Hypnosis vs. Creativity
This is why I don't use hypnosis in my work, although there is a SELF-hypnosis script on my website. I understand why other people find it useful and want an easy, quick fix. My work centers on opening the heart, seeing the ego, finding one's own inner power Source (soul), and being more creative. The emotional sessions become more visual and creative as I go deeper. "Jack True" did brilliant work, but it wasn't unusual for him to do over 80 sessions with a person. It probably would have been faster if he used energy. Remember, in hypnosis, the subject locks subconscious minds with the hypnotist, so anything can be consciously or unconsciously dumped into the subject's mind. Jack said that people don't need more hypnotism because they are already hypontized. They need to wake up! Carla Muth
Subject: An Article From Jon Rappoport
This 1988 interview, done before Jack's passing, is an extremely important document about the creative life and its rewards. Jack True was many things in his life. At the root, he was an innovative hypnotherapist who ended up waking people from their chronic trance, rather than putting them into a suggestible state of mind. Jack was a friend and colleague, and was responsible for getting my first book, AIDS INC., published.
Here is an excerpt from our interview.
Q: I'm here with Jack True. Jack, have you ever hypnotized a person and had him reveal the guts of his own programming?
A: It's happened, but I don't put much stock in it.
Q: Why not?
A: Because a person under hypnosis is liable to say anything. (laughs) I know that doesn't sound very technical or clinical, but it's the truth. What I mean is, the patient picks up cues from the hypnotist. If the patient senses the hypnotist wants him to do something, he will.
Q: So if a patient thought you wanted him to reveal the nature of his own conditioning, he would give that to you.
A: He'd invent it. Now, understand, I'm not talking about a patient who was subjected to actual traumatic mind control in the past. I'm talking about your average Joe. Joe would invent something. He might create a whole structure of "programming." Which says a great deal about the creative ability of an individual.
Q: You wanted to say something about the creative life and what it really means.
A: Yes, but first we need to clear away some confusion. Most people---and I still find this amazing---believe that they can feel and see only certain things. Everything else doesn't exist.
Q: You mean people don't believe in the paranormal?
A: Let's not use that word. It's deceptive in this situation. No, what I mean is this. People believe they feel and see within a range. That's the "human spectrum." "I can see what I see and feel what I feel." And that's where all the trouble starts. You understand?
Q: I'm not sure. Keep going.
A: People unconsciously establish those limits. They feel comfortable in that defined space. They live their lives and they suffer and they make small victories in that space, where they feel A, B, C, D, or E, and they see within a certain range. This is very important. I encounter it all the time with patients. This is their disease. They don't know it. They want to find a solution to their problems within that space---they don't understand that the problem IS that space. [E.g., invisible energy healing to many people is too big and expansive.-- no "limit."]
Q: The limited space of seeing and feeling is the problem.
A: That's right. All the frustration grows from that. It's the unconsciously assumed boundary of life. What a person assumes he can feel and see forms a space---a set of boundaries for experience. When you've got that operating, you're going to have many problems and contradictions. You're going to come up against impossible situations, and you're going to eventually accept "your fate" and knuckle under and give in. You're going to construct a myth that rationalizes your very limited life.
Q: Why do people do this to themselves?
A: There are many answers to that question, but let's use this one: people feel an obligation to copy each other. It's a bizarre concept, but it's true. People sink to each other's lowest common denominator.
Q: Not very creative. (laughs) It's the opposite of creativity! It's how you form a group.
A: Yes! You have an unconscious consensus: "I'll be like you and you'll be like me." So everybody keeps sinking down a little to copy each other. And this pattern and impulse gets programmed in. It becomes the guide.
Q: But then you have people who have broken free of that. And still they don't really want to create something major.
A: Yes, but let's stick with this for a moment. What does "breaking free" mean? Does it mean widening the boundaries of what you can see and feel, or does it just mean getting fed up with other people's blindness? There is a difference.
A: Let's look at the programming [which begins at an early age by parents]. Suppose a person is programmed to see 500 different things and feel in 12 different ways. I'm simplifying, of course. But suppose that's the case. A treadmill effect is going to happen. A person, over 40 years of living or so, is going to see those 500 different things and feel those 12 feelings, over and over. He's going to repeat and repeat. He's going to get used to that [PATTERN]. He's going to get bored, whether he admits it or not. And that boredom is going to have a corrosive effect. He's probably going to call that effect "growing older." But it isn't. Not really.
Q: And then?
A: That's where the creative aspect comes in. You see, if he really begins to create a new future that is ambitious and big and adventurous, he will feel and see new things! That will happen. But he's programmed himself not to feel and see new things. He'sprogrammed himself to believe that he can't feel and see those new things. So what does he do? He stalls. He stops himself. He doesn't create. He doesn't do it.
Q: I think that's a very clear analysis.
A: Yes. For years, I was concerned with eliminating all that programming. I wanted patients to see and feel new things. I wanted to dismantle their old pattern. I was successful, to a degree. But then I realized it wasn't about what they could or couldn't see. It wasn't really about that. It was about whether they would or wouldn't create. That was the crux. That's the question.
Q: You can't just remove the programming.
A: You can't take it out like an old recording. You can't do surgery on it. The person will turn around put the same record right back on the turntable. You see, people love to believe they are being deprogrammed. They love that idea. You can sell that idea from here to the moon. They love it. And why? Because it doesn't require them to do anything. They can "have it done to them." That's what they think. But then----they'll put all the programming back, later on. It's a joke. It's a con game. They're conning me and they're conning themselves. [Like Thought Field Therapy, Emotional Freedom Technique, NLP, EMDR, etc.... More programming!]
Q: You saw that?
A: Sure. I saw it every day. It's the same reason people love spiritual systems [& religions]. They can do a discipline, but they don't reallyhave to create. They think they're getting somewhere, but they still haven't crossed the line. I've worked with people who'll do ANYTHING to avoid creating. They'll fast, run, pray, meditate, exercise, do yoga, take drugs, change diets, detox, do therapy, go to retreats and bond, channel beings, and form communities and get into isolation tanks and climb mountains and hell, the one thing they won't do is CREATE.
Q: What do they equate creating with?
A: The death of what they are supposed to feel and see. People can only break the hold of what they're supposed to experience by creating new experience [or way of being or seeing themselves]. When they create THAT, they know they are breaking free. They know it because they are doing it directly.
Q: And yet the culture does no more than pay lip service to creating.
A: What else would you expect? You've been painting for a long time. What did you discover?
Q: That I wanted to keep creating. That everything changed when I painted.
A: That's what I mean. That was your avenue. Painting was your exit. Potentially, everybody can find an exit.
JON RAPPOPORT www.nomorefakenews.com
See: Brainwashing Techniques by Dick Sutphen