OFFER AND PROPOSAL FROM JON RAPPOPORT
JULY 15, 2009. If after you read this, you wish to respond to my specific proposal, you can contact me at: firstname.lastname@example.org
The subject of this section is: what people think is impossible.
We assume the impossible is something we?ve already dreamed up, a fantasy that can?t come true. But what if it is something that would never occur to us in the first place?
I?m talking about how one piece of time can infiltrate another piece and change it. How it can do this by an action that violates every principle we say is true. How it can do this through the vehicle called art.
I know. Art is a dirty word. Most people try to avoid it. But since I?ve been an artist for 50 years, there?s no getting around it.
Art has already shaped, and will shape the future in ways we don?t begin to imagine. The far future will be so elastic and improbable, it will undoubtedly look, to a visitor from 2009, like sheer unbridled chaos.
I believe that and I like it.
I see unconscious currents in the Present that, through art, will make themselves felt. The process by which that happens isn?t rational. It isn?t a tight cause-and-effect situation. It?s quite strange and quite wonderful, and it signifies the freeing of the human mind from its holy addiction to the sober rules of language and thought.
The connective tissue of obsessive rationality will break down into a sea of fertile creation, and no amount of loyalty to provincial logic will stop the churning tides.
Against all odds, we will actually be at home in such a place. Only our boredom and our automatic social conventions will disappear.
We will speak a language that is so dynamic and compelling, we will literally swim in its illuminations. All the so-called traditions of Enlightenment will vanish, having proven to be juvenile conceptions of something far larger, far more dynamic, and far more various.
Art goes beyond ?picking up clues from Nature.? Instead, it invents worlds that have no laws. Picasso, De Kooning, Charles Ives, Cocteau, Bunuel, Martha Graham---such artists improvised oceans of novel experience no one could predict. And though it seems impossible, the future will reflect that enormous flux in its very cells.
Art does many things, and one of them is to project itself into the future. It does this by ignoring the rules of energy and time. Yes, in our little packets of knowledge, we can find no precedent for this, but art doesn?t fit into those neat systems.
What we think is impossible now will eventually become the norm.
Just as ancient Greek sculpture ?leaped ahead? and found a new home in the Italian Renaissance, which then eroded the foolish fairytales of the Roman Church, the forward motion of all the arts, dating from about 1850 to the present, will un-spool and take apart all current notions of the space/time continuum and render it an antique for dusty rooms in a shuttered museum. The continuum, as such, will cease to exist altogether---and what replaces it will be an uncountable number of island-realms fashioned purely out of our most profound invented dreams. These realms will be as different from one another, in the way they operate, as a camel is from a faster-than-light craft.
What we call Universe will rank as just another artifact among billions of artifacts spawned from Mind. Somewhat interesting; ultimately tiresome and repetitious.
Many of you have read my work and attended my seminars since 2000. I?ve been fleshing out what was once vaguely labeled ?Quintessence? by European alchemists.
Quintessence, when you finally strip away the heavy verbiage, equals IMAGINATION. That is the meaning at the center of the symbolic alchemical cross. Detouring around the alchemists? onerous metaphysical baggage and boiling down their message---Imagination is the force that resolves the conflicts inherent in Nature.
The alchemists saw into Nature more deeply than the perfumed New Age types. They realized that, with all its beauty, Nature also expressed enormous force and destruction, and they were quite ready to look at this squarely and point it out. They were not convinced that, with a few minor adjustments and ?positive affirmations,? the lions would be ready to lie down with the lambs under a rainbow and listen to a folk song broadcast from heavenly speakers.
They wanted to resolve and go beyond Nature. They never made it (or some facile misrepresentation of it) their god. Names like ?the philosopher?s stone? and ?quintessence? and ?panacea? and ?elixir of life? and ?universal solvent? were attempts to grasp a greater reality, one that would somehow transcend Life as It Is.
In her book, The Alchemy of Light, Urszula Szulakowska interprets the central message of one of the most famous of all alchemists, the medieval Swiss physician, Paracelsus (1493-1541). She writes:
[For Paracelsus] imagination was the coelum in homine [hidden space in man]. Quintessence was not only a chemical substance, but also a psychic faculty, that of the imagination in action or fantasy.?
Imagination conceives of other worlds, other kinds of worlds, spaces that have never existed before, futures that could never otherwise come into being.
For those who see and understand this fact, reality is never again the same.
All the machinations and muddles of society, and the people who try to control them, are elements of a minor stage play. That play is propped up by artificial means; otherwise it would have closed after opening night.
The brilliance that sits above, beyond, and below the stage play is imagination. It is an individual faculty; it is not the property or product of any group. It is not contained in a manual written by the so-called collective unconscious. It is the unlimited creative potential of each unique human being, each soul.
Imagination is not a thing. It isn?t laid out like a plan or a blueprint. It isn?t a guide. Actually, it has no prior content. It is: the invention of invention; it is the capacity to invent what was not there before; it is infinite in range and power.
Resolving the conflicts inherent in planet Earth?s minor stage play and, indeed, in Nature itself, is an incidental spillover and side effect of imagination at work. Imagination is not a martyred crusade on behalf of humanity. If the unique creative power of enough individuals were unleashed, human conflicts, and conflicts in Nature, would dissolve gradually and automatically---and that is what is really meant by the alchemical term, ?the universal solvent.?
Imagination at work shapes (or to be more precise, liberates) the future, even though the process by which this happens is invisible.
When Gustav Mahler composed his Second Symphony; when Gaudi designed and built his huge serpentine Park Guell Bench above Barcelona; when Dylan Thomas wrote Fern Hill; when Tesla constructed his giant machines; when thousands of unknown artists came to the Dun Huang caves, on the edge of the Gobi desert, and painted on the walls of the rooms for several centuries; when Martha Graham wrote, choreographed, and danced the title role in Clytemnestra; these artists were operating on the future. They were giving it breath and life, they were transforming it. Whether the ultimate effects of their work have already been felt, or will be felt a century from now, a thousand years from now, they will be felt. Not as a particular shape or replica, but as a freeing current of, yes, force, yes, energy, yes, power---but above all as: imagination in action; an open language whose esthetic contents are fluid, and pour directly into the mind, shattering its old preconceptions.
Imagination is a ?contagious disease that cannot be cured.? But one doesn?t pass along ?the same imagination? to the next person. One passes along the jolt of awakening. And in this crucible, a new language will develop, in which human souls will be able to transmit to one another, instantaneously, ideas and sensations and myriad esthetic energies, images, and wave-lengths. Telepathically.
To speak and listen to this language puts the so-called human condition on a whole new platform. It is like a lion learning to fly.
Just as a host of unrelated technological inventions allowed astronauts to escape Earth?s gravity field and experience a new range of paranormal sensations, art and artists---without intending to---have laid the groundwork for a new kind of language that will transport human esthetic experience to a level where the habitual ?gravity field? of endless conflict and confusion relaxes and diminishes.
I have written about my experiences as a painter. In 1994, I began painting large works consisting of rows of shapes on poster board. These shapes were improvised. There was no effort to make them into specific symbols or establish concrete meaning. Over a period of two days, the shapes started ?talking back? to me in a previously buried language. They transmitted layers of ?dancing, flying, liberated, joyous motion.? The motion came directly out of each shape in the same way meaning comes out of each printed word on a page. What I received was not a vague sense of something; it was intensely specific bursts of ecstatic energies. It was as if a key had unlocked ordinary emotions and unpacked their cover of generalized sensation and revealed, behind that primitive fa?ade, new action-worlds where enlightenment was IN MOTION.
Imagination opening the outer shell of feelings and exposing the true quintessence of experience---allowing perception of what had been hidden beneath a mask of clumsy collective consciousness.
Here is another way to say it: Human interactions have been boiled down to a common stew, and our language supports and props up this emotional half-life lived in twilight. But two inches underneath this charade reside the real scenes of living. And there is a whole other kind of language that supports this truth. Liberated, we discover we?ve been talking to each other about another universe all along, a universe where astonishingly elevated and deepened experience is occurring moment by moment.
The ?whole other kind of language? is telepathic ecstasy, as obvious as the rain falling in the forest.
The history of art is the record of new doorways. As one generation succeeds another, the stale classical harmonies, which no longer galvanize the soul, are left behind. The bland symmetries and, in fact, the whole pursuit of perfection are sloughed off like an old skin, and new dreams emerge. While art seems to have little connection to human life, it is, in fact, the core of greater life. It stands outside all systems of thought and all religions and all spiritual teachings, and it makes even the notion of space travel inert, because art is already traveling past all the rules and laws and habits of this universe. Art demolishes the cultural artifacts that define and hem in groups and civilizations. The strictures that have been put in place to keep human beings in check are blasted away. The so-called traditions that are repeated over and over, for hundreds and even thousands of years, and become rote wearying routine, are left in the dust.
The whole collective human stage play is dispersed in a storm of innovation and improvisation---and finally, the infinity of creative energy ceases being a handmaiden and appears as itself: the cardinal dynamic wave-front of existence.
Art was really never meant to bolster the painful soap opera of planet Earth. It was never supposed to be mesmerizing decoration on the robes of gods, prophets, kings, and gurus. It was always its own titanic force.
The world as we know it is inside out. It funnels creative imagination into mechanisms and patterns of inhibited, stunted consciousness, when, instead, that raw free force IS the meaning we seek.
In an article I wrote last year, Vision of a Center, I stated:
I?m always amused when people discuss art as if it?s some sort of perfumed and expensive turned-out fruitcake.
Art is a word that should be oceanic. It should shake and blow apart the pillars of the smug boredom of the soul.
Art is about what the individual creates when he is on fire and doesn?t care about concealing it. It?s about what the individual invents when he has thrown off the false front that is slowly strangling him.
Art is about the end of mindless postponement. It?s about what happens when you burn up the pretty and petty little obsessions. It?s about emerging from the empty suit and empty machine of society that goes around and around and sucks away the vital bloodstream.
Art is about destroying the old order and the new order, with a glance.
It?s about spearing the old apple on the point of a glittering sword and opening up the whole rotting crust that has attached itself to the tree of life.
It?s about shrugging off the harmony of the living dead.
During the last several years, I?ve found it necessary, on every level, to do two things: continue working as an artist, and write about imagination and creative power from a philosophical point of view.
Since 2003, in addition to writing and posting articles on this site (www.nomorefakenews.com), delivering many audio seminars, and writing several books on what could loosely be called The Creative Revolution, I?ve written screenplays, stage plays, two novels, and a book-length poem. I?ve been painting and drawing in my studio, and I?ve recorded a piano album which I?m in the process of editing.
If all goes well, I?ll be focusing much more on art, and somewhat less on the ?philosophy of creativity.?
Fifty years ago, I shoved in all my chips on being an artist. Since then, I?ve found no reason to stop or regret my decision. But I?ve also learned a great deal about what the alchemists called transmutation, and I?ve felt the urge to describe what that process is about. Hence, all the articles and the seminars. Among other things, I?ve learned that, without artists, this world would already be over. Done. Finished. It makes no difference that the world sees no reason to understand the power of art or its profound and massive effects on the future.
Humanity at large is all too ready to accept the idea that the world will always be the same. My experience carries a different message.
The alchemists, when you pierce through their codes and intentionally obscure texts, were saying that truth is not the goal. Truth is a substitute prize at the fair when you can?t reach the real treasure: IMAGINATION INVENTS TRUTH.
Our language reflects a substitute desire for truth and is built with bricks that fortify our misguided obsession. The poets looked at the bricks and removed the connecting mortar and chose and twisted many bricks and went off and subverted the language and invented a new one on top of the old. Their ?flying circus of joy? mirrors the telepathic language that is coming into being.
?Beauty,? as it is normally thought of, is a canned representation of a useless ideal from the past. Classical beauty once served a purpose, but for at least the last 200 years, it has functioned as an obstruction to a far different kind of creation:
A CREATION THAT FLOODS AND UPROOTS CONSCIOUS AND SUBCONSCIOUS RIGIDITY AND BRINGS, INSTEAD, AN ECSTATIC EPISODIC FLUX OF RENEWING POWER TO THE FUTURE.
To some, such creation appears as chaos. But the opposite of unyielding order is actually illumination-in-action. It destroys the placid perfect endless boredom of a fake enlightenment and flies through the universe of stilted cause and effect.
OFFER AND PROPOSAL
And now, with this background in tow, here is my offer and proposal. It is based on the idea that, in these economic times, artists need to imagine new ways of continuing to put out the work that is most important to them---put it out in undiluted, uncompromised form,
My offer and proposal is a 21st-century version of patronage. In the old days, kings and merchants and priests supported artists. Since then, decentralized improvements in that system have been made.
I will, by contract and agreement, supply, every month, a number of paintings, drawings, and other art for a fee.
That fee will be uniquely arranged for each supporting patron.
In addition, I will supply, as audio or written text, my continuing research into the ocean of poetic archetypes that crack open day-to-day ordinary consciousness like the egg it is.
Also available: ongoing chapters of a multi-directional novel that threatens to have no end. The publishing rights to this novel are included. I?m writing a series of one-act plays. They, and their publishing rights, will become the property of the patron.
Over the years, I have consulted private clients on a variety of subjects. This service will be part of the contract. It includes education in several improvised mind-body healing disciplines.
I wrote the background section of this article to give a flavor of my intent as an artist. Obviously, I?m not working to provide coordinated color schemes for living rooms or dens. I don?t modify my work to ?suit the client.? I?m not a decorator or designer.
If you?re seriously interested in the possibility of this patron-arrangement, feel free to contact me. email@example.com
Here is a partial bio----
Jon Rappoport has worked as a free-lance investigative reporter for 20 years.
He has written articles on politics, health, media, culture and art for LA Weekly, Spin Magazine, Stern, Village Voice, Nexus, CBS Healthwatch, and other newspapers and magazines in the US and Europe.
In 1982, the LA Weekly submitted his name for a Pulitzer prize, for his interview with the president of El Salvador University, where the military had taken over the campus.
Jon has hosted, produced, and written radio programs and segments in Los Angeles and Las Vegas (KPFK, KLAV). He has appeared as a guest on over 200 radio and television programs, including ABC's Nightline, Tony Brown's Journal (PBS), and Coast to Coast AM.
In 1994, Jon ran for a seat in the US Congress from the 29th district in Los Angeles. After six months of campaigning, on a very small budget, he garnered 20 percent of the vote running against an incumbent who had occupied his seat for 20 years.
In 1996, Jon started The Great Boycott, against eight corporate chemical giants: Monsanto, Dow, Du Pont, Bayer, Hoechst, Rhone-Poulenc, Imperial Chemical Industries, and Ciba-Geigy. The Boycott continues to operate today.
Jon has lectured extensively all over the US on the question: Who runs the world and what can we do about it?
For the last ten years, Jon has operated largely away from the mainstream because, as he puts it, "My research was not friendly to the conventional media."
Over the last 30 years, Jon's independent research has encompassed such areas as: deep politics, alternative health, the potential of the human imagination, mind control, the medical cartel, symbology. His work as a painter has been shown in galleries in New York and Los Angeles, and is held in several private collections. His poetry has been published in The Massachusetts Review. His recent novel, The Magic Agent, is out in print from The Truth Seeker Press.
71, a graduate of Amherst College, Jon lives with his wife, Dr. Laura Thompson, in San Diego.
JON RAPPOPORT www.nomorefakenews.com
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