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Outside the Reality Machine

Outside the Reality Machine
7 Jul 2022 | 3:14 am

Rappoport interviewed


by Jon Rappoport

July 6, 2022

(For my "For Writers: My Instructions" series, click here — for Part 1)

(To join our email list, click here.)

(Episode 14 of Rappoport Podcasts — "The Real President, Part 2; This is bigger than you know. This is bigger than any of us knows" — is now posted on my substack. It's a blockbuster. To listen, click here. To learn more about This Episode of Rappoport Podcasts, click here.)

What's your view on disinformation?

I'm convinced I can spot it.

Are you tolerant when you do?

Of course not.

So you're just as bad as the government.

Wrong. I'm not setting up a Board to censor disinformation.

You're intolerant, yet tolerant.

Exactly.

You're convinced you're right, but you want to allow other people to be wrong.

Correct.

Suppose you're wrong about a piece of information?

Then I'm wrong. That doesn't mean I want to be censored.

Why not? Suppose you have 9 million readers and all but one of them want you to be censored?

Then I'm writing to that one reader.

And you'd be satisfied with that?

Of course not.

And if the government wants to censor you?

I resist. We see what happens.

So you're in favor of radical free speech?

Free speech isn't radical. It's free.

But you don't highlight other people's views in your writing.

Sure I do. I quote them.

But you rely on yourself.

Who else am I supposed to rely on?

Experts?

If you mean people with degrees and official standing, then no. Unless they can prove their case.

Why doesn't the New York Times quote you?

They don't want to.

Why not?

You know, I'm friends with the managing editor of the Times.

You are?

Just the other day, we were having drinks together and he told me, "If we quoted you, Jon, our whole operation here would collapse."

He said that?

He's mentioned it more than once. I've suggested that the collapse of the Times would be a good thing. I would help him build from the ashes. He doesn't seem to be interested.

Does he want to censor you?

He and his pals are censoring me right now.

What? What do you mean?

You're only reading part of what I'm writing. Huge chunks disappear as I set them down on the page.

What do the chunks say?

If I rewrite them, they'll vanish before you read them.

Are the chunks important?

They're vital.

Maybe they should be censored.

Why?

If they think the chunks shouldn't see the light of day…

You'll never get a chance to decide.

Maybe I don't care.

Or maybe you're just lazy or scared.

I'm cautious about digesting information.

Information isn't a pill, you know. You can look it over, read it, come to a conclusion yourself.

Right now, are you writing chunks that are disappearing?

Between my last two answers, three hours elapsed. I wrote 16 pages, and they vanished.

They were important?

Very.

Are you troubled by that?

I press on, regardless. Are you troubled?

Maybe a little. The idea of disappearing text—instantly disappearing—

That's what censorship is.

I never get a chance to see it?

That's what I'm telling you.

OK. I want the chance to see it.

You and millions of people want that chance to see and read what thousands of other people are writing and saying.

This is eerie. I don't like it.

Why should you like it?

I have to go.

Where?

Back to my job.

What do you do?

I work for a company that wouldn't like it if they knew I were talking to you.

What company is that?

I censor that chunk of information.

Exit From the Matrix

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

To read Jon's articles on Substack, 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.

Outside the Reality Machine
28 Jun 2022 | 1:18 am

Art and Reality: a dialogue, part two


by Jon Rappoport

June 27, 2022

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For my article on the Supreme Court's ruling overturning "Roe v Wade" — "Abortion: the Democrats' Gold Rush"click here.

(This article is Part-2 in a series. For Part-1, click here.)

So you're saying, in art a turtle can become a cigarette.

Or a house or a cloud or a fountain pen.

Why?

There is no why.

There must be.

A person wants to change reality.

In absurd ways?

Sure. Why not?

Because other people won't understand.

We keep coming back to that. What other people understand is not a religion, you know. You don't have to pray to it.

But we all live in the same world.

By that proposition, we'd all have zero imagination.

So imagination breaks out of…

Sameness.

In calculated ways?

In all sorts of ways. You keep breaking out enough, those ways will change.

You'll make turtles into spaceships.

If you want to.

Who would want to?

I don't know. Anyone might.

Just because?

Just because.

That seems flippant.

So? Is there a law against being flippant?

People want to be taken seriously.

All the time? Forever? I don't think so.

What kind of imagination is good imagination?

Every person makes that decision.

On what basis?

On whatever basis he chooses.

You keep coming back to the individual.

Who else should I come back to? A group?

What's wrong with a group?

Just about everything.

Why?

A group doesn't think or invent. After a certain point, it passes stale bread among its members.

So you advise leaving groups.

An artist works according to his own choices.

Suppose his choices are limited?

He has to widen them.

How?

By deciding to.

Just like that?

Just like that.

Very few people can do that.

Really? How do you know?

Exit From the Matrix

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

To read Jon's articles on Substack, 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.

Outside the Reality Machine
25 Jun 2022 | 1:04 am

Art and Reality: a dialogue


by Jon Rappoport

June 24, 2022

(To join our email list, click here.)

For my article on the Supreme Court's ruling overturning "Roe v Wade" — "Abortion: now comes the war"click here.

(This article is Part-1 in a series. For Part-2, click here.)

So you say art turns reality upside down.

Or inside out. Or sideways.

Why?

Because that is the impulse.

Of the artist?

Of everyone. But of the artist, yes.

And this impulse comes from where?

From an attempt to go further.

Further than what?

Further than reality has already gone.

This is an unavoidable impulse?

Yes. You can try to squash it, but it keeps surfacing.

Why aren't more people artists then?

Because they can't predict what will happen if they follow the impulse.

Isn't the unpredictable exciting?

It should be.

So you're saying many people don't want to be excited?

Apparently not.

Even as children?

No. Children want excitement. If you give them brushes, they'll all paint. And if you don't criticize them, they'll keep painting.

And then what would happen?

Their lives would change. They would become more daring and more tolerant.

Why?

Because they have less need to defend. Their territory is imagination. Which has no limits.

Does this work for adults, too?

It works for anyone if they try it.

But some people settle into established patterns.

You have to overcome that urge, which is based on sheer habit and laziness and ideology.

There is ideology in art?

There is ideology everywhere. For example, the premise that you have to build something other people will instantly recognize and accept. If you're hemmed in by that, you're a prisoner of reality.

How do you escape?

You find out what you want to build.

Apart from other people…

Yes.

But if no one accepts what you build…

Then you deal with that. It becomes a new problem you try to solve.

How?

Up to you.

Most people don't want that problem.

I can't help that. If you want to do something badly enough, you will.

And that's what art is?

I think so, yes. It's the thing you really want to do, no matter what.

Exit From the Matrix

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

To read Jon's articles on Substack, 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.

Outside the Reality Machine
24 Jun 2022 | 4:12 am

Leonard Bernstein on Art


by Jon Rappoport

June 23, 2022

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Art lies outside the reality machine. It isn't a product of a system or a system of systems.

"Any great work of art … revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world — the extent to which it invites you in and lets you breathe its strange, special air." (Leonard Bernstein, 1958)

"…the form of the flower is unknown to the seed." (Herbert Read, 1965)

Exit From the Matrix

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

To read Jon's articles on Substack, 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.

Outside the Reality Machine
23 Jun 2022 | 4:26 am

Why is Art Such a Problem?


by Jon Rappoport

June 22, 2022

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The year was 2066. There were no more show trials condemning traitors. It was over. A haze had settled in. People wanted a respite. They wanted to count their free money and free goods.

Memory, which had been out as a trend, was back in again. People were digging up old possessions, even books and letters.

The Department of Pacification estimated that, worldwide, there were 360 million individuals who resisted attachment to groups of any kind. For the moment, no one cared. Erasing the individual was proving harder than planned.

At Harvard, a professor of fine art found a piece of writing he claimed had been done by a former student, after the war in Asia. He could make no sense of it, but he posted it on the University Machine Press, as a curiosity.

No one responded to it. After all, the art studios on campus were empty. Most students and teachers considered art a form of insanity, and an ancient one at that.

This was the professor's "find." Author, unknown:

"I was just looking a wonderful Paul Klee painting on the cover of an old record album of Ravel pieces. Art is such a problem for some people because it doesn't mirror the 'the real world.' The real world is their obsession. They stick to it like gum sticks to a sidewalk. It's apparently their comfort and their refuge from stray thoughts that might take them out beyond the space of their minds. Beyond the machine of Normal. Art is their nemesis. It threatens their home base. Life has no answer for art. Nature is art, but it doesn't seem to inspire most people to take a clue and look for other art. No, much better to stay where they are, in a fictional existence. Now, we are getting to the core of the collectivism that has flourished since the dawn of time. Deep in the mind there is a block of steel, a great piece of nothing that weighs a ton. It means nothing and it says nothing. It's just there. It's the key reference. Art takes a bludgeon to the block. It shatters it in an instant. It opens all doors and windows. It lets in light, the kind of light, for example, in Van Gogh, which does not occur in nature. Ravel does not occur in nature. Neither does Klee or Matisse or Matta or Degas or Bonnard. What keeps a human being locked up in his collective fantasies? What keeps him from leaving the reality machine in the dust? I'll give you some kind of answer: he will not stand alone. That's an answer. He would prefer to think "all of us together" will build a much better world. This will not happen, because a single better world is still a single world, and artists make millions of new worlds. That's the whole point. That's what art does. Millions of new and different spaces and worlds. Other than that, what we are left with is the reality machine. It spits out a line of existence in an unending spool. For everyone. By destroying that fictitious and presumptuous "everyone," we open up the possibility of more artists coming into being. I have written that each one of us is an artist of reality. That's not quite accurate. Each one of us can choose to be an artist of reality. Or not. The "not" is stale and old and decaying and fixed and robotic. It's an empty suit, eventually. It has no quality except a certain vague durability. A strange cartoon quality. It's a front. A ruse. A con. Reality is a con. An old story with the same ending. A tune that never leaves the same key. We are on a planet that promotes a dozen or so basic fairy tales of transcendence. These religious stories are supposed to be the antidote to the reality machine, but they're merely a different section of the machine. The tales have been sold for a few hundred thousand years, in one form or another. Strain to tell the tales, believe them. From the point of view of the machine, what the artist does is unthinkable. It makes no sense. It's impossible. Therefore, let's have more impossibles. Many more. Worlds that could not, but do, exist. And proliferate. And if nothing is ever the same, so much the better. At some point, this will happen. What I'm advocating here will happen. It might take a hundred years, a thousand years, ten thousand years, but the reality machine will entropically disintegrate at a faster clip and burn out. The horse led to the water will drink. The bull will shed his horns and pick up a paint brush. The little sheep will sit down at the piano and play strange songs. The marriage of the mind and machine will crack. The rain itself will sound like a symphony in many keys and registers. Waiting for it, however, is no marvelous badge of honor. Your badges of honor are your paintings. Every single one of them. Your home will accommodate itself to the paintings. It'll stretch and bend and turn right and left to make room for what the paintings are saying in their unknown language. Even the old masters, as they're called, went past the familiar. How did people look at Master Rembrandt once upon a time? They couldn't and wouldn't believe him. He was an outcast. He wasn't seen as a realist. Far from it. Now, it's easy. The subconscious has digested him. He's all right. He fits. The faces make sense. The same with Velazquez. Goya. A museum is designed as a place that won't let the paintings take over. That's the way you build one. Like a fortress with a moat. Like a mind with its own moat. Perhaps it would help to think of art as the launch of an intergalactic voyage. What's out there? Data have been accumulated, but all in all no one knows, after a certain distance. Who wants to go? Who wants to find out? But of course the comparison breaks down quickly, because the artist invents what hasn't been there before. It's more than not knowing. It's not having done it yet. He is the initiator, the beginning. Is that the problem? A refusal to be "first?" Art was always based on open space. Space that could never be occupied because it was invented. Art was never really a tradition. It was always breaking tradition. Art in the memory is a series of revered golden ages—but each age is actually breaking out of the last one. So none of them were golden at the time, only in retrospect. Giotto was a rebel. Michelangelo was a rebel. Piero was a rebel. Van Eyk was a rebel. Vermeer was a rebel…"

Finally, one day, an anonymous person responded to the post. He wrote: "I agree, because in agreeing I don't have to enlist in an idea dreamed up by someone else. I don't have to tune in to someone else's mind and stay there. Do you know what I mean? I can make my own art."

Within a month, 400,000 people posted: "I know what you mean."

Another person wrote: "I know what you mean. And none of us needs to meet each other. Now is not the right time. But there will be a right time. For now, our job is simply inventing millions of new worlds."

(Episode 12 of Rappoport Podcasts — "Viruses That Don't Exist" — is now posted on my substack. It's a blockbuster. To listen, click here. To learn more about This Episode of Rappoport Podcasts, click here.)

Exit From the Matrix

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

To read Jon's articles on Substack, 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.

Outside the Reality Machine
22 Jun 2022 | 2:02 am

Dane Rudhyar on Art


by Jon Rappoport

June 21, 2022

(To join our email list, click here.)

(Episode 12 of Rappoport Podcasts — "Viruses That Don't Exist" — is now posted on my substack. It's a blockbuster. To listen, click here. To learn more about This Episode of Rappoport Podcasts, click here.)

"Logic is a mirror of how the physical world operates. It is a vital tool. Imagination is the capacity to make new and different worlds, an unlimited number of them, which can operate on no particular basis at all." (The Magician Awakes, Jon Rappoport)

Here is an interesting statement from Dane Rudhyar (1895-1985), about his painting. Rudhyar was a world-famous astrologer, and also a philosopher, painter, and composer.

"It does not seem important to me that people seeing my paintings should know what I felt, why and how I produced them. The essential thing is the viewers' response — what the paintings do to them, what arises in them as a result of their seeing the paintings, of their relationship with the painting. It is, I believe, a matter of relationship: 'something' in the painting meets 'something' in the spectator; what is important is the character and quality of this meeting."

"…These youths are also often greatly impressed by my paintings, yet at the same time they are puzzled by them. I am repeatedly asked what the paintings mean, how the evident symbols in them are to be understood…"

"When facing my paintings, a person's reaction is often that I must have used such geometrical or biologically suggestive symbols deliberately, knowing exactly why I used them. People frequently are shocked when I tell them that I did not have precise intentions and did not think of traditional meanings. Then they often want to speak of 'the Unconscious' — my personal unconscious or the 'collective Unconscious'…"

"They are even more puzzled if I tell them that they should forget the traditional system of knowledge and simply try to experience the drawing and allow it to speak to them and communicate a 'mystery' which perhaps transcends or has meaning besides the traditional knowledge."

"Nearly twenty years ago while in Paris, I attended meetings and lectures at a well-publicized Congrés du symbolisme in the elegant and ultramodern UNESCO Building. At the close of the sessions I vividly realized that the lecturers always spoke of symbols in the past, referring almost exclusively to ancient cultural epochs and traditions. A very intelligent woman I had met who was enthusiastic about all that had taken place asked about my reaction to the Congress. I expressed my deep interest in the proceedings, but added that I felt the talks had been almost entirely, about the past. She looked at me with a puzzled expression and said, 'But the past is all we know. We do not know the future!' To which I replied, 'Of course we do not know the future, but we are creating it!' The lady gave me a strange look; she could not grasp the meaning of what I had said, and our conversation ended very soon."

If you say the voyage of imagination is spiritual, people immediately want to know which spiritual system you are talking about, or which principles. They want art and creation to be an expression of that which is already understood.

But art is not a descriptive sign hanging on the entrance to the cosmos.

Every piece of art is its own cosmos.

It needs no myth structure or origin-story or cultural precedent.

Art is the great exception to every rule of the universe.

If this isn't magic, nothing is.

FURTHER READING: "The Future of the Future"

Exit From the Matrix

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

To read Jon's articles on Substack, 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.

Outside the Reality Machine
14 Jun 2022 | 4:27 am

Writing about writing


by Jon Rappoport

June 13, 2022

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Some days, there is nothing. You sit at the computer and you don't find the tag-end you can pull, which will release a flow of words. But those can turn into the best days, because late in the afternoon or early in the evening, a spark comes and you're off. You're launched in a new direction, on a new course. You're "in the tower," that place from which you can say what had never been in your mind before. Gold coins are dropping. You're electric again. When you've had enough of those days, you know you're a writer because you've endured the dry patches of desert. You've refused to give up. You can still topple false gods and grind them down and make soup out of the flour. You can see the slices of blue among the clouds, or you can turn away from the blue and welcome the coming storm. Nothing will stop you. You're not crazy, you're beyond crazy, on the other side. You're rearranging the closets of reality, you're burning the closets, you're shoving in all your chips on spaces you yourself are inventing. You're the riverboat gambler. You're your own president. There is no sentimental attachment to the mob, the crowd, the mass, the group. You no longer look for the easy way out. You've left that in the dust. The whole point of audience for the writer is the possibility that they will suddenly be brought up short. In your words, they'll see a few drops of rain falling out of a sky that has no clouds. They'll catch on. They'll realize that invention is the joker in the deck—and they can remove that card and never bother to play the game at all. Because there is a new activity above the game. When the poet follows one line with a massive leap into another line, and when the connection isn't clear but somehow makes a startling amount of sense, the poet has demonstrated that he doesn't care. He's flying. That's all. He's flying and running with great giant strides. Into the gloom. Out of the gloom. No theories apply. No rules are spinning their wheels. One page, 50 pages, a hundred pages, it doesn't matter. The walls and ceiling, somewhere, are shattering. Somewhere in the world, on a street corner, where planes of the sky meet, a few people notice the stitching that holds them together, and it's coming apart. The sky breaks open, and another sky sits behind it. That is magic, and it doesn't matter to the writer how many people realize it. That isn't his preoccupation. If it were, he would never be able to pull off the feat. How far can the writer go? There is no limit. How far can imagination go? These are the great days. Every day has possibility. I came from a town with water wheels and rivers and mysterious old blackened factories sitting on the banks. It was your town, too. In the factories, reality was manufactured in uncountable and unconscionable ways. We ran along the banks and with our invisible pistols and rifles, we shot the products that slid down the ramps of the loading docks. We didn't know what we were shooting, but we knew they were artifacts of the wizards of Is. They were populating the world with this Is and that Is and millions of Is. The wizards were in the business of mass production. They were telling us all about essences. They were sending us their physical and metaphysical messages about existence, about its composition and makeup and meaning and we were supposed to crawl up inside those shining objects and feel our way along them, in never-ending mazes. We shot them down with our invisible guns. We scorched them and rendered them useless. We moved according to our instincts. We ran and we flew. The days were long, so long they never ended, and even now they are still stretching out past the horizon. Some days, there is nothing. You sit at the computer and you don't find the tag-end you can pull, which will release a flow of words. But those can turn into the best days, because late in the afternoon or early in the evening, a spark comes and you're off. You're launched in a new direction, on a new course. You're "in the tower," that place from which you can say what had never been in your mind before. Gold coins are dropping. You're electric again.

power outside the matrix

(To read about Jon's collection, Power Outside The Matrix, click here.)

To read Jon's articles on Substack, 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.

Outside the Reality Machine
10 Jun 2022 | 5:13 am

The Case Against The Magician


by Jon Rappoport

June 9, 2022

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Note to the reader: I did not write this article. It was penned by Frank Hostage-Taker Craven III, a distant acquaintance. He claims to be able to see the future and report on it. I take no responsibility for his work. And by the way, he also claims he lives in several different time periods. Simultaneously.

Here we go:

As some of you know, until last spring I was a professor of literature at Princemouth College, on the rim of the Milky Way, at which time I was fired for "reckless behavior." When charges were brought against me by the College Integrity Commission, I was told by the Dean of Behavior:

"Violations of the College Code have been observed and verified. We aren't at liberty to name those violations, because they might multiply the effects of your actions."

Without the ability, therefore, to defend myself, I had no recourse.

But NOW, through the efforts of former students, the charges have been exposed. I am grateful for their help.

THIS IS WHY I WAS FIRED. On the afternoon of April 12, 2062, in the Grove, on the east edge of campus, I performed a magic trick for several dozen sophomores who were meeting to discuss a proposed tuition hike.

I held out my hand and made an apple appear.

Later that day, one student told the Dean I had frightened him. He claimed there was no way I could have produced the apple through "stage trickery." He stated I had actually "manifested" the apple. And this he found upsetting.

In a subsequent note he wrote to the president of the College, he reasoned: "If the Professor could do that (make the apple appear), then all current laws of motion and energy are suspended, and if this is possible, then what other unpredictable irregularities might I encounter here on campus? I came to the College to study science. Now, I am afraid. I have disturbing dreams at night. I've sought help at the campus clinic. I have been prescribed medication, and I'm receiving therapy three times a week. Frankly, my life is a shambles. My values have been shaken."

On that basis, I was charged, found guilty, and expelled from my job.

Before I left for Earth, I was harassed by reporters.

Now I live in Miam II, beyond the reach of College authorities.

And I can tell you:

I did, in fact, materialize the apple out of nothing.

I'm freely admitting this, because I want to discover whether it disturbs people sufficiently to make me conclude that Earth society, too, is living in a Dark Age.

If the answer turns out to be yes, I will make a stand, because the prospect of emigrating again is deeply unpleasant. And when I say make a stand, I mean I will perform other "tricks."

But this time, I'll do more than simply conjure an apple in my hand.

I'll render visible a hole in space that already exists above the planet, at an altitude of 60,000 miles, where energy is pouring in from another universe. When that happens, and when its implications are digested, many scientists will see a way to channel and utilize this energy to replace older inadequate forms of fuel.

That will engender chaos.

Fed up with blindness and insanity, I'll step out of the shadows and declare my independence.

When in the course of events, it becomes necessary to resign from "the old world," it is best done in spectacular style, and with maximum impact.

There are further "tricks" coming. What if, for example, many, many persons who are currently weaving a false story to convince others they are chronic victims are suddenly and simultaneously exposed? What if these tales are instantly and widely perceived as a fraud, despite all protestations to the contrary? I assure you, such a revelation is possible. The bell hanging from the cat's neck will ring.

Suppose millions of soldiers from dozens of nations suddenly understand they have been killing people for no reason?

Suppose, at the flick of a switch, hundreds of thousands of criminals and thugs begin confessing their crimes?

And if craven liars, who are self-appointed leaders of various groups, are viewed, from a correct angle, as panderers and sellers of hatred and poisonous divisiveness, what then?

I assure you, all this is as possible as snow falling on a winter afternoon.

These days, in order to watch and experience a faded imitation of such feats, you file into dark theaters and feel your adrenaline move, as superhuman heroes enact justice.

Tomorrow, you will see it for real.

If, however, I am left alone to be what I fully am, then I will allow you to play out your dramas on a stage of your own choosing.

I have made no investment in your shared reality-consensus. I haven't walked in your shoes; nor do I care to.

I can tolerate you. I'm not sure whether you can tolerate me.

But all will be revealed soon enough.

There is nothing in the universe, or beyond it, that legislates we should all be the same. That may come as a shock to some of you—but I fully understand your "egalitarian attitude" is something you've invented to comfort you in a false haven.

This statement is my own declaration of Difference.

Let the chips fall where they may.

My recent journey began on the afternoon I invented an apple out of nothing. But notice I didn't follow through, as your ancient oppressors did, by adding the garden and the tree and the snake and the guilt and the "first two humans." I merely performed a trick. That's the naked power that's concealed behind the organized religions so many of you accept.

Which is probably why I'll have to do more tricks. Because, while you elevate religion, you don't like magic.

Oh…wait a minute. What was I saying? I went off. I didn't perform magic. The apple was concealed inside my coat. Of course, we're all small people living in a big world and we have to bow down to our superiors and submit to mysteries we'll never understand. That's the human condition. We have to make the best of it. We're all in the same boat. We shouldn't take actions that might possibly offend anyone else. Don't stand out. Get along. It's all hopeless. We have no chance against the powers-that-be. We're weak docile creatures. We were made that way. Our leaders know what is best.

Exit From the Matrix

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

To read Jon's articles on Substack, 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.

Outside the Reality Machine
8 Jun 2022 | 4:00 pm

The Extraterrestrial, the self-important Earth Person, and the Pig


by Jon Rappoport

June 8, 2022

(To join our email list, click here.)

(Episode 11 of Rappoport Podcasts — "Mass Shootings and the Psychiatric Drug Connection; The Involvement of the CIA's MKULTRA Mind Control Program" — is now posted on my substack. It's a blockbuster. To listen, click here. To learn more about This Episode of Rappoport Podcasts, click here.)

There was no ship and no landing.

The ET just coalesced as a shining stick figure in the living room of James Smyth III, the chairman of the International Association of Art Museums. It was late in the evening, and Smyth was alone.

The chairman registered no shock. The ET said, "I chose you as my initial contact, because you have connections in politics and media."

"I might be able to sponsor a conference."

"I want private talks."

"Oh. Yes. Of course."

Then this interchange occurred:

You know, Mr. Smyth, the most significant subject I could broach is Reality.

I've often thought about it while walking the lonely halls of an empty museum late at night—

Reality is elastic. But in order to see that, a person has to deploy his imagination. Otherwise, Reality can appear to be a block of steel.

You know, I've seen and talked with very famous celebrities. Some of them seem to have a glow around them. Is there a way to change my DNA so I can emit that glow?

Mr. Smyth, if Reality had a plan, it would be to stay where it is and say it can't change. Reality is a form of propaganda. The deeper you drill into the propaganda, the more you realize the very basics—for instance, space and time—are provisional.

One of our former presidents, Bill Clinton, was very interested in UFOs. I know Bill. I might be able to arrange an event at one of the museums here in New York. The publicity would be enormous. I could introduce you; make a short speech. It would be a charity fundraiser.

Some of the most convincing and oppressive Realities, Mr. Smyth, are built on nothing. That's what you find at the bottom of your search, if you go deep enough. When you expose this, people have a chance to wake up. The hypnotic trance they're in tends to dissipate.

I visit my barber every week. I have a standing appointment. My tailor has made several different kinds of British suits for me. But something in my persona is lacking. Are there any tricks you could teach me? I want to convey a sense of…I want people to come to attention when I enter a room.

Humans specialize in Reality-addiction. They're convinced that what they see and feel is all there is. The One Reality. But there are a potentially unlimited number of Realities that can be invented. The individual invents them.

I once contemplated a run for a seat in the Senate. I had financial backers. But in the end, our team decided I just didn't have the name recognition. We had Jimmy Carter come in and talk with us. He said he didn't think I was a good fit for politics. It would have been quite a different career path than the one I finally chose. I think my family was disappointed. Our daughter had taken a tour of the White House as a child, and she was in love with the idea of actually living there…

Some of the biggest discoveries a person makes come from imagining how Reality COULD be, contrasted against how it IS. Seeing both, side by side…then perception and thought change.

Sixty years ago, the Metropolitan Museum bought a minor Rembrandt. It never drew the crowds the Board expected. Now the most important donors want to sell it. They've asked for my opinion. Rather than write a report, I'm going to make a video presentation. I'm trying to decide whether to bring the film crew here to the house, or speak against the background of the River and the majestic skyline of the city.

Inventing new Realities causes radically positive changes in chemical processes of cells of the body, hormone levels, and other less-noticed energies. We saw this happen with Rodin.

On the second floor of the Metropolitan, we have a lovely Rodin. I wanted to move it down to the lobby, but I was outvoted. Basically, the Council was launching a little power play against me.

At a deep level, most humans are programmed with crude concepts of symmetry, balance, harmonization, and organization. They automatically reject anything outside those parameters as dissonance and noise. They ignore whole universes.

My good friend Melania Trump came to me with a proposal to launch a traveling exhibition of the history of Western fashion. I thought it was a bold notion. But the political atmosphere was poisonous. We just couldn't raise interest. The New York papers went after me hammer and tongs. One reporter called me "a fascist in sheep's clothing." Can you believe it? We were just talking about hats. Hats and dresses. And suddenly I was Mussolini.

In Tibet, fifteen centuries ago, before the priest-class moved in with their metaphysical baggage and set up a theocracy, adepts lived up in the cold mountains and practiced exercises designed to make them see, once and for all, that universe was a product of mind. From that point on, an individual could alter space and time. He could make a forest disappear and reappear.

I hate to cut this short, but I have to take a call from Japan. We're bringing over several Hokusai drawings next month. The minister of culture is an old friend of mine. His son and my daughter went to Princeton together. But anytime you'd like to come back—

—The extraterrestrial made a slight motion and changed Mr. Smyth into a large pig.

The pig wandered around the room sniffing the furniture.

The pig said, "I forgot to mention that one of President Biden's advisors on foreign policy is a former member of the Museum Association. She has a summer cottage just outside Brattleboro. Perhaps I could make arrangements for you two to sit down and have a chat. Many years ago, when she came to work for us, I mentored her on fundraising and prestige. Donors want be connected to their gifts in a variety of public ways."

The extraterrestrial dropped an ear of corn on the floor and vanished.

Several months later, after appearances on Face the Nation, Meet the Press, and the PBS News Hour, the pig announced he was running for a seat in the US Senate. His opening poll numbers were through the roof.

However, since he was on the ticket as a Republican, New York Democrat party leaders were alarmed. Kamala Harris flew up from Washington and huddled with PR pros at the Rockefeller Institute.

Two days later, Anthony Fauci retired from public life, and President Biden offered the pig the vacant position of White House chief coronavirus advisor.

Pledging to serve the nation in a time of crisis, the pig accepted. He told reporters, "I follow the science, just as my good friend Dr. Fauci did. The vaccine is remarkably safe and effective. It's the only way out of the lockdowns and the trough of government bailouts. It's how we get to herd immunity…"

Exit From the Matrix

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

To read Jon's articles on Substack, 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.

Outside the Reality Machine
8 Jun 2022 | 1:51 am

Many universes


by Jon Rappoport

June 7, 2022

(To join our email list, click here.)

(Episode 11 of Rappoport Podcasts — "Mass Shootings and the Psychiatric Drug Connection; The Involvement of the CIA's MKULTRA Mind Control Program" — is now posted on my substack. It's a blockbuster. To listen, click here. To learn more about This Episode of Rappoport Podcasts, click here.)

There are many universes. And that means there are many inventors of universes.

Some universe are designed with technology, some are made whole, like improvised paintings.

There are simple universes and complicated ones.

The painters who make universes are free from the restraints civilizations place on artists, and are free from myriad self-imposed restraints…because they want to be.

They don't need spiritual or cosmological content delivered by external authorities. They invent cosmological content.

They don't need symbols packed with meaning. They invent symbols and imbue them with singular, or multiple, or endless meanings. Or they decline to use symbols altogether.

They don't need to look for answers. They don't need answers at all, because they have no questions.

They don't rule populations. They don't rule anyone.

They don't need tragedy or irony or limitation of any kind to attach to, and embed in, their art.

They've left behind any semblance of passivity.

They experience the ecstasy of creating.

Why shouldn't they?

"Any great work of art…revives and readapts time and space and the measure of its success is the extent to which it makes you an inhabitant of that world—the extent to which it invites you in and lets you breathe its strange, special air." (Leonard Bernstein)

Exit From the Matrix

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

To read Jon's articles on Substack, 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.

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