The composition of human life

by Jon Rappoport

October 18, 2019

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I’m going to give you the shorthand version of this. We’re looking at three tiers:

Consciousness.

Imagination.

Energy.

Consciousness deploys imagination, and imagination creates, among other things, energy.

This isn’t esoteric at all. It’s only strange to people who have shut themselves off from consciousness and imagination.

The world is embroiled in the third tier: energy. That’s where the great struggles are taking place. That’s where people are trying to find enough energy.

Physical energy, enough energy to get through the day, biological energy, energy to power their homes, their cars, their devices, energy in the form called money, and of course we have the question of energy to run societies and civilizations.

For most people, at every level there is a deficit of energy. They feel it, they know it, they experience it.

It drives people into passivity and cynicism and illness and even madness.

And yet, we have potential access to enough energy to operate the nations on this planet a million times over.

I’m talking about Frank Shuman and his original solar panels and engines, and Tesla, of course, whose papers were stolen by the FBI upon his death, and so-called cold fusion which has proven to be much more promising than the fake pundits and fake scientists would have you believe.

I’m talking about the Maine Passamaquoddy tidal energy project, which JFK promoted in vain for many years. As President he commissioned a report on it, and positive findings came in shortly before he was murdered. Passamaquoddy could be replicated all over the world, wherever there are coastal inlets with rapid shifting high and low tides.

I’m talking about small turbines in rivers all over the planet.

A tireless researcher named Andrea Silverthorne has pursued a deeper understanding of Passamaquoddy, and its connection to JFK, for a long time. You can find her article at dreamofpassamaquoddy.com here.

I’m certainly talking about healing, too, because freedom from disease immediately restores energy to people. So this means more (suppressed) technologies: Royal Rife, for example, and his cancer-killing frequencies. And these days, the remarkable work of Dr. Stan Burzynski in Texas—surviving despite grand jury after grand jury mounted against him.

The point is, the means exist to multiply the amount of energy available to every human by extraordinary degrees.

It is precisely this state of potential abundance that the cartels and monopolies of Earth continue to repress. That is their Job One.

They live for that job.

They hire untold numbers of propagandists to smear and defame sources of energy they don’t own.

And humans, after a while, stop believing that abundance for all is possible. To cast that belief aside is a crushing blow. On a personal level, it makes people sink into a helpless state. It colors their experience, their frame of reference, their outlook, their emotions.

They give in, they surrender, they accept. They even come to believe that surrender is an advanced spiritual state.

But what’s true is true. We do, in fact, have (suppressed) technologies that would, if unleashed, revolutionize this planetary civilization.

It isn’t some deep mystery. It’s all about who controls the future.

Look around you. Consider that every human you see is working to obtain more energy, in one way or another. It’s endless.

And consider how much would change if these repressed technologies were deployed.


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.

Logic, imagination, and magic

by Jon Rappoport

October 3, 2019

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Logic applies to the physical universe.

It applies to statements made about that universe. It applies to factual language.

Many wonderful things can be done with logic. Don’t leave home without it. Don’t analyze information without it. Don’t endure an education without it.

But art and imagination are of another universe(s). They can deploy logic, but they can also invent in any direction without limit, and they can embrace contradiction. They can build worlds in which space and time and energy are quite different.

Magic is nothing more and nothing less than imagination superseding this universe. Magic occurs when imagination takes this reality for a ride.

Which brings us to what I call the Is People. The Is People are dedicated with a fervor to insisting that this Continuum and this consensus reality are inviolable, are the end-all and be-all.

They strive to fit themselves into Is, and this eventually has some interesting negative consequences. They come to resemble solid matter. They take on the character of matter.

For them, imagination is at least a misdemeanor, if not a felony. It’s a blow to the Is of Is. They tend to view imagination as a form of mental disorder.

Technocrats like to gibber about imagination as if it’s nothing more than just another closed system that hasn’t been mapped yet. But they’re sure it will be, and when that happens, people will apparently give up creating and opt for living in a way that more closely resembles machines.

There are many people who secretly wish they were machines that functioned automatically and without flaws. It’s their wet dream.

Magic eventually comes to the conclusion that imagination creates reality. Any reality. And therefore, one universe, indivisible, is an illusion, a way of trapping Self.

What began as the physical universe, a brilliant work of art, ends up as a psychic straitjacket, a mental ward in which the inmates strive for normalcy. Those who fail at even this are labeled and shunted into a special section of the ward.

But the result of imagination, if pursued and deployed long enough and intensely enough, is:

Consensus reality begins to organize itself around you, rather than you organizing yourself around it.

There are various names and labels used to describe this state of affairs, but none of them catches the sensation of it.

Magic is one of those labels.

What I’m describing here isn’t some snap-of-the-fingers trick of manifestation; it’s a life lived.

The old alchemists were working in this area. They were striving for the transformation of consciousness. In true alchemy, one’s past, one’s experience, one’s conflicts all become fuel for the fire of creating new realities. Taken along certain lines, this is called art.

One universe, one logic, one Continuum, one role in that Continuum, one all-embracing commitment to that role, one avenue of perception, one Is…this is the delusion.

And eventually, the delusion gives birth to a dedication to what “everyone else” thinks and supposes and assumes and accepts. This is slavery.

Freeing one’s self, living through and by imagination, is not a mass movement. It’s a choice taken by one person. It’s a new and unique road for each person.


Exit From the Matrix


Societies and civilizations are organized around some concept of the common good. The concept always deteriorates, and this is because it is employed to lower the ceiling on individual power rather than raise it.

“Be less than you are, then we can all come together in a common cause.”

It’s essentially a doctrine of sacrifice—everyone sacrifices to everyone else, and the result is a coagulated mass of denial of Self.

It is a theme promoted under a number of guises by men who have one thing in mind: control.

It’s a dictatorship of the soul. It has always existed.

Breaking out of it involves reasserting the power of imagination to invent new and novel realities.

Under a variety of names, this is art.

Promoting the image of the artist as a suffering victim is simply one more way to impose the doctrine of sacrifice.


In 1961, when I began writing and painting in earnest, I had a conversation with the extraordinary healer, Richard Jenkins, whom I write about in my book, The Secret Behind Secret Societies (included in Exit From The Matrix). This is my note from that time about what Richard told me:

“Paint what you want to, no matter what anyone else says. You may not always know what you want to create, but that’s good. Keep working, keep painting. You’ll find your way. You’ll invent something new, something unique, if you don’t give in. You’ll see everything in a new light. Reality is a bad joke. It’s nothing more than what everyone assents to, because they’re afraid. They’re afraid of what people will say. They’re afraid they have far more power than they want to discover. They’re afraid that power will lead them away from common and ordinary beliefs. They’re afraid they’ll become a target for the masses who have surrendered their own lives and don’t want to be reminded of it. They afraid they’ll find out something tremendous about themselves…”

Nothing I’ve experienced in the 50 years since then has diminished what Richard said to me.

These fears are all illusions that disintegrate when a person shoves in his chips on imagination and makes that bet and lives it.

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 revolution of the individual

How long does this revolution last? Think about a nice round figure: the NEXT 10,000 years.

by Jon Rappoport

September 4, 2019

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The revolution of the individual progresses from PROMOTER OF REALITY to CREATOR OF REALITY.

Through vast propaganda and “education” campaigns, the individual is urged and trained to favor and promote particular organizations and structures in society. But outside of this venue, there are individuals who are waking up to the fact that their real job and desire is creating new unprecedented realities.

Historically, this latter outlier trend is not the sole result of some external force; rather, it mainly comes from the individual exploring his own internal capability and power. The accompanying history consists of the formation and founding of nations based on some partial version of individual freedom—even though those liberating mandates have been suppressed and squashed in many ways.

Western philosophy reached a crossroad late in the 19th century: the focus shifted from attempts to describe and impose ultimate reality to attempts to understand how the individual perceives and gains basic knowledge—and this latter inquiry quite naturally evolved into: THE INDIVIDUAL INVENTS REALITIES.

That being the case, why should the individual accept the realities he has already been subconsciously shaping, when instead, he can create new preferable realities.

THAT is the “underground revolution” which has been underway for more than 100 years. It is far from smooth. The revolution experiences many stops and starts, many abandonments, many renewals. No one said it would be easy. It is not a collective group effort. How could it be? It takes place in the private reflections and decisions of individuals.

A formidable barrier to the revolution: societies are based on popular acceptance of what the individual does. Or popular rejection. The individual tends to believe he must create something that will gain group favor. Therefore, he scales down his own imagination and opts for “safe ideas” and safe inventions. He pretends he has less power than he actually has.

He subconsciously returns to the shaping of limited realities. In fact, he carves out metaphysical positions that justify and rationalize his “limited power.” This is called “maturity.”

What inner resources does the individual consult and sift through, in order to shift from passivity to active creation? In a nutshell, the answer is: all his experience, his values, and whatever imagination he can bring to the table. There is no set method or pattern. That is the key. He finds paths, and he follows them. He invents new paths, and he probes their outer reaches and implications. The longer he works, the more imagination comes to the foreground.

It seems that humankind has been committed to trying every conceivable unworkable solution possible. In the fullness of time, every individual will give up the ghost and embark on a new search—based on his answer to the question:

WHAT DO I WANT TO CREATE?

Then a new day dawns.


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 DJ

by Jon Rappoport

August 28, 2019

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“For a few dollars, I’ll go to sleep and dream your dreams…”

Movies move mind and soul, as if they’re messages from God. They’re food when no other food is available. They carry the viewer into oblivion where many captivating events are underway. Movies are astral locations manufactured here on Earth. Why pay attention to any of the thousands of trivialities of the days and nights, when you can watch, from the past, a dimpled witty star engage in repartee with a beautiful woman dressed in furs who speaks as quickly and smartly as polished high heels clicking on a concrete walkway?

As for my own movie, I was born with two hungers—one for love, and two for recognition. In my little crib I conjured storms. I was already tasting a bitter fate of unknown origin. Then later, on the basis of curiosity alone, I found a sparkling necklace in a drawer and vowed to become a jewel thief. By the time I was four, this developed into a plan. I would hide the jewels in a mountain cave, where they would grow together with the stone and spread into veins of clear diamond. At ten, I was reading theories of economics. I decided I would leave the discovery of the treasure to another person of the future, who would upset and destroy the world money system with his lopsided wealth. At twelve, I met a girl with yellow hair and abandoned all my schemes. What was her name? Where did she come from?

At thirteen, I sat in the dark, on the floor at the back of a candy store and read comic books. I searched to find the power to launch bullets of lightning and snap off a magic exclamation that would coat me in a new identity…a painted figure by Caravaggio. I read A Voyage to Arcturus. This was my first experience inside multiple dimensions. I was suited to believe in all of them. I was a buyer of the Astral. If I didn’t favor one Island at the moment, I could lazily sidestroke to another.

His Honorable and Sacred Hayakawa L. Schwartzbaum, Magistrate of Federal Dispensations, on loan from The CIA-Harvard University, sat behind his table. He was an expert in the history of history.

In shackles, an artist was led into the room by three federal policemen wearing the gray high-buttoned uniforms of the Motherland Department of Internal Security and Distribution of Goods and Services for the Benefit of All.

One of the policemen rolled in a large object covered by a shroud.

Judge Schwarzbaum looked down at a file and rapped his gavel on a plaque displaying the universal symbol of the hermaphrodite eagle.

“Order,” he declared.

The prisoner, in a tattered red jumpsuit, stood before him.

“Well,” the Judge said, “uncontrolled display…no license to practice art. No prior approval for a work. No plan submitted to the State. No established source of funding. No declaration of philosophic position. Status: potential precursor to terrorist activity. How do you plead?”

The artist nodded.

“Your Honor, I would like to submit one item of evidence. The work itself.”

The Judge said, “Since I am bound by law, submission approved.”

The guard who had rolled in the shrouded object uncovered it.

It was a brass sculpture standing six feet tall. It was a series of twisted interlocking shapes.

“Yes,” the Judge said. “Incomprehensible. Who in his right mind could fathom the sense of this?”

“Look a little closer, Your Honor,” the artist said. “If you would.”

The Judge put on a pair of glasses and stared at the object.

“Meaningless,” he said. “That’s the last time I’ll deign to acknowledge it.”

“Meaningless? Then what is the problem? What harm could it cause?” the artist asked.

The Judge smiled.

“We must have meaning,” he said. “Because then we can judge its quality. Otherwise, we lose control of the situation. We must know, and be able to assess, the significance of the work. This piece of nonsense does not rise to that level.”

“The piece has meaning for me,” the artist said.

“Perhaps, given your state of mind, that is true. But art is public. It is a social undertaking. It gives something to the All.”

“Your Honor,” the artist replied, “I believe you’re missing an opportunity here. If, as you say, my work is meaningless, consider its effect on the public, were it to be installed in a heavily-trafficked venue. People would be confused and bewildered. Isn’t the induction of such a state of mind a forerunner to mind control?”

The Judge rubbed his chin and stared at the ceiling.

“Are you suggesting,” he said, “that you could go to work for us?”

The artist nodded.

“Yes, sir. I could execute many sculptures of this kind. I want exposure. You want MKULTRA. We’re on the same side, in a strange way.”

“Amusing, possibly interesting,” the Judge said.

“You see,” the artist said, “there are two ways to look at mind control. On the one hand, you attack aggressively, to plant specific messages. But on the other hand, you prepare consciousness by placing it in a state of extreme puzzlement.”

perfect as rain and the night I fell in love…trees and buildings on an avenue in Chicago as I was heading out of the city toward a highway that led to 66 on my way to Amarillo and cows standing in faded yellow dawn rolling up like a fancy poster for milk and war, my memory now Amarillo is a city geared a center a radiating pulse broadcasting the little diner the motel the city hall olive trucks and soldiers 40 years ago passing by as I was standing with my thumb out on 66 I was rooted to one spot across from the motel the whole day and no one stopped and the night snapped down like a shade and I reached up toward the yellow margarine moon in the middle of a cloud I was remembering songs dozens of songs I listened to on the radio in the make believe ballroom everyone knew Sinatra was the god but in the yearly poll they would bring in someone else eddie fisher or johnny ray crying like a lost kid on the railroad tracks his mind torn up you’re on a cement playground and a kid starts crying what are you going to do he just breaks down and ten years later he’s on the front lines of a new war with his gear we heard he was a junkie disappeared and then a tall rangy guy stopped his car and I jumped in he took me all the way to Albuquerque middle of the afternoon February warm I told him about the kid he said it wasn’t right the father and mother should have looked after him he shook his head he was a retired oil man couldn’t have been more than 40 said he just drove around the country visiting his family he gave me a new pair of pants and a shirt out of his trunk

There was a memory. Mother reading the story of Babel Tower, and the Tower crashing, and new clean rivers flowing…

When he went out all the way, that memory collapsed, and he swept through reefs of reflecting data in an ocean of surveillance.

He felt velvet hands and sucking fingers slide along him, and he grew cold in submarine depths.

What did the Design want with him?

He luxuriated in a dark baronial calm, uterine perfection, summer childhood bedroom closet.

He was suddenly in the cabin of a private jet. On a small table he saw a team of glass archangels; an ashtray worn yellow from a thousand cigarettes; a framed photo of Al Capone sitting on the toilet in his Palm Springs suite.

The lights of an enormous city loomed up under him, pulling him toward liquor stores, newspaper racks, dark alleys, hotel rooms.

Now a quiet snowstorm in a deserted wood, falling, falling, falling…

He was back in the cabin of the jet. Burnished lights set high in the cabin walls.

A flight attendant entered with a drink.

She was six feet tall and blonde. That made her a target.

Wealthy and powerful men would seek her out.

Her body was sleek. He examined her left leg from wizardly articulated ankle to narrow thigh, through the slit of her sheath skirt. She strode in heels, one foot placed precisely in front of the other.

She set down the drink on the arm of his chair and looked at her watch.

“We can’t have sex now,” she said. “We’re east of the Rockies.”

“I didn’t realize they had a law,” he said.

“Two hours from now,” she said, “we can negotiate a price.”


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 Threat of Poems

by Jon Rappoport

August 27, 2019

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Poems. The threat of poems.

A literal mind wants literal reality. It wants language laid down like a perfect grid over the world as it is. If you give a literal human something else, he suddenly pulls up his horse, jumps off, and runs back in the direction he came from. He’s stage-struck, and not happy at all about his little jaunt in the high country.

People say they want to experience what is outside the reality machine, but when you give it to them they object. ‘That’s not what I meant.’ They actually want something that looks and sounds and feels like ordinary reality. They want the method and the system of ordinary reality with a few odd tidbits thrown in. If you move to another arena of harmonics and dissonance, where the interstitial connections radically change—poetry—they balk. They wanted to go in orbit around the Earth, all the time looking down on it, and you took them to an X frontier on an unfamiliar shore where the moon was moored in the dock.


Shivering in the green water,
Wriggling in the net of desperate oxygen,
Rolling prisoners,
Foam falling from their bodies…

Summer nights
I sat on the front porch with my mother
Rhododendrons were thrashed by slow comets of rain

These are the letters of my ancient fathers,
And these are the letters of the roses
Blowing across the rolling apparatus
That moves the sun,
Shining through old windows
On old men.

Now they shake off the rime
And stagger up from their trench.

They form a subconscious moon

They enter a sleeping shepherd boy near his flock,
To repair the damage of centuries.

glittering garbage
of fantastic dream

on its way to a factory

on the antediluvian shores of a breastfed paradise

I have no arduous duty in the
library at Alexandria
I’m there

to

expose
shatter

the vanishing point architecture of eternity


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 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.