Posts Tagged ‘Visionary Art’

The Hermit is Active!

Every once in awhile, I wander into my office and see something extra magical. This afternoon, when we got home from a walk on the Kalamazoo River Valley Trail, I just happened to catch the Hermit’s lantern glowing:

The Hermit Portal by Laura Bruno

The Hermit Portal has a citrine crystal as the lantern’s “flame,” but today — just for a moment — the lantern actually lit up. It spread light around the painting as though the portal came to life. This came after a hermit-like vision I had on the car ride home.

The Hermit Portal is ACTIVE!

It reminds me of the moment in February 2018 when I walked into my office to find “Arthur” glowing:

I love my magical office. Yes, it’s sunlight — or is it?! In these stressful, uncertain times, I love sharing a little everyday magic.

Reminders of the Great Mystery, which continues to unfold whether or not we have eyes to see it.

Blessings, peace and healing to all!

Evolution Glass: Recycled Glass Reimagined

I’m super excited to announce this innovative and beautiful project that combines Earth healing with gorgeous form and function. I had the privilege of listening in on the early brainstorming stage of Evolution Glass many years ago, and I’m so pleased to see my brilliant engineer and artist friend Bill Hess taking his heartfelt and inspired vision to the next level.

I’ve known Bill and his wife, Wendy Vigdor-Hess, since my time in Seattle back in 2001-2002 and have maintained contact with them throughout our various moves ever since. I’ve witnessed them grow — their marriage, businesses, a book, community, a family — and I’m just so happy to get the word out about this next phase.

Way back when Bill first started talking about his idea to reclaim recycled glass and turn it into functional art, furniture and countertops, I recognized the amazing potential, not just for decorations, but also for changing attitudes and taking recycling up several notches. I know Bill has spent years testing for strength, refining techniques, doing private commissions and experiments, and looking for just the right combinations to bring his vision to life. He’s now teamed up with Heather Philips, a passionate recycler and earth advocate, as well as Howard Evergreen, the former Director of the Fluvanna-Louisa Housing Foundation.

They’ve got an indiegogo campaign up now to fund their intention to save 12 tons of glass from the landfill each year! In addition to giving details about the campaign, the link below includes gifts, a sobering and educational video, as well as photos of some of Bill’s earlier creations. You won’t believe what “waste” can become in the loving hands of a creative visionary and Earth healer. Thank you, Bill, for continuing to follow your dream!

Mosaic and Pointillism Art as Unity Consciousness

I can’t stop looking at these trees by Gustav Klimt! I’ve always loved his work, but I never knew him to make forest mosaics or paintings. Magical! Thank you, Linda!

litebeing chronicles

While conversing with a bloggette, I realized another reason why both the mosaic and pointillism painting techniques move me so. In both techniques the large image is composed of smaller, sometimes subtle, particles that often shimmer and glisten. Klimt was heavily influenced by both techniques and the art I present here are such examples. They are part of his Golden phase collection.

Quantum particles perhaps? The concept of duality played out on the canvas? I wonder if these compositions are allegorical representations of how the whole is so much more than the sum of its parts. Yet in this physical reality, the parts are precious and maintain their separate vibration. There lies the rub. Somehow the art is able to reconcile the paradox seamlessly. So here is to more Klimt and increased enlightenment through art medicine.

Please enjoy the show:






the-beethoven-frieze-the-longing-for-happiness-finds-repose-in-poetry-right-wall-1.jpg!HalfHD (1)

image credits:, public domain

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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

Groups use symbols.

But symbols have no inherent power.


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

How to Make Sure You’re Not Practicing Black Magic(k) By Accident

I’m not linking to the site where this comment appeared, because I do not wish to drop the referenced image anymore into the collective awareness than it already is. Nor do I wish to call out someone whom I know harbors no ill intent. I don’t know if my comment will see the light of day or not, but the concept bears mentioning:


“This artist is doing a really fine job of providing endless mental images of what we do not want to happen. Why do you keep posting them? When people carry these images in their mind they create that reality. This isn’t waking up, it’s creating doom.”

[followed by a couple disbelieving/scoffing comments from others]

My response (currently awaiting moderation):

Raven is absolutely right in her comment on the ___ article. Anytime someone uses creativity to produce an extremely negative-oriented vision, especially via artwork and visual symbols, they are actually practicing the black magic(k) so many of you fear from the “Illuminati.”

That’s exactly what they do in Hollywood, in the mass televised rituals, etc. Jon Rappoport has written about the power of art, and it works both ways. We can use our creative powers to paint portals to more positive realities, to reclaim symbols or energies for our own preferred intentions … or we can (whether consciously or not) create spells via symbols and/or words that usher in the doom in far more powerful ways than the Illuminati/archons, etc. can do on their own. They cannot, by themselves, create. They use humanity’s imagination and power to create.

Just an FYI. It’s one reason I keep suggesting that people study metaphysics and magic(k). When you know how this stuff works, you become extremely careful not to do someone else’s black magic(k) and creating for them. Imagination and art are the most powerful forces in the universe. They can be fueled by love, hate or confusion. Love is powerful, but, contrary to the Beatles song, love is not “all you need.” Imagination creates and thus deserves extreme respect if we do not wish to mis-create.

I know you and the artist aren’t intentionally practicing black magic(k), but tapping into creative inspiration and imagination and then focusing those intently into a negative or harmful reality/form is actually the very definition of black magic(k).

Update: please see comments below for an important distinction between Shadow Work and black magick.

Jon Rappoport ~ Logic, Imagination and Magic

Another timely, insightful and creative post by Jon:

Logic, Imagination and Magic
By Jon Rappoport

Logic applies to the physical universe.

It applies to statements made about that universe. It applies to factual language.

Many wonderful things can be done with logic. Don’t leave home without it. Don’t analyze information without it.

But art and imagination are of another universe(s). They can deploy logic, but they can also invent in any direction without limit, and they can embrace contradiction. They can build worlds in which space and time and energy are quite different.

Magic is nothing more and nothing less than imagination superseding this universe. Magic occurs when imagination takes this reality for a ride.

Which brings us to what I call the Is People. The Is People are dedicated with a fervor to insisting that this Continuum and this consensus reality are inviolable, are the end-all and be-all.

They strive to fit themselves into Is, and this eventually has some interesting negative consequences. They come to resemble solid matter. They take on the character of matter.

For them, imagination is at least a misdemeanor, if not a felony. It’s a blow to the Is of Is. They tend to view imagination as a form of mental disorder.

Technocrats like to gibber about imagination as if it’s nothing more than just another closed system that hasn’t been mapped yet. But they’re sure it will be, and when that happens, people will apparently give up creating and opt for living in a way that more closely resembles machines.

There are many people who secretly wish they were machines that functioned automatically and without flaws. It’s their wet dream.

Magic eventually comes to the conclusion that imagination creates reality. Any reality. And therefore, one universe, indivisible, is an illusion, a way of trapping one’s self.

What began as the physical universe, a brilliant work of art, ends up as a psychic straitjacket, a mental ward in which the inmates strive for normalcy. Those who fail at even this are labeled and shunted into a special section of the ward.

But the result of imagination, if pursued and deployed long enough and intensely enough, is:

Consensus reality begins to organize itself around you, rather than you organizing yourself around it.

There are various names and labels used to describe this state of affairs, but none of them catches the sensation of it.

Magic is one of those labels.

What I’m describing here isn’t some snap-of-the-fingers trick of manifestation; it’s a life lived.

The old alchemists were working in this area. They were striving for the transformation of consciousness. In true alchemy, one’s past, one’s experience, one’s conflicts all become fuel for the fire of creating new realities. Taken along certain lines, this is called art.

One universe, one logic, one Continuum, one role in that Continuum, one all-embracing commitment to that role, one avenue of perception, one Is…this is the delusion.

And eventually, the delusion gives birth to a dedication to what everyone else thinks and supposes and assumes and accepts. This is slavery.

Freeing one’s self, living through and by imagination, is not a mass movement. It’s a choice taken by one person. It’s a new and unique road for each person.

Societies and civilizations are organized around some concept of the common good. The concept always deteriorates (if it was ever genuine to begin with), and this is because it is employed to lower the ceiling on individual power rather than raise it.

“Be less than you are, then we can all come together in a common cause.”

It’s essentially a doctrine of sacrifice—everyone sacrifices to everyone else, and the result is a coagulated mass of denial of self.

It is a theme promoted under a number of guises by men who have one thing in mind: control.

It’s a dictatorship of the soul. It has always existed.

Breaking out of it involves reasserting the power of imagination to invent new and novel realities.

Under a variety of names, this is art.

Promoting the image of the artist as a suffering victim is simply one more way to impose the doctrine of sacrifice.

In 1961, when I began writing and painting in earnest, I had a conversation with the extraordinary healer, Richard Jenkins, whom I write about in my book, The Secret Behind Secret Societies. This is my note from that time about what Richard told me:

“Paint what you want to, no matter what anyone else says. You may not always know what you want to create, but that’s good. Keep working, keep painting. You’ll find your way. You’ll invent something new, something unique, if you don’t give in. You’ll see everything in a new light. Reality is a bad joke. It’s nothing more than what everyone assents to, because they’re afraid. They’re afraid of what people will say. They’re afraid they have far more power than they want to discover. They’re afraid that power will lead them away from common and ordinary beliefs. They’re afraid they’ll become a target for all the masses who have surrendered their own lives and don’t want to be reminded of it. They afraid they’ll find out something great about themselves…”

Nothing I’ve experienced in the 50 years since then has diminished what Richard said to me.

These fears are all illusions that disintegrate when a person shoves in his chips on imagination and makes that bet and lives it.

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. 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

Door Number 17 ~ Elen of the Ways

As I’ve mentioned in earlier posts, there have been times in my life when I’ve faced problems so tricky, so “impossible” that the only way out was in. Deeeeeep inside, through the inner rabbit hole, through the spiral and out the newly created portal. In those days, I’d paint a door, and you know what? It worked.

For the past three “doors,” I’ve taken to canvases that portray some sort of doorway or entry point — still portals, but not painted on actual doors. I usually select a local or personal issue as the initial point of need or emotional spark, but then I create the portals as offerings for how such issues play out across the world. “As Within, So Without,” and “As Above, So Below.” I’ve painted portals for healing Lyme Disease, for welcoming a return of the Divine Feminine and the Divine Masculine, along with commissioned doors to support inner transformation and healing.

This latest door springs from a delicate local situation trying to balance encroaching Agenda 21 plans for our town with the real world need for sustainability and community — not the co-opted Agenda 21 definitions that strip human rights, but actual Earth healing and human cooperation. I knew I could foment reactions from local Tea Party folks that could stop this Comprehensive Plan in its tracks, but I don’t want to throw the baby out with the bath water. Agenda 21, though completely co-opted to destroy liberty, nonetheless gets people talking about very real problems in need of creative solutions. I could not figure out a kind, gentle, yet strong enough way to protect our rights, honor the planet, and continue to foster community rather than dividing it. Since Agenda 21 poses a global threat amidst innumerable other worldwide challenges, I know I’m not the only one considering these dilemmas. I created this portal as an offering based on Rumi’s poem:

There Is a Way

The intellect says: “The six directions are limits: there is no way out.”
Love says: “There is a way. I have traveled it thousands of times.”
The intellect saw a market and started to haggle;
Love saw thousands of markets beyond that market.

The project began with a blank door, acquired from our former landlord in Madison:

Door 17 Before, standing next to Door Number 4

Door 17 Before, standing next to Door Number 4

Given the theme of protecting both Nature and human rights, I felt called to old goddess traditions that connect the ideas of “Sovereignty” and “the Land.” In Celtic, Norse, Native American and other traditions, the health of the land reflects our inner state or the state of a community’s leader. The awful condition of our world reflects the psychopathic leaders and corporations we have allowed to usurp the natural goodness of the human race. We have, collectively, lost our way.

The goddess who presented herself for gentle, yet powerful and wise assistance was Elen of the Ways. Elen is associated with:

The Land
Ancient ley lines
Star ways
Shamanic travel
Fly agaric mushrooms
The Green Lady
The Horned Goddess
The Reindeer Totem
Birch trees
Loving care of humans
Finding sustainable tracks
The Faery Realm

Elen’s connection with birch trees appealed to me, because this old, white door with all its cracks and chipped paint reminded me of a birch tree. David agreed that I should leave the door as natural as possible in order to invoke the traditional newness, fertility and rebirth associations with birch trees and the Berkano Rune. I also liked that the Berkano Rune looks like a pointy capital B, appropriate for creating a Plan B to the predetermined Plan A(genda 21).

Door Number 17 (After), next to Door Number 4, by Laura Bruno

Door Number 17 (After), next to Door Number 4, by Laura Bruno

I painted this entire door during the first Mercury Retrograde period of 2014, because Mercury Retrograde supports revision, reworking, and wriggling out of former contracts. Merc Rx introduces a certain degree of chaos, which can thwart new initiatives, but offers great energy for tweaking old ones. Since Agenda 21 came about in 1992 and our town had already been selected as a pilot city for an APA implementation of A21, creating a Plan B through alternate ways, seemed highly suited for a Merc Rx project. I live in a world of synchronicity, but even I was floored when I found myself painting the portal address of 444 at exactly 4:44 East Coast US time on February 6, 2014 — the exact moment when this Mercury Retrograde period began! 444 reminds us of the angels’ love and support, and I’ve certainly felt them during this process.

Door Number 17 ~ Elen of the Ways, by Laura Bruno

Door Number 17 ~ Elen of the Ways, by Laura Bruno

I decided not to depict Elen of the Ways in a direct form, but instead chose to include symbols and images closely related to Elen and the Faery Realm. As Reindeer Goddess or “The Horned Goddess,” Elen has strong ties to Ice Age (and even contemporary) wanderers who followed the reindeer, caribou or (later) the red deer in order to find food, shelter and the ability to live through harsh conditions in the Boreal Forest. I included this image from a cave painting in Lascaux, representing an Ancient Irish Giant Elk:

Reference to Lascaux cave painting

Reference to Lascaux cave painting

Many archeologists believe that the cave paintings reflect shamanic visions and encounters, and some scholars believe the flying reindeer of the Santa myth come from shamans soaring through the stars to track the animals below. The poisonous fly agaric mushrooms so often associated with gnomes and faeries become a safe hallucinogen when passed through the reindeer and drunk via reindeer urine, so this portal door’s depictions of both the Lascaux elk and the fly agaric mushrooms offer a double nod to shamanic visions and inspired ways:

Fly agaric Rumi

Fly agaric Rumi

In addition to the inscribed intention, “Love said, ‘There is a way. I have traveled it thousands of times,” I also wrote in silver runes down the left side: “SUSTAINABLE SOVEREIGNTY,” a concept that honors and connects both human rights and a healing of Nature.

I had some interesting conversations with various members of the Faery Realm while creating this portal. Agenda 21 aims to remove humans from most of the land and huddle them into megacities with a Wetlands Project that keeps vast stretches of Nature off limits to all but a self-proclaimed elite. Part of me wondered if the faeries might prefer such an arrangement, given how irresponsibly humanity has treated the planet. It turns out that, although some of the Faery Realm does despise humanity, significant portions recognize a joint destiny between the realms. The Faery Rule, “Respect, Not Control,” urges humans to respect Nature but does not support the sort of top-down police state regulations of advanced Agenda 21.

The Faery Realm representatives I’ve long worked with prefer voluntary communion with humans and the natural world — a cooperative honoring and regeneration of the land as sacred. The most ancient concept of regenerating the land remains totally entwined with the idea of sovereignty. The Fae also indicated that vibration from such intense misery of human enslavement, along with the electromagnetic monitoring of all off-limits areas, would make our planet even more intolerable for such sensitive beings than it already is. By contrast, voluntary communion with the land and between the realms offers a truly healing and celebratory opening into a preferred reality with much more cooperation and exchange among the realms.

Based on these discussions and support from my continued and proven loyal friends from the Faery Realm, I added the mythical “silver branch” — an apple branch in full bloom, fruit and leaf all at the same time. This silver branch offers safe passage into and out of the Faery Realm, also called Avalon (“The Isle of Apples”). The golden apple is toxic if eaten by one of an impure heart, but its poison becomes regenerative with love and alchemical transmutation. Cut in half, the apple reveals five seeds symbolizing the original (non-co-opted) meaning of the pentagram: excellence, truth and purity:

The silver branch, by Laura Bruno

The silver branch, by Laura Bruno

You can see that I’ve used Runa Faery coding — one of three different systems of Runes used on this portal — to express compassionate intentions and requests for the Highest Good of All, not just human centric, yet also not excluding humanity from that mix.

Bottom of Door Number 17, including the Plan "B" Berkano Rune

Bottom of Door Number 17, including the Plan “B” Berkano Rune

I continued this faery theme in the top panel by painting a seven-pointed Faery Star, associated with healing, the magick of Avalon, and the Faery Realm, which is lit by inner and outer starlight rather than sun or moon. I embedded additional Runes and healing symbols as the smaller “stars.” This also coincides nicely with Elen’s association with finding the star ways and tracking Gaia’s ley lines by flying through the stars:

Door Number 17, by Laura Bruno

Door Number 17, by Laura Bruno

I usually paint the backs of my portal doors, but I received a strong sense to leave this one open to the Unknown Way. I’ve embedded the door with powerful positive intentions and requests for healing, regeneration, sovereignty, peace, compassion, love and return of faery magick and wonder into everyday human awareness and existence. I don’t need to know exactly how that looks, especially since “it” will look different for each person who desires to participate in this type of world. According to Rumi, “The intellect says: ‘The six directions are limits: there is no way out.’
Love says: ‘There is a way. I have traveled it thousands of times.’” In honor of creating something entirely new and joyful from the discarded scraps of what seems ugly and restrictive, I painted a single Rune on the door handle. Called “HAGAL,” this snowflake or star shaped Rune invokes our inherent ability to “Create a New Universe”:

Create a New Universe

Create a New Universe

May it be so.

Jon Rappoport ~ Authorities Never Have Issues with Authority

Love it! Thanks, G, I was just talking about this very dynamic!

Jon Rappoport ~ Authorities Never Have Issues with Authority

It’s simple. Authorities invented the idea that other people have issues with authority.

Psychiatrists rank right up there among the elitists setting the standards. They, for example, have concocted a little fictional doodad called Oppositional Defiance Disorder. And magically, they never accuse their professional colleagues of having it. No.

Why should they? They amuse themselves by deciding when civilians are overly defiant and need pacification (drugs).

But we’re also talking about character structure here, because psychiatrists turn out to be exactly the people who want to slap labels like ODD on others. They like that. So they labor in universities and hospitals and earn their degrees and state-issued licenses, knowing that soon they will have that power.

Having gained it, there is nothing to be defiant about. They’re sitting on top of the heap, which they call science.

It’s quite a racket.

In response, how about this? The Challenge to Authority Syndrome (CAS). It would be diagnosed in people who hold positions of authority and react very badly when someone lower on the totem pole doubts them.

Symptoms include: facial flushes; body tremors; shouts excessively; deals out punishment; calls challenger a “terrorist”; obtains secret warrant to spy on challenger…

Treatment for CAS: sedatives; aspartame; fluoridated water.

There are literally millions of jobs and positions in this country that are entirely dependent on listening to instructions and following them, no questions asked. No suggestions permitted. No divergence tolerated.

Therefore, the potential pool of people who “have issues with authority” is huge. It seems only fair to do a reversal and start diagnosing authorities with CAS.

In 1957, at the age of 19, I found myself taking a train into New York, to see a psychologist who was going to give me a Rorschach (inkblot) Test.

We sat in his office and he ran down his credentials and background, and assured me he was a “specialist.” Right away, I had “issues.”

He said he would show me 10 cards with pictures, and he wanted me to tell him what I saw. His interpretation of my answers would enable him to assess my state of mind.

Really? Now I had serious issues.

He flashed the first card. The picture looked like a bat. Well, all ten pictures pretty much look like bats or butterflies or moths.

But I thought it would be too obvious to say “bat.” I was going for more arcane material to make it interesting.

So…a full hour later, I was still working on one section of the picture on card one. I was seeing clouds, branches, statues, ancient Rome, space travel, stoves, noses, Graham crackers, interplanetary musical notation, pregnant deer, Civil War soldiers, private detectives’ hats, freezers, sandstorms, X-rays, lint, faces in the moon, candy wrappers…

The authority figure was sweating. He was supposed to make notes on everything I said without comment. At the rate I was going, we’d be in his office all night and into the next day.

I observed him come to a boil.

Finally, he snapped. “Keep it simple!” Obvious symptom of CAS.

My, my.

“Why should I keep it simple?” I calmly asked.

“Because I have enough material!”

“What about the other pictures?” I said. “And I’m not through with this one.”

“We don’t need the other pictures!” he said, his face a fine flushing red.

“We don’t? I thought the test was all ten.”

“It doesn’t have to be!”

“Oh,” I said. “But I’m really enjoying this. It’s an interesting picture. They’ve put so much in it…”

He sat there, pen in hand, notebook on the table, and glared at me, as if I’d just blown up his house. He was clearly having a full-blown CAS episode.

“Are you doing this on purpose?” he said.

“Doing what?”

He sputtered, “Finding so many things!”

“Well,” I said, “there’s really nothing in the picture, is there, come to think of it. It’s all what I imagine.”

He shook his finger at me. “No it isn’t. I’m not asking you to imagine anything. I’m asking what you see.”

“I don’t see anything,” I said.

“That’s impossible,” he said.

“I’m just telling you the way it seems to me. Maybe there are right and wrong answers. You’re in charge. You would know.”

The authority. The authority on perception and what it means. The authority on my state of mind.

“No,” he said. “There is no right or wrong.”

“Then I guess I should continue,” I said.

So I did, for another few minutes. On the same section of the picture on card one, I chirped right along.

“Okay,” he said. “That’s enough.”

“No,” I said. “I feel like I’m just getting started. I thinks it’s therapeutic.”

“Listen,” he said. “This isn’t a test of your imagination. I want to know what you see in the picture.”

“I see an inkblot. It’s symmetrical.”

Then he came out with it. “You have a problem with authority,” he said.

“Really? You can tell that from my responses to the picture? Was it the hats? The Civil War soldiers?”

He took a deep breath and tried to calm himself down.

“No,” he said. “You don’t want to be judged.”

“Would you?” I said. “I could sit here and make notes on what you see in the pictures.”

“I’m administering the test,” he said, “not you. I’m trained to interpret it.”

“Okay,” I said. “I see male genitalia there at the top of the picture. They’re reading the New York Times and ordering coffee at a cafe.”

He stood up. He closed his notebook. He looked very tired.

He showed me out the door.

At the tender age of 19, I learned two lessons that day. One: they command, I subvert. And two: pretensions to science make a marvelous front for authorities.

There is something further. So-called mental-health authorities build a feedback loop to make a sale. They essentially ask you what you see, think, and feel, and then, when you tell them, they jam a label on your head. They just rearrange your own words and sell them back to you. In essence:

“I feel sad.”

“You have a condition called Sadness (depression).”

“I feel up and down.”

“You have condition called Up and Down (bipolar).”

No. They have a condition called Authority.

The Rorschach Test was one of those disastrous experiments where academics tried to make art into science. They presumed to carve pictures up into neat and revealing categories.

It didn’t work. It’s never worked. People looking at pictures see what they see, think what they think, and imagine what they imagine. This is why Hitler, Stalin, and the Chinese leadership destroyed so much art and set binding rules on what should be imagined.

Art is dangerous. People move out of standard-response channels and actually conceive of ideas they’ve never considered before. They surpass brainwashing.

They realize, for starters, that any system, when it becomes large enough, can only continue to exist by turning rotten at the core.

Here is a piece from an interview I did with hypnotherapist Jack True in 1990:

Q (Rappoport): “There seems to be a growing interest, from psychiatrists, in ‘problems around authority.’”

A (Jack): “It’s self-reflexive. The psychiatrists are the authorities. So they want to protect their own turf. Anyone who questions their supremacy can get a diagnosis of mental illness.

“This society is being shaped into tighter systems. It means people in charge have to exert more control. They want to be immune from serious attacks.

“Everything leads back to freedom. When you press down hard on people, they think about their freedom. They want to break out. There are a lot of strategies employed to keep that from occurring.

“Code words are dropped into the culture. ‘Family,’ ‘groups,’ ‘love,’ ‘humanity,’ ‘care,’ concern.’”

Q: “Those are real words.”

A: “Yes, but they’re put there to bring about a kind of trance. They induce certain frequencies that are calming. As vague general terms, in basically trivial contexts, they flatten out emotional responses. They reduce emotional energy.”

Q: “And then what happens?”

A: “A number of things. The idea of freedom becomes less forceful. It become associated with less power. People opt for gentle behavior. But it’s not genuine. It’s the outcome of hypnotic suggestion.”

Q: “And the people who resist, who don’t buy in?”

A: “Their numbers decline. Ways are found to characterize them as mentally ill.”

Q: “If a person doesn’t react well to overweening authority…”

A: “He’s said to have a problem. You see? It’s his problem. That’s turning it around on the rebel. He’s not exposing authority. He’s got a problem.”

Q: And the psychiatrist ‘cares.’”

A: “Sure. He ‘wants to help.’ It’s a load of hypnotic suggestion, all the way up and down the line. I wouldn’t refer a person to a psychiatrist for all the tea in China.”

end of excerpt

On August 18, 1988, George Bush the Elder gave a speech in which he said, “I want a kinder, gentler nation.” It was perfectly in line with the ongoing pysop Jack True referred to above.

Bush’s words seemed to be positive, but they were really trying to “soften the frequencies” generated by the mind. Bush was basically saying, “We’re the authorities, we’re in charge. Be nice and everything will be all right…”

Jon Rappoport
link to original article

You Can’t Stop Art

I had heard about this legendary chair from 6-year-old Skye’s mom, but I’d never seen it until yesterday in front of Ignition Garage (music shop and venue) in Goshen. Wise beyond his years, Skye shares an important reminder for all of us, whether Visionary Artist or Reality Creator:

You Can't Stop Art, by 6-year-old Skye

You Can’t Stop Art, by 6-year-old Skye

“Door” Number 14: Temperance

The fourteenth door in my Divine Doorways Series is actually a “porta-portal.” Someone commissioned me to paint a canvas board in the same style and with the same Runic coding as the larger doors. I wasn’t sure what would manifest, but in the end we both loved the way it turned out. The board allowed me to paint and code both sides, just like an actual door, and I designed the front to look like an archway, so the image maintains an “entrance” or “gateway” feeling.

Temperance by Laura Bruno

The fourteenth card in the Tarot, the Temperance Card, presented itself as the one for this project. This motif usually depicts a woman or angel with one foot in a pond and one foot on land, symbolizing both the subconsious and conscious realities, joined and working together. The woman commissioning this painting really loves Door Number 11, though, so she requested more of a faery feel to Temperance. She looks kind of like a psychedelic rock and roll flower child faery, with orange and black, Celtic butterfly monarch wings (edged in silver) and a yellow heart halo.

Water features heavily in this card, not just in the pond, but also because the woman/angel/faery traditionally pours water from one vessel into another. Ideas of balance, flow, harmony and fulfillment come to mind. The water is all coded with Runes for Flow. and the mountain has an extra UR Rune on it, suggesting the moving of mountains. To the upper right there is a downward pointing triangle and then a Rune, which is associated with Zion. That one just insisted on being there, so I put it in. It’s called Anis and also symbolizes: “Stand Still and Movement, Still Point in Heart, Zen, Zion, Pulsar Star, Falcon, Hummingbird, Parting the Waters, Walking on Water, Pulse, Transistor.”

In addition, I added quotes evoking overflowing cups, and an excerpt from Psalm 23 on the back amplifies this effect:

I got rid of any negative references to enemies or struggles and wrote out this:

“The Lord is my shepherd,
I have everything I need.
He lets me rest in green meadows;
he leads me beside peaceful streams.
He renews my strength.
He guides me along right paths…

You prepare a feast for me…
You welcome me as a guest,
anointing my head with oil.
My cup overflows with blessings.
Surely your goodness and unfailing love
will pursue me
all the days of my life,
and I will live in the house of the Lord

(I also turned the 3 in 23 into an Om.)

Temperance by Laura Bruno

The coding down the sides of the “threshold” says in Runes: “Have you beauty that leads the heart [down the left side, and heart is an actual heart-shape] to the Holy Mountain” [down the right side] … This is extracted from a Kahlil Gibran question, but I’ve written it as a command, and ended it with a Wunjo Rune (which looks like a P), thus anchoring it as a spell. Wunjo is sort of like saying, “So be it.” So the threshold is “commanding” the subconscious to have beauty that leads the heart to the Holy Mountain. Wunjo also stands for fulfillment and joy. I was happy to hear back from the patron that the “door” is already having that effect in her life:

“I wanted to mention that I also have some great, unplanned, spur of the moment pics of the kids admiring your painting. It was so sweet; I was in the kitchen doing dishes and hear them chatting away and I come to peak into my office to see their two cute bottoms facing the picture and touching it gently and discussing what is happening with the woman, etc… SO ADORABLE! I just took some pics of them. Some got posed when they learned I was there but it was so beautiful with them checking it out and the fall leaves and fall scenery in the background. A vision I will always remember…so special!”

I coded the Sun in the card with Runes for passion, spark and heat. The grass has flowers that are Runes for “create a new universe” and “power to move forward.” The grass itself is textured with Runes for “prosperity” and “movable wealth.” I put in stars, which are a repeat of the “create a new universe” Rune, as well as a Cho Ku Rei symbol in the sky and a giant Rainbow. I clothed the faery angel because the patron has young children, and her dress is covered in Runes and hearts. You can’t really see the Runes in the dress, but the subconscious registers and responds to them.

The bottom quote is also by Kahlil Gibran: “And think not you can direct the course of love, for love, if it finds you worthy, directs your course.” Both quotes are from The Prophet.

Temperance Quote by Kahlil Gibran

I thoroughly enjoyed painting my first porta-portal and recognize this as a way of opening up more opportunities for people to receive customized “doors,” whether I come in person or just customize from afar. In either case, I love using my intuition to find just the right images, Runes, quotes, intentions and symbols to bring forth what the patron most wants and needs and also to offer these gifts as larger intentions for the world. Many thanks to this family for requesting such an unusual project. And Happy Birthday! 11/11 marks a very special birthday for the patron, so this portal arrived just in time for that portal birthday. Namaste!

Temperance by Laura Bruno: Rock On!