GLPVC Presents - Jon Rappoport PODS UP (sorry for delay) pg 2

bobs with us just in time for the aug 2nd debt

Excellent

real answers on doom day!

thanks for getting him, Phen. you're the backbone of glpvc.(er, spine).

Last Edited by Tiny Green on 07/31/2011 01:49 PM

Wow, nicely done again, Phenomenal Mom...!!!

This is gonna be good!

excellent question from a prior post, if the imf is willing to bail out greece, protugal, spain, ireland, italy, why would they not bail out the us of a, if they are supposedly ready to default on the trillions owed?

thought this is a worthy question to be re-peat-ed, thanks.

Thanks OP.. It doesn't get better than having Bob Chapman...

WOW

Bob is DA MAN

I just finished reading Bob's piece on Gold Seek regarding this budget business. What's he tryin' to do, give seniors a heart attack? He said the plan is to get rid of us "useless eaters" via Obamacare.

As we already can guess, the plan would affect anyone else considered a "useless eater" as well, especially if they were getting a gov't paycheck, like the seriously wounded vets. Will those heartless bastards also deem special needs children useless eaters, too?

I've made a Will, now must get Power of Attorney signed and notarized, and get the Medical Directive typed, signed and notarized. Like yesterday, already, but pray Almighty God brings in their end before they kill us all.
.

Can you ask Bob for some up and coming junior miners/explorers he likes?

bobs a busy man - he has several shows a day and hes old and gets tired fast. ive been tryin to get him here since we first started broadcasting but he just couldnt fit us in.

i hollered at him this morning - and asked him if he would slip us in as a favor - being we're in the 11th hour of default.

bobs been a friend to glp. he comps us his international forecaster. i have an email list i send to for glp'ers.

bobs the man - he came thru.

^5 bob. thanks bud.

Rappoport is cool. He is an extremely wise man and we can all learn a lot from him.

Chapman is a douchebag. He is no better than the crooks who are part of the economic collapse. Read this stuff to learn why the guy is a douchebag.

[link to www.avaresearch.com]

[link to www.rgm.com]

[link to www.stockwatch.com]

[link to www.stockhouse.com]

bullshit ankle biter. bobs called'em one after another and been right.

suck a nut.

From the AVA link above...

"Chapman is one of the biggest clowns in existence. I put him on the same level as Gerald Celente and Porter Stansberry."

Both of whom are right more so then not 99%+ of the time!

& you can suck the other nut fuck-chin.

Oops I think you shot a friendly there. Where did you get those nuts anyway?

I was, um backing Bob who I subscribed to and listen to religiously...The guy from the above AVA link is quoted, and mocked by me. Read much? I like Celente and Porter... and love Bob, he pretty much saved my life (too long of a story).

my bad. i misread. you have my profound apologies.

no excuse but busy threads tonight for mods

Here's Jon Rappoport's most recent newsletter, not specifically about the topic he will cover in voice chat, but he's got several interesting things going on at once all the time (he gave me permission to post his articles in full):

LANGUAGE, MAGIC, AND MEDICINE



A THESIS BASED ON SEVERAL EXPERIMENTS



AN INTRODUCTION



JULY 30, 2011. This is just a prelude to a much wider discussion.



I have written articles about new types of languages, and I will make another stab at it here.



Let's directly consider abstract painting. For reference, assume I'm talking about a few of the "easier" painters, like Kandinsky, Motherwell, and Rothko.



We see shapes. We see colors. We see space.



What do they mean?



Well, that's a rather vague question. It's obvious these painters couldn't expect a viewer to feel, sense, know, precisely what they, the painters, felt.



It's more complicated than that, though, because the painters quite possibly didn't know what they meant, either, as they were creating on the canvas. In other words, they weren't striving for exact meanings.



They were operating in non-verbal territory.



All this is enough to infer that the gulf between painter and audience is so wide that the very notion of communicating anything is absurd to begin with. And yet, when certain people stand before one of these abstract paintings, something happens. Something that can't quite be put into words.



This experience is quite acceptable when it comes to music; no one is expected to listen to a concert of, say, Mozart and then explain what it meant. But with abstract painting, there is more discomfort, and that appears to stem from the fact that we believe the visual should be more definitive-and moreover, when shapes on a canvas remind us even vaguely of language, we expect a "translation."



And when we don't find it, we throw up our hands in despair.



We could say, stretching things, that abstract painting is "like a language without conventional meaning."



By all definitions of language, that's another absurdity.



We live our whole lives with language, and we know it when we see it. The words have definitions. You can look them up. The words are pronounced in certain ways. Sentences are structured. We have logic (if we ever learn it). Language works. It's useful.



When we look for something more, we reach for poetry.



How far can we look?



What would happen if two people were "talking to each other in abstract paintings?" What would that conversation be?



WHAT DE-CONDITIONING, IF ANY, WOULD NEED TO TAKE PLACE IN ORDER FOR IT TO HAPPEN?



Suppose the mother of a four-year-old child made a painting on a piece of paper and handed it to the child. They didn't talk about it. The mother just gave it to the child...and the child caught on...and made a painting in response and handed it to the mother...and this went on, on and off, back and forth....for a number of years. What would develop, regardless of whether it could be articulated by either mother or child?



I say: what would happen is magic.



Intuition. Spontaneous intuition. Over and over.



Of course, mother and child speak their native language. This isn't substitution or replacement. This is a parallel universe.



No one is there, as they keep exchanging paintings, no one enters a judgment on the quality of the responses back and forth. There is no judgment at all. No discussion.



Now here is my hypothesis:



In this process there is a medicinal aspect, in the sense that metabolism, endocrine production, neurotransmitter outputs, brain pathways would be affected. Not as limitation. Quite the opposite.



Paranormal experiences would occur. If this were to be called telepathy, it would be of a different order than the simple reading of simple thoughts. As the child grew up, he would, more and more, "catch on" to non-verbal overtones and undertones broadcast in people's spoken (and written) language. Not just the usual extra-tones. Whole new dimensions.



Perception of the physical world would change. Objects would be seen as more than dead things. They would "imply previously invisible aspects of themselves." The aliveness of nature would be heightened.



Behind it all, imagination would be operating at high, wide, and deep levels.



The neutral, dampened, and "sleeping" internal epicenters of experience/creation would dissolve with the flowing of energy, and an elasticity would come to the fore.



Physical coordination would improve.



Choked off paranormal faculties-the capacity to see into the future and to influence physical matter and energy directly-would surface.



In other words, this "non-verbal language" in action would supply what has been missing in many cultures since the dawn of time on this planet.



We would then see what, despite all our technological triumphs, has been lost and misplaced.



And we would have no more shrinking puzzlement about language that doesn't fit the habitual mold.



I've tried some short-term experiments with "abstract art language," and the results are promising. At the very least, people have realized the car they were driving, the one they thought had three cylinders, actually had 30...



Blood pressure has normalized. Memory loss has been remedied, to an extent. So-called hyperactive symptoms in a child receded. In one case, the need for hormone therapy reduced-lower dosages of bio-identicals worked just as well.



Sure, in this piece, I'm making claims I can't prove all the way down the line.. That's why I called it a thesis. But linking this experiment up with others I've done with sound, with guided imaginative "excursions," as I call them, I'm seeing very large possibilities here-and they all point to the fact that we are speaking and writing language in a very narrow part of a much wider spectrum.



If that is the case, it's obvious we are operating in a compartment from which we can exit.



Personally, I already knew that for myself, because I made the exit a long time ago, when I started painting-based on an aptitude I'm sure standard tests would have put in the minus range.



So much for cultural measurements. They don't begin to tap into what is going on in the realm that is the freest and most powerful of all: individual creation. The quality that underpins life.



Magic.



Here is a description of one "case":



A very bright boy of six was brought to me by his mother. The boy and I talked for a little while, and I saw he was distracted, irritated, dour. His mother had already told me he'd been diagnosed with ADHD (but wasn't on medication). She said she was having major problems with him. He had frequent sinus infections.



I told the boy I was going to do some drawing, and he could watch me if he wanted to. I spread out a large sheet of paper on my table and opened up boxes of oil crayons and dumped them on the table. I began making shapes on the paper and...just drawing.



After a few minutes, he picked up a crayon and asked me if he could draw, too. I nodded and kept on working. He started in on a blank section of paper and began drawing his own shapes.



We worked side by side for a half-hour or so. He had no problem focusing on what he was doing.



I told him we could make this drawing together if he worked with me long enough. He said okay.



So a couple of times a week, his mother brought him to my studio and he and I kept drawing on the large sheet of paper. At one point, he asked me whether he could draw over my work and change it. I said that would be all right, as long as I could do the same with his work. He agreed.



So we did that. But it wasn't a struggle. Now and then he would draw over my shapes, and vice versa.



When we were finished, in a month or so, I pinned the paper to the wall and we looked at it. He said he liked it. He said he wanted to do more.



That's when I suggested we could sit at the table together, and he could make a drawing and give it to me, and then I'd make one and give it to him. He shrugged and said okay.



All in all, we made perhaps 80 drawings apiece...back and forth, over a two-month period.



Then his mother told me his sinus infection had gone away and he was much easier to deal with at home. He was also doing better in school.



At one point, he said to me, "Sometimes I know what you're going to draw."



In conjunction with another problem he had, a year earlier, he had received a bran scan...and now he went in for another one. The examining doctor told his mother the changes were extraordinary. Areas that had been suggestive of possible damage were now looking fine.



It was my distinct impression that the boy was benefiting from the drawing, from the exchange of drawings with me, and from the fact that the sheets of paper were new (and free) spaces he could create on in any way he wanted to.



Interestingly, the boy and I felt no need to talk to each other about what our abstract drawings "meant." We never discussed it. It was given that we were...drawing, and that was enough.



A few months passed. His mother brought him to my studio again. He looked quite healthy. He was friendly. When his mother went for a walk, he told me he was "seeing things" at school. He was seeing how the teacher was "making a list" (in her head) of the students...which ones she favored and which ones she didn't. When she spoke to one of the favored ones, he saw green and silver shapes and lines moving between her and that student. When she spoke to an unfavored student, the lines were gray and they had "bumps" in them. A few times, he was able to make the gray lines "go away."



We talked about this for a minute, and then he said that he also saw different colors in the corners of the room. He said they were like "stalls," and the teacher would "choose" different colors when she was speaking to the class.



The boy was quite calm about all this. He wasn't in a "fantasizing" frame of mind. He was just reporting, as if he had been to the park and was telling me what he saw.



I asked him whether he thought it was good that he was seeing all this. He said yes, it was helping him. He felt smarter. He wasn't getting tired in class anymore. He was "learning better." (In fact, his grades were improving.)



On the playground, he said, he was running faster and "getting better at games." He could sometimes feel or see things before they happened.



He had one question. Since he was becoming more popular at school, he could just keep on doing what he was doing, or he could "become a leader." The teacher had talked to the class about "leadership." He said he had thought about it, and so he made two drawings. He showed them to me.



In one, where he was "just himself," the shapes and the colors were quite varied. He'd used many colors. There was a sense of motion. The shapes overlapped. In the other drawing, representing "leadership," the shapes were gray and they were more orderly and similar. They floated in space.



He said he liked the first one better.



I told him I was sure he could answer his own question. He agreed.



We drew together for an hour that day. Occasionally, when I glanced at him, I saw a healthy glow in his eyes. A happiness that people dream about.



JON RAPPOPORT

[link to www.nomorefakenews.com]

Excellent line up. Bob Chapman is the man. Ill be there.

Heres my question from a long time listener of Bob Chapman.

Mr. Chapman,

I have studied the Argentinian collapse 10 years ago as well as the Weimar Republic and the collapse of the USSR. Without a timeline could you give us a play by play on how the US collapse would occur?"

If you worked in medicine you would know that the Obamacare bill along with cuts in Medicare are about eliminating seniors.

His current recommendation are:

Hellix Ventures
Pretium Resources
Abington

His majors are:
Goldcorp and Agnico Eagle

Hellix hasn't moved in sooooo long! I bought and sold it several times on it's $0.10 rises and falls then gave up.
It did go up to over a buck, and I had bought at $0.11 on his recommendations but sold then rebought then sold then rebought etc and ad nauseum. Is it ever going to go Underworld?

Who knows...I'm liking sqa.v and Us Silver corp right now...

"Rappaport" is one of the most fantastic surnames out in u.s. and i mean in a good way. just say it now aloud - 'rappaport' -> doesnt it fill your mouth properly and is told easily ?

Rappoport?

Thank you for your response. It has been my opinion for quite some time that the desire to eliminate seniors has already been at work. That is why I have not seen an MD for over 20 years, preferring to get over whatever ails me on my own. At the moment, 75 years old (?), I have no mental nor physical disabilities.

What concerns me is FORCED medical care, i.e., visits to an MD for checkups. You just know that the "caregiver" will find something wrong that has need of treatment. Ugh.

Then we are faced with the dolts who will be visiting us to talk us into an end-of-life way to die. Starvation isn't going to be one of my choices, nor is euthanasia. I prefer to die a natural death with dignity, not one brought on by somebody who doesn't give a damn about respect for somebody's life., nor for those who must witness the ordeal.

That bill MUST be repealed, not only for my generation, but the next, if not by this Congress, then the next. Can we hope for that?
.

Just for background on Jon Rappoport, here is today's newsletter, honestly to me his material seems more than IDEAL for GLPers of all stripes. Seems like GLP would be his perfect base for implementation of and experimentation with his ideas and techniques.

Again, I have permission from him to post his articles in full:



SOLUTIONS INSIDE THE MATRIX



AUGUST 1, 2011. There is the short-term look and the long-term look. In the long-term, every solution to a problem inside The Matrix leads you further into more Matrix layers. It's a matter of where you are, where you are looking, and where you are looking from.



When you are looking from, and using, and living by and through imagination, you are outside. You can then create realities in Matrix that don't drag you further and further into the molasses.



Matrix is basically a religion.



It is dressed up by people to look very good, with shine and gloss and promise, and people give it a large dose of sentimentality, much as they do with "permissive" religions.



These days, one of the sub-categories of Matrix religion is what I call The Church of Nice. Everybody is nice to everybody else, every viewpoint is equal and every idea has merit. This attitude is considered to be "evolved." "Advanced." "Moral."



It's really a disguised surrender.



It's a weak notion of an ultimate solution to all problems. Be Nice.



Well, where is the "being nice" taking place? Inside Matrix.



It may not seem so, but that is part of its charm and part of its deception.



Socialization, adaptation, political correctness-they are all operations dreamed up and applied inside Matrix.



They are all substitutes for living by and through imagination.



"If I can't create anything new, at least I can be nice."



The Matrix is designed to minimize individual creative power and maximize socialization and endless problems. It's a kind of soap opera, in which all possible foibles and difficulties are congealed into an artificial construct called The Human Condition-which is played on keys and levers and pedals like a giant organ, on and on and on.



People develop actual pride in the fact that they have developed an amnesia about their own imagination.



At which point, you arrive at an absurd crossroad, where a person firmly ensconced in Matrix wants to make magic without changing his close affiliation with Matrix.



Such a contradiction leads to a pretended love for and devotion to systems, which are seen as a way to work around the dilemma. System after system after system is tried, to shake off the paradox, and they don't work.



People in Matrix evolve a strong distrust of imagination, because they instinctively know it is always and forever inventing realities beyond the fiction called The Human Condition.



In this deep sense, the slave wants to remain a slave.



In order to remain thus, every meaning must be connected to Matrix.



If I say X, a citizen of Matrix interprets X relative to Matrix.



Actually, MEANING is an infinite spectrum, the vast majority of which hasn't even been invented yet. Those who are operating inside Matrix all the time are devoted to a very narrow passageway of meaning, and whatever doesn't travel in that thin corridor turns into: "I DON'T UNDERSTAND."



This is the cry of the Matrix Citizen.



Well, yes, because imagination creates meaning.



We can look forward to the day when people speak languages we, at our present point, would have no clue about-not because we lack technical advances or richer vocabulary-but because the very core notion of MEANING will expand far beyond present limits and dimensions.



Humanity has stalled, temporarily, because it is engrossed with its own technical achievements. These achievements all presuppose certain aspects of Continuum are stable. From the viewpoint of imagination, such stability is about as interesting as an ant sleeping on a table.



Matrix IS the bland acceptance of limited meaning.



One of the primary symbols of Matrix is the labyrinth. When all is said and done, it represents passive consciousness looking at and receiving What Exists. Although What Exists changes for various reasons, passive consciousness is only interested in watching it, taking it in. This strategy winds up in being adrift in the maze.



There's a local church in my neighborhood that brings in Tibetan monks once a year to do a sand painting.



For a few days, the Monks use colored sands to create a complex mandala on a large table.



At this service on Easter, the monks destroyed the mandala. They always do that. That's their gig. They make it and then they whisk it away into dust.



An array of reasons was given to the congregation, to explain why the monks get rid of a sand painting after they've completed it.



One, they were "transmuting" the painting. Two, they were now using the sand to create "healing." Three, they were giving people small envelopes of sand to "spread the healing/creation." Four, they were illustrating the ineffable or transient nature of all things.



These are all "New Age reasons." Superficial food for a modern audience.



In the ancient Tibetan tradition, the creation of art had a much deeper and wilder purpose: to reveal that the universe is a product ofmind. Period. The universe isn't some intrinsically sacred entity, it's a work of art...and if it can be vividly and deeply perceived as such, the adept (artist) can then spontaneously delete pieces of physical reality and/or insert pieces of his own invented reality into universe. Magic.



This was the core of Tibetan thought, and it was brought to the country some 1400 years ago by rebel teachers from India.



UNIVERSE IS A PRODUCT OF MIND. THEREFORE, YOU CAN SPONTANEOUSLY AND MAGICALLY ALTER REALITY.



The ancient Tibetans weren't fooling around. They weren't about worship or self-effacing religion. And they weren't just claiming a person could manifest a desire in the physical world. Of course that could be done. They were going light years farther.



They were saying the universe, at the deepest level, wasn't really an interlocking system of energies. No, it was a creation of mind. The whole thing was, in that sense, one work of art. Just one. Universe is one work of art among an infinity of possible works of art.



To really qualify as an adept, you had to able to destroy (as in DESTROY) what you created. Not disperse it or turn it into some healing force or blow magic dust on a crowd with it. No. You had to be cheerfully willing to destroy what you create. Otherwise, you would be caught in tangle of diminishing power, fueled by your precious and careful attitude about your own inventions.



Yes, these people were riverboat gamblers. They were shoving in all their chips. They were tough and determined and innovative to the nth degree.



Nothing like them had ever been seen on the face of the Earth.



Two authors are indispensable to understanding what was really going on in Tibet all those years ago. John Blofeld and Alexandra David-Neel. Read Blofeld's The Tantric Mysticism of Tibet and any of David-Neel's books about her travels in Tibet, including WithMystics and Magicians in Tibet.



Of great importance is Blofeld's description of a practice he translates as "Deity Visualization." The Tibetan student is given a very precise "personage" to create in his mind, down to the last detail of accoutrement. Presumably, this information was relayed to him through a painted mandala.



The student would then retire into isolation, and for months, perhaps years, he would work on this "interior painting," in his imagination. If he was finally able to hold the complete image together, mentally, he would be done with phase 1.



Then, phase 2, and the imagined personage would seem to come to life. It would become the student's friend, his ongoing guide, his advisor. The teacher would watch this joyous interaction between the student and the "personage," and when he saw the student was starting to rely on his new best friend, he would tell the student: DESTROY IT.



This third phase, it was said, was harder than the original task of creating it.



If the student could move through all three phases, he would realize that universe IS a product of mind...and he would be able to impact universe spontaneously. Making things disappear, re-appear, inventing "new pieces" to insert into physical reality.



No praying, no worshiping, no allegiance necessary.



However, as always happens, the priests moved in.



Then the Tibetans clogged up their own fantastic technique of creative work with immense amounts of ceremonial baggage and ritual and "preparation." The student had to approach magic from a long way off, had to endure all sorts of hardship. In Tibet, the theocracy took over and buried the core of the teaching.



Then on top of that, coming into modern times, further New Age fluff was added to the mix, resulting in a ludicrous mess.



Yes, the ancient Tibetans-before the priests obscured the most profound of all Earth-bred cosmologies-were on to something enormous.



The monk sand painters at the local church on Sunday? I have no idea what they remember about their real tradition. But they are a vague reminder of that wildness and actualwisdom.



Whether anyone knows or cares, that's what the sand painting and destruction are about.



There is much more to say about all this, and in various venues I have and will be saying it. Based on this ancient Tibetan fire, I've developed a number of techniques that move toward the original Tibetan goal.



There is a great deal of nonsense and underbrush to clear away, to establish a new mystery school-where the mystery is out in the open.



Sooner or later, you will come across people who try to assert that every power is "inherent in the universe." They will describe such power. They will keep on doing this until they realize that nothing they have discovered begins to explain consciousness or imagination. You don't have to care about any of that. All you need to do is create with imagination for a few million years, and everything will come clear.



If imitation is the sincerest form of flattery, we've flattered reality enough. It doesn't need more.



Imagination can be used to invent a better shade of nail polish or a universe. In a society devoted to nail polish, imagination is not to blame.



What feeds back to you from the product of your imagination is far less important than the fact that you imagined it. People love to ensnare themselves in what they have imagined. They try to inject meaning into it, so much meaning that they become tied up in useless interpretations. They are the "product people." Dreams, paintings, collections of ideas and thoughts-they are obsessed with what they have invented. Just look at what you've created it, enjoy it, revel in it, and go on to create something else. This is the path.



Imagination isn't a system. It might invent systems, but it is non-material. It's a capacity. It feels no compulsion to imitate reality. It makes realities. Its scope is limited only by a person's imagining of how far imagination can go.



The human race is obsessed by the question: what exists? It appears to be a far easier question than: what do you want to imagine? People seem to have a problem imagining something that never existed and then inserting it into the world.



All the great questions are answered, as a side effect, on the road that is: imagine and create, create and imagine.



The universe isn't a temple. It's an amusement park invented by perverse jokers. Stop groveling.



It's useless to try to talk down to people about imagination. We're not breaking a system into parts. We're not trying to teach a person how to tie his shoes. We're talking about the proliferation of endless new worlds, not seen through a porthole, but invented.



A hidden pattern is something that was previously created. Discovering its shape and details is satisfying for a short time. And then there is fatigue and boredom. Inventing something is a rocket that moves past all that.



JON RAPPOPORT

[link to www.nomorefakenews.com]

You guys should sign up for Jon Rappoport's newsletters, he keeps your mailbox full with so much food for thought, always something original and surprising, like this, just in today:



THE INVENTION THAT WASN'T THERE



AUGUST 1, 2011. Martin Frxx was working on a grant from the National Foundation for Progress. In his studio in a small town in Ohio, he was building something made out of stones and fire.



However, quite soon the stones and fire, as he put it, changed places. This was a remarkable occurrence. Frxx hadn't planned things that way, but he accepted them.



When two examiners from the Foundation came to his studio to check his progress, they stood in front of his work table and shook their heads.



"There's nothing there," said the first examiner.



"And if there were," said the second, "I'm sure it wouldn't be symmetrical."



Frxx scratched his head.



"I'm not following either of you," he said. "There it is."



"There is what?" the first examiner said.



"A Frxx plus."



"Excuse me?"



"It's a mirror of myself. But it's different."



"Try that again," the first examiner said.



Frxx cleared his throat. He spoke for a few minutes. But as far as the examiners were concerned, nothing came out of his mouth.



They frowned at each other and left the studio.



Frxx recognized he had a problem. He sat down and wrote a letter to the Foundation:



"...I must caution you that your two examiners who visited me today have changed. They may not know it, and you may not observe it, but they are imbued with something new. How long it will take them to understand what has happened is anybody's guess. A year? Ten years? Thirty years? The fact that they saw nothing on my work table is evidence of what I can only call a profound distinction. No one can come away from that essential bifurcation and remain unaffected..."



A week later, an older man came to visit Frxx. He said he wasn't from the Foundation, he was an inspector attached to "Intell Central."



Frxx welcomed him.



The man stood before the work table and said, "I don't see anything, either, but I admit the possibility that something is there."



Frxx nodded. "That's an improvement," he said.



"Can you describe it?" the inspector said.



Frxx shook his head.



"I don't have the language for it. Any words I might use would be misleading. You would infer the wrong thing."



The inspector said, "Can it be sold?"



"Well," Frxx said, "I suppose it could, in a general sense, but what it actually is can't enter the market. It has no place there. It only operates in the territory of the mind."



"How so?"



"It changes interior reality."



"In what way?"



"It introduces a new kind of thought. Not a new thought. A new kind."



"Then," the inspector said, "it should be destroyed."



"Why?"



"It's destabilizing."



Frzz nodded. This was true.



"You could try to destroy it," he said, "but I don't think you'll succeed."



"Oh, we'll succeed," the inspector said. "We'll take the back-door approach. We'll fortify all present kinds of thought. Build them up to such fearsome strength that they'll continue to dominate and construct things as they are."



Frxx considered this.



"It's not the first time you've come across an invention like mine," he said.



The inspector smiled.



"Heavens no. It's happened thirty or forty times in the last decade. That's why I don't dismiss you out of hand."



"If you don't mind," Frxx said, "I'd like to know how you fortify all the existing kinds of thought."



"Certainly," the inspector said. "We spray a unique substance in the atmosphere. You might say it's OUR invention. It multiplies the power of EXISTENCE. And you can take that at any level. The EXISTENCE of objects, of Nature, of people, of society, of information, of energy, of universe. Most of all, universe. And of pattern behind universe. Ultimate pattern. It increases the power of all these elements."



"Ultimate pattern?"



"Yes. We know what that is, and we fortify it."



"And as a result?" Frxx said.



"Every person on the face of the Earth increases his attachment to EXISTENCE at ALL LEVELS. And increases his desire to explore and feel and understand EXISTENCE."



"And this works?" Frxx said.



"Look around you," the inspector said. "How many people really care about anything else?"



"So," Frxx said, "you know then that there is something else. A different KIND of something else."



"Yes, and your invention promotes it. It promotes imagination."



The inspector shook his head and walked out of the studio.



Frxx stood at his window for a while. He realized the inspector was right. His invention was...a silent whisper that reminded a person he had the power to invent, well, universes. Along side which, this universe and everything it contained or implied was only one EXISTENCE. And probably a mild one at that.



The invention of radically different kinds of universes was possible. And so was the invention of Xs that weren't really universes or systems at all. What they were he had no words for.



Frxx sat down at his table and opened his notebook. He began to write. His first sentence was:



THE COSMOS IS A FORGERY OF THE INDIVIDUAL.



JON RAPPOPORT

[link to www.nomorefakenews.com]

Phenn, i missed yesterday's Max Keiser (sp). WIll you be putting up his interview so those of us who also missed it can listen? Thanks.