2021-07-31 10:51:42

Disrupting the story line of the mechanical mind

by Jon Rappoport on Jon Rappoport

What city is this
Whose moments tremble
Azure sky and lime lights
Walking in the intersections
Through the squares of paradise

People are solidly addicted to story line. Beginning, middle, end. They want to have it, over and over, in different guises.

The ultimate payoff of that addiction? There is none. Except the need for more.

Propaganda, media, announced government policy, education, religious messages, hundreds of medical treatments-the underlying theme is polished story line. Wrapped up and sold. When the wrong ending looms like a thundercloud, an order to goes out to hide it or lie about it.

When a relentlessly creative individual disrupts story lines, an unlimited number of universes opens up. And every one of them causes tremors in the addict.

"Don't do that. I don't understand what you're doing. Stop. It makes no sense. You're crazy. Where is the ending? Civilization is going to fall into the sea. What is your message? I can't find it. Boil down what you're saying. God will punish you."

The addict feels his mind is cracking. He runs screaming in the night looking for his next fix.

For example, the open and basically endless poetry of Pablo Neruda, Walt Whitman, William Carlos Williams, and Arthur Rimbaud can have that effect.

So many new worlds moving through the old one.

Why does a story have to have a recognizable plot and a tuned-up climax? Same question: Why does a person need to inject heroin?

Look at Piero della Francesca's 1464 fresco, Legend of the True Cross-perhaps the greatest painting of the Renaissance. In a series of episodic panels, it traces the mythical history of the wooden cross on which Jesus was crucified. However, there are a number of puzzling "non-linear" representations in Piero's work, the most famous of which is the panel titled, King Solomon Receiving the Queen of Sheba. What does that meeting have to do with the purported journey of the timber on which Jesus hung?

The Roman Church would claim it is symbolic of an archetypal super-event called The Arrival, and refers to the birth of the Messiah or his later entrance into public life as a teacher; or Sheba had precognitive knowledge of the tree whose wood would be used to make the cross. That's an extraordinary stretch, to say the least. But it's typical of a strategy down through the ages: when a promoted story line breaks down, invent a way of claiming it's still coherent.

Buttress conventional story at all costs.

Mechanical minds will always reduce events, data, history, science, etc., to manageable stories.

Oceanic artists go the other way: they proliferate their work beyond any mechanical limit or summarized interpretation.

Why does that matter? Because, for these artists and their committed audiences, routine day-to-day experience is cracked open like an egg, out of which emerge vital energies of concealed dimensions. Life becomes LIFE.

When I was 21, a friend showed me photos of the architectural productions of the Spanish genius, Antoni Gaudi, scattered throughout Barcelona. My first reaction was, these buildings came from another planet. My second reaction: how was he allowed to build these structures?

Gaudi was a technical innovator of the first order. He developed forms and methods of construction that surpassed the engineering rationale of the great cathedrals of Europe. At the same time, he confounded old ideas of space. The experience of seeing or standing in one of his buildings yielded up the sensation of living in a DIFFERENT KIND OF CONTINUUM.

That new continuum disrupts the story line of consciousness by proliferating a new narrative that has no convenient ending. The old way of seeing has been given a bath in some mysterious dynamo and is vitalized.

Habitual categories and compartments of perception have dissolved.

Who would have known this was possible, unless Gaudi (1852-1926) had lived?

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.

Occasionally, an artist will take on the role of actor and performer, in order to deal with the denizens and mental dwarves of ministries of truth. Over the past hundred years, it would be hard to find an artist who carried out such a program with more skill and verve than Salvador Dali.

Let's start here. To absorb a work of imagination, one has to use his own imagination.

Since this is considered unlikely, pundits earnestly help us with step-down contexts, so we can understand the work in pedestrian terms. In other words, so we can reduce it to nothing.

Salvador Dali was not content to allow this to happen.

The critics would have declared Dali a minor lunatic if he hadn't possessed such formidable classical painting skills.

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

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

Where was the pleasantly mesmerizing effect of a predictable existence?

Where was a protective class structure that depended on nothing more than money and cultural slogans?

Dali invented vast comedies on canvas. But the overall joke turned, as the viewer's eye moved, into a nightmare, into an entrancing interlude of music, a memory of something that had never happened, a gang of genies coming out of corked bottles. A bewildering mix of attitudes sprang out from the paintings.

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

Words failed viewers and critics and colleagues and enemies.

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

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

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

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

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

Commentators who try to take on Dali's life usually center on the early death of his young brother as the core explanation for Dali's "basic confusion"-which resulted in his bizarre approach to his own fame.

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

He was creating a self (or selves) that matched his paintings.

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

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

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

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

Critics have attacked the paintings relentlessly. They are offended at Dali's skill, which matches the best work of the meticulous Dutch Renaissance masters.

They hate the dissonance. They resent Dali's mordant wit and rankle at the idea that Dali could carry out monstrous jokes in such fierce extended detail.

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

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

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

Dali was the hallucinogenic toreador. He was holding off and skirting the bull (shit) rushes of the critics and the historians. They charged at him. He moved with his cape-and stepped out of the way.

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

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

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

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

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

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

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

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

That was too much.

But there the paintings are.

Imagination realized.

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

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

The pot is boiling. People want out. Even if they don't know where out is.

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

But what if, when we come around the far turn, we see that the universe is us? Is simply one part of imagination? Is a twinkling rendition we installed to keep us titillated with dreams that would forever drift out of reach? What if it turns out that we are the perverse ones and a Dali is quite normal?

What if we pop out of the fences of this culture and this continuum and this tired movie called Planet Earth?

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    last comments from Jon Rappoport
    Michael Burns Mon, 02 Aug 2021 17:17:41 +0000

    "Many of Dali's paintings expressed narcissism because he was exploring that condition (e.g. Metamorphosis of Narcissus)."

    No. He 'was' thoroughly involved with his own narcissism, youthfully paranoid about it for a while which did force him to explore it's nature through that paranoia. So much so that he had his rich sponsor and money bags arrange a meeting with Freud so he might understand his affliction further.

    The wasn't a mirror that Sally didn't pass — they always stopped him.

    Dali is one of those artist that the elites sponsored in full and made sure their art became important on the global scale. Buffoonery and and a loose canon nature must prevail in the public's understanding of what artist are…which is quite opposite to what an artist is…

    Elites use art as a means of investment and propaganda.

    "Art criticism should not make any judgment of the person who created the art. It is especially sophomoric to criticize an artist […] because you can stick a brand of religion on them and impute motives from that. Imputing lunacy is even more juvenile."



    Hah…you place artists on such a level and really most of us are pure asshole. Can we include Hitler in that — artists shouldn't be criticized category, he was a talented fellow. His works some 300 plus have sold for over a hundred thousand dollars. Or how about Egon Shiele he was a pedophile and murdered, as did the great Caravaggio; Banksy graffiti in public spaces; Picasso stole art and it is reported sodomized a dog once, carried a gun and shot a number of men in street brawls in the early days in Paris.

    One of my favorites — an outsider artist named Richard Dadd killed his father in a rage.

    A great number of artists have been pedophiles, should we criticize their carnal perversion.

    "He was always seeking to escape the matrix […]"

    On the contrary he was always front and center of any elite formal gathering, his patron Edward made sure of that, as I say he was the Lady Gaga of his period, the court harlequin, and loved the matrix and his elite status as an important global artist. He was a celebrity that was on the Rolodex and brought to those publicized meeting of the elites.

    "I would say the majority of religious seekers are looking for more normalcy, not less."

    That's simply your atheism showing and distaste of Catholicism. Like Jon and most around you have be propagandized to believe priests are pedophiles. That 'is' a psyche-op of profound planning and operation. a means of killing faith and dis-empowering the symbol of the cross.

    Faith is what drives religious seekers not normalcy. The faithful know they are living in an unfolding kind of hell and end time.

    Christians learned long ago how to be persecuted.

    Perverse artists have tried as you and Jon do to demote Christianity as meaningless and taught by pedophiles and they, where sponsored in the process, as in "Piss Christ".
    But one will find that the crucifix is not a dark frozen symbol as say the Nike slash. The cross bears two millennium of salvation. It is more a spirit/mind connection than the actually physical object

    Answer this, "Why do you think Sally Dali embraced and clung so tightly to his Catholicism, to Christianity in the end. After the fire and Gala's death he signed blanks; felt his muse had abandoned him. He had wanted to be put in a state of suspended animation because of his great fear of death and a judgement. His learning about Thom's catastrophe theory, threw his world into chaos and drove him further to religion. Would that not signify that he was craving a normalcy bias? Would that not expose that he was a fake? Would that disclose that he was a pretender and driven more b his vane and narcissistic nature that the working of a fine artist?"

    Michael Burns Mon, 02 Aug 2021 15:47:21 +0000

    I think he is interested in frying bigger fish. Epstein was just an "OP" they close rather abruptly.

    Bobbi Jo Sun, 01 Aug 2021 18:33:56 +0000

    And material history draws to a close as the new idea of who we am appears…

    hyden Sun, 01 Aug 2021 02:47:46 +0000

    say that to all the parents with sick dying kids, God only helps some while others suffer. lol god picks and makes choice who it heals. Talk about favouring ones over others. God is a monster.

    Benjamin Martin Sat, 31 Jul 2021 20:12:58 +0000

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

    So succinctly put. And it's true, the core aspect, the madness, of real genius in so many revered artists is gradually lost through the academies over time owing to the gatekeepers' slick, methodical parameters, biased 'canonically based' judgements, and contrivances that disguise their own jealousy of the very mastery that they claim to preserve.

    Greg C. Sat, 31 Jul 2021 17:20:20 +0000

    "To understand Salvador Dali, one only needs to see his "Christ of Saint John of the Cross". It is pure narcissism."

    Many of Dali's paintings expressed narcissism because he was exploring that condition (e.g. Metamorphosis of Narcissus). The world of art attracts money and fame granted by narcissists. You could say the same of the Mercedes Benz. Would they exist if it weren't for the masses who want to be looked at and admired? I doubt it.

    Art criticism should not make any judgment of the person who created the art. It is especially sophomoric to criticize an artist […] because you can stick a brand of religion on them and impute motives from that. Imputing lunacy is even more juvenile.

    Dali had the opposite of normalcy bias. He was a normalcy skeptic. Instead of having a pet poodle, he had a pet anteater. He had a unique mustache. Undoubtedly he was not easy to live with. You could say that about most dedicated artists. But forget the man – he's dead. His art lives on – calling our attention to our fabricated world that runs on the fuel of narcissism, greed, lust, envy, the desire for control. He was always seeking to escape the matrix – see how his paintings often have "holes" to see beyond the subject, or people with drawers that can be pulled open.

    His art was purposefully disturbing to jar the viewer out of normalcy bias, even for a moment. The desire for normalcy is why we live in a self-imposed matrix. I would say the majority of religious seekers are looking for more normalcy, not less. A moral framework that produces a stable society. Religious ideals that explain the mystery of existence to quell unconscious fears. Peace, prosperity, tranquility – these are good things. But let's not pretend that nothing else exists behind the façade of well-being. Behind sanity is latent insanity, behind power is hidden weakness, behind weakness is untapped potential. It goes on forever like a rendering of the Mandelbrot set. There is much to explore.

    Paul Sat, 31 Jul 2021 10:04:34 +0000


    IF, for whatever reason, you, or your Loved ones, got-the-shot, you may find succor, in but a Moment.

    Perhaps, some other fantastically good physical remedy, may be offered in the

    But for Now…

    Mark 16:18

    "They shall take up serpents;
    and if they drink any deadly thing,
    it shall not hurt them;
    they shall lay hands on the sick,
    and they shall recover."

    You must believe with All your Heart.

    God Bless.

    Liv4ever Sat, 31 Jul 2021 09:49:34 +0000

    Another great on from Jon Rappoport…! Lately I've been thinking about a miscalculation of Mr. Global and the great reset. If their aim is to create an army of boot licking, brown nosers left over to buy food, they forgot to imagine what the world will look like and how it will function when the supercomputers can't analyze human problems. When customer friendliness no longer exists.

    Liv4ever Sat, 31 Jul 2021 09:43:51 +0000

    I take exception to your contention that rabbis are pedophiles. Since you can't possibly have personal knowledge of everything that goes on behind closed doors you cannot bear witness to these matters. I direct that the jury diseregard.

    You are confused about many other things as well. To wit, Franco was catholic. Gaudi and Dali were patrons of the Catholic Church. In other words all the money that allowed them the freedom to make their art came from the church. Picasso on the other hand fought against fascism.

    Christ was not executed on a cross. For proof one need only realize that it is anatomically impossible. Even the most outstanding Olympic gymnast can't maintain an iron cross for more than a few minutes. The Roman torture stake was designed to prolong the agony for hours.Instead, Christ was impaled on a simple upright stake or pale.

    I'll stop here but the let the record reflect that you entertain many more misconceptions.

    Corinne Coster Sat, 31 Jul 2021 08:18:05 +0000

    I learned a lot today, Thank you!

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