Category Archives: Exit From the Matrix

Paranormal You

Paranormal You

by Jon Rappoport

November 7, 2013

www.nomorefakenews.com

1960. First day of rehearsal for a college play, The Lower Depths. I walk out on the stage and look around. It’s quiet, but inside I feel thunder. Everything is different. New shining space. I start smiling. I’ve been waiting for this moment for God knows how long. A place apart. A world where imagination takes on flesh and comes to life.

The theater director, Walt Boughton, is leaning against a wall. He looks at me. He sees and he knows. He nods. His message is clear: That’s right, my boy, you’re here, this is it, nothing will ever be the same…

We live in a society where consumers can pick and choose among thousands of narratives about themselves, their lives, their future, their duties, their needs, their status.

Just the other day, I wrote about a new Pentagon/DARPA project aimed at studying brain signals, in real time, to understand how and why people buy some narratives and reject others.

A common feature of most narratives is: limited life, limited power.

Or to put it another way, limited access to larger aspects of Self.

The trick of narratives, as retired propaganda master, Ellis Medavoy, once told me, is: built-in limitation; it looks like “desire fulfilled”; it looks like happiness.

But it isn’t.

And when people find that out, they experience buyer’s remorse.

“Why did I think that narrative described what I wanted? Why did I think it would make me satisfied?”

The space-continuum in which we live has its own narratives. They hang from it like barnacles. The gist? You can’t get out. There is nothing to get to.

Again, I refer to the brilliant hypnotherapist, Jack True, whom I interview 43 times in my collection, The Matrix Revealed. Jack did sessions with patients that went directly at the space-time matrix.

“Under hypnosis,” he said, “I had people look at the continuum and tell me what they saw. I had them describe it in their own way. Then I asked them to look outside it.”

The material from those sessions is extraordinary, in several respects. It helped me, when I was researching my companion collection, Exit From the Matrix.

Some of Jacks’ patients came “back around the barn,” as Jack characterized it, and ended up relating what sounded like dreams, dreams they would have while asleep. The narrative wasn’t smooth, it wasn’t moving from beginning to end. It was asymmetrical, just as in dreams, where the scenery shifts, where one event ends in midstream and another pops up, where the “plot line” dissolves…and a new plot takes over.

Several of Jack’s patients said their encounters outside the space-time continuum felt very familiar—as if they’d been there before.

Jack: “One patient said he found himself in a dim hall. It was very large. People were talking, but he couldn’t see them. A single voice took over, and a character stepped out of the shadows. He told the patient to remember this meeting when he woke up. He said this was one of a great number of places outside ordinary space-time. He said there was no reason to consider this ‘visit’ strange or unusual. On the contrary, life inside space-time was unusual…”

There are millions and millions of narratives that are used to convince people life inside space-time is It, it’s all there is, it’s normal…

And normalcy is the key. That’s the icon, the symbol, the header, the trance-inducer. What is normal seals the deal. It labels what is allowed to be experienced. It tells people what is not allowed to be experienced.

These narratives about normalcy hold people inside the gates, and provide boundaries for Self. “Self can’t get any bigger than this.”

In the early 1960s, I was teaching at a private school in West Los Angeles. On a Monday morning, I got off the bus and walked along Pico Boulevard toward Overland Avenue. My first class was in 15 minutes or so.

Out of nowhere, a small black bird dive-bombed me, landed on my head with both feet and took off again.

The day before, I’d seen Hitchcock’s The Birds. I thought this was an unusual follow-up, to say the least.

I saw the bird land in a tree near the corner of Overland. I walked to the tree and looked at the bird.

He flew down and landed a couple of feet away from me on the sidewalk. He hopped closer.

He cocked his head and looked up at me.

“It’s Hitchcock,” I said.

He took off, flew across the street, and disappeared over the roof of the Security National Bank building.

After school that day, I told one of the teachers about the incident. He said, “You know, they’re hiring us to show these crazy kids how to fit in [be normal], and this is what you’re telling me? A movie and reality intersect?”

We laughed.

But I realized something. Something about Normal.

These kids in our small private school were all rejects from the public system, or from other private schools. They couldn’t make it there. Many of them were what the psychologists called “acting out.”

I’d have to write a few hundred pages just to begin giving you the flavor of what it was like to deal with 15 or 20 of them, at once, in a classroom. It wasn’t about teaching content, believe me. It was about me surviving.

But at bottom, every one of those kids was, in his/her own highly idiosyncratic way, Not-Normal. That’s all. And what was driving them completely bat-crazy was, no one would deal with them on their own terms.

Everyone was trying to fix them. Everyone was feeding them narratives about “normal, fitting in.”

The next day I changed all that. In my classes, we worked up improvised sketches. Theater. No plot, no direction, no narrative, just off-the-cuff dreamtime in the moment and lots of roles, some of which they were already playing every day to a dead audience of teachers. But it wasn’t dead now. They had me and they had each other.

They jumped at the chance. They didn’t need any direction or instruction. It was as if they’d been waiting all their lives for someone to say, “Just perform what you’re already performing.”

They were actors. That’s what they’d been trying to tell adults.

And everything fell into place. They loved it, I loved it, we all offloaded a few tons of stress and a whole lot of insane normalcy…and then they calmed down. Not because there was a strict rule about behavior, but because they had escaped the tyranny of Is. And Has To Be. And Must. And Normal.

That day, the space-time of the continuum, in that classroom, went away. It disintegrated. What took its place was an island of joy. Which is to say, what sits outside this matrix is more real than real. When you find it.

It doesn’t have to be spooky.

It’s Magic Theater.

Exit From the Matrix

Sit down some time with a bunch of real stage actors and ask them when they feel most alive. A certain percentage of them will confess it’s when they’re on the boards, performing a role. That’s when they feel most like themselves, even though they’re pretending to be somebody else. That’s when the day-to-day space-time continuum goes away and new one comes into being.

That’s when normal steps aside and paranormal makes its entrance.

A fake space, a repressed space, a continuum of frustration vanishes.

Conventional standards don’t explain what is happening. They can’t.

Life. Theater. Theatricality. Roles played to the hilt. The Paranormal.

There is no single narrative for a human being. There are as many as he wants to invent. Sometimes the stage is dead, the lights are off, the seats are empty. But then we get a glimpse of something else. We walk up on the stage and feel that space and realize the old walls are gone and this is it, and we’re ready, and the energy comes out of nowhere and we do things we thought were impossible.

Normal disintegrates.

This is art. This is a level of life that is waiting for all of us.

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 5, How I put The Matrix Revealed together

Part 5, How I put The Matrix Revealed together

by Jon Rappoport

November 5, 2013

www.nomorefakenews.com

As you read this article, keep in mind words like “resonance,” “harmony,” “entrainment.” In the field of mind control and propaganda, they specifically refer to conditioning.

They refer to ways of getting a target audience to enter a trance.

This trance doesn’t look like sleep. It looks like collective consensus.

The consensus is achieved by transmitting words and even frequencies that cause the brain to “vibrate” in tune with a message.

Here’s a piece from an unpublished article of mine, “Globalism Defined”:

“In press releases and promotion for the World Trade Organization, the Codex Alimentarius, and other instruments of Globalism, you’ll often find the word ‘harmonization.’

“It’s used to smooth over the fact that Globalists deploy naked power and money to achieve their ends. ‘Harmonization,’ nevertheless, means a kind of collective resonance, an identical entrainment of minds.

“The word refers to a technique whereby mind control is achieved. It produces a simulation of agreement, consensus, regardless of the actual content of what is being agreed upon. What counts is that we are all ‘humming in the same frequency.’

“In such a state of basic harmony, we can disagree, but nothing will come of it, because in a larger sense, we are already arranged as files and rows of iron dust, under the influence of a magnet…”

25 years before I put together and released my collection, The Matrix Revealed, I began interviewing an exceptionally brilliant and innovative hypnotherapist, Jack True.

In The Matrix Revealed, I interview Jack 43 times (320 pages).

Back in 1988, Jack told me about an experiment he conducted with several patients who were also friends:

“It was based on the idea that you can get people, under hypnosis, to explore imaginary and hypothetical constructs they would never entertain while they were awake. This particular test was one of the farthest-out things I ever tried.”

Jack had his patients imagine a brain sitting in space. He then had the patients bring into view various entities: a dragon, a multinational corporation, a lost treasure, a modern government.

He then asked the patients to describe how the brain was responding to each of these entities.

Jack told me, “The dragon and the lost treasure were just there as window dressing, and to obscure the fact that I was really interested in the other two items: the mega-corporation and the government.”

Jack kept notes on what the patients were reporting. One patient, for example, stated that the brain was sending out “electromagnetic lines and pulses” to explore the various departments of the corporation. Another patient said the brain was making mathematical calculations in order to asses the various functions of the government.

Every patient used certain words and phrases:

“harmony”; “the brain is interested”; “the brain likes this”.

The most telling phrase was: “The [corporation, government] is like the brain.”

After bringing the patients out of their light trance, Jack discussed the experience with them.

“This is what came up,” he said. “The brain was seeing itself reflected in these very large and complex structures—the government, the corporation. The brain was recognizing a ‘brother.’ The brain was resonating with these big organizations.”

It was a case of entrainment, the brain expressing a fondness for the huge structures, without bothering to make critical distinctions. It was as if the brain was hypnotized by the presence of a mega-corporation, a mega-government.

Rational thought was suspended.

“When you consider the role of the human brain in creating these corporations and governments in the first place,” Jack said, “it opens up a whole new field. A particular aspect of the brain, or intelligence, is making representations of itself.”

Later on in the conversation, Jack added: “Built into the brain—or you could say, part of the design of the brain—is an automatic function. It makes replicas or approximations of itself.”

Matrix appeals to this part of the brain. Matrix is another huge complex structure. Like the brain.

This part of the brain doesn’t care about what the Matrix is. It doesn’t look into that.

The Matrix Revealed

Among the materials in The Matrix Revealed is my 18-lesson course, Logic and Analysis, which includes the written teacher’s manual. It educates the user on: making critical distinctions, following lines of reasoning, identifying logic flaws—in other words, doing all the things that nullify the “resonance and harmony” operation.

Another item in The Matrix Revealed is the complete text (331 pages) of Aids Inc., my book that exposed a conspiracy of scientific fraud deep within the medical research establishment. The book is a living example of logic at work. It takes apart and nullifies key items of science propaganda, one by one. Again, the tactic of “resonance and harmony” goes down to defeat.

The heart and soul of The Matrix Revealed 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:

Ellis Medavoy, master of PR, propaganda, and deception, who worked for key controllers in the medical and political arenas. 28 interviews, 290 pages. Ellis has an insider’s view, with all the nuts and bolts, of how entrainment and resonance work in the area of media.

Jack True, the most creative hypnotherapist on 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. Jack’s whole career was dedicated to undoing the effects of hypnosis, mind control, and the resonance and harmony operation.

There is another angle from which to view the Matrix: “normal vs. paranormal.” Matrix builds normality into everything it does, as if the actions of people submitting to it and surrendering to it are “doing the most normal thing in the world.”

Whereas paranormal is presented as illusion, unscientific, impossible.

This polarity, this dichotomy is purposeful. It keeps populations in check. A person who seeks to fit in, to find his place will opt for normal. He’ll make it his mission.

Or to put it another way, he’ll construct his role in the stage play called reality. He’ll observe what other people are doing and adjust his own behavior, thoughts, and beliefs to reflect them. He wants to resonate with others as his highest goal.

This has nothing to do with genuine community. It’s an artifact.

And what happens when millions of people are resonating and harmonizing with what they think is normal?

It’s a piece of stage magic. The performer makes the audience think he’s holding something in his hand. But there’s nothing there. The audience, however, focuses on that empty hand and assumes it contains the object, the prize. They “tune in” to that hand. They want to see it open and reveal its secret. They harmonize with the hand.

They’re hypnotized by a hand holding nothing.

In the Matrix, the hand never opens. The audience just keeps staring at it, resonating with it.

Today, we are faced with stepped-up efforts to map the brain and control it. DARPA, for example, the Pentagon’s research arm, has launched two projects: Narrative Networks, and SUBNETS.

Their aim is to install implants and track the actions and signals of the brain in real time. In particular, they want to understand how and why the brain accepts narratives (stories, propaganda) about key subjects.

In other words, this is a study of resonance, entrainment, and harmony on a level never achieved before. And of course, the objective is discovering how to float narratives that will create uncritical resonance and harmony in larger numbers of people, at deeper levels.

The need to surpass and neutralize the Matrix is greater than ever.

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 3, How I put together Exit From the Matrix

Part 3, How I put together Exit From the Matrix

by Jon Rappoport

November 1, 2013

www.nomorefakenews.com

The individual’s creative nature has its own space and time…

This is the natural state. It has been forgotten, sidetracked, hijacked.

The natural individual has moved so far into so-called objective reality that he’s developed amnesia about his own power.

From 1962 on, I’ve painted in a number of studios. But it was in my first, a loft in Manhattan, that I had my most startling experiences connected with time.

I’d wake up at sunrise, turn on the lights, eat a quick breakfast, walk around and survey my work from the day before, mix paints, set up a few blank canvases, and get started.

I’d paint without stopping. On some days, when I was done, I’d look up and it would be dark outside. In the summer in New York, that meant at least 8:30 or 9.

I would scratch my head and try to figure out where 14 hours had gone.

Of course, long before I painted for the first time, I’d had experiences where time seemed to vanish or speed up, because I was absorbed in working or playing. But nothing like this.

Clock-time had never seemed like such an illusion to me.

I was keeping a journal during the summer. I recall one entry: “When you’re inventing your own space (painting on a canvas), there is no ordinary time.”

I’m not criticizing clocks and schedules. I know how to use them. But ever since that summer, in 1962, I’ve been aware of inventing new space and the vanishing of ordinary time.

There are no real laws about what time is for the individual. There are no “time signatures” sitting somewhere in outer space or in a kingdom ruled by a monarch who is in charge of time and keeps track of it.

The Matrix is set up as “other space and other time.” Not your own.

And to put a finer point on it, when we live in a Surveillance State, spying and snooping has the function of emphasizing and highlighting and exaggerating impersonal space and time.

As in: “where is the subject now, what is he doing, what time is it, where did he just go…”

This is no accident.

The controllers are determined to regulate and chart and impose “objective” space and time on the population…because that’s a prime source of Matrix power.

When I began to assemble the many imagination exercises and techniques for Exit From the Matrix, I was aware that these exercises should awaken and expand the experience of personal space and time.

When you experience the space/time of your own creative nature, you gain something and you bring it back with you. Therefore, Matrix space and time, while you inhabit it, gradually loses its control.

There are many ways to describe imagination. From one angle, it is the place where all personal space and time live.

The brilliant healer, Richard Jenkins, whom I write about in The Secret Behind Secret Societies (part of Exit From the Matrix), operated in a purely spontaneous way. Standing by his patients, moving around them, he would invent new energy and transmit it.

One day, after he was finished working, we were sitting in his kitchen and he said, “There’s something more basic than transmitting energy. I’m just removing pieces of old time from the patient. The rest happens by itself.”

In the same way that a person can wake up from a slave-acceptance of external authority, a person can wake up from the inner condition of being a slave to the so-called natural law of the Matrix:

That law says: “There shall be one and only one central space and time.”

Back there in 1962, in New York, something else happened to me. It was a side effect of painting every day. I didn’t ask for it, I wasn’t even hoping for it. I wasn’t thinking about it.

I hadn’t talked to my parents for several months. We were at loggerheads. We’d had a huge blow-up, and there were hard feelings all around.

So one day near the end of the summer I thought about them. I was shocked to notice that all the hard feelings and all the nastiness were gone. Vanished like smoke.

I called them up and told them I wanted to meet for supper. The only condition was, I said, I didn’t want to talk about the past (time).

They readily agreed.

So a few nights later, we sat in a deli on Second Avenue and had a pleasant supper. The rift was healed. More than that, I liked them in a way I never had before. I’d always loved them, come hell or high water, but now I liked who they were. I saw who they were.

After we parted, I walked along Second Avenue and felt a confidence that was entirely new to me. At age 24, it was as if every shred of need based on worry or fear had been secretly stripped away.

It was the painting. I walked for several hours and thought about that. It came through to me that, prior to that summer, I’d been suffering from a deficit.

A deficit of space.

This idea hit me like a ton of bricks. It was as real as knowing you need food to live.

Every space on every canvas in the studio, that summer, was my own space. It was mine to do with as I wished.

The one central “objective” impersonal space had been producing a feeling of deprivation. I’d had a disease: space deprivation. Psychic claustrophobia.

And I’d found a cure. I’d stumbled on a cure.

There was absolutely nothing woo-woo about this.

I looked around me on the street. At the lights, the sidewalks, the people, the stores. It was all right. Everything was all right.

The slavery to one space and time was gone.

Exit From the Matrix

We can live on this Earth, we can take action on this Earth, we can make this place better, and we can do it while being free from it.

We can enjoy this place, we can love this place, and we can do it while being free from it.

We can love those closest to us so much more.

We can have power, we can have and use creative power with no limit.

As I kept walking down the street, I saw only one problem. Well, it wasn’t a problem, it was a situation.

It’s a situation each one of us faces. What about other people? What about everybody else? Can we continue to live, on and on, and do absolutely nothing about other people? Can we ignore them completely?

Can we ignore the fact that so many of them are living in a waking dream about a Matrix with one central impersonal and inhuman center of power? A center which they accept as final, a center which determines their fate?

And if we decide the answer is no, we can’t forever ignore all this, can we take action without compromising a shred of our own individual power?

Can we avoid going down into a hole where we sacrifice ourselves?

Can we keep expanding our own creative power without limit?

That night, I decided it was all possible. It was doable.

I haven’t changed my mind.

All these years later, that’s why I put together Exit From the Matrix, with no compromises, and I’m proud to say it.

1500 years ago, and perhaps for the first time on this planet, a small number of practitioners in Tibet had an idea. They decided that the universe was a product of mind. The space-time continuum was a product of mind.

They went much further. They decided they could do exercises that would reveal this fact, not merely as an intellectual proposition, but as a living breathing truth.

They could invent new space and time and energy out of nothing. They could re-assume their natural state, which had been sidetracked and hijacked and forgotten.

They could stand on their own and turn imagination into reality, and retract reality back into imagination, from whence it had originally come.

That’s the prime tradition. It has been buried under welter of diversion and nonsense and chicanery.

And now the tradition returns and taps us on the shoulder.

It’s time. Our time.

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 hidden paranormal people

The hidden paranormal people

by Jon Rappoport

October 31, 2013

www.nomorefakenews.com

Conventional physics argues that all the tiny particles which make up the universe are:

neutral and unconscious and dead—

And yet, say these same physicists, the brain, which is only a collection of such particles, is conscious.

The absurdity of this contradiction can only be sustained by monopolistic authority.

Consciousness is as non-material and paranormal as paranormal can be.

Without it, obviously, we would not be communicating right now. We would not be here. We would not Be.

Categories like telepathy, ESP, clairvoyance, and telekinesis don’t tell the whole story. They’re just a pale reflection of the fact that Existence itself is paranormal.

Consensus reality, on the other hand, is a stage play based on the notion of “normal.”

So here we are, and we’re all paranormal, and we’re living in a normal world. If that isn’t a joke, if that isn’t a sickness, if that isn’t a conspiracy, what is?

The Matrix can spawn one Agent Smith after another, like a machine turning out products, and still the incalculable and magical fact of consciousness endures beyond the machine.

The stage play called reality is dedicated to top-down control, because consciousness, if unleashed as creative power, if allowed to flourish, would explode the stage flats and take us out into an open sky of such varied magic it would ring in a multiverse of unpredictable beauties…none of which require supervision from the psychopaths behind the curtain.

Making life into a machine is the goal of elites. We, on the other hand, see something else.

We don’t need to define what that is in a lab. We certainly don’t need to develop algorithms that purport to define what we are.

…Forty years ago, I was hired to tutor a young girl in arithmetic. She was having trouble with long division. She was in sixth grade, and she couldn’t do division. This is what I was told.

So one night I walked into a very large house in West Los Angeles. The mother, tall and thin, a remote ghost, led me into a cavernous living room, in the center of which sat her daughter, at a small table.

The mother gestured vaguely and glided off into unknown rooms and left the two of us alone.

I sat down. I gave the girl a couple of division problems to work, and she couldn’t. She grimaced.

“Don’t worry,” I said. “We’ll fix it.”

I asked her to explain what she was confused about. I wanted to get her to talk. She thought about it and recalled a few experiences in arithmetic, from third grade.

I sat there and listened. As she talked, she raised her head and started looking at me. There we were, in a huge quiet house, a dead house, two people, two strangers.

Something clicked. She began smiling.

She said, “I can read very well, but I can’t do division.”

I smiled, too, because it seemed there was a joke here, and it had nothing to do with math. It had to do with her whole life, the house, her parents.

Neither of us quite knew what was going on, but we were in the moment.

Without thinking, I said, “You’re in prison.”

She laughed.

I said, “Right now, I don’t know why but I feel like I’m in prison, too.”

We both laughed.

That was all it took.

I brought her back to the beginning of division, started from the bottom, and we worked our way up to more complicated problems. It took about an hour and she was fine.

Exit From the Matrix

I felt like we were two undersea divers, our oxygen lines were crossed and pinched, and we’d worked out the kinks. We could breathe again.

After that, we talked about her school, my days in school, teachers. She mentioned tomatoes. She said she was growing them in the back yard.

She took me through a few large rooms into the yard, turned on the pool lights, and we walked along a path to her garden, by a high fence.

The vines were tall, and the red tomatoes looked splendid.

We walked back and sat down at a table by the pool and looked at the water. All of a sudden, things shifted. The night sky was wide open. I could feel the air on my face. I could smell flowers.

“It’s a nice yard,” I said.

She nodded. “I’m reading everything Charles Dickens wrote,” she said.

“Why?” I said.

“Because it doesn’t seem to end,” she said.

I thought about it.

“Some things are like that,” I said.

“No,” she said. “Everything is like that.”

I looked at her.

She was smiling. Her face was radiant.

“Remember what you just said,” I said.

“I will,” she said.

She put out her hand. I shook it.

That was the end of the lesson.

I’ll always remember it, too.

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 paranormal as an object of ridicule, scorn, and fear

The paranormal as an object of ridicule, scorn, and fear

by Jon Rappoport

October 29, 2013

www.nomorefakenews.com

If you want evidence that paranormal abilities exist, Dean Radin’s groundbreaking book, The Conscious Universe, will supply it. Radin examined hundreds of well-formed lab studies and concluded that the performance of human volunteers demonstrated, statistically, such abilities.

But this article is not about that. Nor is it about woo-woo people who see extra-sensory influences everywhere.

In movies, the paranormal is usually presented as horror, something that jumps out of the wall and attacks people.

Otherwise, “paranormal” is used as a term of scorn, like “conspiracy theorist.” It refers to people who should be isolated from the general population, for fear they’ll spread contaminated delusions.

The media transmit this scorn and ridicule by choosing the most bizarre stories:

A Biloxi bus driver told a local reporter, “While I was eating a hot dog in the corner coffee shop, an invisible Martian snatched it away from me and shoved it in his ear.”

Underlying all this nonsense is a core subconscious anxiety about consensus reality: it may be a sham.

The laws of physics may be provisional and subject to suspension.

And worse yet, there may be people among us who have experienced what happens when these laws are suspended.

People may have experienced telepathy, accurate glimpses of the future, and other “illegitimate” phenomena.

“We need police to squash these happenings.”

Well, we have them. Friends, neighbors, family, co-workers, scientists, teachers, pundits. Which is to say, those who collaborate to sustain consensus about what is possible and what is not.

And then, to put the cherry on this cake, we have various “people of faith” who twist that faith and label anything that borders on paranormal: demonic influence.

They will also tell you that whiny adolescents who picked up and fell in love with a rather dreary novel, Catcher in the Rye, came under the control of The Dark Prince.

Putting all this aside, paranormal means: you tapped into life beyond the belief-network of the collective. You went farther.

And that’s the problem for the collective. That’s the only problem. You found a hole in their waking dream. You walked through it and found yourself connected to something more.

Their waking dream is political, economic, and social, but it is also scientific. Their science, which conceals its own lunatic and unproven assumptions about the universe, denies “the farther shore.”

And here I want to mention an ignored aspect of the paranormal. Paranormal isn’t merely isolated gray moments of “weirdness.” It’s full-bodied and emotional. It has a joy to it. It reestablishes more of yourself.

It comes as something whole. It’s alive.

And in the same way that a child learns to repress his own natural exuberance, because it contradicts the crazed low-level conformity of the group, people who do, in fact, experience (and create) the paranormal often feel compelled to repress their full-blooded emotions.

If, on the off-chance, they are willing to admit they had a telepathic connection or saw into the future, or spontaneously healed, they’ll shy away from confessing to the thrill and the ecstasy of it.

But that thrill and ecstasy are as natural as rain. They’re part of what we are. They’re the ground of being. They’re what we are, on the other side of the stale waking dream.

There is nothing spooky about the paranormal, except in the movies and in minds riddled with fear, minds repeating the mantra: there is only the ordinary, only the ordinary, only the ordinary.

Whereas the fact of Existence itself is paranormal.

Exit From the Matrix

The Pentagon (DARPA) is working on a new program, using implants, to study in real time the signals the brain is emitting. This is a whole different animal.

Its announced medical use covers a motive that has to do with control & operation over soldiers. As usual, the mainstream scientists are looking at automatic reflexes.

True paranormal ability takes place beyond the brain. It is a voluntary creative impulse that starts in a non-material space. That’s where the action is.

And that’s where scientists fear to tread. Their entire orientation is locked-down repeatable cause and effect: the arena for dullards.

There are also research efforts to study and pinpoint and analyze imagination. These absurd programs are, of course, focusing on the brain, with the hope that eventually machines will become the new artists.

Well, machines can already create, if by that you mean rearranging data and image and word and symbol into endless numbers of patterns.

But that isn’t what art or creating or imagination are. And that isn’t what paranormal is about.

Some years ago, I interviewed a man who had scored quite high in a lab experiment testing for telepathy. I asked him how he succeeded. He said he imagined a secretary sitting in an office in Nebraska…and she supplied him with the right answers about what was being telepathically transmitted to him during the test.

Why a secretary?

Because, he said, a secretary in Omaha would be very sincere and would never lie to him.

I still laugh about that one. Try producing such an outcome with computers and brain signals.

If you think you can, I have condos for sale on Jupiter.

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 2, How I put together The Matrix Revealed: the paranormal

Part 2, How I put together The Matrix Revealed: the paranormal

by Jon Rappoport

October 27, 2013

www.nomorefakenews.com

Many people will not accept their own experience, when it exceeds their rock-hard idea of what reality is all about.

They will change their own past, their own memories, their own perception, if necessary.

This is how deep their loyalty to ordinary reality runs.

Crack after crack could appear in the Matrix, and they would feverishly patch them up, while pretending there are no cracks at all.

“I wasn’t patching anything. I was just painting my house…”

And if you think such people will ever admit to a role in creating their own narrow version of reality in the first place, you’re dreaming.

But an understanding of the Matrix has to involve both what elite controllers are doing to shape the world, and what each person is doing to define the limits of his own experience.

In September of 1974, exhausted, feeling at the end of my rope, wishing I could just take off from Los Angeles and find a place with white sand and blue water and a quiet cabin to sleep in for two weeks…

I found myself, instead, lying on a table in a dim room in a house in West LA, late in the afternoon.

One of the great body healers in the world, Hadidjah Lamas, who practiced a strenuous form of what’s calling Rolfing, was sitting next to me.

But she was just going to put her hands on my head, because that’s what I asked her to do. I had a feeling something might happen. I had a great deal of experience doing a simple form of “laying on of hands,” and I needed that myself now.

She held her hand on my forehead for fifteen minutes or so, and absolutely nothing occurred.

Then, with my eyes open, lying on my back, I saw a black contraption that looked like a mask. It seemed to be made out of iron. It was shaped like a skull. Strips of iron with spaces between them.

It meant nothing to me, but it was quite startling, especially because my eyes were open and this iron mask was sitting there, in the air, about a foot in front of my face.

It began to revolve, spin slowly in place.

It spun faster, and then like a ship gathering momentum, it moved off away from me toward the far end of the room.

It picked up speed and vanished through an open door and was gone.

This was rather astonishing.

I lay there.

Then, at the edges of my perception, little glitters of blue and yellow appeared.

More of them showed up.

Within perhaps 15 or 20 seconds, the blue and yellow were a sparkling field, and the field was all around me, and I was lying in it.

The field was pulsing.

I was going through rapid stages of relaxing, deeper and deeper, sinking into myself.

Finally, I just lay there and looked at and felt the field.

I said, “I think I just had my vacation.”

I got up off the table, stretched, and felt quite fantastic.

As Hadidjah and I talked, I noticed that the pitch of my voice had dropped a few notches.

Later that night, at home, I was sitting in a chair looking out the window, and I noticed—as if it were quite natural—that the trees, the street, the lights in other houses, the lawns were all, how to put this… participating together, collaborating to constitute a painting, a scene. They were animations of ideas. They were expressing themselves. They weren’t merely “there.”

Being “merely there” was an illusion we smugly and rationally employed and projected to assure ourselves that physical reality was solid, straightforward, and monolithic.

Or illusion was an overlay. A concept. A habit.

“Things in space” were actually “doing art” by expressing themselves. In that sense, they were alive, unmistakably so.

You might even say they were delighted at being able to show us what they were.

Whereas we usually perceive in a kind of monotone flat fashion, satisfied with far less, for the duration of our lives.

I realized how far people would go to protect their perceptual overlay on the world.

The Matrix Revealed

Fifteen years later, when I told my friend and colleague, hypnotherapist Jack True, about this experience, he said, “Don’t stop now.”

“Don’t stop what?” I said.

“The whole investigation,” he said. “How we put ordinary reality together and keep manufacturing it. How we keep insisting it’s ordinary.”

The whole story of how I put together The Matrix Revealed is much bigger than what I’ve written here, but this is a significant thread.

What people call “paranormal” isn’t. It’s what happens when the “normal curtain” is taken away.

Richard Jenkins, the extraordinary healer I discuss in my book, The Secret Behind Secret Societies, once told me, “’Normal’ is like taking a wonderful meal, all the parts of it, and putting them together in a grinder and reducing them to a gray mixture. “’Normal’ is the gray stuff. It’s forgetting what you had before.”

Forgetting what you had before.

“Enhanced reality,” “magical reality,” was what we had before.

Since that 1974 experience, I’ve worked on developing exercises that bring us back toward enhanced reality, because information is half of the process of understanding Matrix. The other half is daily practice that yields the actual experience of awake consciousness. I’ve included exercises designed for that purpose in Exit From the Matrix.

For this work, I have to thank, in part, Jack True and several of his patients, who showed me that expanded perception of reality is factual, it can be integrated into life, and it is normal in the best sense of that word.

The investigation of Matrix inevitably leads back to Tibet where, 1500 years ago, exiled teachers from India, who had challenged major premises of the academic culture in their home country, wandered into Tibet and started “schools.”

These schools were very practical in nature. They taught that one’s own experience was paramount, and exercises designed to increase creative power would open doors and reveal secrets about the basis of reality, secrets that had been buried under a welter of ideas that added up to political control.

For a period of time, in Tibet, the control was removed, and as I would put it, infinity was laid out in full view, for those who wanted to see it.

The machinery of the Matrix was set aside, like a foolish joke.

Everything I’ve been doing for the past 20 years is unalterably committed to the conviction that we, now, can provide the punchline to the joke. And live at another level.

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

How I put together The Matrix Revealed

How I put together The Matrix Revealed

by Jon Rappoport

October 26, 2013

www.nomorefakenews.com

This research and work, along with the work for its companion collection, Exit From the Matrix, took 25 years.

It started, in earnest, when I met hypnotherapist Jack True, in 1986. I was four years into a career as a freelance reporter.

A mutual friend introduced us in the UCLA Biomedical Library on a Saturday afternoon. Jack didn’t waste any time. He led me down into the lower stacks, where bound volumes of medical journals stood on shelves. He pulled out a few volumes.

He showed me studies that indicated the diagnostic tests for detecting HIV, the reputed cause of AIDS, were highly flawed.

“This is just a sample,” he said. “I wanted to show you you can find medical insanity in their own journals. It’s everywhere.”

He looked around us.

“You should write a book on the scientific fraud called AIDS,” he said.

We were off to the races. A week later, Jack introduced me to a publisher, and we struck a deal in an hour in a coffee shop in West LA.

In 1988, the book was published: AIDS Inc., Scandal of the Century. The full text is included in The Matrix Revealed.

During the writing of AIDS Inc., I learned about many medical frauds of the highest order. The walls of my small LA apartment were jammed with notes and reminders and journal citations. I taped them, tacked them, and stapled them there so I’d always have them in front of me. That was my filing system.

I was amazed at how much of my college training in logic came back to me. I needed every bit of it to navigate the lies, the false trails, the rank fraud, and the cover stories that obscured the true meaning of what I was researching.

Years later, when I put together The Matrix Revealed, I included my own logic course, knowing what essential knowledge is contained in that discipline, first codified by Aristotle.

As I was finishing the book, Jack True mentioned that he’d like to sit down and engage in a series of formal conversations, interviews, on his own work in hypnosis and deprogramming.

I eagerly agreed. It was the beginning of a period of exceptionally exciting mutual research on the mind. Jack, who died in the early 1990s, was a genius in his field. His insights are unparalleled. I included 43 of these interviews (320 pages) in The Matrix Revealed.

He said to me once, “I stopped doing hypnosis when I realized that my patients coming through the door were already hypnotized in a very deep place. I began to develop ways to wake them up. This led me into areas of what’s called paranormal ability—it’s really quite normal. People are living a sub-normal dream of very convincing quality. That dream is what people call their minds…”

A week or two after AIDS Inc. was published, Jack told me the book was on its way, in a diplomatic pouch, to Russia. He had a friend who’d sent it off. Apparently, the Russians were quite interested in potential research fraud at the US National Institutes of Health.

I never heard back from Russia, although I did have a brief correspondence with Jakob Segal, an East German biologist, who rejected US research on AIDS. He wrote me an interesting letter. I replied, pointing out what I considered were flaws in his own analysis. He didn’t answer.

The Matrix Revealed

Jack True made one further connection for me. It proved to be one of the most important of my life. He introduced me to a man who went by the name of Ellis Medavoy (pseudonym).

Ellis had been impressed by my book. It turned out he was a retired propaganda operative—and not just any operative. He’d carried out some of the most important psyops of our time, along with his colleagues.

Ellis was ready to talk off the record, in detail. Once I confirmed his background, he and I began a series of interviews. One of the first things he told me was: “Most propagandists are hacks. I want to give you the full story of how it’s done, how it works, and why it works. To grasp that, you need to understand the mind in a different way…”

In The Matrix Revealed, I’ve included 28 interviews with Ellis (290 pages). Together with Jack, these conversations convinced me to go digging further into the ancient fabled civilization of Tibet, before it became a theocracy saddled with control and a whole pile of metaphysical baggage.

I was very happy to confirm that core principles of Tibetan spiritual exercises dovetailed very well with what Jack True and Ellis Medavoy were revealing about mind programming and how the Matrix operates, in the external and internal worlds.

So these are a few of the threads that led me to put together The Matrix Revealed, and to stand firm, over these last years, on what I’ve learned.

I started out as a reporter…and eventually realized how wide and deep the field really 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. 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 pleasure model of the future

The pleasure model of the future

~a short story~

by Jon Rappoport

October 25, 2013

www.nomorefakenews.com

The worn document has passed from hand to hand in the underground. The title? “Life in the Pleasure Dome.”

Its date of publication is uncertain, owing to the torrid years of revolution and state repression. Most estimates place it at 2067.

The man who signed it is long forgotten, but it’s rumored he’d worked for the US Department of Control (aka “Sphincter”), an offshoot of the old Homeland Security Force.

He was, perhaps, a scientist with special access to the President, the Congress, and the Pentagon.

Why is this document so important? Because it mirrors recent developments—in particular, the mass drugging of the population, under the guise of mental health care.

From page 56 of the document: “The aim of the New American Order must be the reduction of pain and suffering, in favor of pleasure. The population must glimpse light at the end of the tunnel. New drugs in the research pipeline must deliver pleasure at a level that cannot be denied or ignored by the user.”

Many people believe in the current drugging program. They feel the pleasure. They are satisfied with their lives, regardless of external conditions.

But on page 294, we see the underpinning of the whole program:

“Pleasure alone is not enough. There must be an accompanying belief that the satisfaction-quotient these drugs create is acceptable, is a ceiling on what is possible in a life lived.

“For that, we need a general lowering of expectation, because the drugs cannot stimulate the kind of pleasure that comes with holding ideals such as freedom, independence, power, and imagination.

“These ideals must be eradicated. Then the drugs will suffice. Then the pleasure they bring will seem to be enough.”

In other words, a person who is still conscious of his own innate freedom, power, and independence will experience profound pleasure. The drugs do not and cannot deliver sensation at that level.

Therefore, our leaders state, the consciousness of freedom, power, and independence must be wiped out in the population.

In the underground, we know such a program is underway. It has been operating for many years.

As evidence, I point to the standard federal review form, X-12f-B, which is a series of questions put to every student in the United States before he graduates high school, and to every person in the country during a job interview of any kind, as well as to every person who applies for government benefits.

Buried in this standard form are the following:

“When was the last time you felt free? What year?”

“Did you feel free when you were a child?”

“Has anyone told you you should be free?”

An interviewer asks these three key questions to every American. If the answers suggest that the interviewee does, or once did, feel free, he will, sooner or later, be shunted into the so-called Road System, which is an untrained and unprotected workforce sent to toxic waste areas to do cleanup, on a seven-year federal contract.

Then we have the federal psych eval network, which functions as an offshoot of the NSA Home and Workplace Surveillance Anti-Crime Mandate (NHWSACM).

By electronic means, through remote brain scans, a belief-system profile is assembled on all Americans. Among other assessments, this profile determines to what degree people have any deeply held

convictions.

The content of such beliefs doesn’t matter. What matters is the level of commitment to the beliefs.

The underground has learned that these profiles are used to identify Americans who still have deep faith in anything. Those who do are placed in several different types of grinding manual labor forces.

The whole idea is to separate and wall off “believers” of any kind from the general population.

Over time, the people of America will, presumably, accept the pleasure drugs as the highest form of life.

The drugs will become the ideals.

What the drugs impart will be the only recognized “higher pleasure.”

There will be nothing else.

That is why we in the underground have developed an antidote. It is based on an old formula which has been wiped from all public and private records.

Exit From the Matrix

It used to be called “organic.”

That term is now outlawed.

We now use “Organic” to indicate a secret vegetable concentrate, which will offset some of the effects of the pleasure drugs.

We grow the vegetables in hundreds of hidden places on the planet, and we are dispensing the concentrate widely. If we are discovered and captured, we will disappear.

The aim of our plan is simple. If enough people, ingesting the Organic, experience less pleasure from the drugs, they will wake up and see that their lives can encompass More.

Watch out for agents of the FDA. They are legion. Even if they are not wearing SWAT uniforms and armor, they carry weapons. The younger agents were raised, from childhood, in breeding facilities, and they have never eaten vegetables…they were trained to consider them vile poisons.

These breeding centers are funded and run by the Grocery Manufacturers Association. Apparently, the GMA used to be a money-laundering crime family, which secretly raised money to promote genetically modified food, when Earth still sustained non-GMO crops.

Now, they are officially a department of the combined FDA-USDA Strike Force. They deploy drones, and they also go on door-to-door searches.

Just last month, in Madison, Wisconsin, a group of dissident students, upon observing five agents moving door to door in an off-campus housing district, displayed bunches of broccoli and spinach—before the agents could draw their weapons—and induced a panic.

Three agents suffered strokes, and a fourth ran to a city fluoride holding tank, dove in and drowned.

One student shouted: THIS IS HOW WE DEAL WITH VAMPIRES!

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

How the Matrix deals with power

How the Matrix deals with power

by Jon Rappoport

October 22, 2013

www.nomorefakenews.com

I’ve been asked to reprint this piece.

Here it is a with a new brief introduction.

Most people use memory to explain why they’re living the lives they have. They arrange memories as if they’re symbols, and the sum is: this is the life I have; no other.

If you could somehow take away all those memories and insert a whole new synthetic raft, people would arrange those to come to the same conclusion. And the same life.

So it is with the world. People look out at it and decide, on some subterranean level, that the world dictates what degree of choice and power they possess.

Put them in a different home, a different city, on a different planet, and they would eventually settle on the same assessment of their power: small.

In that sense (and many others), memory and the world are constructs the individual ingests, arranges, and builds to suit and fortify his conception of his “geometry”: the shape of his life.

In previous articles, I’ve been making clear how THE VOICE narrates the story of our times through television anchorage.

The elite anchor is groomed to be able to induce a seamless hypnotic trance in viewers and make HIS voice THEIR voice.

There is power in a voice.

A voice can change reality.

Your voice is the voice that destroys the narrative that has been sculpted for us. Your voice is the voice that rolls over the voice of the elite anchor and the other elite leaders who speak for us.

When your voice become your VOICE, you connect with something oceanic that rips away false separations and false systems and false ideas and deserts of sand on which our fake reality is built.

We pretend to be small. We pretend to be whispers. We pretend to be confused. We pretend to be creatures living inside the space of this deluded society. We pretend to be clueless. We pretend to have such limited power.

We pretend.

We pretend that some overriding system or structure SUPERSEDES OUR OWN VOICE. We bow down to that system, and then we see what that does to our own power. It diminishes it. It makes our voice small. It makes our voice thin. It makes us into weaklings.

It makes us walled off from each other, from THE REAL EACH OTHER. The real each other is each one of us with power, with A VOICE.

The word “rant” is interesting to analyze. It originally referred to someone speaking in a completely unhinged way. Its recent online meaning was invented by tech heads, who adopt a “cool” attitude toward problems and answers. These cerebral types consider any outward display of passion or outrage to be a rant. For them, the “ranting voice” is suspect.

Try this experiment. Find a piece of writing you love that expresses great passion and poetry. Read it out loud while you’re alone. Read it out loud 50 times over the course of a few days. Inject your own passion into the words. If you’re not already lying in a coffin, something unexpected will happen to you. You’ll find yourself coming alive in a larger way. You’ll experience glimpses of your VOICE.

This has to do with BEING ALIVE.

You’ll experience the absence of little structures and systems.

Keep reading that passage over and over. Put everything you have into it. Don’t stint. Put more and more feeling into it.

Then, watch the evening network news. Listen to the tone of the anchor. Pay attention to how he establishes a continuity. No matter how absurd you thought the evening news was, you’ll now comprehend that absurdity from an entirely new perspective.

As you expand your own VOICE, and as you EXPRESS WHAT YOU TRULY WANT TO EXPRESS—-YOUR OWN THOUGHTS, YOUR OWN IDEAS, YOUR OWN FEELINGS, YOUR OWN INVENTIONS—you are cutting away layers of stagnant consciousness. Each one of those layers says: “reality is THIS.” Each layer has a different restrictive portrait of reality, and as it disintegrates and tumbles away into space, you become freer.

The VOICE.

A path to greater power, greater aliveness, greater empathy, greater engagement, greater self, greater community, greater wholeness.

Your voice, not the anchor’s voice. The anchor’s voice operates on behalf of the established corrupt order, as a mesmerizing tool. Your VOICE liberates you and others.

Many years ago, I was teaching a small class in a school in New York. The kids were all retreads from other schools, where they didn’t make it for a variety of reasons.

They were in a constant state of distraction. Unteachable.

So I picked a short passage from a poem by Dylan Thomas. A few lines. A few great lines. I had each student read the passage out loud. Then we all read it together. Then we went around and around with each child reading it again—I urged more feeling, more expression.

It was like trying to break through an iron ceiling. Each kid read the lines in a monotone. It was eerie, as if they were all in a trance. But I kept going anyway.

Nothing doing. Nothing happening.

Then I said, “I’m going to read these lines like a newscaster would read them.” I gave a pretty good impression of an anchor.

The kids cracked up. They thought it was very funny. They immediately grasped how ridiculous the anchor’s voice sounded trying to give feeling to poetry.

The kids began reading those lines as if they were news anchors. They had a great time with it. That’s what broke the ice.

“Now,” I said, “stop conning me. Read the lines with your own feeling. Come on. Put something into it.”

And they did.

Around and around we went. Each kid must have read those lines a dozen more times. They got into it. They shed their embarrassment.

The VOICES that emerged that day in class convinced me that everyone has a VOICE, and it cuts through layers of conditioning like a knife through butter, once it’s unleashed.

These kids were titanic.

When we were done (I was reading the lines too), we all sat there and looked at each other in amazement. We knew. We knew we had cracked the egg. The spell of “flat reality” had been broken. We were all alive in a new way.

The famous lines we read?

Do not go gentle into that good night,

Old age should burn and rave at close of day;

Rage, rage, against the dying of the light.

Though wise men at their end know dark is right,

Because their words had forked no lightning they

Do not go gentle into that good night…

Although the overall sentiment of that poem might appear to be a kind of futility, when we read the lines over and over, WE came to a different place. A place where we knew that our words COULD fork lightning.

And then we read, from Fern Hill:

Now as I was young and easy under the apple boughs

About the lilting house and happy as the grass was green,

The night above the dingle starry,

Time let me hail and climb

Golden in the heydays of his eyes,

And honoured among wagons I was prince of the apple towns

And once below a time I lordly had the trees and leaves

Trail with daises and barley

Down the rivers of the windfall light…

the calves

Sang to my horn, the

Foxes on the hills barked clear and cold,

And the Sabbath rang slowly

In the pebbles of the holy streams.

To be astonished by something you see on a screen is one thing. To be astonished by what your VOICE can establish is light years beyond that.

VOICE is relentless life.

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 artist vs. the “religion” called consensus reality

The artist vs. the “religion” called consensus reality

by Jon Rappoport

October 22, 2013

www.nomorefakenews.com

Time and time again, we come back to this: the core of the individual human being is creative power, imagination, invention.

Through the ongoing process of the creative act, an individual moves higher and deeper into uniqueness. In the long, long run, everything else turns out to be a short-circuited consensus, an attachment to a story told by someone else.

Basically, the mechanical structure of consensus is derived from the concept that:

Everything is connected to everything.

This notion is increasingly hailed as a positive marvel. For example, in quantum entanglement, paired particles, even at great distances from each other, both react to an impact on either particle.

“Everything/connected” produces a sensation of Weave&All Inclusiveness.

It’s ultimately designed for long-term rental. The occupant is there, and there he will stay.

Feeling this “everything is connected to everything” is meant to instill a sense of the sacred. The mind completes the equation: sacred=forever.

But this kind of “sacred” is no more forever than listening to a Bach concerto is forever. It’s one thing to bathe in a majestic feeling. It’s quite another thing to infer it means eternal occupancy.

There are many people ready to shake your hand and embrace you and welcome you into the labyrinth, the weave, the connection of everything to everything.

People aspire to be wired into the “everything/connected” apparatus as their highest ambition—which is their primary substitute for imagination.

That they don’t realize this doesn’t make it any less true.

Let’s say you’re an actor. You work in a repertory theater that stages 100 plays. In each play, you have a role, a different role. You’re “connected” to each one of those roles. BUT YOU’RE AN ACTOR. That means you can inhabit a role and then take it off like a coat.

However, this distinction is lost on most people. When they hear that “everything is everything,” they grab that role and hold on to it and move in, lock, stock, and barrel, hoping it will be forever.

The idea of “everything/connected” is quite old. You can find it enunciated in ancient Egypt and China, and traces of it exist in Aristotle. It’s sometimes arranged as a hierarchy. The “great chain of being.”

So are we talking about an architecture of the universe or a notion in the mind?

Think of “everything/connected” as a style of building among various possible styles.

And its goal is the inducement of awe. That is the stage play.

People join the “everything/connected” church. They want to be in that congregation.

When you take apart the “everything is everything,” it’s not as sensational as it first seemed.

The Matrix Revealed

Let’s pretend that a few Chinese sages, long ago, decided to float a trial balloon.

They spread the word that opposites could resolve in a state of harmony (everything connected). Each polarity could reflect the other.

It was a poetic thought that might be embedded in a few verses.

The sages watched and waited. Eventually, they saw that this fancy had taken hold. In fact, it had become embedded in a philosophy. It was now being discussed as a principle of the universe, the cosmos.

The sages were shocked but not surprised. Humans exhibit strange fetishes.

What started out as a poet’s passing rumination on a summer afternoon—entertained purely for the purpose of writing verse—was now an all-embracing weave of metaphysical consensus.

I use this as an illustration of “piling on”—adding one piece of imaginative art to another, on and on, and inferring that the sum is Ultimate Reality (consensus).

Richard Jenkins, the extraordinary healer I write about in The Secret Behind Secret Societies (part of the Exit From the Matrix collection), once told me, “Most people aren’t satisfied with just two or three myths. They have to keep adding new ones. It’s like children with dolls and clothes. You’ve got to have more outfits.”

Nearly 40 years ago, I rented a garage in Santa Monica and turned it into a studio. It was small, and I wanted to paint large. I stretched three canvases, the biggest of which was 15×8 feet. Because there wasn’t enough room in the studio, I kept painting over that canvas.

Six months later, I had done perhaps 15 paintings on the one canvas—each painting covering the one before it. I’d used all sorts of paints—acrylic, oil, enamel. Finally, I painted the whole thing black.

I looked at the black space for a few days, and I noticed there was a small glint of light green peeking through in the lower left.

I worked at the area with my fingernails, and suddenly a two-foot section of black came away like a swath of rubber, exposing many colors and shapes, which were intact.

I realized that, because I’d used different kinds of paint, the layers hadn’t adhered perfectly.

For the next week, using a screwdriver and a mallet, I uncovered painting after painting, going back in time.

Eventually, I settled on a painting composed of several layers. I liked it.

Exit From the Matrix

If I had been a devotee, I would have fallen on my knees at that point. I would have, for the moment, been happy I’d determined how many layers (myths) were necessary to give me the One Painting For All Time. The permanent fixed reality.

But it was a painting. And of course, since I was the artist, I knew that.

Consensus reality endures because there is an audience for it.

And audience is fascinated by, and glued to, STORY.

For example, the hero is faced with a problem which turns into a mystery, and he then penetrates the mystery after much work and danger—during which time his friends lose faith in him—and finally he does away with the villain at the heart of the mystery…

WHATEVER KEEPS AUDIENCE BEING ONLY AUDIENCE KEEPS CONSENSUS REALITY IN PLACE.

For the most part, audience wants to remain being audience, and it will search for and rationalize ways to do just that.

Story has beginning, middle, and end. This pattern, so obvious and universal, is rarely thought about, but it creates a trance. Try writing a story without that sequence and see how many people want it.

“I’m audience, and I want beginning, middle, and end, over and over.”

Part of being audience is experiencing the letdown that happens after the story ends. This depression stimulates the need for another story. And on and on it goes. But the letdown, at a deeper subconscious level, is really about a dissatisfaction with the WHOLE PATTERN of story—people want to break out of that. They want to conquer that addiction.

And how is that done?

Well, the first step is being able to invent stories of your own.

And this is where people balk.

At a conference some years ago, I gave a talk about freedom. In the middle of the talk, I told the audience we were going to do a few exercises that would possibly stimulate their sense of freedom. The very notion that I was asking them to DO something, to come out of their audience-trance…which they hadn’t expected, caused a stir, a sense of apprehension. They were programmed for beginning, middle, and end—and I was suddenly shredding that.

They had planned on being entertained with the notion of freedom.

After the lecture, a friend of mine came up to me and said, “Did you catch what happened there, when you told them you were going to have them do exercises?”

“Sure,” I said. “I did it on purpose.”

AUDIENCE DOESN’T INVENT.

THEY EXPERIENCE.

AND THAT’S WHAT THEY WANT.

MATRIX.

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