The creative center of the world

The creative center of the world

by Jon Rappoport

April 16, 2014

www.nomorefakenews.com

“After the final no there comes a yes and on that yes the future of the world hangs.” — Wallace Stevens

What would happen if the world were enveloped by art? And if we were the artists? And if we owed nothing to any hierarchy or external authority?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

They pretend they’re not.

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

Creation of deep desire with great fire, as fact in the world, IS the definition of magic. That’s what magic is.

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

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

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

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

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

power outside the matrix

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

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

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

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

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

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

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

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

And then?

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

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

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

There are artists like Stravinsky, like Gaudi, like the composer Edgar Varese, like the often-reviled American writer Henry Miller, like Walt Whitman (who has been grotesquely co-opted into a Norman Rockwell-like prefect), like the several great Mexican muralists—Orozco, Rivera, Siqueiros—all of whom transmit an oceanic quality.

As in, The Flood.

There is a fear that, if such artists were unleashed to produce their work on a grand scale, they would indeed take over the world.

Our world, contrary to all consensus, is meant to be revolutionized by art, by imagination, right down to its core.

That this has not happened for the best is no sign that the process is irrelevant. It is only a testament to the collective resistance.

Who knows how many such revolutions have been shunted aside and rejected, in favor of the consensus shape we now think of as central and eternal?

We are living in a default structure, the one that has been left over after all the prior revolutions have been put to sleep.

But creation is not neutral.

It flows out into the atmosphere with all its subjective force.

Were you to embark on a uniquely passionate course of creation, enlarging the scope at every turn, you would launch out of the realm of the push-pull humdrum Earthside disintegrating disaster…..and into the realm of what you INVENT….

Magic.

As more and more of us moved forward in this way, THAT would become the transformation we have been unconsciously hoping for. That would relentlessly make society over. That would eventually shatter the influence of all cartels and monopolies of physical and emotional and mental and spiritual experience. Not because we wished it were so, but because we made it happen.

Jon Rappoport

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

The blockbuster movie called Reality

by Jon Rappoport

April 14, 2014

(To join our email list, click here.)

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

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

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

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

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

She fumed in silence.

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

OK, here’s the piece…

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

Is this a good idea?

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

Your perception of x dimensions is narrowing down to three.

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

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

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

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

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

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

The lights dim.

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

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

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

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

He waits, then moves on.

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

You’re shocked.

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

Incredible.

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

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

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

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

You walk toward larger buildings in the distance.

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

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

“You were reported missing,” he says.

“Missing from what?” you say.

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

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

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

One car sits on a side street. In large red letters printed on the trunk are the words Care and Concern.

You walk with the men to the car.

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

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

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

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

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

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

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

You hear faint music.

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

One of the uniformed men opens the car door.

You nod at him.

“My pleasure, sir,” he says.

The music fades away.

The scene shifts.

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

You’re home.

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

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

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

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

Where did they come from?

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

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

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

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

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

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

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

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

Yes.

You keep staring at the cottage and you see space.

You see space that…

Has been placed here. For you.

It, too, is threaded with the Familiar.

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

And you’re sitting in the theater again.

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

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

“Sir,” he says. “Please follow me.”

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

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

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

She drops a check into your hand.

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

She shrugs.

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

“And the rest of those people?”

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

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

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

“How do you do it?”

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

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

She nods.

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

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

Exit From the Matrix

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

She looks into your eyes.

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

“Why do you do it?” you say.

“Do what?”

“Sell this trip.”

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

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

You take a deep breath and leave the theater.

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

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

You open it.

It’s a non-disclosure agreement.

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

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

Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Artist exceeds limits permitted by brain researchers

~a short story~

by Jon Rappoport

April 12, 2014

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The year was 2054. The artist, living on the edge of the city in a small room, picked up his messages and discovered one from the Bureau of Mind Management. It was an order to appear.

In an office on the 15th floor of a virtual building, he sat in a chair surrounded by a ring of yellow tulips. A holographic interrogator materialized.

“We have a report on you,” the iFigure said. “It indicates an output difficult to measure or interpret. What can you tell us about this?”

“Well,” the artist said, “I’m composing a symphony.”

“A symphony? What is that?”

“It’s a piece of music written for a large orchestra.”

“I find no extant orchestras in the country.”

“That’s true,” the artist said. “Nevertheless, I’m composing.”

“Why?” the iFigure said.

“For that day when an orchestra may come into being.”

“Your thought impulses entered ranges we were not able to summarize.”

“I suppose that means your instruments are limited,” the artist said.

There was a pause.

“Your statement is incendiary,” the iFigure said. “It suggests we are imposing a restriction. As you well know, the science is settled on this point. We measure and interpret thought that contributes to an overall positive outcome, for the population at large.”

“I’m aware of that, yes,” the artist said. “But the science rests on certain assumptions. I would call it greatest good as a lowest common denominator.”

“What do you mean?” the iFigure said.

“You assume a certain mindset contributes to the consensus reality you favor. You legislate or permit a range of thought that will produce the consensus.”

“That’s a gross oversimplification.”

“It doesn’t describe the algorithms you employ,” the artist said, “but all in all I believe my summary is correct. You’re reality makers. You monitor thought-emissions, and when you find a departure from ‘combined averages,’ as you call them, you issue a citation.”

“What is this symphony you’re composing?” the iFigure said.

“It’s impossible to explain. It’s music.”

“It has a specific message?”

“No. If it did, I would write out the message and leave it at that.”

“Why have we not heard of you before?” said the iFigure.

“Because I was doing illustrations for the Happiness Holos.”

“What happened?”

“I became bored. A machine could make those pictures. So I decided to compose music.”

“The Happiness Holos are an essential social program.”

“Perhaps,” the artist said. “They encourage people to stay on the positive side of a fantasy-construct called Positive&Negative, which as you know is a State-sponsored theme. But what is superficially indicated by those two opposing sets is, in fact, fuel for the fire.”

“Fuel for what fire?”

“The creative fire. The artist can use and transform any material.”

“Where did you hear such a thing?” the iFigure said.

“Nowhere,” the artist said. “I’ve experienced it many times.”

“Your views are highly eccentric,” the iFigure said. “I will have to consult your childhood history to understand their roots.”

“I’m afraid that won’t do you any good.”

“Why not?”

“Because your version, the US Department of Psychology version of cause and effect, is propaganda for the masses.”

“This is your idea of a joke?” the iFigure said.

“Not at all.”

“When you compose this…symphony, how do you think?”

“It’s not thinking in the way you use the term,” the artist said.

“No? Then what do you do?”

“I invent sound.”

“Preposterous.”

“Large masses of sound.”

“Absurd. According to what underlying pattern?”

“None,” the artist said. “I assume you’re from The Library of Structures. You won’t find my activity in the catalogs.”

“All structures and patterns are contained in the files.”

“I doubt that,” the artist said. “But regardless, I don’t invent through pattern.”

“No?” the iFigure said. “How then?”

“I improvise.”

“And this term refers to?”

“Something done spontaneously,” the artist said.

“And you exceed prescribed ranges of thought in the process.”

“Perhaps. I would hope so. I don’t keep track.”

“You’re being flippant,” the iFigure said.

“I knew you’d cite me,” the artist said. “I’m just trying to enjoy myself until you pass sentence.”

“There is no sentence,” the iFigure said. “You’re an anomaly. We investigate. We consider. We direct resources. We question. We determine.”

“I’m afraid,” the artist said, “that your and my idea of ‘determine’ are quite different.”

“Let me ask you this,” the iFigure said. “When you are composing, do you ever believe you enter into a realm or area that could be called ‘non-material’?”

“Not if you’re referring to some fairyland. But all thought is basically non-material. The brain registers it after the fact. Thought, the real thing, doesn’t take place in the brain.”

“You’re deluded,” the iFigure said. “And disordered.”

“If I could simply confess to that and be on my way, I’d be a happy man. But I’m sure you have charges to attach.”

“You live in a society,” the iFigure said. “To keep the peace and maintain the Positive, from which all good things flow, science has discovered that thought should occur within certain parameters.”

“If you insist.”

“We want to study you. It’s a great honor to be called. You could help extend the boundaries of research.”

Exit From the Matrix

The artist was about to ask whether he had a choice, when a holographic webbing that looked curiously like a rainbow clamped him tight in his chair. The pressure increased.

“We register some variation from the norm in your present thinking,” the iFigure said.

“What present thinking?” the artist said.

“What you’re thinking right now.”

“That was quick.”

“The readouts are instantaneous…what are you doing?”

The artist took up from where he’d last left off, composing his symphony.

“I’m starting the third movement,” he said.

“Wait,” the iFigure said. His left arm sizzled and disappeared.

“This is the thunderstorm section,” the artist said.

The pressure of the rainbow around him relaxed.

The iFigure said, “What you’re doing is disruptive.”

“It’s because of how you set your frequencies,” the artist said.

He continued composing.

All along the major esplanade, and in the lake area, and in the industrial parks and residential high rises, virtual structures shattered like glass.

Then adjoining suburban towns blew away into the sky of the communal apparatus. The iFigure reminded the artist of one of those ancient neon signs, broken, buzzing, blinking. Finally, it went dark.

Ten thousand holographic government buildings started to explode, froze, and vanished.

The artist said to no one, “I’m just composing. Well, maybe not just.”

He was suddenly back in his room at the edge of the city. But now there was no edge and no city. The room felt like a vehicle traveling through space.

“I suppose this is what they mean by a negative consequence,” he said.

The room increased velocity and…jumped.

Jon Rappoport

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

Are black-budget ops creating new meta-crimes?

Are black-budget ops creating new meta-crimes?

by Jon Rappoport

April 10, 2014

www.nomorefakenews.com

The Surveillance State has created an apparatus whose implications are staggering. It’s a different world now. And sometimes it takes a writer of fiction to flesh out the larger landscape.

Brad Thor’s novel, Black List, posits the existence of a monster corporation, ATS, that stands along side the NSA in collecting information on every move we make. ATS’ intelligence-gathering capability is unmatched anywhere in the world.

On pages 117-118 of Black List, Thor makes a stunning inference that, on reflection, is as obvious as the fingers on your hand:

“For years ATS had been using its technological superiority to conduct massive insider trading. Since the early 1980s, the company had spied on anyone and everyone in the financial world. They listened in on phone calls, intercepted faxes, and evolved right along with the technology, hacking internal computer networks and e-mail accounts. They created mountains of ‘black dollars’ for themselves, which they washed through various programs they were running under secret contract, far from the prying eyes of financial regulators.

“Those black dollars were invested into hard assets around the world, as well as in the stock market, through sham, offshore corporations. They also funneled the money into reams of promising R&D projects, which eventually would be turned around and sold to the Pentagon or the CIA.

“In short, ATS had created its own license to print money and had assured itself a place beyond examination or reproach.”

In real life, whether the prime criminal source is one monster corporation or a consortium of companies, or elite banks, or the NSA itself, the outcome would be the same.

It would be as Thor describes it.

We think about total surveillance as being directed at private citizens, but the capability has unlimited payoffs when it targets financial markets and the people who have intimate knowledge of them.

“Total security awareness” programs of surveillance are ideal spying ops in the financial arena, designed to suck up millions of bits of inside information, then utilizing them to make investments and suck up billions (trillions?) of dollars.

It gives new meaning to “the rich get richer.”

Taking the overall scheme to another level, consider this: those same heavy hitters who have unfettered access to financial information can also choose, at opportune moments, to expose certain scandals and crimes (not their own, of course).

In this way, they can, at their whim, cripple governments, banks, and corporations. They can cripple investment houses, insurance companies, and hedge funds. Or, alternatively, they can merely blackmail these organizations.

power outside the matrix

We think we know how scandals are exposed by the press, but actually we don’t. Tips are given to people who give them to other people. Usually, the first clue that starts the ball rolling comes from a source who remains in the shadows.

What we are talking about here is the creation and managing of realities on all sides, including the choice of when and where and how to provide a glimpse of a crime or scandal.

It’s likely that the probe Ron Paul had been pushing—audit the Federal Reserve—has already been done by those who control unlimited global surveillance. They already know far more than any Congressional investigation will uncover. If they know the deepest truths, they can use them to blackmail, manipulate, and control the Fed itself.

The information matrix can be tapped into and plumbed, and it can also be used to dispense choice clusters of data that end up constituting the media reality of painted pictures which, every day, tell billions of people “what’s news.”

In this global-surveillance world, we need to ask new questions and think along different lines now.

For example, how long before the mortgage-derivative crisis hit did the Masters of Surveillance know, from spying on bank records, that insupportable debt was accumulating at a lethal pace? What did they do with that information?

When did they know that at least a trillion dollars was missing from Pentagon accounting books (as Donald Rumsfeld eventually publicly admitted on September 10, 2001), and what did they do with that information?

Did they discover where billions of dollars, in cash, shipped to post-war Iraq, disappeared to?

When did they know the details of the Libor rate-fixing scandal? Press reports indicate that Barclays was trying to rig interest rates as early as January 2005.

Have they tracked, in detail, the men responsible for recruiting hired mercenaries and terrorists, who eventually wound up in Syria pretending to be an authentic rebel force?

Have they discovered the truth about how close or how far away Iran is from producing a nuclear weapon?

Have they collected detailed accounts of the most private plans of Bilderberg, CFR, and Trilateral Commission leaders?

For global surveillance kings, what we think of as the future is, in many respects the present and the past.

It’s a new world. These overseers of universal information-detection can enter and probe the most secret caches of data, collect, collate, cross reference, and assemble them into vital bottom-lines. By comparison, an operation like Wikileaks is an old Model-T Ford puttering down a country road, and Julian Assange, reviled as a terrorist, is a mere piker.

Previously, we thought we needed to look over the shoulders of the men who were committing major crimes out of public view. But now, if we want to be up to date, we also have to factor in the men who are spying on those criminals, who are gathering up those secrets and using them to commit their own brand of meta-crime.

And in the financial arena, that means we think of Goldman Sachs and JP Morgan as perpetrators, yes, but we also think about the men who already know everything about GS and Morgan, and are using this knowledge to steal sums that might make GS and Morgan blush with envy.

Jon Rappoport

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

My writer’s tutorial

My writer’s tutorial

by Jon Rappoport

April 8, 2014

www.nomorefakenews.com

As my readers know, I’ve just launched my third mega-collection, Power Outside The Matrix: The Invention of New Reality.

One section of that collection is an eight-and-a-half hour audio presentation, The Writer’s Tutorial. This has been a long time coming. I’ve had many requests for it over the years.

It is a tutorial, in the sense that I give many specific advices to writers and people who want to be writers. But it goes a lot farther than that.

It’s about a core of imagination and power. That “inner place” is the wellspring from which a whole life can be lived. It’s language as energy.

The discovery of hidden energy, the invention of energy, worlds in the making—this is what the writer is involved with.

Many writer’s seminars urge students to “write about what they know.” That’s just one approach. Writing about what you don’t know is another avenue. What you don’t know, for a journalist, means research. For a novelist, poet, playwright, it means invention, it means knowing in a very different sense.

It means imagination. It means the desire to build new worlds.

I can mark great changes in my life by writers I’ve read. Writers give us confidence that our dreams and visions are real, more than real. Writers rescue us from the ordinary.

They even whisper in our ears, “You can do this, too.”

In my tutorial, I move from the large overarching theme of what being a writer is all about, to specific clues about how to write, how to make feelings and ideas operate on the page.

Whether you’re aiming for poetry, fiction, journalism, or simply reports at work, I’ve brought everything I can to the table.

I leave the matter of getting published to the professional magazines. In this tutorial, I speak to people who want more. More of a Voice that can move them and their readers to new heights.

power outside the matrix

Being a writer is, in part, about being a riverboat gambler—shoving in all your chips on your inner resources.

For a writer, or for anyone who wants to live a creative life, those resources turn out to be endless. Finally, we are talking about a capacity to imagine, a capacity that has no limit.

The overused word “spiritual” really does apply here, because it is through imagination and invention that a person eventually discovers answers to the great questions of life. Those answers are his own, not the second-hand myths broadcast by authority figures.

There is another payoff. Creating worlds of your own gives you intimate knowledge of how those-who-would-be-our-masters try to impose their world on us.

In 1978, Philip K Dick wrote: “…today we live in a society in which spurious realities are manufactured by the media, by governments, by big corporations, by religious groups, political groups…So I ask, in my writing, What is real? Because unceasingly we are bombarded with pseudo-realities manufactured by very sophisticated people using very sophisticated electronic mechanisms…it is an astonishing power: that of creating whole universes, universes of the mind. I ought to know. I do the same thing.”

As a writer, as a person living a creative life, ideas and energies and language and images and visions are your own. What a wonderful thing. What a fantastic enterprise. What an adventure.

Jon Rappoport

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

Al Sharpton: how deep is the con?

Al Sharpton: how deep does the con go?

By Jon Rappoport

April 8, 2014

www.nomorefakenews.com

Here’s the current breaking Al Sharpton story—From April 7, The Smoking Gun:

“The former mob snitch [Sharpton] has become a regular in the White House, where he has met with the 44th president in the East Room, the Roosevelt Room, and the Oval Office. He has also attended Obama Christmas parties, speeches, policy announcements, and even watched a Super Bowl with the First Family…

“His [Sharpton’s] former confederates were a decidedly dicier lot: ex-convicts, extortionists, heroin traffickers, and mob henchmen. The man’s [Sharpton’s] surreptitious recordings, FBI records show, aided his government handlers in the successful targeting of powerful Mafia figures with nicknames like Benny Eggs, Chin, Fritzy, Corky, and Baldy Dom…

“In fact, by any measure, Sharpton himself was a Mafia ‘associate,’ the law enforcement designation given to mob affiliates who, while not initiated, work with and for crime family members.”

http://www.thesmokinggun.com/documents/investigation/al-sharpton-764312

But let’s travel back to 2004. Reporter Doug Ireland, who has written for The Nation, TomPaine.com, In These Times, and LA Weekly, went deeper in evaluating Sharpton’s motives and allies.

power outside the matrix

From here to the end of this article, I’m quoting Ireland, from his February 21, 2004, article, “Rev. Al Sharpton: FBI Informant-Roger Stone’s Bitch,” originally published in LA Weekly and at webstonne.com, and then Conspiracy Planet:

In his 2003 autobiography, Al on America, the Rev. Alfred Charles Sharpton Jr. admits, “I have been guilty of letting ungodly things around me.”

And that was never more true than with the latest [2004] revelations about Sharpton, who has now been exposed as a cat’s-paw for the National Republican Party.

Rev. Al has a long and sordid history of posing as the champion of the have-nots, while renting himself out to the greedy have-everythings, which predates his ’04 GOP-funded presidential campaign. In 1986, he endorsed N.Y. Senator Al D’Amato for re-election — although D’Amato, a conservative Republican pit bull, was anathema to more issues-attuned black leaders.

In 1994, he helped dampen down the black vote for [Democrat] Governor Mario Cuomo by making a media-hyped appearance with successful conservative Republican candidate George Pataki just days before the election. In the 2001 New York mayoral campaign, he connived with GOP billionaire Michael Bloomberg in the defeat of the Democratic candidate, Mark Green.

But Sharpton has not limited himself simply to supporting candidates considered by most to be inimical to the interests of the impoverished black community.

A 1988 investigation by the Long Island daily Newsday revealed that Sharpton, who denounces African-American leaders who disagree with him as “yellow n*****s,” had been a longtime FBI informant in a scheme to entrap black leaders and personalities on drug-related matters, even going so far as to wear a wire to record their conversations for the feds.

How did the FBI turn Sharpton into their bitch?

Why, they caught Rev. Al up to his hairdo in a drug-money Laundromat in which Don King, the much-indicted boxing promoter and a longtime pal of Sharpton’s, was a central figure. What’s more, the drug deal was an FBI sting — and the feds had it all on videotape, too.

Just two years ago, Bryant Gumbel — the second most popular black on television next to Oprah — aired on his HBO Real Sports show an FBI videotape of Sharpton discussing laundering money from a South American drug dealer via King with Michael “Sonny” Franzese, a former Colombo family captain.

Sharpton was going to arrange a meeting with King and the coke peddler to set up the deal. But the “South American” was an FBI agent, Franzese had already been turned by the feds into an informant and Sharpton fell right into their trap.

Sharpton became a sting artist for the feds when he was himself stung. After the tape aired, Sharpton announced he was going to sue HBO for a billion bucks. Nothing has been heard of the lawsuit since then.

Now, in his current presidential campaign [2004], Sharpton has been revealed as a wholly owned Republican subsidiary. Sharpton has been used by Republican operatives to discredit real contenders for the Democratic nomination. And the more prominent a place on the Democratic stage Sharpton can command, all the way to Boston, the more the Republicans can use the wisecracking but polarizing preacher-without-a-church as a bogeyman to frighten moderate voters away from the Democratic ticket.

That’s the story behind the blockbuster report in the February 5 Village Voice ” the L.A. Weekly’s sister paper in which veteran Voice investigative reporter Wayne Barrett and his team unveiled the malevolent forces keeping Sharpton’s campaign alive: “Roger Stone, the longtime Republican dirty-tricks operative who led the mob that shut down the Miami-Dade County recount and helped make George Bush president in 2000, is financing, staffing, and orchestrating the presidential campaign of Rev. Al Sharpton.”

Who is Roger Stone? A slash-and-burn Republican black-bag election tamperer and consultant…Stone first made news in the Nixon Watergate scandal, when it was revealed that the 19-year-old apprentice McCarthyite had infiltrated George McGovern’s 1972 presidential campaign as part of CREEP’s sabotage plan.

A few other highlights of Stone’s career as the boastful black prince of Republican sleaze: Stone helped Ollie North raise money for the Nicaraguan contras, and was a close associate of the notorious Lee Atwater (the GOP hit man who created the race-baiting Willie Horton TV spots for Bush 1988 presidential campaign).

The New Yorker’s Jeffrey Toobin in his excellent book, Too Close To Call, about the 2000 Florida election — details how Stone was summoned by Bush recount chief James Baker to disrupt the vote counting (Stone and his Cuban wife, Nydia, organized a screaming mob of Miami Cubans outside the headquarters of the canvassing board — Stone directed the mob by walkie-talkie from across the street — and intimidated the board into ending the count).

On the stump, Rev. Al has frequently denounced the theft of the presidential election in Florida — which depended in large measure on invalidating black votes.

For example, he told a Democratic National Committee meeting last October that “We are witnessing a nonmilitary civil war; it started with the recount in Florida.” So, hopping into bed with Stone might strike many African-Americans as “ungodly” hypocrisy. But the tale gets worse.

When Sharpton launched a vicious attack on [Democrat] Howard Dean for his supposed “anti-black agenda,” the man behind the curtain was Stone, who crowed to The New York Times that he “helped set the tone and direction” of the blast at Dean, while the research for it was provided by the man Stone had installed as Sharpton’s campaign manager, Charles Halloran, one of a half-dozen top aides to Sharpton who worked for Stone in previous campaigns.

A member of Stone’s stable who stays at Stone’s Central Park South apartment in New York while working for Sharpton, Halloran — just before taking over the Sharpton campaign — had been managing the parliamentary campaign for one of Stone’s numerous foreign clients: the United Bermuda Party, a white-led party trying to oust the resort island’s first black government.

Since Rev. Al’s presidential campaign [2004] is really all about trying to succeed Jesse Jackson as America’s premier black political leader, the installation of Halloran is thus an odd choice indeed, one that can be explained only by Sharpton’s dependence on the money funneled into his campaign by Stone. (Halloran’s wife works for the infamous Carlyle Group, the military-industrial-complex giant of which Bush was a longtime officer.)

Stone has acknowledged that he “helped Sharpton” meet the 20-state, $5,000-contribution threshold required for federal matching funds….

…Sharpton’s almost penniless campaign has been sustained only by money given or raised by [Republican] Stone or by Stone-arranged credit with consultants — without which the campaign would collapse. The [Village] Voice alleges that Stone loaned some $270,000 to Sharpton laundered through Rev. Al’s National Action Network (NAN), and that Stone rang up $18,000 on his credit card for Sharpton’s campaign-travel and other expenses.

In the wake of these revelations, the Federal Election Commission is about to consider [2004] whether the Sharpton campaign expenses picked up by NAN with the money provided by Stone, and other unpaid-for campaign services provided by Stone and his chums, constitute illegal campaign contributions, according to The New York Times.

The Stone revelations show that Rev. Al’s presidential campaign is nothing more than another scam he’s running on black Americans, one designed to undermine the movement to defeat George Bush. Fortunately, black voters aren’t as gullible as the cynical Sharpton thinks they are — they know an unprincipled huckster when they see one.

Which is why Sharpton — despite the help from his GOP bedmates on which his campaign depends — has been rejected by significant majorities of African-Americans this year at the polls.

*** Doug Ireland is a New York-based media critic and commentator whose articles appear regularly in The Nation, Tom Paine.com, and In These Times among many others. This article first appeared in the LA Weekly.

Originally published:

http://www.webstonne.com/DIreland.html

Jon Rappoport

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

Jon Rappoport special announcement: new mega-collection: Power Outside The Matrix

Introduction to POWER OUTSIDE THE MATRIX

by Jon Rappoport

April 6, 2014

www.nomorefakenews.com

Power Outside The Matrix has been 30 years in the making, and I’m very happy to announce it is now available.

This mega-collection is all about achieving power outside The Matrix and stabilizing that power.

It features a long section called: Analyzing Information in the Age of Disinformation.

This section is filled with specific examples of my past investigations. Based on 25 years of experience, it shows you how to take apart and put together data that lead to valid conclusions.

It is far more than a logic course.

It’s an advanced approach to analysis.

Establishing power outside The Matrix requires that a person be able to deal with today’s flood of information, misinformation, and disinformation. I’ve left no stone unturned in bringing you a workable approach to analysis.

There is a further extensive section titled, A Writer’s Tutorial. People have been asking me to provide this Tutorial, and here it is in spades. But it’s not just for writers. It’s for any creative person who wants to grasp his own power, understand it, and use it to reach out into the world.

My Tutorial exposes you to lessons that go far beyond what is normally taught in writer’s seminars. In fact, several core concepts in the Tutorial contradict ordinary writer’s seminars, and thus give you access to inner resources that would otherwise be ignored.

Another section of this mega-collection, titled Power Outside The Matrix and The Invention of New Reality, features creative exercises you do on a daily basis that will help you move toward the goal of power outside The Matrix. The exercises are all about increasing your energy and stability.

Access to your internal energy, in huge amounts, is necessary for a life outside The Matrix—rather than relying on the illusory energy that The Matrix seems to provide.

This is a key fact. I’ve developed the exercises for exactly that purpose: your energy, your dynamism, independent and self-sufficient.

And finally, I have included a number of audio seminars that offer a wider perspective about The Matrix and what it means to live and work outside it.

Here are the particulars. These are audio presentations. 55 total hours.

* Analyzing Information in the Age of Disinformation (11.5-hours)

* Writer’s Tutorial (8.5-hours)

* Power Outside The Matrix and The Invention of New Reality (6.5-hours)

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

* The Third Philosophy of Imagination (1-hour)

* The Infinite Imagination (3-hours)

* The Mass Projection of Events (1.5-hours)

* The Decentralization of Power (1.5-hours)

* Creating the Future (6-hours)

* Pictures of Reality (6-hours)

* The Real History of America (2-hours)

* Corporations: The New Gods (7.5-hours)

I have included an additional bonus section:

* 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 (and how to analyze them). 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.

* A 2-hour radio interview I did on AIDS in Dec 1987 with host Roy Tuckman on KPFK in Los Angeles, California.

* My book, The Secret Behind Secret Societies

(All the audio presentations are mp3 files and the books are pdf files. You download them upon purchase. You’ll receive an email with a link to the entire collection.)

power outside the matrix

At the core of consciousness, there are two impulses in the individual. The first is: give in, surrender. The second is: express power without limit.

The teaching of every civilization and society is: don’t use your power.

When you follow the second path, when you express your power without limits, remarkable things happen.

The veil of illusion melts away.

You meet yourself on new ground.

You know what your freedom is for.

Without imposing on the freedom of others, you live the life you always wanted.

That’s what Power Outside The Matrix is all about.

Jon Rappoport

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

What’s wrong with Zen?

By Jon Rappoport

April 5, 2014

(To join our email list, click here.)

Nothing is wrong with Zen, except the people who practice it.

That’s a joke. Sort of.

In the modern style, especially in America, Zen is mostly meditation, and more meditation, and more meditation, and the point of it seems to be to get to a zero point, where you can watch your own mind, your own thoughts, and finally, without effort, stay separate from them, separate from all that radio static, and separate also from your own unbidden parade of emotions that swing by with tooting horns and crashing symbols and clacking drums and gawking dancing clowns.

A laudable goal.

But on the whole, how many people who do this wind up becoming passive? That’s the thing. People tend to opt for quietness.

Whereas, the whole idea ought to be: launch a tremendous amount of dynamic action from the platform of zero-stillness.

Because stillness as a way of life sooner or later begins to disintegrate.

In original Zen, there were ordeals. The teacher gave the student things to do, tasks which eventually became absurd, without discernible purpose. The teacher spoke to the student in riddles and wisecracks. The teacher drove the student into a state of desperation, because the student’s rational faculties, which were obsessively involved in systems, couldn’t supply answers to questions which defied logic.

The teacher did whatever he had to do to bring the student out over the edge of the cliff, where in mid-air, there were no foundations…and the student felt terror. But the teacher persisted.

And then, in one explosive moment, the student found himself floating in the air. He saw there was no need to explain his existence. There was no need to place a veil between himself and the present moment. He didn’t die. He was, finally, alive.

Who knows how this radical approach actually worked out in the many cloisters and huts and cottages where it was practiced, where the stories grew and expanded in their retelling.

But compare the image of silent monks in robes, their heads shaved, gliding through temples, with this old Zen story about a teacher and a prospective student (from AshidaKim.com):

A soldier named Nobushige came to Hakuin, and asked: “Is there really a paradise and a hell?”

“Who are you?” inquired Hakuin.

“I am a samurai,” the warrior replied.

“You, a soldier!” exclaimed Hakuin. “What kind of ruler would have you as his guard? Your face looks like that of a beggar.”

Nobushige became so angry that he began to draw his sword, but Hakuin continued: “So you have a sword! Your weapon is probably much too dull to cut off my head.”

As Nobushige drew his sword Hakuin remarked: “Here open the gates of hell!”

At these words the samurai, perceiving the master’s discipline, sheathed his sword and bowed.

“Here open the gates of paradise,” said Hakuin.

Those old teachers were tough characters. They weren’t merely meditation instructors.

There was another aspect of Zen, which survives to this day. It could be summarized as: “become the other.” The archer becomes the target. He becomes the bow, the arrow, and the target.

The runner becomes the road and the air and the sky and the clouds. The artist becomes the canvas.

The theater of merging with the other.

And as in any theatrical setting, the actor can, by choice, merge with, and un-merge from, his role.

But again, in these times, the main thrust of Zen teaching seems to be meditation, and the culture of stillness, quietude, and passive acceptance.

I’m not saying the meditation is easy to do. It isn’t. But somehow, its environment has become circumscribed.

This is unsurprising in America, where every philosophic and spiritual import from Asia has been distorted and watered down for the seeker-consumer. The overriding intent has been to create The Quiet Person.

The world of action has been painted as too disturbing to the “student seeking inner peace.” Therefore, retreat. Therefore, set up a buffer zone within which all is harmonized and balanced.

Where is the Zen now that sends people out into the world to revolutionize it down to its core, that stimulates the desire to find and invent a Voice that will shatter delusions and create new realities that have never been seen before?

If the moment of insight, satori, doesn’t instigate this, what good is it?

How can satori be “seeing into one’s true nature,” if the result is a wan gaze out on a uniform landscape of soft-boiled bupkis?

The answer is obvious. Breaking apart, exploding the primary illusions and fears that hold an individual in check is not the goal of most Zen as it is now practiced. That objective has been replaced with the false promise that some ultimate “ordinary consciousness” will reconcile the soul with itself.

The way this promise is offered and the way it is taught and the way its surrounding social culture is embroidered is a dud. Dead on arrival.

It’s time for a few new koans.

What is the real sound of David Rockefeller? What does Henry Kissinger say when somebody finally puts him in a small bottle with a cork on it? How does an android disguise himself as a human?

If I need a Zen teacher, I’ll go to Henny Youngman: “A doctor gave a man six months to live. The man couldn’t pay his bill, so he gave him another six months.”

In the beginning, the whole point of Zen was to shake things up, not calm them down.

The master assumed a new student was an annoying clod. But that doesn’t comfortably mesh with today’s “tolerant culture.” Today, annoying clods are a special interest group.

Silence, as a key Zen feature, isn’t only about a desired inner condition now. It’s about a synthetic attitude. So show me a temple where the meditation room is outfitted with a few dozen giant TV screens. The students do their meditation while CNN, Christingle Matthews, Sean Hannity, Oprah, news-boy-on-a bike Brian Williams, the vampire Scott Pelley, don’t-cry-for-me-America Diane Sawyer, Hawaii Five-O, the Shopping Channel, Pawn Stars, Jimmy Fallon and his screaming pubescent audience, and four or five Spanish soaps are going full blast.

That would be a start.

Or throw on 20 or 30 TED lectures simultaneously—prancing grasshoppers extolling the future of technology.

I submit that if the one of the ancient Zen teachers walked into a modern American Zen cloister today, that’s exactly what he’d do. Turn on a few hundred TV sets, computers, and mobile devices and say, “Okay, try being quiet in the middle of this!”

Another Koan for our times: What did Bill Gates look like before he was Alfred E Neuman?

Zen is sacred? What? When was it ever sacred? Soft bells, empty halls?

No, you must have Zen confused with a funeral home.

Every age has its massive collection of heavily loaded apple carts, and the job of Zen is to overturn them. When up is down, and insanity is called normal, that’s where you begin.

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.

Interviewing the astral Albert Einstein about free will

by Jon Rappoport

April 5, 2014

(To join our email list, click here.)

It was a strange journey into the astral realm to find Albert Einstein.

I slipped through gated communities heavily guarded by troops protecting dead Presidents. I skirted alleys where wannabe demons claiming they were Satan’s reps were selling potions made from powdered skulls of English kings. I ran through mannequin mansions where trainings for future shoppers were in progress. Apparently, some souls come to Earth to be born as aggressive entitled consumers. Who knew?

Finally, in a little valley, I spotted a cabin, and there on the porch, sitting in a rocker, smoking a pipe and reading The Bourne Ultimatum, was Dr. Einstein.

He was wearing an old sports jacket with leather patches on the elbows, jeans, and furry slippers.

I wanted to talk with the great man because I’d read a 1929 Saturday Evening Post interview with him. He’d said:

“I am a determinist. As such, I do not believe in free will…Practically, I am, nevertheless, compelled to act as if freedom of the will existed. If I wish to live in a civilized community, I must act as if man is a responsible being.”

Dr, Einstein went inside and brought out two bottles of cold beer and we began our conversation:

Q: Sir, would you say that the underlying nature of physical reality is atomic?

A: If you’re asking me whether atoms and smaller particles exist everywhere in the universe, then of course, yes.

Q: And are you satisfied that, wherever they are found, they are the same? They exhibit a uniformity?

A: Surely, yes.

Q: Regardless of location.

A: Correct.

Q: So, for example, if we consider the make-up of the brain, those atoms are no different in kind from atoms of the same elements, wherever in the universe they are found.

A: That’s true. The brain is composed entirely of these tiny particles. And the particles, everywhere in the universe, without exception, flow and interact and collide without any exertion of free will. It’s an unending stream of cause and effect.

Q: And when you think to yourself, “I’ll get breakfast now,” what is that?

A: The thought?

Q: Yes.

A: Ultimately, it is the outcome of particles in motion.

Q: You were compelled to have that thought.

A: As odd as that may seem, yes. Of course, we tell ourselves stories to present ourselves with a different version of reality, but those are social or cultural constructs.

Q: And those “stories” we tell ourselves—they aren’t freely chosen rationalizations, either. We have no choice about that.

A: Well, yes. That’s right.

Q: So there is nothing in the human brain that allows us the possibility of free will.

A: Nothing at all.

Q: And as we are sitting here right now, sir, looking at each other, sitting and talking, this whole conversation is spooling out in the way that it must. Every word. Neither you nor I is really choosing what we say.

A: I may not like it, but it’s deterministic destiny. The particles flow.

Q: When you pause to consider a question I ask you…even that act of considering is mandated by the motion of atomic and sub-atomic particles. What appears to be you deciding how to give me an answer…that is a delusion.

A: The act of considering? Why, yes, that, too, would have to be determined. It’s not free. There really is no choice involved.

Q: And the outcome of this conversation, whatever points we may or may not agree upon, and the issues we may settle here, about this subject of free will versus determinism…they don’t matter at all, because, when you boil it down, the entire conversation was determined by our thoughts, which are nothing more than atomic and sub-atomic particles in motion—and that motion flows according to laws, none of which have anything to do with human choice.

A: The entire flow of reality, so to speak, proceeds according to determined sets of laws. Yes.

Q: And we are in that flow.

A: Most certainly we are.

Q: The earnestness with which we might try to settle this issue, our feelings, our thoughts, our striving—that is irrelevant. It’s window dressing. This conversation actually cannot go in different possible directions. It can only go in one direction.

A: That would ultimately have to be so.

Q: Now, are atoms and their components, and any other tiny particles in the universe…are any of them conscious?

A: Of course not. The particles themselves are not conscious.

Q: Some scientists speculate they are.

A: Some people speculate that the moon can be sliced and served on a plate with fruit.

Q: What do you think “conscious” means?

A: It means we participate in life. We take action. We converse. We gain knowledge.

Q: Any of the so-called faculties we possess—are they ultimately anything more than particles in motion?

A: Well, no, they aren’t. Because everything is particles in motion. What else could be happening in this universe?

Q: All right. I’d like to consider the word “understanding.”

A: It’s a given. It’s real.

Q: How so?

A: The proof that it’s real, if you will, is that we are having this conversation. It makes sense to us.

Q: Yes, but how can there be understanding if everything is particles in motion? Do the particles possess understanding?

A: No they don’t.

Q: To change the focus a bit, how can what you and I are saying have any meaning?

A: Words mean things.

Q: Again, I have to point out that, in a universe with no free will, we only have particles in motion. That’s all. That’s all we are. So where does “meaning” come from?

A: “We understand language” is a true proposition.

Q: You’re sure.

A: Of course.

Q: Then I suggest you’ve tangled yourself in a contradiction. In the universe you depict, there would be no room for understanding. Or meaning. There would be nowhere for it to come from. Unless particles understand. Do they?

A: No.

Q: Then where do “understanding” and “meaning” come from?

A: [Silence.]

Q: Furthermore, sir, if we accept your depiction of a universe of particles without free will, then there is no basis for this conversation at all. We don’t understand each other. How could we?

A: But we do understand each other.

Q: And therefore, your philosophic materialism (no free will, only particles in motion) must have a flaw.

A: What flaw?

Q: Our existence contains more than particles in motion.

A: More? What would that be?

Q: Would you grant that whatever it is, it is non-material?

A: It would have to be, but…

Q: Then, driving further along this line, there is something non-material which is present, which allows us to understand each other, which allows us to comprehend meaning. We are conscious. Puppets are not conscious. As we sit here talking, I understand you. Do you understand me?

A: Of course.

Q: Then that understanding is coming from something other than particles in motion. Without this non-material quality, you and I would be gibbering in the dark.

A: You’re saying that, if all the particles in the universe, including those that make up the brain, possess no consciousness, no understanding, no comprehension of meaning, no freedom, then how can they give birth to understanding and freedom. There must be another factor, and it would have to be non-material.

Q: Yes. That’s what I’m saying. And I think you have to admit your view of determinism and particles in motion—that picture of the universe—leads to several absurdities.

A: Well…perhaps I’m forced to consider it. Otherwise, we can’t sit here and understand each other.

Q: You and I do understand each other.

A: I hadn’t thought it through this way before, but if there is nothing inherent in particles that gives rise to understanding and meaning, then everything is gibberish. Except it isn’t gibberish. Yes, I seem to see a contradiction. Interesting.

Q: And if these non-material factors—understanding and meaning—exist, then other non-material factors can exist.

A: For example, freedom. I suppose so.

Q: And the drive to eliminate freedom in the world…is more than just the attempt to substitute one automatic reflex for another.

A: That would be…yes, that would be so.

Q: In one way or another, there is a great impulse to deny the non-materiality of the qualities that are inherent to human life. Scientists, for example, would be absolutely furious about the idea that, despite all their maneuvering, the most essential aspects of human life are beyond the scope of what they, the scientists, are “in charge of.”

A: It would be a naked challenge to the power of science.

The Matrix Revealed

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

Einstein puffed on his pipe and looked out over the valley. He took a sip of his beer. After a minute, he said, “Let me see if I can summarize this, because it’s really rather startling The universe is nothing but particles. All those particles follow laws of motion. They aren’t free. The brain is made up entirely of those same particles. Therefore, there is nothing in the brain that would give us freedom. These particles also don’t understand anything, they don’t make sense of anything, they don’t grasp the meaning of anything. Since the brain, again, is made up of those particles, it has no power to allow us to grasp meaning or understand anything. But we do understand. We do grasp meaning. Therefore, we are talking about qualities we possess which are not made out of energy. These qualities are entirely non-material.”

He nodded.

“In that case,“ he said, “there is…oddly enough, nothing. What I means is, in terms of matter and energy, we could say there is a nothing. But that’s just a relative judgment. In this nothing, there is, what shall I call it, a completely different sphere or territory. But it can’t be measured. It’s not that kind of territory. It has no beginning or end. If it did, it would be a continuum and we could measure it.”

He pointed to the valley.

“That has energy. But what does it give me? Does it allow me to be conscious? Does it allow me to be free, to understand meaning? No.”

Then he laughed. He looked at me.

“I’m dead,” he said, “aren’t I? I didn’t realize it until this very moment.”

I shook my head. “I would say you were dead.”

He grinned. “Yes!” he said. “That’s a good one. I was dead.”

He stood up.

“Enough of this beer,” he said. “I have some schnapps inside. Let me get it. Let’s drink the good stuff! After all, I’m apparently Forever. And so are you. And so are we all.”

While he was inside, I looked out at the valley. Suddenly, I saw the clouds and the sky and the fields as a theater. It was one more stage on which we could live, as we tend to do, within an envelope of time.

It was a beautiful artifact, intensified by our own desires.

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 artist on trial against the State

The artist on trial against the State

by Jon Rappoport

April 4, 2014

www.nomorefakenews.com

June 9, 2061, Ohio 27-b: the region designated as the seat of all hearings and trials of artists accused of crimes against the State.

No jury, no attorneys.

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

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

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

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

“Order,” he declared.

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

“Well,” the Judge said, “looks like another case of free expression. Uncontrolled display of a gobbledegook idea. No license to practice art. No prior approval for a work. No plan submitted to the State. No established source of funding. No preliminary scan by the Council of Art for the Benefit of All. No declaration of philosophic position. Status: renegade. Such status is explicitly listed in DOD Manual 347 as a precursor to terrorist activity. Surveillance data reveals the artist is a smoker, grows his own vegetables, brews teas which have never undergone approval by the FDA. How do you plead?”

The artist nodded.

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

The Judge said, “Were it not for the Artist Act of 2040, I would deny the request. But since I am bound by law, submission approved.”

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

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

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

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

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

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

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

The Judge smiled.

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

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

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

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

The Judge rubbed his chin and stared at the ceiling.

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

The artist nodded.

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

“Amusing, possibly interesting,” the Judge said.

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

Exit From the Matrix

The Judge frowned and shook his head. But he gazed at the brass sculpture. This time, something else happened.

He saw a twisted tree. It had been burned by a fire during the riots of 2036, but it still stood. It put out a sprinkling of new leaves every spring. One day, when he was a small boy, he was taken to it and he climbed out along the dark branches to the buds, which smelled sweet to him. He sat in the tree and looked at the sky. For the only time in his life, he experienced ecstasy. He felt as if he were rising into the sky and moving among the clouds, like an animal, striding through banks of thick white cumulus to a secret destination, a place beyond—as he thought, much later in life—a place beyond all the rules that defined order and the State. He soared in those clouds. He had no need to explain himself to anyone.

The Judge blinked. He looked at the prisoner.

“How…did you know?” he said.

The prisoner said, “You told me the story of the tree many times. I’m your son.”

The Judge let loose a howl. The room wobbled, hazy and distant.

The policemen rushed forward to him.

They lifted him from his chair.

One of the policemen shouted, “Look!”

There in the center of the room, the prisoner was gone.

The sculpture was gone.

Instead, in a small grove, the bent and burned and twisted tree held new green leaves. Out along one of its dark branches, a leopard was stretched out on his belly, looking at the policemen.

Court was recessed for the day.

The Judge was sedated and flown to the Danny Thomas Center for the Treatment of Mental Disorders Among Government Officials.

Even after three rounds of anti-psychotic sleep drugs, electromagnetic microwave reprogramming, insulin shock therapy, and a partial lobotomy, he kept shouting for his son.

The doctors knew the Judge was still in a grave condition, because there were no records of him having a son.

Many years ago, calling in every marker he possessed, the Judge had seen to it that those records were destroyed.

At the time, he’d said to a colleague, “My offspring an artist? Going out into the world and doing any damn thing he pleases, with no conscience and no sense of propriety? I’d rather destroy myself—or erase his existence. I took the more convenient choice.”

And so he had. Until that day.

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