What artists reveal down through time
by Jon Rappoport
July 7, 2014
“You can build an unlimited number of harmonies and achieve what most people think of as perfection. But then what? You face a dead-end. So you have to keep making harmonies, over and over, and pretend you aren’t bored. This process is hypnotic and it drains away energy. You may seem to be imitating Nature’s symmetries, but suppose Nature is becoming bored, too? Suppose souls have other impulses which, if exercised, reveal forces and creations that have no names, which we loosely call Art? Suppose we are all artists waiting for something to happen—and nothing will happen, until we put brush to canvas and liberate and invent the deepest aspect of ourselves?” — Jon Rappoport, The Underground
Societies, cultures, religions, philosophies tend to believe and promote certain key ideas.
Among them: the need to imitate Nature; the preference for and worship of a notion of Harmony; and the adherence to some final metaphysical Reality.
These ideas have served useful purposes, while also sowing discord.
But artists have been delivering very different messages, which like quicksilver are more difficult to grasp—and impossible to codify.
For example: there is no need to copy Nature; the obsessive injunction toward establishing Harmony is unnecessary and confining; and there is no final metaphysical Reality.
There is, instead, an endless imagining and creating of new Realities.
Harmony is a strategy that can be employed or discarded.
The artist tells consciousness that What Already Is is always provisional.
The universe is waiting for imagination to revolutionize it down to its core. Not through some mechanistic technology, but through sheer multi-dimensional art.
These cardinal aspects of doing art delineate what is spiritual, what a spiritual path consists of.
Metaphysical content, as “spiritual information,” is a poor substitute.
In this sense, religion is frozen poetry, as if some priest class fastened on to a few dozen stanzas of a poet’s journey and iced them down into doctrine.
Art exists out past the boundaries of all reductionist ideas.
As an embracing ideal, harmony, in the long run, proves to be a false idol. At first, through balance, equilibrium, symmetry, mathematical precision, it appears to summarize and organize the deepest human dreams and hopes.
But it eventually withers, because it is a summary. It’s perfection that holds up a mirror to itself, a solipsistic skeleton.
One could look at the most provocative figures of Rodin and analyze them for balanced masses—but the true impact would then be lost. The force of life, the projected energy, gone.
Populations are trained like dogs to expect a climax, an opportune end to a story of existence…but an endless journey of individual creation? This has no hypnotic power. It doesn’t resonate with the fervent wish for a closed system.
Therefore, it is cast aside.
Matisse paints his red room, Van Gogh his startling irises, Lennie Tristano his tumbling effervescent rivers, Bob Graettinger his city of glass, Lenny Bruce his war of the roses against the establishment, and people draw back, resentful that their mantra of equal balance and symmetry is being interrupted.
People interpret these works as destructive—and they are. They’re destructive of an inner order of sleep, sleep which the priest class assures them is an intimation of heaven.
Consciousness intersects with politics at the deepest place, when consciousness is the artist at work—and then all political moves and manipulations and stories disintegrate like cheap advertisements.
Disintegrate like flailing crimes of a hopeless castrated caste.
Disintegrate in a sea of life being lived.
Disintegrate in the asymmetrical tides of imagination.
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 www.nomorefakenews.com