Category Archives: Exit From the Matrix

The Wizard of Is and how I put together Exit From the Matrix

The Wizard of Is and how I put together Exit From The Matrix

by Jon Rappoport

December 13, 2013

www.nomorefakenews.com

I’ll get to the fascinating archetype of the Wizard of Is in a minute. First, here is the breakdown on what’s in my collection, Exit From the Matrix:

Here is the list of my brand new audio presentations included in this collection:

INTRODUCTION: HOW TO USE THE MATERIALS IN EXIT FROM THE MATRIX

EXIT FROM THE MATRIX

50 IMAGINATION EXERCISES

FURTHER IMAGINATION EXERCISES

ANESTHESIA, BOREDOM, EXCITEMENT, ECSTASY

ANCIENT TIBET AND THE UNIVERSE AS A PRODUCT OF MIND

YOU THE INVENTOR, MINDSET, AND FREEDOM FROM “THE EXISTENCE PROGRAM”

PARANORMAL EXPERIMENTS AND EXERCISES

CHILDREN AND IMAGINATION

THE CREATIVE LIFE AND THE MATRIX/IMAGINATION

PICTURES OF REALITY AND ESCAPE VELOCITY FROM THE MATRIX

THIS WOULD BE A VERY DIFFERENT FUTURE

MODERN ZEN

GREAT PASSIONS AND GREAT ANDROIDS

Then you will receive the following audio seminars I have previously done:

Mind Control, Mind Freedom

The Transformations

Desire, Manifestation and Fulfillment

Altered States, Consciousness, and Magic

Beyond Structures

The Mystery and Magic of Dialogue

The Voyage of Merlin

Modern Alchemy and Imagination

Imagination and Spiritual Enlightenment

Dissolving Stress

The Paranormal Project

Zen Painting for Everyone Now

Past Lives, Archetypes, and Hidden Sources of Human Energy

Expression of Self

Imagination Exercises for a Lifetime

Old Planet, New Planet, New Mind

The Era of Magic Returns

Your Power Revealed

Universes Without End

Relationships

Building a Business for Success

I have included an additional bonus section:

A pdf of my book, The Secret Behind Secret Societies

A pdf of my book, The Ownership of All Life

A long excerpt from my briefly published book, Full Power

A pdf of my 24 articles in the series, “Coaching the Coaches”

And these audio seminars:

The Role of Medical Drugs in Human Illness

Longevity One: The Mind-Body Connection

Longevity Two: The Nutritional Factors

All the audio presentations are mp3 files. You can download them.

What has been called The Matrix is a series of layers. These layers compose what we call Reality. Reality is not merely the consensus people accept in their daily lives. It is also a personal and individual conception of limits. It is a perception that these limits are somehow built into existence. But this is not true.

What I’ve done here is remove the lid on those perceived limits. This isn’t an intellectual undertaking. It’s a way to open up space and step on to a new road.

That road travels to more and more creative power, joy, and fulfillment.

During that great adventure, the individual experiences what has been labeled “paranormal” and “synchronistic” and “magical.” These words really don’t do us justice. They only hint at what we are and what we can do.

I put this collection together because it expresses, explains, and shows, in detail, how the individual can rediscover and reclaim his/her true power.

That process, that engagement, that life, is beyond solving problems. Our problems, at the core, exist only because we have “misplaced an infinity.”

Exit From the Matrix

The Wizard of Is surveys the world and the universe and says, “Here it all is. This is what will eliminate the need for you to invent your own world.”

Translation: “It will keep you in a beautiful prison forever, because all roads lead through a maze that takes you back to the beginning, where you started. Who could ask for anything more? It’s complex, it’s a Matrix, it’s challenging, it’s joyous and painful, it’s a thrill a minute. Or, you can lie down and go to sleep.”

The Wizard of Is is the maestro of What Is. He does everything he can to convince you that What Already Is is your best option, your destiny, your home of homes.

After that, you only have to find your place. The Wizard is very good at cooking up mumbo-jumbo about you needing a particular place and how, when you find it, things fall together and click together for you.

“We’re making this endless TV series called Reality and there are billions of roles available. If we can find your best role, you’ll fit it like a glove, and then you’ll be happy.”

The Wizard then makes sure to indicate that challenging What Is is a very difficult road. It opens you up to all sorts of dangers, he says. The Wizard has lots of experience in wielding the stick and the carrot.

What are some of the characteristics of What Is? It’s always there. You can always see it and look at it and get involved with it. It’s outside yourself. It’s like a vast painting in a museum—except you walk into it and live there. It’s made for you. It’s apparently seamless—once you’re inside it. It doesn’t break down and reveal rips in its fabric. It endures.

You can approach it from many angles—political, economic, social, medical, military, scientific. But above all, What Is is a Continuum, which is to say it’s an interlock of space-time-energy. It all fits together. Each aspect enforces and confirms every other aspect.

The idea of exiting from it seems absurd. You’re there, and there you will stay. Your job is to fit in, to find your place, your role, your destiny.

A great deal of Wizard-of-Is propaganda surrounds it. For example, you have no capacity to exceed its parameters. You can make use of technology to explore and manipulate certain pieces of What Is, but without technology you’re lost. Therefore, those who supply you with technology are your masters.

The Wizard states that he is your guide. He’ll help you navigate What Is to your advantage. This is your best option. Your only option.

All of this is a highly sophisticated form of hypnosis.

This external Matrix couldn’t operate at all—unless the human perceptual apparatus was designed to mesh and merge with it. But this apparatus is only a fragment of the possible range of perception.

The clumsy word “paranormal” is used to explain (and deny) the capacity to see beyond the structure of Matrix.

The Wizard says, “You don’t want to look too closely at the Matrix. It’ll lead to disillusionment. You’ll feel depressed. You won’t know what to do. You need to accept the Matrix. All happiness stems from that.”

However, the truth is more complex than that. You need to cultivate both an acceptance and a rejection. Here is the paradox: acceptance gives you a platform from which to reject.

This should have been the message of Zen for the last several thousand years. And perhaps in the hands of a certain few teachers, it was. But for the most part, the message of Zen has been about spiritual insight and breakthrough leading to acceptance.

That’s half a meal. It’s unstable. It breaks down. In time, the devotee finds himself at sea, cut off from his own creative power, unwilling to exercise it, for fear that he’ll overstep his mandate as a human being.

I cite Zen, but in fact almost every spiritual system devised in so-called civilized cultures has carried the same message. Accept What Is, period.

This makes the Wizard rejoice. It’s his device, his con.

Some years ago, I was interviewed by a host who urged me to talk about the Matrix. With every step I took, he assented and pushed me forward. But I could see in his rushed agreement all the signs that he was becoming more and more uncomfortable.

He was looking for a new system to replace the old. He wanted a conclusion, a wrap-up that would confirm his hypnotized belief in What Is.

It was, all in all, quite amusing. He was saying yes, yes, while he was thinking no, no. He wanted a better prison, a kinder warden, that’s all.

So I introduced the idea of the Wizard of Is. Then, I really saw him go into internal paroxysms. He looked like he was about to fall off his perch.

He was dedicated to systems all the way down. He wanted to be surrounded and comforted by a structure that would eliminate the need for him to do anything—while he pretended that was not the case.

I said, “Look, if you really like systems, invent your own. You don’t have to be living under the umbrella of someone else’s.”

I saw a light go on in his mind.

“That’s interesting,” he said slowly.

“Sure,” I said. “Keep on inventing systems if that’s what you want to do. Maybe some day, you’ll come to the end of it and you’ll create something you really want to that isn’t a system.”

“Well,” he said, “I suppose that’s possible.”

After the interview, he took me aside and told me, “You know, I rarely think about a new idea on these shows. I’m pretty much up to speed on everything that could happen. I’m tired of it. I’ve been looking for something else. Now I have a new idea to chew on. Maybe I can dump that Wizard you talked about…”

The Wizard isn’t forever. He just acts as if he is.

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

Art, imagination, and magic

by Jon Rappoport

December 8, 2013

(To join our email list, click here.)

Logic applies to the physical universe.

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

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

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

Magic is nothing more and nothing less than imagination superseding this universe. People have all sorts of crazy ideas about it, mostly prompted by organized religion, but magic occurs when imagination takes this reality for a ride.

Which brings us to what I call the Is People. The Is People are dedicated with a fervor to insisting that this Continuum and this consensus reality are inviolable, are the end-all and be-all. They may cling to their belief as a result of religion or science, it doesn’t matter. Either way, they bow at the altar of Is.

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

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

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

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

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

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

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

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

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

Magic is one of those labels.

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

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

Art is capable of dissolving conflicts because it renders them down into basic energy, which can then be used to create.

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

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

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

Societies and civilizations are organized around some concept of the common good. The concept always deteriorates (if it was ever genuine to begin with), and this is because it is employed to lower the ceiling on individual power rather than raise it.

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

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

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

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

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

Under a variety of names, this is art.

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

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

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

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

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

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 magician in the high hills

The magician in the high hills

The hunter at the end of day

NSA Man

~3 poems~

by Jon Rappoport

December 4, 2013

www.nomorefakenews.com

Introduction:

First, I give you two somewhat fanciful poems about sudden effects on the consensus called the space-time Continuum…the poems are meant to reflect the fact that the Continuum itself is exceedingly fanciful.

The so-called laws that govern it are provisional at best. Even experiments in the sterile conditions of laboratories reveal that humans can exceed statistical probability, when attempting telepathy and telekinesis.

But this is merely a pale clue that dynamic consciousness and existence operate beyond physical cause and effect and beyond material interactions.

The third poem, NSA Man, indicates the lockdown strategies taken to enforce the Continuum, to tighten it, to embroil the population in insane events designed to limit perception, to narrow it down to “crimes and possible crimes and pre-crime surveillance and invented crimes…”

An extraordinary amount of human activity is calculated to create a society in which distractions are the Main Event, and therefore our hidden potential is buried, ignored, and forgotten.

The Hunter at the End of Day

slick string tie and dead rabbits over his shoulder

rifle by his side

diamond chips glittering in his fat pinky ring

he took

his time getting to the moon

a mile from his cottage

the layout of his body and mind

was a temporary cartoon in the dark afternoon

the sun and sky and forest were on loan from a local production company

a renegade crew lurking to catch footage of the assassination of the president

the colony was unstable

construction workers were en route to repair the fractures in space and time

the president had vowed to restore order

but had failed

and now the mining consortium had spotters and shooters in the gloom ready to go

as the hunter took a long step from the stage on to the moon itself he heard the dry whisper of limos moving across the white powder

he saw the first few black shapes rolling toward him

and then the open car with limp flags

and the president sitting in the back:

a triangular block of non-reflective gray

whose brain was percolating a hundred thousand miles away floating in space

the rabbit hunter held up his hand and the caravan ground to a halt

there was no force to stop him

in the woods, under brush, the spotters and shooters fell into a paralytic state

everyone knew the judgment:

the opening in space-time, the tearing of the fabric, the void behind it would be allowed to remain

there would be no repair

the immortal had decided

it was the moment for permitting the illusion to disintegrate on its own

down on earth the press were gibbering about meteors and comets and asteroids, presenting their cover stories

but this rip

would extend down in space all the way

all twenty billion minds on earth would rattle like dice

and universe2 would emerge titanic

the hunter grinned

and hummed a tune

he felt light on his feet

and green as spring

The Magician in the High Hills

the Tibetan sat in the high dirt at night

and tossed his old books on the fire

his lessons were done

he looked out at the black sky

and removed a piece of it

he shrank it to a small cloth

and held it in his hands

the wind picked up

he saw the vacuum begin to suck in torrential space

and he stopped it

tossing the cloth into the air

he saw it it fill out like a great and grateful sail

and take its old place in the firmament

he stood up

brushed off his pants

and trudged toward the trading post

where men told stories about demons and mindless stalking creatures of the mountains and the new priests with their baggage

setting up shop in the city

and their hundred thousand ceremonies designed to postpone the magic he adored

Exit From the Matrix

NSA Man

his wife doesn’t know it

but at night

when he tosses and turns in bed

he’s having a wet dream:

he’s been awarded an ocular implant

and thereafter

sees the world as naked

he sits in his office all day

and watches

the population

he has a burning desire to know

“who are all these people?”

what do they really want?

are they

like him

a certain species of pornographer?

does the answer lie in how they have sex?

once will he see a man rummaging around in his kitchen at midnight

suddenly walk through a wall?

will an ordinary janitor in an empty office building

shoot out the grin of an ancient predator?

do these humans share a secret code they flash in ordinary movements?

he wants to know before it’s too late

before they give in

before they surrender to him entirely

what happens when all human communication is swallowed up and interpreted within seconds

for each moving second

of every passing day

will the time come when there is nothing left to watch, when 20 billion people are so transparent one look is enough to penetrate them all?

there is only one solution:

generate, encourage, and stimulate enough crime

to keep the pot boiling

to create an ever-rolling froth of secrets

upon which to spy

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. 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

Exiting the Matrix is exploring love and power

Exiting the Matrix is exploring love and power

by Jon Rappoport

November 29, 2013

www.nomorefakenews.com

Exiting the Matrix is exploring love and power, and how neither one is compromised.  Neither one is diminished.

Both grow.

This isn’t a system.  It isn’t a trick.

In the Matrix, people use love to diminish their own power, and they use power to diminish love.  This is an entanglement as old as existence.

There is a great challenge for any human being.  It can be shelved but it never goes away.

The challenge is imagination and creative power.

All systems of so-called spiritual advancement eventually cross paths with those engines.

At that point, all bets are off.  No matter what state of consciousness has been achieved, the whole context and environment shift.  Now, everything is dynamic.  All energies are fuel for the fire.

Knowledge as a passive object is ignited, and intensely creative existence takes over.  When that happens, the subconscious attachment to Matrix begins to burn away.

Something else happens.  Love increases.  New warning signs then flash.  Messages from the subconscious claim that if love increases, power will shrink.  But if we continue on the road, eventually something beyond any rational formulation emerges:

There is no limit to our power and no limit to our love…

Exit From the Matrix

Here are the contents of my collection, Exit From the Matrix:

Here are my new audio presentations:

* INTRODUCTION: HOW TO USE THE MATERIALS IN EXIT FROM THE MATRIX

* EXIT FROM THE MATRIX

* 50 IMAGINATION EXERCISES

* FURTHER IMAGINATION EXERCISES

* ANESTHESIA, BOREDOM, EXCITEMENT, ECSTASY

* ANCIENT TIBET AND THE UNIVERSE AS A PRODUCT OF MIND

* YOU THE INVENTOR, MINDSET, AND FREEDOM FROM “THE EXISTENCE PROGRAM”

* PARANORMAL EXPERIMENTS AND EXERCISES

* CHILDREN AND IMAGINATION

* THE CREATIVE LIFE AND THE MATRIX/IMAGINATION

* PICTURES OF REALITY AND ESCAPE VELOCITY FROM THE MATRIX

* THIS WOULD BE A VERY DIFFERENT FUTURE

* MODERN ZEN

* THE GREAT PASSIONS AND THE GREAT ANDRIODS

Then you will receive the following audio seminars I have previously done:

* Mind Control, Mind Freedom

* The Transformations

* Desire, Manifestation and Fulfillment

* Altered States, Consciousness, and Magic

* Beyond Structures

* The Mystery and Magic of Dialogue

* The Voyage of Merlin

* Modern Alchemy and Imagination

* Imagination and Spiritual Enlightenment

* Dissolving Stress

* The Paranormal Project

* Zen Painting for Everyone Now

* Past Lives, Archetypes, and Hidden Sources of Human Energy

* Expression of Self

* Imagination Exercises for a Lifetime

* Old Planet, New Planet, New Mind

* The Era of Magic Returns

* Your Power Revealed

* Universes Without End

* Relationships

* Building a Business for Success

I have included an additional bonus section:

* My book, The Secret Behind Secret Societies

* My book, The Ownership of All Life

* A long excerpt from my briefly published book, Full Power

* My 24 articles in the series, “Coaching the Coaches”

And these audio seminars:

* The Role of Medical Drugs in Human Illness

* Longevity One: The Mind-Body Connection

* Longevity Two: The Nutritional Factors

(All the audio presentations are mp3 files and the documents and books are pdf files. You download the files upon purchase.)

What has been called The Matrix is a series of layers. These layers compose what we call Reality. Reality is not merely the consensus people accept in their daily lives. It is also a personal and individual conception of limits. It is a perception that these limits are somehow built into existence. But this is not true.

What I’ve done here is remove the lid on those perceived limits. This isn’t an intellectual undertaking. It’s a way to open up space and step on to a new road.

That road travels to more and more creative power, joy, and fulfillment.

During that great adventure, the individual experiences what has been labeled “paranormal” and “synchronistic” and “magical.” These words really don’t do us justice. They only hint at what we are and what we can do.

I put this collection together because it expresses, explains, and shows, in detail, how the individual can rediscover and reclaim his/her true power.

That process, that engagement, that life is beyond solving problems. Our problems, at the core, exist only because we have “misplaced an infinity.”

Everything I’ve done and written in the past 20 years has been aimed, one way or another, at bringing back that infinity, seeing through the layers of disguise, and moving ahead on the sunlit road we all desire.

This is collection is for you, for me, for all of us.

We have, each one of us, an infinite life, lived in a world that is convinced it is bounded.

It’s time we dissolved that false contradiction.

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. 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

Why should a poem exist in this world?

Why should a poem exist in this world?

by Jon Rappoport

November 26, 2013

www.nomorefakenews.com

Because our great energies are divided

Because there is a room,

and flasks on a dusty shelf

one for your heart, one for your mind, one for your soul, your psyche, and your imagination

Put them

into the flasks

and then

you will see

what everyone sees

and then there will be men out on the sand fighting and killing for banks, drugs, oil, and fire

men who remember their childhoods the lawns the streets the garbage cans the alleys the sirens the dark empty buildings whispering messages in the middle of the night

the cemeteries the graves the markers the schools the factories

men out on the sand fighting and killing for the great Reality that drifts like paper into a roaring furnace

gray faces hovering over burnt sacrifices

a banker on a stage

rubbing his gloves

and pulling money out of his satin mouth

the princes of television

releasing their drone packages

and a third party calls to us across a vine-threaded wall

an unpredicted outsider

who’s known the sacrifice was torture

Exit From the Matrix

since the beginning when the river was turned away from the forests and spun into great rotting pools

of gangrenous empire

the outsider is divided and separated in the room of sacrifice

poems, blood filament by growing filament, fill in and connect the spaces

and the sun and moon shine on the blood and make it whole

the poem explodes in the self-separated human who is quite convinced he has nothing to do with a poem, has nothing to do with the soul that is dying inside him

I write poems

people tell me I’m crazy to do it

I’m committing a form of suicide

but I’ll tell you this

it isn’t a sacrifice

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. 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

Fukushima Man

Fukushima Man

by Jon Rappoport

November 25, 2013

www.nomorefakenews.com

So there I was

in one of those giant discount stores

trying on a new pair of pants in the dressing room

a cool neutral voice said

“changing your underwear is politics

and by the way when was the last time

you cut your toenails

wearing or not wearing a watch is politics

that mole near your left knee is political

the calcium deposit on your right ankle is political

the way you look at yourself in the mirror is political

those three years of your life in the 60s we can’t account for

are political”

The curtain brushed aside and a tall naked woman walked in

she ran a black instrument over the new pants

-a loud buzz-

“they’re radioactive,” she said “testicular cancer in three months

try the pink drawstring sweat pants instead”

she withdrew

the neutral voice picked up…

“you’re a month late on your appointment for a dental cleaning

you haven’t changed your oil in a year

your health plan will be canceled next week”

I ran out of the dressing room, spotted the front door in the distance and hightailed it…

I emerged into the parking lot…cop cars parked all around…no way through…SWAT guys in black with rifles pointed at me…fat dude with a bullhorn…”lie down on the ground…lie down on the ground now…”

I looked around and saw a large man wearing a gray coat walking away from the store with a package under his arm. I pointed at him and screamed “Russian agent! There! Al Qaeda Russian terrorist! Get him!”

The cops all swiveled and opened fire. They turned that poor bastard into dog meat in a few seconds.

A lieutenant walked up to me and shook my hand. “You saved your country today, sir.”

He squinted. “We knew you were for real when we saw your pants. They’re glowing. Those are Fukushima Casuals. Not many men have the balls to wear them.”

a month later

when I met the president

they had me in my new pants

behind a special shield

he passed a medal through a slot

and I took it and put it my pocket

“son,” the president said, “we all have to make sacrifices

to keep the engines running and the lights on

we’re all in this together”

he grinned, winked, and shot me with his finger

a few minutes later the SS boys dumped me out in an alley and pointed me toward a string of bars

I got the message

the women, you see,

and I’m not talking the best women maybe, but

some women are better than no women,

are attracted to the pants

they come up to me while I’m drinking and

touch the material

when I’m in my room late at night smoking

I notice the cigarettes burn faster

the wall paper is peeling

the windows are fogging over right away

there’s a force

I have this crazy feeling

it has a mind or at least a purpose of its own

it wants to expand

and I’m the messenger

it’s chosen me for some reason

but

when I wake up in the morning I realize it’s just one of those things you think when you’re alone

and the most important thing about you is your glowing pants

even a blessing can be a curse

that’s what I say now when I’m on the occasional talk show

when a lunatic with bright bright teeth

interviews me

the man with the glowing pants

Exit From the Matrix

…so I’m sitting in this little bar talking to a floozie

when the tall naked woman from the giant discount store

walks in

only she’s wearing a business suit

she brushes the floozie aside and sits next to me

she orders three shots of tequila and downs them one after another

she leans in close and says

“don’t you get it? they’ve been profiling you for a while now, turns out you’re the one schmuck in fifty million who thrives on radiation…” she leans even closer and I can feel her tongue in my ear like a moist swizzle stick…”in fact, they’re thinking of wiping out the whole human race and rebuilding it using you as the genetic template…”

and that’s how I find myself in an underground lab strapped to a table and a guy who reminds me of Allen Dulles, dead-eye dick with those rimless glasses and a cold blank stare,

stands above me…

Allen says, “If we put this guy next to a few fuel rods, he might glow so brightly he lights up the whole world…he might be God…he might be, finally, God made visible….ship this putz to Japan tonight and let’s see what happens…”

Fukushima Man

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. 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

Part 8, How I put together The Matrix Revealed: psychokinesis

Part 8, How I put together The Matrix Revealed: psychokinesis

by Jon Rappoport

November 22, 2013

www.nomorefakenews.com

Here are the nuts and bolts of The Matrix Revealed. It is enormous in scope.

250 megabytes of information.

Over 1100 pages of text.

Ten and a half hours of audio.

The 2 bonuses alone are rather extraordinary:

My complete 18-lesson course, LOGIC AND ANALYSIS, which includes the teacher’s manual and audio to guide you. I was previously selling the course for $375. This is a new way to teach logic, the subject that has been missing from schools for decades. (Click here, for the detailed FAQ and Lesson Plan Outline).

The complete text (331 pages) of AIDS INC., the book that exposed a conspiracy of scientific fraud deep within the medical research establishment. The book has become a sought-after item, since its publication in 1988. It contains material about viruses, medical testing, and the invention of disease that is, now and in the future, vital to our understanding of phony epidemics arising in our midst. I assure you, the revelations in the book will surprise you; they cut much deeper and are more subtle than “virus made in a lab” scenarios.

The heart and soul of this product are the text interviews I conducted with Matrix-insiders, who have first-hand knowledge of how the major illusions of our world are put together:

EILLIS MEDAVOY, master of PR, propaganda, and deception, who worked for key controllers in the medical and political arenas. 28 interviews, 290 pages.

RICHARD BELL, financial analyst and trader, whose profound grasp of market manipulation and economic-rigging is formidable, to say the least. 16 interviews, 132 pages.

JACK TRUE, the most creative hypnotherapist on the face of the planet. Jack’s anti-Matrix understanding of the mind and how to liberate it is unparalleled. His insights are unique, staggering. 43 interviews, 320 pages.

Then there are several more interviews with brilliant analysts of the Matrix. 53 pages.

The ten and a half hours of mp3 audio are my solo presentation, based on these interviews and my own research. Title: The Multi-Dimensional Planetary Chessboard—The Matrix Vs. the Un-Conditioning of the Individual.

Over the past couple of months, I’ve been describing threads that led me to put together The Matrix Revealed.

Here is another one, which came as a bolt from the blue, because it involved science. It demonstrates that true science can expose the ultimate fakery of the Matrix, while fake science bolsters the fraud.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Outside the laboratory, there are events and instances of the paranormal all around us. We participate in them. We cause them.

Here is just one type of example. A person experiences some moment of physical discomfort. He then, essentially, “allows it to exist.” He refrains from resisting it. Or he consciously moves into a meditative or relaxed state.

However one wants to describe it, the result is instantaneous or nearly so: the discomfort vanishes.

On the other hand, and he can test this if he wants to suffer, he can fight the discomfort, and it remains or gets worse.

Of course, rank materialists will try to explain all this away by claiming that the cessation of discomfort was actually an automatic physical response of the body.

In truth, it is a voluntary choice.

Matrix propagandists always opt for ironclad reflex explanations. They always look for automatic chemical or biological processes.

What they never acknowledge—because it would topple and destroy the very foundation of their enterprise—is our capacity to direct non-material thought and, therefore, affect material events. Under no circumstances will they ever admit to this.

It’s, among other things, professional suicide.

The Matrix Revealed

Soon after interviewing Dean Radin, I spoke with a medical doctor about Radin’s findings. Naturally, without knowing a thing about it, the doctor rejected the whole field of paranormal inquiry.

So I did a little experiment with him. I asked him to notice, somewhere in his body, a sensation of any kind.

After some back and forth, he relented and told me there was a slight “fizzing sensation” in his leg.

I then told him to fight it, to push against it. Again, we had to discuss this, because the doctor refused to admit he understood what I was asking him to do.

But finally, he went along.

He said, “The fizzing increased.”

Then, I asked him to allow the sensation, to withdraw himself from it, to adopt a “hands-off” attitude.

He said, “It went away.”

I said, “So?”

What followed was a most amusing explanation, delivered from his authoritarian pulpit. He took almost five minutes. The technical jargon lost me almost immediately.

When he finished, I said, “You don’t really believe all that, do you?”

He stared at me like a machine that’s just had its circuits crossed.

“This is silly,” he finally said.

And it was.

A highly educated man, using his education to become an android.

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. 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

Art is dangerous to authorities

Art is dangerous to authorities

by Jon Rappoport

November 20, 2013

www.nomorefakenews.com

Art is dangerous. It makes people move out of standard-response channels.

They don’t see what they’re supposed to see anymore. They see what they’re not supposed to see.

That’s why colleges teach brain-deadening courses in art history. Every attempt is made to codify the students’ reactions.

I’m not just talking about political art. I mean anything that truly comes out of reliance on imagination.

Those who run things—and their willing dupes—want reality to look a certain way and be experienced and felt in certain ways. These limited spectra form a shared lowest common denominator.

Even so-called spiritual experience is codified. It’s called organized religion. I call it “give money to the ceiling.” You give your money and they tell you high how the ceiling of your experience is and what you’ll find when you get there.

Art has none of these limitations. It’s created by people who’ve gone beyond the shrunken catalog of emotions, thoughts, and perceptions listed by authorities.

Art, by which I mean imagination, throws caution to the winds. It invents realities that engender new reactions, never before experienced. It blows apart old rigid perception.

The hammer blows and the soft propaganda of the common culture install layers of mind control: “See things, experience things in these prescribed ways.”

Exit From the Matrix

Over the years, I’ve encouraged a number of people to become artists. Aside from the work they then invented, I noticed their whole approach to, and perception of, life altered radically.

Their sense of vitality, their courage, their adventurous spirit came to the foreground.

Mind control, externally applied and self-induced, is all about putting a lid on creative power. That is its real target.

The one trap an artist—which is to say anyone who lives through and by imagination—has to avoid is thinking of himself as a victim because he is “an outsider.”

Outside is good. Outside has great strength.

When an artist invents himself as a victim, he then goes on to lash out at people who have nothing to do with the fate to which he’s consigned himself.

Authorities in any society, no matter what they call themselves, are invested in systems that will maintain a status quo of perception. They are constantly producing new systems for that purpose.

Technocrats would like you to believe that hooking your brain up to some super-brain computer will fulfill your needs and desires. They seek to prove that all invention, all creation, all art, all imagination is merely a set of calculations within a closed system.

This effort betrays their own despair. They see no way they can truly create.

It is the vacuum in which all elites live. They build up a frozen dead consciousness of models and algorithms and “solutions,” and they seek to impose it, as reality, on the minds of populations.

Essentially, they’re saying, “If we have a soul-sickness, you have to have it, too.”

It’s called hatred of life.

On the other hand, individual creative power launches from a platform of freedom and rises through layer after layer of greater freedom.

From that perspective, authoritarian power looks like a sick-unto-dying charade.

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. 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 individual vs. the planned society

The individual vs. the planned society

by Jon Rappoport

November 14, 2013

www.nomorefakenews.com

At the outbreak of World War 2, the Council on Foreign Relations began making plans for the post-war world.

The question it posed was this: could America exist as a self-sufficient nation, or would it have to go outside its borders for vital resources?

Predictably, the answer was: imperial empire.

The US would not only need to obtain natural resources abroad, it would have to embark on endless conquest to assure continued access.

The CFR, of course, wasn’t just some think tank. It was connected to the highest levels of US government, through the State Department. A front for Rockefeller interests, it actually stood above the government.

Behind all its machinations was the presumption that planned societies were the future of the planet. Not open societies.

Through wars, clandestine operations, legislation, treaties, manipulation of nations’ debt, control of banks and money supplies, countries could be turned into “managed units.”

Increasingly, the populations of countries would be regulated and directed and held in thrall to the State.

And the individual? He would go the way of other extinct species.

For several decades, the pseudo-discipline called “social science” had been turning out reams of studies and reports on tribes, societal groupings, and so-called classes of people.

Deeply embedded in the social sciences were psychological warfare specialists who, after World War 2, emerged with a new academic status and new field of study: mass communications.

Their objective? The broadcasting of messages that would, in accordance with political goals, provoke hostility or pacified acceptance in the masses.

Hostility in support of new wars; acceptance of greater domestic government control.

Nowhere in these formulas was the individual protected. He was considered a wild card, a loose cannon, and he needed to be demeaned, made an outsider, and characterized as a criminal who opposed the needs of the collective.

As the years and decades passed, this notion of the collective and its requirements, in a “humane civilization,” expanded. Never mind that out of view, the rich were getting richer and poor were getting poorer. That fact was downplayed, and the cover story–”share and care”—took center stage.

On every level of society, people were urged to think of themselves as part of a greater group. The individual and his hopes, his unique dreams, his desires and energies, his determination and will power…all these were portrayed as relics of an unworkable and deluded past.

In many case, lone pioneers who were innovating in directions that could, in fact, benefit all of humanity, were absorbed into the one body of the collective, heralded as humane…and then dumped on the side of the road with their inventions.

Their breakthroughs could upset favored monopolies and actually elevate the lives of people. Therefore, men like Tesla and Buckminster Fuller had to be buried.

In other cases, there was very little praise before burial. Wilhelm Reich, Dr. William Frederick Koch, Royal Rife.

In the planned society, no one rises above the mass, except those men who run and operate and propagandize the mass.

In order to affect the illusion of individual success, as a kind of safety valve for the yearnings of millions of people, the cult of celebrity emerged. But even there, extraordinary tales of rise and then precipitous fall, glory and then humiliation, were and are presented as cautionary melodramas.

The onrush of technocracy gears its wild promises to genetic manipulation, brain-machine interfaces, and other automatic downloads assuring “greater life.” No effort required. Plug in, and ascend to new heights.

The Matrix Revealed

If the individual has any place in this future, it is: working at a job, keeping his or her head down, supporting the family, gradually wearing down, and dying. In more and more cases, the job is within, or attached to, government.

Freedom? Independence? Old flickering dreams vicariously viewed on a screen.

Individual greatness, imagination, creative power? A sunken galleon loaded with treasure that, upon closer investigation, was never there to begin with.

The plan is all that is important. The plan involves universal surveillance, in order to map the lives of billions of people, move by move. In order to design systems of control within which those billions live, day to day.

But the worst outcome of all is: the individual cannot even conceive of his own life and future in large terms. The individual responds to tighter and control with a shrug, as if to say, “What difference does it make?”

He has bought the collectivist package. His own uniqueness and inner resources are submerged under layers of passive acceptance of the consensus.

And make no mistake about it, this consensus reality, for all its exaltation of the group, is not heraldic in any sense. The propagandized veneer covers a cynical exploitation of every man, woman, and child.

Strapped by an amnesia about his own freedom and what it can truly mean, the individual opts for a place in the collective gloom. He may grumble and complain, but he fits in.

He can’t remember another possibility.

Every enterprise in which he finds himself turns out to be a pale copy of the real thing.

Exit From the Matrix

This is why I have been so critical of the recent ballot initiatives urging labeling of genetically modified food. The group, in this case, is the mass of consumers, people who buy. This is the apotheosis of a movement against a titan, a monster, Monsanto. “Know what you buy, know what you eat, and we will triumph over evil.”

The prospect of victory on these terms is, in the long run, non-existent. Why? Because the deep energies and power and desire for freedom remain untapped.

Based on supposed knowledge of what works in the political arena, the men who have been dictating the terms of the “good message” are shortchanging this opportunity.

As businessmen, they are tuned to the marketplace. But that is not where this struggle really lives. It lives in the hidden places of every repressed individual who wants out, who wants to come back to himself, who wants to stride out on a stage and take the battle to the enemy.

And these failed political campaigns are an example of what millions of people in this country want on a much broader level.

They want freedom and power again. They want to feel alive. They want to feel they’re fighting and winning in the true space where the heart and soul of the struggle can be experienced in the deepest way, where their own amnesia shatters and they remember who they are and they see what evil is trying to accomplish, in order to keep them in a trance.

When a political campaign taps into that, it will have legs. It will have legs and wings, it will mean something about victory in this stolen nation.

And it will mean that the extinct individual returns.

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. 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

Forgotten languages: how I put together Exit From the Matrix

How I put together Exit From the Matrix: forgotten languages

by Jon Rappoport

November 8, 2013

www.nomorefakenews.com

There’s a reason I included more than 50 imagination exercises and techniques in my collection, Exit From the Matrix.

Imagination opens up vistas that are outside the Matrix, outside consensus reality, outside this space-time continuum.

Imagination is the forgotten engine of change, transformation, breakthrough, power, revolutionary consciousness.

Imagination is the doorway to a whole host of brilliant emotions for which there are no names.

In our lowest common denominator society, people are used to thinking about and experiencing a vastly reduced range of feelings. Imagination changes all that.

In 1995, I was painting in a studio in Santa Monica, California. One day, the phrase “forgotten languages” popped into my head.

I found several large pieces of cardboard. Each one was about four feet by two. I filled them up with black shapes. I was working spontaneously, with no plan.

When I finished, I propped them up and leaned them against the sliding glass door, went over to my bed, lay down, and looked at them for a few minutes.

They began “talking” to me. It was quite startling and exhilarating. The shapes were broadcasting images and very vivid sensations of flying in mid-air, in space. And then, behind that, feelings came: Unnameable feelings, in a rush.

This was a shifting language in which meanings sparked other meanings, rose and fell, disappeared, gave way to new sensations, all of which were infiltrated with ecstatic freedom.

I lay there, bathed in it all, for a few minutes. Then the transmission faded away.

The residual impact was this: there are potential languages, very different in kind from those we use, which transfer far more information far more quickly. But the information isn’t symbolic or referential—it’s alive in the moment.

One could almost say these languages have consciousness, and they deliver their ever-changing “messages” without the need for translation or interpretation or thought by the “reader.”

The languages are open doors into vistas and panoramas of thousand-faced joys, each joy a different collection of tones and personalities.

A “word” in one of these languages transmits figures, personae, beings in various states of dynamic action overflowing with acrobatic exuberance.

And we could speak to one another in such languages.

We most definitely could.

The only thing that shuts us out is the decision to forgo imagination, to put it on the shelf and let it sit there.

If we did speak to one another in these languages, we would automatically rise to another level of being, of instantaneous understanding. No filters, no intermediaries.

I visited a linguistics professor in his office and spoke with him about all this. He pulled out some samples of Chinese calligraphy. He told me that many modern scholars refuse to admit that the Chinese language had it roots in pure pictographs, which communicated in a more direct way than the later abstracted forms.

I thought we were about done with the conversation. I got up to leave, but he stopped me.

“You want to see an exercise in linguistic dreamtime?” he said.

That was an interesting phrase.

He told me he knew exactly what I was talking about, because he’d had similar experiences in dreams.

He showed me two notebooks full of shapes he’d painted with a small brush and black ink.

“Each notebook is a conversation with myself,” he said. “It began as sheer amusement, during a summer vacation. But then it turned into something else.”

He went on to describe how he knew what the shapes meant, although he couldn’t put it into words. They were reciting a kind of history of the human race, but on a different hidden level.

“This is psychic history,” he said. “The registering of what’s happening in the world, as the imagination reframes it.”

We looked at each other, and ordinary reality just went away. We were two people acknowledging a parallel and potentially endless reservoir of Other space-time.

Exit From the Matrix

Then he started talking about his son.

“When he was three, for a few months he looked at these notebooks every day. He turned the pages and studied the shapes. He was quite intent on it. He was still coming into this world, getting used to it, but I was quite sure he was remembering that other realm, that dimension. He knew about it.”

In the early 1980s, I spent every Monday night, for a few months, at the Factory Theater in downtown Los Angeles. Scott Kellman, the director, was conducting an improvisation workshop.

One night, a friend and I did an exercise in which we spontaneously invented our own sign language. Our hand signals weren’t supposed to represent anything, but we imagined we were engaged in serious conversation.

A few minutes into the exercise, we were imagining so well that something else took over. We were now in a space where the flashing signs did, in fact, have meaning.

We both knew it. We knew we’d gotten past the entire literal fixation on ordinary language. We were sending images back and forth. The images revealed themselves as some sort of drama, in which two people discover they exist, right now, in more dimensions than they previously realized. That was suddenly the unspoken theme.

We played it out.

When we were done, my friend said, without thinking, “I’ll always know you’re alive, wherever you are.”

The room was silent, and slowly we felt the other actors and Scott, the director, being drawn into this space with us.

It was telepathic, but not in the sense of sending and receiving thought. It was telepathy of “occupation.” We were all in a new dimension right there in the theater.

As I left to go home that night, I told Scott, “That was like flying a little plane and stepping out of it and staying right there in the sky.”

He nodded and said, “And all you needed were a few pieces of wood called a stage.” He grabbed my arm. “Think about what would happen if people started creating a piece of random sidewalk or a grocery store as a stage, the way we did tonight. Whole different world.”

The early Tibetan adepts were well aware of all this and more. At the core of their practice were imagination exercises, before the priest class stepped in and bungled the whole thing, and asserted their theocracy.

Early on, many of the figurative Tibetan paintings and mandalas, rather than simply being adored saints, were actually images meant to be recreated in those imagination exercises, for an entirely different purpose: the liberation of the inventive core of the individual.

To begin to understand the later distortion the priest class launched, imagine people walking into a museum and falling down in abject worship of a row of Van Gogh canvases, while remaining entirely ignorant that anyone had painted them.

In Exit From the Matrix, I set all this straight.

I’ve given you enough imagination exercises and techniques to last several lifetimes.

Civilizations come and go, rise and fall, stultify and change. Each one of us remains. Wherever we are, in whatever circumstances we find ourselves, we can be artists of reality.

We can remember that and live it.

Imagination is like having an indispensable tool of archeology, but in this case we’re uncovering our own forgotten languages that speak of greater levels of being.

This is the great adventure.

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. 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