Posts Tagged ‘Imagination’

Sharon Blackie ~ The Mythic Imagination: TEDx Stormont Salon

I love this TEDx talk by Dr. Sharon Blackie! I’m also deeply enjoying her year long Celtic Studies Course. From the YouTube description:

“How can myth and folk tales lead us to live more deeply and more authentically, and inspire us to fall in love with the world all over again? Dr. Sharon Blackie is an award-winning writer whose work sits at the interface of psychology, mythology and ecology. Her highly acclaimed books, articles, and workshops are focused on the development of the mythic imagination, and on the relevance of our native myths, fairy tales and folk traditions to the personal, social and environmental problems we face today. She is the author of the novel The Long Delirious Burning Blue, and two nonfiction books: If Women Rose Rooted, and The Enchanted Life. In 2017 she founded The Hedge School – both an online space and a physical location in Connemara, for teachings and explorations in building a new folk culture. This talk was given at a TEDx event using the TED conference format but independently organized by a local community. ”

Creativity, Lyme Disease and Instagram

Confession: after spending a few days on Instagram, I have to admit that social media’s even crazier than I suspected it would be in 2016! To me, it feels like walking around a mega mall on Black Friday, something I’ve purposely avoided since childhood. All manner of eye candy, logos and slogans vie for your attention, and even if you’re there with people you “know in real life,” you almost need to shout through the din or have your face and voice completely swallowed by hordes of people, razzle-dazzle, endless thoughts of the day, and the ever increasing images, some of which are truly spectacular.

I’ve enjoyed catching an extra glimpse into friends’ and clients’ (public) “private” lives, and, as with those upscale mega malls or top notch international bazaars, if you can find ways to manage systemic overwhelm, you’ll begin to notice amazing things. Former medical intuitive coaching client, fashion blogger, and soon to be co-authoring with me a Lyme Disease recovery book, Catherine Grace O’Connell, had often told me about the supportive Lyme community on Instagram, and during the past few days I’ve recognized exactly what she meant. The friendships, inspiration, networking and encouragement on Instagram for people with LD go beyond anything I expected to find there. I cannot even explain the breadth and depth of loving, supportive connections I’ve witnessed.

I work with so many isolated individuals in various stages of Lyme Disease, and one of the biggest topics to arise in sessions is a pressing need to channel their creativity in constructive rather than destructive ways. As Catherine shared in an interview you can find here, unlocking her own creativity flipped a switch in her recovery. Instead of lying bed ridden with daily seizures, she now has over 21K followers on Instagram, runs a popular fashion blog, travels, supports “Lymies” and others with major health issues, and writes as a guest author for the Huffington Post, where she interviews musicians, artists and other cultural creatives making a difference in the world. She brings a spiritual depth and beauty to areas often glossed over or only superficially addressed.

But back to creativity, Lyme and Instagram: yesterday, I came across @morethanlyme, and found The More Than Lyme Holiday Gift Guide. This warms my heart like a bonfire, because it features art, fashion, beauty products, jewelry, detox mixtures, and Lyme Awareness paraphernalia, all created by people who have Lyme Disease! These creatives are truly living as “more than” their health issues, instead, bringing forth their inner beauty in ways that impact the greater world. I always love when artists express themselves in bigger ways, but in this case, I love it even more, because I recognize the layers upon layers of healing involved. All profits go towards helping people pay for treatments or raising public awareness and finding cures.

I have nothing vested in this project other than a soft spot for the many amazing beings I know who’ve been “initiated” by Lyme Disease. This Instagram newbie was so impressed yesterday that I asked @morethanlyme for a way to share this collection with my non-Instagram readers, many of whom are artists, natural healers, have Lyme, and/or know loved ones who do. Whatever your relationship with LD, prepare yourself for delight. These women are beyond talented. If you’ve got holiday shopping left or just want to treat yourself or support some good causes, here’s the non-Instagram link to The More Than Lyme Holiday Gift Guide. 

As for Instagram, I’ll stick around for awhile longer. Having avoided all social media since 2011, it’s generally not my cuppa tea, but I love seeing artists express themselves in myriad ways. I also love when people navigate chaos to find those amazing connections, heartfelt friendships, synchronous moments, and little glimpses beyond the veil. What a bizarre bazaar we live in right now, but here’s to healing and meaning through it all.

Big blessings and much love …

Matrixology: The true and final goal of the Surveillance State

Thank you, Jon! In my opinion, this is one of his most important posts.

Jon Rappoport's Blog

Matrixology: The true and final goal of the Surveillance State

by Jon Rappoport

May 12, 2015

NoMoreFakeNews.com

“If you or I had a pot full of money and set out to help a community become more prosperous and self-sufficient, we could find a way. When big government steps in with its money, the objective is different—it’s to appear to help, while actually demeaning and reducing everything in sight…

“Ever wonder why so many law-enforcement types, government bureaucrats, and corporate worker bees are control freaks? Do you think it’s just the result of their job training? Think again. There is a selection process. The plan is for the new society to be run by massive numbers of little control freaks.

“…Predicting the future, based on current trends, leads us to some horrendous conclusions about the dystopia toward which we’re heading. But there is an upside. We can view the conflicts and…

View original post 2,893 more words

“The Red Book and The Red Book: Jung, Tolkien and the Convergence of Images”

Fascinating and oddly relevant for our times, one hundred years hence!

May 13, 2014

In 1913 two men in Western Europe, of different age and unknown to each other, began to undergo a highly unusual experience: C.G. Jung and J.R.R. Tolkien both stepped across a threshold and entered into a realm of imagination, into the realm of fantasy. For Jung this process, which he called active imagination, took the eventual form of the Liber Novus, also known as The Red Book, that became the seed from which nearly all his subsequent work flowered. For Tolkien this imaginal journey revealed to him the world of Middle Earth, whose stories and myths eventually led to the writing of The Lord of the Rings, a book also named, within its own contextual history, The Red Book of Westmarch. Although working in different fields —namely psychology and philology— there are many synchronistic parallels between Jung’s and Tolkien’s “Red Book periods”: the style of their artwork, the nature of their visions and dreams, and a similarity in world view that emerged from their experiences are all indications that they may have been treading, at times, the same paths through the archetypal realm.

Becca Tarnas is a doctoral student in the Ecology, Spirituality, and Religion program at the California Institute of Integral Studies, where she also received her MA in the Philosophy, Cosmology, and Consciousness program. She received her BA from Mount Holyoke College in Environmental Studies and Theater Arts, and was educated at the San Francisco Waldorf School for thirteen years. Her current research is on ecology, imagination, and archetypes in relation to the work of J.R.R. Tolkien. More of her work can be found at beccatarnas.wordpress.com
Intro Music by: Richard Wormstall

Jon Rappoport ~ The Church of Programmed Perception

The Church of Programmed Perception

By Jon Rappoport
July 3, 2014
http://www.nomorefakenews.com

“Consider something you take for granted, something everyone takes for granted. Now back up from it, back up far enough and you begin to realize it’s arbitrary—it doesn’t have to be that way. It could be another way, or it could vanish and not exist at all.” (The Underground, Jon Rappoport)

The logic of space and time is the system/arrangement in which we find ourselves; the way we perceive reality.

Objects are next to each other, behind each other, in front of each other. And wherever they are, they are in space.

This space. Earth. Sky. Stars. We are here, and this is the deal, the contract, the set up.

A building 50 feet away from us looks bigger than it does when it’s a mile away.

Space endures. It doesn’t suddenly fold up. It doesn’t fall apart. There may be wormholes and black holes, but generally there are no visible exits from space. The fabric doesn’t tear and rip in the wind. This space doesn’t suddenly find itself superseded and replaced by another space. We don’t walk out of space.

Of course, most people would say, “How could things be otherwise?”

Actually, this question speaks to the rigidity of the perceptual arrangement. It’s a much denser version of “how could my opinion be other than true?”

And time is just as bad. Events must proceed is sequence. There are “before” and “after.”

We might notice there are days during which time crawls along and other days during which it speeds by, but confidence remains that a working clock is the final judge and makes no such subjective distinctions.

However, the passage through space and time appears to contain exceptions or anomalies. For example, if we accept the notion of quantum entanglement, two particles, quite far apart, both register an impact visited on one particle at virtually the same moment.

But not to worry. We don’t see that happening with the naked eye. As far as we’re concerned, space-time is “uniform” in all respects.

Then there is the issue of the composition of matter. A vase on a table is made out of tiny, tiny particles in motion separated by enormous amounts of space. We don’t see it that way.

The spectrum of human perception is limited, and we are catching only the “gross aspect” of What Is.

All matter is un-solid energy moving in space, but we’re only given a perceptual system that allows us to deal with solid objects.

And this deal is so embracing, we can strike the vase with a hammer and break it into smaller solids.

In terms of ordinary experience, all bases are covered.

Operating systems, programmed perception, endure across the range of all possible conditions.

And now comes the wild card.

Imagination.

A painter invents something on a piece of canvas. A writer writes a novel. A composer writes a symphony, which is not a language in any terms with which we are familiar, and yet we sit in a hall and listen to it, and afterwards, we talk about the effects it had on us.

We say art is weaker than every-day space-time reality, but is that true?

Or are we just sticking to the contract we signed, the deal?

The modern surveillance state is only one way in which people are urged to “remain normal.” The whole apparatus of perception is a programmed norm.

Imagination ignores the apparatus. All it does is invent realities.

The human race acts as if it’s constrained from believing in imagination.

But what if that constraint were broken?

What would happen then?

One reality, indivisible, with injustice for all, would fall by the wayside.

The stranglehold would be destroyed.

Most realities are created by imagination.

Actually, if you understand that the program of human perception was also created by imagination, you can simply say:

Imagination creates reality.

Consider a museum. You have the building and the hundreds of paintings hanging on the walls. Then you have the realities in those paintings which the artists imagined. We say the reality of the building is stronger and more uniform than what the artists imagined.

Why?

“It just is. And also, the building and the pieces of canvas can be measured, but what the artists imagined is open to interpretation.”

Consider a measurable symphony hall vs. the music the audience hears in it. Aren’t there moments when the symphony—however many ways it is being “interpreted” by the audience—is so strong it virtually blots out the perception of the hall?

What’s the substance of this contract into which we’ve entered?

“Okay, here’s the deal. The physical world is certainly there, but we’re going to program you so you only see it as we want you to see it. And you’ll also believe imagination is a ‘secondary tool’, a weak sister. For example, the content of a painting will never assume the importance of a wall or a car or a cloud—unless you move outside your program. To keep that from happening, we’ll have gangs of experts who label you as sick and insane. Have a nice day.”

When people say, “Imagination? I don’t know what you’re talking about, I don’t have any imagination,” they’re saying, “I’m loyal to the program.”

Groups applying peer pressure, experts, governments—they all define spaces over which they assert ownership, and they claim you’re in their spaces and therefore you must perceive the consensus they establish.

This con extends all the way up to the logic of space and time: you have to see the way you’re programmed to, and you have to ignore anomalies—especially the grand anomaly called imagination.

And eventually we get to this: the life you have was given to you; the he, she, it, or they who presented you with that gift of life have the right to tell you what you can see and what you can’t see. You have no life of your own.

Therefore, at the highest possible level, you’re in debt, you’re a debt slave.

And right next door to debt is guilt. Amorphous guilt.

And then you have organized religion.

Perhaps you’ve noticed these religions invent and promote their own cosmologies, their own pictures of the universe, the cosmos.

This is what they want you to see. This is part of their programmed-perception operation.

“Hi, I’m from the Church of Programmed Perception. I’m here to give you your booster shot. You’ll see more clearly, and you’ll bury that annoying and distracting thing called imagination ever deeper. Roll up your sleeve. This’ll only take a second.”

Jab. Inject.

That second then becomes forever.

Jon Rappoport
The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 http://www.nomorefakenews.com

Jon Rappoport ~ The Strange Fear of Symbols

I was about to leave a comment on Jon Rappoport’s site and decided instead to post my (expanded) comment as an intro to his post, published below my comment.

Hi Jon, thanks for this. The abject terror of any “occult” symbols just because some would-be controllers have claimed them as their own and held them hostage is a bizarre thing to observe, indeed. I’ve long advocated that people reclaim co-opted symbols and/or invent their own … but also spend some time studying how people respond to symbols. Although symbols don’t have power in and of themselves, a study of any effective ad campaign or televised ritual (Grammy’s, Olympics, etc.) that produces results would seem to indicate that we can leverage tremendous power with symbols that speak directly to the non-rational mind.

As an artist, I often incorporate symbols into art that I create with specific magical intentions, i.e. intending that the artistic representation takes form in the “real” world. I can’t explain it, and it would sound crazy if I tried; however, the things I paint do directly appear in my own life. But only if I tag them with symbols (especially Runic Code). If I just paint something colorful or imitative, nothing unusual occurs, but if I paint something with layers upon layers of symbols, even without a conscious intention, then I start seeing elements of that painting reflected in “real” life.

I found this dynamic while writing my second novel, too. Whatever situations I’d create for my characters and code with certain symbols (especially Runic associations), the next day I would get calls or emails from new clients experiencing that exact scenario. Most of these plot twists were bizarre and specific, so after awhile, there was no explaining away the new clients as mere coincidence. I also started meeting people who looked like my characters or had their names. My partner, whom I met long after shelving that novel, has two spinster aunts with similar features, body types and personalities to two of my characters who come into their own in the second novel. I actually stopped writing that book until I could figure out a way to stop making it come true in non-fiction life or find a way to advance the plot without conflict and harm to my characters.

As you’ve long noted, the Imagination is more powerful than most people realize. Symbols activate it. I don’t know precisely how, but I’ve experimented a lot because I initially didn’t believe it could be so true. I live in a world of extreme synchronicity anyway, but when I paint symbols into an image with specific intentions, I can count on those intentions coming true in absurd and delightful ways far outside the normal chain of events. Magical rituals utilize symbols for similar reasons. I think of them as shorthand for a whole bunch of intentions and associations whose listing would bog down the creative process. Perhaps witches and artists tune into past life or ancestral associations with those symbols. I don’t know the exact method, but I have experimented and observed enough to know that symbols do carry at least proxy power when activated by our imaginations.

Recognizing our freedom and power to create carries with it a responsibility for that which we create. Exploring and honoring how symbols can aid or thwart that manifestation process involves more than simple superstition. It can become a practical study on the path to wisdom. Reclaiming co-opted tools can tip the scales of this world back in favor of a peaceful, healed and abundant planet. I would call that effective visioning and creation as opposed to “mind control.” If advertisers, propagandists and religions can use symbols to control us, then it only stands to reason that we, too, can use symbols — as tools to heal and liberate ourselves.

The strange fear of symbols
by Jon Rappoport

March 13, 2014

http://www.nomorefakenews.com

Groups use symbols.

But symbols have no inherent power.

None.

They have power only when people believe in them. In which case it’s the belief that is the power.

Just as important, symbols have no inherent meaning. They only have the meaning given to them.

So, for example, the famous eye and pyramid mean zero. Zilch. They only have meaning because Masons and other groups have assigned it.

There is no closed secret world of symbols that has magic in it.

There are no universally good symbols or bad symbols. A symbol is a word, term, sign, shape. It’s injected with meaning by a group. The group adopts a consensus about the symbol.

To a surprising degree, people think in terms of symbols. They operate as if they understand what they’re doing, but they don’t. They fear the power of certain symbols and attach themselves to the power of other “good” symbols. They’re hooked.

You could make a picture of a sun emanating three rays and call it Oobladee, and invent a whole mythology around it. You could claim it comes from Atlantis, or a secret society embedded in the old KGB, or an ancient Babylonian priesthood.

And then some people would react when they saw it. They would feel fear or anger or excitement.

It’s a con.

If you took this even further and created a whole set of symbols, dozens of them, and made up meanings for them, and worked with this game, you would eventually experience an interesting kind of liberation. You would see, to a greater extent, how arbitrary symbols are, how people trap themselves in “internal symbolic spaces.”

The whole point of frozen symbols is to enclose consciousness.

Let’s say you devised a picture of an eyeball hovering in a forest. A tear is dropping from the eye. The literal mind is looking for specific meaning. The literal mind wants an answer. It can’t find one.

The eyeball and the forest and the tear don’t add up. They provoke all sorts of associations, but no particular meaning, and the literal mind is frustrated.

So THEN you come along and assign a meaning. You say, “Well, this symbol was painted on masks in 834BC by the ancient Egyptian founders of a cult of pyramid builders. The eye and the tear stand for the tragedy caused by lack of faith in eternal life…”

And so forth and so on.

Now you’ve assigned specific meaning to the symbol. Now the literal mind breathes a sigh of relief. It has an answer. It can suck up that meaning and take it in and accept it. And now you can embellish the story and sell it to the literal mind. You can make that symbol into an object of fear and repulsion, if that’s the reaction you want to provoke in your audience, or you can make the symbol into an object of victory that stands for redemption.

You can twist and turn the symbol any way you want to.

The literal mind wants an answer to the mystery, a solution, and you provided it.

We’re talking about a very primitive form of art. When people operate at this level, buying symbols and their assigned meanings, it’s an indication they can’t appreciate or fathom more complex art.

They can’t read and fathom a novel or watch a stage play. That’s too much. There isn’t a clear one-to-one connecting pipeline between symbol and meaning, and so they’re confused. They’re frustrated.

I remember sitting in a movie theater watching a crime drama. The cops arrested the wrong man and framed him for a killing. A guy sitting next to me blew his top. He started telling his girl friend about how the cops were railroading this suspect and how bad the cops were, how the suspect was a victim of police brutality.

Well, yes. That was, in fact, the whole point of the movie. The movie was showing the audience how the police operated to create a false scenario and frame an innocent man. That’s what the movie was saying.

But this guy couldn’t get to that level. He thought the movie was actually on the cops’ side. He thought the movie was praising the arrest of the wrong man.

The literal mind at work.

In the same way, people accept the meanings that are assigned to symbols, and they react to those meanings in a reflex fashion.

In truth, symbols are open. They have no intrinsic meaning. People can inject any meaning they want to.

But when they’re trapped in a layer of symbolic thinking, they can’t see that. They’re determined to accept the already-assigned meaning and react to it.

Which is an invitation to propagandists.

Worse yet, it’s a fixation that artificially defines the limits of mind.

Symbols form a matrix-shell inside which minds live. Until they don’t.

In case you hadn’t noticed, lunatic school officials have been punishing students for symbols of guns. Pop tart chewed into the shape of a gun. Screen saver showing a picture of a gun. T-shirt with a message supporting the 2nd Amendment.

Then there are widening definitions of so-called hate speech. People want to ban the word “bossy.” They want to take any bland utterance and analyze it for possible “hate content.”

Among other things, this is puerile symbol-addiction.

A story about someone burning an American flag receives far more coverage and more reaction than a statement that the federal government violates the Constitution in a hundred ways.

Presidents are symbols. That is, the public reacts to the meanings broadly assigned to their images. The last time I looked, Americans in Kansas and Ohio weren’t sitting in the Oval Office having long conversations with Presidents.

Neither, I dare say, are Americans sitting down and talking with Satan. They’re reacting to meanings assigned to images of Satan painted by others.

Artists are in a unique position. They can make and unmake symbols at will. They can imbue symbols with meaning and then change the meanings or destroy the symbols. They don’t have to live under the dome of consensus symbols and their assigned meanings.

There are people who will argue that some symbols have “inherent meaning.” As if “the universe” sits around and writes down descriptions in a book, which is irrefutable.

Even if this were true, why do people have to accept those meanings?

Some symbols point to things that actually exist. Other symbols are fabricated with the intent of referring to fictions as if they were real. In both cases, the symbols are cooked and plumped up with meanings to impart a reaction.

I suppose God is the most widespread symbol on Earth. But instead of standing back and allowing the individual to decide what, if anything, it means to him, priest classes move in and organize religions to tell their stories, to embellish and codify the meaning of that symbol. And then to fight and kill to defend it.

Here is the symbol-maker’s proposition: “I’ll give you a symbol and tell you what it means and what it refers to. Then I want you to accept it, yes, but also to imbue it with feeling and awe and power. Give that power to the symbol. Make that investment. It’s your duty. Don’t vary or quibble.”

This is how humans are made into ciphers. This is mind control.

Jon Rappoport
Link to original article

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. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 http://www.nomorefakenews.com

Jon Rappoport ~ The Age of Imagination

In this short, yet powerful piece, Jon explores the important question: “What is freedom for?” He highlights two different responses to myth — the propagandizing of reality and the path of the artist. By embracing individuality and our own power to create, we can generate new worlds. Plural. Amidst the either/or choice of Pollyanna heads-in-the-sand or complete doom-and-gloom, I 100% agree that we have not just one other option, but multitudes of options. “There are no limits on imagination except those imposed by Self.” Brilliant post!

The age of imagination

by Jon Rappoport

March 12, 2014

http://www.nomorefakenews.com

During the 20th century, awareness of human mythmaking grew to enormous proportions.

Looking back, it was obvious that cultures and civilizations had been inventing their own myths, before which they then bowed down.

This insight was then taken in two very different directions.

On the one hand, academics and psychologists drew the inference that all experience and perception were “relative.” That territory was infected by propagandists, whose job was to induce decay into all standards of ethics and morality.

On the other hand, some artists realized the core of the original insight was fantastically bracing and liberating for the faculty of imagination.

As in: imagination creates reality—therefore, use your own and invent your own.

We are living in the middle of that precept. What each one of us chooses to do with it is an open question.

Reality is no longer a given. The tyranny of What Already Exists is gone, should we choose to see that fact.

The catch is, the challenge is, the individual must shift from a passive to active stance.

Passivity includes seeing through various deceptions but then stopping there.

There are no limits on imagination except those imposed by Self.

When the iconography of every organization is viewed as an effort to entrance and entrain minds, the alternative is individual creation.

This can be launched in any field of human endeavor.

It is all art.

Complaints and objections are useless. One either invents or one doesn’t.

Obviously, not everyone is ready for this.

But for those who are, freedom takes on new dimensions. In fact, imagination/invention/creation becomes the core answer to the question, What is freedom for?

The implications are staggering. We are no longer contemplating the future with a query of “what will it look look like,” or “what will it be”? There is no It. The future is wide open. Side by side, many, many individuals will invent novel realities, leading to decentralization of power.

In a sense, we are no longer looking at one universe, but many.

This is the bottom-line reason for the preservation of the twin concepts of The Individual and Freedom.

Jon Rappoport
link to original article

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. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. 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 http://www.nomorefakenews.com