The temporary continuum, Part Two

by Jon Rappoport

April 26, 2022

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(Episode 6 of Rappoport Podcasts — “Kill-Shot Psychiatry, George Carlin, hero Peter Breggin; And the Real Drug War That Is Eating America” — is now posted on my substack. To listen, click here. To learn more about This Episode of Rappoport Podcasts, click here.)

(For “The temporary continuum, Part One”, click here.)

~~~

Let’s say you want to tell time. You want to know what time it is. You want to be able to know in the morning and in the afternoon and at night. So you buy a clock. Poof. You’ve got what you want. You can glance over at the clock whenever you want to, and you can get what you need.

Does that mean you have to know how the clock was built? Do you have to be able to take it apart and get in there and figure out how everything works and connects?

Somebody else might want to do that, in which case he buys the clock and disassembles it. But you just want to know the time.

Let’s take this a little further. Suppose, astonishingly, as this other person takes apart the clock and studies it, he finds out there are clues embedded in it. Clues that keep pointing back to HIM. And to everybody else.

He just wanted to know how the clock was built, but he got more than he bargained for. He got little arrows of knowledge that kept pointing back at him.

And what did these arrows tell him? First of all, they told him the clock was far more complex than he thought it was. Currents of electrons flowing through the clock were also simultaneously hooking up with electrons that weren’t even inside the clock or anywhere near it.

This made him nervous. He was all about clocks and cogs and wheels, and he got bizarre contradictions and impossibilities.

As if that weren’t enough, he also began to realize that his own consciousness was somehow interacting with the clock mechanism. That freaked him out.

But he pressed on. He couldn’t stop now.

What followed was a twisting path of hints and surprises that baffled and confounded him. It was like stepping through a mirror. It was like dreaming. He didn’t like it, but he wouldn’t let go. He was holding on to his old ideas as he was discovering new ones. So he began to develop theories that looked like patchwork quilts of half-formed and confusing images.

This pretty much sums up where modern physics is.

The big missing piece of the puzzle is YOU. They don’t get that one yet.

YOU CREATE REALITIES. And since you do, the universe—which is just another reality—is going to reflect back some ideas about you and you creating realities.

We’re very much here in this universe and we want that. After all, we bought the ticket and we aim to take the full ride.

When we bought the ticket to this space-time-solidity continuum, we knew we would have to be self-deceiving artists. The amusement park was too easy to see through. We could walk around in back of the rides and observe how they were built. That would destroy the illusion that is vital to the sensation we seek.

So we had to create a massive OBSCURING.

Massive enough to keep us from ever being able to sneak around behind the rides.

That’s a kind of very effective art.


Exit From the Matrix

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


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.

The Internal Investigation

by Jon Rappoport

April 25, 2022

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In a room with no name…

Are we sure the operation is proceeding according to plan and timetable?

No, sir. There are disruptions.

Of what kind?

The symbolic force of language is wearing out.

That sounds serious.

People living in the movie are realizing they are WATCHING a movie.

Really?

Yes. They’re no longer attaching prescribed meanings to the film. They’re bailing out.

That sounds VERY serious.

One person wrote to us: “I see the commercials. It all looks like commercials now. They’re advertising and selling my own mind back to me. It seems somewhere along the line I donated my mind to you and now you’re selling it back to me.”

Well, he’s right.

I know that, sir. But he’s not supposed to know it.

What went wrong?

It could be overload. But some of my colleagues believe people are deserting their inferior minds for superior minds. They’re found other plug-ins which aren’t part of the System.

That’s impossible.

I would have thought so.

Where are these new plug-ins?

Unknown. When audience wants to become actor, all sorts of strange things can occur. Theater without scripts. At first, you get your usual protests and violence, but then there is another level. The actor looks at the audience and the audience looks back at the actor and they recognize each other. Here is another communique we received: “I can see the whole labyrinth now. The whole thing is a fraud. It isn’t even a trap. It’s a mask. I think you should do something about this before it’s too late. The movie keeps referring to itself. That’s destructive. The movie is eating itself.”

I wouldn’t know where to begin, to correct the problem.

Neither would I, sir. SOMETHING is underway. We certainly didn’t initiate it. We find no obvious flaws in our algorithms.

Is there electronic interference?

Not that we can locate.

We’re censoring everything we can.

Right. But it’s not helping.

Is this one of those problems without a solution? I remember early on, when we were still building prototypes, there was a counter-argument about self-generating problems. But that was theoretical.

Yes. The internal seeds of destruction theory. We rejected it as speculation. We preferred merely to say we were creating BUBBLES and ISLANDS. For the mind. We stuck to basics. A few of our people warned we were being simplistic. But we ignored them. I myself issued a warning.

What was it?

When you make a movie, the movie will tend to repeat itself at some point. It will go back to the beginning and start over.

That’s ridiculous.

I abandoned the whole notion. But now I would say, if you put a few billion people in a movie, they’ll start adding their own scenes. They’ll start catching on. And then they’ll start looking at the scenes they’re adding. EVERYBODY WANTS TO MAKE MOVIES. That’s an inherent problem. You can’t eliminate it.

You may have something there.

I believe I do. To a degree, every movie is about itself. It refers to itself. It’s about making movies.

Where did you get that idea?

I visited one of our prisons and interviewed the inmates. I was on a fact-finding mission. One of the men was serving a 20-year sentence. He’d gone to school and passed the exam for therapy assistant/security analyst. He wrote me a note. “Prison is a movie that exposes itself.”

Perhaps we should bring him in and interview him.

We can’t. He escaped last year.

What? Through all the layers of protection?

And I’ve decided to play his role in the movie.

For what purpose?

To investigate possible leaks in the System.

Admirable. But it could be dangerous. You could come to favor the role yourself.

I know.

Be careful.

That’s difficult. He clearly isn’t careful. He takes great risks. I assume that’s how he’s found out so much about what we do.

Report back to us frequently.

He wouldn’t.

I get your point. But we need to monitor you.

I’ll leave clues.

What sort of clues?

Look for breakouts from the main movie. Chances are I’ll be there.

You’re going over to the other side, aren’t you?

It’s very attractive.

You’ve been suffering from boredom.

Yes. No matter what circumstances people face, no matter how dire situations become, EVERYBODY IS SUFFERING FROM AN UNDERLYING BOREDOM. That’s the nut I have to crack. No matter what it takes. The only other alternative is DOOM.

I could have you arrested. Right now.

But you need me. The whole movie could collapse.

In which case, what would happen?

Nobody really knows.

We’ve lived with it for a long time.

Do we even know how to turn the projector off?

No one agrees on that point. There are all sorts of hypotheses.

EVERYONE WANTS TO MAKE MOVIES. Maybe that’s the answer. Let them. Help them.

It could be a complete disaster.

Perhaps we should find out.

[End of transmission of leaked file 5-76-2]


Exit From the Matrix

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


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.

The temporary continuum, Part One

by Jon Rappoport

April 20, 2022

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When you go back and read some of the old myths of the gods, you see that they went back and forth between their “home” beyond this space and time—and they also entered this Earth Locale and made things happen here.

We, too, have an extraordinary fluidity. We put that on the shelf when we are here on Earth. So we forget what we can really do.

I remember as a child listening to the famous radio show called The Shadow. The hero was portrayed as a man who, in the mysterious East, had learned the secret of clouding other people’s minds so they couldn’t see him. This was the key to his invisibility.

It makes a charming tale, but the reality behind that is this: a magician (one who makes magic) moves from HERE to THERE, and THERE is simply another place outside this continuum.

We can find that idea reflected in modern physics. The scientists (some of them) admit that tiny particles of energy are constantly disappearing and re-appearing.

In other words, the particles are going beyond the framework of this universe and then they are coming back.

It’s no big deal to those particles. They do it all the time. It shouldn’t be a bizarre thing to us, either. It’s only strange relative to the incredibly conformist culture in which we live.

And that’s the key: the conformist culture. Nobody stops and thinks about how deep the conformity goes. That’s another college course we need: HOW DEEP DOES CONFORMITY REALLY GO?


Exit From the Matrix

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


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.

The life and death of language in the circus of data where minds are turning into processing monoliths

My advice to writers

by Jon Rappoport

April 19, 2022

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(Episode 5 of Rappoport Podcasts — “Inside the Den of Thieves; My Experience inside the US Political System” — is now posted on my substack. To listen, click here. To learn more about This Episode of Rappoport Podcasts, click here.)

The fungus of decay is taking down live language and turning it into UNITS. Just like the people who can’t break out of sluggish dreams are also turning into units. These people find solace in gobbling juiceless words—sunset with no sun, power with no electric JOLT, and even jokes with no laughter, as if we’ve all been down this road before and here it comes again, except this time they have ads for curing the death of the psyche that doesn’t even know it’s wandering in the labyrinth of a bad town wrecked by failed promises.

I keep blowing away these towns, but more show up. As they would. As they do.

A writer WRITES. That’s what I do. No matter what. My advice to all writers: look to the open spaces, to the territory not yet inhabited, and stake your claim. Open up your language and let it rip. Take on all comers. Outside The Reality Machine is where you belong. If you keep on going, outside, people will show up and read you. They’ll be drawn to you. It’s magnetics. Their subconscious, which is still alive, will be alerted that you exist and you aren’t holding back. That’s what the subconscious wants to know. That’s the assurance it needs.

The reality mongers will feel the impact. On levels they don’t understand, they’ll feel their traps springing but catching fewer minds, less meat. The only thing they can sell is What Already Is. You have everything that Isn’t. Which means you have no limit.

Sometimes, your writing resembles dreams.

For example, I had a dream in which a horse was warning people to stay away from COVID tests.

He was sought by the police, but it turned out he had friends in high places.

Yes, this is unlikely, but it’s a dream, and therefore, so what?

The horse was quite well educated. In a court trial, which only lasted a few seconds, he confounded virologists and drove them to admit their phony science was just a con.

Having been exonerated, the horse went about his business, roaming the streets, eating patches of grass growing up through cracks in the sidewalks, and warning people the test was the gateway into the System, which would destroy them in short order.

If a few readers object to dreams, remind them that they’re more sustaining than facts, in the long run. Dreams give them other worlds.

You see, this is the problem; the lack of faith in other worlds.

When people lose this faith, they don’t like to be reminded of it. So remind them, until they’re forced to start a new path of thinking. A long crooked path, not a straight line.

I’ve walked through many blooming gardens. I never take a straight line. I go where my eye leads me, like the painters.

Speaking of which, some of your best friends, as a writer, are painters. They know what you’re doing. Visit the painters in museums. Search for the way they think. Renoir, Van Gogh, Velasquez. To achieve their effects, they’re quite willing to take the long way around. It’s how they solve their unhappiness.

They’re not ashamed of all-out beauty. Nor do they reject ugliness.

As a writer, you’re quite willing to take a few thousand words to say what you could say in 50. And when you do, you discover you’re saying things you never imagined or knew before. That’s the magic.

The magic will always show up, if you go on long enough.


Exit From the Matrix

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


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.

The Book

by Jon Rappoport

April 18, 2022

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As should be apparent by now, I’m trying to turn you into an artist of imagination, because with imagination and art you can start digging yourself out of the psychological and spiritual gravity well, called reality, into which we’ve all dropped…

You could say everything I’m doing in this blog is for that reason. Well, not everything.

And dreams are interesting works of art and imagination. This is why I mention them and describe them from time to time.

For instance:

You’re reading a book. There’s no doubt you’ll finish it. It’s engrossing.

But somehow, you become aware there’s a larger book. And that’s the one you have to find. In fact, it feels as if you’re reading it already.

The dream could begin that way.

Or it could be a different sort—-like the one I just had, in which the first person to be named as having gotten a religious exemption from the COVID vaccine was Will Smith. And his exemption was going to be canceled tomorrow. So now no one would be able to cite him as the justification for an exemption. They would have to rely on themselves…

The whole basis for religious exemptions would change. Every person of faith would have to step out into the light and make himself known.

Of course, this would be a problem. For many.

Will Smith is no longer a shield.

In the dream, this was a piece of information I was chewing on, over and over. The dream stalled there.

Dreams often do stall. You’re searching for more. More you can invent.

That’s all dreams are. Inventions.

Forget “interpretation.” That’s bullshit. There is no interpretation. Just as there is no interpretation of any work of art. The art stands alone.

All dreams are fun, even when they’re terrifying. Ditto for all art.

Reality isn’t fun, because it becomes repetitive. A mountain is beautiful, but for how long? For me it’s 3.54 seconds.

Look at the very first movies, particularly the French ones. They were dreams put on the screen. This was before the idea of PLOT LINES took hold. What was that all about? Why the obsession for beginning, middle, and end? The main idea about dreams and art is MORE. That’s all. The Endless.

…So I went back to sleep and had a second part of the COVID dream. No more Will Smith. He was out. Now there were people who had special access to “COVID stars”—like the first person to be diagnosed with the (non-existent) disease, and the first person who took the vaccine, and the first person who put up a MUST WEAR MASK on his business door. People told stories of meeting these stars and how inspiring it was. People told these stories on FOX news. Stories about meeting heroes. What could be more interesting to the addicts who watch television news?

There may be more chapters to this dream. If so, I’ll write them. You see? Dreams are interesting. We’re already writing short stories and maybe even novels. We’re already writing our way out of the reality machine. Jump in. The water’s fine.


Exit From the Matrix

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


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.

Technology, consciousness, and how the universe is built

by Jon Rappoport

April 15, 2022

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In the early 1990s, hypnotherapist Jack True was trying to show me how perception operated in hypnotized subjects.

As a joke, well it was a half-joke, he said: “If you’re doing a scientific experiment on gravity, and you start dropping various objects from the top of a building, you’re going to find out some interesting things about the way gravity operates in the universe.

“But if you don’t care about gravity and science, when you drop the objects from the roof, some will fall and others will float.”

What he meant was this: if you want to find out how to build things and run things and propel things and blow up things, you can look into the universe and eventually obtain that information.

The information will seem to be definitive about how the universe is built. It will seem to be the only model. It will seem to be the truth.

But that’s an illusion. Actually, competing models about the universe are available, and depending on your intent, you can discover and put together as many as you need.

They all work. They all look like mutually exclusive systems. But they aren’t.

The picture of tiny particles whirling through space and time is fine. It works. It enables the kind of technology we have now. It can be proved with mathematics. It can be verified until the cows come home. But it’s not the only choice.

Jack once had a patient who, three years earlier, had suddenly developed nearsightedness.

So Jack put him in a light trance and worked on it. Nothing.

Finally, after a number of sessions, Jack told him that perhaps his view or picture of the universe was standing in his way. Perhaps he needed to come up with another picture. Jack liked to try these radical approaches.

In ensuing sessions, Jack had his patient invent dozens of different models of how the universe was constructed. None of them were based on physics.

The patient was getting interested. He suddenly recalled that, as a very young boy, he’d thought the world was a kind of vacuum surrounded by extremely dense space, which was actually solid. He’d had dreams about this “reverse configuration.”

For no apparent reason, the patient now felt better. His eyesight improved.

Jack told me his experience with this patient was part of the reason he stopped doing hypnosis. He said that having one and only one model of the way things are is, in fact, the result of being in a core trance. Everyone is, to one degree or another, already in that hypnotic state. Therefore, Jack’s job should be to wake people up.

Whether the universe is made of particles or waves, was produced by the Big Bang or the translation of lines of code from a two-dimensional surface, or as a result of vibrating Strings, it can be said to be a projection, a demonstration.

It can be viewed as an absolute unity, just as a stage play strives for absolute credibility. But of course, the stage play is wise enough to end. And then the audience walks out. But the universe is a projection that wants to impart the illusion of permanence.

This illusion is brought about by a scheme of interconnectedness, in which each particle or thing appears to be related to every other thing, or, from a different point of view, reflects every other thing, in a series of mirrors.

This is the overarching meaning of the ancient symbol of the maze. You move through the paths and arrive back at the beginning. The journey is always self-contained.

From the perspective I’m presenting here, the horse that finishes last in the race is named Truth, when truth is sought as one and only one model forever.

It’s not merely, as some physicists venture, that there are universes parallel to this one. There are universes everywhere. They are infinite in number. And then there is a “greater” infinity—those universes that have not yet been created.

Taking this as a starting point, and inventing multiple scenarios, multiple worlds, universes, and futures, one gains back power. Power beyond what one thinks, at any given moment, is possible.


The Matrix Revealed

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


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.

Once there was a particle

by Jon Rappoport

April 13, 2022

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(Episode 4 of Rappoport Podcasts — “The Great Tradition Of Imagination; And What It Means For You, The Individual; The Next 10,000 Years Of Earth Culture” — is now posted on my substack. To listen, click here. To learn more about This Episode of Rappoport Podcasts, click here.)


And the particle thought he was a virus.

He was just a particle.

But he was under orders from the Council of the Universe to call himself a virus. He, and trillions to the trillionth power of similar particles, were a Control Force.

They would enter minds and say: I AM A VIRUS. I INFECT.

It wasn’t a particularly sophisticated operation.

But it was effective.

Because people listened. People were always listening for messages.

In my lab, after several years, I found a way to cancel the thought, I AM A VIRUS, in a particle. The method wasn’t complicated. It involved making a small, very specific change in pulse rate.

I ran an experiment in several large cities on a planet at the edge of the Milky Way. It was successful. Many particles stopped broadcasting their virus message.

But people still visited doctors and hospitals. They received diagnoses and treatments. It was an ingrained habit, a fetish, a fashion statement.

I published articles in a minor journal, Medical Fictions.

I did a speaking tour. The audiences were small.

I started a group called Escape from the Particle. After a year, there were 37 members.

I returned to my lab. My mission: create a new particle.

I tried standard transformations of existing particles. The experiments didn’t take hold. I read ancient alchemical texts and looked for clues. I found none.

One day, I was taking a walk in the woods, and I came upon a beggar. He pulled out a long knife. I prepared to fight for my life. He looked at me and said, “Hey there, you’ve got two seconds to create a better particle or I’ll run this blade through your guts.”

So I did.

On the spot.

I invented the better particle.

It carried the message: YOU’RE FREE.

Over the next few days, I created quadrillions of these particles.

In short order, they overwhelmed the “viruses.”

The Council of the Universe collapsed. The men ended up forming a bad rock & roll band and playing little clubs in a few towns near the center of the Andromeda Galaxy just out of reach of a black hole.

—That is how I became an artist. Out of desperation. In a crisis.

Once I’d handled the particle problem, I turned my lab into a studio. I paint there every day. Old friends who died hundreds of years ago drop by and visit. We take walks together and sit around and chew the fat.

The beggar comes over every once in a while. I cook him a meal and he looks at my paintings. Funny thing, we never bring up the moment he threatened me. I have no idea how he knew I was working on a new particle.

It doesn’t matter.

What matters to me is I took a shortcut. I eliminated the “how.” I stopped asking the questions that led me through a maze.

A few months ago, the beggar came by and told me he was going on a long trip. He didn’t know whether he’d be coming back. He looked around the studio and said, “You know, every one of these paintings is a stand-alone. They don’t need any support. That’s the key.”

I think about that from time to time.

It makes sense. It makes a lot of sense.


Exit From the Matrix

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


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.

Artist goes past the limits; is questioned by authorities

by Jon Rappoport

April 11, 2022

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The visible light spectrum is only a minor part of the full spectrum. In the same way, consensus-thought is only a tiny arc in the full arc of thought (which is infinite).

On May 14, 2704, the New England Journal of Medicine and Psychology published a paper titled:

WHAT IS ‘A NEGATIVE CONSEQUENCE?’

A quote: “Brain research discovers common patterns of activity across a whole population. These patterns would be called ‘normal’. Exceptions would be classified as various categories of ‘disordered thought’. It’s assumed that only ‘harmonious and symmetrical’ brain patterns are positive and beneficial.”

A reader commented: “This assumption is grossly false. It’s a stunted version of aesthetics. Creative force always breaks out of these little geometries. So does every new idea. Increasingly, Earth culture is unable to understand this.”

—That reader receives a government notice and is summoned to a hearing. He’s interviewed by a virtual AI employee of the federal Department of Stat Research.

HOLOGRAPHIC i-FIGURE: “Are you all right during this epidemic lockdown? I see you live alone.”

“Yes, I’m fine.”

“We want you to enjoy yourself. Are you watching learning programs?”

“No.”

“Why not?”

“I don’t like them.”

“Well, we have a report on you. It indicates an output difficult to measure or interpret. What can you tell us about this?

“I don’t know. I’m composing a symphony.”

“A symphony? What is that?”

“It’s a piece of music written for a large orchestra.”

“I find no extant orchestras in the country.”

“That’s true. Nevertheless, I’m composing.”

“Why?”

“For that day when an orchestra may come into being again.”

“Your thought-impulses entered ranges we were not able to summarize.”

“I suppose that means your instruments are limited.”

“Your last statement might be viewed as incendiary. It suggests we are imposing a restriction. As you well know, the science is settled on this point. We measure and interpret thought that contributes to an overall positive outcome, for the population at large.”

“I’m aware of that, yes. But the science rests on certain assumptions. I would call it greatest good as a lowest common denominator.”

“What do you mean?”

“You decide a certain mindset contributes to the consensus reality you favor. You legislate a range of thought that will produce the consensus.”

“That’s a gross oversimplification.”

“It doesn’t describe the algorithms you employ, but all in all I believe my summary is correct. You’re reality makers. You monitor thought-emissions, and when you find a departure from ‘combined averages,’ as you call them, you issue a citation.”

“What is this symphony you’re composing?”

“It’s impossible to explain. It’s music.”

“It has a specific message?”

“No. If it did, I would write out the message and leave it at that.”

“Why have we not heard of you before?”

“I was doing illustrations for the Happiness Holos.”

“We know. What happened?”

“I became bored. A machine could make those pictures. So I decided to compose music.”

“The Happiness Holos are an essential social program.”

“Perhaps. They encourage people to stay on the positive side of a construct called Positive&Negative, which as you know is a State-sponsored theme. But what is superficially indicated by those two opposing sets is, in fact, fuel for the fire.”

“Fuel for what fire?”

“The artist can use and transform any material.”

“Where did you hear such a thing?”

“Nowhere. I’ve experienced it many times.”

“Your views are highly eccentric. I will have to consult your childhood history to understand their roots.”

“I’m afraid that won’t do you any good.”

“Why not?”

“Because your version, the US Department of Psychology version of cause and effect, is propaganda for the masses.”

“This is your idea of a joke?”

“Not at all.”

“When you compose this…symphony, how do you think?”

“It’s not thinking in the way you use the term.”

“No? Then what do you do?”

“I invent sound.”

“Preposterous.”

“Large masses of sound.”

“Absurd. According to what underlying pattern?”

“None. Check the Library of Structures. I doubt you’ll find my activity in the catalogs.”

“Known structures and patterns are contained in the files.”

“I don’t invent through pattern.”

“No? How then?”

“I improvise.”

“And this term refers to?”

“Something done spontaneously.”

“And you exceed prescribed ranges of thought in the process.”

“Perhaps. I would hope so. I don’t keep track.”

“You’re being flippant.”

“I assumed you’d eventually cite me. I’m just composing music during the lockdown.”

“There is no citation yet. You’re an anomaly. We investigate. We consider.”

“I’m afraid your and my idea of ‘consider’ are quite different.”

“Let me ask you this. When you are composing, do you ever believe you enter into a realm or area that could be called ‘non-material’? We’ve heard such claims before.”

“Not if you’re referring to some fairyland. But all thought is basically non-material. The brain registers it after the fact. Thought, the real thing, doesn’t take place in the brain.”

“You’re deluded. And disordered.”

“If I could simply confess to that and be on my way, I’d be a happy man.”

“You live in a society. To keep the peace and maintain the Positive, science has discovered that thought should occur within certain parameters.”

“If you insist.”

“We want to study you. It’s a great honor to be called. You could help extend the boundaries of research…we register variation from the norm in your present thinking.”

“What present thinking?”

“What you’re thinking right now.”

“That was quick.”

“The readouts are instantaneous…what are you doing?”

“I’m starting the fourth movement of the symphony.”

“Wait. What you’re doing is disruptive.”

“You assume so, based on how you set your normal frequencies.”

“YOU’RE BEING DISRUPTIVE. STOP YOUR THOUGHTS.”

All along the major esplanade, and in the lake area, and in the industrial parks and residential high rises, virtual structures shattered like glass.

The holographic i-figure went dark.

A thousand holographic government buildings froze and vanished.

The composer said to no one, “I’m just composing. Well, apparently not just.”


Exit From the Matrix

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


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.

How it unfolds

by Jon Rappoport

April 8, 2022

(To join our email list, click here.)

This is not a group enterprise. Creation doesn’t wait for a committee to issue a letter of approval. Or a King to incline his head in assent.

Something happens. An insight. A spark. You see a possibility, and instead of dismissing it, you pursue it. The pursuit becomes relentless.

And one day, the Monarchy falls.

The mob is loose. But unknown individuals are also freed from restraints. They work their way through the blood and smoke of revolution to a landing place, where they execute laws.

These laws stand up against sheer anarchy. They have double purpose—for freedom; and opposed to incursions freedom might make on person and property.

Now a new work begins. How to keep the apparatus that enforces the law from falling into the hands of monopolists and their agents.

A vision of the individual is at the heart of this work. It doesn’t matter whether one person or another lives up to that vision. The Idea is enough: “uncompromising, acute, intensely creative, immune to the group and its manipulations aimed at owning him.”

This vision breaks the old mold. People sitting in Plato’s cave see it stand out as a shadow on the wall; and when they turn and walk out into the sun, they see it again, unchanged.

The rest is up to them.

This progression isn’t partial. It isn’t omitting something essential. It’s gone as far as it can go.

Otherwise, what one person builds would be permitted to belong to another. The rejection of that principle endures beyond any level of destruction.

Those who INVENT can trade their inventions on any terms they choose. But they can never impart the quality that enables them to create to another person. It’s impossible.

The people who want everything for nothing will try to wheedle society back into the dark age of the monarchy. They will call this return by names that suggest glory. It’s all a ruse to take absolute power. To make what was never theirs, theirs.

They call it justice. But it’s sheer war.

Underneath their chants, they’re lambs being taken to the slaughter. They want to reach out and take you, too.


Exit From the Matrix

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


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.

It’s the Poets who destroy the old order of mechanical consciousness

by Jon Rappoport

April 5, 2022

(To join our email list, click here.)

(Episode 2 of Rappoport Podcasts — “The Real Technocratic Experiment On Earth; And The Counter-experiment” — is now posted on my substack. To listen, click here. To learn more about This Episode of Rappoport Podcasts, click here.)


“The greatest sum is no sum at all. It isn’t the addition of facts or numbers. There are mythic qualities in existence that come from us…myths greater than machines…and in order to give voice to the myths we need to go where poets go. We need to go there badly. For our own sake, we have to put that peculiar precision that splits a tiny particle into smaller and smaller pieces on the shelf…” (The Magician Awakes by Jon Rappoport)

These days, people are rightly concerned about spying, snooping, tracking, hacking, profiling. The battle of privacy versus intrusion. The systems that look at other systems.

What kind of language is involved in computer spying and counter-spying and protection? You don’t have to be an expert to see it’s the language of the machine. It’s delineated in fine, very fine, and extra-fine shavings of detail. The Trojan Horse is now algorithmic.

The people who enter and work in that universe are committed to a meticulous process of move and counter-move. Programs above other programs. Look-ins which are processing the strategies of other look-ins.

The past, present, and future of language is involved. A civilization, to a significant extent, rides on what happens to words—not as detached entities, but as the expression of what we invent ourselves to be.

“It does not need that a poem should be long. Every word was once a poem.” (Ralph Waldo Emerson)

If freedom is placed in a modern context of privacy vs. no-privacy, the war is going to embroil us in a language of the machine. We’re going to touch that language, rub up against it in one way or another, use it, oppose some piece of it with another piece of it.

Children are going to grow up learning it and swimming in it and its effects.

In that way, the creeks and streams and rivers and oceans of machine interaction are going to power human thinking.

“…it is difficult to get the news from poems yet men die miserably every day for lack of what is found there…” (William Carlos Williams)

Here’s a strange example. People will take a paragraph out of an author’s novel, extract every key word, and track down their possible references—and then try to reconstitute the paragraph as if it were lines of secret code. They’ll rebuild it by welding together those references.

Because mathematics consists of symbol-manipulation, and the symbols have very specific and tight meanings, there is a growing tendency to assume all language works this way.

It doesn’t.

Poetry doesn’t. But the poet, who was already on the far edge of credibility, is reintroduced as a symbol maker, a mathematician slipping a coded revolution into the matrix.

That might make an entertaining science fiction novel, but it has nothing to do with the energy or intent of a poem.

Poets may be unearthing hidden treasure, but the spoils of their war are everything mathematics isn’t. Every great poet destroys the old order. It’s for the reader to discover and see that, if he can.

The old order, which is always and forever fascism dressed up as “greatest good,” keeps resurfacing in the same pool of decay.

It’s the poets who know how to climb down into the muck and also fly above it, waking the dead parts of the psyche.

Whoever rules the dead, and with what royal purpose, remains constant: he rejects poetic consciousness that can fully restore the human being to life.

Poetry does more than reorder reality. It creates it from the beginning, from the first line on the page of the future.

Society, as it has been shaped, is the sum of illusions that prevent the individual from hearing the first line, even as it echoes in his mind.

This repression is a cooperative exchange in the marketplace. The individual agrees to deafen himself, in order to placate his inner forces.

“Time let me hail and climb, Golden in the heydays of his eyes. And honoured among wagons, I was prince of the apple towns, And once below a time I lordly had the trees and leaves Trail with daisies and barley Down the rivers of the windfall light.”

“Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table…”

“These are the times that try men’s souls. The summer soldier and the sunshine patriot will, in this crisis…”

These aren’t instructions or code or habits to be performed, or political improvements. They’re grand intrusions on the commonplace labyrinth. They come in and explode.

As the consciousness of these things dwindles in the era of the machine and all its complications, as the matrix expands to include language-calculations designed to describe what the individual is and isn’t, a sea of metrics forms the illusion of progress.

Caught in nests of symbolic relation, we wait, “till human voices wake us and we drown.”

To the extent the poet is merely taken to be crazy, doom is settling like a shroud around our shoulders.

“…the willingness to give the response to the heroic…gets weaker and weaker in every democracy, as time goes on. Then men turn against the heroic appeal, with a sort of venom. They will only listen to the call of mediocrity wielding the insentient bullying power of mediocrity: which is evil.” (DH Lawrence)

But poets always come. They see doom and they use it as fuel for a new fire that ends one epoch and begins another. Who hears them? That is always the open question. We are already living in a new time, if we would recognize it.

“Poetry is the mother tongue of the human race.” (Johann Georg Hamann)

“[Poetry:] Thoughts that breathe, and words that burn.” (Thomas Gray)

Imagine there were a million new and unknown languages waiting to be discovered. These tongues wouldn’t make things simpler. They wouldn’t make machines run more smoothly. They would lead us into worlds that had remained in the shadows because we had no way to express our perception of them. They would light up whole geographies of consciousness that had been dormant. Every compromise with reality would be exposed as a blatant enormous lie.

Every “thought-machine” would crumble. The absurdity of building bigger and bigger organizations as the grand solution to conflict would reveal itself so clearly, even android-humans would see it and wake up from their trance.

Here’s an excerpt from my unfinished manuscript, The Magician Awakes:

You sit there and tell me about your life, but after a while it occurs to you you’re talking in a blind language. You’re moving below other words you don’t give voice to.

You vaguely think, from time to time, the other words might be in Nature. But Nature is just one part of that expression. There are thousands of other Natures. And each one has a language that unlocks it and spreads it out in a different space and time.

Would you rather pull back in and settle on the words you use every day? Would you rather become an expert in those words, a king of those words, a ruler in that small place? Is that the beginning and end of what you want and where you’re going?

Because if it is, then we can end this discussion and all discussions. We can please ourselves with what we have. We can dodge and duck. We can inject ourselves with a satisfaction-drug and say there’s nothing else to do.

This is how a circumscribed life happens: through a story a person tells himself.

There is really only one universal solvent that will wash away that story: imagination.

The ultimate basis of all mind control is: whatever it takes to deny the true power of imagination.

The exact same thing can be said about the ultimate aim of political repression.

To understand, to get an idea about what imagination is capable of, you need to go to ART.

The creative center of the world.

“After the final no there comes a yes and on that yes the future of the world hangs.” Wallace Stevens

What would happen if the world were enveloped by art? And if we were the artists? And if we owed nothing to any hierarchy or external authority?

Art is a word that should be oceanic. It should shake and blow apart the boredom of the soul.

Art is what the individual invents when he is on fire and doesn’t care about concealing it. It’s what the individual does when he has thrown off the false front that is slowly strangling him.

Art is the end of mindless postponement. It’s what happens when you burn up the pretty and petty little obsessions. It emerges from the empty suit and empty machine of society that goes around and around and sucks away the vital bloodstream.

Art destroys the old order and the new order and the present order, with a glance.

Art spears the old apple on the point of a glittering sword and opens up the whole rotting crust that has attached itself to the tree of life.

It shrugs off the fake harmony of the living dead.

Fueled by liberated imagination, it is the revolution the psyche has been asking for.

Art unchained becomes titanic.

There are artists like Stravinsky, like Gaudi, like the composer Edgar Varese, like the often-reviled American writer Henry Miller, like Walt Whitman (who has been grotesquely co-opted into a Norman Rockwell-like prefect), like the several great Mexican muralists—Orozco, Rivera, Siqueiros—all of whom transmit the oceanic quality.

As in, The Flood.

There is a fear that, if such artists were unleashed to produce their work on a grand scale, they would indeed take over the world.

Our world, contrary to all consensus, is meant to be revolutionized by art, by imagination, right down to its core.

That this has not happened is no sign that the process is irrelevant. It is only a testament to the collective resistance.

Who knows how many such revolutions have been shunted aside and rejected, in favor of the consensus-shape we now think of as central and eternal?

We are living in a default structure, the one that has been left over after all the prior revolutions have been put to sleep.

But creation is not neutral.

It flows out into the atmosphere with all its subjective force.

It is the transformation we have been unconsciously hoping for, the revolution that would relentlessly make society over, that would eventually shatter the influence of all cartels and monopolies of physical and emotional and mental and spiritual experience.

Not because we wished it were so, but because we made it happen.

~~~

Prometheus, the artist who unchained humanity…

Through what mirror are we looking at ourselves in these ancient tales?

The Prometheus story makes absolutely no sense unless we acknowledge there is a reason for rebellion. But not just any rebellion. One man assaulting the supernatural mountain of the Olympians to steal fire, escape, and bring it back to man is more than audacious, if the Greek poets invented the pantheon of gods and their aerie in the first place.

In that case, the theft of fire is an acknowledgment that power is returned home.

“We invented the gods. Now we re-invent ourselves.”

Religion is frozen poetry. The poets began by writing outside the boundaries of the tribe, and the priests appointed themselves the sacking editors.

They hammered and cut and polished the wild free poems into tablets and catechisms and manuals of stern disapproval. They gathered up workers to build the temples where the new laws would be preached and taught. They established the penalties for defection. They staked an exclusive claim to revelation.

They established the false and synthetic universal centrality of myth disguised as revelation, and they sold it, and they enforced it, and they prepared a list of enemies who were threatening the Law of Laws.

And all that raw material, which they stole? It came from the poets. It came from the free and boundless creation of artists.

So Prometheus was setting the record straight. He was cracking the system like an egg. He was bringing imagination back where it belonged.

Of course, in the ancient myth, he paid a high price for his actions. But that’s merely more propaganda. The high priests write that retribution-ending on every story springing from freedom. They call the punishment by various names, and they naturally claim it is brought down by hammer from the Highest Authority. They work this angle with desperate devotion.

Prometheus was the liberator. He was the Chinese painters of the Dun Huang, the Yoruba bead artists, the Michelangelo of David, the Piero della Francesca of Legend of the True Cross, the Velazquez of The Maids of Honour, the Van Gogh of Irises and lamp-lit Arles, the Yeats of Song of the Wandering Aengus, the Dylan Thomas of Fern Hill, the Walt Whitman of The Open Road, the Henry Miller of Remember to Remember, the Orson Welles of Citizen Kane, the Lawrence Durrell of The Alexandria Quartet, the de Kooning of Gotham News.

He was Tesla and Rife.

Wherever individual human imagination was launched as the fire, Prometheus was there.

Of course, he wasn’t. He was the story we told ourselves about what we could do. That story is meant to remind us that all collective vision is a fraud. It may not begin that way, but sooner or later, it becomes a gargantuan slippage into narcosis of the soul.

Prometheus is the story we tell ourselves to remember the line between what the individual can learn and what he can create, and how many horses have been pulled up to that line and refuse to cross it and drink from the wells of imagination.

Prometheus is the story of a recapture of what we are. We may have buried the understanding deep in our psyches, but it is there. How many ways we try to refuse it!

We huddle in groups and pretend all progress flows from the mass. We diddle and fiddle with this limit and that limit. We adjust and make more room for the Average. We build machines to think at a higher level than we can. We watch theatrical spectacles of “new hybrid humans.” We proclaim healing virtues and forget about what the healing of the spirit might actually entail, what revolution, what vital energies, what leaps of imagination, what assertions of our inherent power.

We keep thinking of peace, when peace means, as defined by the “wise ones,” a death. Their peace is what is left over after the war of the creative human has been surrendered.

Their peace is syrup. Their peace is submission to some Glob of “universal consciousness.” Their peace is a column of grinning idiots guarding a self-appointed tower of learning. Their peace is the survival and organization of damaged goods. Their peace is: “if it is meant to happen, it will.” Their peace is: the universe decides, we oblige. Their peace is a cosmic junk-heap.

From this mob of castrati, Prometheus emerged, untangling himself from wet strands of delusion, resignation, and fear. He soared. He advanced. He took back our basic and vital character. He breathed crackling energy into bloodstreams.

From the Promethean perspective, Reality is waiting for imagination to revolutionize it down to its core.

Beyond systems. Beyond structures.

Energies churn in subterranean caverns. Where will those rivers run for the next thousand years or thousand incarnations?

What would create an internal revolution?

What would start the water wheels spinning and the torrents surfacing?

How would creation begin?

On that Promethean question rests the fate of every civilization, past, present, and future.

Every thread, atom, quark, and wavicle of this Reality is posturing, is imbued with the impression that “what already exists” is superior to what the individual can now invent. The causal chains of history seem to produce the present and the present seems to produce the future.

These are the grand deceptions. These are the illusions…


Exit From the Matrix

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


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.