The Secret Behind Secret Societies
"The Magician Awakes"
by Jon Rappoport
Orwellís book actually describes the circumstances surrounding every war that has ever been fought.
The primary objective for those who control wars is the creation of an enemy---so that each side has AN ENEMY IN MIND.
It matters not whether the enemy is real or whether it has the characteristics that have been promoted.
War is the hallmark of the continuum. Us versus them.
RD hypes war in its vacation brochure as the most thrilling activity imaginable.
It has all the elements: danger, risk, reward, loyalty, duty, killing, sacrifice, loss, discipline, love of country, hope, despair, pain, joy, and so on.
Way better than Disneyland, and just as mindless.
War also incorporates a solution to the fact that most people never really see or engage or fight against the enemy on the battlefield.
Images broadcast over a long distance.
This involves superimposing a fake reality on top of the already-fake reality of the continuum.
RD runs the continuum by adding layers and layers of faux reality on top of the basic continuum reality.
Anything that adds layers is good, as far as RD is concerned, because the already-confusing nature of the continuum becomes more complex.
COMPLEX is what RD does.
In the long run, wars debilitate societies and destroy them---then the process of rebuilding takes place.
Rebuilding is the illusion that something very new and very liberating will occur.
But of course, itís all within the continuum.
RD hypes the continuum as an infinity. But the continuum is finite.
The hallmark of a magician, in the best sense of that word, is his/her recognition of the fact that the continuum is finite and can be swept aside, by the individual, like a curtain.
During the Middle Ages in Europe, the Roman Church took on a foe that threatened the very foundations of the continuum: those alchemists who saw that the continuum was finite.
If the continuum is basically a fake, what happens when it is swept aside?
YOU happen. The full you.
Have a go at the Hesse novel, Steppenwolf. One of the main characters, Pablo, can fold up pieces of reality (continuum) and put them in his pocket.
1984, the novel, portrayed the torture of the hero, Smith, after which Smith would betray the person he loved the most in the world.
Whatís that all about?
Love is one great factor that can exceed the reality of the continuum. So it becomes a target. Get the hero to betray that love and therefore betray his consciousness of the paper-thin nature of the continuum.
The magician relies on love. Real love.
He knows that love reveals the illusion of separation and ends it.
But separation is one of the things that sustains the continuum.
Inside the continuum, people believe that consciousness is local; that is, consciousness perceives only what is in its area, its immediate area.
Love, for example, liberates consciousness to become what it is: non-local.
And if consciousness can perceive, all at once, many things at many distances all going on at the same ďtime,Ē consciousness can evaporate the continuum.
War re-enforces the idea that events are completely discrete and separate and mechanical.
The magician can deal with both states: he can use his inherently non-local consciousness and he can also manage ďcontinuum-perceptionĒ to structure events inside the continuum. Of course, the true magician has no part in fomenting war.
Many of you have read newsletter interviews I did with the late hypnotherapist Jack True. Well, I can tell you that Jack was very interested in revealing that the continuum was an illusion. And he conducted several experiments along that line.
A patient, under non-suggestive hypnosis, could learn to see through this illusion and perceive events at many different locations simultaneously. When that happened, the illusion dispersed like water vapor.
In a very real sense, the perception of the continuum as a rock-solid thing is the result of hypnosis. A ďspell.Ē Mind control.
I helped Jack in one of his experiments. We set up a kind of glossary with the patient. Words like CONTINUUM and RD and FAKE VACATION (in the continuum) were pre-defined.
After the patient was in a light trance, Jack had him look directly at the continuum---whatever that meant to the patient.
Here is an excerpt from the session-experiment:
Q: So what are you looking at?
A: It seems to be a curving gray wall.
Q: Can you see where it starts or ends?
A: No. Iím looking at a small middle section of it.
Q: And what is the wall?
A: Itís a boundary, I guess. No, not exactly. Itís alsoÖIím not sure.
Q: Thatís okay. Is the wall heavy? Does it weigh a lot?
A: Seems like it. Itís not solid looking. It is, but itís also sort of vague, almost misty.
Q: A misty wall.
Q: Does it have any breaks in it?
A: No. Itís very smooth. Nice curve to it. But itís thick.
Q: You can see that?
A: Yeah. I can sort of look at it from above. Itís thick.
Q: Any colors?
A: Gray. Itís gray.
Q: Tell me about the curve.
A: What Iím getting is, the curve was put there as an illusion, in a way.
Q: What kind of illusion?
A: To make us believe that space and time are connected.
Q: Thatís interesting.
A: Yeah. The curve is supposed to give the impression that space and time are all woven together, very smoothly. So that you canít separate one from the other. The further you travel along the wall, the more space begins to feel like time.
A: Yeah, itís about feeling.
Q: How so?
A: The wall is there to get you to feel something---to feel that space becomes time. I guess if you went into reverse gear, and followed the wall ďbackwards,Ē youíd think that time was space. TIME AND SPACE ARE ONE. Thatís the message.
Q: Yeah. And you say this message is an illusion?
A: But itís a very good illusion. Makes you think itísÖmakes you think youíre very smart.
Q: I see.
A: Hmm. In other words, the further out you get in space, the more you get into the sense of time---as if youíre looking at time. The curve in the wall gives that impression---as if time is bending space. This is very compelling.
Q: What do you mean, compelling?
A: Itís as if youíre discovering something profound. And you are.
Q: You are?
A: Hold it. Right now, Iím under a spell. Sort of.
Q: Describe that.
A: Iím into the whole manufactured reality of space-time. But Iím not seeing the manufactured nature of it. Iím seeing it head-on, as if itís very, very real: space becomes time, and vice versa. Time acts on space and bends it. Itís very compelling to me at the moment. As if Iím Einstein, and Iím making a great discovery.
Q: Are you?
A: I am and Iím not.
Q: Tell me about---
A: Okay, Iím out of the spell. I just popped out of it. Out of the op. Wow. That was interesting. For a few seconds there, I thought I was the greatest genius in the history of the world.
Q: So ďgeniusĒ is really---
A: Itís a con in this situation. When you trace the wall and follow it, you think youíre a genius. You think youíre discovering something incredibly profound.
Q: But youíre not?
A: Right. Youíre getting sucked into the effect of the wall. Itís almost as if the wall is telling you youíre a genius. (laughs)
Q: Now what?
A: Now Iím looking atÖoh I see. The wall is there so that youíll keep following it on and on, and then youíll think youíve arrived at an Absolute.
Q: Yeah. Whatís that Absolute?
A: The ďdiscoveryĒ that space and time are one, that space becomes time and warps intoÖthat time gives you the key.
Q: The key?
A: Yeah. You ďdiscoverĒ that space is really time, that space ends and becomes time. And when you see that, youíre supposed to feel youíve reached the end of a long search.
Q: Got it.
A: Youíre supposed to conclude that all space andÖoh I seeÖall matter is really composed of time.
Q: All matter is composed of time.
A: Right. (pause) All matter is time particles or time waves.
Q: That sounds very seductive.
A: (laughs) You have no idea. I mean, Iím sure there is some truth to that. But only on the level of illusion. Of course, within the illusion, you can make discoveries, but youíre still inside looking out.
Q: Yeah. Letís get back to the time waves and particles.
A: Duration is built into matter. Objects. The curving wall is the prime example---matter and space actually become time. You SEE that. So you think that matter and space ARE actually time. The wall GIVES THE APPEARANCE OF BEING A GREAT SECRET, THE ANSWER TO A GREAT SECRET.
Q: What does the wall look like now?
A: Gray, curving, solid, in a mist. Sort of like a great whaleís body.
Q: No doors?
Q: Anything else?
A: Itís like a boundary to the universeÖbut at the same time, itís a ďrevelationĒ of how the universe folds in on itself. Reminds me of one of those old toys with a fold-up structure of metal parts. You can fold it up and you can also open it up.
Q: And this wall---
A: Gives you the impression that the universe isÖ.well, let me put it this way. We all think the universe stretches out as far as you can go. The wall tells you that this is an illusion, that the universe sort of turns around and eats its own tail. But THAT is also an illusion. Itís just a higher-order illusion.
Q: So the wall functions as a deception.
Q: Okay. Now imagine youíre walking around the wall to the other side. Whatís there?
A: Just a secondÖokay. Itís lots of colors. Abstract shapes of colors. Itís gorgeous.
Q: Keep going.
A: Theyíre all just floating there. No particular rhyme or reason to them. But they have nothing to do with the wall. As far as I can tell. The wallÖokay Iím back on this sideÖthe wall is a deception. It tells you that space and time are one. It seems to lead to the way out of the continuum, but it really doesnít.
Q: Whatís the wall made out of?
A: Canít tell. Itís solid and gray and curving. Doesnít seem to be made out of atoms, though. Itís just a chunk.
Q: Do you like it?
A: Yeah. It draws me in.
Q: Is your liking it coming from you, or---
A: Hard to tell. I like the shape of the wall. Itís beautiful. But the attraction for itÖitís as if I had been prepared to like it beforehand.
Q: You mean programmed?
Q: Can you explain that?
A: The mind wants to make a discovery of ďan unknown shore.Ē The mind wants to get to the end of things. So when I see the wall, thatís what I think. That Iíve gotten to the end of things. But the wall doesnít really have an answer. Itís not a way out of the continuum.
Q: What about those colored shapes? If you go there, are you outside the continuum?
A: Just a second. Iím going to go there again. (pause) Okay. I think so. I think Iím out. Wait. Iím getting all sorts of vague images now. Iím seeing different locations. Like countries. Cities. Places. Iím looking down at all sorts of different places on Earth. Itís raining in one place and itís sunny in another placeÖ
End of excerpt
At this point, the patient began a series of ďremote viewsĒ of a number of different locales around the planet. Simultaneously. He was in a number of places at once.
This session was the first of many with this patient.
In his own way, in this session, the patient was reporting on his own version of the continuum and what he could glean about it. Whether this wall and what lies beyond it are viewed by anyone who looks?Öwell, in other sessions, Jack True got many different versions of the continuum from different patients. One common feature was, when the patients got past what they were, at first, seeing, they all began to tap into ďnon-local consciousness.Ē They all began to see a number of different locations at once.
In the next chapter, weíll get into another session with Jack and one of his patients.
As you can see, this patient was up against some confusing perceptions. He had to sort them out. The wall was a compelling thing. It ďtold himĒ he was making genius discoveries, but on another level the wall was a deception.
Physics gives us a reward. We can better manipulate factors inside the continuum. But physics also imparts the sense that the continuum is all there is. Quite clever.
Again, this patient was working through his look at the continuum in his own way. He was dealing with his perception of a wall. Other patients in the experiment did not see a wall. They saw different things.
Jack in no way tried to override this. He was quite content to allow his patients to see the continuum in any way it appeared. He worked with that as the starting point.
Non-local consciousness---the ability to view a number of locations at once---is a hallmark of getting outside the continuum.
Now, here is a short conversation Jack had with the above patient after the experimental session was over, after the patient was no longer in a light trance.
Q: I put you in a light trance for only one reason. So that the ďradio stations in your headĒ would be quieted down and so that you could simply see what you saw when I asked you to look at the continuum.
A: Yeah, I understand that. My thoughts did quiet down, and I was able to get right to the heart of the matter. There was a sense of magic in it.
Q: What do you mean?
A: I was feeling like a little kid when he wakes up on a summer morning and has the whole day ahead of him. It was exhilarating.
Q: So looking at the wall was pleasurable.
A: Very pleasurable. I felt like a magician. I was able to separate illusion from my own innate perception. I really enjoyed that. It was a kind of power. Good power. Like veils falling from your eyes. It relaxed me. I was a little confused there for a bit, but I saw through that confusion. The wall was like an icon. It had been built to give me an illusion, but I saw through it. This whole thing about space and time being One---itís a very captivating idea, but itís false.
Q: Why do you say false?
A: Because when you fall for it, when you think youíve just discovered that time and space are One, you also think youíve escaped from ďthe insideĒ to ďthe outside.Ē But you havenít. Youíre just embroiled in a new level of illusion. The purpose of that illusion is to convince you that space and time are tremendous clues to the nature of reality. But they arenít. No matter how you see space and time, youíre still in the continuum. Youíre nailed down inside the illusion.