Another
brilliant piece by Jon Rappoport -- this one covers painting, imagination,
Reality Creation, Synchronicity, and more. As an artist who
paints
portals with the specific intention of creating new realities, and as
someone who lives my life as a creative adventure, helping others see through
false limitations, I totally resonate with what he shares. I even wrote an
article back in April 2010 called,
"Manifestation,
Law of Attraction and Creativity." Even if you don't consider yourself an
"artist," have a read ... you might surprise yourself! :)
By
Jon Rappoport
Unhappy
is the man, woman, or child who doesn’t live with imagination at the prow of the
ship…
As
my readers know, I recently launched another mega-collection, Exit From the
Matrix. You can read the details at my site,www.nomorefakenews.com.
A
little personal background. I had a passion for painting, and I started to work
in a studio in the summer of 1962, when by “chance,” down to my last few bucks,
with no place to live, having just returned to New York from Cape Cod, I went to
the Metropolitan Museum straight from the bus stop, and…
I
wandered through rooms I’d visited many times. But this time, I decided I needed
something to eat and I walked into the Museum restaurant. I’d never done that
before, in my dozens of visits to the Met, and…
There
I ran into a painter I knew from a gallery in the city. He sat down and we had
lunch. He told me he was leaving for the Cape the next day, and he had a
problem. He hadn’t found anyone to live in his studio for the summer, and…
He
asked whether I knew anybody who needed a place to stay. We’ll, I said, with the
blood pounding in my ears, I would be happy to sublet it, but…
I
had one problem: no money. He said, don’t worry, pay me what you can, I just
need someone to live there while I’m away for the next two months.
And
that’s how my new life began. Painting in that studio.
I
don’t cut things that close to the edge anymore, but the theme remains the same.
There is reality, and then there is imagination that creates reality.
Somehow,
for me, painting is a touchstone. Doing it, looking at it, thinking about it. In
unexpected ways, I take off from it, and life changes, becomes far better,
becomes something quite different.
I
was never trained as a painter. I can remember, in the second grade, my teacher
telling my parents I had no discernible talent for it, and perhaps I should be
excused from art class altogether.
So
years later, when I was 24, I came to it out of the blue. I knew a painter in
Connecticut, and when I visited his studio, I was immediately staggered at the
notion that a human being could live in a place and paint in it every day. It
wasn’t a vocation or an avocation. It was a life.
From
that moment on, I had to do it.
Painting
is imagination at work in space. Paul Klee would start one painting, go to town
on it until he couldn’t decide what to do next, and move on to a second blank
canvas. He’d paint on it until he couldn’t decide what to do next, and go to a
third blank canvas. He’d do this with six or seven canvases…and then return to
the first one, with fresh ideas.
Making
new realities.
Whereas:
the Matrix is frozen imagination.
The
news is frozen disinformation (which is also a form of imagination).
Consensus
reality is: everybody “paints one picture.”
In
a way, these are all cosmic jokes we play on ourselves. Of course, they can get
deadly serious, when we’re mired in them.
Abundance
is imagination realized.
Scarcity
is amnesia about imagination.
Michelangelo
famously said that the final figure of a sculpture was already in the raw block
of stone; all he had to do was remove everything that wasn’t the figure. If that
isn’t imagination, I don’t know what is.
Our
technological civilization seems intent on divorcing imagination from
perception, in the name of science. It’s a deteriorating strategy, because the
life drains out of perception—which is another good description of what the
Matrix is.
In
1996, I formed a partnership with a publisher in San Diego, The Truth Seeker.
Bonnie Lange was a bolt out of the blue. As head of Truth Seeker, she wanted new
ideas, and she wanted to support them and back them to the hilt.
I
had never met anyone like her in the publishing field, or anywhere else for that
matter. She gave me the go-ahead for my 1999 book, The Secret Behind Secret
Societies, after only hearing the title. And she paid me to write it.
That
book enabled me to examine history in the light of two themes I had developed:
the formula of the secret society, and the tradition of imagination.
For
as many centuries as you care to visit, there has always been a tradition of
imagination on this planet. Scattered here and there, it is carried forward by
men and women who’ve managed to cast off doctrine and orthodoxy in favor of
exploring and living through their own creative power.
They
carry the torch. They discover, in the process of invention, that the reality
most people come to accept is a cover story laid over life-force, like rain over
fire.
We
were not meant for that reality.
There
is no highly organized society that can afford to hold up individual imagination
as a prime virtue. It is too damaging to the consensus. It is too alive. It
deconstructs oppression on all fronts.
Imagination
scoffs at minds that “already know it all.” Imagination is concerned with the
infinity of futures that have not been yet created.
For
some people, this idea creates great music in the mind. For others, who are dead
in their knowing, it doesn’t register.
Here
are a few of my original notes for The Secret Behind Secret Societies, made
before I wrote the book: “Musicians, the greatest improvisors in the world,
gather and play in a cemetery. Some people emerge from their graves and live
again. Some continue to sleep. There are different kinds of dead.”
“People
want Pattern. They think they live for it. At some level, it’s very pleasing.
Pattern, balance, symmetry, harmony, geometry. It seems like an ultimate. But
that is only true at a certain level of mind. At other levels, there is a
greater hunger to imagine and create without guiding Pattern.”
“Fractals,
sacred geometry. Buried treasure in the investigation of this universe. But the
primary and prior fixation is on this universe as The One. It isn’t. It’s just
one space and time. It’s just one work of art, among many. Among an infinity.
And then there is another infinity: the universes that haven’t yet been created.
They’re all works of imagination.”
“The
secret society wants its members to get involved with secret Pattern. Ah, the
mystery. The Pattern will be revealed. It’s just over the next hill. No it
isn’t. There is no answer there. Pattern is something you can put in a work of
art or a work of science. That’s all.”
At
some point in my career as a journalist—which began in 1982, as an afterthought,
because I was writing poetry and fiction—I realized I was taking apart consensus
reality on a number of fronts. I was breaking down “works of (perverse) art” and
revealing their foundations. I was exposing masquerades.
After
that realization, I was far more comfortable with what I was doing.
The
whole ticket to ride in this world is entry into what is created for you. It’s
exciting, it buzzes, it sparkles. Unless you’re born in a place where it shoots
and explodes and imprisons. But the gist of the message is: you’re here to take
the trip.
That’s
what keeps things going in the same way, eon after eon. If we were all artists
and inventors, the whole premise and structure would break apart.
We
could still take the trip. But we would be inventing far more exciting and
illuminating realities.
In
some ways, this universe and our minds do a tap dance in which many premises are
generated, one after another. Then we follow down these premises and see what
they yield. Eventually, the whole mechanism slows down. There is something
missing. In the search mode, which certainly does bear fruit, we nevertheless
wonder what’s being omitted.
People
have answers for us. Plenty of answers. Most of their solutions are about
content. The content of this, the content of that. But still…
What’s
being omitted is our own power to imagine and create, which isn’t content at
all.
Content
is the outcome of what we create.
We
exist. And we create without end. So the outcome, the content, isn’t the final
factor. It’s the result, the offshoot.
Is
this universe made as the holographic projection of code engraved on a two
dimensional surface? Is it vibrating strings? Is it the flowering of the Big
Bang? On and on goes the search, as if the content of the answer is going to be
final.
It
isn’t.
Whether
they know or not, people have aesthetic standards, which define what they’ll
accept or reject. It’s quite remarkable. People act and behave as if they’re
painters judging beauty, even though they wouldn’t go near brushes, paints, and
canvas in a million years, much less a museum.
These
aesthetic standards form titanic convictions that act as pillars upholding a
picture of this world and this universe. And from that unfolds the premise that,
indeed, this universe is the only one.
It’s
a self-reflexive proposition. It’s unconscious dedication to a single
picture.
And
in the long run, it’s a barrier against the life-force that resides in
imagination, creation, invention, improvisation. It’s staking out a firm and
unshakable position in a very small space, in the middle of an infinity that
goes unnoticed.
On
the other hand, when a person begins to live his life through and by
imagination, those hidebound aesthetic standards change. The chains loosen. The
links dissolve.
And
perception opens up on new vistas that were never noticed, because they were
off-limits.
The
strategy of the Matrix is to enchant people forever with the prospect of finding
out more and more about it. This is like a painting saying, “Here I am. I’m the
only painting. Study me forever. I contain many mysteries…”
Or
you could paint.
I’ve
known a number of people who’ve made the shift. One way or another, they
reported this: when they began living by and through imagination, whatever their
field of work, they realized they were journeying out beyond their ironclad
certainty…and it was a tremendous relief, because they had really become bored
with that absolute collection of knowledge. They were set free from its
limits.
Jon
Rappoport
The
author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE
MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of
California. Nominated for a Pulitzer Prize, he has worked as an investigative
reporter for 30 years, writing articles on politics, medicine, and health for
CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and
magazines in the US and Europe. Jon has delivered lectures and seminars on
global politics, health, logic, and creative power to audiences around the
world. You can sign up for his free emails at
www.nomorefakenews.com