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.

When consciousness wakes up

When consciousness wakes up

by Jon Rappoport

August 4, 2016

These are notes I made after finishing my collection, Exit From The Matrix, which contains over 50 specific imagination exercises and techniques, all aimed at empowering the individual:

“The individual may be focused on his own life and future, or he may be hoping to affect the course of life in a larger sphere; but whichever is the case, he needs to envision the future with the wide-ranging stimulus of his own imagination; otherwise his consciousness will keep operating within familiar and tight limits; it will keep ‘repeating itself,’ and energy will drain away.”

“Consciousness isn’t a field that remains the same. It isn’t a finished product. It moves dynamically, and it invents what wasn’t there before.”

“Consciousness can go through the motions, like a sleepwalker, or it can seek out new directions. When it pursues this latter course, it creates experience that would never otherwise exist.”

“Desire is always looking for a North Star, and it finds it in imagination. Imagination fleshes out what fulfilled desire would be like, look like, feel like. Consciousness pours itself into imagination and says, ‘Let’s go.’”

“The world is sitting in the middle of each person’s consciousness like a clue, a hint, an example of what can be created.”

“As a metaphor, consciousness could be thought of as the raw material of awakened imagination. It is the fuel for the engine of the creative impulse.”


Exit From the Matrix


“Status quo is the myth that says individual consciousness has a particular configuration. Consciousness is action waiting to happen, when you’re talking about the life and future of an individual. As soon as he begins to invent his future, consciousness stops waiting. It becomes arrows of perception and excitement aimed in the direction the individual is heading. It’s the great yes that outdistances any possible collection of no’s.”

“Consciousness is inherently poetic. It seeks new rhythms and flows and shapes and sounds and images that will add up to…what? That is for the individual to decide. But eventually he will discover that this poem of his own future has no end. There is no final sum or final stopping point. The process is endless. Endless is the ultimate ‘rock’ on which he can stand: the future he is inventing keeps going and expanding without limit.”

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.

Leaving Matrix: the Zen of Zen

Leaving Matrix: the Zen of Zen

How civilization short-circuits overflowing life

Language, desire, and mystery

by Jon Rappoport

July 27, 2016

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

“Mathematics would certainly have not come into existence if one had known from the beginning that there was in nature no exactly straight line, no actual circle, no absolute magnitude.” –Friedrich Nietzsche, Human, All-Too-Human

A system is like a dream that always plays out the same way. Start to finish.

A robot would be a system. He can perform 100000000000 operations and each one is specific and bounded. And that’s all he can do, no matter how you dress him up.

There are a whole lot of two-and-three wish people in this world. A whole lot of five-and-ten wish people. Grant them their wishes and they’re done.

And that’s because they’ve made desire into a kind of system. It’s a sort of closed network. It’s tight. You walk in there and give them what they want and boom, they’re done. They’ve really got nowhere to go after that. Their energy peters out.

This is interesting—because it suggests—and you might want to chew on this for a while—that there is another version of desire that isn’t so tight and bounded…and if that is so, we are looking at desire as possibility. Not in the sense of “I see all the possibilities,” but in the sense of implication, metaphor, suggestion, open-ended X.

People tend to recoil from this. They want the Caddy with the big fins, and they want it now. They want the prettier fingernails, the new nose, the butt implants, and the island in the Pacific with the yacht.

At least that’s what they think, because they don’t have them, and they tend to define their future in those terms. So they’re yearning and longing and drooling.

But what if there is a whole other space, a whole other future that isn’t so simple? And what if its uncertain shape makes it even more attractive?

What if the poem you’ve read a hundred times, the one you never quite understood, is the one you admire the most? The one that sends your mind and imagination off in so many directions.

And what if this has something to do with what magic is really all about, and is a kind of magic that normally escapes attention? What if magic can be like this, can be a road with thousands of forks that take you into undiscovered territory you’ve never dreamed of before?

What then?

What if our programmed sense of what reality is, the precision and the definition and the thing-ness, is a diversion from what, underneath it all, we want?

What if the most subtle illusion about reality is the conviction that reality is an absolute IS separated from an absolute ISN’T?

What if that keyboard on your computer, which is so THERE on your desk, is only one KIND of there-ness? And another kind of there-ness is implication-not-fully-realized…and although you’ve always been quite sure you want the THERE of that keyboard and the yacht and the villa, you also want the implication-not-fully-realized…and you want it so much that it would fulfill the requirement of magic?

In other words, for all this time, desire has been, for you, a kind of closed system that is leak-proof and bulletproof, and that’s why it has remained unfulfilled.

Let’s say there are levels of desire. Level One is those things you obviously want. Level Two involves the exploration of undiscovered territory.

Analogy: you’re an archeologist, and all your life you’ve wanted to dig up a lost city—and then you do. There it is, all laid out in the desert. It’s what every archeologist is supposed to want. You’re supposed to feel a sense of finality. This is it. This is the realization of your prime wish. But instead…

You feel boundaries. You feel you’re inside something that has walls. You feel there must be something more.

And then you uncover, in a sealed repository, a dozen volumes of writing in a language you’ve never seen before. This language is built on mysterious connections that seem to be untranslatable.

Instead of hundreds or thousands or millions of nouns that name things; instead of verbs that show how these nouns are acting on objects; instead of that familiar pattern; you see this old civilization approached reality in a completely different way:

There are hundreds of words that refer to “flying.” Some of these words are involved with flying into other people’s consciousness and seeing the alive, electric energies that flow and move there. Some of these words mention persons having views of the earth from above and at ground level simultaneously. Some of these words refer to enormous poems that were written centuries earlier, and these poems were, for a time, ARBITRARILY frozen in mid-flight. Short selections were extracted and used to form the basis of organized religions, whose leaders were bent on control of populations—and then there were reformations and revolutions, and the original wild and free poems were sprung from their graves and brought out into the light again, and the religions fell and disappeared…

And now you, the archeologist, feel something bursting up in your own mind, a desire to explore THIS and go where it leads. You feel energized and galvanized in a way that far exceeds your experience of digging up the city and seeing it laid out end to end.

You sense implications that have no limits.

You wake up from a dream in which reality was defined and cataloged and shaped into systems.

For the first time, you understand how limited that dream was.

You realize you have been hearing the sounds of robots marching from horizon to horizon—and now those sounds are gone.


Exit From the Matrix


Simultaneously, you now experience a gorgeous peace and a Niagara of many unnamable cascades of desire.

The premise of limited desire is gone.

You are UNDENIABLY alive.

Finally, you see why you’ve never fit in, why you’ve never been able to accept the structures of society. Those structures are claustrophobic.

They are built to regulate and define desire.

Society expresses the average of all desires. But society also describes the numbers and types of desires that could possibly exist. It is a self-fulfilling prophecy.

And in this program and prophecy, society comes up short. As short as any number does, when contrasted with infinity.

You have never considered these things before. But now you do.

And you discover they are more real than rocks or buildings or planets or all the things you were quite sure made up the sum of all you desire.

Now you’re out in the open sea, where you never thought you would be, where you always thought you would be.

You’re there.

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.

Does your energy increase or decrease?

Does your energy increase or decrease?

by Jon Rappoport

July 26, 2016

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

As time passes, as your age expressed as a number goes up, it turns out there are more and more excuses you can give yourself for having less energy.

This is rather fascinating, if you step back far enough to think about it.

There is a direct connection between the draining away of energy and the acceptance of excuses.

“Yes, this is a good excuse. And that one over there—that’s sensational. And here’s another one—I never thought of that before. Beautiful.”

Then there is the national and world “situation.” As chaos grows…that’s also an excuse for having less energy.

If you want to define abundance in terms of excuses, people are quite, quite wealthy. Perhaps, some day, the government will pay cash for each and every excuse.

Of course, doing what you really want to do in life causes energy to spring up out of nowhere. Tons of it.

So…it’s handy to have a few prime-cut excuses for not doing what you want to do—if you want less energy.

I’ve never been fond of the typical stories about ET aliens, about who they are and what they want. For example, I’d like to see a race that has marvelous amounts of personal energy. They would look at Earth and dub it the Planet of Excuses.

This race would have a genius inventor who finds a way to capture the energy contained in excuses and run it through electrical grids. Voila, Earth has enough electrical power to send into every city, town, and village from the North to South Pole.

Imagination happens to be the trigger for uncountable Niagaras of energy. At some point early in their lives, every inhabitant of Earth knows that. Knows it as clearly as he/she knows the sun is coming up every day.

But then the amnesia of “maturity” sets in.

In any large society, there comes a tipping point, when enough individuals are experiencing an abundance of self-made excuses and a significant overall lessening of energy…and at that point, a new consensus is reached: the main energies are going to be supplied by machines. People can’t do it. Machines are going to have to take over.

We’re getting there.

We would reach a moment when you could press a button, and your personal machine could lift the weight of half the sand on the Gobi desert. You’d watch it happen and think, “I love having this power.” Then you would sink back on the couch and watch holograms in the middle of your living room fight massive battles with each other.

Or…you could decide what you truly want to do in life, and do it.


Exit From the Matrix


In a 1978 speech, science-fiction novelist Philip K Dick remarked on the creative power/energy of groups versus the creative power/energy of the individual:

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

He did the same thing, but from a completely different vantage point.

What the individual invents always has a unique signature. Liberation is involved.

Moving toward liberation is another one of those actions that spontaneously brings large amounts of energy into being.

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.