The Secret Behind Secret Societies
"The Magician Awakes"
by Jon Rappoport
CREATE, PERCEIVE, LANGUAGE
Since the dawn of time on this planet (whatever that means), people have been constructing languages.
Magically---and I use that word advisedly---these languages actually make sense to the people using them.
When you stop and think about it, there is nothing about a language itself that implies MEANING or UNDERSTANDING.
A language, no matter how elegant and beautiful and organized, does not have a key within itself to unlock MEANING.
Of course, professional linguists skirt this point by referring to ďthe brain.Ē
The brain is the place where, they say, ďit all comes together.Ē
Now, itís true that a language contains words which name objects in ďthe real world.Ē
However, if you were able to watch the processes by which a child absorbs language, you would find places where the child makes quantum leaps of understanding that are NOT explainable by the language itself or the childís brain.
Understanding is something, meaning is something, that is in us.
We, in a sense, APPLY that meaning to a language.
We apply understanding to a language.
We ASSUME we understand a language and then we do.
I have been a painter for 40 years. In 1996, I began inventing symbols on paper and canvas and setting them out like pages of text.
These symbols are not drawn from any language that exists.
I make them up as I go along.
Then I stand back and read the page, the canvas.
How do I do this?
I ASSUME I KNOW WHAT THE SYMBOLS MEAN.
I ASSUME I CAN READ THE CANVAS, THE WAY I READ A BOOK.
This does NOT mean I translate the symbols into English or any other language.
This does not mean I come out with a literal message I can translate into English.
What I read is not literal.
But it has meaning.
Because I assume it has.
And I register, in myself, the sensation of having read it.
The analogy would be music.
What does a symphony by Mahler mean?
When you listen to it, do you come away with a text in English?
Of course not.
But do you say it is meaningless? No.
Do you say it makes no sense because itís not an instruction sheet on how to fix the stove? No.
Do you say itís meaningless because it does not contain words? No.
Is the meaning the organization of musical themes in the piece? NO.
Analysts of music THINK they understand a piece of music because they can trace the development of themes and phrases---and therefore, they DO understand it---but only in that specific sense.
But the music itself eludes them.
If you listen to that symphony enough times, you will feel you are on the verge of grasping a language in action---a language that has no words.
A language that conveys emotion and sensation and esthetics.
Well, when I look at a canvas on which Iíve drawn 50 or 100 symbols, I feel emotion and sensation and esthetics and more.
I invented a language and I read that language and I understood that language.
It has occurred to me with great force that, at one time, in other lives, we had languages like this. We exchanged symbols between us, and we understood them at levels of emotion and sensation and esthetics---and we were experiencing an ecstasy.
We had no problems with the fact that the symbols were un-standardized.
And having imagined and invented these languages, we were able to tap into whole dimensions of feeling that normally, now, lie dormant in us.
WHOLE REALMS OF FEELING AND EXPERIENCE.
WHOLE OTHER UNIVERSES.
If some of these other universes can only be perceived if we tap into such domains of feeling, then is it any wonder that we donít run into other universes every day?
These days, we tend to be immersed in the practical. We want solutions to problems to be couched in very practical terms. If we think about enlightenment or self-realization at all, we want the how-to and we want it in three pages, at the most, in a list of steps. We want to do what it takes to get there in six weeks, devoting 20 minutes a day.
So, what Iím saying here is this: there are other realms and dimensions and universes in which our perception continually registers the kind of feeling and recognition that we occasionally find in art.
If we donít register such feelings, we never become aware that these other universes exist, because we are, in essence, walking through them with blindfolds and earplugs on.
Let me turn everything on its head. Suppose a soul was told by a pal that there was a world he could visit where there was a lot of war and killing and starvation and dog-eat-dog competing---and suppose this soul, intrigued, tried to pay a visit, but because he was somehow unable to register the perceptions of war and killing and starvation and dog-eat-dog, he came away and said, ďThere was nothing there. That was no world. That was empty space. I want my money back.Ē
Here is another analogy. You have a room in your house and you have a lot of money. You buy a dozen great paintings and you hang them on the walls. You invite a few people over, and you spend the whole evening in the room. But these people never notice the paintings. They come away not even knowing there were paintings on the walls.
So now, contemplate this: you buy some blank paper and a brush and black paint and you lay out (invent) rows of spontaneous symbols on the blank paper and then you step back and assume you understand the symbols and you then read them and register the sensations of having read them.
Or would you feel that you are doing something completely meaningless and stupid and idiotic and embarrassing?
If you answer yes to this last question, I would suggest that you are submerged in a form of mind control. Basically, SELF-IMPOSED.
I would also suggest that we all have other universes at our fingertips, but we donít see them because we have buried the levels of perception (and invention) necessary to experience them.
Which, on a far lesser level, is what the Roman Church has been doing in its chosen venue of operation for a long time.
PLANET EARTH has been a controlled op for a long time---and it has been controlled so that its citizens do not access and invent the kind of perception and meaning that will open doors to other universes.
ďOh, do you want to go to Earth? Hey, listen. Remember one thing. Earth is a controlled op. The whole deal down there is to cut people off from perception of other dimensions. Thatís what itís all about. Still want to go? I mean, yeah, itís interesting and very weird and exciting and insane, so if thatís what youíre afterÖI can get you a ticket.Ē