent of him. He was embodying it—and then energy fireworks exploded all over the place.

 

The migraines he had been experiencing for years turned on and off like a light bulb. The pain went down into his belly and legs, and he reported it flowed out of his body like a long river. The chronic tightness in his shoulders and neck blew apart.

 

He began laughing—and he confessed he hadn’t laughed like that in a very long time. Color rushed into his cheeks.

 

And then we switched. I was now Force X and he was the skeptical interviewer. In this part of the dialogue, he challenged every principle he had built up in his own work. He attacked mercilessly. The more he drove home his points, the more serene I became.

 

Finally, he said, “Ultimate reality just took a hit.”

 

He was done.

 

He immediately wanted a good meal. We went out to a restaurant and ate. He was ravenous. He felt as if he’d been starving. He said, “You know, I’ve always wanted to write poetry.”

 

That night, he went home and wrote for ten hours. He told me it was the most cleansing experience of his life. He was launched in a new direction.

 

“You’re not going to tell me what to write, are you?” he said on the phone the next day.

 

“Are you kidding?” I said. “It’s your world.”

 

“That’s what I thought,” he said. “I just had to make sure you weren’t going to come in with a kicker at the end of all of this and try to make me go somewhere…”

 

“I’ve got no agenda,” I said. “Just create. That’s my only advice. And you don’t need it because you’re already doing it.”

 

The whole experience was a perfect example of what happens when reality becomes consciously theatrical. Dialogue. Roles. Switches.

 

WHAT EXISTS is the obsession.

 

CREATING is the life without end.

 

What I learned from that client is: metaphysics and cosmology are theatrical, when you break through their webs of explanation. At the end of the road of WHAT EXISTS is theater, if you can frame it in terms of spontaneous dialogue.

 

As I’ve written before—and it should be clearer now—religion is a poem that froze in mid-stride, after which it was used as cosmology to recruit adherents. But it was really a poem.

 

And if it had continued, the poet would eventually have gone into all sorts of different spaces, none of which implied the settling of the question about “ultimate existence.”

 

If you want ultimate existence, look to the poet himself. He’s the one who is creating.

 

I have worked with many writers, and the common denominator of what is called “writer’s block” is some idea, conscious or subconscious, that sums up “the way it is.” With such an idea in tow, the writer stalls. He begins to believe he’s gone as far as he can, because he already knows what is at the end of the road. This is patently false, and the proof is in the fact that the writer moves on. He keeps writing. He keeps imagining and creating.

 

Focusing on the block isn’t the answer. It’s just a convenient way of postponing the act of creating. It’s a “complaint,” and complaints never end, until the writer simply takes off in a new direction and keeps on inventing.

 

One such writer and I engaged in a dialogue between “writer” and “publisher.” The character of the publisher was highly critical and snobbish and of an elite nature. We each took both roles in the piece of theater, and finally the wall split in a torrent of energy and the writer found a cache of buried power.

 

In this case, there was a lot of anger mixed in with the power.

 

Some people believe anger is a “negative.” Creatively speaking, nothing could be further from the truth. It’s just another face of energy and it plays its part. Fear of anger is a cultural artifact, nothing more. It’s part of the vague “new age” and pop psychology nonsense.

 

In the magic theater of reality, a creator reaches out in many directions and improvises. He becomes a riverboat gambler, shoving in all his chips on his work—and he eventually discovers he has an unlimited supply of chips.

 

Social reality is limited theater, a series of small stage plays. But that’s only the beginning of the story, because a person can crack through that format and find open waters.

 

LIFE IS AN IMPOSSIBLE DIALOGUE WAITING TO HAPPEN.

 

In the magic theater, it happens. A person plays a role and speaks as something that, under ordinary circumstances, we are quite sure cannot speak at all.

 

A table.

 

A painting.

 

A sky.

 

A weapon.

 

A minotaur.

 

God.

 

A dead relative.

 

A glass of ice.

 

A cave.

 

A wall.

 

A city.

 

A star system.

 

An ant.

 

A microorganism.

 

If questioned, a person could make a list of a million things that can’t speak. This is, in a real sense, how he defines (sets boundaries on) reality.

 

And then, in the magic theater, he speaks AS several of these things. Imagination and improvisation take over.

 

And then, everything changes.

 

Here’s another example. A person shows up and says he feels a vaguely ominous cloud of anxiety that moves with him through life. Okay. That’s his role: “cloud of anxiety.” That’s who he speaks AS. That’s his part in the magic-theater dialogue. And who am I? A radiant being of infinite magnitude who has achieved cosmic consciousness. That’s my part. And we talk from those characters to each other. And then after a time, we switch roles.

 

And something happens. Something happens in the magic theater. He breaks through and sees and feels a wider reality. He can’t put a name to it because it has no name. But he gets out of the space which formerly defined reality for him. He moves out of all the thinking he was doing that was relevant to that old space.

 

He now has new thoughts and new feelings and new energies. How did it happen? Through theater. Through dialogue.

 

Or a person shows up who says his feelings are boxed in. His role in the magic theater? That box. That’s who is he going to play. Not the repressed feelings, but the repression itself. The box. He will speak as the box. And who am I? The mighty ever-flowing Orinoco River. I will play and speak as the River. And after a time, we’ll switch.

 

That which doesn’t speak (because we assume it can’t) now speaks. Imagination makes it so, in the magic theater.

 

A person fervently believes in the ultimate merging of all consciousness into one grand cosmic Allness? Great. That’s his role. My role is the last holdout in the universe, the last man standing who is the rebel, who will not merge. And then we switch. You see, the metaphysics implicit in this is just the stage set, the premise. It’s the fulcrum upon which the dialogue starts. It’s nothing more. This isn’t about what ultimately exists. In the dialogue, we create. We invent. We improvise. We take part in theater.

 

What ultimately exists is CREATING. And that is a process, that is action, that is dynamic, that is endless. It’s not a structure. Structure looks like it is Answer, but it isn’t. Structure looks like it is the shape of existence, but it isn’t. It is THE SILENCE THAT NEEDS TO SPEAK.

 

And if our view of reality denies that possibility, then we are stuck with structure. We are stuck with description. We are stuck with boundaries that hem us in.

 

The key that unlocks the door, finally, is giving voice to what we had assumed could not speak.

 

And then we discover that reality per se is a lie. It is a prop in a play. It is a starting point from which the silence will be broken.

 

We animate the silence.

 

We enter the magic theater, where all things are possible, because we’re inventing it that way. And lo and behold, when we DO invent it that way, we find magic. Energy flows. Power arrives. The impossible is possible.

 

This is how and why reality is an illusion. This is how imagination creates reality.

 

That which is dead and neutral and motionless and abstract, it turns out, is that way because we have made it so. That is how we carved out the shape of existence—and then we said, “Well, this is just the way it is. And something somewhere else created it like this.”

 

But in the magic theater, we reverse all that. And we then experience the extent of our power.

 

I spoke with a psychologist about some of this material a few years ago. He said, “Are you claiming that a pink and purple monster walking down Broadway is REAL? Is that what you’re saying?”

 

I told him he was missing the point. I told him that if he played the role of that pink and purple monster in a dialogue with me, and I played a cop with a pair of handcuffs who wanted to arrest the monster—and if we carried on a spontaneous conversation, in an improvised play, and then if we switched roles…something would happen. He, the psychologist, would experience something that would take him out into wider realities he had never felt before.

 

Well, he said—and I saw a glint in his eye—I don’t know about the monster, but if I were to do something like that, I’d want to play Freud. Who would you play?

 

I told him I would play God, the Old Testament God, full of sound and fury, a God who thought Freud’s theories were despicable.

 

He grinned. He like that idea. He liked the idea of going up against the Old Testament God.

 

Of course, I said, then we would switch. I would play Freud, and he would play a vengeful God.

 

He laughed. I could see he REALLY wanted to play God and unleash some energy and power and fury.

 

I could see he felt, at some level, that his own power was bottled up and he loved the idea of finally being able to embody it and project it.

 

You know, he said, when I was a boy my parents dragged me to synagogue every Friday night, and I hated it. I felt it was unfair. I was being told who to worship, who to bow down to. I was told he, God, had all the cards in the deck and I had none.

 

In other words, as a child, this shrink had found himself believing he had less power and something called God had much greater power. He had set up an energy-and-power formula, and he was on the short end of it.

 

And that is exactly where the magic theater achieves it reversal. Not merely by thinking about things, but by inhabiting roles and speaking from them. Then the encased energy breaks out of its cocoon and the “deficit-days” are over.

 

Reality is defined and bounded by asserting what is impossible.

 

But, in the magic theater, embodying and inhabiting and speaking AS AND FROM the impossible moves us out into the great ocean of our own being.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

 

 

 

 

 

 

 

 

BREAKTHROUGHS IN CONSCIOUSNESS

 

ENERGY EXERCISES, PART 2

 

SEPTEMBER 3, 2011. I want to give you further perspective on the energy exercises I offer in two audio seminars—MIND CONTROL, MIND FREEDOM, and THE TRANSFORMATIONS.

 

The exercises are all about projecting energy across space. It’s a natural capacity we all have, but we’ve largely forgotten it.

 

Let’s start here. The world, physical reality, ordinary reality, society, civilization—in one sense they are all names for a hypnotic effect that is transmitted to the individual.

 

The transmission occurs in several ways: as images, as frequencies, as space itself. The underlying purpose is FAMILIARIZATION.

 

Familiarization causes a person to accept things as they are, which is really the substance of a light trance.

 

For a mundane example, consider driving to work on the same route every day. You’re so familiar with the process you sometimes blank out and come to, a few seconds later.

 

Well, life can be like that, too. The light trance is actually a droning interaction between mind, perception, and the “presentation of things as they are.”

 

Here is a quote from my late friend and colleague, hypnotherapist Jack True: “That-which-is, reality, has a somewhat numbing effect over time. It’s almost like holding a pendulum in front of a person. The pendulum gently swings back and forth, and the person becomes comfortable to the point of being suggestible. But when the pendulum is physical reality itself, the suggestion that is being delivered is: ‘this is life, this is all life is, this is the way it is, accept it more and more, accept it more deeply.’ The person begins to lose energy and vitality. It leaks away. The response to life becomes more automatic. You’re losing energy in the process…”

 

These energy exercises transcend the trance. They “crack the egg” of ordinary reality. They open up space. They wake up consciousness and cells of the body.

 

As a person does the exercises, he realizes he’s interacting with ordinary reality, but from a place of power. He’s not being transmitted to. He’s the “operator.” He’s pulling the switches.

 

This is a very interesting experience.

 

The trance breaks apart.

 

In many ways, subtle and overt, we’re being preached to. We’re being told we have a limited amount of energy. This is a fable, but there a consensus around accepting it as truth.

 

When people wake up to the lie of the fable, they feel better. When people experience new energies, they change many of their old attitudes. They approach life in a different way.

 

We’ve reduced ourselves, but the condition is not permanent. It can be cracked apart.

 

I began developing these energy exercises one day, when I was painting in my studio, and I realized I was projecting energy. I felt alive in a way that surprised and excited me. I felt layers of acceptance and “sleep” peel away and disappear, as if I had walked out of a cocoon. An old injury that had been nagging at me for years (to the point where I didn’t even notice it anymore) suddenly showed up like a fire in my arm and then burned off and vanished.

 

But more importantly, when I left the studio and went out on to the street, I noticed I had a new attitude. I wasn’t inhabiting normal reality anymore. I wasn’t in “neutral space.” Instead, I had power.

 

After that, I never lapsed back into the old sleep again.

 

It’s one thing to think about this. It another thing to feel it and know it.

 

On all levels, the world is moving toward weaker energy exchanges between people. It’s the individual who can reverse the tide.

 

The civilization we now live in has cast its lot with machines and technology. Projection of energy is thought of purely in those terms. However, this is yet another illusion. The idea that we can only reach across space by physical means is a cultural artifact. It is ingrained now. Waking up from it, to return to our natural power, requires a new attitude and point of view.

 

This adventure is bracing. It brings us many rewards, including the capacity to span space with our minds and the understanding that we can, in a real sense, be in two places at the same time.

 

This was the subject of the famous book, Zen in the Art of Archery. The archer could be holding the bow and be at the target simultaneously. In that case, space would change. It would become more flexible, more like an instant of time.

 

Space also becomes more theatrical, a living stage for the production of energy phenomena. And the individual can turn on and off those phenomena, as if he is holding a switch. Experiencing this is more real than real—you graduate into a mode of improvisation that is “you in action,” at a level that is exceeding natural and creative.

 

It all starts with working with energy, using it, inventing it, projecting it, moving out of the John Q Citizen apparatus of “the average and normal,” which is only a role played out in a neutral and dead setting. This is where most people are, polishing confined parts in an old play, thinking they are only this and nothing more.

 

They strive and hope for something better—but it’s all taking place inside scenes from a stage production called The Average. Instead, they need to step out beyond that space and take on the power they actually have…and then things change.

 

I am now developing exercises that, based on my present energy techniques, allow and initiate new roles and new parts in new plays in much wider spaces, utilizing more power. For these, we need live seminars for small groups…

 

I call it The Magic Theater. Metaphorically, it is connected to a locale in Hesse’s landmark novel, Steppenwolf, where the main character finds he can live out extraordinary situations and emerge from his restricted cocoon.

 

In our world, we attribute great power to detestable people, and we end up believing that is where power IS—whereas we are weaker, though righteous and moral. This whole dynamic is like a crystal, a structure that keeps us in one place. The crystal can be blown apart, and we can then discover and regain our own power, our own magic, and use it to live quite different lives, without interfering with the freedom of others.

 

People don’t grasp the fact that our societies and civilizations are built to create a rigid balance of forces and energies that, ultimately, crystallize and hold the status quo in place. They may see this on an intellectual level, but experientially, they lack the venue in which to work with the forces themselves and break them open, to start the free energies flowing again.

 

I want to provide such a venue. Fortunately, people like Hesse, JL Moreno, Fritz Perls, and going all the way back, the Tibetan magicians, have laid vital groundwork for a breakthrough.

 

Again, we need a group to take new steps on this road.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

 

 

 

BREAKING THE CHAIN OF CAUSE AND EFFECT

 

SEPTEMBER 1, 2011. Human beings tend to define themselves. They sum themselves up. They present themselves with a picture of what they are.

 

They may not do this with precision, but they do it. And the common factor is all about limitation because, after all, definitions involve drawing boundaries. Definitions describe what is inside those boundaries and exclude what’s outside. That’s limitation.

 

The most pervasive way this process is carried out is through making “the past” the great determinant of the present, as if the past is a series of links that, naturally, shape the ongoing Now.

 

“The past adds up to the present.”

 

Cause and effect.

 

It’s a nice neat package.

 

And if past history isn’t enough, people can resort to a vague idea of genetic determination. Or inherent and permanent IQ. Or the pressure exerted on them by their environment. More cause and effect.

 

Finally, you can add a cherry on the cake: open possibility for the future, if it exists at all, comes from the universe, or The Force, or the cosmos, squeezed out of a tube like toothpaste and passed to a person by the grace of a Something that responds to good behavior and patience…

 

The whole notion of cause and effect as a chain is a reality that is perceived at a certain level—and what breaks the chain is entering into a level where that rule doesn’t apply.

 

This higher level flows from creation. Your creation.

 

This is where creating and imagination and greater energy combine to produce new realities that exceed any attempt at definition.

 

This is where and how a life undergoes a great and unprecedented change.

 

Societies and civilizations operate within a context of cause and effect. They thrive, to the extent they do, on that principle. They promote the principle and educate according to it.

 

But societies and civilizations, sooner or later, abandon the individual in favor of the group. They explain this preference in many ways, just as a drug addict spools out his reasons for using drugs.

 

However, the individual can take action on a very different basis.

 

Imagination has nothing to do with conventional cause and effect. It isn’t interested in adhering to sequential time or “the one and only space.”

 

Because of this, people believe imagination doesn’t really fit into the world.

 

People are disposed to using imagination as if it were a cause-and-effect blueprint that mirrors physical reality. This is backwards. Imagination creates its own worlds and these worlds can be fashioned without such limits.

 

For instance, when you envision a future, you usually see it as if it’s already done, meaning you put “the final effect” first. Why not? Imagination is infinitely malleable.

 

Energy-imagination-creation is the jumping-off point from traditional cause-and-effect.

 

This is why, ultimately, philosophy takes a backseat to imagination. Philosophy is an attempt to sum up What Exists. Imagination creates new shapes that didn’t exist before.

 

Logic, which is an indispensable tool for grasping reality at the level of perceiving cause and effect, may state that A implies B, but imagination can say A implies Z or A implies B, Z, and Q.

 

Magic is what can be created outside the boundaries of conventional cause and effect.

 

Imagination is the gateway into magic.

 

If physical reality could send a message it would be, “Here I stand. I am a chain of cause and effect, and you are part of that chain.”

 

The individual says, “I create worlds beyond any such message.”

 

The individual can delete his own knowledge of what his imagination does, and this is what is meant by self-hypnosis. Self-hypnosis operates by inducing frequencies and vibrations that bring on amnesia. It’s a parlor trick that shrinks space.

 

In my e-book, The Secret Behind Secret Societies, I explore these issues. I wrote the book as a reversal of self-hypnosis.

 

What you imagine and create…you can then insert into the world, and even though the world may view that creation within its hypnotic context of cause and effect, that isn’t how it was produced by you.

 

We are talking about levels of perception here. On one level, everything is seen through the cause-and-effect lens. On another level, events are seen in a fashion that transcends any such linkage. This second level opens up physical reality and exposes it as a collection of “wholes.” Created wholes.

 

The physics of energy, space, and time works the territory of various limited types of causation, even when it is speculating about quantum events. Your imagination goes farther. Much farther.

 

Consider this whole business as a stage play, in which imagination creates reality…and then the human being WHO DID THE IMAGINING steps down his own perception and views what he did within a self-hypnotic space of cause and effect AND PRETENDS REALITY IS COMING FROM SOMEPLACE ELSE.

 

It’s a joke. A cosmic joke.

 

When you sleep at night, and dream, when the chains come loose for a little while, you are laughing at the punch line.

 

If you care to admit it.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gnmail.com

http://marketplace.mybigcommerce.com/products/The-Secret-Behind-SECRET-SOCIETIES%3A-Liberation-of-the-Planet-in-the-21st-Century-%28E%252dBook%29.html

 

 

 

CREATIVE WORK

 

AUGUST 31, 2011. When it comes to practical goals and what it takes to achieve them, there are basic strategies that operate well and productively. However, when the work involves bringing the creative impulse and imagination into the scene, the rules are not the same.

 

They aren’t the same, because you’re swimming in different waters. It’s not only a matter of focusing on the objective and the plan.

 

Now you’re talking about Desire, which is a large subject that involves hooking your future up to that North Star…and pretty soon what seemed like a simple enterprise includes more energies and dimensions.

 

For example: what DO you really desire? How big and wide and deep is that desire?

 

Writers and other artists often come upon this question. They find that what appeared, at first, as a clear picture takes on new aspects.

 

It’s as if you wanted to explore an iceberg. You’re looking at the part you can see above water…and then you become aware that the bulk of the object lies under the surface. Or you want to explore an ancient pyramid, and as you move into it, you find corridors and rooms initially hidden from view.

 

How do you proceed?

 

Well, it’s an ongoing process. As you attempt to create, in the world, the fulfillment and realization of the desire, you discover that a large part of that desire was obscured from view—and NOW COMES TO LIGHT ONLY BECAUSE YOU ARE IMAGINING AND CREATING.

 

It’s as if the desire was waiting for you to trigger your own imagination and creative power, and once you do, it exposes more of itself.

 

You were operating in a territory, so to speak, that was as big as a house, and now it’s as big as a city.

 

In my consulting work with clients, and in my audio seminars (The Transformations, for example), I deal with these creative issues. They are resolved, as the person begins to create more and as he begins to create with more power.

 

As a metaphor, consider the life and career of the Spanish architect, Gaudi. Once he began to gain commissions in the city of Barcelona, he was no longer simply designing apartment buildings. He embarked on a huge cathedral, and he created a magnificent serpentine bench at the top of the city…

 

In other words, he began to see more possibilities for his art, and he began to realize he could imagine and create with greater power and dimension.

 

In effect, his desire expanded from its original shape.

 

He was no longer just an architect working on strict orders from his clients.

 

He saw more of his own desire.

 

This is the road of magic. You begin where you begin, and as you create more and more, the territory and your power expand.

 

So does your energy.

 

The environment around you and within you changes. Your energy is having effects in new spaces. This isn’t something you can measure with a meter. It isn’t something you can get a grip on by merely “taking a scientific attitude.”

 

This is a different world.

 

You see that energy and matter and, in fact, the whole continuum we tend to cherish and accept as the totality of existence, is only a piece of something much, much larger.

 

You don’t just think about this. You experience it.

 

You discover that every picture of reality, from the sub-atomic all the way to the cosmic and the metaphysical, is “waiting,” just as your desire is waiting, for you to undertake creative work—at which point, the whole notion of reality “surrenders” to your larger imagination and energy.

 

It’s not a closed system at all. It’s entirely open.

 

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

http://marketplace.mybigcommerce.com/products/The-Transformations-%283-CDs-3.75-hrs%29-b-Jon-Rappoport.html