Beyond structures, beyond one space and time

Beyond structures, beyond one space and time

by Jon Rappoport

November 22, 2015

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

“There is a form of mind control in which very workable patterns are taken too far. They become obsessions. They become filters through which a person sees everything. Then the fire of life cools and goes out. Then the intelligence of a person works against him. My work is about showing people there is something beyond these patterns. What people are hoping for and wishing for is beyond these mind-patterns, whether they know it or not. I don’t care whether they live in America, Australia, Canada, Malaysia, India, Peru, or the North Pole. They’re hoping for a kind of spontaneity and energy that transforms dead and repetitive days and nights into burning joy.” (The Magician Awakes, Jon Rappoport)

I recently wrote a piece about my collaboration, in the 1980s, with a brilliant hypnotherapist named Jack True. Jack discovered that patients, under hypnosis, would visit “separate areas of space and time,” if he asked the right questions.

In this way, the patients went beyond the consensus structure of the “the one and only continuum” we take for granted. In doing so, they gained a new sense of their own power.

In various ways, science fiction authors have presented this “going beyond” factor. Two of the best were Philip Dick and his early inspiration, AE Van Vogt. Of course, most readers view their novels as a form of exciting entertainment, and they don’t bother pinpointing the source of the excitement.

What sits in the subconscious is not at all what psychoanalysts have theorized about. The contents of the subconscious are far more adventurous: different spaces and times—many of them. And the “shapes” of these spaces and times are not identical. Clock time and geometric space are, in a sense, a default setting. They are what survives after the subconscious goes to sleep.

In one of our interviews, Jack True remarked: “Turn everything backwards and ask, ‘What kind of space-time continuum do we all need, in order to get along?’ The answer will give you the space-time we have, the lowest common denominator. But people can, on some level, sense there is much more.

“They visit these ‘other islands’ in dreams. When they are asleep, they leave the system and venture out into locations where they feel much more alive. Why is that? This is a very important question. They experience a remarkable spontaneity. It’s electric. It’s unhindered by pattern. It’s infused by their own deep desires. And no amount of convincing in their waking lives is going to stop them from having these dreams. Interpreting the dreams afterwards waters down the experience itself. Consciousness doesn’t accept one space and time. Consciousness, freed from cultural patterns, reaches out into many continua…”

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 most major 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 assigns compartmentalized tasks to various departments under him.

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-it 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.

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, into 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 Already Exists forever. Consciousness wants to invent what isn’t there. Consciousness wants other spaces and times.

This is why I’ve authored my collection, Exit From The Matrix. Here are its contents:


exit from the matrix


First, my new audio presentations:

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

* EXIT FROM THE MATRIX

* 50 IMAGINATION EXERCISES

* FURTHER IMAGINATION EXERCISES

* ANESTHESIA, BOREDOM, EXCITEMENT, ECSTASY

* ANCIENT TIBET AND THE UNIVERSE AS A PRODUCT OF MIND

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

* PARANORMAL EXPERIMENTS AND EXERCISES

* CHILDREN AND IMAGINATION

* THE CREATIVE LIFE AND THE MATRIX/IMAGINATION

* PICTURES OF REALITY AND ESCAPE VELOCITY FROM THE MATRIX

* THIS WOULD BE A VERY DIFFERENT FUTURE

* MODERN ZEN

* THE GREAT PASSIONS AND THE GREAT ANDROIDS

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

* Mind Control, Mind Freedom

* The Transformations

* Desire, Manifestation and Fulfillment

* Altered States, Consciousness, and Magic

* Beyond Structures

* The Mystery and Magic of Dialogue

* The Voyage of Merlin

* Modern Alchemy and Imagination

* Imagination and Spiritual Enlightenment

* Dissolving Stress

* The Paranormal Project

* Zen Painting for Everyone Now

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

* Expression of Self

* Imagination Exercises for a Lifetime

* Old Planet, New Planet, New Mind

* The Era of Magic Returns

* Your Power Revealed

* Universes Without End

* Relationships

* Building a Business for Success

I have included an additional bonus section:

* My book, The Secret Behind Secret Societies (pdf document)

* My book, The Ownership of All Life (pdf document)

* A long excerpt from my briefly published book, Full Power (pdf document)

* My 24 articles in the series, “Coaching the Coaches” (pdf document)

And these audio seminars:

* The Role of Medical Drugs in Human Illness

* Longevity One: The Mind-Body Connection

* Longevity Two: The Nutritional Factors

(All the audio presentations are mp3 files and the documents and books are pdf files. You download the files upon purchase. There is no physical ship.)

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

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

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.

7 comments on “Beyond structures, beyond one space and time

  1. From Québec says:

    Your story as a math teacher, is kind of similar to an experience I had in 1981.

    I was hesitating between two jobs that were offered to me, when my sister, who was a math teacher, phoned me and asked me if I would be interested to work as an Art teacher at one of the schools where she was teaching. The professor was on leave because of a nervous breakdown.

    This huge Regional high school had three buildings. One for the very smart students, the second one for average students and the third one for students with difficulties. All sorts of difficulties: mental, physical criminal, etc.

    Of course, that job offer was for the third building…lol. I said to my sister, why not, that should be interesting. So, she took me a rendez-vous with the school director, the next day, which was a Thursday.

    The first thing he asked me was: Do you have a permit to teach? I said: No. I went to Art school, that’s my only qualification. He said well that’s a problem.
    I said: To whom? He said: to the government and the sindicate. I replied: It’s not a problem for me, I know I can do it.

    He said: Well, since 3 other replacement teachers have quit because they couldn’t handle these problem teenagers, I’m a bit stuck right now and I need a replacement teacher as soon as possible. I’ll take the word of your sister, since I know her well, and I will take a chance with you. But you have to know, that, as soon as the permanent teacher comes back from his depression, you will have to leave. I said. “Sure, no problem. He said, can you start tomorrow? I said sure.

    I was all excited and motivated when I enter the classroom that Friday morning. I presented myself with my first name only. and asked them to do the same, one by one. It was a class of 20 students. They all gave me their first name. Since I have a huge memory, I wanted to impress them, by calling them by their first name.

    So I said: I’m going to ask you what interest you in life and what you want to do in this art class. I picked one of the student and addressed him by his first name, and they all started laughing. One in the back of the room was laughing so hard that I called his name and said: What do you find so funny? They laughed even more.

    I knew something was wrong. So, I picked up the only student who wasn’t laughing, and asked him why they were all laughing. He said: they are laughing because they didn’t give you, their real first name.
    I said: Oh boy! We are going to have some fun in here, because from now on, I will be calling you by whatever wrong names you gave me. They liked that, they cheered to that idea. I though to myself, that I made a good move there.

    But the day wasn’t over yet. As soon as I opened the door of the cabinet where all the paints, brushes, glue and paper were, they rushed in and started throwing everything on the walls and floor and said they hated art teaching, that it was a boring subject. Then the bell rang and it was the end of the session of that day.

    I was a bit discouraged and I almost quit. But, since I’m a hard headed woman, I didn’t. On Saturday, I had an idea. I went to some stores who sells old used music albums. I bought them for the album covers. If you remember, in these days, they were huge cardboard covers. About 13”x 13”. I bought a pile for almost nothing. I glued some paper over the covers, so they would be ready for painting on them.

    Sunday, I went with my sister, who had the key to the school, and we installed a record player in the classroom and brought the newest music that teenagers liked, and of course brought also the album covers.

    When the kids walked into the classroom on Monday, they were stunned to hear their preferred music. I told them.that from now on, they would listen and create album covers that the music inspires them. I said: You can draw anything you like, with any kind of mediums, you can glue things, paint abstracts or real things, whatever you want to, as long as it fits on the album cover. I told them that they could also bring their own music if they wanted to, wich they did the next day.

    It was a HUGE success! That’s all they did for the next 4 months with me, and that is all they wanted to do. They were happy and had so much imagination. Honestly, some of their creations were truly stunning.

    When they heard that the regular teacher was coming back, the students sent a petition to the school director to keep me as their teacher for the rest of the year. Of course, the director could not do that, since I did not have a permit to teach and that the real teacher was part of a syndicate.

    The day I left, was so full of emotion. Never in my life did I ever received so much genuine love then on this day. It’s an experience that I will never forget.

    The director, thanked me and said: I don’t know what you did to these kids, but since you’ve been here, all the other teachers in all fields (maths, French, geography, biology, etc.) noticed how the students improved and became more calm and showed more interest.

  2. From Québec says:

    Oh, And I forgot one very important thing about this experience.

    The first two months, the students created their album covers out of the music that they liked. The third month, I introduced some jazz music. Beautiful creations came out of it.

    But the fourth month, I insisted that it would be about classical music. They said, you got to be kidding us… classical music? They were laughing. I said, no, I’m not kidding. Let’s say that you are working for a company that makes album covers, you would have to be able to create album covers for all sorts of music.

    So, what I want you to do, is to close your eyes and listen to this piece of music and after listening carefully, start creating what came to your mind while you were listening to it.

    I started with Maurice Ravel’s Bolero. I was watching them as they were listening with their eyes closed. Some heads and bodies started to move to the rhythm. I knew that something good was to come out of it. Indeed, these were really their best creations of all.

    Them, I went with Tchaikovsky music and so on.

  3. Jennifer Peyton says:

    excellent teaching article about the failings of “structures” – it should tickle anybody’s imagination to try it. You are amazingly deep, and think from your heart- you have my admiration, Jon.

  4. David says:

    It’s hard to be creative when you’re stressed out and a trillion ton weight on your shoulders, it’s like someone screaming at a bird with a broken wing to “FLY, DAMN IT!”.

    • From Québec says:

      Surprisingly, when you create, your stress goes away. You feel like you see the lifght at the end of the tunnel. You realize that you have power.

  5. David says:

    I haven’t had that experience.

  6. From Québec says:

    Could it be because you expected too much from the thing you created?
    Whether you like or hate what you have created, be proud that this is something that did not exist before and that now it does exist, because YOU made it happen.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s