Three paranormal experiences
by Jon Rappoport
January 5, 2013
A healer of enormous capability, Hadidjah Lamas, worked with me in the 1970s, in Los Angeles.
Once, during a session, while I was lying on the table, something happened I was completely unprepared for. I saw, quite clearly, a dark metal mask sitting a foot or so above me in the air. It began to spin, and then it moved across the space of the room, sped up, and exited.
A few moments later, my space was flooded with blue and gold particles. They effervesced for several minutes. When I stood up, I felt as if I’d just taken a two-week vacation in the South Pacific.
As a painter, I had several interesting experiences in the mid-1990s, while I was working in my studio in Santa Monica. One day, I painted improvised black shapes on large pieces of cardboard. When I was done, I leaned the pictures against the far wall, lay down on my bed, and looked at them for several minutes.
I imagined the shapes were letters or words in a language. All of a sudden, the shapes transmitted something. For a few seconds, what was coming at me was more than I was imagining, as if a gate had opened.
The language of the shapes wasn’t in words, as we understand words. It was all motion and sensation. I understood it perfectly. It was about the exhilaration of flying, and the feelings were ecstatic, but this particular range of ecstasy was entirely new to me. It was as if the new language was expressing a higher cloud-layer of emotions, a whole series of them, from a space we could all reach, if we put aside our ordinary preconceptions.
I was so moved by this, I embarked on a 15-year period of painting what I called forgotten or imagined languages.
These glimpses and sudden revelations are indicative of what lies outside the boundaries of our culturally indoctrinated perception.
A baby learning to speak his native language cannot be explained in any normal systematic way. It isn’t a series of steps smoothly taken. It isn’t done through a graduated lesson plan. Every day, the baby makes leaps and experiences wholesale revelation.
When an actor takes on a role in a play, likewise there is no way to chart his progress in getting into character. There are key jumps of comprehension that exceed explanation.
Finding a new and genuine solution to a problem can’t be mapped out. There is always that jump into the answer. A rigid cause-and-effect chain fails to describe the process. And to assume the brain is originating breakthroughs is speculative and unsupported pseudoscience.
To use the word “paranormal” is really to talk about magic. And on this planet, there is a taboo about that. It cuts deep. The taboo implies that the act of doing real magic exceeds what is permitted to human beings.
And to explore magic or actually DO it, or even notice it when others do it, is shameful and should be accompanied by massive guilt.
Because, as the story goes, God doesn’t want humans to have too much power. What better tale to illustrate that than The Fall. The Eden myth. There in the Garden, Eve succumbed to persuasion, and she and Adam ate the forbidden fruit. Bang. Retribution, suffering, shame, guilt, excommunication.
The Roman Church (empire through mind control) capitalized on that story, dressed it up, and sold it over and over.
This is one reason why, on Earth, people who make magic fail to see it themselves, and those who would otherwise observe the magic also fail to notice it. Taboo.
If you dispassionately read the Old Testament, you could infer that the God described was, in fact, a kind of magician who decided that he wanted a territory of his own where the only magic allowed would be his.
What he was after was control of the paranormal. Exclusive ownership. So he did everything he could to “cast a blanket or a field over the planet” that would exclude others from doing what he could do.
It could then follow that a relatively few humans on Earth, somehow managing to make magic on their own, would ironically be blind to it. And people seeing it happen (objects spontaneously disappearing, other objects appearing, etc.) would likewise see nothing.
From this state of affairs, you get the blind leading the blind.
As a painter, I have thought that, walking through a museum, I’m seeing magic displayed on the paintings on the walls. Why shouldn’t these works be seen as just as real as the walls and the floors and and ceilings and spaces of the museum rooms?
Many years ago, I was sitting in a theater watching a swashbuckling sword-swinging costume drama starring Elizabeth Taylor and Stewart Granger. In one scene, they were sitting close to each other, deep in conversation.
For some reason, I decided to suspend the idea I was watching a movie. Instead, I concentrated on Taylor and Granger talking to each other. A minute or two passed.
Suddenly, I was in a new space.
These fully dressed characters receded. I was watching two people talk. It was quite startling.
This wasn’t an intellectual experience. I had blown through the “space of the movie” and I was THERE, and I was seeing directly into the two people up on the screen. They were unmasked. I had let myself into the space behind the space.
There was no movie, no artifice, no story, no background, no acting. All that was gone. I remember a thought drifting through my mind:
IS THIS LEGAL?
I was in a kind of space I had never known existed. I was no longer “keeping a distance.”
I was, so to speak, in the room with these two people, and I was watching them talk to each other. The utter immediacy of it was shocking. There was no acting at all. That was gone.
But it was a movie, wasn’t it? Apparently, only on one level was it a movie. That is how we conveniently see it. On another far more compelling level, it was a doorway into reality-plus.
We hear all sorts of technology talk about how movie makers are going to erase distance and immerse people in their films, to give them a living experience. Well, I can testify there is a much shorter route to that goal. The thing is, it destroys old taboos.
Because we have the capability to be in any space we want to be in, whenever we want to be in it. And when we get there, we experience, first-hand, how we’ve crossed the threshold between manufactured consent and ecstatic, unique, individual perception.
Was what I encountered when I penetrated the fourth wall of the theater what everyone would encounter? Or was the movie, the illusion a gateway into many possible deeper spaces?
That would be a question to discuss when we went there and came back.
I fully understand that people could call these three paranormal experiences nothing more than imagination. And if that’s the “worst-case scenario?” That’s saying imagination creates reality. Which puts us in paranormal territory of unbounded dimensions.
The author of an explosive collection, THE MATRIX REVEALED, Jon was a candidate for a US Congressional seat in the 29th District of California. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com