Category Archives: Energy & Imagination

Life outside this continuum, archetypes, and the Zodiac

Meta-life outside this continuum, archetypes, and the Zodiac

by Jon Rappoport

January 2, 2013

www.nomorefakenews.com

The most profound inner goals of the individual, and how those goals are pursued, out of view, are ignored by science, philosophy, and psychology. These goals are, most often, ignored even by the individual himself, who isn’t aware of them.

Here are my notes from a 1992 conversation with hypnotherapist Jack True. Colleague and friend, Jack spent his career devising ways to wake up people who, as he put it, were “already in a state of hypnosis”:

You can take any object, event, or structure and look at it as the end result of a cause-and-effect chain, or you can see it as a spontaneous creation/presence in this very moment.

The first way is a pattern that gives rise to societies, civilizations, and history.

To see an object, structure, or event as a spontaneous creation of this very moment, however, is something else again. This perception has vastly different “production values.” For example, the pen sitting on your desk ceases to be merely something that is born out of the causative action of tiny particles in motion or a manufacturing process. Instead, it is a vivid and instantaneous presence which has no reference to time.

And although modern science departed from this path, there is another kind of possible science. It is a subjective approach, whereby machines and devices and technologies are invented that operate FOR THE INVENTOR and for the inventor alone.

He is no longer trying to unearth what is possible within the constraints of the so-called objective continuum. He is building vehicles for himself.

The universe can function as a service provider to the scientist of imagination. It can feed into his personal theater. It can eagerly do so, as if it has been waiting for such a moment to show this aspect.

Who knows? If we had 100,000 truly subjective scientists on this planet, brilliant and tireless improvisers, we might see changes in the continuum. The energies liberated in the process would consign the precious Law of Conservation of Energy to a shelf in a small-town museum of curios.

“If the fool would persist in his folly he would become wise.” — William Blake

Rather than accepting the proposition that the observer changes what he’s observing—a passive formulation—opt for this: the inventor changes what he invents. He spontaneously accommodates it to himself.

Time is a like a May pole, its many decorations streaming from the central column. It holds together all the artifacts of Universe. However, it is eventually seen as a pretender. It maintains its position by implying that, without it, everything would spin into chaos. On closer examination, it turns out that serial time is a convenience for a style of communication and perception—a style to which we are all accustomed.

But whether we know it or not, each one of us branches off and explores dimensions in which this time is absent. We do it every day, albeit briefly.

An archetype is an immense island in the sea. It readily acknowledges the size of the individual soul, the YOU—even if a great deal of the soul, as it lives out this life here, is submerged under the social fabric. All archetypes engage the subject of time in their own ways.

The archetype of the Zodiac itself is built on time. Time of the year, of course, but more than that. The array of astrological signs (archetypes) is, in a sense, ABOUT time.

The Zodiac revolves around a central core of time, and as such actually stands outside the flow of events.

In that case, every sign of the Zodiac, when accessed deeply enough, would contain a soul-strategy for dealing with time. For entering into and exiting from time.

Our culture does not deal with such matters at all.

But the individual soul does. The soul WANTS to be able to move in and out of time and understand time and become a master of time.

Simultaneously, the soul wants to experience life within the serial flow of events. And having moved inside that sphere, it wants to work with time in the same way a sculptor works with clay.

The soul wants to come into time, work with time, and leave time. Not just once, but in many, many periods and moments of existence.

As an aside, the major fascination with movies has to do with the obvious ability of the film maker to organize, disorganize, arrange, and cut up time. In movies, the soul recognizes its own capacity to do these things.

Certain British novelists have dealt with the whole notion of time. CS Lewis, in his Narnia Chronicles, depicts how time passes differently in Narnia, how years and years amount to only moments on Earth. And Lewis acknowledged a deep debt to David Lindsay, who wrote the staggering Voyage to Arcturus, in which almost every episode takes place in its own unique dimension—where time passes in its own way…

We have almost no language to express the different possible ways in which we—individually and uniquely—experience time. In the absence of that language, we assume we all live in the same identically conceived and felt time.

Superficially, we share time as a “common cause.” We want its passage and events to be shared. We want to hold time together, as it were.

In truth, each one of us is on the road toward destroying the time prison, and this particular revolt against the empire has consequences that are bringing us closer and closer to the return of an era of Magic:

The waterfall with no source except spontaneous creation…you walk down a dim staircase with a key to a door that will open into a state of affairs light years beyond any conception of ordinary time…a zero point where everything stops and Consecutive Events are revealed as an illusion…the simultaneous ability to take the whole universe and put it in the palm of your hand and also live in a small cottage outside a village that is outside a town that is outside a city that is on a planet on a remote edge of a galaxy…

Multiple cascades of desire and fulfillment—mixing, mixing, mixing together, effervescing and radiating, beyond the goonish strictures of minds proud of limits…

A future in which the energies of desire and the energies of fulfillment-of-desire are One. Everything is fulfillment. Every action is elastic and far-reaching and yet self-reflexive. The soul, at every moment, feels the light of desire and realization of desire.

It is no longer necessary to want something. Everything is wanting and everything is having. Desire and fulfillment arc and surge into each other and become, again, the basic Substance. The old categories are destroyed. The old teachings are swept away. The deceptive paths and ways are toppled, crumble, and fall into the waves.

The society in which we live doesn’t begin to touch these realities. It is organized to exclude them. And we, the actors, pretend we don’t understand them. That is why archetypes persist. They are touchstones. They remind us that, subconsciously, we are working out our futures on an entirely different level.

The Matrix Revealed

JACK TRUE, the most creative hypnotherapist on the face of the planet, is featured in THE MATRIX REVEALED. Jack’s anti-Matrix understanding of the mind and how to liberate it is unparalleled. His insights are unique, staggering. 43 interviews, 320 pages. That is just a faction of what THE MATRIX REVEALED has to offer.

Movies were originally dreams put up on the screen. The new medium was quite naturally conceived of as an opportunity to show super-real events to ourselves that paralleled our sleeping dreams. Sudden shifts of venue, broken plot lines, conversations pregnant with layers of meaning, disappearing objects, levitation, threat, disaster, ecstasy, the rules of entrainment and normalcy destroyed.

Release from the serial time prison.

Yet, soon enough, movies were brought to heel. They spooled out stories for the masses that stimulated gross sticky sentimentality. They defined the so-called human condition. They played up disasters and wars. They eventually utilized new technologies to create various dark apocalyptic scenarios. They assessed audience common denominators and focused on box office numbers above all.

Instead of reflecting our desire to go beyond this continuum as individuals, movies give us claustrophobic threats to the normal average life. In doing so, they try to shut more doors to liberation. They present two options: destruction, or “the joy” of living as worker bees in a collectivist society.

All this propagandizing provides the strongest clue that we, as individuals, want to escape from the chains of limited perception. Otherwise, why bother trying to push these limits on us?

But the propaganda will not stand. The future we desire will come to pass. Because we make it. No matter how long it takes, we will come to the place where our own imagination overtakes the reality that has been painted for us on the cave wall.

This isn’t, as some fearful people believe, about a religious dichotomy featuring the Devil and God. It isn’t about sitting in a room and hoping we don’t succumb to some “evil influence.” That’s just more propaganda. It’s built to hem us in. It’s one more fairy tale in the pantheon of constructed stories aimed at keeping us rigid and small. It’s a joke.

The evil in the world is patent. It’s there for anyone who wants to look and see it. It comes from people. They do evil. By choice. One of the cardinal precepts of any society dedicated to justice is stopping and curtailing evil.

There is light at the end of the tunnel. Because we invent that light and make it real.

What we call the universe is our picture of it. The universe and its laws are how we define ourselves as inhabitants of a fixed reality. We can proudly take that picture to our graves and beyond, or we can explore our existence outside this space-time-energy construct.

The latter course is the one taken by true artists and true inventors. It always has been. It has no boundaries.

This isn’t secret-society stuff. It isn’t about overthrowing morality. Secret societies do all their hogwash and gobbledygook and ritual because they lack the one element that really makes a difference: the individual creating new realities. Instead, secret societies opt for license (not freedom), hoping this will open ultimate doors. They’re wrong.

It is healthy and good to discover deeper levels of deception around us in the world IF, at the same time, we are inventing our most profound desires as fact in the world.

Jon Rappoport

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

The ideal television anchor and his role in the Matrix

The ideal television news anchor and his role in The Matrix

by Jon Rappoport

January 1, 2013

www.nomorefakenews.com

Most of America can’t imagine the evening news could look and sound any other way.

That’s how solid the long-term brainwashing is. The elite anchors, from Douglas Edwards and John Daly, in the early days of television, all the way to Brian Williams and Scott Pelley, have set the style. They define the genre.

The elite anchor is not a person filled with passion or curiosity. Therefore, the audience doesn’t have to be passionate or filled with curiosity, either.

The anchor is not a demanding voice on the air; therefore, the audience doesn’t have to be demanding, either.

The anchor isn’t hell-bent on uncovering the truth. For this he substitutes a false dignity. Therefore, the audience can surrender its need to wrestle with the truth and replace that with a false dignity of its own.

The anchor takes propriety to an extreme: it’s unmannerly to look below the surface of things. Therefore, the audience adopts those manners.

The anchor inserts an actor’s style into what should instead be a relentless reporter’s forward motion. Therefore, the audience can remain content in its own related role: watching the actor.

The anchor taps into, and mimics, that part of the audience’s psyche that wants smooth delivery of superficial cause and effect.

Night after night, the anchor, working from a long tradition of other anchors, confirms that he is delivering the news as it should be delivered, in both style and substance. The audience bows before the tradition and before him.

The television anchors are, indeed, a different breed.

From their perch, anchors can deign to allow a trickle of sympathy here, a slice of compassion there.

But they let the audience know that objectivity is their central mission. “We have to get the story right.” “You can rely on us for that.”

This is the great PR arch of national network news. “These facts are what’s really happening and we’re giving them to you.” The networks spend untold millions to convey that false assurance.

The elite anchor must believe the basic parameters and boundaries and context of a story are all there is. There is no deeper meaning. There is no abyss waiting to swallow whole a story and reveal it as a cardboard facade. No. Never.

With this conviction in tow, the anchor can fiddle and diddle with details.

Then he can move on to the task of being the narrative voice of his time, for all people everywhere. The voice that replaces what is going on in the heads of his audience—all those doubts and confusions and objections in the heads of the great unwashed. The anchor will replace those and substitute his own plot line.

Some children are born with a narrative voice. Everything they say, from an early age, has the ring of authority and sounds like the news. It’s built in, as if it’s coming through a microphone. I went to school with a boy like that. He appealed to the gullible, because when they heard him speak they associated the tone and the seamless rhythms with truth.

The network anchor is The Wizard Of Is. He keeps explaining what is. “Here’s something that is, and then over here we have something else that is, and now, just in, a new thing that is.” He lays down miles of “is-concrete” to pave over deeper, uncomfortable, unimaginable truth.

The anchor is quite satisfied to obtain all his information from “reputable sources.” This mainly means government and corporate spokespeople. Not a problem. Every other source, for the anchor, is murky and unreliable. He doesn’t have to worry his pretty little head about whether his sources are, indeed, trustworthy. He calculates it this way: if government and corporations are releasing information, that fact alone means there is news to report. What the FBI director has to say is news whether it’s true or false, because he said it. So why not blur over the mile-wide distinction between “he spoke the truth” and “he spoke”?

Therefore, as night follows the day, the anchor is a mouthpiece for government and corporations.

The anchor must become comfortable with having very little personality of his own—and jarring idiosyncrasies are utterly out of the question. On air, the anchor is neutral, a castratus, a eunuch.

This is a time-honored ancient tradition. The eunuch, by his diminished condition, has the trust of the ruler. He guards the emperor’s inner sanctum. He acts as a buffer between his master and the people. He applies the royal seal to official documents.

Essentially, the anchor is saying, “See, I’m ascetic in the service of truth. Why would I hamstring myself this way unless my mission is sincere objectivity?” And the public buys it.

All expressed shades of emotion occur and are managed within that persona of the dependable court eunuch. The anchor who can move the closest to the line of being human without actually arriving there is the champion. These days, it’s Brian Williams.

The vibrating string between eunuch and human is the frequency that makes an anchor great. Think Cronkite, Chet Huntley, Edward R Murrow. Huntley was a just a touch too masculine, so they teamed him up with David Brinkley, a high-IQ medium-boiled egg. Brinkley supplied twinkles of comic relief.

The public expects to hear that vibrating string. It’s been conditioned by many hard nights at the tube, watching the news. When Diane Sawyer goes too far and begins dribbling (alcohol? tranqs?) on her collar, a danger light blinks on and a mark is entered against her in the book.

The cable news networks don’t really have anyone who qualifies as an elite anchor. Wolf Blitzer of CNN made his bones during the first Iraq war only because his name fit the bombing action so well. Brit Hume of FOX has more anchor authority than anyone now working in network television, but he’s semi-retired, content to play the role of contributor, because he knows the whole news business is a scam on wheels.

There are other reasons for “voice-neutrality” of the anchor. Neutrality conveys a sense of science. “We did the experiment in the lab and this is how it turned out.”

Neutrality gives assurance that everything is under control. And neutrality implies: the nation is so powerful we don’t need to trumpet our facts; we don’t need to become excited; our strength is that secure.

Neutrality implies: this is a democracy; an anchor is no more important than the next person (and yet he is—another contradiction, swallowed).

Neutrality implies: we, the news division, don’t have to make money (a lie); we’re not like the soaps and the cop shows; we’re on a higher plane; we’re performing a public service; we’re like a responsible charity.

In ancient Athens, if there were voices narrating the story line of the Polis, they belonged to the playwrights. They translated their current myths into tragedy and comedy.

Now, the voice belongs to the elite anchor. He is the polished predator drone that descends on the nation every night to make his case for What Is Important.

The anchor is the answer to the age-old question about the people. Do the people really want to suck in superficial cause and effect and surface detail, or do they want deeper truth? Do the people want comfortable gigantic lies, or do they want to look behind the curtain?

The anchor, of course, goes for surface only.

The Matrix Revealed

But it turns out that his answer is wrong. The people, at a profound level, want to be awakened. This is what they’re waiting for. This is what they’re hoping for, despite all appearances to the contrary.

They want to throw off the whole cloud of boredom and anxiety that surrounds them. They want to offload the whole stinking mess of lies.

If by some miracle, this revolution occurred on the evening news, the people wouldn’t collapse, the nation wouldn’t collapse. The news divisions of the networks would collapse.

They aren’t geared for the truth. Their sources don’t tell the truth. Their reporters aren’t given time to find the truth.

And the anchor is so accustomed to lying and so accustomed to believing the lies are true that he wouldn’t know how to shift gears. He would have to become a different kind of actor, one he has no training for.

“Well, folks, our top story tonight…it turns out that IG Farben, a famous chemical and pharmaceutical octopus that put Hitler over the top in Germany, was instrumental in planning what became the EU, the European Union. In other words, today’s United Europe is World War Two by other means.”

I don’t think Williams, Pelley, or Sawyer could deliver that line without going into a terminal coughing paroxysm.

At the end of the Roman Empire, when the whole structure was coming apart, a brilliant and devious decision was made at the top. The Empire would proceed according to a completely different plan. Instead of continuing to stretch its resources to the breaking point with military conquests, it would attack the mind.

It would establish the Roman Church and write new spiritual law. These laws and an overriding cosmology would be dispensed, in land after land, by official “eunuchs.” Men who, distanced from the usual human appetites, would automatically gain the trust of the people.

These priests would “deliver the news.” They would be the elite anchors, who would translate God’s orders and revelations to the public.

By edict, no one would be able to communicate with God, except through these “trusted ones.” Therefore, as far the people were concerned, the priest was actually higher on the ladder of power than God Himself.

In fact, it would fall to the new Church to reinterpret all of history, writing it as a series of symbolic clues that revealed and confirmed Church doctrine (story line).

For example, the famous event wherein King Solomon received the Queen of Sheba, would now officially be conceived as illustrative of The Arrival, a Church “headline” category, covering many disparate bits of the past.

Reinterpreted, Sheba and Solomon were nothing more and nothing less than the Church’s precise copyrighted and fully owned story of the entrance of Jesus into this world. One arrival became another arrival.

If this seems absurd, unbelievable, grossly puerile, and illogical to us today, it was very serious business for the Roman Church. Recasting history was an essential function of its news division.

You can go to a small church in the Tuscan town of Arezzo and see one of the greatest paintings realized in all of Western history, Piero della Francesca’s Legend of the True Cross. A panel of this fresco depicts King Solomon receiving the Queen of Sheba.

Why? Why is it there? Why was it part of the Legend of the True Cross? Because, suddenly, it was The Arrival. It had new official, historical, and technical meaning, as decreed by the Roman Church.

The Church’s news division had made it so, led by its universally trusted eunuchs, the priests, the bishops, the cardinals, the Popes, the elite anchors, weaving their Matrix.

Today, you could ask, how can people believe the popular stories of wars, when we know powerful financiers and corporations support both sides, for their own devious objectives?

People believe because the popular stories are delivered by contemporary castrati, every night on the evening news.

Jon Rappoport

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

Prometheus, the artist who opened the prison door

Prometheus, the artist who unchained humanity

by Jon Rappoport

December 28, 2012

www.nomorefakenews.com

Through what mirror are we looking at ourselves in these ancient tales?

The Prometheus story makes absolutely no sense unless we acknowledge there is a reason for rebellion. But not just any rebellion. One man assaulting the supernatural mountain of the Olympians to steal fire, escape, and bring it back to man is more than audacious, if the Greek poets invented the pantheon of gods and their aerie in the first place.

In that case, the theft of fire is an acknowledgment that power is returned home.

“We invented the gods. Now we re-invent ourselves.”

Down through blood-soaked history, the priest class has said, “No, that is too much. That is hubris. Pride goeth before a fall. Don’t think too much of yourselves. Be humble. Submit. Through us, you can connect to the greatest force in the universe, but you must do it in the prescribed ways.”

PS: “Drop a few coins in the basket for the privilege.”

What is the fire Prometheus stole? What power does it signify? The power of money? Of position? Of control over others? Of domination? Is it the power to hypnotize? To make binding and cruel laws? To deceive? To claim divine right? To enslave? To impose limits? To blind the masses?

What Prometheus retrieved was what had been forgotten and surrendered by humans: their own power to imagine and create. The true fire.

We are the artists.

Imagine what might have happened if Freud had plumbed the Promethean myth for his nascent psychology, instead of the Oedipal tale.

“No, no, no,” our leaders say. “We can show you example after example of what happens when humans believe they have power. It always ends in horror. There is no way out except through obedience to the external Truth we peddle.”

Religion is frozen poetry. The poets began by writing outside the boundaries of the tribe, and the priests appointed themselves the sacking editors.

They hammered and cut and polished the wild free poems into tablets and catechisms and manuals of stern disapproval. They gathered up workers to build the temples where the new laws would be preached and taught. They established the penalties for defection. They staked an exclusive claim to revelation.

Prometheus wasn’t a thief. The priest-class were the thieves.

They established the false and synthetic universal centrality of myth disguised as revelation, and they sold it, and they enforced it, and they prepared a list of enemies who were threatening the Law of Laws.

And all that raw material, which they stole? It came from the poets. It came from the free and boundless creation of artists.

So Prometheus was setting the record straight. He was cracking the system like an egg. He was bringing imagination back where it belonged.

Of course, in the ancient myth, he paid a high price for his actions. But that’s merely more propaganda. The high priests write that retribution-ending on every story springing from freedom. They call the punishment by various names, and they naturally claim it is brought down by hammer from the Highest Authority. They work this angle with desperate devotion.

Prometheus was the liberator. He was the Chinese painters of the Dun Huang, the Yoruba bead artists, the Michelangelo of David, the Piero della Francesca of Legend of the True Cross, the Velazquez of The Maids of Honour, the Van Gogh of Irises and lamp-lit Arles, the Gauguin of Who Are We, the Yeats of Song of the Wandering Aengus, the Dylan Thomas of Fern Hill, the Walt Whitman of The Open Road, the Henry Miller of Remember to Remember, the Orson Welles of Citizen Kane, the Lawrence Durrell of The Alexandria Quartet, the de Kooning of Gotham News.

He was Tesla and Rife and Dr. William Koch.

Wherever individual human imagination was launched as the fire, Prometheus was there.

Of course, he wasn’t. He was the story we told ourselves about what we could do. That story is meant to remind us that all centralized collective vision is a fraud. It may not begin that way, but sooner or later, it becomes a gargantuan slippage into narcosis of the soul.

Prometheus is the story we tell ourselves to remember the line between what the individual can learn and what he can create, and how many horses have been pulled up to that line and refuse to cross it and drink from the wells of imagination.

Prometheus is the story of a recapture of what we are. We may have buried the understanding deep in our psyches, but it is there. How many ways we try to refuse it!

We huddle in groups and pretend all progress flows from the mass. We diddle and fiddle with this limit and that limit. We adjust and make more room for the Average. We build machines to think at a higher level than we can. We watch theatrical spectacles of “new hybrid humans.” We proclaim healing virtues and forget about what the healing of the spirit might actually entail, what revolution, what vital energies, what leaps of imagination, what assertions of our inherent power.

We keep thinking of peace, when peace means, as defined by the “wise ones,” the death of the soul. Their peace is what is left over after the war of the creative human has been surrendered without a single burst of energy being fired.

Their peace is syrup poured over the possibility of dynamic action. Their peace is submission to some Glob of “universal consciousness.” Their peace is a column of grinning idiots guarding a self-appointed tower of learning. Their peace is the survival and organization of damaged goods. Their peace is: “if it is meant to happen, it will.” Their peace is: the universe decides, we oblige. Their peace is a cosmic junk-heap.

Followers, little messianic morons, throng to their temples. Candles are lit, ceremonies are enacted, glazed-over joy is celebrated.

From this mob of singing castrati, Prometheus emerged, untangling himself from wet strands of delusion, resignation, and fear. He soared. He advanced. He took back our basic and vital character. He breathed crackling energy into bloodstreams. He tore away Central Authority from its perch.

From the Promethean perspective, Reality is waiting for imagination to revolutionize it down to its core.

This is not an invitation to manipulate and tinker. On the contrary, it’s a call to make Dream into Fact, again and again, without end.

Beyond systems. Beyond structures. Beyond authoritative teaching.

For most, imagination lifts the outer layers of desire and expresses a minor operation in a minor field of engagement. A flicker of a breath here, a struck spark there, and it’s done.

At that point, exhaustion sets in. People lean back and resume their precious expectation of 24 frames per second of emotional rescue from a vacuum.

Hope clings to, and is managed by, what happens on a screen.

The Matrix Revealed

But under massive boredom, energies churn in subterranean caverns. Where will those rivers run for the next thousand years or thousand incarnations?

What would create an internal revolution?

What would start the water wheels spinning and the torrents surfacing?

How would creation begin?

On that Promethean question rests the fate of every civilization, past, present, and future.

Every thread, atom, quark, and wavicle of this Matrix is imbued with the impression that “what already exists” is superior to what the individual can now invent. The causal chains of history seem to produce the present and the present seems to produce the future. Somewhere, we are told, there is an ultimate state of mind to which we can attain: a house we can move into. Once we take up residence, everything is settled. We have won.

These are the grand deceptions. These are the illusions of the Matrix.

Jon Rappoport

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

The artist against the system

The artist against the system down through time

By Jon Rappoport

December 24, 2012

www.nomorefakenews.com

Whatever his medium, the artist stands outside the group and group’s slogans.

If the group is living in Tuesday, he is living in Friday.

He sees invention everywhere, even in the faces that float by on the street. He sees their theatrical roles and the messages that are written on their lips before they speak.

He sees the preposterous crises that are concocted to lead to revelations that never come. Populations walk through one gate after another, deeper into an internal slavery that knows no limit.

The artist sees one genuine emotion after another parlayed into flashes of cheap sentiment.

In midst of all this, the artist doesn’t surrender. Nor does he only observe. Nor does he only point out the lies.

He CREATES.

He always has.

The artist opposes the most popular trends of the moment.

The trend now, under various guises, is the Collective.

We need to realize that the Collective, no matter how it is defined or shaped or covertly hidden, is seeking to marginalize the person who imagines and creates new realities.

The artist is able to spot the Collective. He opposes it.

This opposition can’t be settled and resolved with some absurd “rainbow philosophy” that pretends to include everybody. It can’t be dismissed or merged in a melting lump of happy-happy cosmic cheese.

Those pseudo-philosophers who speak about consciousness as if it were one all-embracing ocean, within which we are merely tiny and ineffectual drops of water, have already developed a convenient amnesia about the artist.

Down through time, in the face of every spiritual system devised by the priest-class, the artist has said no. Instead, he has built his own worlds. He has lived the life of imagination, immune to the latest and greatest “New Age.”

He has asserted his power.

This is the natural mantle worn by the person who invents, imagines, improvises, creates: power.

Power that is apart from the group.

The artist not only sees, with great clarity, the mindless brain-dead gatherings of Collectives; he not only sees how they are built; he not only sees how they import “the highest ideals” to flesh out their slave-programs and objectives; he not only rejects all this; he creates something entirely different.

He invents worlds of his own. Many worlds.

The artist proliferates. He doesn’t reduce.

The artist isn’t looking for the “one thing” that will unite us all under a banner of harmony. He knows all such harmonies wear out and are eventually co-opted to produce mass hypnosis.

The artist rebels. In rebelling, he reveals the uniqueness of the individual. He doesn’t pay lip service to this uniqueness. He demonstrates it.

The artist destroys the Matrix, over and over.

Whether in art, science, philosophy, healing, or any other field of human endeavor, the person who lives by and through imagination creates new realities. As the artist, he challenges the status quo on every level.

This isn’t a superficial undertaking. It isn’t an attempt to “do something pretty and nice.” It isn’t part of “being a good citizen.”

The Collective is a fungus that seeks to swallow up people and nations. It enlists the highest-flying ideals as a cover. It sweeps away resistance with what seems like the most honorable of intentions.

Humanity on this planet has been undergoing a transformation into one ten-billion-member cult. You can find its leaders just by listening to their voices and their sentiments. They all come from the same manual.

This is really war by other means.

The Matrix Revealed

In the dying days of the engorged Roman Empire, which had squandered its capital through wars of conquest, it was decided that these other means were necessary. And so the Roman Church was invented. It would employ all the idealisms of past ages.

It would actually produce an unprecedented version of mind control as the weapon of conquest.

And today, we have “the Global outlook.” This is the silky cover for drawing in populations to a perverse dream of unity for all.

“We will harmonize the world.”

This is exactly the kind of program the artist has always rejected.

The artist says: there are an infinity of worlds, and they can exist side by side; artists create them.

When that message is lost, we lose what we are and enter into amnesia.

ROBOT OR FREE?

There are some people who hear the word CREATE and wake up, as if a new flashing music has begun.

This lone word makes them see something majestic and untamed and astonishing.

They feel the sound of a Niagara approaching.

They suddenly know why they are alive.

The creative life is about diving in. It’s about a kind of transformation that shreds programming and gets down to the energy of the Fire.

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

The creative life isn’t about little changes done in little penguin steps. It’s about putting your arms and your mind around Deep, Big, and Wide Desire. It’s about making that Desire come to life.

99% of the world has been trained like rats to adore systems. Give them a system and they’re ready to cuddle up and take it all in. If they have questions, or if they want to argue, it’s about how to tweak the system to make it a little better. And with every move they make, they put another blanket over the Fire Within.

They sleepwalk through life and say yes to everything.

Maybe you once saw something truly free that didn’t care about consequences, and it blew you into tomorrow and turned on your soul’s electricity for an hour.

Maybe you’re sick and tired of bowing and scraping before a pedestal of nonsense.

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

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

CREATE 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.

People want a certain level of defined comfort, and they want to BELONG TO SOMETHING.

“I want to belong. It’s my reason for being. It’s my hole card. Therefore, I’ll sit on my imagination, so it won’t take me out beyond this thing I want to attach myself to.”

The propaganda machines of society relentlessly turn out images and messages that ultimately say: YOU MUST BELONG TO THE GROUP.

Day after day after day, year after year, the media celebrate heroes. They inevitably interview these people to drag out of them the same old familiar stories. Have you EVER, even once, seen a hero who told an interviewer in no uncertain terms: “I got to where I am by denying the power of the group, by denying the propaganda that says we all have to BELONG.”

Have you ever heard that kind of uncompromising statement?

I didn’t think so.

Why not?

Because it’s not part of the BELONGING PROGRAM, the program that society runs on to stay away from the transforming power of IMAGINATION.

Jon Rappoport

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

The “glue” that makes us all average, normal, and clueless

by Jon Rappoport

December 23, 2012

(To join our email list, click here.)

Tragic events, crises, threats are designed to capture our minds and hold us in a state of emergency, whether or not such a state is officially declared by our august leaders.

This “glue” is one aspect of the Matrix.

And of course, when events seem to threaten our very existence, these leaders are all too eager to enact responses and solutions that make the original crises pale by comparison.

We couldn’t be blamed for defining “solution” as “whatever is worse than the problem.”

In this sordid mix, what part of ourselves is being held down? What capability are we unwilling to exercise? What does fear keep us from doing?

It’s obvious that freedom takes a hit. We become more cautious about exercising our freedoms. However, freedom isn’t just an idea or an empty condition. Freedom implies power. Individual power.

If it didn’t, who would care one way or another about freedom? Who would make an issue out of it?

If each one of us didn’t have power, freedom would be no more than a fairy tale with which we could amuse ourselves.

The exploration of power is not something you’ll find in a school or in the workplace or in a community group. It’s a kind of taboo. People don’t talk about it.

Not talking about it makes as much sense as writing a book about the sun and neglecting to mention it gives off heat.

The repressed conversation about power is a cultural artifact. We’re somehow led to believe it’s impolite to bring up the subject. It’s self-aggrandizing. It runs against the grain of appearing humble. It seems to legislate against the mandatory premise that “we’re all in this together.”

What does this taboo conceal?

Power is the capacity to imagine and create.

Rather than being about “the truth,” power is about inventing new truth, in the sense that, when you create, you bring something into the world that wasn’t there before.

After a great artist or scientist makes imagination into fact, others then gather around and analyze the truth of what has just appeared. But the cardinal happening was the invention itself.

Even more important was the capacity to make imagination into fact.

Power.

Flowing from freedom.

This is what crisis and threat and tragedy seem to blanket with despair. But that is an illusion.

Nothing can happen in this world that changes or diminishes your inherent power, unless you decide it does.

Staged crises are also an example of power. They are perverse art flung up on the screen of our perception, designed to make us feel we have to give in. Give in to what? To the sacrifice of our own capacity to imagine and create reality.

“Somebody else made reality for me.”

That idea is also the hallmark of hypnosis. The subject, in a trance, accepts what is already real as the final summing up of his life. His only job is to adjust his actions to the world as it is.

There are many examples. Look at the mesmerizing tonnage of legend launched to convince the population of ancient India that the caste system was a cosmological necessity, given the rules of universal justice and the regulations governing reincarnation.

This “spiritual system” was, finally, a cosmic fascism. It was a work of art designed and managed by the aristocratic and priest classes, to cement their control over the population. In other words, these rulers invented a reality for the masses that thereafter commanded:

“We made reality for you. Your job is now to live inside it.”

Likewise, in recent centuries, the rise of science was twisted and extrapolated into its own legend: materialism.

“There is nothing beyond particles whirling in space. That’s it. That’s what is real, everywhere. You live inside this idea. Adjust. Reject any thoughts that don’t mesh with it.”

And against all this is, if we want it, freedom. Power. The individual capacity to imagine and create reality.

How far does this power extend?

Life on planet Earth appears to mandate against any far-reaching exercise of creative power. That, too, is an illusion.

There are no limits.

The whole repeating covert op of tragedy, tragedy, tragedy, grieving, grieving, grieving, coming together, healing…the whole endless and repeating ceremony is put there to assure us that we are little creatures with nowhere else to go but Acceptance. This, we are told, is our only option for redemption.

This idea has been sold in the marketplace of spiritual commerce since the dawn of time.

It’s a straight-out lie. It’s told, again and again, to serve rulers.

And rulers want to make sure that the number of creatively powerful individuals is kept to a bare minimum. Otherwise, the single monolithic reality they have invented and sold would shake and fall apart.

Drowned in a multidimensional triumph of many powerful individuals creating many brilliant and simultaneous realities.

That is the true unalloyed meaning of an open society.

The Matrix Revealed

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

When dreaming breaks through the chains of mind control

When dreaming breaks the chains of mind control

by Jon Rappoport

December 22, 2012

www.nomorefakenews.com

This article is based on many interviews I did with the late hypnotherapist Jack True. Jack was my friend and colleague. He helped me publish my first book, AIDS INC. We later worked together to research dimensions of mind control.

Jack invented a number of brilliant techniques he used with his patients. He stopped doing traditional hypnotherapy when, as he put it, he realized patients “were already in a hypnotic state when they first walked through the door.”

So Jack was in the business of de-hypnosis. How incredibly different this was from diagnosing people with fiction mental disorders and then dispensing toxic drugs to them.

One of Jack’s most powerful techniques involved having patients, after they were in a light neutral trance, invent dreams.

“They already do it while they’re sleeping, “ he said. “Why not have them do it when they’re awake?”

Dreaming while asleep is one of those times when people can break the chains of their internal programming.

People see reality through filters. They automatically and subconsciously use feelings, ideas, preconceptions to perceive reality. This is programming.

Utilizing such filters, people construct “story lines” to describe reality. These stories tend to follow well-worn paths. They repeat.

People become bored. They look for a new surprise to give them a jolt of adrenaline that will carry them past their old stories.

Dreams crack the egg of familiar stories. Dreams don’t have to obey any normal notions of plot line. A dream can cut off a developing story and jump to an entirely different scene. It can break the laws of physics. It can bring in new characters from nowhere. It can contradict itself.

Our dreams let us know that we want to liberate ourselves from familiar and well-worn and ordinary and tiresome patterns. But in dreams, we don’t simple think about liberation. We experience it. We escape the matrix.

Unfortunately, people are often so predisposed to interpret their dreams that they miss the essence of them: a dream is an adventure; it’s a ride out beyond the structures that narrow life.

Dreaming is also a clue that we have the inherent power to move beyond our programming, our filters, our artificially chronic perception of reality.

A few of Jack’s patients, the ones he had invent dozens and even hundreds of dreams in his office, experienced what people like to call paranormal phenomena. Jack didn’t use that label. He said it implied an “extra talent.”

“Everybody can ‘do paranormal’ because it’s part of what we are,” he said.

One patient he worked with for six months, a dyed-in-the-wool engineer, discovered he had a “peculiar knack.” Among his wide circle of friends, several were suffering from arthritis. He could “focus on them” and alleviate their symptoms, to the point where two of them stopping taking medications.

Through interviews, I verified this was so.

The Matrix Revealed

JACK TRUE, the most creative hypnotherapist on the face of the planet, is featured in THE MATRIX REVEALED. Jack’s anti-Matrix understanding of the mind and how to liberate it is unparalleled. His insights are unique, staggering. 43 interviews, 320 pages. That is just a faction of what THE MATRIX REVEALED has to offer.

I asked Jack’s patient how he did this.

“I found I could ‘see into space,’” he said. “I could look into what seemed like a series of different spaces in their bodies. It made no rational sense to me, but I went with it. In these spaces, there were various colors. I began to sort them out. Certain shades of color were signs of debilitation. So I homed in on them and found threads that were wrapped in knots. I undid the knots.”

Needless to say, this analysis of disease doesn’t match any conventional picture. But the Jack’s patient was motivated to follow his intuition, and it bore fruit.

He told me, “The idea of overlapping spaces was something I’d tried to toy with as an engineer. But I couldn’t get anywhere. I couldn’t find the mathematics or the experiments to make any progress. The idea that I could actually see these spaces was something that never entered my mind. When all of a sudden I could see them, I rejected the whole thing at first. But I went back to it. I decided it was legitimate.

“The spaces looked like overlaid pieces of film. Eventually, I could see them separately. That’s when the colors showed up.

“Occasionally, when I’m sitting in my office looking out the window, the scene out there separates into different spaces. It’s as if the space we all recognize is actually composed of elements. We settle on the resolution of those elements and see it as one [continuous] thing.”

Much like projecting separate frames of a film transmits the impression of continuous motion?

“Not exactly,” he said. “It would be more like projecting a dozen separate films, one on top of another, at the same time, on to a screen. The audience sees, somehow, one resolution produced by all the films.”

A hologram?

“If a hologram,” he said, “is essentially a lot of information that generates a three or four dimensional coherent picture, then what I’m describing is not quite the same thing.”

I told him about a drawing I once did. In my studio, on a table, I had a sheet of white paper. Whenever I did ink drawings, I laid a new sheet over that basic sheet, which stayed there for several months.

One day, I looked at the “under-sheet,” and I saw three faces. They were composed, as it were, of leftover marks that had bled through from all the drawings I’d been doing. The faces were floating among hundreds of other ink-marks.

At first, I thought the three faces weren’t real. I was just “making them up.” So I took a large marker pen and filled in everything on the under-sheet except those three quite detailed faces.

Lo and behold, the faces were there. They were very distinct. I showed them to several friends and they saw them immediately.

Jack’s patient said, “Yes. That would be more like it. The drawings you’d been doing were ‘other spaces.’ They overlapped on that one under-sheet. And then you had three faces, you had a resolution created by many different overlapping spaces. That’s a pretty good analogy.” [A better analogy these days would be image layering, using computers.]

I asked him why he thought Jack’s technique had enabled him to sprout this new capacity to see separate spaces and help several people with arthritis.

“Jack had me invent dreams. All sorts of dreams. I created the dreams myself. Jack wasn’t making suggestions. After a couple of months, I began to believe in what I was doing.”

Believe?

“I felt my own creative power,” he said. “And the reality of what I was creating, the dreams, looked to me like they were worlds of their own. Something clicked. I felt a shift. When I was motivated to help my friends, I found I could.”

There is a connection here to an ancient Tibetan practice, in which the student is directed to make a very specific “mental image” of a character and hold it in place for a long time. That’s a shorthand description of the practice.

The student may work many months or even years on this project. If he succeeds, he becomes aware that the physical universe is a product of mind, at which point he is able to change reality (AKA telekinesis, manifestation).

Jack’s patient was aware of this Tibetan practice. “I thought of it as a legend, a myth. I don’t think of it that way anymore.”

Jon Rappoport

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

Five questions you should ask about your destiny

Five questions you should ask about your destiny

by Jon Rappoport

December 21, 2012

www.nomorefakenews.com

How you look at your life, what you do in life, where you go in life, and with whom…all these decisions are wrapped up in what you think about your destiny.

Granted, this isn’t a subject that pops up on the radar of most people. But you aren’t most people.

The subject of destiny has been defined by various cultures and religions since the dawn of time on this planet. Answers have been supplied. These answers are accepted for a period, and then new cultures and new answers appear.

But such collective solutions aren’t necessarily yours. You have to make your own inquiry. And in the end, you decide.

So here are five crucial questions to ask yourself.

One: Is my destiny determined by forces outside myself?

Two: Do I choose my own destiny?

Three: Is my destiny the result of some combination of my own choices and outside forces? If so, how does this “collaboration” work?

Four: Is my destiny inevitably wrapped up in the future of others?

Five: Is my destiny unique to me, apart from the future of others?

In the West, this spirit of inquiry emerged in the Dialogues of Plato, who presented conversations between his former teacher, Socrates, and citizens of Athens.

For the most part, Socrates chose abstract qualities like Justice and Piety to open his conversations; as in, what is Piety? What is Justice? What is the Good?

Now, in the second decade of the 21st century, we are faced with a crisis which threatens to obliterate our civilization. Although I could choose many issues as examples of this threat, I select education itself.

For example, by designed omission, the whole question of The Group versus The Individual has been placed on a shelf where it receives scant attention.

Likewise, free will versus determinism has been excised from serious philosophical discussion.

People say, “Well, we don’t have time for all that ‘thinking’. It’s a luxury we can’t afford. We’re just trying to survive.”

But history proves that when the people leave these matters to a few elite thinkers, by default momentous currents are launched. And then the people are pulled along, whether they like it or not.

Ideas aren’t just luxuries or toys. They rescue or drown whole societies.

Of course, if education in all its forms doesn’t prepare people to be able to think beyond the ends of their noses, then the prospect of answering the big questions is rendered moot, because people aren’t equipped for the job.

The word “destiny” itself has mixed messages. It appears to be associated with a pre-fixed outcome. On the other hand, it can be shaped.

The kind of New Age material that was distorted and imported from the East during the 1960s has left a legacy of “surrender.” If you “let go” of enough preconceived perception, you’ll drift upward and connect with a greater universal consciousness. Is this so?

Does destiny involve merging into a larger whole? Does it rather involve extricating yourself from that whole?

These aren’t questions designed merely for the young. Answering them impacts your future and the future of your children in numerous ways. Neglecting to answer them is refusing to have navigational skills on the open sea.

Americans pride themselves on being practical and pragmatic. They opt for “what works” and discard everything else. But that approach has pitfalls. It excludes, for example, pursuing deep desires in the face of long odds. It ends up in shallow materialism, as if that were the totality of life.

John Dewey, the arch-pragmatist philosopher, defined American education for millions of people. He set its course along a stripped-down path that helped produce generations of dumbed-down worker bees.

The Matrix Revealed

Dewey accomplished this by default. His challengers were few, and they were weak. Their supply of counter-proposals was garbled and impotent. Dewey didn’t just win the day through top-down manipulation of the American educational system. He triumphed because his opponents were unprepared to argue that human destiny was far wider and deeper than the next practical decision of the moment.

So consider these five questions and understand that your future is, in a real sense, riding on your answers. It always has. This is the way progress happens. People undertake a significant inquiry and come to conclusions. The inquiry may, depending on how honest you are, take five minutes or it may take a year. In either case, the future comes into focus based on your answers.

One could simply ask himself, “What do I really want to do in life?” A very good question. But, as it turns out, the reply to that question is often obscured by prior unasked and unanswered questions.

In other words, a person’s prior view of his own existence is already limited, because he hasn’t found out what he really thinks about something big. Something like destiny.

These are the famous words Plato placed into the mouth of Socrates: “The unexamined life is not worth living.”

Americans are suspicious about this statement when they hear it or read it. They think it implies years of useless and even self-destructive internal wrangling that will come to nothing.

But it doesn’t have to be that way. There is productive thought. It’s motivated to take the ceiling off limited perception of what is possible in this thing called existence.

If you choose to, you have the natural right remove ceilings. Doing it is part of what and who you are.

Jon Rappoport

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

IS CHOOSING TO BE VICTIM A TABOO SUBJECT?

 

IS CHOOSING TO BE A VICTIM A TABOO SUBJECT?

By Jon Rappoport

November 1, 2012

www.nomorefakenews.com

 

Some people apparently think there are no fake victims, only real ones.

 

They believe that if all the oppression in the world were magically lifted tomorrow, people would suddenly become independent.

 

I don’t believe that. I raise these issues because I think it’s time for some honest input.

 

When I went to junior high school (it wasn’t “middle school” then, and “junior” wasn’t considered a dangerous pejorative that could ruin young minds), the concept of a victim, as we use it now, didn’t exist.

 

Can you imagine it? There was no special ed. There were no federal funds paid out for each “specially abled” child. No one used the word “victim.” There was no such thing as ADHD. There was no such thing as a clinically depressed child. There were no shrinks hovering around ready to make diagnoses and dispense drugs.

 

This junior high had a cross-section of kids from different economic and ethnic backgrounds. There were rich kids, middle-class kids, and poor kids. There were white kids and black kids. There were Italian kids and Jewish kids and WASP kids.

 

Did cruel things occasionally happen? Were there a few bullies? Yes. Was it paradise every day? No. Were there injustices? Yes. But all in all, it was a good school. Kids learned. Kids had fun. Most of the teachers were fair and just.

 

Beyond a shadow of a doubt, more learning took place in that school than in a comparable school today. It wasn’t even close, by any reasonable standard of measurement, like literacy.

 

And in terms of the kids feeling safe and free (as free as anyone can be in a school), again it was no contest. Things were better then than they are now.

 

The word victim was never used. Kids didn’t wear victimhood like a badge. It didn’t take a village. We didn’t have the incomparable advantage of knowing we were all on Spaceship Earth, and yet we did well.

 

We somehow managed to struggle through without being taught about sex in the classroom. No one told us about the need to respect every point of view. In fact, there was no social training at all. We never sat around in class and had group discussions with the teacher.

 

We all knew the principal was an idiot. We knew who the bad teachers were and who the good teachers were. The good teachers just taught their subjects.

 

By today’s standards, we were living in the Stone Age. Yet, we got through it. We weren’t ever treated as victims, and we didn’t know what victims were. Kids understood they either succeeded or failed. If they failed, they didn’t make it to the next grade. It was stark and simple. No one objected.

 

Yes, in some respects, school was a real pain in the neck, but we bit the bullet and kept on going.

 

If someone from the future had showed up and told us about ADHD and what it was, and what the drugs were, we would have called him crazy. We would have laughed him into oblivion.

 

Flash forward 60 years…

 

“Oh, but now there are so many more distractions. TV, computers, the Internet, cell phones. And drugs, porn, divorced parents, guns, junk food, advertising. Kids today need more help. They need more caring adults.”

 

No, actually, kids need schools where the rules are simple and stark. You learn or you don’t learn. You behave or you don’t behave. You aren’t a victim.

 

Over the last 60 years, a culture of victimhood has become a major industry. This culture, as it turns out, doesn’t really solve very much at all. It engenders more problems. It invents endless excuses. It piles up bullshit to the level of every kid’s eyes. It gives a kid an out.

 

The people who promote victimhood make their living by promoting victimhood. That’s the clue. They’re hustlers.

 

There are a few fuzzy boundaries when you differentiate between a real victim and a phony one. It isn’t perfect. Nothing is. There is no system that can protect everybody. But, all in all, you’re far better off unloading the victim culture than you are expanding it.

 

And expanding it is what happens when the pros and hustlers take over. They’re liars right down to their shoes.

 

Parents are complicit. They’re looking for an out, too. They want to have outside people make sure their kids are all right.

 

It all comes down to this: if you perceive that society has become a bad place for your family, for you, do you insist that everything has to be changed before you can thrive, or do you take the bull by the horns? Do you choose victimhood, or do you choose independence?

 

In recent months, we’ve learned that the federal government and its allies consider people who are against central authority a potential threat.

 

Translation: if you don’t go along with the culture of victimhood, you’re a monkey wrench in the machinery of progress. You’re standing up for yourself. You’re not absolutely relying on outside sources to solve your problems.

 

Once upon a time, self-reliance was a given. In order for it to be a given, there had to be a concomitant principle: if you don’t rely on yourself, you’re going to be in trouble. The two ideas go together.

 

People accepted this.

 

You pass your courses or you fail and repeat the grade.

 

That wasn’t considered an onerous burden. It was a fact of life.

 

Then, there was a change. “I” was replaced by “we.” That was the “new idea.” It sounded good. It sounded interesting. It sounded hopeful.

 

But it was a con. The “we” was fake. It wasn’t about cooperation in a family or in a real community. It was high-flying and political. It was vague.

 

It was an out. It was a way to choose victimhood. In fact, it became, over time, a way for voluntary victims to bond with one another. “We’re all in this together, we’re in bad shape, and we need help.”

 

And help arrived. It arrived, along many fronts, in the form of the removal of the need to be a strong individual.

 

That was the key in the lock that opened the door, so the old culture of self-reliance could flow into the sea and disappear.

 

“But there are real victims!” people say. Of course there are. Since there are oppressors, there are victims. But I’m not talking about that. I’m not talking about that at all. I’m talking about choice, about choosing to enter the dim realm of the put-upon.

 

And if you don’t think many, many people have made that choice, you’re not watching. In fact, there is a good chance you’re just glazing over inside the vast culture of victimhood and letting it wash over you.

 

There’s a chance you’re letting your own power drip away, and you don’t really care.

 

When I was in ninth grade, my teacher told us what deus ex machina meant. God from the machine. It was a dramatic device through which, in a play, the characters were rescued from their terrible troubles, at the last minute, from Above. It was a cheap trick.

 

Well, there are millions of people who, after choosing victimhood, have come to believe in deus ex machina. One way or another, the cavalry will come over the hill. They count on this. The cosmic lottery ticket will turn up.

 

Just wait long enough, and the payoff will appear.

 

This has NOTHING to do with cooperation in small groups or families. It has everything to do with a gathering malaise. It has everything to do with the expanding culture of victimhood.

 

My father grew up in the Bronx. When he was 11, his father died. My father had to quit school. He was then the head of the family, which included his mother and sister and his younger brother.

 

Helped to learn how to look out for himself by a private charity, he found a job sweeping floors in a textile factory. He eventually moved up the ladder and became the chief salesman and designer and a partner in the firm.

 

For a number of years, he was a staunch socialist. But eventually, he said, he realized that forcing everyone to be equal didn’t work. Some people would always game the system. Some people would always find a way to make the system stronger and the individual weaker. Some people would use the system to give a leg up to their cronies.

 

Worse than any of this, a whole culture would emerge, a culture designed to provide people with a way to fall back on their weakest instincts, a culture that would eventually become violent and vicious, because it would encourage massive self-esteem based on nothing.

 

Combine that culture with rampant obsessive consumerism and you have a volatile mix that destroys minds.

 

And there is a ready excuse for every shortfall, an excuse for every shortcoming and every crime—with parasitic intellectuals inventing newer and newer reasons to exonerate all behaviors everywhere, under the flag of tolerance and understanding and even freedom.

 

Do we need liberation from oppressive criminals and their systems? Of course. Do we need liberation from our own individual self-diminishing surrender to passivity?

 

More than ever.

 

Jon Rappoport

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

THE WAR AGAINST IMAGINATION

The War Against Imagination

by Jon Rappoport

October 25, 2012

www.nomorefakenews.com

I could begin by saying that the compulsion to vote for one of the two major presidential candidates is a failure of imagination, a failure to see clearly other long-range possibilities for the transformation of American politics…and that would be true.

But it’s only a tiny corner of the overall war against imagination.

And that war is being waged by propaganda experts, yes, in a massive way, but the true war is being waged by individuals in their own minds. This is the basic fact, and to overlook it is to surrender our future.

Why? Because the repression of imagination downgrades the essence of what the individual human being is.

That repression brings us ever closer to the day when orders from our leaders will be obeyed without hesitation, because we can only envision the choices they construct for us.

Take A or B. Of course, it turns out that our freedom and power are mortgaged by either choice. And since the prospect of imagining C through Z and beyond is dimly perceived, we acquiesce. We say A or we say B.

And we pay the price.

Imagination is the capacity to invent realities that don’t currently exist, that have never existed.

Along with imagination comes the courage to implement those invented realities, to make them FACT in the world.

We can blame all sorts of people and institutions for our failure of imagination, but that doesn’t change our situation one iota. It only postpones the day when we take the reins of our own destiny.

I’ll take this one giant step further. We don’t really know what we’re capable of until we live through and by imagination. Then and only then do we come into our own. Then and only then do the blinders fall away from our eyes. Only then do we begin to experience our true power and how far it extends.

I’m now talking about the individual. I’m referring to what has been called talent, high IQ, paranormal ability, magic. These and other terms have been used to describe the effect of living through imagination.

It may be hard to see this, because we have been looking at life through the wrong end of the telescope. We see ourselves struggling to reach up to a level we seem to know very little about. But this is backwards.

The truth is, there was a time when each of us knew what it meant to live through and by imagination. We were there. And when we were there, we understood perfectly. We understood because living through imagination was the most natural thing in the world. It was like breathing.

It still is, but we have managed to cut ourselves off from that knowledge, from that intimate knowing. And so we profess ignorance. Which is like a bird walking across a beach and wondering whether he’ll ever be able to fulfill his dream of flying.

Along with my work as an investigative reporter, imagination has been my main area of focus over the past 25 years.

To use the metaphor of alchemy, in which terms like Quintessence and Philosopher’s Stone and the Fifth Element were discussed, imagination is Quintessence. Imagination is ultimately the thing that surmounts a state of endless internal conflict in which nothing is ever finally decided.

Imagination can and does employ all the energies that are normally devoted to competing sides in a state of conflict. Imagination takes those energies as raw fuel for its fire and transforms them into the substance of vision and the creation of new realities in the world.

Although people tend to think of imagination as a toy for children, it is actually, when used and experienced intensely, a means for vaulting up to a whole new level of living…at which point a person gains access (magically, it seems) to information and capability that was never present before.

But in fact, this new level of living is entirely natural. It was always there. It was simply hidden and and buried and isolated under a welter of cover stories generated by the person himself.

Just as conspirators float cover stories to hide their operations, the individual conspires against his own power by floating cover stories to explain his diminished capability.

Trying to unravel and expose and catalog each personal cover story, and “get to the bottom of the whole thing,” is a fruitless task. It only digs one in deeper. This was the mission of psychology, and it has failed in the most profound ways.

The starting point is imagination itself. It raises all boats. It relieves us of the need to do exploratory surgery on all the roadblocks that might be holding us back.

As I’ve written before, the centuries-long struggle to liberate humanity from central authority, and establish individual freedom as the overriding principle of existence, was step one. Step two was deciding what freedom was for.

The answers we provided, while useful, were incomplete.

Freedom is for imagination. Freedom is the only platform from which limitless imagination can be launched.

Imagination creates new futures. Larger and more thrilling futures.

Most of all, imagination is the road along which the individual regains his natural power and joy, and attains what was always his.

Imagination cures amnesia about immortality.

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 TYRANNY OF “WHAT ALREADY EXISTS”

 

THE TYRANNY OF “WHAT ALREADY EXISTS”

by Jon Rappoport

www.nomorefakenews.com

 

OCTOBER 24, 2012. We want to know what exists. We want to know it at the bottom of the sea and out in the stars and within our own minds and in realms outside the normal channels of perception. Of course we want to journey to those places and find out what’s there.

 

We search for design and pattern and structure and system, in order to reach the highest kind of knowledge about existence.

 

We need to add a different platform.

 

Design, structure, system, and shape are not the end of the voyage. They are objectives that serve lesser goals. They are real and very useful and fine and good—but they are limited.

 

People who are obsessed with What Exists don’t see that. They think the structure and system are the grandest end-points.

 

This obsession is a deep part of human programming. When operating at full-bore, it obscures the farther shore.

 

It absorbs people with magnetic force.

 

It limits power.

 

When the goal of discovering-what-exists takes over to the point of obsession, it forms a mesh of reality that surrounds us.

 

It is the meta-program that allows the matrix to have strength.

 

It is the input that keeps the whole matrix humming.

 

It’s interesting to reflect on those three famous Matrix films, and how they disintegrate step by step, from the discovery of the reality-prison—and the rush of adrenaline which ensues—on to the mindless war—as if that kind of struggle will actually free anyone.

 

The collapse of the storyline mirrors what happens when the impulse to see through to the Final Structure tries to continue past that point: there is nowhere to go.

 

Why? Because the heroes are really only armed with the all-consuming desire to uncover What Exists. Beyond that, they are clueless.

 

There is something about that voyage that degrades like an element with a very short half-life. It sputters out. The heroes revert back to older, more basic programming. Fight, conquer territory, defend, attack.

 

One: the thrill of profound discovery. Two: then the feeling of vacuum and confusion. Three: then the reversion back to primitive hatreds. With that sequence—now you are talking about the real Matrix.

 

In the arena of genetic research, there is the hope that, someday, we will find a gene which will somehow “wake up” all the dormant circuits in the brain—and then we will gain back fantastic insight and power. But based on what scientists have so far unearthed, is there any reason to believe this? Or is it just one more illusion which propels us forward on the voyage of discovery?

 

Literature, plays, films, and television are littered with stories that contain a mystery—and at the end comes the payoff, when the mystery is solved, when we find out What Exists.

 

For a moment, the audience is absorbed, and then there is the let down.

 

It’s as if a voyage through a rich forest suddenly ended in a vacuum, in a Nothing.

 

As long as the secret and the mystery can be prolonged, as long as What Exists can be postponed, you have the audience with you. But when the solution is revealed, all you have is the thirst for another mystery. “Tell us more! Tell us another one! Give us another puzzle!”

 

An ancient manuscript, an unexplored cave, a probe sent to a distant planet…there is a powerful desire to come to the punch line…and then…boredom edges in.

 

I once had a conversation with a modern guru in the field of self-improvement. He is a very successful author and lecturer. At one point, he said, essentially: You know, I have nothing left. I’ve written these books, I’ve told my audiences what they need to know. They keep wanting more. The next book, the next lecture. I’m tired. I don’t have any more secrets. They don’t really want to know what works in their lives. They want stories. They want the thrill of the hunt for the next big thing. But when they get it, I can see them go over the edge into depression…

 

It’s a paradox. People want to massage a secret, they want it to be solved and yet, when it’s solved, they don’t care anymore. But if you give them a real secret, one that doesn’t resolve, one that challenges them in a different way, they throw up their hands and give up. They claim they “don’t understand.”

 

Several years ago, I went to the Vatican, to the Sistine Chapel, to see the Michelangelo fresco. I sat in the room with several hundred other visitors. We all craned our necks, looking at the famous ceiling. I’m sure that for many of those people, it was the fulfillment of a dream: to finally witness the greatness of one of the most famous works of art on the planet.

 

Afterwards, outside in the corridor, I watched them leave. What I saw on their faces was a neutrality tinged with boredom.

 

The mystery was solved. They had seen the thing in person, finally. They had found out What Exists. It was the end.

 

I’m sketching here the anatomy of The Voyage to Discover What Exists.

 

It is one of the great enduring passions. But it has a vast and gaping downside. The payoff melts into a sagging passivity. “Well, that’s over. What’s next?”

 

Remember the Mike Nichols film, The Graduate? In that middle-class drama, the young Benjamin goes to extreme lengths to win Elaine, the daughter of Mrs. Robinson. He storms into Elaine’s wedding; she deserts her fiancee. Outside the church, Ben and Elaine catch a bus and take their seats in the back. As the film ends, Ben just sits there. He has captured the prize. He stares vaguely at nothing. No joy. Only a blank.

 

Here is a statement attributed to Nobel Laureate Albert Szent- Gyorgyi (1937 Prize for Physiology and Medicine): “In my search for the secret of life, I ended up with atoms and electrons, which have no life at all. Somewhere along the line, life has run out through my fingers. So, in my old age, I am now retracing my steps…”

 

Something that appears so right and so real and so entrancing, the attempt to nail down What Exists, has such a strange result.

 

What is going on?

 

How many seekers after the grand conspiracy behind all conspiracies become bogged down in their own journey, especially after they believe they have the answers to their ultimate questions? How many travelers along this road decide their findings add up to a portrait of a hopeless locked-down future, from which no one can escape—and then give up the whole enterprise in disgust and disillusionment?

 

How many people will fall into a weary swamp after December 21, 2012 (the fabled end of the Mayan calendar), passes and the revelation, the secret they have been chasing, doesn’t yield up the kind of personal illumination they were counting on?

 

Many years ago, a friend told me about a UFO cult that had existed somewhere in the Midwest, in the 1920s. The leader informed her followers that a great ship was coming to take them all away to a better place, a wonderful planet. The date and time were set. The leader had been receiving instructions from alien ET guides.

 

On this basis, all the members of the cult sold their houses and belongings (as if money would be useful on Planet X?). On the appointed date, the group was sitting in room, waiting for the ship to arrive. After several delays, the leader emerged from another room and said the UFO guides had just told her they weren’t coming after all, because the catastrophe that was supposed to decimate Earth had been sidetracked and avoided.

 

So there they were, sitting in a room, all dressed up with nowhere to go (and nowhere to live).

 

The result? The effort at recruiting new members expanded, and the cult grew! The leader told them a new story about what was coming in the wonderful years ahead—a new mystery was in progress.

 

THE OBSESSION TO DISCOVER WHAT EXISTS.

 

What Exists is, on a significant level, the greatest con game ever invented.

 

Everyone wants to chase down WHAT EXISTS and reveal it.

 

If Jesus really survived the crucifixion or was never hung on the cross, and escaped the Middle East, and if he married and had children, and if those children had children, and if that bloodline still exists…

 

Ten or 20 years after this “great secret is exposed”…how many of the millions of people who were originally galvanized by it still care or think about it….it’s old hat…we want another story…tell us another story….

 

Well, here is a different story:

 

The human being was placed in a universe that appeared to beg for discovery of its secrets.

 

The die was cast. Humans would forever try to satisfy that hunger.

 

They would never suspect there was another way. They would never graduate, through a fundamental shifting of gears, up on to another echelon.

 

They would never guess that you have to game the system that is rigged to defeat you.

 

You have to turn the con around.

 

If things (life) are designed to subvert you…BECOME A DESIGNER.

 

If What Exists proves to be an endless labyrinth, landing you, finally, back at the starting gate…INVENT WHAT EXISTS.

 

If reality is created to gobble you up in a voyage for answers and solutions…CREATE REALITY.

 

Turn the tables.

 

Move beyond only discovering What Exists, and recognize that voyage was the primary reason you kept yourself in the dark about your own creative power.

 

Understand, once and for all, that every system is another version of What Exists…they are murals you attach yourself to like barnacles on a ship.

 

Freedom is the platform from which imagination can spread out infinitely.

 

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

 

…I call them the SOB People. In this case, SOB stands for State of Being. You may recall that the verb “to be” and all its forms is labeled “the state of being” verb. It expresses no action.

 

It’s about Is. It’s about What Exists.

 

The SOB People love What Exists. They pray at that altar every day.

 

The SOB People look at imagination as an activity like the re-arranging of deck chairs. For them, nothing new ever occurs. Invention merely puts together what is already known. Invention takes ideas and images and fits them together in different ways. The present is only a redistribution of the past.

 

They are married forever to What Exists. They stake out their territory there. “Nothing new under the sun.” They take pride in this view. They think it makes them very wise.

 

Actually it deteriorates their lives and energy one drop at a time.

 

In their graves and beyond, they keep mouthing, “What Already Exists, What Already Exists, What Already Exists.”

 

A conversation with an SOB Person can be like talking to a meat grinder. When you emerge at the other end, you want to jump into a pool and drown.

 

Teachers in writing classes and seminars often tell their students, “Write about what you know.” This pearl has stalled large numbers of aspiring authors. I would tell them, “Write about anything you want to—especially what you don’t know.”

 

From the perspective of ordinary reality, imagination is all about what is impossible. If that sounds like a koan, chew on it for a while.

 

Imagination is that faculty that can raise the dead.

 

Imagination can give rise to the spontaneous creation of what has never been before.

 

Imagination shifts the whole emphasis of living from the discovery of What Exists to the creation of something new, a new reality(ies).

 

Imagination decimates the entire library of human programming.

 

With imagination, you aren’t buying a story; you’re inventing countless numbers of stories.

 

But this invention isn’t just aimless ruminating—you create something new, you express something new, and you propel it into the world.

 

Without that, you float in a sea of gauze.

 

Of course, there is fear of the New.

 

People think something terrible might happen if they invent something new. Their friends might ridicule them. The whole universe might suddenly collapse. Their minds might shred.

 

This is where human programming really bites hard. This programming assumes and asserts that, with enough voyaging, with enough discovery, one can find the Ultimate, one can find “everything that needs to be found.”

 

Whereas the truth is: you can create infinitely.

 

AND WHAT YOU CREATE IS NEW.

 

Jon Rappoport

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