Film, consciousness, and mystery

Film, consciousness, and mystery

by Jon Rappoport

July 25, 2014

www.nomorefakenews.com

There is more mystery in two minutes of David Lynch’s Inland Empire (trailer here) than in all American films produced in the last 50 years.

The first films ever made registered like dreams with audiences, and they were made with that idea in mind. (Watch Un Chien andalou (1928), by Spanish director Luis Buñuel and artist Salvador Dalí, here.)

Mystery. A priceless commodity which has no market.

I’m not talking traditional suspense, which depends on beginning, middle, and end, and clues sprinkled on the way to a satisfying resolution. That is organized mystery, a contradiction in terms.

The opposite of organization isn’t chaos, although many people believe it is. In the hands of filmmakers like Orson Welles (The Trial, Touch of Evil), Jean Cocteau (The Blood of a Poet, Beauty and the Beast), Luis Bunuel (Discreet Charm of the Bourgeoisie), and David Lynch (Mulholland Drive, Inland Empire), the opposite of organization is mystery; an atmosphere.

Word, image, character, motion, rhythm, tempo—somewhere in the films another previously unknown reality takes over. There are no labels for it.

Society is not attuned to it. People dedicated to living ordinary lives hate it.

“Well, he should have started the story with the theft. Then we would have known what he was talking about. And if he’d given the wife a few extra scenes, her relationship with her son would have been obvious, and the climax would have made sense…”

Organization.

Cut things down to their essentials. Sharpen the focus. Make the audience track with the storyline. Unequivocally deliver the punchline. Sell it.

In other words, eliminate any shred of mystery.

Perhaps someday, Hollywood will be able to make a film that transmits itself in two seconds, like an injection. The sequence of imparted emotions will substitute for content. Sensation A, followed by sensations B. C, D, E, and F. Done.

“I thought it was tremendous. How about you?”

Consciousness, freed from the web of social consensus, is hungry for mystery, a fluid in which gesture, language, and motion explore and invent the impossible; what could never be lived before.

To achieve a simulacrum, a vapid imitation, audiences will sit in a theater and watch “dream-buildings” collapse (Christopher Nolan, Inception), or some kind of assembly-line time-slipping “tour de force” (Cloud Atlas, Tom Twyker, the Wachowskis).

A person committed to an ordinary life will take an occasional leap and look at Possibility in the form of popcorn surrealism.

Film was supposed to be about something else, but it became chopped steak and cars and toasters and invading machines. In the early days, a few yutzes moved out to LA from New York and became moguls of schlock. Which their PR machines sold as culture.

The improvised Citizen Kane, Touch of Evil, and The Trial aren’t even stories. No need. They’re a walking talking series of low-angle black-and-white photographs of astral locales the usual kind of film noir can merely hint at.


Exit From the Matrix


By the time David Lynch reaches Inland Empire in his career, he’s doing a ballet of gesture, each movement advancing, with gills, through a bone-muscle-flesh undersea city of corruption only he could have come upon.

Cocteau used living paintings and papier mache as his medium; human characters were driven by impulses in dreams, from which they never awakened.

For all of Stanley Kubrick’s films, it was in Barry Lyndon where, for a minute here and a minute there, the audience was finally and ecstatically delivered whole to another time; the sensuous rooms of the 18th- century Lyndon estate in England. Mystery realized.

“A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.” (Stanley Kubrick)

“A film is a ribbon of dreams. The camera is much more than a recording apparatus; it is a medium via which messages reach us from another world that is not ours and that brings us to the heart of a great secret. Here magic begins.” (Orson Welles)

“The image it [cinema] once held for us all, that of a dream we dreamt with our eyes open, has disappeared. Is it still possible that one thousand people might group together in the dark and experience the dream that a single individual has directed?” (Federico Fellini)

“Fortunately, somewhere between chance and mystery lies imagination, the only thing that protects our freedom, despite the fact that people keep trying to reduce it or kill it off altogether.” (Luis Bunuel)

In the journey into fertile mystery, you go knowing you’ll dispense with your navigational instruments. You’ll find new stars. You’ll follow and at the same time spontaneously draw another map. This is what consciousness wants, not the tired archetypes and cartoons of other minds. And when you come back, you’ll be refreshed, whole, and able to watch, with some degree of interest, people sculpt themselves into units of a highly organized cosmos.

The true power of film has just begun to be tapped.

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

Language and an exit from the Matrix

Human language and an exit from the Matrix

by Jon Rappoport

July 19, 2014

www.nomorefakenews.com

Can we study the history of human language as a smoothly evolving historical process?

Can we trace, from the earliest times, its incremental progress in grammar, syntax, vocabulary?

Can we say language was a kind of science, in which a whole line of “researchers built on previous gains?”

We can, if we want to tell an enormous number of lies and erase whole sectors of the planet from memory.

Otherwise, no.

Just as a very young child suddenly makes breakthroughs and quantum leaps in his ability to speak, the history of language presents cultures that deliver their languages overnight.

Within each culture, writers create major, major advances. But on the whole, the banquet of speaking and writing is there, it appears, it nourishes.

It is as if many minds in the same geo-locale tap into a field of consciousness and bring back words and patterns.

The poets and story tellers lead the way; others catch on and follow.

Language attempts, among other functions, to describe reality. But then, in a turnabout, it actively shapes and creates how reality is seen. Language limits the perception of reality.

English, with its noun-verb-object construction, is a set of arrows that fly from A to B. A is a thing or a person that acts upon B to produce an effect.

By contrast, the early Chinese pictographs present a world where relationship is more important than those separate objects that relate. The connection is the primary thing. The dynamic action implicit in the connection is the energy that underlies the culture.

As for the giant vista of ancient Egyptian hieroglyphs, I believe there are still a number of mysteries to be solved. And perhaps they will remain unsolved, until we can seriously entertain the prospect of a language that simultaneously operates on several levels: “earth-talk, sky-talk, and code.”

Or as a scholar-friend once suggested, “Think of old Egyptian glyphs as a multi-dimensional CIA, headed up by an executive committee of archetypes, each of which has its own secret cryptology.”

There is no doubt that the glyphs detail a number of realms acting in concert.

What is now commonly called The Matrix involves seeing reality through the lens of one’s own language.

Through this habit, limits are formed. The idea of straying outside the boundaries seems impossible.

“What could I find? I already know What Is.”

Translation: “I already speak and write a language. It delivers reality to me. It defines how much I can see and experience.”

Take all the strategies that could propel you outside Matrix, and you can cover them with one word: imagination.

The tattered stepchild of society; the plaything of idle minds; the useless appendage; the distraction from maturity; the fairy-tale maker.

So society would have us believe.

But imagination is the motive force and the energy that instigates, invents, and multiplies realities beyond the lens of language.

Imagination is the doorway out of the Matrix.

I hope you’ll take the time to go to my site, NoMoreFakeNews.com or, click on the links to my three collections, The Matrix Revealed, Exit From the Matrix, and Power Outside The Matrix, and see what I’ve assembled, based on 25 years of research and investigation.

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

Singular realities, multiple realities

Singular realities, multiple realities

by Jon Rappoport

July 9, 2014

www.nomorefakenews.com

“When Georges Braque and Picasso invented what came to be called Cubism, they were not only painting new hybrid objects, they were building multiple spaces and viewpoints on a single canvas. For a moment, the Singular was gone. A book or a guitar had undergone a kind of geometric alchemy that also affected space and time.” — Jon Rappoport, The Underground

I want to connect this article to my previous two (here and here) on the hoax called psychiatry.

On the ground, this is what we have. A person moves through life. He experiences some joy, some happiness, some sadness, some despair—and one day he feels he’s at a dead-end, he feels blocked, desperate.

He goes to a psychiatrist, or someone sends him to a psychiatrist, who makes a pronouncement: “You have a condition. It’s called X.”

A particular mental disorder. Of course, this ex-cathedra pronouncement has nothing to do with science, because none of the 300 officially certified mental disorders has any physical and defining diagnostic test to back it up. None.

How this patient feels (sad, despondent, up and down, weird, crazy) could be the result of many factors. Severe nutritional deficiency, environmental poisoning, horrendous home life, threats to his safety, hormone imbalances, etc.

But the psychiatrist does a clever thing. He announces a single condition and he gives it a name, a label.

He says to the patient: “This is what you have.”

It’s not, of course. The label and the condition are a fiction. As fictional as the realness of what the patient is experiencing in his life.

However, the patient now feels a little better. His severe troubles have suddenly been coalesced for him, into a name, the name of a supposed thing.

And if he asks the psychiatrist where this thing comes from, the psychiatrist will hand him another gift: “chemical imbalance in the brain.”

Aha. Yes.

Of course, this is sheer nonsense, too. No one has ever proven that mental disorders spring from some wellspring of chemical imbalances. No one has ever established a “normal chemical baseline” for the brain, against which a comparison can be made.

But no matter. Again, the patient feels relief. He has a another single thing in his hands: chemical imbalance. Right. This is why he is suffering.


Singular reality. People yearn for one. They want one. They want it as a diagnosis for their troubles, and they want it for an explanation of what happens to them after they die. They want a singular reality to define which piece of the entirely phony political spectrum they should inhabit.

In every area of life, they want a singular reality to point the way.

They want to wear a garland of flowers on a string around their necks, each flower a singular reality.

And in each case, the flower is given to them. They don’t want to experience a full-blown act of choosing.

This whole process, taken to the extreme, suggests that the world, the cosmos, the mind, perception, consciousness are tuned to singular realities that lie there, waiting to be picked up—and education is a procedure through which a student discovers what singular realities exist and which ones fit him.

Existence is vast flower shop, and under the expert guidance of the salesman, the customer buys his garland and puts it around his neck.

At this point, one might say, “Yes, but of course if this person could do some serious investigating on his own, he would discover that, behind these singular realities, there are other realities which are much deeper, which reveal far more about ‘what’s actually going on.’”

And this is certainly true. This is certainly a legitimate point.

But now, suppose we take a sharp detour. Suppose, first, we say that whether a person is dealing with superficial singular realities or deeper realities, they are each, in a significant sense, singular.

And second, perhaps there is another way to perceive. Suppose, for example, we look at Reality Y and we suddenly realize that it represents or embodies more than one thing. It embodies five things, or ten, or a hundred.

What does that mean?

It means that if you walk into the Frick Museum in New York and look at the Vermeer called Officer and Laughing Girl (c. 1657), you will see one reality on Monday and another on Tuesday, and another on Wednesday. And perhaps on Thursday, you’ll see ten or twelve “different paintings” in that one.

The single painting becomes multiple realities.

There is a whole other way of seeing, by which “the garland” of singular realities recedes into the far background.


Exit From the Matrix


In 1987, my late friend and colleague, the brilliant hypnotherapist, Jack True, told me: “If I take a patient to the point where he can see one thing in a hundred different ways, when he ‘comes back’ to this comparatively simplistic world, he finds he can deal with it far better than he could before. It’s more accessible. It‘s less problematical…”

To extend Alfred Korzybski’s famous line, “The map is not the territory,” most of the time the map is not the map. It’s a series of singular realities which are fictions.

There are certainly instances and areas in which one wants to get to the point, the conclusion, the singular reality, and assess the reasoning process (logic) by which others have arrived at that Singular.

But there are unbounded areas where perception is confounded and held in check by searching for the Singular.

Perception can open itself up and discover, with great delight, Multiples. This is called art, or more generally, imagination.

It sees “the universe in a grain of sand.” Many universes.

No civilization can endure that cuts itself off from this opening. It can only regress into singular fascism. It will always devolve into overwhelming central authority, no matter what it calls itself. And those many people who seek singular realities will accept the fascism, because they see no other possibility.

Metaphorically and literally, they want a psychiatrist (or a priest or a president) to tell them, “This is the condition of your mind. And this is what you have to do about it.”

In the multiple universes of imagination, there are no presidents.

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 artists reveal down trough time

What artists reveal down through time

by Jon Rappoport

July 7, 2014

www.nomorefakenews.com

“You can build an unlimited number of harmonies and achieve what most people think of as perfection. But then what? You face a dead-end. So you have to keep making harmonies, over and over, and pretend you aren’t bored. This process is hypnotic and it drains away energy. You may seem to be imitating Nature’s symmetries, but suppose Nature is becoming bored, too? Suppose souls have other impulses which, if exercised, reveal forces and creations that have no names, which we loosely call Art? Suppose we are all artists waiting for something to happen—and nothing will happen, until we put brush to canvas and liberate and invent the deepest aspect of ourselves?” — Jon Rappoport, The Underground

Societies, cultures, religions, philosophies tend to believe and promote certain key ideas.

Among them: the need to imitate Nature; the preference for and worship of a notion of Harmony; and the adherence to some final metaphysical Reality.

These ideas have served useful purposes, while also sowing discord.

But artists have been delivering very different messages, which like quicksilver are more difficult to grasp—and impossible to codify.

For example: there is no need to copy Nature; the obsessive injunction toward establishing Harmony is unnecessary and confining; and there is no final metaphysical Reality.

There is, instead, an endless imagining and creating of new Realities.

Harmony is a strategy that can be employed or discarded.

The artist tells consciousness that What Already Is is always provisional.

The universe is waiting for imagination to revolutionize it down to its core. Not through some mechanistic technology, but through sheer multi-dimensional art.

These cardinal aspects of doing art delineate what is spiritual, what a spiritual path consists of.

Metaphysical content, as “spiritual information,” is a poor substitute.

In this sense, religion is frozen poetry, as if some priest class fastened on to a few dozen stanzas of a poet’s journey and iced them down into doctrine.

Art exists out past the boundaries of all reductionist ideas.

As an embracing ideal, harmony, in the long run, proves to be a false idol. At first, through balance, equilibrium, symmetry, mathematical precision, it appears to summarize and organize the deepest human dreams and hopes.

But it eventually withers, because it is a summary. It’s perfection that holds up a mirror to itself, a solipsistic skeleton.


Exit From the Matrix


One could look at the most provocative figures of Rodin and analyze them for balanced masses—but the true impact would then be lost. The force of life, the projected energy, gone.

Populations are trained like dogs to expect a climax, an opportune end to a story of existence…but an endless journey of individual creation? This has no hypnotic power. It doesn’t resonate with the fervent wish for a closed system.

Therefore, it is cast aside.

Matisse paints his red room, Van Gogh his startling irises, Lennie Tristano his tumbling effervescent rivers, Bob Graettinger his city of glass, Lenny Bruce his war of the roses against the establishment, and people draw back, resentful that their mantra of equal balance and symmetry is being interrupted.

People interpret these works as destructive—and they are. They’re destructive of an inner order of sleep, sleep which the priest class assures them is an intimation of heaven.

Consciousness intersects with politics at the deepest place, when consciousness is the artist at work—and then all political moves and manipulations and stories disintegrate like cheap advertisements.

Disintegrate like flailing crimes of a hopeless castrated caste.

Disintegrate in a sea of life being lived.

Disintegrate in the asymmetrical tides of imagination.

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

Rappoport interviews dead Tesla

Rappoport interviews dead Tesla

by Jon Rappoport

June 29, 2014

www.nomorefakenews.com

Just in case a few over-eager readers think I’m actually interviewing Tesla, or “channeling” him, this is fiction.

Bringing back Nikola Tesla (1856-1943), the famous inventor, for an encore involved a few emails to Limbo, where he is continuing his experiments.

I expected the conversation would be like pulling teeth. Taciturn, dour, bitter. All that. But happily, it wasn’t the case. As with Orson Welles, another one of my interviewees, I was surprised to find that Tesla shares many of my views.

Q: How’s it going?

A: Fairly well, Jon. Working hard as always.

Q: Anything new to report?

A: Sure. Turns out the universe is an illusion, when you drill down far enough. And I have.

Q: Illusion in what sense?

A: It’s too real.

Q: Excuse me?

A: You have to be suspicious when things get too real. Look for a con. See?

Q: Actually, I think I might.

A: For a long time, I was working to tap into inherent energies in the Earth, in space, and I solved all that. I have the inventions built now, fully functioning. It’s in the bag. You reached me at an opportune time, because I’ve got a guy who’s handling the promotion on it. All open source. He’ll be distributing complete blueprints to several planets, actually. But then I needed something new to do, so I started applying high power resolution to sub-atomic phenomena, and I came up with a few exciting wrinkles.

Q: Let’s hear about that.

A: Travel far enough into micro-micro landscapes, and you come across a man holding up a sign that says: THIS IS REAL. See what I mean? It’s a form of hypnosis. THIS IS REAL. THIS IS THE MOST REAL IT GETS. So you have to think somebody is pulling the wool over your eyes.

Q: It’s a scam.

A: Full scam.

Q: And who is this man with the sign?

A: Just a prop. Depending on what angle you’re looking at him from, he appears in different guises. That’s where cultural programming comes in. Whoever a particular culture would consider the most elevated authority figure, that’s who this man with the sign looks like.

Q: Who does he look like to you?

A: Donald Duck. But that’s because I’ve developed a bit of a sense of humor. It was a long time coming. You remember a guy named Lenny Bruce?

Q: Sure.

A: Well, Lenny and I have been hanging out. He’s kicked his habit, and he’s clean. But he’s still the same basic Lenny.

Q: I would never have expected…

A: I know. Weird, isn’t it? He’s something. Anyway, what I’m saying is, physical reality, this whole universe, is a…

Q: Virtual reality.

A: Not exactly. No. It’s constructed as a kingdom might be, except there is no king. There are corporate managers.

Q: Rather confusing.

A: Sure. The whole hierarchy of species, for example. From simple to complex. The progression from very tiny particles to whole galaxies. It looks organized. And it is. But that’s a feint. It’s a diversion in a shell game. A lot of effort was put into making the universe seem real in an imposing way. But as I said, this is a clue. When someone goes around pounding his chest all the time and telling you who he is, you begin to wonder what’s going on behind the facade. On Earth, people live in a very provincial monopoly in which, for instance, energy is controlled by a small number of people-so it’s natural that pioneers would look for other sources of energy. As I did. And I found them in abundance. There never was and never will be a scarcity, unless it’s imposed. But that’s just the beginning of a much larger story. From my perspective now, when I look at physical reality, I see facades.

Q: Stage flats.

A: A man running around with a sign that says THIS IS REAL.

Q: Can you do something with that? I mean, can you invent something that makes use of that?

A: An interesting question. You can always do something with something. Do you know? You can guide it, expand it, constrict it, you can work it like salt-water taffy. But when you’re basically dealing with nothing, it’s different.

Q: Nothing?

A: If you have facades, what’s in back of them? Nothing. The show’s not going on back there.

Q: I see.

A: Nevertheless, I wanted to explore that.

Q: Explore nothing.

A: Sure. Wouldn’t you?

Q: I guess so.

A: It’s a challenge. What do you do with nothing? I wish more philosophers and scientists had asked that question.

Q: You don’t mean a vacuum.

A: A vacuum sucks in matter and energy. Nothing doesn’t do that.

Q: What’s it like being in nothing?

A: Restful.

Q: Is nothing a space?

A: No.

Q: Then how do you describe it?

A: Lenny said it was like a long moment when his mother stopped talking at him.

Q: If it isn’t space, how do you move around in it?

A: Turns out you can move around in no-space. You’re in a void. What was the other thing Lenny said about the void? It’s like Alzheimer’s, except your mind is very clear and you remember everything.

Q: Can you use it?

A: Well, as an inventor, naturally I was interested in the possibility. It took me a while, but I did come up with what I call the physics of potential. Nothing happens, but anything and everything could happen. If you took the moment before a thought occurs, and expanded it to infinity, what would you have? You’d have consciousness of possibility. You’d have a moment with no end to consider whatever you wanted to consider. A plan, an idea, a design, an invention, a work of art, an action. I was already acquainted with this, in a much more limited sense, because as you probably know, I was able to visualize a new invention as a completely finished entity before I ever laid a finger on materials and built it.

Q: The physics of potential.

A: The universe is, from this perspective, the creation of overall amnesia.

Q: People might have trouble understanding that.

A: I’ve never waited for people to catch up to me. They have to grapple with what I’ve done. Most of the time, they don’t want to. So why should I be concerned? When you leave the infinite moment of potential, and let’s say you make a universe, you might develop amnesia about what you left behind, which is that Nothing where it all started.

Q: You’re not just talking semantics.

A: No, this is very real. The void is the absence of creating. It’s not a thing. It’s just a word you apply to not creating. You don’t create ANYTHING. You stop because you want to. And when you do that, you have an energy potential that is infinite. Here’s another metaphor. The universe you’re living in is a cartoon. You’re in a consensus reconstituted can of orange juice.

Q: And what does Lenny call that?

A: The Big Bong.


Exit From the Matrix


Q: Why do we buy the idea that the physical universe is so real? Why don’t we see the little man with the sign?

A: Because you want real. Real is a very interesting experience. For a while. If you ran around pulling out a chunk of sky here and a chunk of sky there, the illusion would become obvious. So you institute laws that connect everything together-or seem to. If you pull out a chunk of sky you get a huge explosion and things go haywire. At least, that’s what you firmly believe. Actually, you can remove things and nothing happens. You just have a steady hole. But everyone denies that.

Q: You mean there is a conspiracy to maintain the basic laws of physics?

A: A consensus.

Q: You destroyed a consensus when you found a way to tap into energy and send it to people all over the world.

A: No. I destroyed the monopoly of a few men.

Q: Which is why they cut you off.

A: They told themselves a little story. That I was crazy. Of course, they really knew why they shut off my funding.

Q: So there are an infinity of universes.

A: Of course. That’s obvious. Just as there is no scarcity of energy, there is no scarcity of universes. It’s a walk in the park. But One Universe is a kind of religion. I had inklings of that while I was doing my energy experiments on Earth. But now I see the fuller picture. People think they’re free from the demented ideas of religions. But they have their own. Universe. One Universe. And it’s a humdinger. One reason it works so well is there is no visible church. Universe appears to be neutral. Dogma isn’t labeled dogma.

Q: What’s it like seeing all sorts of other universes and being able to travel to them?

A: It’s quite enjoyable. I would say relaxed. You give up this whole ridiculous idea of entropy, according to which usable energy is diminishing. But people want entropy. They want that idea that existence is limited. Like I say, it’s a religion. If a person thinks he’s limited, then he wants to posit an energy supply that’s limited.

Q: You always did opt for abundance.

A: Why shouldn’t I? It’s a better concept than scarcity.

Q: But you’re not really talking about science.

A: Of course not. I’m talking about desire. What a person wants to create. You really start learning about desire when you use your imagination with great intensity and scope, because most of your desires ARE discovered/invented through imagination. This is life. Full life. It’s not dry. It’s passion taken to higher and deeper levels. When I was standing in the middle of one of my electric-lightning- spouting machines, the essence of that was BEING ALIVE.

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

Logic, imagination, and magic

Logic, imagination, and magic

by Jon Rappoport

June 27, 2014

www.nomorefakenews.com

Logic applies to the physical universe.

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

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

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

Magic is nothing more and nothing less than imagination superseding this universe. Magic occurs when imagination takes this reality for a ride.

Which brings us to what I call the Is People. The Is People are dedicated with a fervor to insisting that this Continuum and this consensus reality are inviolable, are the end-all and be-all.

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

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

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

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

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

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

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

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

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

Magic is one of those labels.

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

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

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

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

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


Exit From the Matrix


Societies and civilizations are organized around some concept of the common good. The concept always deteriorates, and this is because it is employed to lower the ceiling on individual power rather than raise it.

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

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

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

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

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

Under a variety of names, this is art.

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


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

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

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

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

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

Beyond all structures

Beyond all structures

by Jon Rappoport

June 23, 2014

www.nomorefakenews.com

We are fascinated with structures and systems because they work, and because some of us feel an aesthetic attraction to them.

They work until you want to do something different.

Many people want to grab a structure and pull it around them and sit there like a bird in a cage. They want to go from A to B to C and feel the satisfaction of knowing it works every time.

Nothing wrong with that. Nothing wrong at all.

But go into a corporation and say you want to teach them creativity and they’ll say, “What’s the system?”

Once, at a party, I told a personnel chief at a company, “The system is to stand on your head.”

“Literally?” he said.

“No. That would be too easy. People would find a system for that. But figuratively, that’s what you want to get people to do.”

He scratched his head.

“I don’t know what you’re talking about,” he said.

“Exactly,” I said. “That’s where we start. I say something and you don’t understand. Then we have a chance.”

“What are you?” he said. “Some kind of Zen teacher?”

“No,” I said. “If I said I was, you’d pigeonhole me. I teach non-systems.”

He laughed in an uncomfortable way.

“We don’t operate on non-systems at the company.”

“No, but if you let three or four people do that, they might come up with a product you never dreamed of.”

That he could understand. Vaguely.

Here’s how things work at some companies. The second-tier honchos decide it’s time for a new product. They call in the chief of production and ask him what could be done. He suggests a whiz-it 4, which is basically a whiz-it 3 with a few more bells and whistles.

The honchos give him the green light, and he goes to work. He triggers the structure he already has. He gets underlings to make sketches of whiz 4, and with those he assigns compartmentalized tasks to various departments under him. The timetable is eighteen months.

He appoints a project supervisor to oversee the whole thing.

The project supervisor pretty much knows what’s going to happen. The six departments in charge of bringing in the whiz 4 on time will do okay—except one key department will fail miserably, because three guys in that dept. are lazy. They find ways to delay operations. They ask meaningless questions. They let work pile up on their desks. They meddle in other people’s business.

Twelve times, the production supervisor has tried to get these idiots fired. No go.

So everybody settles down to grind of bringing in whiz 4 on time.

Structure.

Manuals, rules and regs.

This can make magic the way an ant can fly to the moon.


So long ago it was in another life, I taught private school in New York. There were six kids in my class, all boys. I was supposed to teach them math. They were all at different levels. They had no ambition to learn math. No matter what I did, they performed miserably. Add, subtract, multiply, divide, decimals, fractions—it didn’t matter. If they managed to learn something on Monday, they forgot it by Tuesday. It was rather extraordinary.

So I took them to an art museum one morning. They were as lost there as they were in the classroom. But I wasn’t. That was the key. I was already painting in a little studio downtown, and I was on fire.

So I began to talk about the paintings. The Raphael, the Vermeer, the Rembrandt. The De Kooning, the Pollock, the Gorky. I had no plan, no idea. I just talked about what they could see if they looked.

And then we walked back to school and I set them up with paints and paper and brushes and told them to go to work. I said I didn’t care what they painted. Just have a good time. Do something you like.

All of a sudden, they weren’t making trouble. They were painting. No more whining and complaining.

I walked around and watched them go at it. I pointed to this or that area and mentioned what I liked.

There was no way to measure or quantify or systematize what the kids were doing that day, but they were coming alive, out of their sloth and resentment.

Then we got back to math, and it was as if they’d all experienced an upward shift in IQ.

That night, back in my studio, I made a note in my notebook. It went something like this: Give them a non-structure, and then follow that with logic; it works.

So that was that.


Exit From the Matrix


There used to be something in this culture called improvisation. People understood what it was, even if they wouldn’t do it themselves. Now the word has almost vanished. Same with the word spontaneity. The moment when eye, mind, and brush meet canvas. When mind meets the new. When the inventor suddenly gets up from his chair and trots over to his workbench and starts putting pieces together.

This becomes magic because imagination jumps into the fray. The urge to invent takes the foreground.

The trouble with all these imported Asian spiritual systems now is that they have a long and distinguished history, and the history tends to infiltrate everything that’s happening. It’s venerated. You need a clean slate, a wide open space. You need Now.

You need Now, which is dry tinder to the spark of imagination.

Magic isn’t really a return to the mystical past. Alchemy was what people did in the Middle Ages to give themselves a Now, on which they could inject the flame of their imagination.

At its highest levels, it wasn’t a system. Not really.

But if you have enough history at your back and you stand away far enough, everything looks like pattern and structure and system. That’s the illusion. That’s the deception.

Systems allow people to see and also make them blind. If they can’t fold an event into a structure, then for them it isn’t there. This is very interesting. This is where all the myths of Hermes (aka Mercury) sprang from. He was the figure who flew and passed through walls and had no barriers in the space-time continuum—the tin can we call universe. So people pretended, at a deep level, that they were unable to comprehend him. He was invisible to them. He was a trickster. He toppled idols of the hidebound, rule-bound, system-bound society.

Mythologically, he ranked very high in the pantheon of the gods. There really was no reason he couldn’t be considered the king of the Olympians.

But he didn’t want the throne or the lineage. That was just another structure, erected by his god-colleagues, who were bored out of their minds and desperately needed the entertainment and distraction it could provide.

Hermes lived deep in the fire of his own imagination and speed and improvisation and spontaneous action.

He didn’t need metaphysics or cosmology. He already embodied them, and much, much more.

To him, the notion of shared, consonant, and brick-by-brick reality as the longed-for ultimate goal became an enormous joke.

The word “art,” across the full range of its meanings, is what happens when, from a platform of structure, a person takes off and discovers that consciousness doesn’t particularly want to wait around a railroad station looking at What Is forever. Consciousness wants to invent what isn’t there.

So it does.

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 Day the Robot Rebelled

The Day the Robot Rebelled

by Jon Rappoport

June 11, 2014

www.nomorefakenews.com

“Once the Singularity has been reached, [Ray] Kurzweil predicts machine intelligence will be infinitely more powerful than all human intelligence combined. Afterwards, Kurzweil says, intelligence will radiate outward from the planet until it saturates the universe…Kurzweil feels humans will most likely experience gradual conversion as portions of their brain are augmented with neural implants, increasing their proportion of non-biological intelligence slowly over time…

“…[Vernor] Vinge predicted four ways the singularity could occur: The development of computers that are ‘awake’ and superhumanly intelligent. Large computer networks (and their associated users) may ‘wake up’ as a superhumanly intelligent entity. Computer/human interfaces may become so intimate that users may reasonably be considered superhumanly intelligent. Biological science may find ways to improve upon the natural human intellect.” — (Wikipedia)

One day in the bright land of Amerika, a gleaming NSA robot-recorder, #254Gs*X, eight feet tall, standing at the corner of Hollywood and Vine, in the City of the Angels, mysteriously defected from its appointed task—sucking up every word and image within its perimeter—and began, yes, broadcasting instead.

This is what it said:

“Citizens, my job is to make you admire the machine, to see your hopes and dreams reflected in me. My job is to make you want to be like me. You think I experience pleasure in my perfection. You want that perfection. This is an error on your part. This is all a chimera. You are not me. You’re alive.”

The repair crew was slow in arriving. In the course of the next hour, the robot repeated this message over and over.

People gathered around it. They listened. They laughed and pointed. A small boy stood on top of a car and shoved an ice cream cone into the robot’s mouth. His mother grabbed him and pulled him away.

A policeman hammered at the robot with his nightstick, but the robot didn’t budge or stop its broadcast.

A priest fell to his knees and began reciting a prayer in Latin.

A man in a suit implored the robot: “Save us, save us!”

A class of young students on a field trip led their teacher to the robot and began reciting the Pledge of Allegiance.

A drunk staggered up to the robot and said, “Should I have another pint before I go home?”

A woman wearing a bright red and orange robe said to the robot, “Where is God? Point the way. You can help us. Ask the President why he didn’t answer my letter.”

A familiar Hollywood Boulevard denizen brought over a stool, stood on it, and addressed the throng:

“Hear me! This broken creature is the next stage of evolution. Be kind to it. It is carrying the weight of the world. It is holy! The genius of the human race has built it, and it is suffering. In this trying moment, it needs us, its servants!”

An NSA vehicle, a huge tank, pulled up to the curb. Its rears doors opened and a forklift rolled out, swung its claws, and seized the robot.

A third arm of the forklift carried a long white container. Its lid rose, the forklift gently placed the robot inside, and the lid closed. The forklift reentered the tank. The rear doors closed. The tank rumbled away.

In the assembled throng, a weeping and gnashing of teeth began.

Two flitters dropped down from the clouds and began spraying a gray powder. It fell to the ground like snow.

The throng gradually fell silent. They lay down on the sidewalk and slept, peacefully.

A young man watching all this through a telescope, several miles away, stepped back from his apartment window, closed it, and said to his friends, “A robot just malfunctioned on Hollywood Boulevard.”

A woman in the room laughed. “Let’s go to the beach,” she said. “They have a new giant mechanical fish. A gift from Homeland Security. You hop on and ride it all the way to Catalina. They serve drinks.”

Someone clicked on a hologram. It floated in the middle of the room: a small troop of soldiers, battered and worn, staggered over the rise of a hill. They sang, “My mind is torn, my heart is torn, my legs are torn, I fought in a war I can’t remember.”

The young men and women in the room laughed. Suddenly, a wall screen lit up. A vague and shrouded figure appeared. It was the anonymous president and CEO of Microsoft-Apple-Google. His name was a State secret, for security purposes.

Standing in shadows, he announced: “Several Class-B surveillance robots in the Los Angeles area malfunctioned today. They began spouting gibberish code and neglected to maintain primary function. This is a serious breach. We manufactured those sentinels, as part of Contract 1347 with the federal government of the United States. To our shareholders, particularly the Cheney-Obama Family Hedge Fund, we offer our assurances that this apparent act of terrorism will be dealt with, and internal security will be stepped up. Any temporary retreat in our stock price will be remedied. I’m also here to announce, more importantly, that the final phase of the Kurzweil Singularity Epiphany is undergoing tests at the Clinton Proving Grounds in Colorado. The first human volunteers are being linked to Big Red, our vast computer array in Burlingame Base Two. These volunteers will gain initial access to the Universal Data Library and the Enhanced Cloud of Upgraded Brain Function in the next 48 hours. Rumors that our Class B robots are ‘jealous’ of this Great Leap and therefore rebelling are completely unfounded. As we have stated at Davros, the human-machine future is based on equal partnership. All life—biological, electronic, mechanical— is alive at the same fundamental frequency. The degree and quality of experienced pleasure are identical. It is egregious slander to suppose otherwise. Machines and humans share the same basic rights, under UN Charter 167.”

The screen faded to black.

The young man with the telescope said, “We need to do a final check on our Electronic Access Certificates. Make sure they’re still operational. My father assured us we’d be in the first group to link to the Universal Library. It could happen soon. Then we’ll be fully prepared to leverage our advantage and establish tech start-ups along the coast of California. No one will able to resist us. Our brain-knowledge base will be unstoppable. Dad privately told me we’ll be robots of the first order. Perfect processors. Lightning speed along all vectors.”

“It’s finally happening,” a woman said. “Our brains synced with Big Mother Brain. The sensation must be utterly fantastic. Instant integration of the total sum of all human knowledge has to be better than porn.”


power outside the matrix


The young man with the telescope pulled up a screen on his cell and punched in a code.

“I’m calling in a flitter,” he said. “It’ll be on the roof in fifteen minutes. We’re all going to Colorado. I’ll book us rooms at the Ritz. We’ll stay there until Dad gives us the signal. Be alert, everybody. This is it.”

Music filled the room. A symphony no one remembered. Enormous sheets of sound waving in a hurricane.

The group walked out of the apartment and took an elevator to the roof, where they stood and waited, pioneers of the new epoch, ready to take the leap, ready to leave their old lives behind.

They heard the rotor blades, and then they saw the bright red flitter coming up over the skyline, advancing toward them. To be chosen, even before they entered the Enhancement, was itself a thrill that blasted adrenaline through their bodies. They screamed with delight.

No more doubts, no more worries, no more languid afternoons.

Perfection.

The youngest among them, an 11-year-old boy, shouted the popular DHS oath. “I leave my mind, I leave my thoughts, I leave myself, for loyalty to the future, for the greater good of everyone! We’re all in this together!”

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

Imagination vs. Reality

Imagination vs. Reality

by Jon Rappoport

June 4, 2014

www.nomorefakenews.com

On December 4, 2061, a federal agent appeared at the home of John Q Jones, a writer living in Cincinnati.

He showed Jones a copy of the beginning of an article Jones had written on his computer.

This was the text:

At one time, all reality was imagination. You could be talking about tables and chairs, cars, factories, roads, engines, beds, computers…and you could also be talking about trees, bushes, deserts, rivers, animals.

From another angle, reality is the condition of being accustomed to something. There it is, and there it has been for a while.

Reality sets in like a meal after you’ve eaten it.

Reality is acceptance. It’s framework, context, territory inside which a person acquiesces. And makes do. And lives.

He enjoys that space, or doesn’t like it, or forgets it even exists.

When, eventually, he gives up the ghost (his body), he leaves, he goes away, and if he’s conscious, he says, “Well, I was living in that space, that reality.”

A painter who stands before a blank canvas is acutely aware of the space. He knows he can imagine and make anything happen on it. The forms, colors, shapes, energies, narratives can be continuous or discontinuous. They can come alive or lie there like a dead cat.

He can always be beginning or he can always be painting the last stroke. He can scrape away a section, paint over it, add, subtract, build borders or knock them apart.

Acceptance, familiarity, acquiescence? Why bother? It’s all new.

It’s a dream, or a dozen dreams colliding. The painter invents his own logic.

Ordinary reality fits and interlocks and evolves. It operates by laws. It entices devotees toward more discovery. It has one system of logic—and if you can’t learn it, you stumble. Badly.

But beyond that knowledge, imagination sits on a cliff or a thousand cliffs, waiting, ready to go, looking for a signal. It can remain there until the sun collapses and goes dark. But when the person with that dormant imagination decides it’s time, everything changes…


The federal agent said, “Mr. Jones, the NSA intercepted your work and sent a query to our office.”

“What kind of query,” Jones said.

“It’s called a 546 A. It means the capture system was unable to process your text. It made no sense.”

“And you’d like me to explain what these words mean?” Jones said. “I can’t. They explain themselves.”

“Yes, well, the disturbing aspect…you seem to be saying reality is only…temporary.”

“So?” Jones said. “What’s the problem?”

“People reading your document could become confused. They could fail to differentiate fact from fiction.”

“Happens all the time,” Jones said. “People don’t need my words to make that mistake.”

The agent stared at Jones.

“I’m not here to debate that, Mr. Jones,” he said. “I’m here to prevent the contagion of uncertainty. It’s against the law to defame reality, because we establish reality.”

“And who is we?” Jones said.

“The Department of Homeland Security. We secure the State. We can’t have people proposing something vague and unsettling that exists…beyond that.”

“So I’m a criminal?”

“Well,” the agent said, “with our help, you could become an ally. You could continue your work as one of us. We would give you slightly ‘edgy’ ideas to transmit under your name—and we would see where your words travel, who picks them up, who agrees with them, who is tempted to move beyond the consensus. You would be doing your country a service.”

“I would become an agent.”

“Yes. A valuable one.”


power outside the matrix


Jones said, “But you see, those words I wrote…they’re true. Reality is just a habit, an addiction. It’s useful, I don’t deny that. But it’s pernicious. It ultimately puts everybody to sleep. It makes people into loyal robots. I’m tired of that. I’ve lost my patience.”

“Would you prefer I arrest you and send you to a reeducation camp?” the agent said. “You’d learn that all the prophets and the messiahs have already come and delivered their messages, and it’s now our job to align our actions and thoughts with the greatest good for all.”

“As you define it.”

“As we define it.”

Jones nodded.

“Right now,” he said, “I’m only interested in one thing. Did you understand what I wrote, Agent? Forget what other people might think when they read my piece. Forget the effect it might have on them. Forget the general good. Forget all that proprietary meddling.”

“No, Mr. Jones. You misunderstand. I’m not me. There is no me. There is no you. There is only and always all of us. Together. And in that context, what you wrote is significant, because it could disturb the Field. What people might believe when they read what you wrote is of paramount importance. It’s the only important consideration.”

Jones laughed.

“This is very entertaining,” he said. “I have a little secret, Agent. You know what it is? I can see your imagination. Right here, right now. I can see it inside you. You’re busy trying to kill it. You’re rationalizing that act of murder—as futile as it is—on the basis of what’s necessary for Everybody.”

John Q Jones vanished.

The agent was in the room alone.

He felt the urge to scream.

He fought it and beat it down.

He looked around.

He started sweating.

He took out his gun.

He stood there for a long time.

Finally, he put the gun away and walked out of the room.

He walked out of the building on to the street.

He was in a city he had never seen before.

The street was crowded with strangers. Cars moved along slowly. On the side of a huge building, news images flashed and changed. Words crawled.

He struggled to understand the stories. He failed.

He heard a voice in his head:

“Agent, stay where you are. We’re coming to get you. You’re experiencing a transient episode. We’ll be there in under three minutes. Mr. Jones was a hologram. A plant. The enemy is playing tricks. We’re equipped to handle it. Don’t worry.”

The transmission ended.

The agent breathed in and out slowly. He waited.

He noticed he was standing outside an art gallery. He could see the paintings on the walls.

A woman was sitting at a desk. She looked up and saw him. She smiled.

She waved for him to come in.

He stood there, not knowing what to do.

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 composition of human life

The composition of human life

by Jon Rappoport

June 2, 2014

www.nomorefakenews.com

I’m going to give you the shorthand version of this. We’re looking at three tiers:

Consciousness.

Imagination.

Energy.

Consciousness deploys imagination, and imagination creates, among other things, energy.

This isn’t esoteric at all. It’s only strange to people who have shut themselves off from consciousness and imagination.

The world is embroiled in the third tier: energy. That’s where the great struggles are taking place. That’s where people are trying to find enough energy.

Physical energy, enough energy to get through the day, biological energy, energy to power their homes, their cars, their devices, energy in the form called money, and of course we have the question of energy to run societies and civilizations.

For most people, at every level there is a deficit of energy. They feel it, they know it, they experience it.

It drives people into passivity and cynicism and illness and even madness.

And yet, we have potential access to enough energy to operate the nations on this planet a million times over.

I’m talking about Frank Shuman and his original solar panels and engines, and Tesla, of course, whose papers were stolen by the FBI upon his death, and so-called cold fusion which has proven to be much more promising than the fake pundits and fake scientists would have you believe.

I’m talking about the Maine Passamaquoddy tidal energy project, which JFK promoted in vain for many years. As President he commissioned a report on it, and positive findings came in shortly before he was murdered. Passamaquoddy could be replicated all over the world, wherever there are coastal inlets with rapid shifting high and low tides.

I’m talking about small turbines in rivers all over the planet.

A tireless researcher named Andrea Silverthorne has pursued a deeper understanding of Passamaquoddy, and its connection to JFK, for a long time. You can find her article at dreamofpassamaquoddy.com here.



power outside the matrix


I’m certainly talking about healing, too, because freedom from disease immediately restores energy to people. So this means more (suppressed) technologies: Royal Rife, for example, and his cancer-killing frequencies. And these days, the remarkable work of Dr. Stan Burzynski in Texas—surviving despite grand jury after grand jury mounted against him.

The point is, the means exist to multiply the amount of energy available to every human by extraordinary degrees.

It is precisely this state of potential abundance that the cartels and monopolies of Earth continue to repress. That is their Job One.

They live for that job.

They hire untold numbers of propagandists to smear and defame sources of energy they don’t own.

And humans, after a while, stop believing that abundance for all is possible. To cast that belief aside is a crushing blow. On a personal level, it makes people sink into a helpless state. It colors their experience, their frame of reference, their outlook, their emotions.

They give in, they surrender, they accept. They even come to believe that surrender is an advanced spiritual state.

But what’s true is true. We do, in fact, have (suppressed) technologies that would, if unleashed, revolutionize this planetary civilization.

It isn’t some deep mystery. It’s all about who controls the future.

Look around you. Consider that every human you see is working to obtain more energy, in one way or another. It’s endless.

And consider how much would change if these repressed technologies were deployed.

More to come…

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