Jon Rappoport:How I put together Exit From the Matrix Part 3

Even if You do not speak Polish,many Poles do speak English.If You would like to share something interesting with us ,in English,feel free to do so-HERE

Jon Rappoport:How I put together Exit From the Matrix Part 3

Postprzez Jerzy Ulicki-Rek » So lis 02, 2013 12:51 pm

Jon Rappoport:How I put together Exit From the Matrix Part 3

November 1, 2013

http://www.nomorefakenews.com



The individual's creative nature has its own space and time...



This is the natural state. It has been forgotten, sidetracked, hijacked.



The natural individual has moved so far into so-called objective reality that he's developed amnesia about his own power.



From 1962 on, I've painted in a number of studios. But it was in my first, a loft in Manhattan, that I had my most startling experiences connected with time.



I'd wake up at sunrise, turn on the lights, eat a quick breakfast, walk around and survey my work from the day before, mix paints, set up a few blank canvases, and get started.



I'd paint without stopping. On some days, when I was done, I'd look up and it would be dark outside. In the summer in New York, that meant at least 8:30 or 9.



I would scratch my head and try to figure out where 14 hours had gone.



Of course, long before I painted for the first time, I'd had experiences where time seemed to vanish or speed up, because I was absorbed in working or playing. But nothing like this.



Clock-time had never seemed like such an illusion to me.



I was keeping a journal during the summer. I recall one entry: "When you're inventing your own space (painting on a canvas), there is no ordinary time."



I'm not criticizing clocks and schedules. I know how to use them. But ever since that summer, in 1962, I've been aware of inventing new space and the vanishing of ordinary time.



There are no real laws about what time is for the individual. There are no "time signatures" sitting somewhere in outer space or in a kingdom ruled by a monarch who is in charge of time and keeps track of it.



The Matrix is set up as "other space and other time." Not your own.



And to put a finer point on it, when we live in a Surveillance State, spying and snooping has the function of emphasizing and highlighting and exaggerating impersonal space and time.




As in: "where is the subject now, what is he doing, what time is it, where did he just go..."



This is no accident.




The controllers are determined to regulate and chart and impose "objective" space and time on the population...because that's a prime source of Matrix power.



When I began to assemble the many imagination exercises and techniques for Exit From the Matrix, I was aware that these exercises should awaken and expand the experience of personal space and time.



When you experience the space/time of your own creative nature, you gain something and you bring it back with you. Therefore, Matrix space and time, while you inhabit it, gradually loses its control.



There are many ways to describe imagination. From one angle, it is the place where all personal space and time live.



The brilliant healer, Richard Jenkins, whom I write about in The Secret Behind Secret Societies, operated in a purely spontaneous way. Standing by his patients, moving around them, he would invent new energy and transmit it.



One day, after he was finished working, we were sitting in his kitchen and he said, "There's something more basic than transmitting energy. I'm just removing pieces of old time from the patient. The rest happens by itself."



In the same way that a person can wake up from a slave-acceptance of external authority, a person can wake up from the inner condition of being a slave to the so-called natural law of the Matrix:



That law says: "There shall be one and only one central space and time."



Back there in 1962, in New York, something else happened to me. It was a side effect of painting every day. I didn't ask for it, I wasn't even hoping for it. I wasn't thinking about it.



I hadn't talked to my parents for several months. We were at loggerheads. We'd had a huge blow-up, and there were hard feelings all around.



So one day near the end of the summer I thought about them. I was shocked to notice that all the hard feelings and all the nastiness were gone. Vanished like smoke.



I called them up and told them I wanted to meet for supper. The only condition was, I said, I didn't want to talk about the past (time).



They readily agreed.



So a few nights later, we sat in a deli on Second Avenue and had a pleasant supper. The rift was healed. More than that, I liked them in a way I never had before. I'd always loved them, come hell or high water, but now I liked who they were. I saw who they were.



After we parted, I walked along Second Avenue and felt a confidence that was entirely new to me. At age 24, it was as if every shred of need based on worry or fear had been secretly stripped away.



It was the painting. I walked for several hours and thought about that. It came through to me that, prior to that summer, I'd been suffering from a deficit.



A deficit of space.



This idea hit me like a ton of bricks. It was as real as knowing you need food to live.



Every space on every canvas in the studio, that summer, was my own space. It was mine to do with as I wished.



The one central "objective" impersonal space had been producing a feeling of deprivation. I'd had a disease: space deprivation. Psychic claustrophobia.



And I'd found a cure. I'd stumbled on a cure.



There was absolutely nothing woo-woo about this.



I looked around me on the street. At the lights, the sidewalks, the people, the stores. It was all right. Everything was all right.



The slavery to one space and time was gone.



We can live on this Earth, we can take action on this Earth, we can make this place better, and we can do it while being free from it.



We can enjoy this place, we can love this place, and we can do it while being free from it.



We can love those closest to us so much more.



We can have power, we can have and use creative power with no limit.



As I kept walking down the street, I saw only one problem. Well, it wasn't a problem, it was a situation.



It's a situation each one of us faces. What about other people? What about everybody else? Can we continue to live, on and on, and do absolutely nothing about other people? Can we ignore them completely?



Can we ignore the fact that so many of them are living in a waking dream about a Matrix with one central impersonal and inhuman center of power? A center which they accept as final, a center which determines their fate?



And if we decide the answer is no, we can't forever ignore all this, can we take action without compromising a shred of our own individual power?



Can we avoid going down into a hole where we sacrifice ourselves?



Can we keep expanding our own creative power without limit?



That night, I decided it was all possible. It was doable.



I haven't changed my mind.



All these years later, that's why I put together Exit From the Matrix, with no compromises, and I'm proud to say it.



1500 years ago, and perhaps for the first time on this planet, a small number of practitioners in Tibet had an idea. They decided that the universe was a product of mind. The space-time continuum was a product of mind.



They went much further. They decided they could do exercises that would reveal this fact, not merely as an intellectual proposition, but as a living breathing truth.



They could invent new space and time and energy out of nothing. They could re-assume their natural state, which had been sidetracked and hijacked and forgotten.



They could stand on their own and turn imagination into reality, and retract reality back into imagination, from whence it had originally come.



That's the prime tradition. It has been buried under welter of diversion and nonsense and chicanery.



And now the tradition returns and taps us on the shoulder.


It's time. Our time.



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 NoMoreFakeNews.com.


qjrpress@gmail.com



Use this link to order Jon's Matrix Collections:
MARKETPLACE


Jerzy
Avatar użytkownika
Jerzy Ulicki-Rek
 
Posty: 14751
Dołączył(a): Wt lis 06, 2007 2:10 pm

Powrót do Interesting materials in English

Kto przegląda forum

Użytkownicy przeglądający ten dział: Brak zalogowanych użytkowników i 6 gości