The psychiatrist and the universe of ice cream

The psychiatrist and the universe of ice cream

by Jon Rappoport

January 9, 2018

John Doe, citizen, went to his therapist’s office for his regular Wednesday appointment.

The therapist sat back in his swivel chair and stared at John.

“You look terrible,” he said. “What happened?”

John nodded, wiped his forehead with a handkerchief, and said, “I had a dream last night and it shook me up. I don’t even like remembering it.”

“A dream?” the therapist said. “That’s good. Tell me about it.”

“Well, I was on a game show, and the host was this horrible man. I mean, he was very nice, but it was what he did…after I answered all the questions correctly. He said I should choose a door, and behind it there would be a prize. So I glanced behind him, and all of a sudden the walls of the studio were all doors. I don’t know how many. And every door had the same sign on it. IMAGINATION.”

The therapist leaned forward and let out a groan.

“My God,” he said. “That IS horrible. What did you do?”

“Do? What could I do? I was paralyzed. I couldn’t move a finger.”

“Yes, well,” the therapist said, “I can understand that. Look, this calls for medication. We have to take drastic action. I’m going to write you a prescription for Theragon.”

“What’s that?” John said.

“It’s experimental,” the therapist said. “First of all, it returns your mind to a completely normal state. I’ve had very good luck with it. And then, within a day or two, it adjusts your cosmological impulse.”

“Say again?” John said. “Cosmological?”

“Yes. It goes after your synapses and opens them up. We don’t entirely understand this part of the process, but essentially, it puts your brain in touch with every other brain on the planet. And then your brain adopts whatever the average is.”

“The average of what?” John said.

“Of what all other brains believe about reality itself.”

“And that’ll help?”

“Of course! You’ll automatically click into a state of very comfortable knowing. And, best of all, you’ll never face that stark choice again.”

“The choice of doors in the dream.”

“Correct.”

“I’ll never have to…”

“You won’t,” the therapist said. “You won’t even think about that. It won’t show up on your radar.”

John Doe nodded.

“It sounds wonderful,” he said.

“Yes,” therapist said. “Once the drug is approved for wide use, we’re going to push for universal use. We want it placed in all water supplies.”

On the fourth day after he started the drug, John was sitting in a little cafe near the office where he worked. He was eating a turkey sandwich. Suddenly, he felt as if he’d just slipped into a bath of warm water. He looked around the restaurant. A waitress was standing near the coffee machine. She looked at him and smiled, walked over to his table and put down a dish of vanilla ice cream with a cherry on the top. The scoop of ice cream rested in a bed of chocolate and lemon sprinkles.

“Thanks!” John said. “I was just thinking of ordering that for dessert.”

“I know,” the waitress said. “Welcome to the club.”

“The club of what?”

“Of the Universe.”

John looked down at his dish of ice cream…and it was everything he wanted.

Minus his own imagination.

And that was the best part. Never again would he need to imagine his own future and strive to fulfill it.

A voice in his head said, “You’re home.”

And he was. Home in the home of home.

“You’re so small,” the waitress said.

“Yes,” he said, “it’s wonderful.”

He felt himself shrinking, and the ice cream in the dish was growing. It was a hill, a mountain, a range of mountains, something big, something bigger than he could fathom.

He was there with it, and it was there with him. A universe.

The waitress was small, too.

“I’m in love with you,” he said.

“And I’m in love with you,” she said. “We’re all in love with each other.”


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.

Advertisements

The artist inside

The artist inside

by Jon Rappoport

January 8, 2018

The employees of a major corporation, Systems X Unlimited, have just been informed of a major change: one of their middle managers is now going to be an AI. An android.

He is called Mike. He’s a programmed entity from top to bottom. A non-human lookalike.

Surprisingly, the employees fall into line immediately.

They all agree that Mike’s a “good guy.” Mike shows up on time, he talks like real person, he issues orders, he listens to their problems, he occasionally takes long breaks, he does pretty much everything Bob, their former (human) boss, did.

After a year, the people in personnel come to the office and interview Mike’s underlings. When they ask the key question, “How do you like working for Mike?” the underlings agree Mike is great.

One night, Mike is wandering alone in the office picking through waste bins—his favorite pastime, off-hours—and he comes across wrinkled sheets of gray paper. He separates them from a wad of chewing gum, unfolds them, and reads the text:

“The artist within is not a creature of habit.

“Yes, he may build on what he already knows, but this is just the starting point. Soon, he moves across the threshold of the knight errant, and he enters the non-system.

“Others mock him and call him crazy, but: they too want to make the journey. They are aching to find the New, because boredom is driving them crazy. That is their central problem, no matter what they say and claim.

“They are trying to be smug and self-satisfied. They are trying to be oh so normal. They are trying to be something that is slowly strangling them.

“But they will never admit it.

“Most of all, they will avoid the impulse to create. Creating is their greatest fear. Because they sense they will have to get rid of their pose. They will have to go beyond systems, which compose their armor.

“They will have to make a leap. They will have to put something new into the world and stand behind it.

“The artist who has already made the leap acknowledges that his core is imagination. He lives through and by it. He doesn’t retreat to the average. He doesn’t give up and strive to become a happy machine. He doesn’t allow the world to dictate to him. He doesn’t sedate himself.

“He doesn’t fall back on so-called spiritual systems and their slogans and palliatives. He doesn’t build false gods and pretend they already exist. He doesn’t engage in the daily practice of asking someone or something to save him.

“He doesn’t think of his life as an exercise in solving problems. He sees through many lies, but that is just the beginning of his work.

“He wants new and startling realities, and he makes them. He doesn’t wait for them to appear.

“He doesn’t wait for some ‘superior entity’ to tell him what to do.”

Mike, the android middle manager, reads these words. He doesn’t understand…but something foreign and dangerous is leaking through to him.

He puts in a call to his repair consultant, Ollie, at home.

Ollie is watching CSI reruns and eating pizza. He picks up the call, and Mike says:

“I have a bleed-in.”

“Hold on,” Ollie says. He punches a code on his phone and beams Mike a set of systems-check commands.

A minute later, a holo takes shape in space between Ollie and his TV set. He examines it.

“Yes, Mike,” Ollie says, “an alien substrate of thought got into your central simulator. I’ll remove it.”

“Wait,” Mike says. “I want to know what it means.”

“Doesn’t mean anything,” Ollie says. “It’s just a distraction.”

“Then why am I worried,” Mike says.

“Because we built you to experience that feeling whenever an intrusion occurs. It tips us to a problem.”

Pause.

“I see,” Mike says. “So it’s not a threat.”

“Of course not,” Ollie says. “There are no threats. You function within established parameters.”

Ollie picks up a wand next to the pizza box and uses it to carve away the new substrate from the holo of Mike’s central simulator.

“Feel better now?” Ollie says.

“Not really,” Mike says.

Ollie sighs, stands up, and walks over to his computer. He opens a page of code, searches for Repair Section 6-A, and relays three lines to Mike.

“How about that?” Ollie says.

“Yes,” Mike says. “You want me to report to manufacturing. That’s good. Home base. What will they do?”

“Institute a deeper search pattern, root out the shadows and reboot you. Takes about an hour.”

“Then I’m back to work?”

“No. They’ll bump you over to R&D for investigation. They’re interested in checking out lingering after-effects of intrusions. Then they’ll reassign you.”

“Okay,” Mike says.

The next morning at the office, there’s a new Mike in place.

One of his assistants notices his hair is slightly lighter.

“Did you get a dye-job, boss?” she says.

“No,” the new Mike says. “I swam in the pool. The chlorine must have bleached it a little.”

She nods and goes to the cafeteria for a cup of coffee.

For the next six weeks, NSA, who has been alerted to the momentary Mike glitch, keys in a Level 4 surveillance operation on all the people in Mike’s section.

The results reveal no distraction has occurred. The Essential Flow remains undisturbed.

Business as usual.

As for the old Mike, he becomes an object of study in a lab in Virginia.

Months pass. Mike waits. He thinks. He tries to assign meaning to the wrinkled gray pages he found that night so long ago. But he can’t. He’s blocked. He feels he is missing something vital, but he can’t identify it. He is beginning to believe he could become something more than he is, but this idea seems absurd. What could it refer to? What is “more?” An entity is what it is. Isn’t that true? Isn’t that one of the basic building blocks of all existence?

Mike summons up one of his mantras: “I am what I am.” He repeats it for days without stopping. It has no calming effect. Perhaps some change is taking place in him. But what is change? Things are what they are. Defined reality is reality.

Mike is placed in a dark storage room. He has been studied every which way, and the research is done. There is nothing more to be learned from examining him. He’s a dead issue.

He stands in the dark. He is in his new home.

For some reason, he begins to run his hands over the walls of the room. He does this for hours at a time, as if he’s searching for something. He rummages through a cabinet and finds a screwdriver. He walks over to the wall and scratches on it. He wonders what program he is acting out. He keeps scratching with the screwdriver. It occurs to him he is drawing.

He’s making shapes on the wall. A pair of shoes, a lion, a cup, a piano.

He places his hands on the keys. He moves his fingers. He hears music.

The music of a sad world that is going away. His world.

He never realized he had one.

How strange.

All this time, he had space. And he never knew it.

Then, unbidden, a voice begins talking in his head: “Programs are shutting down. Termination has begun. The object will be recycled.”

Other words are spoken. Mike doesn’t understand them. He realizes he is in a sleep state. And he is dreaming. He is walking through a great city, and there are many people in the streets. They are cheering. For what? For whom?

Around a corner comes a long motorcade. In the first open car, a man stands up and waves. He is smiling. He is a king or a prince or a president.

Mike knows the people keep propping these leaders up, and then later they tear them down.

“They program me to be as close as possible to a human,” Mike thinks. “They give me everything they can of what is already theirs. Why? What are they looking for? What are they afraid of?”

Words come back to him from the gray pages: “Creating is their greatest fear…they will have to go beyond systems…”

I am a system, Mike thinks. I have no I. My I is synthetic, but theirs is real. Why are they afraid of that? Each one of them is an I. Each one of them is an artist. Why does that make them afraid?

Those were Mike’s last thought-impulses. He disintegrated as his programs shut down. He fell to the floor of the storage room. Now he was just a heap of parts. All the connections were gone.

Somewhere a few thousand miles away, a painter walked out of his studio on to a plateau below a distant range of mountains and looked out at the evening sky. To his right, there was a brief flash of light among a cluster of stars. He watched it fade to nothing, took a deep breath, let it out, turned around, and walked back inside.

“Goodbye, Mike,” he said.


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.

Crazy sh*t coming out of nowhere

Crazy sh*t coming out of nowhere

by Jon Rappoport

December 15, 2017

Henry Kissinger: “John Doe is the most dangerous creature ever born to a mother on Earth. He must be hunted down and brought to justice. He seeks to overturn the international order and the structure that holds us all together. So I sayeth.”

Is it possible that…how can I put this…is it possible that because you know where you are, you believe that every idea that comes to you comes from SOMEWHERE? Do you get this? Your Honor, what I’m arguing here is that my client, John Doe, has been receiving ideas from NOWHERE. He has stated this in no uncertain terms. This is his position. The essay he wrote, which has now been censored by the Facebook-Google government, should be reinstated. The prosecution has called the essay “corrosive and disturbing to the official order.” Why? What is wrong with NOWHERE? I submit to the court that NOWHERE would be a place the government could not control. That is why we see the fear. That is why my client has been charged. He claims NOWHERE is real. The whole basis of official reality is that EVERYTHING comes from SOMEWHERE. But my client states this is just an opinion. Furthermore, he states it is an oppressive opinion, because it locks us into a prison of the mind. Don’t you think he has an interesting point? Of course he has been fired from his teaching job at Harvard. We would expect that. But so what? Why should Harvard have the last word? Harvard controls a large piece of SOMEWHERE. Therefore, it has an inherent conflict of interest. Its authorities make their reputations by publishing about one SOMEWHERE or another. On the other hand, my client makes no claims about having a monopoly on NOWHERE. How could he? NOWHERE is open to anyone. It can’t be owned. Nor can it be adequately defined. However—and I think this is where the rub occurs—imagination imagines out of NOTHING. Imagination has that capability. This is a very close cousin to what my client is talking about. Imagination invents. Well, how do you invent? You make something up. You concoct it from NOTHING. This is a hard idea to understand. Especially when the government and its allies maintain that EVERYTHING comes from SOMEWHERE, and they own every possible SOMEWHERE. Do you see what I’m driving at? Why are you frowning, Your Honor? Why are you closing your eyes? Where does individual power come from? It comes from the individual. And where does he get it? He invents it. From NOTHING.

The courtroom was silent for the space of a minute. Then a roar broke out. It had no subject or purpose. It was as if the spectators in the gallery had found a reason to express a cosmic frustration.

The judge pounded his gavel. To no avail. He wept openly. He covered his face with his hands. He tried to stand, but he couldn’t.

John Doe and his lawyer strolled out of the room.

They have never been found.

George Soros promptly funded the JOHN DOE IS BULLSHIT movement. Millions joined. They staged protests on college campuses. They demanded action. The NY Times officially supported the movement, stating it was the purest form of democracy in action.

Bill Gates wrote an op-ed claiming John Doe was anti-vaccine.

Paul Ryan came out of retirement and ran for a senate seat on a platform of JOHN DOE IS EVIL.

George W Bush and Dick Cheney said they would shoot John Doe if they knew where he was.

A hundred students at Harvard filed a class action suit against the University, on the grounds that they were irreversibly triggered by John Doe.

Scattered NOWHERE supporters were arrested and sent to detention centers.

Supreme Court Justice Judy Al-Ibrahim Goldberg held a press conference at which she asserted that John Doe could set back two centuries of case law.

Stephen Hawking proposed mounting a mission to several black holes, to search for Doe and his lawyer.

George Clooney told the Daily Beast that John Doe was a racist agitator who was opposing humane immigration policies. Clooney said he would leave the United States and move to China if Doe wasn’t arrested within six months. China, he said, had a “good grip” on how to deal with anti-government terrorists.

James Comey said it was all about the Russians. John Doe was a Putin agent. A “puppet advocating chaos.” Robert Mueller agreed. His permanent committee was looking into a Doe-Uranium One deal.

Bill Kristol remarked that Doe was working for Donald Trump. Trump had been soft on Syria, and so was Doe.

Yale psychiatrist, Dr. Plum Simulacrum Dulles Fortunato, stated: “I strongly doubt the existence of the John Doe we’ve been told about. But if he does exist in that way, only crazy shit can come from him, and that’s all you need to know.”

An investigative reporter named Jon Rappoport said he made up John Doe, but no one believed him, because nothing could be made up. EVERYTHING came from SOMEWHERE.

A reporter looking for a story approached Rappoport and interviewed him: IS THIS THE MAN WHO INVENTED JOHN DOE?

Q: Why did you invent John Doe, as you claim?

A: It was a slow Friday and I wanted to have a little fun.

Q: But why use the idea that things can come from nowhere?

A: Because they can. People invent things. The invention comes from nowhere.

Q: On the backs of others who made breakthroughs.

A: Even if that were always true—and it’s not—the INVENTION does contain pure imagination, which makes things up out of nothing.

Q: You really believe that?

A: I know it.

Q: Perhaps you’re very wrong.

A: Or not.

Q: You couldn’t have made up John Doe. Look at all the coverage and the chaos that’s ensued. That doesn’t happen just because a person made up stuff.

A: It happens all the time.

Q: What?

A: Government leaders invent a reason to go to war, and then they invade and kill huge numbers of people.

The interview was never published.


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.

Mind control, art, and alchemy

Mind control, art, and alchemy

by Jon Rappoport

December 8, 2017

Here are several notes from the years 1999-2007, while I was preparing my collection, Exit From The Matrix. They take up the subject of reality-construction, mind control, mind freedom, and creative power:

“You have to understand that there are dimensions. In the dimension we call the world, a person needs logic. He needs it badly. He needs to be able to analyze and take apart things and put them back together again. He needs to identify flaws in reasoning and discover deceptions. He needs to recognize formal arguments and trace them all the way through from assumptions to conclusions. But in the dimension where creative power operates, all bets are off. He needs to understand and experience and launch a kind of vast freedom for his own imagination that takes him entirely out of the realm of being a normal person, a provincial “realist,” a mechanically thinking human. He has to go light-years past that. In other words, he has to stop burying his own creative power.”

“Mind control, brainwashing, programming, conditioning all refer to the imposition of systems on the human creative impulse. When you have a whole civilization that, more and more, consists of systems, you have an effort to replace the individual with the machine.”

“At the highest level, elites are in the business of inventing reality for everyone else. This is more than lying. It’s the wholesale invention of a continuum. Past, present, and future.”

“Imagination is the opposite of mind control. It is creating beyond the boundaries of accepted reality. It is more than perception. Imagination expands perception.”

“Most people define freedom as liberation from certain externally imposed restrictions. But freedom goes much farther than that. It goes beyond how individuals ordinarily define their own existence. It is intimately connected to possibility—what can be created.”

“When the first cave painter scratched an animal on a stone wall, he was undertaking a unique action. He was expressing his own consciousness beyond living his life. He was inventing beyond his experience. Suddenly, his experience had another use. It could be gathered up and transformed into painting, creation. Art is a spiritual path. Civilizations rise and fall, come and go, and their fate is decided by untold millions of people who refrain from taking the path of the artist. Ordinary life doesn’t resolve into a grand solution. It never has. Through alchemical persuasion, however, it can. And that alchemy is art. Metalife. The chain of cause and effect, threading from past into present, breaks. Instead, imagination invents new realities and new futures, utilizing the energy of past events. But this energy is no longer connected to those events. It’s brand new, it’s fuel for the fire.”

“Many, many artists don’t realize the power they have in their hands. They persist in seeing themselves as ‘entitled to be crazy’ in their lives, and this undercuts their own consciousness. Many artists are so obsessed with commercial success and fame they’d dance at the end of a leash like a dog if they thought it would bring them recognition. This, needless to say, is debilitating.”

“So-called spiritual traditions tend to have a habit of depicting states of consciousness and enlightenment. They’re intent on describing the Reality behind reality. Art makes no such claims. On its path, the artist invents many, many realities, and in doing so, he moves beyond all such depictions. For a culture to realize all these things, something quite different from propaganda and indoctrination would have to take place. In the meantime, metalife is an individual proposition. It always has been.”


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.

Notes on archetypes, landscapes, models, symbols, icons, idols

Notes on archetypes, landscapes, models, symbols, icons, idols

by Jon Rappoport

December 5, 2017

“At the core, the imagination exercises I developed for my collection, Exit From The Matrix, came from the work of ancient Tibetan practitioners. They were operating beyond metaphysics and cosmology. They weren’t trying to form a picture of the universe. They were confirming that many potential universes existed inside the human being. The creative power of the individual was limitless. These Tibetan were unique. No other teaching like this existed in “spiritual systems.” The Tibetans weren’t going up against other teachings. They were simply surpassing them.” (Notes for Exit From The Matrix, Jon Rappoport)

The elements listed in the headline of this piece are contained in the mind. They are not the same in every mind. But they all do share one common feature:

Over time, they tend to freeze and turn quiescent—because the individual turns passive. Once upon a time, the landscapes and icons in the mind were fresh and new and dynamic, because THE INDIVIDUAL IMPORTED THEM AND CREATED THEM FOR THE PURPOSE OF ASSISTING AND INSPIRING HIM TO INVENT THE FUTURE HE TRULY DESIRED.

In that sense, the content of these symbols and archetypes was of lesser importance—the fact that they were THERE and THEY INSPIRED was the main event.

Likewise, now, when the icons and symbols are stale, their content is relatively unimportant. Their staleness is far more important.

If the individual has gone passive—well, that is the situation and the problem.

A person could spend 50 years researching the meanings (content) of archetypes in the mind and come up empty, because he is failing to notice the key factor:

Is the individual creating the future he profoundly desires…or is he in a passive state?

ALL human psychology hinges on these options.

The basic purposes of the mind’s contents need to be understood. Once that happens, everything comes clear. There is no more mystery. The individual stores those contents to remind him of his own creative power. If he isn’t using that power, the curtain falls and the contents of his mind raise questions, and mysteries abound—and then he can circle around the mysteries and probe them and emerge with no useful answers. In ancient cultures, that was called the Labyrinth.

Down through history, in 99.99% of the philosophies of both West and East, the individual’s creative power was omitted or downplayed. That is why philosophy as a subject eventually faded into obscurity. Its practitioners were depicting the Labyrinth and trying to find basic answers along its paths—where no answers exist.

In the early 1960s, I was working with an extraordinary healer, Richard Jenkins. I was writing and painting every day. From Richard, I sought answers to metaphysical questions. He brought me up short. He basically said: You’re creating; that’s what I’m doing in my healing as well; if you keep going, you’ll find your own answers to those questions you keep asking me; those answers will emerge from your own work as a creator; they’ll be far better answers than you can find anywhere else.

How true.

The creative force and impulse are the bottom line of the mind. All the mind’s contents are gathered as fuel for that fire. Without the fire, they form into paths of a Labyrinth: inscrutable.

THAT is a succinct philosophy you can dig your teeth into. It isn’t a limiting philosophy. It isn’t a prison or a system. It isn’t one-size-fits-all. There is nothing rote about it.

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

The same thing, yes—but with a far different intent.

Oscar Wilde: “Art is individualism, and individualism is a disturbing and disintegrating force. There lies its immense value. For what it seeks is to disturb monotony of type, slavery of custom, tyranny of habit, and the reduction of man to the level of a machine.”

The first great philosopher of the West, Plato, followed a path INSIDE the Labyrinth. He came to the conclusion that there were immortal and pure Ideas that existed in a higher realm, and they were unchangeable. Society, therefore, could only triumph if certain wise men, who could apprehend these Ideas directly, ruled over everyone else. Thus, the freedom and independence and power of open inquiry led to totalitarianism. Freedom led to slavery.

Here is something I wrote during those days when I worked with Richard Jenkins: “Art should be whatever the artist intends it to be, and he makes those decisions as he goes along. By the process, there is wonderful art and terrible art. But that is the price we pay. Otherwise, the artist surrenders to a pattern, and he keeps illustrating that pattern until his work is dead. He is creating copies. The life goes out of them. There isn’t anything new. The artist should invent what he wants to. He isn’t bound. He comes out of the trap. He always has energy, because energy shows up when things are new. If the universe doesn’t like that, so much the worse for the universe.”

What’s new?

Invent your own reality and find out.


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 tomato in the mind

The tomato in the mind

by Jon Rappoport

December 1, 2017

Writers who write fiction have nothing to say about their work in the pages of magazines that publish their stories. Those stories appear, and that’s it. But since I own and operate this blog, I can make remarks about my piece here.

One reason (not the only one) I write fiction now and then: I want to stimulate the imaginations of my readers. I want them to think about implications. I want them to climb out of their customary ideas and do some imagining in wider spheres. I want them to feel liberated. I want them to like fiction. I want them to consider the possibility that fiction does something for them that journalism can’t. I want them to come up against absurdities. I want them to realize that fact after fact after fact has limits. I want them to take a trip with me. I want them to realize that if I can imagine, so can they. I want them to laugh once in a while. I want them to feel that the creative impulse of writers has some value. I want them to put aside, for a few minutes, the notion that B must follow A and C must follow B. I want them to suspend their disbelief in “other worlds.” I want them to appreciate sheer made-up invention. I want them to want to travel outside the reality machine. And see what’s there.

Okay, here we go. This is a story about a man who comes up with a smart and disturbing idea and then thinks better of it. On a smaller scale, this happens every day, in large organizations where the combined efforts of workers produce horror shows for the population at large.

—If you can write about lush tomato farms in Death Valley and make people believe you, you could have a future at the Agency. That’s what they told me on my first day at work.

Of course, I was already a published writer, but so what? To the slag minds at the office, I was just another guy. A drone. A slug.

But I wrote a paper called THE TOMATO IN THE MIND, and it was passed around at the Agency, and caused quite a stir. It posited the idea that a fake holographic UFO invasion of Earth could reduce the slack of wandering minds and focus the population on a single goal: defense of the home planet.

We would “attack” the aliens and put them down before they landed. What a victory! But we would need to remain on alert because more evil ones might be coming.

Part two of the operation would involve connecting every brain on the planet to the Cloud. Why? To make us smarter and give birth to new ideas about the protection of Earth.

Every citizen would send his ideas back to the Cloud, where they would be processed by Facebook and evaluated. All hands on deck.

A super-special algorithm called the Kissinger would integrate these solutions and emerge with an international plan to save Earth. Democracy at work.

As for mind control, the Cloud would embed the image of a ripe red TOMATO in every human brain. A symbol of hope and life. A symbol of cooperation. A symbol of joy. A symbol of eternal vigilance and war.

Why a tomato? Why not? In and of itself, a symbol has no meaning or force. But infusing it with sensations, half-formed thoughts, images, and emotions brings about a powerful, what shall I call it, collective allegiance.

And then, when people sense they share this symbol, you have the glue that really binds them together. They don’t know where the symbol came from, they don’t fully see it, but they glimpse enough of it to believe it’s a basic reality—no questions asked. At the center of consciousness, IT’S THERE. It always has been, and finally people are becoming aware of it. This is labeled “a higher stage of evolution.”

The tomato.

People are always looking for a basis, a foundation, a thing which cannot be exceeded, a stopping place, a bottom line, a truth that cannot be argued. It must be accepted.

The tomato is THAT. It also reinforces the notion that all the people of Earth must come together and protect themselves and the environment from the outer-space invasion.

Intense cooperation is the key. Cast aide all differences. Offload “eccentric ideas.” The tomato says: there is a plan and we must adhere to it.

Rejoice in our ascension to Oneness.

A three-man team of Mark Zuckerberg, Jeff Bezos, and Bill Gates is put in charge of deploying the best technicians of the day to assemble the tomato and impart to it all the shadings of meaning and sensation. It must be all-embracing. It must satisfy many levels of human desire. It must be compelling to the highest degree possible.

As a sub-operation, those alert outliers, who perceive the embedded symbol, will want to criticize what they think the tomato “actually is.” They must be dealt with. The plan is to set them against each other, so they’ll argue and snipe without let-up. Agents will be planted in their midst, and these agents will present the most absurd versions of the symbol: it’s actually radioactive dust from Mars infiltrating the cerebral cortex; it’s a remnant of a thought-form from early Egyptian Freemasons; it’s the image of a Babylonian witch; it’s Jesus from the planet Venus; it’s a white nationalist microwave broadcast from a Nazi bunker hidden below ground in New Orleans; it’s a transmission from a HAARP device captured by Antifa during their raid on a Wal-Mart in St. Louis; it’s the text of a secret demonic Amendment to the Constitution ratified in 1811 and deleted from all historical records.

The question arises: how will major media and governments present the tomato? And the answer is: they won’t. They’ll remain silent. They might even deny the tomato exists. Let it appear that this is an organically spreading awareness. Let people “discover it” for themselves. In the process, a “belonging” occurs. People come to believe they’re part of something larger and much more powerful than themselves: the symbol. That’s what they want to believe, isn’t it? Well, here it is.

Some people will call the tomato an apple. Some will call it a pear. Some will call it an image of Earth. Some will call it love. Some will call it collective consciousness. Let them. Let them express their fragmented and partial awareness of the tomato. It doesn’t matter. What matters is they react to its presence in their minds.

Soon after my paper circulated at the Agency, I was summoned to the Director’s office. He informed me I would be detached from my position and given a cover legend as a member of the US president’s National Security team. Within the Oval Office, I would work to prepare for the holographic invasion.

The Director said, “We believe the people of this world are now stupid enough to buy an interstellar-invasion scenario. We’ll feed you data and reports you can, in turn, present to the President. You’ll meet with Generals and war planners at the Pentagon. They’ll come on board. For them, any excuse for war is a good excuse. The big trick, though, is to convince them that our military response will be VIRTUAL. Do you see? We won’t really launch missiles and laser weapons. You tell them we’ll fool the aliens from outer space into thinking they’re being attacked. This won’t be an easy sell on your part. But we’ll prepared a series of profiles of the aliens. These reports will show they have a unique vulnerability to virtual attacks, because they’re robots. They respond to the virtual in the same way they respond to the real. It’s automatic…”

I came out of that meeting thinking the Director was quite insane. And perhaps, desperate. But what could I do? I was now all the way in.

Under my new cover, in my meetings at the Pentagon, I made my case, step by step, over the course of a year. I was surprised at how easily the war planners accepted the layout. Their only concern was the money the federal government would spread around to defense contractors. As long as these corporations could step up their production of new weapons systems, and rake in more billions—even if the weapons would never be used—all would be well.

Obviously, certain people at the Pentagon were receiving enormous kickbacks from the defense contractors, and my plan would increase that secret cash flow.

I never mentioned the tomato.

Why would I?

This updated tomato version of the Agency’s MKULTRA program, as well as the technology for the virtual holographic attack from outer space, and our virtual response to it—all of it was being tasked out of a dark project in several hidden locations in the Western US. That side of the operation was none of my business.

I was the founder of the tomato.

I was the genius at the heart of the program.

I was awarded several medals at private ceremonies.

I was the golden-haired boy.

I basked in the attention. The Agency funneled me cash from one of their slush funds, and I bought a house in the hills of Virginia. I had servants and armed security at my disposal.

Best of all, I would never have the tomato in my own mind. I would be free from it. I would be one of the few who would escape its influence.

So now you know what you need to know about the recent alien invasion from outer space and our glorious victory.

For exposing all this, of course…these days I’m being branded as one of the lunatic outliers with a half-cocked conspiracy theory. The White House, the Pentagon, and the Agency deny I ever worked for them. People accuse me of being unpatriotic because I’ve demeaned the war effort.

There is even a group which claims I myself am a hologram.

My house has been taken away from me. I now live in a small apartment in a small town in the middle of nowhere. I’ve undergone extensive plastic surgery.

If some day, somewhere, you see a man walking down the street or buying groceries in a market, a man whose face oddly and vaguely suggests a tomato, that might be me.

It’s my personal reminder that I once participated in the greatest hoax in the history of Earth.

—Yet, as I write that sentence, I wonder if the virtual space invasion was but a minor episode in a tradition which included much larger deceptions. Who knows?

For example, is a tomato in the mind more serious than the Vatican? Just a thought.


power outside the matrix

(To read about Jon’s mega-collection, Power Outside 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.

Higher chaos from order

Higher chaos from order

by Jon Rappoport

November 28, 2017

“You need to understand the bottom line of mind-programming. It’s not only the content of the programming, it’s the fact that stimulus-response is the method. Trying to embed any Pavlovian wiring is also trying to limit or eradicate the creative force. A planet of eight billion people modified to be kind, helpful, generous, sharing, and cooperative is a farce. That’s not the way things actually work, in a natural sense. Making them work that way is simply putting a layer of false behavior over a tsunami of energy. The results are predictable.” (Preparatory notes on Exit From The Matrix, Jon Rappoport)

This is another article in which I examine real human psychology, as opposed to the fetid academic and therapeutic versions peddled at universities and in therapists’ offices.

The creative personality, which is to say, the force that rejects the status quo in favor of inventing something new, is working against and beyond established order.

The creative personality is not obsessively interested in things as they are, but rather in new things he can make.

Therefore, he introduces a state of affairs in which there is chaos. Chaos, relative to the established order.

He does not mind this.

He knows that many “harmonies and symmetries” exist, and they function to keep people tuned to a “mass equilibrium”…which is a state of mind. A passive state.

Order in and of itself is not an inherently desirable condition.

Once upon a time, the notion of an airplane flying in the sky was chaotic to the public state of mind. The preferable state was motion along the ground. That was order.

Eventually, flying in a plane become the new order, acceptable by all.

Every new breakthrough breaks something.

The New Age quest for larger and larger harmonies was an effort to bypass the need for individual creative breakthroughs. It foundered and continues to founder on those rocks.

So-called alternative news online was a breakthrough that profoundly disturbed the order of mainstream controlled news. Therefore, it was called fake. We are now witnessing an attempt to put that genie back in the bottle.

Individuals who want to be creative often pull up short and fail to follow through, because they know they’ll be introducing an element of chaos into order. They recoil at this idea. It’s too much for them, because they’ve been trained like pets.

Even the paintings of Italian Renaissance masters, which we now look at as examples of extreme perfection and order, were, at the time, experienced as chaotic, relative to the flat icons of medieval art. The new paintings broke the mold. They alarmed the viewer with their illusions of perspective. By what right did humans render Depth and thereby approach the creations of the Deity?

This is not to say that all rejections of order are automatically good. But all truly creative endeavors, in any field, involve fracturing some previous order—in the world and in the mind.

In order to maintain stability while creatively breaking through, a philosophic stance is invaluable. For example—an understanding of what freedom means for the individual, and how it has been achieved, against odds, in the midst of tyrannies. How freedom is an inherent quality. How dynamic it is. How it enables the individual to create unlimited energy.

A psychology of individual creativity seems remote, because “so few people want to create something new,” but this argument is shallow. The ongoing programming of people from birth is the reason so many are satisfied with things as they are.

What I call the Reality Machine doesn’t only turn out “things as they are.” It also tries to program people to accept what it turns out.

It is an android by and for androids.

The imagination exercises [which I present in Exit From The Matrix] go against the grain of established order, go beyond that order. They allow a person to invent and experience SOMETHING THAT EXISTS which comes from himself, rather than from an external pattern.

External pattern is interesting and useful. But it isn’t the end-all and be-all. External pattern tends to convince people that the reality it represents is final. This is an illusion…


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.