Selling perception of terror attacks (and everything else) on the mind-control superhighway—and immortal you

Selling perception of terror attacks (and everything else) on the mind-control superhighway—and immortal you

by Jon Rappoport

September 22, 2016

I’ve written several introductions and postscripts to my collection, Exit From The Matrix. Here is the latest postscript:

Public relations adepts understand that you can take a genuine positive sentiment and make a cartoon out of it.

And then you can make a cartoon out of THAT, and you can go on with this multiplying process for many years. And people will totally lose track of where and when the genuine was replaced by the fake.

Worse yet, people will sculpt their own personalities to fit some sixth-generation “positive” cartoon, believing all the while they’re embracing the highest Good in the cosmos.

This article is about selling perception, not fact.

When enough images, cues, and symbols are placed in the mind, the owner of that mind will basically have an excuse to sacrifice his independence, surrender, and adopt a “peaceful” role in the stage play of his life.

He will even go so far as to embrace a wholly fake messianic agenda for a “better world”—because it looks like it fits his new role.

Now he’s inside a cartoon bubble.

Social propaganda operatives understand these factors. On this basis, they pick up their paychecks. One such retired operative once told me, “I made my living from the idea of unity. That’s it. I sold it for years like Big Macs.”

—The bomb in NY, the bombs in New Jersey, the stabbing attack in Minnesota…no matter what major media call them or don’t call them, the American people call them terrorist acts.

And that seems to play into the hands of Donald Trump.

But you can be sure Hillary Clinton’s inner circle are telling her a different story. A familiar story, because they’ve been operating on this basis for a long time: “You, Hillary, are the moderate candidate. You’re in the center. You’re for unity. That’s how the majority of the voters see you. So these attacks benefit you, not Trump, because America wants peace and unity and caring at any cost. And they see you as the President who can give those things to them. Trump is the wild cowboy. He stands for retribution and violence and revenge. That’s not what the people want, because they’re afraid his actions would bring down more terror attacks. Don’t worry, be happy, Hillary. You’re going to win the White House…”

For decades now, the mood in America has been shifted over into endless compromise and political correctness and counterfeit love and caring—as a result of a purposeful multi-front propaganda operation:

“Everybody is good, respect diversity, automatically love everyone who is different, be nice, think positive, embrace hope, don’t make waves, and peace will come.”

I hope you understand that all the key words in the preceding sentence are crafted as fake versions of the real thing. I can’t say it more plainly than that.

“No one is evil. When met with love, all differences and enmities dissolve.” This is another crafted propaganda cartoon. Its purpose is to convince people to surrender.

This is how defeat is sold on the superhighway of PR.

Then, another step is taken. Cues are installed in people’s minds that trigger surrender as if it is “love.” Cues such as: waves of migrants (among whom are un-vetted terrorists); inner cities devastated by a combination of Globalism and gangs; violent riots in the streets—these and other cues bring about a response of “share and care” surrender.

—Love them, care for them, give them everything they want, and all will be well. (And even if it isn’t, you’ve donned the visible and admirable cloak of a “good person,” and what else matters?)

To the degree that this massive society-transforming mind-control op works, political candidates who present themselves as cartoons of faith, hope, charity, love, peace, and equality gather much, much support.

Facts don’t matter. Perception matters.

If Hillary Clinton, present or absent and ailing at home, can be sold as that all-kind and all-caring cartoon, she will win the election.

“She’s even-minded, she won’t go to extremes, she cares about everybody.”

Her ultimate backers are quite of the aware of the decades-old propaganda op I’ve outlined above, and they’re betting their candidate will be the caricature that fits the bill.

How many voters will buy Trump as the “brutal cop on the beat,” looking to “shoot an unarmed boy?” And how many voters will buy Hillary as the candidate of peace who can “bring unity to a divided nation” and “greet well-meaning immigrants to our shores?”

This op goes further than Hillary and Trump. Politicians and their advisors all over Washington DC and America are sculpting their positions based on which set of cartoons they believe the people of this country have bought.

The actual safety and security of the United States is not the issue. “Actual” isn’t in the political playbook.

Meanwhile, on another level of false perception, since the assassination of JFK, a coterie of what we now call neocons has sold its aggressive wars as “defending freedom” and “establishing democracies.” This propaganda op targets, at home, American individuals who refuse to accept fake cartoons of peace and unity. This op is for those who want action, decisive victories—another whole set of cartoons.

So we have two ops on the propaganda superhighway, and together they form a pincer movement, a squeeze play. “You must pick one side or the other.”

But whether it seems possible or not, the truth is: the long-term future of civilization rests on the independent individual who rejects fake cartoons, no matter what their messages are.

Through his rational powers, and his innate imagination, he becomes an island in the stream of history. He works to turn the False upside down and shake out the True.

He conceives of, and projects, and builds new and better and freer realities in the world.

It may seem he is working against impossible odds, but if that is so, why have propagandists been laboring on and on, with such great resources behind them, to win their war of mind control?

The answer is: the soul of freedom, logic, and creative force offers awesome resistance to the takeover.

The individual is far more potent than even he believes.

Binding him with false caricatures and false idols forever…turns out to be untenable and impossible.

That is what I’ve concluded after 30 years of research and investigation.

As I keep saying: the game is afoot, time is long, the game is never over.

Never.


Exit From the Matrix


The physical shell you inhabit may receive slings and arrows, but like it or not, you’re immortal, and nothing can change that fact.

Get used to it: you’re in it for the long haul.

The only question is, what will the haul look like? Or better put: what will you create?

What will you create now, ten years from now, a hundred years from now, a thousand years from now?

Absurd? You’re just organized dust with a few years of action and thought before you fall back to disorganized dust?

You, who knows right now you’re conscious and reading these words; you who feeds your family, who drives to work, who jumps in the ocean and swims; you who who stands in the forest and looks at the trees as the dawn breaks; you who stands at your bedroom window at 3 in the morning and looks out over the city and envisions a fabulous new enterprise and future—you’re just the organized dust of remorseless atoms flowing in unconscious cause-and-effect, and after a few years you’ll fall back into disorganized dust?

Now THAT’S supreme high high level propaganda. That’s the crown of propaganda, brought to you by the scientific materialists who insist you’re nothing more than an accidental temporary machine outfitted with faulty programming, who needs to be returned to the factory for complete restructuring.

And if you buy that one, I have a company building space rockets made out of sand in the Sahara, and I’m looking for investors who recognize a tremendous opportunity when they see 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 NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Your real power

Your real power

by Jon Rappoport

September 20, 2016

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

In deciding what you truly want to do in this life, your best answer should arouse a sense of your own power.

Not power over others, which is a counterfeit version, but a power that wells up inside you.

Which is a good and marvelous thing.

—Of course, we know that propagandists and their minions have been busy trying to defame individual power, but their mission is a dead mechanical operation. Leave them in the dust.

There are several roads here. One, you give up the whole idea of having power. That’s a dud from the get-go. It speaks of a profound misunderstanding.

Two, you opt for an impersonal power which is unconnected to the direction in which you truly want to go. That version of life dwindles.

Three, you opt for power over others, the counterfeit, which is destructive to all concerned.

And four, you experience the power which comes from knowing where you want to go with great passion and imagination—and you go there.

Then you understand the innate power you have, and you lay claim to it. You increase it.

You authentically grasp what you can do, not as part of a sacrifice, but as you.

Down through the centuries, figures of learning have written and spoken about power in every which way—most of them suggesting that it is a thing to be avoided at all costs, or a substitute for something wonderful if people would only see it.

They miss the mark, over and over. There is a straight line between discovering what you truly want to do and experiencing your own power—and it is this line that reveals what great energy is all about.


Exit From the Matrix


Here is a brief excerpt from my introduction to my collection, Exit From The Matrix:

“Imagination rises above the smoke and illusion of the life half-lived. Imagination makes it clear that something new can be created.

“And because it is your imagination, you are one the one who can create it.

“Society may supply reasons why you should stick to the tried and true and familiar, but that is all about living in the past.

“Beyond the mask of society is the secret: there is no end of open space, and that space is the future.”

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 NoMoreFakeNews.com or OutsideTheRealityMachine.

A world hangs in the balance

A world hangs in the balance

by Jon Rappoport

September 16, 2016

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

The overwhelming number of well-funded groups “fighting for change” in this world are misdirected. Intentionally so.

These groups are designed to go off track, eliminate freedom, and produce answers that bring about more top-down control.

I can’t emphasize that strongly enough:

—The use of dupes and pawns, organized into groups, which cause more chaos and try to demoralize and box in THE INDEPENDENT INDIVIDUAL.

But the independent individual must survive, because he is where civilization begins.

The independent individual must understand this: his rational powers, and his imagination and creative impulse, are the foundation of anything that could be called civilization.

He can sacrifice these abilities on some altar of expediency or fear, but if he does, his light goes out.

Virtually ALL well-funded groups in the world who opt for change and betterment, under the banner of “greatest good for everyone,” are controlled.

They are paid for and run as fronts for global takeover. Their workers on the ground are clueless.

The elites we call the Globalists are basically promoting the following message: “If consent is withdrawn from our brilliant structure, life will go down the drain. We must have more groups who support our structure.”

Who basically withdraws consent? THE INDIVIDUAL.

Those individuals who sacrifice their own rational power and imagination are, in effect, consenting to the Globalist takeover.

That takeover is not civilization in any meaningful sense of the word.

It is tyranny.

Tyranny takes everything from the independent individual, and gives it to the permanently dependent individual.

And then, as the vortex spins deeper, more people become dependent, and the tyrants allow them just enough to survive on the margins.

Every sane person wants a better world, but most sane people don’t yet recognize how that impulse can be twisted against them. Do you believe power-elites would promote their vision under the banner of “a police state” or “dictatorship, poverty, and loss of hope for all”?

They must paint a glorious future with generalities that, superficially, many people agree to.

—It takes a village. We’re all in this together. Hope and change. Equality for all. Justice. Freedom from oppression. Unity.

But as usual, the devil is in the details.

The fall from the “grace” of promises and slogans is rapid. People wake up one day and find their lives are more troubled and perilous. What happened to the better world and the glimpse of utopia?

Ask some of the Russians who were around during the early years of the USSR. They’ll tell you.

These days, the m.o. is “kinder and gentler.” The clamp-down is slower. But it’s heading in the same direction.

Groups clamor for help, for fairness, for liberation. They’re entering the gates of misery. But they don’t know it.

So-called social justice warriors are already finding themselves out in the cold. They’re waking up to the Big Con. It all started for them with a vision they bought into. It wasn’t their own. Not really. They boarded a bus to nowhere. Their ticket was a victim-story.

They thought they were working with the government. But the government was working them.

Their one hope is to come back to themselves as individuals, to recover what they sacrificed.


Exit From the Matrix


The uniformed and naïve want to lay on a new interpretation of history. They want to claim that no real progress was ever made by men who were flawed. If a man wasn’t wholly pure, nothing he did was of value.

On that basis, for example the American Constitution has been rejected as “unworthy.”

We have come this far, however, because of a protracted struggle for individual freedom and, thus, independence. Until recently, that was the arc of history.

Now we return to the battle, because it must always be engaged, and because the understanding of freedom is slipping away.

The world hangs in the balance.

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 NoMoreFakeNews.com or OutsideTheRealityMachine.

Salvador Dali vs. The Matrix

Salvador Dali vs. The Matrix

by Jon Rappoport

August 22, 2016

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

Dali, the painter: Salvador Domingo Felipe Jacinto Dalí i Domènech, Marqués de Dalí de Pubol (11 May 1904 – 23 January 1989).

His self-appointed task: shake up reality.

Make the impossible intrude on the ordinary. Expose and confound the critics and the press. Whenever the establishment tries to define who he is, become something else.

The critics would have declared Dali a mental patient if he hadn’t had such formidable classical painting skills.

He placed his repeating images (the notorious melting watch, the face and body of his wife, the ornate and fierce skeletal structures of unknown creatures) on the canvas as if they had as much right to be there as any familiar object.

This was quite troubling to many people. If an immense jawbone that was also a rib or a forked femur could rival a perfectly rendered lamp or couch or book (on the same canvas), where were all the safe and easy accoutrements and assurances of modern comfortable living?

Where was the pleasantly mesmerizing effect of a predictable existence?

Where was a protective class structure?

To make it worse, Dali invented vast comedies. But the overall joke turned, as the viewer’s eye moved, into a nightmare, into an entrancing interlude of music, a memory of something that had never happened, a gang of genies coming out of corked bottles.

What was the man doing? Was he making fun of the audience? Was he simply showing off? Was he inventing waking dreams? Was he, God forbid, actually imagining something entirely new that resisted classification?

Dali’s greatest paintings were undeniable symphonies, and mere acknowledgment of his talent would not explain how he composed the movements.

Words failed viewers and critics and colleagues and enemies.

But they didn’t fail Dali. He took every occasion to explain his work. However, his explications were handed out in a way that made it plain he was telling tall tales—interesting, hilarious, and preposterous tall tales.

Every interview and press conference he gave, gave birth to more attacks on him. Was he inviting scorn? Was he really above it all? Was he toying with the press like some perverse Olympian?

Media analysts flocked to make him persona non grata, but what was the persona they were exiling? They had no idea then, and they have no idea now.

It comes back to this: when you invent something truly novel, you know that you are going to stir the forces trapped within others that aspire to do the very same thing. You know that others are going to begin by denying that anything truly NEW even exists. That DOES make it a comedy, whether you want to admit it or not.

It is possible that every statement ever uttered in public by Dali was a lie. A fabrication. An invention dedicated to constructing a massive (and contradictory) persona.

Commentators who try to take on Dali’s life usually center on the early death of his young brother as the core explanation for Dali’s “basic confusion”—which resulted in his “bizarre behavior.”

However, these days, with good reason, we might more correctly say that Dali was playing the media game on his own terms, after realizing that no reporter wanted the real Dali (whatever that might mean)—some fiction was being asked for, and the artist was merely being accommodating.

He was creating a self that matched his paintings.

It is generally acknowledged that no artist of the 20th century was superior to Dali in the ability to render realistic detail.

But of course Dali’s work was not about realism.

The most complex paintings—see, for example, Christopher Columbus Discovering America and The Hallucinogenic Toreador—brilliantly orchestrated the interpenetration of various solidities of realities, more or less occupying the same space.

I’m sure that if Dali were living today, he would execute a brain-bending UFO landing on the front lawn of the White House. Such a painting would envelop the viewer with several simultaneous dimensions colliding outside the president’s mansion.

At some point in his career, Dali saw (decided) there was no limit to what he could assemble in the same space—and there was no limit to the number of spaces he could corral on the same canvas. A painting could become a science-fiction novel reaching into several pasts and futures. The protagonist (the viewer) could find himself in such a simultaneity.

Critics have attacked the paintings relentlessly. They hate the dissonance. It’s a sign that Dali could give full play to his imagination—a sin of the first order. They resent Dali’s mordant wit, and rankle at the idea that Dali could carry out monstrous jokes—in such fierce extended detail—on any given canvas.

But above all, the sheer imagination harpoons the critics. How dare a painter turn reality upside down so blatantly, while rubbing their faces in the detail.

The cherry on the cake was: for every attack the critics launched at Dali the man (they really had no idea who he was), Dali would come back at them with yet another elaborate piece of fiction about himself. It was unfair. The critics were “devoted to the truth.” The painter was free to invent himself over and over as many times as he fancied.

Dali was holding up a mirror. He was saying, “You people are like me. We’re all doing fiction. I’m much better at it. In the process, I get at a much deeper truth.”

Dali was the hallucinogenic toreador. He was holding off and skirting the charges of the critics and the historians. They rushed at him. He moved with his cape—and danced out of the way.

The principles of organized society dictate that a person must be who he is, even if that is a cartoon of a cartoon. A person must be one recognizable caricature forever, must be IDed, must have one basic function. Must—as a civilization goes down the trail of decline—be watched and recorded and profiled.

When a person shows up who is many different things, who can invent himself at the drop of hat, who seems to stand in 14 different places at the same time, the Order trembles.

This is not acceptable.

(Fake) reality declares: what you said yesterday must synchronize absolutely with what you say today.

This rule (“being the only thing you are”) guarantees that human beings will resonate with the premise that we all live and think and work in one continuum of space and time. One. Only one. Forever.

That’s the biggest joke of all. The big lie.

Whatever he was, however despicable he may have been in certain respects, Dali broke that egg. Broke the cardinal rule.

He reveled in doing it. He made people wait for an answer about himself, and the answer never came. Instead, he gave them a hundred answers, improvised like odd-shaped and meticulous reveries.

He threw people back on their own resources, and those resources proved to be severely limited.

How harsh for conventional critics to discover that nothing in Dali’s education produced an explanation for his ability to render an object so perfectly on the canvas. It was almost as if, deciding that he would present competing realities inside one painting, he perversely ENABLED himself to do the job with such exacting skill, “making subversive photographs come to life.”

That was too much.

But there the paintings are.

Imagination realized.


Exit From the Matrix


Like it or not, Dali paved the way for many others. He opened doors and windows.

And the pressure has been building. The growing failure of major institutions (organized religion, psychology, education, government, the press) to keep the cork in the bottle signals a prison break in progress.

More people understand that the veil is not really a veil of tears. It’s a curtain madly drawn across the creative force.

The pot is boiling. People want out.

Somewhere along the line we have to give the green light to our own creative power. That is the first great day. That’s the dawn of no coerced boundaries. Everything we’ve been taught tells us that a life lived entirely from creative power is impossible. It’s crazy. It’s meaningless. We don’t have it within us. We should maintain silence and propriety in the face of greater official power and wisdom. We must abide by the rules. We must, at best, “surrender to the universe.”

But what if, when we come around the far turn, we see that the universe is us? Is simply one part of imagination? Is a twinkling rendition installed to keep us titillated with dreams that would forever drift out of reach?

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 NoMoreFakeNews.com or OutsideTheRealityMachine.

Are we living inside a virtual simulation?

Are we living inside a virtual simulation?

by Jon Rappoport

August 21, 2016

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

A 2012 study out of Bonn University led to a new round of speculation about the nature of the universe. (See here and here.)

The study proposes that cosmic rays undergo a strange energy shift. The energies are “re-fitted” to align with an underlying pattern or lattice. There is only one proper fit; no exceptions are permitted.

If the lattice is, indeed, a basic pixel-like Reality we are interacting with every day of our lives, then we could be living inside a created artifice.

A simulation.

Put this description alongside the hypothesis that the universe is a hologram: lines of code inscribed on a two-dimensional surface deliver instructions on how the lattice is built, and what its properties are.

In other words, the software which holographically projects the universe includes the exact structure of the lattice.

Then, by the rules of the game, energies which don’t automatically plug into the lattice framework precisely as they’re supposed to are “snapped to” a correct fit, as Mike Adams (Natural News) has suggested.

Mike has made the analogy to a television picture, which consists of pixels that have their own dimensions and structure. So if we imagine an all-encompassing “television picture,” this would be the lattice-controlled reality we live in.

In the long-term project of putting together my collections The Matrix Revealed and Exit From The Matrix, I did a great deal of research on other notions of creation or “reality-building.”

It is clear that at deep levels, propaganda turns into self-propaganda. In order to live inside a Matrix or universe, we would have to produce, in ourselves, an extraordinary level of amnesia about what we can create.

The ancient Tibetans knew a great deal about this conundrum. Before they became a theocratic society of rites and rituals and a rigorous elitism, they were daring adventurers on the edge of experiments in consciousness.

Relying on the teachings of itinerant outcast adepts from India, they developed a practice called, by a few later scholars, “deity visualization.” (See John Blofeld, The Tantric Mysticism of Tibet)

Perhaps based on an already existing mandala-painting, a teacher would give his student a very detailed and specific “personage” to create in his imagination. This effort, if it was successful at all, might take months or even years.

The objective was to mentally hold the complex image intact, in every detail, not just for a few seconds or minutes, but indefinitely. If the student was successful at this arduous task, he would soon find that the personage he created seemed to take on a life of its own.

The personage or deity would become the student’s friend and guide and give him valuable advice and counsel. When the teacher sensed this relationship had progressed to a very close point, he would order the student to get rid of the personage altogether.

This, it was said, was more difficult than the original act of creating it. But if the student was able to perform both aspects (creative and destructive) of the exercise, he would then realize, see, and know, with full consciousness, that THE UNIVERSE WAS A PRODUCT OF MIND.

At that crossroad, he would be able to spontaneously take apart pieces of “the hologram” or “the lattice,” and even create (out of nothing) new objects that hadn’t existed before.

Perhaps those Tibetan adepts, in their practice, actually saw the lattice or even the two-dimensional surface on which the holographic code of the cosmos is inscribed.

Another clue concerning the origin or underlying force that made the universe is revealed through a study of the famous alchemical diagram: two crossed staves.

The four endpoints were said to represent the basic aspects or elements of Nature: earth, air, fire, and water. According to some alchemical interpretations, these elements were in eternal conflict with one another.

The resolution of the conflict was represented by the center-place where the two staves met. This mysterious intersection was called Quintessence, and its meaning was long debated.

Paracelsus, one of the most famous of the European alchemists, seems to have thought that Quintessence was, in fact, imagination.

In other words, our creative power could change the inherent design of reality.

The history of millions of artists on this planet directly points to the fact that, when freed from restraints, human beings become enormously creative. Every painting, play, poem, novel is a world of its own; a universe. This suggests that the physical universe is but one work of art, out of a possible infinity of universes.

William Blake made several remarkable statements about the power of imagination:

“Some see nature all ridicule and deformity…and some scarce see nature at all. But to the eyes of the man of imagination, nature is imagination itself.”

“Imagination is the real and eternal world of which this vegetable universe is but a faint shadow.”

Of course, the notion of multiple universes is reflected in contemporary science. Physicist Brian Greene, author of The Hidden Reality, explains that Relativity and Quantum Theory, each highly useful in its own way, come into high mathematical conflict when set side by side.

One resolution of that conflict can be achieved through String Theory, in which tiny vibrating strings (in 10 or 11 dimensions) explain the makeup of this universe. But String Theory also suggests many surfaces or membranes or islands on which matter, energy, and time can exist: multiple universes.

No matter what force or power we say made this universe, a new day is here. We are coming to grips with the idea that the universe isn’t all the reality there is. Some find this disturbing. Others are inspired to feel it is intensely liberating.

Yet another hypothesis: we are living in an interpenetration of several simultaneous universes or planes of existence. And they’re all here now, if we could see them.

The rigorous lattice or holographic code defining this universe is merely the way one plane of existence is structured.

Rather than reduce all possible universes to the principles on which this one may be built, why not consider many, many other such “works of art?” Each universe is constructed or improvised out of the infinite well of creative freedom…


Exit From the Matrix


Could there be a greater illustration of the principle of Abundance?

Throughout history, humans have been reaching for, and elevating the idea of greater abundance. In one of the early Bible stories, Old Testament Joseph, as a boy, dreams of dancing sheaves of wheat. Wheat, grain was, for the ancients, a living symbol of abundance.

Johanna Stuckey, well-known researcher on early goddesses, points out that the Sumerian grain goddess, Ezina/Ashnan, was also called Lady of Abundance.

We have always sought, in faith, in hope, in myth, in story, in investigation the means for unending abundance. Now, we also see it reflected in our most far-reaching contemplations: not just one universe, but many universes, without end. Because if we are living in this virtual space and time, why shouldn’t other continua exist?

Are they all simulations? Is a painting a simulation? Not really. It’s an independent invention, undertaken in freedom, launched from the unfettered imagination of an artist. It is its own universe.

We are all artists.

With all veils and curtains lifted, this is the truth we have always known.

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 NoMoreFakeNews.com or OutsideTheRealityMachine.

Find your moment: something I said during a conference lecture

Find your moment: something I said during a conference lecture

by Jon Rappoport

August 18, 2016

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

Two years ago, at a lecture in California, I veered off into a subject I often address: the audience.

I began talking about the people in the hall, to the people in the hall.

I said: “I’m selling you to you.”

Because you are the point. The whole point.

This is especially so when you run full-speed into a moment, a moment when you know what you want to do—and you want to do it with all your energy.

That’s a threshold. That’s a line. Cross it and you’ll never be the same.

This isn’t a moment that prints an ironclad guarantee of smooth passage for the next 20 years, or a brand of conventional success. This is a moment that allows you to see and feel your present and future in the way you see and feel during a dream at night, when you leave the ground and fly.

It’s that moment.

What you’ve thought and considered in the past makes no difference. It no longer has a hold on you.

The gravitational pull of ordinary things is gone.

Standing at your window at 3 in the morning and looking out at the world, you’re in the moment when you’ve just answered the question, “What do I want to create?”

Your blood is alive, your endocrine output is rising, your mind is on full alert, and your imagination is soaring.

No one and nothing outside yourself is making the moment. This is you being you to you.

You decide.

You cross the threshold. You launch the adventure.

Suddenly, a host of nagging problems is dissolving. You’re out ahead of them, on a frontier where every meteor in a cascade of meteors is a new possibility.

Everyone, in his life, has at least one of these moments.


Exit From the Matrix


You’re experiencing the arrival of a symphony in a landscape that, was, previously, one note repeated over and over.

Everything in this world seems to have been built to accommodate you letting the moment go by and returning, halfheartedly, to the structure within which you were operating.

But you know more, now. You know much more.

What you know isn’t based on information.

It’s based on insight that has no dialectic or pattern.

It’s your moment.

No one can take it, or erase it.

Except you.

Is it another postponement? Or the grand beginning?

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.

Imagination soars again

Imagination soars again

by Jon Rappoport

August 4, 2016

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

In life and in art, so many people believe that, if they use imagination at all, it should be in a cautious way, a limited way, a way that doesn’t stretch the boundaries too far.

This is looking through the wrong end of the telescope.

One understands how elastic and malleable reality is, to the degree he exercises his imagination to move past conventional limits and out into the wild blue.

In fact, reality is imagination that has been slowed to a crawl, coalesced, bundled up, named, labeled, and slipped into a coma.

The most ponderous reading I’ve ever done is in the area of Western metaphysical philosophy—and that subject is filled to the brim with ideas that move, if at all, at a snail’s pace—and there is a barely a mention of imagination in its entire history.

No surprise. Why? Because, if philosophers elevated imagination to its proper status, they would have to admit that all their absolutes were merely temporary stop-gaps on the ongoing road of infinite inventing. Such a confession would immediately put them out of work.

So these dragons of the abstract keep buttressing their concepts, keep digging impenetrable moats around them, keep shoring up the foundations, keep laying brick and iron—and yet, one painter, working somewhere in an isolated room, is upsetting the apple carts of whatever is supposedly nailed down and known about Universe and space and time. He is finding universes without end, in the midst of “stability.”

Civilization keeps sinking deeper into its own stagnant juices, looking to support more irrevocable absolutes—but the artist is cut loose from the whole struggle. He is a revolutionary inside every cell and nerve impulse.

He knows he, and what he is inventing, are endless. They don’t move or exist by virtue of any clock.

There is no birth or renewal without the artist.

In the same way, the future of every single human being depends on what he can imagine and invent. This fact cuts across all excuses and denials.


Exit From the Matrix


The world is always waiting for the next great flare-up of an individual’s life-force and creative impulse. This is the carrier wave, the frequency, the restless motion that moves souls.

There are some people who hear the word CREATE and wake up, as if a new flashing music has begun. This lone word makes them see something majestic and untamed and astonishing. They feel the sound of a Niagara approaching. CREATE is a word that should be oceanic. It should shake and blow apart the pillars of the smug boredom of the soul. CREATE is about what the individual does when he is on fire and doesn’t care about concealing it. It’s about what the individual invents when he has thrown off the false front that is slowly strangling him. CREATE is about the end of mindless postponement. It’s about what happens when you burn up the pretty and petty little obsessions. It’s about emerging from the empty suit and empty machine of society that goes around and around and sucks away the vital bloodstream.

In the soaring sky, in the muck of old rivers, in the garbage and detritus of fading civilizations, this force is always on the move, always transmuting delay into the new fire of what would otherwise never come about…

Jon Rappoport

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