Jon Rappoport: How we create and recreate what is or seems to be

Example of a veil painting.

Example of a veil painting.

That Jon Rappoport, whose recent work has focused on techniques used in mind control, would put up this post on this morning, the day after I put up a post that mentioned the Rudolf Steiner technique of Veil Painting — well, this is a synchronicity that makes me shudder . . .

“Veil Painting: In this method, water colors are thinned down to a very light value 7 or 8 on a photographers’ scale, and wet colors are applied one at a time only over dry colors.

” It is important to begin with no drawing or even a preconceived idea. The artist patiently layers “veils” of color over one another in varying patterns, taking care to not repeat the same shapes in the same place, waiting for an image to arise out of the color itself, then seizing upon the motif that the color has presented.”

When dreaming breaks the chains of mind control

December 22, 2012

by Jon Rappoport

This article is based on many interviews I did with the late hypnotherapist Jack True. Jack was my friend and colleague. He helped me publish my first book, AIDS INC. We later worked together to research dimensions of mind control.

Jack invented a number of brilliant techniques he used with his patients. He stopped doing traditional hypnotherapy when, as he put it, he realized patients “were already in a hypnotic state when they first walked through the door.”

So Jack was in the business of de-hypnosis. How incredibly different this was from diagnosing people with fiction mental disorders and then dispensing toxic drugs to them.

One of Jack’s most powerful techniques involved having patients, after they were in a light neutral trance, invent dreams.

“They already do it while they’re sleeping, “ he said. “Why not have them do it when they’re awake?”

Dreaming while asleep is one of those times when people can break the chains of their internal programming.

People see reality through filters. They automatically and subconsciously use feelings, ideas, preconceptions to perceive reality. This is programming.

Utilizing such filters, people construct “story lines” to describe reality. These stories tend to follow well-worn paths. They repeat.

People become bored. They look for a new surprise to give them a jolt of adrenaline that will carry them past their old stories.

Dreams crack the egg of familiar stories. Dreams don’t have to obey any normal notions of plot line. A dream can cut off a developing story and jump to an entirely different scene. It can break the laws of physics. It can bring in new characters from nowhere. It can contradict itself.

Our dreams let us know that we want to liberate ourselves from familiar and well-worn and ordinary and tiresome patterns. But in dreams, we don’t simple think about liberation. We experience it. We escape the matrix.

Unfortunately, people are often so predisposed to interpret their dreams that they miss the essence of them: a dream is an adventure; it’s a ride out beyond the structures that narrow life.

Dreaming is also a clue that we have the inherent power to move beyond our programming, our filters, our artificially chronic perception of reality.

A few of Jack’s patients, the ones he had invent dozens and even hundreds of dreams in his office, experienced what people like to call paranormal phenomena. Jack didn’t use that label. He said it implied an “extra talent.”

“Everybody can ‘do paranormal’ because it’s part of what we are,” he said.

One patient he worked with for six months, a dyed-in-the-wool engineer, discovered he had a “peculiar knack.” Among his wide circle of friends, several were suffering from arthritis. He could “focus on them” and alleviate their symptoms, to the point where two of them stopping taking medications.

Through interviews, I verified this was so.

I asked Jack’s patient how he did this.

“I found I could ‘see into space,’” he said. “I could look into what seemed like a series of different spaces in their bodies. It made no rational sense to me, but I went with it. In these spaces, there were various colors. I began to sort them out. Certain shades of color were signs of debilitation. So I homed in on them and found threads that were wrapped in knots. I undid the knots.”

Needless to say, this analysis of disease doesn’t match any conventional picture. But the Jack’s patient was motivated to follow his intuition, and it bore fruit.

He told me, “The idea of overlapping spaces was something I’d tried to toy with as an engineer. But I couldn’t get anywhere. I couldn’t find the mathematics or the experiments to make any progress. The idea that I could actually see these spaces was something that never entered my mind. When all of a sudden I could see them, I rejected the whole thing at first. But I went back to it. I decided it was legitimate.

“The spaces looked like overlaid pieces of film. Eventually, I could see them separately. That’s when the colors showed up.

“Occasionally, when I’m sitting in my office looking out the window, the scene out there separates into different spaces. It’s as if the space we all recognize is actually composed of elements. We settle on the resolution of those elements and see it as one [continuous] thing.”

Much like projecting separate frames of a film transmits the impression of continuous motion?

“Not exactly,” he said. “It would be more like projecting a dozen separate films, one on top of another, at the same time, on to a screen. The audience sees, somehow, one resolution produced by all the films.”

A hologram?

“If a hologram,” he said, “is essentially a lot of information that generates a three or four dimensional coherent picture, then what I’m describing is not quite the same thing.”

I told him about a drawing I once did. In my studio, on a table, I had a sheet of white paper. Whenever I did ink drawings, I laid a new sheet over that basic sheet, which stayed there for several months.

One day, I looked at the “under-sheet,” and I saw three faces. They were composed, as it were, of leftover marks that had bled through from all the drawings I’d been doing. The faces were floating among hundreds of other ink-marks.

At first, I thought the three faces weren’t real. I was just “making them up.” So I took a large marker pen and filled in everything on the under-sheet except those three quite detailed faces.

Lo and behold, the faces were there. They were very distinct. I showed them to several friends and they saw them immediately.

Jack’s patient said, “Yes. That would be more like it. The drawings you’d been doing were ‘other spaces.’ They overlapped on that one under-sheet. And then you had three faces, you had a resolution created by many different overlapping spaces. That’s a pretty good analogy.” [A better analogy these days would be image layering, using computers.]

I asked him why he thought Jack’s technique had enabled him to sprout this new capacity to see separate spaces and help several people with arthritis.

“Jack had me invent dreams. All sorts of dreams. I created the dreams myself. Jack wasn’t making suggestions. After a couple of months, I began to believe in what I was doing.”


“I felt my own creative power,” he said. “And the reality of what I was creating, the dreams, looked to me like they were worlds of their own. Something clicked. I felt a shift. When I was motivated to help my friends, I found I could.”

There is a connection here to an ancient Tibetan practice, in which the student is directed to make a very specific “mental image” of a character and hold it in place for a long time. That’s a shorthand description of the practice.

The student may work many months or even years on this project. If he succeeds, he becomes aware that the physical universe is a product of mind, at which point he is able to change reality (AKA telekinesis, manifestation).

Jack’s patient was aware of this Tibetan practice. “I thought of it as a legend, a myth. I don’t think of it that way anymore.”

Jon Rappoport

The author of an explosive collection, THE MATRIX REVEALED, Jon was a candidate for a US Congressional seat in the 29th District of California. 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

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