Category Archives: Energy & Imagination

The Reality salesman makes a house call

The reality salesman makes a house call

by Jon Rappoport

February 9, 2014

www.nomorefakenews.com

In major media, there is always a potential Threat Level. Reporters feel it. Editors who assign reporters stories feel it. Even CEOs can feel it.

It happens when a story is about to break through containment and show the public that a cherished belief or institution is as phony as a three dollar bill.

Bells start ringing. Red flags go up.

Time to pull back. Time to lie. Time to pretend there is nothing to see.

If not, jobs will be on the line. Heads will roll.

The JFK assassination was that kind of story. 9/11 is that kind of story. The true statistic on medically caused death in America is that kind of story. Such stories are not permitted to be exposed in the mainstream. And by exposed, I mean “pounded on, ripped from stem to stern, day after day, revealing true conspiracies and heinous crimes.”

Instead, false fronts are erected. Cover stories are built and sold to the masses. A secret faith is kept.

There are so many false fronts in so many areas of life that, woven together, they form an overall picture of reality.

When people buy this picture, the price they pay is very steep. They sacrifice their capacity to invent their own futures. They lose touch with their own imaginations.

They live within a defined space that grows smaller as they grow older. They compromise their core freedom again and again. They train themselves to “fit in.” In fact, they become experts at fitting in, right down to what they will allow themselves to think.

They lose the desire to express their freedom. Their physical health suffers and deteriorates. Their energy drains away.

I’ve known several mainstream reporters who felt they were on the verge of a breakthrough in their work. They were investigating major stories that, when published, would punch a hole in the picture of mass reality.

These reporters felt like explorers who had found a buried treasure at the end of a long and arduous journey.

Then the bells went off and the red flags went up. Editors shut them down. The editors, said, “We can’t touch this one.”

So the reporters stopped in their tracks. They buried their files. They put themselves in harness.

This is what happens to many, many people in their lives. They suddenly sniff the air of real freedom and discovery. They climb out of the morass called consensus reality, and know why they are alive. And then they think, “What will happen if I break the pledge to remain a normal and average person? How will my friends and family and co-workers react?”

They pause.

Then they retreat. They adjust. They go back to their former role of fitting in. Their friends and family breathe a sigh of relief.

For a moment or two, a physical, mental, emotional, and spiritual crossroad had been reached. A person saw beyond the picture of ordinary reality. He saw huge open space. He knew he could act on the basis of an inner leverage that defied the laws of the material world. He knew there was a greater power within him.

But no…he wouldn’t take such a path. He would buy the reality created for him.

And then one day:

THE REALITY SALESMAN CALLS.

Step up, folks. This is a deal you can’t afford to miss. You know that thing you cling to like a drowning man in a turbulent sea?

It’s called reality, and I represent the company that manufactures it. I’m proud to say I’ve held this job for over a hundred thousand years. So as far as product knowledge is concerned, you just aren’t going to find anybody like me.

I’m here to tell you that reality is never anything more than rocks and bricks and concrete and steel. Reality is never anything more than a house and all the things in it, and the mementos you hold on to, to remind you of the past.

And in conjunction with that, I’m really selling…guess what?

A little thing called perception.

I’m selling How You See Things.

Because, no matter what time period you live in, it all comes down to that: how you see what’s in front of you.

And believe it or not, perception comes in different forms. My company makes the perception that endures. It’s the package you’re living with right now. It’s the down-to-earth here-it-is straight-ahead common-sense type. We call it: IT IS WHAT IT IS. That’s trademarked, by the way. IIWII. It is what it is.

IIWII was invented by a very smart guy whose name has been long forgotten. He was a flaming genius, and he realized something great. People would go for IIWII because it would lock them in.

Who wants to wake up on a Tuesday morning and suddenly see life in a completely different way? Who wants that kind of shock to the system?

IIWII is the most popular perception package in the universe, bar none. It has Reliability. Consistency.

All those centuries and epochs ago, when I was a rookie training for this job, the guys let me try on a whole bunch of different perception packages, so I could see what kind of competition I was up against.

I saw things I wouldn’t want to describe to you. Horrible things. And when I was given IIWII, our product, I felt like I was home.

IIWII gives you a stability you can count on for your whole life. And, believe me, that’s no small feat. We’ve built slow decay (SD) into the package, so things gradually deteriorate—because, think about it, do you really want that tree in your back yard to stay at one stage of growth forever? Do you?

IIWII is time-tested. It’s as solid as solid can be. It doesn’t break down.

But it does need vaccine boosters from time to time, and that’s why I’m here today talking to you.

Every twenty thousand years, we institute a planet-wide upgrade, just to make sure nothing goes wrong. And you’re all due.

Now, you could refuse, in which case you’ll have to take full responsibility for the ugly consequences, or you could do the right thing and just re-up. I have to tell you, our re-up rate is 99.859 percent. I’m proud of that figure.

Exit From the Matrix

By the way, the holdouts, the deniers, and the self-styled rebels? The governments of your planet keep close track of them. I feel obligated to let you know that. Without boosters, when your IIWII breaks down, you’re going to experience some things other people just won’t understand. And your governments will hunt you down and lock you up, or worse.

That’s not my doing, because I believe in the free market, but it’s part of my service to clue you into the whole picture.

Here’s the good part. You can get your vaccine booster now, during our pre-op special, by simply signing for it and taking the pledge, and continuing to pay a mere six percent of of your annual income for the rest of your lives. Which when you think about it, is nothing compared with what you’re getting. Again, reliability, and consistency.

In the small print, the pledge lays out a few details concerning IMAGINATION. This is for your own protection—because if you take imagination too far (and who knows how far that is, until it’s too late), you’ll set up what we call an interference field, which means IIWII will tend to malfunction. You don’t want that.

So here’s the contract and the pledge. Sign on the dotted line, and pay the fee, and we’re done.

Thank you very much.

I love you guys. Really, I do. I admire your tenacity and your willingness to stay with our package. Our company continues to prosper because of you. Visit the IIWII website and Facebook page and find out about upcoming picnics and vacation tours. We’re hosting booster events at thousands of locations.

If you don’t come to us, we’ll come to you.

We’ve got you on our list.

THE PLEDGE: “I promise not to mess with the perception package. When I take this vaccine that installs and boosts the package, I understand that I must report all suspicious activity to Central Planning. If I believe someone is operating outside the boundaries of the package, spewing strange ideas, defecting, I will report him or her promptly. If I myself stray, I will turn myself in and receive treatment. If not, I understand I will be hunted down like a dog. All hail to the IIWII perception package!”

The reality salesman knows what he’s doing. He makes a very good living. Secretly, he knows our perception of our own lives and futures is grossly limited by his product, just as our eyes can only see part of the light spectrum. He is aware of this.

He’s selling limitation.

He works for a set of controllers. The controllers have long since realized that the package they’re selling cements their hegemony and their power.

The one crack in their armor is our inner conviction that we can create new realities that go beyond what we ordinarily perceive.

And so they do everything in their power to indoctrinate us in a planetary cult of self-regulation, wherein we try to pull down “defectors” and rebels into a common swamp of acceptance and acquiescence.

In other words, the controllers need us to police ourselves.

And this is called Life.

It’s essentially a cartoon. Yes, it can be a vicious and nasty and inhibiting animation, but it’s a cartoon nonetheless, when is all is said and done.

Whether we sit still for it or break out is entirely up to us. It’s our choice.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 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 emails at www.nomorefakenews.com

Brian Williams, Diane Sawyer, Scott Pelley, and Salvador Dali

Brian Williams, Diane Sawyer, Scott Pelley, and Salvador Dali

by Jon Rappoport

February 5, 2014

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

Salvador Dali was one of the most reviled painters of the 20th century.

He disturbed Conventional Folk who just wanted to see an apple in a bowl on a table.

Dali’s apples and bowls were executed with a technical skill few artists could match—except that the apples were coming out of a woman’s nose while she was ironing the back of a giraffe, who was on fire. Sin! Mortal sin!

“It doesn’t go together! It doesn’t make sense! He’s Satan!”

Yet, these same Folk sit in front of the television screen every night and watch the network news. Elite anchors seamlessly and quickly move from blood running in the streets of a distant land to a hairdryer product recall to an unseasonal hail storm in Michigan to a debate about public policy on pedophiles to genetically engineered mosquitoes in Florida to a possible breakthrough in storing computer simulations of human brains for later recapture to squirrels gathering nuts in New Jersey.

Nothing surreal about this??

Cognitive dissonance, imprinted on minds that accept every flip and jip and fancy. Why not? It’s the news. It has to be normal.

The best of the best mind control is applied by the three major network anchors: Brian Williams, Scott Pelley, and Diane Sawyer.

They don’t do it as well as Cronkite, Chet Huntley, David Brinkley, and Edward R Murrow once worked their magic, but they’re fairly good practitioners of the art. Brian Williams is the current champion.

Dan Rather was an interesting case. At one time, he was quite convincing. He was a “trusted voice.” But then he faltered and stumbled over the George W Bush military-service scandal, and he went down in flames. Even before that, you could see occasional cracks in his armor. He was questioning his own faith. He was flickering a bit here and there, like a doubting priest in the Roman Church who had no one to confess to.

When the elite anchor goes on air and digs in, he’s seamless. He could be transitioning from mass killings in East Asia to sub-standard air conditioners, and he makes the audience track through the absurd curve in the road.

Then there is the voice itself. The elite anchor has a voice that soothes just a bit but brooks no resistance. It’s authoritative but not demanding. Scott Pelley (CBS) is careful to watch himself on this count, because his tendency is to shove the message down the viewer’s throat like a surgeon making an incision with an icepick.

Pelley used to look down his nose at the great unwashed. He’s been working to correct that. He’s a high-IQ android who’s training himself to be human.

Diane Sawyer wanders into sloppiness, like a housewife who’s still wearing her bathrobe at 4 in the afternoon. She exudes sympathetic syrup, as if she’s had a few cocktails for lunch. And she affects a pose of “caring too much.”

Brian Williams is head and shoulders above his two competitors. You have to look and listen hard to spot a speck of confusion in his delivery. He knows exactly how to believe his act is real. He can also flick a little aw-shucks apple-pie at the viewer. Country boy who moved to the big city.

If none of these anchors could have “pulled the country together” after JFK’s assassination, it’s in part because that country doesn’t exist anymore. America doesn’t want a Cronkite daddy.

The vocal delivery of an elite anchor has to work minor poetic rhythms into prose. Shallow hills and valleys. Clip it here and there. Give the important words a pop. Make no mistake about it, this is hypnosis at work. Not the cheesy stage act with three rubes sitting in chairs, waiting to be made into fools by the used-car- salesman type waving a pendulum. This is higher-class stuff. It flows with certainty. It entrains and conditions brains. The audience tunes in every night to get their fix.

That’s the key. The audience doesn’t really care about content. They want the delivery, the sound, the voice of the face.

Brain Williams could do a story about three hookers getting thrown out of a restaurant by a doctor celebrating his anniversary with his wife, and it would come across like the Pentagon sending warships into the Gulf.

Diane Sawyer couldn’t. That’s why Williams’ ratings are higher.

Segues, blends are absolutely vital. These are the transitions between one story and another. “Earlier today, in Boston.” “Meanwhile, in New York, the police are reporting.” “But on the Hill, the news was somewhat disappointing for supporters of the president.”

Doing excellent blends can earn an anchor millions of dollars. The audience doesn’t wobble or falter or make distinctions between what went before and what’s coming now. It’s all one script. It’s one winding story every night.

Therefore, the viewer doesn’t need to think. Which is the acid test. If the ratings are high enough and the audience isn’t thinking, we have a winner.

Corollary: the audience doesn’t notice the parameters of stories, how they’re bounded and defined and artificially constructed to omit deeper themes and various criminals who are committing outrageous crimes that aren’t supposed to be exposed.

Brian Williams, with just a bit of his twanging emphasis, can say, “Today, pharmaceutical giant Glaxo was fined one-point-nine billions dollars,” but he can’t tie all the horrendous stories of medical-drug damage together in a searing indictment of the whole industry.

The audience needs to remain oblivious to this larger story. The anchor ensures and guarantees a clueless missing bottom line. That’s his job. That’s his underlying assignment.

It’s called, in intelligence circles, a limited hangout. You expose a piece of a crime, in order to transmit the illusion of guilt-and-justice, while the true RICO dimensions are kept out of view.

Elite anchors are the princes of limit hangouts. That is their stock in trade. Sell the illusion of justice while concealing the bulk of the iceberg that is under water.

The audience can watch and listen to hours of coverage on revolutions and counter-revolutions in the Middle East, but they can’t suspect that the US and NATO are funding terrorists dressed up as freedom fighters, in order destabilize and destroy nations in that region.

“More gunfire and explosions in the capital city today…”

Then there is a little thing called conscience. The elite anchor can’t have one. He has to pretend to have one, but it isn’t real.

Every year, the anchor covers dozens of scandals that are left to wither and die on the vine and fall down the memory hole, never to be seen again, except perhaps for a much-later task-force or commission report that equivocates and exonerates the major players.

The anchor has to deal with this. He has to develop memory loss.

In editorial meetings at his own network offices, if someone mentions trillions in government bailouts to banks, he can frown slightly and thus impart, “It’s stale, it’s old.”

And when it comes to the elites the anchor is pledged to? CFR, Rockefeller interests, Wall Street, Goldman Sachs, government-allied Big Medicine, Globalism, and so on? Nary a damaging word will be said. Nothing to see, nothing to say. No problem.

Therefore, the viewing audience doesn’t suspect these controlling entities are doing anything wrong or, in some cases, even exist.

Conspiracy? “Aw shucks, I really do have sympathy for the people who dig up this stuff. And I’m not saying all of it is wrong, either. But you know, journalism is about plumbing for facts and verifying them. That’s the hard truth we have to face in this business. Going on the air with a possible this and a possible that is ultimately irresponsible. If we who present the news feel an occasional impulse to wing it, we have to rein ourselves in. Restraint is part of our job…”

Show these jokers a few devastating books by Anthony Sutton or Caroll Quigley and they’ll nod and say, “I did read that one in college. It was interesting but a little thin, I thought…”

The anchors project a sense they’re doing science. Gathering facts, verifying, testing, repeating the study again to see if it holds up, checking the checkers, confirming the sources, tailoring the assertions to make sure there’s no wandering off the well-researched path.

It’s part of the act.

The elite anchor has to impart the impression that he’s personally familiar with the events he’s reporting. That’s nonsense. He isn’t touching actual events with a ten-foot pole. He isn’t doing journalism himself. But the audience must think he is.

“Washington has been the scene of many battles. But the current tussle at the top of the fiscal cliff is becoming an exercise in outrage on both sides. Today, behind closed doors…”

Some anchors are managing editors of their own broadcasts. That means they sit around like newspaper editors and listen to lesser editors present the stories of the day. The anchors ask questions and pick and choose which pieces they’ll cover on the evening news, and they decide the sequence, but their hands never touch the events themselves.

It’s more illusion. A well-trained and literate high-school sophomore from Nome could go on air, with a decent haircut, and read the news.

But backed up by expert technicians, a good set decorator, and a pro make-up person, Williams, Pelley, and Sawyer will give you the kind of living fiction that has become its own genre.

The audience is delivered clues about what they are supposed to feel at every turn in the road, and they respond with their own unalloyed faith.

exit from the matrix

When Paddy Chaevsky wrote the definitive film about news, Network, he had his anchor, Howard Beale, break from the format and tell people to stick their heads out of their windows and shout, “I’m as mad as hell and I’m not going to take it anymore!”

Most people forget that Beale, with the highest ratings in news history, went on to host his own hybrid program, after the news division was turned over to the entertainment wing of the network. And this new show portrayed Beale as a kind of mesmerizing (wacko) priest, a religious figure.

The audience’s faith in the anchor was magnified.

Then, when confronted by a superior priest, Arthur Jensen, chairman of the holding company that owns the network, Beale learns that all of society is organized as one interlocked forever-corporation, and the universe itself wants it that way.

Beale succumbs and falls under Jensen’s spell. The anchor who hypnotizes millions of people every night becomes the hypnotized subject.

Today’s elite anchors have this dual aspect. They control minds and they also put themselves in a mind-controlled state, in order to believe in what they are doing. They don’t need an Arthur Jensen. It’s all self-inflicted. That’s one step better.

No need to censor stories from above. The anchors have a finely honed sense of what is permissible and what isn’t.

The mind-control flicker machine runs on its own.

In early human societies, the story teller was a principal figure. He wove the tribe’s experiences into a coherent whole, and built layers of cosmology. Story tellers formed an elite priest caste and spun official metaphysical doctrine.

Today, people feel the same need for narrators. The news anchors. Although these front men for the news no longer use metaphysics to control the masses, they do covertly obey the old rule: tell only part of story.

Guard the rest from public view.

In ancient times, the rationale for hiding key secrets was explained in terms of stages of privileged initiations into “the magic.” Today, millions of people are led to believe their news narrators are giving us everything there is. Other than their stories, there is nothing. So in this secular media religion, people believe they have only two choices: swallow the news reality, or face a cold vacuum.

Their bottomless need for a story teller survives.

But…

Comes the Internet.

And then the whole world turns upside down.

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 emails at NoMoreFakeNews.com or OutsideTheRealityMachine.

Interview with a dead Orson Welles

Interview with a dead Orson Welles

by Jon Rappoport

January 29, 2014

www.nomorefakenews.com

I made up this interview to correct widespread misconceptions about art, imagination, creation, universes, ego, addiction, power, freedom, improvisation, joy, cosmic jokes, and several other matters I can’t recall at the moment.

Oh yes. I also wanted to illustrate how timid, in many respects, art has become, how careful, precise, how wedded to “reality,” how it has forgotten about wildness and exploding adventure.

Someone somewhere will surely think this is “channeling,” so allow me to set the record straight. This is reverse-channeling. If anything comes through to me from the other side, I carefully place it on my work table and then—suddenly—pound it with a hammer until it breaks. Like a coconut. Then I put the chips in a pot, add water, and make soup for the cat.

In this interview with the dead Orson Welles, we consider matters he’s been keeping bottled up for a long time, ever since Hollywood more or less cast him aside. For some reason, he seems to agree with my views on many points.

Q (Rappoport): I’m not interested in talking about your work as a stage magician or your appearances on Johnny Carson or the documentaries or your wives, or why you put on so much weight or the possibility that Randolph Hearst had you exiled from Hollywood because you made Citizen Kane and portrayed Marion Davies in an unflattering light. I’m not interested in your views on history, either.

A (Welles): Thank God.

Q: So you make Citizen Kane and you’re 26 years old.

A: It was a gargantuan act of ego.

Q: That’s why it’s endured.

A: Yes, I would say so.

Q: So in your case, it’s beneficent ego.

A: Well, not all the time. I once threw a man off a bridge.

Q: That’s a new one.

A: It was at a ribbon-cutting ceremony. He attacked me. He said The Magnificent Ambersons was a drawing-room drama. In retrospect, he probably had been briefed by an idiot. He didn’t speak English, and he was reading from a sheet phonetically. But still.

Q: Did he die?

A: Oh no. The bridge was four feet above a narrow river. They fished him out and we all went and had a drink. People have the wrong idea about ego. Big is not a problem. Small is the problem. And if you stay in the middle ground, you experience the worst case. Then you’re torn to pieces. Attrition and gnawing from all quarters. Beyond a certain point, big ego is a balloon and you float up off the ground. If you can hold on and allow the ride, you develop spontaneous resources. It’s happiness. It isn’t “I want to take something from someone else.” It isn’t the kind of ego a monopolist has. It’s big, but it’s really just knowing what you want.

Q: Ego is a medium, like paint or film?

A: But there is no such thing as ego in art. It’s impossible. When you’re creating, you’re just creating.

Q: But people then assume art means humility.

A: People assume God is waiting for them in a city built on clouds, where they’ll melt like butter into a piece of cosmic toast. Humility is a delusion. An ideal of sheer pretension. Amateur’s role in a doomed play.

Q: Ego as a social behavior is buffoonery?

A: That’s why Citizen Kane is a comedy.

Q: And the reason why it’s not seen as that?

A: Large looming sets, and camera angles slanted upward from low positions. You can have a gloomy comedy. I may have invented the form.

Q: Your film, A Touch of Evil—they say, every frame a galvanizing photograph.

A: Why else make a movie? I was like the poet who realizes languageis the flight from the ground into the air, or the descent below the surface. In film, you build the architecture to photograph it, and you choose the angles that make the photo. Frankly, If I can’t invent every frame so it has original architecture, then I’m lazy. I’m letting the extraordinary slip by. I may as well be home getting drunk. But you see, I forced the issue. I didn’t sit back and hope. I didn’t wait for every marvelous accident. I was up on the beat, up on one, and I stayed there. Before Keats, you had poets who would ride on their ideas for a few lines or stanzas, and then they would rivet you in place with the words themselves, the sound and the metaphor—the real stuff. Well, I didn’t stall. I hit you with image after image. That was the point.

Q: You were the troll under the bridge.

A: The troll waits for years, for even centuries. But once he starts to move, he doesn’t stop.

Q: At what point did you realize the plot of Citizen Kane was a throwaway?

A: Oh, I knew that from the beginning. Stories are everywhere. Grab one. Think of one. Don’t give it much concern. One understands, of course, the audience is a sucker for stories, so that’s what they’ll focus on. You can’t help that. But the Rosebud business, the whole career of Kane, his whole life, drawn in episodes…who cares? It’s just the occasion for doing what I wanted to do. I never put stock in it. I may have said I did, but that was a lie or a momentary fascination. I wanted big space, so I chose a big man. Stories are a rank addiction. How will things turn out? Who will prove to be the winner? What’s the missing clue? It’s religion. The whole business is religion. Find the right story that touches all the bases, and you can sell it. But I was destroying stories. Understand? If my films had a theme, that was it. Story disintegrates. It has no foundation.

Q: Take the caste system.

A: You mean in Hollywood, or India?

Q: Either one.

A: India. Drivel. People see through it, of course, and they think they’re smarter than the Hindus, but meanwhile, every country has its own caste system. It’s based on obligation. You must be a messenger for theprevailing story. That’s the beginning and end of it. Wisdom is supposedly choosing the right story, but that’s sheer nonsense. Crap. Every story is a lie. You come to the end of it, and you feel unhappy. I knew that when I was 16. That’s why I had a hard time with studio executives. They’re sucking on the teat of their own religion. They see themselves as priests. They’re selling story to the public. A to B. You begin the fairy tale at A and wind up at B. No switchbacks. No irony.

Concealing and toying with story and plot never made sense to me. I’m not trying to hide the weapon in the desk drawer until the last scene. I’m injecting invention in every frame, so it spills over the edges. The foam shooting over the rim of the glass. That’s what I want. It’s the same with any world. You want to bring sheer abundance to it. Even in the desert, you have an abundance, an over-abundance of space. That’s what I’m aiming for. Over-abundance. On Earth, you have ridiculous, ludicrous jungles. They just keep on twisting toward the horizon.. They lean over the banks of the rivers, trying to swallow up the water, and the water won’t be stopped, either. You have black jaguars, some of the greatest hunting machines anyone could devise. They’re bursting at the seams. Look at their modeling. And lions. And if that gets to be a bit much, you scale back and invent cloudy leopards, pure and sufficient and heartbreaking beauty. You make many types. Let’s not diddle around. The people who made this place, Earth, do you think they held back? Art should be relentless and proliferating.

Q: Joseph Calleia in Touch of Evil. A wonderful actor.

A: Poor old Joe. He could make that sadness sing. He was quite good at comedy, you know. But he pulled on the cloak of sadness, and his elevator would take you down three or four levels, and there would be a bottom. He would die at the bottom. You knew he had to. There was a collection of caricatures in that film. Not exactly caricatures, because I was inventing, how do I say it, a special kind of type. Not a cartoon. Not tripping falling farce. Not quite naturalism. Perhaps a mixture. They call it grim noir, but that was a comedy, too, that film. You had Ray Collins doing his special brand of flapdoodle. The DA. Coat and hat, barking like a dog. One second he’s three dimensions, the next second he’s flat. And Akim Tamiroff. Farce. But he’ll shoot you. Entrances and exits. The characters appear, flare, flatten out, and disappear. Cardboard town. Cardboard and oil. A collapsible universe.

Q: It has different rules and regs.

A: Yes, the rules of, say, GK Chesterton. Reality as facade. But in Touch of Evil, if you put your hand through a wall, you feel you might get bit by something on the other side. The characters aren’t trapped by their natures. Not really. I trap them. That’s part of letting the audience see I’m doing the inventing. They see it going on. Just enough. Same with Citizen Kane.

Q: Reminds me a little of Pablo in Steppenwolf.

A: Yes. He can fold up the bar and the people in it into a toy and put it all in his pocket. He doesn’t do it. Maybe once, to drive home a point. But he could. So could I. Obviously, I don’t. But the fact that I could is part of the overall atmosphere.

Q: Collapsible universe.

A: Magic Theater. It’s a decision you make, and the earlier the better. Will you labor to copy reality? Is that your main thrust? Or will you punch holes in it, fingers into balls of clay and find velocity and manufacture the worlds you want?

Q: People think they know artists, but they’re only seeing snapshots of artists.

A: Caught, for an instant, on the run. So the story of the artist becomes the watchword. His tribulations. The fact that he’s a fool in his personal life or he’s desperate or he’s rich or he’s this or that. Maybe 20 years out of millions of his incarnations are captured in a highly suspect snapshot. He’s somewhere else now, still working. He’s exponentially increasing his power. As an incidental effect, his impact on reality, any already-existing reality, is growing. Somewhere out on the rim of a place we’ve never seen, he’s made vanish a few square parsecs of space and invented his own territory to replace it.

Q: Maybe casting a film.

A: Casting comes last. He’s drawing up camera angles, building sets.

Q: Huge houses?

A: Maybe. Maybe pillars and towers and looming sky. Maybe a cardboard town sinking in leftover oil.

Q: Just out of curiosity—everything you’re saying here, did you know it at the time or only now?

A: Oh, I knew it all along. But people want to hear about other things. And I was willing to give them what they wanted, except in my work. In intelligence operations, why would you blow your cover stories? The world of humans is built on cover stories, one after another, in stratified layers.

Q: The Third Man. You and Joseph Cotten.

A: Well, that was all atmosphere. We didn’t have anything else. Atmosphere wrapping a mystery. And when the plot is solved, it’s a throwaway, of course. Who cares? But with the crooked streets and lighting and pace, you make your own continuum.

If you play your cards right, it could be exciting. You worm your way through the mystery and you find it all folds up in your pocket and you walk away laughing. You leave that sadness behind, a hat blowing across the street. I used to stumble out of the theater after watching Ingmar Bergman, and I’d be choking on laughter. The Seventh Seal. One of the funniest movies I’ve ever seen. Wild Strawberries. Hysterical. Gunnar Bjornstrand, a man at the end of his tether, staring nothing in the face. Do you remember the scene where he’s sitting in the car talking to Ingrid Thulin? Well, tragedy for me has always had a tinge of laughter about to break out. You move over one inch from where you are, and the tears magically dry up and you’re feeling wonderful, as if you’ve just had a good breakfast. You look around and wonder what happened.

Q: Improvisation helps.

A: You can always throw a howling cat into a funeral. As people approach the open coffin, the cat runs in chasing a rat. Emotions are mercurial. Of course, in a film, you can saddle them with iron weights, if you want to. But I never thought that was necessary. Why bother with it? It’s a waste of time. Something else is going to happen next, anyway. You have the noble, beautiful, suffering widow standing at the coffin, where her husband is lying in his suit with a flower in his buttonhole, and she glances to her left and sees a man staring down her dress. And she starts to smile. Just a little. Of course, what is she doing with cleavage at the funeral?

Q: Is that a metaphysical question?

A: Well, it could be. You’re waiting for some particular emotion to lay its card on the table, the emotion that will sum up your experience and existence and confirm the absolute and final significance of it in the overall scheme of things…and then a leaf blows in the window and it doesn’t really matter. Now you have that emotion and the leaf, and as a director, what are you going to do with it? You begin to discover that improvisation is one of the great stable centers behind any universe.

Q: The planning department will hate that.

A: Sure. They pretend they’re working out all the details. They’re going to launch Universe X-B tomorrow, and they’re putting the final touches on the last few sub-sub-sub anomalies. Meanwhile, they’re just the front office. What’s going on behind the scenes is the real main event. Somebody like me is back there, and I’m talking to the tiger. The tiger with wings. I want to see whether he’s ready to burn bright in the forests of the night. Whether he cares about me, the man who made him. I want him to forget all about me and go on his way. He and I, the two of us, are back there. And yes, I can see, his ferocity is intact. He’s his own man. And just as he brushes by me, padding out the door, he gives me a little smile. Just for a second. That’s all I want. That’s all I need.

Q: The thing is, when you make a film [universe], the audience can see you’re doing it. You’re not hiding somewhere behind the scenes.

A: Right. And as I said, that’s on purpose. I want people to notice I’m cooking the bread. It’s interesting that way. I want them to experience many things, and one of them is: “there he is, he’s building one frame after another, he’s the cook, he’s the magician, he’s having a glorious time, he may be telling a gloomy story, but it’s really a comedy, because, if he wanted to, he could disassemble the whole thing and let it fall to pieces.”

Q: Why do you like that so much?

A: Because I believe life can be that way. There is that potential, let’s call it. If enough people existed in a certain state of mind, life could go on, and yet it could also fall apart, the misery and the inevitable plot, the suffering, the pain, that could all shake and rattle and disintegrate.

Q: There are people who don’t want that consciousness to spread. They want to control everything.

A: Sure. Well, you see what I did to Charles Kane. He was one of those people. I burned him up like cardboard.

Q: And at the end of Citizen Kane, you were also saying, “You see, this wasn’t really one of those addictive stories with a beginning, middle, and end, one of those stories that traps people. It was a magic show.”

A: Magic blows apart beginning, middle, and end. It plays with time and cause and effect. It revolutionizes them. This space-time container we live in. It’s a illusion. And my kind of magic, along the way, reveals and discloses the illusion. I’m a magician who breaks the code of secrecy of magicians.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 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 emails at www.nomorefakenews.com

The blockbuster movie called Reality

by Jon Rappoport

January 28, 2014

(To join our email list, click here.)

I’ve had a number of requests to repost this piece. The kernel of it was born in a series of nights at the LA Factory Theater with director Scott Kelman. He ran an informal group called The Liars’ Club.

Each one of us would go up on the stage and tell, in the most convincing way we could, a giant lie about our past. A story.

And the strange thing was, after listening to a few of these stories, we lost the difference, we couldn’t figure out whether they were true or false.

One night, in fact, after I’d told a rather grisly tale, I rode home with a friend. She was angry with me. She said, “How could you have done that?”

I said, “Done what? We were all telling lies, right? Lies.”

She fumed in silence.

Then she said, “No, that wasn’t a lie. You really did that.”

There is always a certain amount of whining and remorse as one enters the theater, after buying the ticket.

Is this a good idea?

You can already feel a merging sensation. The electromagnetic fields humming in the theater, even before the movie starts, are drawing you into the space.

Your perception of x dimensions is narrowing down to three.

You take your seat. You look at the note you’ve written to yourself, and you read it again:

“Don’t forget where you came from. Don’t forget this is just a movie. Don’t fall asleep. The serial time in the movie is an artifact. The binding feeling of sentimental sympathy is an induction. It’s the glue that holds the movie fixed in your mind.

“The movie will induce nostalgia for a past that doesn’t exist. Don’t surrender to it.

“You’re here to find out why the movie has power.

“You want to undergo the experience without being trapped in it.

“The content of the movie will distract you from the fact that it is a construct.”

The lights dim.

On the big screen, against a gray background, the large blue word REALITY slowly forms.

Suddenly, you’re looking at a huge pasture filled with flowers. The sky is a shocking blue. You can feel a breeze on your arms and face.

You think, “This is a hypnotic trance weapon.”

Now, the pasture fades away and you’re standing on an empty city street at night. It’s drizzling. You hear sirens in the distance. A disheveled beggar approaches you and holds out his trembling hand.

He waits, then moves on.

You look at the wet shining pavement and snap your fingers, to change it into a lawn. Nothing happens.

You’re shocked.

You wave your hand at a building. It doesn’t disappear.

Incredible.

You reach into your pocket and feel a wallet. You walk over to a streetlight and open it. There’s your picture on a plastic ID card. Your name is under the picture, followed by a number code. On the reverse side of the card, below a plastic strip, is a thumbprint.

There are other cards in the wallet, and a small amount of paper money. You look at the ID card again. There’s an address.

Though it seems impossible, you remember the address. You see a small cottage at the edge of an industrial town. There’s a pickup parked in the driveway.

It’s your truck. You know it. But how can that be?

You walk toward larger buildings in the distance.

Three men in uniforms turn a corner and come up to you. Behind them emerges a short man in a business suit. He nods at you and holds out his hand.

You know what he wants. You pull out your wallet and give it to him. He looks at the ID card, at you, at the card again.

“You were reported missing,” he says.

“Missing from what?” you say.

“Your home. Your job. What are doing here? Are you all right?”

“I’m fine,” you say. “I was…taking a short trip. I’m just out for some air.”

“In this part of the city? That’s not smart. We’ll take you home. Our car is right over there.”

One car sits on a side street. In large red letters printed on the trunk are the words CARE AND CONCERN.

You walk with the men to the car.

Waves you’ve never felt before are emanating from it.

Mentally, you try to back up from them. They’re targeting your body. You feel a haze settle over you.

In the haze dance little creatures. They’re speaking. You try to hear what they’re saying.

Now you do. “Reality, reality, reality.”

You look at the short man in the suit. He’s smiling at you.

Suddenly, his smile is transcendent. It’s so reassuring, tears fill your eyes.

But you’re thinking, “They built this so I would be lost, and then they found me. I’m supposed to be rescued. I’ve never experienced being rescued before. I never knew what it meant.”

You hear faint music.

It grows louder. As you near the car, you realize you’re listening to a chorus and an orchestra. The rising theme is Victory.

One of the uniformed men opens the car door.

You nod at him.

“My pleasure, sir,” he says.

The music fades away.

The scene shifts.

You’re standing next to the pickup in your driveway along side your cottage.

You’re home.

Think, you tell yourself. What’s going on?

You recognize your mind is now divided into two parts. The first part registers sensations from this reality. Feedback. These sensations are meant to be sorted, in order to answer the question: HOW AM I?

The second part of your mind is entirely devoted to perceiving problems and solving them. Everything at this level is organized to constitute problems.

You were never aware of these two sectors of your mind before.

Where did they come from?

Now, as you walk into your cottage and instantly remember the rooms and the objects in these rooms, an accompanying sensation of Familiarity, slightly out of phase, grows stronger.

You realize, without knowing how, that you’re supposed to feel tremendous relief. This is what’s expected of you.

It’s expected of everyone. They live with one another through the touchstone of the Familiar. They share it like bread.

They keep coming back to it. The Familiar is a sacrament.

It’s built in. It’s invented through…electromagnetically induced fields. It’s stamped on every object in this space…

To suggest you’ve been here before. To suggest you belong here.

As you look around the cottage, you apprehend a third sector of your mind. You struggle to identify it.

It’s the fount of a different kind of perception.

Yes.

You keep staring at the cottage and you see space.

You see space that…

Has been placed here. For you.

It, too, is threaded with the Familiar.

And at that moment, there is a small explosion behind your head.

And you’re sitting in the theater again.

The movie is playing on the screen. All around you, in the seats, people are sitting with their eyes closed.

You feel a tap on your shoulder. You turn. It’s an usher.

“Sir,” he says. “Please follow me.”

He leads you up the aisle into the lobby, which is empty.

An office door opens and a young woman steps out. She strides briskly over to you.

“You woke up and came back,” she says. She gives you a tight smile. “So we’re refunding your money. It’s our policy.”

She drops a check into your hand.

“What happened in there?” you say. “What happened?”

She shrugs.

“Only you would know that. You must have done something to interrupt the transmission.”

“And the rest of those people?”

She looks at her watch. “They’re probably into their fifth year by now. The fifth year is typically a time of conflict. They rebel. Well, some of them do. They rearrange systems. They replace leaders. They promote new ideals.”

“I had such a strong feeling I’d been there before.”

She smiles. “Apparently it wasn’t strong enough. You’re back here.”

“How do you do it?”

“I’m sorry,” she says. “That’s proprietary information. Did you meet your family?”

“No,” you say. “But I was in a cottage. It was…home.”

She nods.

“If you hadn’t escaped, you would have been subjected to much stronger bioelectric bonding pulses. Do you have a family here?”

You start to answer and realize you don’t know.

She looks into your eyes.

“Go out to the street,” she says crisply. “Walk around. Take a nice long walk for an hour. You’ll reorient. It’ll come back to you.”

“Why do you do it?” you say.

“Do what?”

“Sell this trip.”

“Oh,” she says. “Why does a travel agent book a vacation for a client? We’re in that business.”

You turn toward the exit. The sun is shining outside. People are walking past the doors.

You take a deep breath and leave the theater.

The street is surging with crowds. The noise is thunderous.

You notice you’re carrying a rolled up sheet of paper in your hand.

You open it.

It’s a non-disclosure agreement.

“If you return from from your movie experience, you agree to reveal or discuss, under penalty of law, nothing about its nature, substance, or duration…”

You look at the sheet of paper, make up your mind, and it bursts into flames.

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 man who sold space

The man who sold space

~a short story~

by Jon Rappoport

January 28, 2014

www.nomorefakenews.com

Smith, who some people mistakenly called God, had a problem.

Ever since he was a child, he’d wanted to sell space. But as an adult, he realized there was an infinity of it, in fact several infinities, and such abundance was bad for business.

So he and three friends came to Earth and began promoting the absurd idea that space was at a premium. They said it was hard to get, and going fast.

Earth was a good place for his business, because most people had no idea they had, in addition to physical space, their own. Meaning, the space they invented, the space of interior visions, which could be made into reality.

Interior territory, in fact, was one of those infinities.

But if you asked people about this, they usually said: “Huh?”

Smith and his pals prospered. They won contracts from governments. Politicians were dedicated, in every possible way, to shrinking the concept of space. For others.

After a few thousand years, Smith and Co. had engineered human consciousness to regard space as an illusion.

Smith would tell a client, “Look, there isn’t any. But I know a guy. He lives on top of a mountain. He’s got a line on a small piece of black market space. It’s very, very expensive, but if you’re serious, I might be able to lay my hands on it for you. His stuff is pure. It isn’t the delusional crap, it’s the genuine article. One square inch of it runs about six million, delivered.”

Turned out the man on the mountain was the high priest of a church. His own church. He held secret services. His religion was ultra-exclusive. Invitation only.

Eventually, Smith took to selling atoms.

“Hey,” he said. “I’m offering you the only thing that’s available. A square inch? No one can afford that anymore. Maybe an atom. Possibly a neutron or a quark. Most likely a quark.”

He was the man behind the curtain. Governments consulted him frequently. When he spoke, they listened and obeyed.

Exit From the Matrix

One night, Smith was having supper at a little joint in Lower Manhattan. He could move about anonymously.

It was late and the restaurant was empty.

A man walked in and went over to Smith and sat down.

He said, “Aren’t you the lunatic who conned everybody into developing amnesia about space? Yeah, it’s you. Well, I’m putting it back on the market. Cheap. A whole lot of it. As much as people want.”

Smith stopped twirling spaghetti on his fork.

“You can’t do that,” he said. “I own space.”

“That’s where you’re wrong,” the man said. “Right now, I’m inventing fourteen galaxies.”

Smith smiled. “Oh, you must be one of those of crazy artists,” he said. “I thought we wiped all of you out, or put you away in institutions.”

“We’re slippery,” the man said. And he reached out his hand and gestured in the air, and the little restaurant fell away like an old dream and there appeared a huge black sky full of stars…

“You see?” he said. “It’s easy.”

Smith screamed like he’d been hit with a bolt of lightning. He fell on the floor and writhed and wriggled.

“Infinity,” the man said. “Maybe you can sentence fifty people to live together in one room, but you can’t outlaw infinity. It pops back up.”

Smith tried to think about something else. But he couldn’t. He saw rooms and corridors and lobbies and streets and roads and fields and mountains and valleys, and each one of those separate spaces revealed itself as endless.

He saw symbols, which had been put in place to plant “shrinking ideas” in people’s minds, and now the symbols shattered like crockery and blew out into the universe and universes beyond.

He fought to maintain his position, but it was no use. Now, the worst thing happened. He felt his own endless space and knew he was infinite—and that this was true for every soul.

The con of cons was done. Over.

Paintings miles wide appeared before him, and these paintings were worlds. The Centrality of coagulated illusion was going away.

A fresh wind was blowing.

Earth was still there, but it was a stage, a platform, on which billions of souls were rising out of deep narcosis.

“Eternity!” Smith shouted. “There goes my career!”

Coda: In 1591, Giordano Bruno wrote: “…and even as infinite space is around us, so is infinite potentiality, capacity, reception, malleability, matter.”

On February 17, 1600, in the Campo de Fiori, in Rome, the Church burned Bruno at the stake.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 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 emails at www.nomorefakenews.com

Consciousness, art, and psychiatry

by Jon Rappoport

January 22, 2014

(To join our email list, click here.)

With the NSA scandals, many more people have read and heard the term “metadata.” It means “data about data.”

Well, there is also “metalife.” It means “life about life.”

Which means Art.

Art is a way of reaching life on another level.

When the first cave painter scratched an animal on a stone wall, he was undertaking a unique action. He was expressing his own consciousness beyond living his life.

He was inventing beyond his experience.

Suddenly, his experience had another use. It could be gathered up and transformed into painting, creation.

The first artist was the first alchemist.

So it is with all art. You can transmute your own past, your own experience, your own knowledge, your own emotions into works of imagination.

Art is a spiritual path.

From its dynamic perspective, everything that has ever happened to you can take on absolutely new meaning.

This also happens to be the goal of all therapies.

But with art, the goal is fulfilled.

It is no exaggeration to say that the artist can reinvent his past.

Civilizations rise and fall, come and go, and their fate is decided by untold millions of people who refrain from taking the path of the artist.

Ordinary life as we know it doesn’t resolve into a grand solution. It never has. Through alchemical persuasion, however, it can. And that alchemy is art.

Metalife.

The chain of cause and effect, threading from past into present, breaks. Instead, imagination/consciousness invents new realities and new futures, utilizing the energy of past events.

But this energy is no longer connected to those events. It’s brand new, it’s fuel for the fire.

As soon as imagination/invention/creation becomes the leading prow of action for an individual, the energy conversion and liberation begins.

Many, many artists don’t realize the power they have in their hands. They persist in seeing themselves as “entitled to be crazy” in their lives, and this undercuts their own consciousness.

Many artists are so obsessed with commercial success and fame that they’d dance at the end of a leash like a dog if they thought it would bring them recognition. This, needless to say, is debilitating.

So-called spiritual traditions tend to have a habit of depicting states of consciousness and enlightenment. They’re intent on describing the Reality behind reality.

Art makes no such claims. On its path, the artist invents many, many realities, and in doing so, he moves beyond all such descriptions.

For a culture to realize all these things, something quite different from propaganda and indoctrination would have to take place. In the meantime, metalife is an individual proposition.

It always has been.

Exit From the Matrix

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

In this society, psychiatrists are the primary definers of mental states. Their efforts are accepted as official science.

The Psychiatric Political State is based on myths and fairy tales about distinct and separate disorders and “good treatment.”

One of the main psychiatric mantras gaining force? “Everyone at some time in their lives will experience a mental disorder.”

But an open secret has been slowly bleeding out into public consciousness for the past ten years.

THERE ARE NO DEFINITIVE LABORATORY TESTS FOR ANY SO-CALLED MENTAL DISORDER.

And along with that:

ALL SO-CALLED MENTAL DISORDERS ARE CONCOCTED, NAMED, LABELED, DESCRIBED, AND CATEGORIZED by a committee of psychiatrists, from menus of human behaviors.

Their findings are published in periodically updated editions of The Diagnostic and Statistical Manual of Mental Disorders (DSM), printed by the American Psychiatric Association.

For years, even psychiatrists have been blowing the whistle on this hazy crazy process of “research.”

Of course, pharmaceutical companies, who manufacture highly toxic drugs to treat every one of these “disorders,” are leading the charge to invent more and more mental-health categories, so they can sell more drugs and make more money.

But we have a mind-boggling twist. Under the radar, one of the great psychiatric stars, who has been out in front inventing mental disorders, went public. He blew the whistle on himself and his colleagues. And for 3 years, almost no one noticed.

His name is Dr. Allen Frances (twitter), and he made VERY interesting statements to Gary Greenberg, author of a Wired article: “Inside the Battle to Define Mental Illness.” (Dec.27, 2010).

Major media never picked up on the interview in any serious way. It never became a scandal.

Dr. Allen Frances is the man who, in 1994, headed up the project to write the (then) latest edition of the psychiatric bible, the DSM-IV. This tome defines and labels and describes every official mental disorder. The DSM-IV eventually listed 297 of them.

In an April 19, 1994, New York Times piece, “Scientist At Work,” Daniel Goleman called Frances “Perhaps the most powerful psychiatrist in America at the moment…”

Well, sure. If you’re sculpting the entire canon of diagnosable mental disorders for your colleagues, for insurers, for the government, for Pharma (who will sell the drugs matched up to the 297 DSM-IV diagnoses), you’re right up there in the pantheon.

Long after the DSM-IV had been put into print, Dr. Frances talked to Wired’s Greenberg and said the following:

“There is no definition of a mental disorder. It’s bullshit. I mean, you just can’t define it.”

BANG.

That’s on the order of the designer of the Hindenburg, looking at the burned rubble on the ground, remarking, “Well, I knew there would be a problem.”

After a suitable pause, Dr. Frances remarked to Greenberg, “These concepts [of distinct mental disorders] are virtually impossible to define precisely with bright lines at the borders.”

Frances might have been referring to the fact that his baby, the DSM-IV, had rearranged earlier definitions of ADHD and Bipolar to permit many more diagnoses, leading to a vast acceleration of drug-dosing with highly powerful and toxic compounds.

Finally, at the end of the Wired interview, Frances flew off into a bizarre fantasy:

“Diagnosis [as spelled out in the DSM-IV] is part of the magic…you know those medieval maps? In the places where they didn’t know what was going on, they wrote ‘Dragons live here’…we have a dragon’s world here. But you wouldn’t want to be without the map.”

Translation: Patients need hope for the healing of their troubles; so even if we psychiatrists are shooting blanks and pretending to know one kind of mental disorder from another, even if we’re inventing these mental-disorder definitions based on no biological or chemical diagnostic tests—it’s a good thing, because patients will then believe and have hope; they’ll believe it because psychiatrists place a name on their problems…

Needless to say, this has nothing to do with science.

If I were an editor at one of the big national newspapers, and one of my reporters walked in and told me, “The most powerful psychiatrist in America just said the DSM is sheer b.s.,” I think I’d make room on the front page.

If the reporter then added, “This shrink was in charge of creating the DSM-IV,” I’d clear room above the fold.

If the reporter went on to explain that the whole profession of psychiatry would collapse overnight if the DSM was discredited, I’d call for a special section of the paper to be printed.

I’d tell the reporter to get ready to pound on this story day after day for months. I’d tell him to track down all the implications of Dr. Frances’ statements.

I’d open a bottle of champagne to toast the soon-to-be-soaring sales of my newspaper.

And then, of course, the next day I’d be fired.

Because there are powerful multi-billion-dollar interests at stake, and those people don’t like their deepest secrets exposed in the press.

And as I walked out of my job, I’d see a bevy of blank-eyed pharmaceutical executives marching into the office of the paper’s publisher, ready to read the riot act to him.

Dr. Frances’ work on the DSM-IV allowed for MORE toxic drugs to be prescribed, because the definition of Bipolar was expanded to include more people.

Adverse effects of Valproate (given for a Bipolar diagnosis) include:

acute, life-threatening, and even fatal liver toxicity;

life-threatening inflammation of the pancreas;

brain damage.

Adverse effects of Lithium (also given for a Bipolar diagnosis) include:

intercranial pressure leading to blindness;

peripheral circulatory collapse;

stupor and coma.

Adverse effects of Risperdal (given for “Bipolar” and “irritability stemming from autism”) include:

serious impairment of cognitive function;

fainting;

restless muscles in neck or face, tremors (may be indicative of motor brain damage).

Dr. Frances’ label-juggling act also permitted the definition of ADHD to expand, thereby opening the door for greater and greater use of toxic Ritalin (and other similar compounds) as the treatment of choice.

So what about Ritalin?

In 1986, The International Journal of the Addictions published a most important literature review by Richard Scarnati. It was called “An Outline of Hazardous Side Effects of Ritalin (Methylphenidate)” [v.21(7), pp. 837-841].

Scarnati listed a large number of adverse affects of Ritalin and cited published journal articles which reported each of these symptoms.

For every one of the following (selected and quoted verbatim) Ritalin effects, there is at least one confirming source in the medical literature:

* Paranoid delusions
* Paranoid psychosis
* Hypomanic and manic symptoms, amphetamine-like psychosis
* Activation of psychotic symptoms
* Toxic psychosis
* Visual hallucinations
* Auditory hallucinations
* Can surpass LSD in producing bizarre experiences
* Effects pathological thought processes
* Extreme withdrawal
* Terrified affect
* Started screaming
* Aggressiveness
* Insomnia
* Since Ritalin is considered an amphetamine-type drug, expect amphetamine-like effects
* Psychic dependence
* High-abuse potential DEA Schedule II Drug
* Decreased REM sleep
* When used with antidepressants one may see dangerous reactions including hypertension, seizures and hypothermia
* Convulsions
* Brain damage may be seen with amphetamine abuse.

A recent survey revealed that a high percentage of children diagnosed with bipolar had first received a diagnosis of ADHD. This is informative, because Ritalin and other speed-type drugs are given to kids who are slapped with the ADHD label. Speed, sooner or later, produces a crash. This is easy to call “clinical depression.”

Then comes Prozac, Paxil, Zoloft. These drugs can produce temporary highs, followed by more crashes. The psychiatrist notices the up and down pattern—and then produces a new diagnosis of Bipolar (manic-depression) and prescribes other drugs, including Valproate and Lithium.

In the US alone, there are at least 300,000 cases of motor brain damage incurred by people who have been prescribed so-called anti-psychotic drugs (aka “major tranquilizers”). Risperdal (mentioned above as a drug given to people diagnosed with Bipolar) is one of those major tranquilizers. (source: Toxic Psychiatry, Dr. Peter Breggin, St. Martin’s Press, 1991)

This psychiatric drug plague is accelerating across the land.

Where are the mainstream reporters and editors and newspapers and TV anchors who should be breaking this story and mercilessly hammering on it week after week? They are in harness.

And Dr. Frances is somehow let off the hook. He’s admitted in print that the whole basis of his profession is throwing darts at labels on a wall, and implies the “effort” is rather heroic—when, in fact, the effort leads to more and more poisonous drugs being dispensed to adults and children, to say nothing of the effect of being diagnosed with “a mental disorder.”

I’m not talking about “the mental-disease stigma,” the removal of which is one of Hillary Clinton’s missions in life. No, I’m talking about MOVING A HUMAN INTO THE SYSTEM, the psychiatric apparatus, where the essence of the game is trapping that person to harvest his money, his time, his energy, and of course his health—as one new diagnosis follows on another, and one new toxic treatment after another is undertaken, from cradle to grave.

The result is a severely debilitated human being (if he survives), whose major claim to fame is his list of diseases and disorders.

Thank you, Dr. Frances.

The Matrix Revealed

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

Here is a smoking-gun statement made by another prominent psychiatrist, on an episode of PBS’ Frontline series. The episode was: “Does ADHD Exist?”

PBS FRONTLINE INTERVIEWER: Skeptics say that there’s no biological marker—that it [ADHD] is the one condition out there where there is no blood test, and that no one knows what causes it.

BARKLEY (Dr. Russell Barkley, clinical professor of psychiatry and pediatrics at the Medical University of South Carolina in Charleston, prevously professor of psychiatry and neurology at the University of Massachusetts Medical Center): That’s tremendously naïve, and it shows a great deal of illiteracy about science and about the mental health professions. A disorder doesn’t have to have a blood test to be valid. If that were the case, all mental disorders would be invalid…There is no lab test for any mental disorder right now in our science. That doesn’t make them invalid. [emphasis added]

Without intending to, Dr. Barkley blows the whistle on his own profession.

So let’s take Dr. Barkley to school. Medical science, and disease-research in particular, rests on the notion that you can make a diagnosis backed up by lab tests. If you can’t produce lab tests, you’re spinning fantasies.

These fantasies might be hopeful, they might be “educated guesses,” they might be launched from traditional centers of learning, they might be backed up by billions of dollars of grant money…but they’re still fantasies.

If I said the moon was made of green cheese, even if I were a Harvard professor, sooner or later someone would ask me to produce a sample of moon rock to be tested for “cheese qualities.” I might begin to feel nervous, I might want to tap dance around the issue, but I would have to submit the rock to a lab.

Dr. Barkley employs a corrupted version of logical analysis in his statement to the PBS Frontline interviewer. Barkley is essentially saying, “There is no lab test for any mental disorder. But if a test were the standard of proof, we wouldn’t have science at all, and that would mean our whole profession rests on nothing—and that is absurd, so therefore a test doesn’t matter.”

That logic is no logic at all. Barkley is proving the case against himself. He just doesn’t want to admit it.

Close to 50 years ago, psychiatry was dying out as a profession. Fewer and fewer people wanted to see a psychiatrist for help, for talk therapy. All sorts of new therapies were popping up. The competition was leaving medical psychiatry in the dust.

As Dr. Peter Breggin describes it in his landmark book, Toxic Psychiatry, a deal was struck. Drug companies would bankroll psychiatry and rescue it. These companies would pour money into professional conferences, journals, research. In return, they wanted “science” that would promote mental disease as a biological/chemical fact, a gateway into the drugs. Everyone would win—except the patient.

So the studies were rolled out, and the list of mental disorders expanded. The FDA was in on the deal as well, as evidenced by their drug “safety” approvals, in the face of the obvious damage these drugs were doing.

So this is how we arrived at where we are. This was the plan, and it worked.

Under the cover story, it was all fraud all the time. Without much of a stretch, you could say psychiatry has been the most widespread profiling operation in the history of the human race. Its goal has been to bring humans everywhere into its system. It hardly matters which label a person is painted with, as long as it adds up to a diagnosis and a prescription of drugs.

Do people suffer, do they have problems, do they experience anguish and pain, do they make choices that sabotage their own interests, do they fall victim to external circumstances, do they long for relief? Of course.

But this has nothing to do with fraudulent psychiatric diagnoses.

It has to do with nutritional deficits, toxic drugs, toxic food and environmental chemicals, abuse, isolation, intimidation, and a whole host of other potential factors.

Psychiatry is trying to monopolize mental states and the understanding of the mind. It has no science, and it has no authentic conscience. It’s a pseudo-medical version of Orwellian politics, flying under the banner of a false professionalism.

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 surpassing power of imagination

The surpassing power of imagination

by Jon Rappoport

January 21, 2014

www.nomorefakenews.com

If you haven’t already read it, you can find the complete description of my collection, Exit From the Matrix, in my store, here.

Readers who’ve been with me for a while know I’ve written a great deal about imagination. This collection puts together more than 50 exercises and techniques for expanding the scope, range, and power of imagination.

Why? Because imagination is the quality that outdoes reality. Any kind of reality. Imagination is the infinite road.

Consciousness wants to create new consciousness, and it can. Imagination is how it does it. If there were some ultimate state of consciousness, imagination would always be able to play another card and take it further.

In any arena of life, and especially when it comes to mind, perception, power, empathy, and so on, there is always a status quo. It’s the place where a person says, “Well, that’s enough. I’ll settle for what I have. I’ll stop here.”

Sooner or later, this leads to boredom, frustration, problems, and conflict. It leads to a decline.

Imagination, which knows no bounds, is the source for the most adventurous explorations. It can have great impact on the material world, of course, but one mustn’t therefore conclude it is composed of matter or energy. Imagination is non-material. To think otherwise winds you up in using some version of physics to depict imagination—and then you are imposing limits on it. This is an error. Imagination doesn’t obey any laws of physics.

If imitation is the sincerest form of flattery, we’ve flattered reality enough. It doesn’t need any more. Imagination creates new realities.

You can create the same thing over and over, and eventually you’ll be about as alive as a table. Inject imagination into the mix, and everything suddenly changes. You can steer that boat anywhere you want to. You can build worlds.

The lowest common denominator of consensus implies an absence of imagination. Everyone agrees; everyone is bored; everyone is obedient. On the opposite end of the spectrum, there are massive floods of unique individual creation, and then that sought-after thing called abundance is as natural as the sun rising in the morning.

Exit From the Matrix

Sitting around in a cosmic bus station waiting for reality is what reality is. Everything else is imagination.

There are those who believe life is a museum. You walk through the rooms, find one painting, stroll into it and take up permanent residence. But the museum is endless. If you were a painter, you’d never decide to live inside one of your canvases forever. You’d keep on painting.

The relentless and obsessive search for all those things on which we can agree is a confession of bankruptcy.

When we re-learn to live through and by imagination, we enter and invent new space and time. But space and time aren’t superior forces. They come into being at the tap of imagination.

With imagination, one can solve a problem. More importantly, one can skip ahead of the problem and render it null and void.

There are a billion murals on a billion walls, and a person chooses one and falls down before it and devotes himself to it. He spends a thousand years trying to decipher it. So be it. This isn’t imagination.

Imagination isn’t a system. It might invent systems, but it is non-material. It’s a capacity. It feels no compulsion to imitate reality. It makes realities. Its scope is limited only by a person’s imagining of how far imagination can go.

The human race is obsessed by the question: what exists? It appears to be a far easier question than: what do you want to imagine? This comparison explains why civilizations decline.

Imagination is a path. Walking on that path long enough, you find answers to all the questions you’ve ever asked. You also find power that people dream of.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 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 emails at www.nomorefakenews.com

The creative center of the world

The creative center of the world

by Jon Rappoport

January 12, 2014

www.nomorefakenews.com

“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?

Is it possible that an outpouring of art, creation, invention, coming from millions and millions of people, would bring about a sea change in the conducting of human affairs? Would such a tide affect the obsession to wage war?

Magic is not about arcane crests and codes and symbols. All those symbols and seals are just a way of invoking mystery and a front of supposed privilege.

People still accept landscapes painted by a priesthood and they call those landscapes Spiritual, and hope these puerile inventions will somehow take them to bliss and final enlightenment.

In other words, people want to exist inside a phony masterpiece designed by a class of authoritarians.

In a nutshell, that’s the story of this planet, and it always was.

I’ve been writing about the creative life for some time. For me, that life is a far cry from the pallid oatmeal of spiritual movements where the essence of things is “peace through avoidance”—an attempt to substitute one form of politeness for another, one form of sleep for another.

When people strip away all the hogwash that has been passed off as spiritual enlightenment for centuries, what they are left with—if they can feel it—is creative fire. That fire IS the spiritual force. IS the real thing. Finally.

Most people don’t want to travel to that grand arena. They have been trained like pets by some sector of this society to be good little girls and boys.

Art (creation/magic) is a word that should be oceanic. It should shake and blow apart the foul smug boredom of the soul.

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

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

Art is about destroying the old order and the new order and the present order, with a glance.

It’s about spearing the old apple on the point of a glittering sword and opening up the whole rotting crust that has attached itself to the tree of life.

It’s about shrugging off the fake harmony of the living dead.

When this kind of creation overtakes the world, only then does the world become what it should be.

On an individual level, boredom has much the same effect as concrete does in the landscape: it covers more and more territory, and once you lay it down it doesn’t usually come up.

If you look closely, you can see people are walking around with big signs on their necks: I’M BORED.

They pretend they’re not.

But they’re bored silly. They’re driving themselves cuckoo.

Creation of deep desire with great fire, as fact in the world, IS the definition of magic. That’s what magic is. It isn’t anything else.

The secret of the labyrinth is this: as long as masses of people are trapped in their own acquiescence to a fictional spiritual and psychological existence, in which they are the passive receivers of “wisdom and direction,” all is lost.

No matter how many liberation movements arise, no matter what degree of success they achieve, in the long run the winners (or their descendants) always fall back into a trance state in the center of their consciousness. They look for answers to come in to them from an external source—and if they can’t find a ready-made source, they will subconsciously invent one.

The whole proposition comes back to: shall we be audience only, or creators? Shall we find our spiritual destinies through obedience to “art” made with mind control as the motive, or shall we embark on a much greater adventure, along a road where what WE individually create is the hallmark and the revelation of our power?

Do we take the magic in our hands, or do we cede it to those who, by default, become our masters?

Suppose the divide between actors and audience in our society underwent a spontaneous revolution?

Exit From the Matrix

Art is not a little sandbox. Fueled by liberated imagination, it is THE revolution the psyche has been asking for.

When one acts long enough, he realizes that the world could really be a stage, and the sound and fury would, in fact, signify something vital and deep.

When one paints long enough, he realizes this world and all the universe are but one painting out of an infinity of possible paintings.

When one writes long enough, he realizes that so-called history is but one story—and many other (better) stories could be told.

When one plays music long enough, he realizes that emotion can be lifted out of petty concerns into realms where feeling becomes vast triumph.

When one builds long enough, he realizes that the physical structure of civilization can be led out of mere functionality into dazzling new spaces.

This is where we could go. And the stars in space would pale by comparison.

At some point in such a vision, a critical mass would be reached. People, viewing an explosion of art, would themselves catch the thread and begin to inhabit their own dreams. The contagion would take hold. What was formerly viewed as an elitist activity would spill over all boundaries.

And then?

People at large would realize the connection between spirit and creative action. The propaganda machines of the world, aimed at control of the deadened masses of populations, would blow gaskets and become obsolete. Drowned in a sea of creativity.

That would be the answer to the question, “What do I do after I see through the illusions of the puppet masters?”

Art unchained becomes titanic. It can spread out over the landscape and take it over. It can spawn and proliferate more art, until the emotional content of daily experience becomes transformed. Until we all live at a wider and deeper level.

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 an 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 for the best 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.

Were you to embark on a uniquely passionate course of creation, enlarging the scope at every turn, you would launch out of the realm of the push-pull humdrum Earthside disintegrating disaster…..and into the realm of what you INVENT….and as you inhabited this latter realm more fully, the SO-CALLED NATURAL LAWS OF THE FORMER REALM WOULD APPLY TO YOU LESS AND LESS, AND THE MORE FREE YOU WOULD BECOME.

Magic.

As more and more of us moved forward in this way, THAT would become the transformation we have been unconsciously hoping for. 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.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 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 emails at www.nomorefakenews.com

New World citizen on trial

New World citizen on trial

~a short story~

by Jon Rappoport

January 11, 2014

NoMoreFakeNews.com

On May 17th, 2036, in US Federal Court, David Palmer, a software engineer, appeared before Judge Rex Regis, on a charge of violating Section 249 of the Federal Workplace Code.

If found guilty, Palmer faced a sentence of six years in a US re-education facility.

Palmer was an employee of the National Trust, a corporation chartered and funded by the federal government’s Department of Citizen Employment.

In 2025, when a Congressional report was issued confirming that 67% of the American population was unemployed, the Department of Citizen Employment was established to create and mandate jobs across the nation.

Palmer was then assigned to work at the National Trust, a company tasked with improving surveillance standards in the transportation sector.

Eleven years later, an internal committee of his peers accused him of violating cooperative work rules and reported him to the FBI. Palmer was arrested at his home and placed on trial.

A portion of the trial transcript follows:

Judge Regis: Mr. Palmer, I understand you and seven colleagues were assigned a group project. Without disclosing the classified nature of this operation, describe it to me.

Palmer: Well, Your Honor, in general terms, we were to develop a sub-program to facilitate X-type of federal surveillance at Y-type transportation outlets.

Judge Regis: And you were to accomplish this as a group. The eight of you.

Palmer: Yes, sir.

Judge Regis: But you violated the federal standard of cooperation.

Palmer: I did.

Judge: And this is not the first time.

Palmer: No, sir.

Judge Regis: What happened, Mr. Palmer?

Palmer: Well, sir, one afternoon, I was walking home from work and the solution to the problem just popped into my mind. I saw the whole thing—how the sub-program we were tasked to design would work.

Judge Regis: And the next morning, you met with your seven co-workers and laid it out for them. Just like that.

Palmer: Yes, sir. That was my mistake.

Judge Regis: You overrode the mandate that this was supposed to be a group effort. You undermined the whole process. And how did your colleagues on the project feel?

Palmer: Deflated, sir. They were angry as well. They invoked the Minimization of Value complaint.

Judge Regis: In other words, you minimized their value as workers.

Palmer: Yes, sir.

Judge Regis: Which can be psychologically devastating.

Palmer: Correct.

Judge Regis: Two of your co-workers on the project are now on leave and are receiving intensive counseling in a government residential facility.

Palmer: So I understand.

Judge Regis: This case is clear-cut, Mr. Palmer. You caused injury to your colleagues. Now, I have some leeway in my sentencing options. Here is my offer. After lunch, when I render my decision, I’ll assign you to a re-education camp for one year instead of six. And I’ll rule out the most extreme treatment—electronic reprogramming. If you do something for me.

Palmer: Whatever it is, sir, I’ll do it. I don’t want the brain-repatterning.

Judge Regis: Right now, it’s just you and I in this room. But after lunch, there will be a crowd there in the gallery to hear my verdict. A few hundred government-paid bloggers, documentary film people, and other media support staff. I want them to hear you make an extended and passionate confession of your offense. I want it to be a model of self-criticism and humility. Your story will go out across the country and the world. I want the population to learn from your error.

Palmer: You have my word, Your Honor. I’ll explain in great detail how I violated the Group Standard and caused grievous psychological harm to my colleagues. I promise.

Judge Regis: Good, Mr. Palmer. We understand each other?

Palmer: Yes, sir. We do. And I’ll make a few references to recent studies that conclude group efforts far exceed individual initiative in terms of tangible results, in the workplace.

Judge Regis: That would be appropriate.

Palmer: I’ll also state that my crime was a subversion of the whole government program to grant useful employment to workers in America, since that program is based on groups and committees, without which full employment would never be achieved.

Judge Regis: In your confession, there is one more point I want you to cover.

Palmer: Yes, sir?

Judge Regis: State clearly that the “insight” you experienced, which was the solution to the problem your group had been tasked with, was an aberration that stemmed from you clinging to an outmoded idea that the individual is a vital element of society.

Palmer: Of course. I’ll say I gladly accept your verdict, because it will allow me to rid myself of this selfish delusion.

Judge Regis: You see, Mr. Palmer, it’s not solutions we seek, it’s a process by which solutions are found. And that process always refers to group collaboration and cooperative learning. This is a very, very important distinction.

Palmer: I’m not sure I understand, Your Honor.

Judge Regis: Excuse me?

Palmer: I’m trying, sir. I really am. I want to understand.

Exit From the Matrix

Judge Regis: Mr. Palmer, pay close attention. Anyone can come up with a solution to a problem. But society exists to facilitate the group-sharing that collectively gives birth to a solution. That’s the whole point.

Palmer: Whereas I keep reverting to the older discredited standard.

Judge Regis: Which is exactly why you are here before me today.

Palmer: It’s not the outcome we care about, it’s how the outcome is achieved.

Judge Regis: Correct. Are we on the same page?

Palmer: Yes, sir. If I come up with a solution to a problem, I demean the entire process. I stand outside the group. I injure others. I’m not employed by the State to prove how smart I am, I’m employed to work with others. This is what having a job means.

Judge Regis: Remember that.

Palmer: If I and other violators simply spewed out our solutions at work, we would seem to make the group unnecessary.

Judge Regis: And that must never happen.

Palmer: “We” is advanced form of “I.”

Judge Regis: Very good. Use that statement in your confession.

Palmer: I will, sir. And I’ll say it was suggested to me by my colleagues at work.

Judge Regis: Now you’re getting the idea.

Palmer: Solutions are a dime a dozen. Learning how to interact with others is the task before us.

Judge Regis: That task leads us to the next step in evolution.

Palmer: “Group, honor, and full employment.”

Judge Regis: Are you beginning to understand what that slogan means?

Palmer: Yes, sir, I am.

Jon Rappoport

The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 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 emails at www.nomorefakenews.com

“Parallel-universe therapy”

by Jon Rappoport

January 5, 2014

(To join our email list, click here.)

One of the best questions a person asks himself is, “What if…?”

People do ask themselves that question all the time, but they rarely take it seriously.

They prefer to keep the answers at arm’s length. They prefer to assign someone else the task of putting answers into action.

“What if…” sets up a kind of parallel universe, in which things are quite different.

It’s no surprise that artists ask the question; then they answer it with novels and plays and paintings and films.

For the individual, the question always suggests taking a new course in life, changing the old framework. As one edges closer to initiating action, body and mind and psyche go into an anticipatory state of high energy.

“Yes, do it. This is good.”

It’s especially good because the subconscious sees new possibility, and not just along one line; it sees multiple dimensions of action—trees sprouting many branches.

It’s as if the old you were moving along a single path…and now you have length, breadth, and depth.

Shapes of potential fulfillment appear in space.

The subconscious wants to provide fuel for that many-pronged fire. I say many-pronged, because the subconscious is itself multidimensional; and its problem is: the individual seems not to be aware of that.

The individual treats the subconscious as if its material can only fit into a single thin stream of information.

As an analogy, consider an order coming down that the Michelangelo Sistine Chapel, wall and ceiling, must be laid out flat in a single plane, or that all the characters in Velazquez’ Maids of Honor must be standing along side the central child, Infanta Margaret Theresa, in the foreground of the painting.

When “What if…?” is asked and answered in its full scope, the person not only sees a new life but a new kind of life, in which a goal connects to multiple dimensions.

What this means for the seeker is far from an habitual response. It entails exploration. It implies a creative life.

Instead of imagining a few lamps that go on in a dark room, we are talking about numerous points of illumination that reveal a mansion with many wings.

We move from a single point to a line to two-dimensional figures to volume in three dimensions, to more and more previously unseen dimensions.

The subconscious is thus given its due and liberated.

The invention of film was an event to suit this state of affairs. A number of the earliest films were really dreams placed on the screen. They subordinated a simple story to miraculous happenings that occur in dreams. Happenings that surpass the so-called laws of the space-time continuum.

The creative life, lived by and through imagination, will naturally expand to include more and more dimensions, unless throttled.

“What if…?” then, finally, is answered, not by some trained android system, but by the imagination.

A person’s past, and what happened in that past, is no longer a cultural artifact for explaining how and why the individual is limited in the present, but instead is seen as buds that can bloom into an infinite variety of Future.

Exit From the Matrix

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

The fulfillment of desire in the physical world seems to operate on one basic idea: discover what you want and go get it. However, when you follow that path with imagination, new spaces swim into view, new objectives, new branches on the tree.

This kind of expansion reflects what Self is really after: unlimited creation.

The cells of the body, the brain, the mind, the consciousness, the subconscious are all waiting for that, are all hoping for it, are all geared up for it.

Whether they are all dressed up with nowhere to go…or will be enlisted in a grand adventure, is up to the individual himself.

The illusion presented by the physical world is: one objective, one course of action, one strategy. But even in the realm of science, we see this is only a partial explanation of what is going on. When breakthroughs are made, they are accomplished through leaps of imagination. There are gaps between what was previously known and what is suddenly known now.

Those gaps aren’t crossed by purely rational means. In retrospect it may seem that way, it may be told that way, but the discoverer and the inventor are accessing and creating solutions by introducing new dimensions.

In a person’s life, the same approach applies. There are endless opportunities for imagining and creating new roads.

These roads are new spaces, worlds, universes.

In many fields of alternative inquiry—history, archeology, science, economics, etc., undisclosed dimensions are revealed. So it is with the human being himself and his creative potential. What is considered hard fact dissolves, and imagination comes to the fore as the alchemical force that transmutes a few dimensions into an unlimited number.

Our societies, civilizations, and traditional teachings (indoctrination) seek to exclude and bury this infinity.

(Thanks to Steve Candidus. His insights in our discussion prompted several of the ideas in this article.)

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.