SOUL READING AND THE SLAM-BANG CIRCUS OF REALITY
APRIL 25, 2006. In certain respects, this is the most important article I've written on this site...
As many visitors to nomorefakenews know, I have been doing readings for people for several years now. The work involves assigning unusual symbols to the letters of their names and accessing those symbols.
The symbols are like windows. I look through them and report what I find.
As a painter, I spent about a year creating thousands of shapes on paper---and found that I could work with them as another language. A language whose shapes (symbols) were highly mobile and flexible and changeable in their meanings.
In this way, I gained access to territories I had only glimpsed or speculated about before.
The key question I found myself asking was: how far am I willing to go? Should I comfortably step down the translations of these symbols to fit them into Earth culture terms, or should I track them to their most distant shores, no matter what those shores looked like?
I opted for the second choice.
The result of that decision was an extraordinary liberation from patterns of Earth culture. However, along the way, it required me to dump any compulsive loyalty I might feel toward "the logical, the reasonable, the consensus, the expected."
The process of doing readings is fascinating. It uncovers many hidden realities and indicates that, in order to live in this society, we repress experience and perception that doesn't fit. We tailor our view of ourselves. We adopt cover stories for ourselves about who we are and who we aren't, what we can do and what we can't do.
I also discovered that the range of acceptable symbols on this planet is actually very narrow. Very stereotypical. In fact, there are an infinite number of symbols, and many of them are more along the line of poetic images. These images lead down fantastic roads, if one is willing to make the journeys.
From a recent reading I did, here is just one symbol and part of the meaning I uncovered for it. The section I'm printing here is only a few minutes from a 3-hour reading (I put every reading on 3 CDs).
I suggest you read what follows several times, because it may seem quite strange at first.
Symbol: WINDS OF SPACE INSIDE OUT
"This symbol, in your case, indicates a life in which you were marooned on a ship between worlds. The period lasted about three years. You were alone. There was no one else on board. This you took to be an imprisonment. Communication devices to the outside were cut off. You had provisions, but no company.
"Resourceful, you began inventing 'games'. You started inspecting and makes notes on every part of the ship, every significant piece of equipment. After a month or so of this, your notes no longer read as descriptions. They were more like character analysis, as if each piece of machinery were a personage, a character, alive in some way.
"Some might think you had gone crazy, but in fact you felt more vital and energetic and galvanized than at any time you could remember. You came to see the whole ship as an organism, connected in its millions of parts. You experienced enormous relief, as if you had been set free from some intolerable burden. The burden of accepting a common view of what existence was all about. You were cut loose, unchained.
"This is reminiscent of the journey on foot across the southern United States by Cabeza de Vaca, recounted in Haniel Long's book, The Power Within. A Spanish aristocrat, de Vaca was forced into a different universe of experience, and found he could heal natives who took him to their homes where sick people lay.
"You, too, aboard the ship, could heal. You healed machines [details about this omitted here]. This accounts for your present timidity toward anything mechanical. You don't want to go there. You don't want to expand your view of what is alive. You affect an air of ignorance about machines. You let other people handle them.
"You are working with an inside out view of what is real. All the while, you are enormously attracted to machinery, but you don't confess it, even to yourself.
"For example, you occasionally think people are machines. This glimpse repulses you. You flee from it. In fact, though, you are imposing on yourself a false division in your consciousness. You are saying that a machine is a dead thing and a person is alive. On a deeper level, you believe that both are alive. There is nothing 'inhuman' about your perception. It's expanded. It's large. It takes in plants, animals, natural phenomena, machines, processes, ideas, and so on. You know they are all alive.
"You have a problem with fatigue. You tire easily. You keep trying to solve that over and over. The solution needs to involve you at a different level. You need to be able to get rid of the compartmentalization of what is alive and what isn't. Get this: perception involves a degree of choice. You can see anything as alive, and you can see anything as not alive. Perception is choice. And it's real, either way. It's a stage play.
"Perception is a stage play. You direct it. You assign values and make distinctions. You open doors and close them. You see this, and then you don't see it.
"Because of this particular compartmentalization of perception you engage in, you want to catalog the living and the not living. You want to keep the separation. This takes energy. The separating takes great energy. You use it up. Then you get tired.
"You associate getting tired with getting old. Your physical aging process has something to do with this. You engineer certain aging physical changes in your body to fit with the concept of 'tired.'
"It's all a stage play. You direct it. You think it must have some positive payoffs for you, the aging process. You think you will become wiser. But instead you just become more tired.
"You have the capability of hearing the winds of space. You can, if you want to, listen to that wind. It's a kind of music. It's alive to you. You see it as alive. But you don't want that. You want to stay separate from realizing that, from choosing that. You want to maintain that the winds of space indicate an isolation, when in fact, and joyously so, it indicates your connection. You stay with isolation, though, and you re-interpret and explain that isolation in all sorts of interesting Earth-culture terms---but it really has nothing to do with Earth culture. It all comes back to how you want to perceive and how you don't want to perceive.
"You fear what you call dissonance. Look up that word, and think about it. The winds of space you call a dissonance. A bad thing. A thing that has no harmony. You've arranged your perception so that you take in and accept harmony and keep out and reject dissonance. You separate them. Harmony is alive, and dissonance is dead. You think you feel comfortable with that, but you don't.
"Earth culture biology has a preference for saying that organisms are healthy and functioning according to plan when they are harmonious, and they are out of kilter (or even dead) when they are dissonant. This is a provincial view. There are many organisms that function because they are dissonant. The dissonance gives them power.
"You keep opting for the harmonious. You secretly use this as a way of separating the elements of your own perception. As a way of cataloging. As a way of staying within what you call the normal range. But the normal range isn't working for you. You need to get a grip on that.
"You think you are harmonious, but you are much more than that. As you keep cutting yourself off from everything that is 'not harmonious', you keep getting tired. You keep aging.
"The sounds of the winds of space are like a voice that tells you about what is really alive. You don't want to hear that right now. You think hearing it will cut you off from other people and from Earth culture. But that's not the case. It's really just the opposite. You will be more vital and connected and less tired if you hear it.
"You are not marooned. You once learned there is no such thing. On that ship, driven by circumstances to fall back on your own resources, you made a breakthrough. You abandoned what was separating you from wider perception---which is to say, wider feeling.
"You did that. Then you pulled back. You wanted to believe that your eventual rescue from the ship was a very fortunate thing. But you used that event to shut down. You used all your skill to fit back in to your culture. You thought that would make you happy. It didn't.
"You are working from a premise that says everything you want can be gained and launched from a platform of you being normal and harmonious and nothing else. This is a fiction. It's a fiction you are inventing, and it isn't working for you.
"You already know this at some level, but you don't want to go to that level. You want to say that, on that ship, you were lost and then they found you and brought you back. That's inside out. On that ship, you were found, and then they brought you back and you were lost.
"You have a fascination for secrets. Yet you say you have no secrets. You say you are an open book. Another fiction that isn't working for you. I can tell you that the person who appears to have no secrets has many secrets.
"I once knew a therapist who tried and failed, for many months, to help a patient. Finally, out of desperation (which meant the therapist was at last getting to reality with a capital R), he asked the patient, 'What am I entirely missing about you? Why do all my suppositions about therapy crash and burn at your feet? Why are you different?' And this opened the floodgates. The patient began to pour out all sorts of fantastic stories about his life. Not exactly the life he was living, but the life he was concealing. A life that was going on on a very different platform. A life that some would call imaginary. A life that had nothing to do with neurosis or trauma or any of the other concepts of psychotherapy or religion or self-help. A life that was about perception---perception that didn't fit into any of the comfortable categories of Earth culture. And from that point on, the therapy worked brilliantly. The therapist took all his cues from the patient. A year later, the therapist revolutionized his work completely.
"Do you see? You are claiming all the time to yourself that you are normal, and THEN you are wondering what's wrong. This is a cosmic joke you are playing on yourself, and you know you are playing it, but you don't want anyone else to know it. There's nothing wrong with that. It's actually quite amusing and spectacular---but it isn't working for you. It isn't working, because you are buying your own joke. You aren't just making a joke, you are also buying it. That's the problem.
"If you want to pretend to be normal, that's fine. But why pretend to yourself? Why buy your own act? Let me tell you something else. Earth culture is not only about people 'acting normal,' it's also about people telling themselves they ARE normal. And THEN they think that if they move a short distance away from normal, they're really on the cutting edge. They've arrived. This is nonsense of the most hilarious kind.
"You begin to move ahead by leaps and bounds when you open up your perception. Not just your perception of events around you, not just seeing what's behind the various lies that are told by official leaders. That's step one. We are talking about something far different. We're talking about a real revolution of the person, the soul. You.
"You say to yourself: 'I will see only THESE things. I won't see THOSE things. I'll call the division and the separation normal. I'll say I am normal and harmonious. I'll maintain it to my dying breath. I'll THEN say I have a problem and I don't know how to solve it. I'll seek assistance. I'll maintain an iron grip on normalcy and THEN say I need to solve the problem.'
"That gets you nowhere. You have a fear of dissonance. Dissonance is your open door waiting for you to walk through into a life more abundant. It's your door. It's the answer, but you don't want to pull the trigger. That's fine. It's interesting, as a role in a play. But why give it such force? Why pretend it's not a play?
"I'll tell you why. Because you are trying to learn about normal. You might say it's your art. You're investigating it. And you've come to the perfect place to do it. Earth. America. 2006. At a deeper level, you're trying to understand normal because it's the weirdest thing you've ever seen. IT'S THE WEIRDEST THING YOU'VE EVER SEEN, AND YOU WANT TO GO ON THE ADVENTURE OF UNDERSTANDING IT IN THE BEST POSSIBLE WAY---BY LIVING IT.
"Do you think you went on that ship and got marooned in space because you were a timid person? Heck no. You have been out there, you've been going on all sorts of wild voyages for a long time. Do you think you got into the fabulous art of seeing the life in machines, seeing the life in ANYTHING, because you're just average? Hell no. Okay. So look at this very directly. From that vantage point as the explorer among the winds of space, from that vantage point, what could you see that would be a really terrific new adventure, once you got back home?
"Finding out what normal is. THAT would be the adventure. Because to you, normal is the weirdest thing of all. It trumps everything else. It's the circus of circuses.
"That's what you did. And you're still doing it. But it's time you owned up to it. You're staging that play and living inside it. Own up to it. And THEN you can EXPAND in a thousand new directions, and you won't feel tired anymore and you won't be worried about aging anymore. Those problems will dissolve.
"You won't get where you want to go, and you won't get everything you want if you keep insisting you're normal. You can tell me you're normal and tell everybody else you're normal, but STOP TELLING YOURSELF.
"Normal is not a platform from which you can make progress..."
JON RAPPOPORT www.nomorefakenews.com
Copyright © 2005 The Jon Rappoport Store by MRW Connected - jonrappoport@nomorefakenews.com - Need Help? Call: 888.884.8355
APRIL 25, 2006. In certain respects, this is the most important article I've written on this site...
As many visitors to nomorefakenews know, I have been doing readings for people for several years now. The work involves assigning unusual symbols to the letters of their names and accessing those symbols.
The symbols are like windows. I look through them and report what I find.
As a painter, I spent about a year creating thousands of shapes on paper---and found that I could work with them as another language. A language whose shapes (symbols) were highly mobile and flexible and changeable in their meanings.
In this way, I gained access to territories I had only glimpsed or speculated about before.
The key question I found myself asking was: how far am I willing to go? Should I comfortably step down the translations of these symbols to fit them into Earth culture terms, or should I track them to their most distant shores, no matter what those shores looked like?
I opted for the second choice.
The result of that decision was an extraordinary liberation from patterns of Earth culture. However, along the way, it required me to dump any compulsive loyalty I might feel toward "the logical, the reasonable, the consensus, the expected."
The process of doing readings is fascinating. It uncovers many hidden realities and indicates that, in order to live in this society, we repress experience and perception that doesn't fit. We tailor our view of ourselves. We adopt cover stories for ourselves about who we are and who we aren't, what we can do and what we can't do.
I also discovered that the range of acceptable symbols on this planet is actually very narrow. Very stereotypical. In fact, there are an infinite number of symbols, and many of them are more along the line of poetic images. These images lead down fantastic roads, if one is willing to make the journeys.
From a recent reading I did, here is just one symbol and part of the meaning I uncovered for it. The section I'm printing here is only a few minutes from a 3-hour reading (I put every reading on 3 CDs).
I suggest you read what follows several times, because it may seem quite strange at first.
Symbol: WINDS OF SPACE INSIDE OUT
"This symbol, in your case, indicates a life in which you were marooned on a ship between worlds. The period lasted about three years. You were alone. There was no one else on board. This you took to be an imprisonment. Communication devices to the outside were cut off. You had provisions, but no company.
"Resourceful, you began inventing 'games'. You started inspecting and makes notes on every part of the ship, every significant piece of equipment. After a month or so of this, your notes no longer read as descriptions. They were more like character analysis, as if each piece of machinery were a personage, a character, alive in some way.
"Some might think you had gone crazy, but in fact you felt more vital and energetic and galvanized than at any time you could remember. You came to see the whole ship as an organism, connected in its millions of parts. You experienced enormous relief, as if you had been set free from some intolerable burden. The burden of accepting a common view of what existence was all about. You were cut loose, unchained.
"This is reminiscent of the journey on foot across the southern United States by Cabeza de Vaca, recounted in Haniel Long's book, The Power Within. A Spanish aristocrat, de Vaca was forced into a different universe of experience, and found he could heal natives who took him to their homes where sick people lay.
"You, too, aboard the ship, could heal. You healed machines [details about this omitted here]. This accounts for your present timidity toward anything mechanical. You don't want to go there. You don't want to expand your view of what is alive. You affect an air of ignorance about machines. You let other people handle them.
"You are working with an inside out view of what is real. All the while, you are enormously attracted to machinery, but you don't confess it, even to yourself.
"For example, you occasionally think people are machines. This glimpse repulses you. You flee from it. In fact, though, you are imposing on yourself a false division in your consciousness. You are saying that a machine is a dead thing and a person is alive. On a deeper level, you believe that both are alive. There is nothing 'inhuman' about your perception. It's expanded. It's large. It takes in plants, animals, natural phenomena, machines, processes, ideas, and so on. You know they are all alive.
"You have a problem with fatigue. You tire easily. You keep trying to solve that over and over. The solution needs to involve you at a different level. You need to be able to get rid of the compartmentalization of what is alive and what isn't. Get this: perception involves a degree of choice. You can see anything as alive, and you can see anything as not alive. Perception is choice. And it's real, either way. It's a stage play.
"Perception is a stage play. You direct it. You assign values and make distinctions. You open doors and close them. You see this, and then you don't see it.
"Because of this particular compartmentalization of perception you engage in, you want to catalog the living and the not living. You want to keep the separation. This takes energy. The separating takes great energy. You use it up. Then you get tired.
"You associate getting tired with getting old. Your physical aging process has something to do with this. You engineer certain aging physical changes in your body to fit with the concept of 'tired.'
"It's all a stage play. You direct it. You think it must have some positive payoffs for you, the aging process. You think you will become wiser. But instead you just become more tired.
"You have the capability of hearing the winds of space. You can, if you want to, listen to that wind. It's a kind of music. It's alive to you. You see it as alive. But you don't want that. You want to stay separate from realizing that, from choosing that. You want to maintain that the winds of space indicate an isolation, when in fact, and joyously so, it indicates your connection. You stay with isolation, though, and you re-interpret and explain that isolation in all sorts of interesting Earth-culture terms---but it really has nothing to do with Earth culture. It all comes back to how you want to perceive and how you don't want to perceive.
"You fear what you call dissonance. Look up that word, and think about it. The winds of space you call a dissonance. A bad thing. A thing that has no harmony. You've arranged your perception so that you take in and accept harmony and keep out and reject dissonance. You separate them. Harmony is alive, and dissonance is dead. You think you feel comfortable with that, but you don't.
"Earth culture biology has a preference for saying that organisms are healthy and functioning according to plan when they are harmonious, and they are out of kilter (or even dead) when they are dissonant. This is a provincial view. There are many organisms that function because they are dissonant. The dissonance gives them power.
"You keep opting for the harmonious. You secretly use this as a way of separating the elements of your own perception. As a way of cataloging. As a way of staying within what you call the normal range. But the normal range isn't working for you. You need to get a grip on that.
"You think you are harmonious, but you are much more than that. As you keep cutting yourself off from everything that is 'not harmonious', you keep getting tired. You keep aging.
"The sounds of the winds of space are like a voice that tells you about what is really alive. You don't want to hear that right now. You think hearing it will cut you off from other people and from Earth culture. But that's not the case. It's really just the opposite. You will be more vital and connected and less tired if you hear it.
"You are not marooned. You once learned there is no such thing. On that ship, driven by circumstances to fall back on your own resources, you made a breakthrough. You abandoned what was separating you from wider perception---which is to say, wider feeling.
"You did that. Then you pulled back. You wanted to believe that your eventual rescue from the ship was a very fortunate thing. But you used that event to shut down. You used all your skill to fit back in to your culture. You thought that would make you happy. It didn't.
"You are working from a premise that says everything you want can be gained and launched from a platform of you being normal and harmonious and nothing else. This is a fiction. It's a fiction you are inventing, and it isn't working for you.
"You already know this at some level, but you don't want to go to that level. You want to say that, on that ship, you were lost and then they found you and brought you back. That's inside out. On that ship, you were found, and then they brought you back and you were lost.
"You have a fascination for secrets. Yet you say you have no secrets. You say you are an open book. Another fiction that isn't working for you. I can tell you that the person who appears to have no secrets has many secrets.
"I once knew a therapist who tried and failed, for many months, to help a patient. Finally, out of desperation (which meant the therapist was at last getting to reality with a capital R), he asked the patient, 'What am I entirely missing about you? Why do all my suppositions about therapy crash and burn at your feet? Why are you different?' And this opened the floodgates. The patient began to pour out all sorts of fantastic stories about his life. Not exactly the life he was living, but the life he was concealing. A life that was going on on a very different platform. A life that some would call imaginary. A life that had nothing to do with neurosis or trauma or any of the other concepts of psychotherapy or religion or self-help. A life that was about perception---perception that didn't fit into any of the comfortable categories of Earth culture. And from that point on, the therapy worked brilliantly. The therapist took all his cues from the patient. A year later, the therapist revolutionized his work completely.
"Do you see? You are claiming all the time to yourself that you are normal, and THEN you are wondering what's wrong. This is a cosmic joke you are playing on yourself, and you know you are playing it, but you don't want anyone else to know it. There's nothing wrong with that. It's actually quite amusing and spectacular---but it isn't working for you. It isn't working, because you are buying your own joke. You aren't just making a joke, you are also buying it. That's the problem.
"If you want to pretend to be normal, that's fine. But why pretend to yourself? Why buy your own act? Let me tell you something else. Earth culture is not only about people 'acting normal,' it's also about people telling themselves they ARE normal. And THEN they think that if they move a short distance away from normal, they're really on the cutting edge. They've arrived. This is nonsense of the most hilarious kind.
"You begin to move ahead by leaps and bounds when you open up your perception. Not just your perception of events around you, not just seeing what's behind the various lies that are told by official leaders. That's step one. We are talking about something far different. We're talking about a real revolution of the person, the soul. You.
"You say to yourself: 'I will see only THESE things. I won't see THOSE things. I'll call the division and the separation normal. I'll say I am normal and harmonious. I'll maintain it to my dying breath. I'll THEN say I have a problem and I don't know how to solve it. I'll seek assistance. I'll maintain an iron grip on normalcy and THEN say I need to solve the problem.'
"That gets you nowhere. You have a fear of dissonance. Dissonance is your open door waiting for you to walk through into a life more abundant. It's your door. It's the answer, but you don't want to pull the trigger. That's fine. It's interesting, as a role in a play. But why give it such force? Why pretend it's not a play?
"I'll tell you why. Because you are trying to learn about normal. You might say it's your art. You're investigating it. And you've come to the perfect place to do it. Earth. America. 2006. At a deeper level, you're trying to understand normal because it's the weirdest thing you've ever seen. IT'S THE WEIRDEST THING YOU'VE EVER SEEN, AND YOU WANT TO GO ON THE ADVENTURE OF UNDERSTANDING IT IN THE BEST POSSIBLE WAY---BY LIVING IT.
"Do you think you went on that ship and got marooned in space because you were a timid person? Heck no. You have been out there, you've been going on all sorts of wild voyages for a long time. Do you think you got into the fabulous art of seeing the life in machines, seeing the life in ANYTHING, because you're just average? Hell no. Okay. So look at this very directly. From that vantage point as the explorer among the winds of space, from that vantage point, what could you see that would be a really terrific new adventure, once you got back home?
"Finding out what normal is. THAT would be the adventure. Because to you, normal is the weirdest thing of all. It trumps everything else. It's the circus of circuses.
"That's what you did. And you're still doing it. But it's time you owned up to it. You're staging that play and living inside it. Own up to it. And THEN you can EXPAND in a thousand new directions, and you won't feel tired anymore and you won't be worried about aging anymore. Those problems will dissolve.
"You won't get where you want to go, and you won't get everything you want if you keep insisting you're normal. You can tell me you're normal and tell everybody else you're normal, but STOP TELLING YOURSELF.
"Normal is not a platform from which you can make progress..."
JON RAPPOPORT www.nomorefakenews.com
Copyright © 2005 The Jon Rappoport Store by MRW Connected - jonrappoport@nomorefakenews.com - Need Help? Call: 888.884.8355
posted by Sean Bedlam at 4:55 AM
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