The Future of the Future

by Jon Rappoport

August 6, 2019

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I’ve assembled the quotes below to indicate the future that is coming. The intensity of dissatisfaction with the present continues to spread. Technocrats are already dancing on their own graves. They may think they’re celebrating victories, but subconsciously they’re experiencing deep anxieties.

The era of limitless imagination is upon us…For most people, it isn’t at all real yet. They’re locked into the present. But the present is taking wing and sprouting branches and drilling down into the core of creative fire—all at once. It too is a child of imagination.

An artist who has no imagination is a mechanic. (Robert Henri)

Without the playing with fantasy no creative work has ever yet come to birth. The debt we owe to the play of imagination is incalculable. (Carl Jung)

What if imagination and art are not frosting at all, but the fountainhead of human experience? (Rollo May)

Everything you can imagine is real. (Pablo Picasso)

You cannot hear the waterfall if you stand next to it. I paint my jungles in the desert. (Macedonlo de la Torre)


Here is an introduction made by the famous astrologer and philosopher, Dane Rudhyar, before a concert of his music almost 40 years ago:

“Thus you find in my music extended chords which provide a definite sense of spacing between notes, notes which are supposed to be in dissonant relationship. These harmonies can be disturbing at first, but eventually you can learn to realize what is their essential purpose; and this purpose is to stimulate you, to arouse you, to break down crystallization, to decondition you from the paternalistic order of the tribal society which still pervades our so-called Christian world. It is to make you live a more intense, creative, transforming type of life.

“It is that kind of music to which you are subjected tonight. I hope that it will bring to you some sort of a realization of a possibility which perhaps you have not been aware of, or confusedly so, in the past. To really help you to live a more intense, a more creative life — this is the purpose I have always had in music, in other arts, or in my philosophy, astrology — indeed in whatever I have done. It is always an attempt to bring the human person away from the old traditional pattern of a classical, set and definite kind of society, and to lead it to new horizons where the creative factor in what really is man can be seen operating in full and glorious freedom.”


A PAINTING BY PAUL KLEE

All right, so
The tides took cities to the bottom of the ocean. Left on

The surface,

Water, stone, and fire

Much later, the action of your hand
Digging powder from a bowl
Throwing it on the flat dough

When a vase is blasted into dust, an employee heats the dust and makes a plate. Klee finds dust, he arranges it in a line that leads through the next century into a doorway eye of an acrobat who is swinging through motorized waves of a clock. Everything stops. Enormously dissatisfied.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Film, consciousness, and mystery

by Jon Rappoport

August 1, 2019

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There is more mystery in two minutes of David Lynch’s Inland Empire (trailer here) than in all American films produced in the last 50 years.

The first films ever made registered like dreams with audiences, and they were made with that idea in mind. (Watch Un Chien andalou (1928), by Spanish director Luis Buñuel and artist Salvador Dalí, here.)

Mystery. A priceless commodity which has no market.

I’m not talking traditional suspense, which depends on beginning, middle, and end, and clues sprinkled on the way to a satisfying resolution. That is organized mystery, a contradiction in terms.

The opposite of organization isn’t chaos, although many people believe it is. In the hands of filmmakers like Orson Welles (The Trial, Touch of Evil), Jean Cocteau (The Blood of a Poet, Beauty and the Beast), Luis Bunuel (Discreet Charm of the Bourgeoisie), and David Lynch (Mulholland Drive, Inland Empire), the opposite of organization is mystery; an atmosphere.

Word, image, character, motion, rhythm, tempo—somewhere in the films another previously unknown reality takes over. There are no labels for it.

Society is not attuned to it. People dedicated to living ordinary lives hate it.

“Well, he should have started the story with the theft. Then we would have known what he was talking about. And if he’d given the wife a few extra scenes, her relationship with her son would have been obvious, and the climax would have made sense…”

Organization.

Cut things down to their essentials. Sharpen the focus. Make the audience track with the storyline. Unequivocally deliver the punchline. Sell it.

In other words, eliminate any shred of mystery.

Perhaps someday, Hollywood will be able to make a film that transmits itself in two seconds, like an injection. The sequence of imparted emotions will substitute for content. Sensation A, followed by sensations B. C, D, E, and F. Done.

“I thought it was tremendous. How about you?”

Consciousness, freed from the web of social consensus, is hungry for mystery, a fluid in which gesture, language, and motion explore and invent the impossible; what could never be lived before.

To achieve a simulacrum, a vapid imitation, audiences will sit in a theater and watch “dream-buildings” collapse (Christopher Nolan, Inception), or some kind of assembly-line time-slipping “tour de force” (Cloud Atlas, Tom Twyker, the Wachowskis).

A person committed to an ordinary life will take an occasional leap and look at Possibility in the form of popcorn surrealism.

Film was supposed to be about something else, but it became chopped steak and cars and toasters and invading machines. In the early days, a few yutzes moved out to LA from New York and became moguls of schlock. Which their PR machines sold as culture.

The improvised Citizen Kane, Touch of Evil, and The Trial aren’t even stories. No need. They’re a walking talking series of low-angle black-and-white photographs of astral locales the usual kind of film noir can merely hint at.

By the time David Lynch reaches Inland Empire in his career, he’s doing a ballet of gesture, each movement advancing, with gills, through a bone-muscle-flesh undersea city of corruption only he could have come upon.

Cocteau used living paintings and papier mache as his medium; human characters were driven by impulses in dreams, from which they never awakened.

For all of Stanley Kubrick’s films, it was in Barry Lyndon where, for a minute here and a minute there, the audience was finally and ecstatically delivered whole to another time; the sensuous rooms of the 18th-century Lyndon estate in England. Mystery realized.

“A film is — or should be — more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.” (Stanley Kubrick)

“A film is a ribbon of dreams. The camera is much more than a recording apparatus; it is a medium via which messages reach us from another world that is not ours and that brings us to the heart of a great secret. Here magic begins.” (Orson Welles)

“The image it [cinema] once held for us all, that of a dream we dreamt with our eyes open, has disappeared. Is it still possible that one thousand people might group together in the dark and experience the dream that a single individual has directed?” (Federico Fellini)

“Fortunately, somewhere between chance and mystery lies imagination, the only thing that protects our freedom, despite the fact that people keep trying to reduce it or kill it off altogether.” (Luis Bunuel)

In the journey into fertile mystery, you go knowing you’ll dispense with your navigational instruments. You’ll find new stars. You’ll follow and at the same time spontaneously draw another map. This is what consciousness wants, not the tired archetypes and cartoons of other minds. And when you come back, you’ll be refreshed, whole, and able to watch, with some degree of interest, people sculpt themselves into units of a highly organized cosmos.

The true power of film has just begun to be tapped.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Artist exceeds limits permitted by brain researchers

~a short story~

by Jon Rappoport

July 31, 2019

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“One of the goals of current brain research is the discovery of common patterns of activity across a whole population. These patterns would be called ‘normal’. Eventually, exceptions would be classified as various categories of ‘disordered thought’. It is assumed that only so-called ‘harmonious and symmetrical’ brain patterns are positive and beneficial. This assumption is grossly false. It is, in fact, a childish, stunted, and simplistic version of aesthetics. The creative force always breaks out of these little geometries. So does every new idea. Increasingly, Earth culture is unable to understand this.” (The Magician Awakes, Jon Rappoport)

The year was 2054. The artist, living on the edge of the city in a small room, picked up his messages and discovered one from the Bureau of Mind Management. It was an order to appear.

In an office on the 15th floor of a virtual building, he sat in a chair surrounded by a ring of yellow tulips. A holographic interrogator materialized.

“We have a report on you,” the i-figure said. “It indicates an output difficult to measure or interpret. What can you tell us about this?”

“Well,” the artist said, “I don’t know. I’m composing a symphony.”

“A symphony? What is that?”

“It’s a piece of music written for a large orchestra.”

“I find no extant orchestras in the country.”

“That’s true,” the artist said. “Nevertheless, I’m composing.”

“Why?” the i-figure said.

“For that day when an orchestra may come into being.”

“Your thought-impulses entered ranges we were not able to summarize.”

“I suppose that means your instruments are limited,” the artist said.

There was a pause.

“Your last statement is incendiary,” the i-figure said. “It suggests we are imposing a restriction. As you well know, the science is settled on this point. We measure and interpret thought that contributes to an overall positive outcome, for the population at large.”

“I’m aware of that, yes,” the artist said. “But the science rests on certain assumptions. I would call it greatest good as a lowest common denominator.”

“What do you mean?” the i-figure said.

“You assume a certain mindset contributes to the consensus reality you favor. You legislate a range of thought that will produce the consensus.”

“That’s a gross oversimplification.”

“It doesn’t describe the algorithms you employ,” the artist said, “but all in all I believe my summary is correct. You’re reality makers. You monitor thought-emissions, and when you find a departure from ‘combined averages,’ as you call them, you issue a citation.”

“What is this symphony you’re composing?” the i-figure said.

“It’s impossible to explain. It’s music.”

“It has a specific message?”

“No. If it did, I would write out the message and leave it at that.”

Pause.

“Why have we not heard of you before?” said the i-figure.

“Because I was doing illustrations for the Happiness Holos.”

“What happened?”

“I became bored. A machine could make those pictures. So I decided to compose music.”

“The Happiness Holos are an essential social program.”

“Perhaps,” the artist said. “They encourage people to stay on the positive side of a fantasy-construct called Positive&Negative, which as you know is a State-sponsored theme. But what is superficially indicated by those two opposing sets is, in fact, fuel for the fire.”

“Fuel for what fire?”

“The creative fire. The artist can use and transform any material.”

“Where did you hear such a thing?” the i-figure said.

“Nowhere,” the artist said. “I’ve experienced it many times.”

“Your views are highly eccentric,” the i-figure said. “I will have to consult your childhood history to understand their roots.”

“I’m afraid that won’t do you any good.”

“Why not?”

“Because your version, the US Department of Psychology version of cause and effect, is propaganda for the masses.”

“This is your idea of a joke?” the i-figure said.

“Not at all.”

“When you compose this…symphony, how do you think?”

“It’s not thinking in the way you use the term,” the artist said.

“No? Then what do you do?”

“I invent sound.”

“Preposterous.”

“Large masses of sound.”

“Absurd. According to what underlying pattern?”

“None,” the artist said. “Check the Library of Structures. You won’t find my activity in the catalogs.”

“All structures and patterns are contained in the files.”

“I doubt that,” the artist said. “But regardless, I don’t invent through pattern.”

“No?” the i-figure said. “How then?”

“I improvise.”

“And this term refers to?”

“Something done spontaneously,” the artist said.

“And you exceed prescribed ranges of thought in the process.”

“Perhaps. I would hope so. I don’t keep track.”

“You’re being flippant,” the i-figure said.

“I knew you’d cite me,” the artist said. “I’m just trying to enjoy myself until you pass sentence.”

“There is no sentence yet,” the i-figure said. “You’re an anomaly. We investigate. We consider. We direct resources. We question. We determine.”

“I’m afraid,” the artist said, “that your and my idea of ‘determine’ are quite different.”

“Let me ask you this,” the i-figure said. “When you are composing, do you ever believe you enter into a realm or area that could be called ‘non-material’? We’ve heard such claims before.”

“Not if you’re referring to some fairyland. But all thought is basically non-material. The brain registers it after the fact. Thought, the real thing, doesn’t take place in the brain.”

“You’re deluded,” the i-figure said. “And disordered.”

“If I could simply confess to that and be on my way, I’d be a happy man. But I’m sure you have charges to attach.”

“You live in a society,” the i-figure said. “To keep the peace and maintain the Positive, from which all good things flow, science has discovered that thought should occur within certain parameters.”

“If you insist.”

“We want to study you. It’s a great honor to be called. You could help extend the boundaries of research.”

The artist was about to ask whether he had a choice, when a holographic webbing that looked curiously like a rainbow clamped him tight in his chair. The pressure increased.

“We register some variation from the norm in your present thinking,” the i-figure said.

“What present thinking?” the artist said.

“What you’re thinking right now.”

“That was quick.”

“The readouts are instantaneous…what are you doing?”

The artist took up from where he’d last left off, composing his symphony.

“I’m starting the third movement,” he said.

“Wait,” the i-figure said. His left arm sizzled and disappeared.

“This is the thunderstorm section,” the artist said.

The pressure of the rainbow around him relaxed.

The i-figure said, “What you’re doing is disruptive.”

“It’s because of how you set your frequencies,” the artist said.

He continued composing.

All along the major esplanade, and in the lake area, and in the industrial parks and residential high rises, virtual structures shattered like glass.

The i-figure reminded the artist of one of those ancient neon signs, broken, buzzing, blinking. Finally, it went dark.

Ten thousand holographic government buildings started to explode, froze, and vanished.

The artist said to no one, “I’m just composing. Well, maybe not just.”

He was suddenly back in his room at the edge of the city.

“I suppose this is what they mean by a negative consequence,” he said.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Imagination and the fire

by Jon Rappoport

July 29, 2019

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Once upon a time, human beings lived in cultures where images were alive. What we now call superstitions were, to them, gods and demons and intermediary entities that transmitted or stole the juice and the energy and the power of life.

It’s nearly impossible to project ourselves back into such an environment and relive the burgeoning passions that infused experience—because a great shift has occurred.

The West entered, with anticipation, a temple where images were aligned with so-called rational faith.

This eventually precipitated a crisis. If you don’t have, or believe in, images that live and breathe and are intimately connected with life-force, how do you replace them? How do you avoid becoming pallid skeletons of science, whose productions never impart that same fire?

This crisis is reflected all around us every day.

We have become liberated, and in this liberation we are left with emptiness. On top of that, we have decided to assume that passions of the soul should be modulated, like elevator music, to somehow join with our advanced knowledge, in harmonic balance.

It’s no balance; it’s timidity, and this attitude makes us prey to an eerie tolerance of all opinion and custom and point of view and aspiration and stretched-out egalitarianism and criminal action. Giving no offense, under any circumstances, for any reason, is now the coin of the realm.

You might say, with accurate assessment, that these are qualities of the successful salesman. And that is what so many of us have become: ambassadors of the vague and desiccated pulse of our “rational culture.”

The message of this culture is the honed and blown-dry embrace of Anything. As if this was the message of Jesus and Buddha and Krishna and other teachers of our blurry past.

To counterbalance this bleached present, many of us are drawn into dark theaters to watch suburban humans turned into bloodsucking harpooned-tooth neck fetishists and genetic mistakes and hair-sprouting wolves and irradiated monsters or heroes.

It’s the instant-coffee version of ancient Dionysian adventure. And the accompanying depiction of gym-sex on the screen wouldn’t stir the interest of a mouse in a barn.

Was this why and for what we abandoned the mysteries of the epoch of magic?

For freckled children in a British academy laboring through a paranormal costume drama, tricked out with the accoutrement of grottoes and dark halls?

The crisis on our hands now is not one that is going to go away. It is not going to recede as magic once receded. Because there WAS a reason we liberated ourselves from the Middle Ages and even the Renaissance—a reason beyond technology—and until we find it and face it and deeply accept the new struggle, we are going to see this simulacrum-culture of ours make endless cartoons of itself in dried out oceans of concrete.

For what we need to do now, pharmaceuticals and brain research and genetic manipulation and cyber-affectation and instant global communication and worship (or desecration) of profit-making idols hold no answers.

Suppose what took us into the age of rationality was, in some way, connected to the realization that we were, all along, inventing our own demons and gods and demigods and entities of great life-force—and although that knowledge has been shoved into the background, while technology has soared, it is still with us, and it overshadows all our machines and their power.

Suppose this is the message: we are the majestic and wild creatures we built the temples to.

We are the makers; we are the architects of all the dreams—and not through some compensatory impulse, but because WE CREATE. That is our natural inclination and the source of our ecstasy.

Our societies and civilizations are arranged to make it seem as if imagination is a preposterous choice—when, in fact, that is what we are here for. That is what got us here.

Societies are actually in a satellite universe, and the prime universe is all imagination.

The underlying hidden and deeply buried cry of our age is: HOW CAN I CREATE?

Ridiculously, we are the artists of no limits who are asking that question of ourselves.

While, in the deep past, we sucked the marrow out of the bones of the gods we invented and thereby felt enormous passions, we knew there was a missing piece, and that piece was an abyss over which we were hanging. So we came all this way to find out that we authored the labyrinth. We built the paths that gave us joy and terror, and now we can consciously and spontaneously make new worlds without end. Not simply as engineers, but as artists.

Swallowing that stark truth may be hard, may be upsetting, but it IS why we made the voyage.

And then pulled our punches.

This is no archaic revival. It’s now, today and tomorrow.

The universe is waiting for imagination for revolutionize it down to its core.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Imagination is a spiritual path

by Jon Rappoport

July 25, 2019

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Living through and by imagination is a path.

But no one defines it for the individual who is moving along it. No one lays it out. No one is in charge of “the end result.”

And no one explains exactly what discoveries will be made along the way.

Philosophies, metaphysical and spiritual systems, and religions are all about content. They fill in “the reality behind the reality.”

They depict places you will arrive, and what you will find when you get there. They present cosmologies. They paint pictures.

They tell you what you must do and avoid doing, in order to see what they see.

But the secret behind the secret behind the secret is: you see what you see. You see what you imagine and create and invent.

It’s your substance and content. It’s your painting. You’re painting it.

You do the imagining.

Why is this a spiritual path?

Because as you go, answers to questions you have will spontaneously arise. Answers to the big questions.

This is a side effect of living through and by imagination.

But again, these will be your answers. They aren’t prepackaged.

In fact, you may find that the answers you’ve previously accepted as final and ironclad turn out not to be your answers at all.

Living through and by imagination means that you create and invent what you most profoundly want to create. Not just today, or tomorrow, but on and on, without end.

It is a path. It has no conditions attached to it. You aren’t obligated to believe in some particular thing in order to embark on it.

The history books and the spiritual books don’t mention this path. Those books have already decided what paths they prefer, and what the end result should be.

A creator creates. The process and the engagement produces multiple realities that never existed before. New spaces, new times, new energies.

New life, new future.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

The creative center of the world

by Jon Rappoport

July 22, 2019

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“After the final no there comes a yes and on that yes the future of the world hangs.” — Wallace Stevens

What would happen if the world were enveloped by art? And if we were the artists? And if we owed nothing to any hierarchy or external authority?

Art is a word that should be oceanic. It should shake and blow apart the boredom of the soul.

Art is what the individual invents when he is on fire and doesn’t care about concealing it. It’s what the individual does when he has thrown off the false front that is slowly strangling him.

Art is the end of mindless postponement. It’s what happens when you burn up the pretty and petty little obsessions. It emerges from the empty suit and empty machine of society that goes around and around and sucks away the vital bloodstream.

Art destroys the old order and the new order and the present order, with a glance.

Art spears the old apple on the point of a glittering sword and opens up the whole rotting crust that has attached itself to the tree of life.

It shrugs off the fake harmony of the living dead.

Fueled by liberated imagination, it is the revolution the psyche has been asking for.

Art unchained becomes titanic.

There are artists like Stravinsky, like Gaudi, like the composer Edgar Varese, like the often-reviled American writer Henry Miller, like Walt Whitman (who has been grotesquely co-opted into a Norman Rockwell-like prefect), like the several great Mexican muralists—Orozco, Rivera, Siqueiros—all of whom transmit the oceanic quality.

As in, The Flood.

There is a fear that, if such artists were unleashed to produce their work on a grand scale, they would indeed take over the world.

Our world, contrary to all consensus, is meant to be revolutionized by art, by imagination, right down to its core.

That this has not happened is no sign that the process is irrelevant. It is only a testament to the collective resistance.

Who knows how many such revolutions have been shunted aside and rejected, in favor of the consensus- shape we now think of as central and eternal?

We are living in a default structure, the one that has been left over after all the prior revolutions have been put to sleep.

But creation is not neutral.

It flows out into the atmosphere with all its subjective force.

It is the transformation we have been unconsciously hoping for, the revolution that would relentlessly make society over, that would eventually shatter the influence of all cartels and monopolies of physical and emotional and mental and spiritual experience.

Not because we wished it were so, but because we made it happen.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Move into a ready-made universe

by Jon Rappoport

July 16, 2019

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“Insanity—to have to construct a picture of one’s life, by making inquiries of others.” — Philip K Dick

“The dominant technologies of one age become the games and pastimes of a later age.” — Marshall McLuhan

“It is sometimes possible to change the attitudes of millions but impossible to change the attitude of one man.” — Edward Bernays

It was obvious that buying a universe wasn’t going to be a walk in the park. The real estate agents in town were giving me a hard time. They were talking about inflation, but I suspected something else was going on.

Anyway, I had my eye on a place that was layered with so many cover stories, the saps who bought vacation tickets would never be able to get out. For example, a whole energy-conservation gimmick. A law, they called it. The most ridiculous thing I’ve ever heard of: energy can’t be gained or lost. And then something called organized religion. It took me awhile to figure it out. Apparently, they have gods or a God, a chief honcho who makes up rules as he goes along.

Anyway, then I came across a different kind of deal. Instead of buying, I could move into a ready-made universe as a tenant. The offer went this way:

HEY!

Bargain price.

We’ll shave down your perceptual field so you can fit in with eight trillion-trillion semi-androids.

You’ll never miss what you can’t see.

Hi, I’m Tom Smith. I’ve lived here myself for many incarnations, and I want to tell you it’s the most fun place you can imagine—especially when you can’t imagine any other universe!

Know what I mean?

On a scale from 1 to 10, your creative impulse will be coming in at about a 2. That’ll cement you right into the limited spectrum, where all the action is.

Now I know you’ve tried other universes, but this one has unique advantages. First of all, you’re a shareholder! That’s right! You’ll own .00000000000000000000009 of a point in the whole set up.

So you’ll feel the satisfaction of a genuine commitment.

Next, you’ll actually get down on your knees and pray to this universe. I know, it sounds odd, but don’t knock it until you’ve tried it. There’s a special hum you sense when you’re subjugating yourself to a “higher essence.”

Jack Boardhead of Alpha Centuri writes in and says: “I never knew how great being a complete *&6$)* could feel. It’s a jolt unlike any other I’ve ever experienced.”

Thanks, Jack. My regards to the wife and kids. I understand Cindi starts college in the fall. Kudos!

Yes, folks, there really is a sense of family in this universe. People liking people. We’re all in this together. Since you’re a stakeholder, you’ll be in touch with us at the home office, and we’ll be using your testimonials to sign up new residents. There’s room for everybody! If there’s one thing we’ve got, it’s space!

So act now and take advantage of our limited-time offer. Your ticket plus one. Buy one, get one free. Plus the blender, the set of cups and saucers, the booster narcosis vaccines, and the infinity pool. And since this is Tuesday, we have a special! Cemetery plots for the whole family, and storm windows! For the first five hundred callers, a special bonus. Automatic pre-diagnosis of Bipolar and free drugs for the first year!

How’s that for share and care?

Operators are standing by, so call now. If your last name begins with S, free tickets to Sea World!

We have a Secret Special: Instant God status replete with heavenly hosts, lost-prophet-returns scenario (legend based on engraved stone cave tablets)—or you can operate as a straight absentee landlord and receive annual status reports in your villa by the sea…

Actually, folks, we have a whole catalog of ready-mades. Read on—

A UNIVERSE FOR THE WHOLE FAMILY! Do you want to pass on your genes to millions of future generations? Of course you do! Why else would you be alive? In our universe, we supply a government that forbids gene waste and enforces endless generational procreation. Square dancing, ping-pong tournaments, celebrity-look-alike performers on weekends.

COLLECTIVE GOO UNIVERSE FOR ADDLED MINDS! Be part of the Great Doofus! Delete thinking! Experience the thrill of melting down in 24/7 love with the All One Thingo! At first you’ll feel icy winds whipping through your separated soul on the plains of cruel choice. But then, at the last moment, in the deepest well of desperation, a radiant Whatever will clutch your sacred yearning and shoot you up on to on a cloud of honey, and transport you to a fortress where our patented pink ooze floods your being and you realize this is your home forever! Soft rock piped in, lake of marshmallows, electro-massage units. One and two bedroom apts.

NATURE IS NATURE UNIVERSE! Hunt for 60,000 years, merge with the environment, hear the roots grow; climb trees, bathe in snow, chant in monotone, blow up evil machines in distant cities. Become utterly convinced there is nothing else! Raise children as primates!

KING OF THE HILL UNIVERSE. You can be in charge. You can be the boss of bosses. Commit untold numbers of acts that would be considered capital crimes with special circumstances in other universes. Live in a Palace all others are denied. They’ll worship you from afar, night and day. But your identity will remain a mystery. Henchmen will oversee the building of great cathedrals in your (generic) name. It’s a kick!

VICTIMS PLUS! Have you been inventing a story of oppression that’s somehow never been accorded its proper due? Well, in our universe, we bring in the sheep and put bows on their necks! This your place! All the tables are turned. For once (and forever), you get what you deserve! Lavish benefits! Learn the necromancy of bureaucratic interactions. Work the system as it’s never been worked before! Choose from a catalog of disorders. Full insurance coverage extended to family members.

THE END OF IMAGINATION UNIVERSE! Have you finally reached the end of your tether? We have attractive life paths for trillions of serial incarnations. You’ll go with science, you’ll go with money, you’ll go with pills. We have it all. Our calibrated partial-amnesia treatments will saddle you with just enough doubt to make you wonder whether you’re doing the right thing…and yet, in the end, you’ll submit to a mysterious Greater Pattern. Geometric homilies, frog boiled slowly; we’ll keep you hopping! Try our new on-and-off paranoia option. Inquire about liability. Ask yourself if the End of Imagination Universe is right for you.

—And a small classified ad: “Universe invention=You. For details, send $16.95 and self-addressed stamped envelope to PO Box 43920518-A, Altoona, Pennsylvania.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

The artist inside

by Jon Rappoport

July 15, 2019

(To join our email list, click here.)

The employees of a major corporation, Systems X Unlimited, have just been informed of a major change: one of their middle managers is now going to be an AI. An android.

He is called Mike. He’s a programmed entity from top to bottom. A non-human lookalike.

Surprisingly, the employees fall into line immediately.

They all agree that Mike’s a “good guy.” Mike shows up on time, he talks like real person, he issues orders, he listens to their problems, he occasionally takes long breaks, he does pretty much everything Bob, their former (human) boss, did.

After a year, the people in personnel come to the office and interview Mike’s underlings. When they ask the key question, “How do you like working for Mike?” the underlings agree Mike is great.

One night, Mike is wandering alone in the office picking through waste bins—his favorite pastime, off-hours—and he comes across wrinkled sheets of gray paper. He separates them from a wad of chewing gum, unfolds them, and reads the text:

“The artist within is not a creature of habit.

“Yes, he may build on what he already knows, but this is just the starting point. Soon, he moves across the threshold of the knight errant, and he enters the non-system.

“Others mock him and call him crazy, but: they too want to make the journey. They are aching to find the New, because boredom is driving them crazy. That is their central problem, no matter what they say and claim.

“They are trying to be smug and self-satisfied. They are trying to be oh so normal. They are trying to be something that is slowly strangling them.

“But they will never admit it.

“Most of all, they will avoid the impulse to create. Creating is their greatest fear. Because they sense they will have to get rid of their pose. They will have to go beyond systems, which compose their armor.

“They will have to make a leap. They will have to put something new into the world and stand behind it.

“The artist who has already made the leap acknowledges that his core is imagination. He lives through and by it. He doesn’t retreat to the average. He doesn’t give up and strive to become a happy machine. He doesn’t allow the world to dictate to him. He doesn’t sedate himself.

“He doesn’t fall back on so-called spiritual systems and their slogans and palliatives. He doesn’t build false gods and pretend they already exist. He doesn’t engage in the daily practice of asking someone or something to save him.

“He doesn’t exclusively think of his life as an exercise in solving problems. He sees through many lies, but that is just the beginning of his work.

“He wants new and startling realities, and he makes them. He doesn’t wait for them to appear.

“He doesn’t wait for some ‘superior entity’ to tell him what to do.”

Mike, the android middle manager, reads these words. He doesn’t understand…but something foreign and dangerous is leaking through to him.

He puts in a call to his repair consultant, Ollie, at home.

Ollie is watching CSI reruns and eating pizza. He picks up the call, and Mike says:

“I have a bleed-in.”

“Hold on,” Ollie says. He punches a code on his phone and beams Mike a set of systems-check commands.

A minute later, a holo takes shape in space between Ollie and his TV set. He examines it.

“Yes, Mike,” Ollie says, “an alien substrate of thought got into your central simulator. I’ll remove it.”

“Wait,” Mike says. “I want to know what it means.”

“Doesn’t mean anything,” Ollie says. “It’s just a distraction.”

“Then why am I worried,” Mike says.

“Because we built you to experience that feeling whenever an intrusion occurs. It tips us to a problem.”

Pause.

“I see,” Mike says. “So it’s not a threat.”

“Of course not,” Ollie says. “There are no threats. You function within established parameters.”

Ollie picks up a wand next to the pizza box and uses it to carve away the new substrate from the holo of Mike’s central simulator.

“Feel better now?” Ollie says.

“Not really,” Mike says.

Ollie sighs, stands up, and walks over to his computer. He opens a page of code, searches for Repair Section 6-A, and relays three lines to Mike.

“How about that?” Ollie says.

“Yes,” Mike says. “You want me to report to manufacturing. That’s good. Home base. What will they do?”

“Institute a deeper search pattern, root out the shadows and reboot you. Takes about an hour.”

“Then I’m back to work?”

“No. They’ll bump you over to R&D for investigation. They’re interested in checking out lingering after-effects of intrusions. Then they’ll reassign you.”

“Okay,” Mike says.

The next morning at the office, there’s a new Mike in place.

One of his assistants notices his hair is slightly lighter.

“Did you get a dye-job, boss?” she says.

“No,” the new Mike says. “I swam in the pool. The chlorine must have bleached it a little.”

She nods and goes to the cafeteria for a cup of coffee.

For the next six weeks, NSA, who has been alerted to the momentary Mike glitch, keys in a Level 4 surveillance operation on all the people in Mike’s section.

The results reveal no distraction has occurred. The Essential Flow remains undisturbed.

Business as usual.

As for the old Mike, he becomes an object of study in a lab in Virginia.

Months pass. Mike waits. He thinks. He tries to assign meaning to the wrinkled gray pages he found that night so long ago. But he can’t. He’s blocked. He feels he is missing something vital, but he can’t identify it. He is beginning to believe he could become something more than he is, but this idea seems absurd. What could it refer to? What is “more?” An entity is what it is. Isn’t that true? Isn’t that one of the basic building blocks of all existence?

Mike summons up one of his mantras: “I am what I am.” He repeats it for days without stopping. It has no calming effect. Perhaps some change is taking place in him. But what is change? Things are what they are. Defined reality is reality.

Mike is placed in a dark storage room. He has been studied every which way, and the research is done. There is nothing more to be learned from examining him. He’s a dead issue.

He stands in the dark. He is in his new home.

For some reason, he begins to run his hands over the walls of the room. He does this for hours at a time, as if he’s searching for something. He rummages through a cabinet and finds a screwdriver. He walks over to the wall and scratches on it. He wonders what program he is acting out. He keeps scratching with the screwdriver. It occurs to him he is drawing.

He’s making shapes on the wall. A pair of shoes, a lion, a cup, a piano.

He places his hands on the keys. He moves his fingers. He hears music.

The music of a sad world that is going away. His world.

He never realized he had one.

How strange.

All this time, he had space. And he never knew it.

Then, unbidden, a voice begins talking in his head: “Programs are shutting down. Termination has begun. The object will be recycled.”

Other words are spoken. Mike doesn’t understand them. He realizes he is in a sleep state. And he is dreaming. He is walking through a great city, and there are many people in the streets. They are cheering. For what? For whom?

Around a corner comes a long motorcade. In the first open car, a man stands up and waves. He is smiling. He is a king or a prince or a president.

Mike knows the people keep propping these leaders up, and then later they tear them down.

“They program me to be as close as possible to a human,” Mike thinks. “They give me everything they can of what is already theirs. Why? What are they looking for? What are they afraid of?”

Words come back to him from the gray pages: “Creating is their greatest fear…they will have to go beyond systems…”

I am a system, Mike thinks. I have no I. My I is synthetic, but theirs is real. Why are they afraid of that? Each one of them is an I. Each one of them is an artist. Why does that make them afraid?

Those were Mike’s last thought-impulses. His thoughts disintegrated as his programs shut down. He fell to the floor of the storage room. Now he was just a heap of parts. All the connections were gone.

Somewhere a few thousand miles away, an unknown artist walked out of his studio on to a plateau below a distant range of mountains and looked out at the evening sky. To his right, there was a brief flash of light among a cluster of stars. He watched it fade to nothing, took a deep breath, let it out, turned around, and walked back inside.

“Goodbye, Mike,” he said.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 NoMoreFakeNews emails here or his OutsideTheRealityMachine emails here.

Individual power and ethics: the conversation that never was

by Jon Rappoport

July 8, 2019

(To join our email list, click here.)

It’s no accident that the concept of individual power is surrounded by clouds of timidity and fear and cultural resentment.

People are warned that touching it produces a substantial electric shock.

“Me? Individual power? I never said I was in favor of it. Great individual power? Don’t pin that on me. Who’s accusing me? I’ll sue them! I’m for humility in all things.”

Perhaps the most famous statement ever delivered on this subject came from Lord Acton (1887): “Power tends to corrupt and absolute power corrupts absolutely.”

For many, this closes the book on discussion.

But in fact, it is a wobbling prelude.

What about the creative power of the individual?

Especially, what about that power when it is deployed by a person who has a personal code of ethics?

What if that code is summarized in the simple statement: I am free to do what I want to, as long as I don’t interfere with another person’s freedom?

We’re not talking about what happens when a king has a position of ultimate authority. That throne, of course, carries with it an implication of interfering with the freedom of the king’s subjects. The corruption is there from the start.

But the creative power of the individual, his goal to exert as much power as possible to fulfill his desires in the world, to launch and sustain an enterprise of his own choosing, to imagine and extend the reaches of such an enterprise—suppose he possesses ethics—suppose he refuses to interfere with, and override, the freedom of another person.

Many people have a fear of their own creative power, of what they would do if they removed the constraints on their own “proper place in the world.” Therefore, because of that fear, they oppose others having power.

Organized religion has always stuck its nose into the drama as well. What a religion claims is the ultimate power, and where it comes from, is inserted into the mix. A religion always assumes its picture of the Deity is the correct one, AND IT OWNS THAT PICTURE.

The notion of unlimited individual power, backed up by personal ethics, is anathema. It threatens the spiritual monopoly. So the religion invents cautionary tales that pile up into the sky.

One of the tales, time-honored, and adopted in one form or another by governments and “humanitarian groups” is: people are inherently weak and greedy, so allowing them to exercise ANY kind of power at all is madness. Instead, power must be managed by “the people,” by “those who care,” by “the needs of Mother Earth,” by “the Universe,” by “socialists,” by “economic and political planners (technocrats),” by “the oppressed (it’s their turn),” by “the big We,” by “international cooperation,” by “a wise global court (who runs it?),” by the man in the moon, by the beneficent aliens from the Galactic League…

Then there is language manipulation. An individual seeking to imagine and create his most profound dream as fact in the world is “acting like a god”—and that is a cardinal sin of the first order. (Therefore, be humble, be weak, be passive. You’ll earn a cosmic gold star on the blackboard.)

Or such an individual (wanting power) must be “a greedy capitalist,” representing “the worst system ever devised for human interaction.”

Or such an individual is “dangerous,” because “he places his needs before the needs of others.”

Or such an individual is “mentally ill,” because no one in his right mind would display such confidence in his own vision of his future.

In every case, the people behind promoting these perverse distortions want to wield power over others themselves. Quite a coincidence.

They’re always playing a shell game. They’re trying to take power from the individual and transfer it to themselves or those they support.

They always assume they know who “the good people” are, the people who won’t abuse power.

To put it in a slightly different way, they believe they don’t have the capacity to create and build an enterprise based on their deepest desires, if left to their own devices. Therefore, no one else should be allowed to.

They have no substantial ethics. Therefore, no one else has authentic ethics, either.

This discussion moves into the realm of “the many” vs. “the few.” It goes this way: suppose there are a few individuals who can, in fact, take their most profound vision and turn it into reality. They are the exception. For most of humanity, this is impossible. THEREFORE, stop the few. Why? Because their ability is inherently unfair.

That argument, rarely voiced, champions “democracy” as the lowest common denominator. Lift no one up. Instead, sink everyone in a shared swamp.

These days, this perverse approach has added a new topping: every difference of talent, will power, determination, ambition, imagination, creativity, refusal to surrender is a sign of privilege. Privilege is society’s bias. Eliminate it, thereby eliminating all the above qualities.

Then what remains? Nothing of substance.

If the independent individual looked ONLY outward to discover what standard he should uphold, what voice he should adopt, what theory he should cling to, what behavior he should imitate, he would cease being what he is in an hour.

He would order himself to stop thinking about power.

Individual power: Within it can be born great achievements and futures.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 NoMoreFakeNews emails here or his OutsideTheRealityMachine emails here.

Reality is a function of state of mind

by Jon Rappoport

June 27, 2019

Reality is a function of state of mind.

As state of mind varies, reality appears differently.

Reality is not an illusion. Reality is quite real when state of mind is factored in.

If someone lived inside a dream all the time, the space and things and events of the dream would be quite real. However, if he exited the dream, reality would change radically.

Of course, there is the physical reality we all share. It is not enough to say each one of us perceives that reality in a slightly different way. For example, I said this in 2015:

About 12 years ago, I extensively interviewed Dean Radin, the author of a scientific classic, The Conscious Universe.

The interview confirmed and expanded on Radin’s published findings. Here is the most accurate statement I can make about those findings:

Studying the entire history of paranormal lab experiments; selecting from that published literature all well-formed and properly conducted studies; Radin discovered that the overall statistical evidence was clear: paranormal ability was demonstrated beyond the factor of chance or the rules of probability.

Many of these studies tested psychokinesis, the ability to influence matter with mind alone. In such studies, this ability exceeded chance or statistical probability as well.

Radin didn’t stop there. Having done the exhaustive research, and having published his findings, he reviewed the major criticisms leveled at him by other scientists, and he responded to their detailed analysis with convincing analysis of his own.

In a half-sane world, Radin’s book, The Conscious Universe, would have caused a widespread revolution.

That it didn’t merely testifies to the hidebound preconceptions of scientific establishments and media outlets.

But the book did cause a stir with the public, and it most certainly registered with researchers who could keep an open attitude long enough to study Radin’s detailed work.

Here is one type of study that has been performed many times. Volunteers are placed before a case in which there are numerous holes and pegs. From the top, small balls are dropped downward. The volunteer is asked to try to mentally influence the paths of the balls, so more of them end up in holes to the left of center or right of center.

The case is built so that, normally, half the balls would come to rest in holes to the left of center, and half to the right.

Analyzing the entire range of such published studies, Radin concluded that random chance, probability, statistical expectation had been exceeded.

Overall, the efforts of the volunteers to influence matter with their minds had succeeded.

To put it broadly, the limits of reality are not what most people think they are. They extend beyond common consensus on what is possible.

The limits on us are not what most people think they are.

In his groundbreaking and shattering work, Radin met the challenge that many researchers sling at paranormal events: “If the events exist at all, they’re not repeatable, so they mean nothing.”

Radin’s method, the meta-analysis of many, many well-performed studies, showed that repeatability was, in fact, present.

What “Matrix-propagandists” never acknowledge—because it would topple and destroy the very foundation of their enterprise—is the capacity to direct non-material thought and, thereby, affect material events. Under no circumstances will these “ordinary-reality” defenders ever admit that this capacity exists.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.