Comments on: Forgotten languages: how I put together Exit From the Matrix

By: ErnieM

Wed, 13 Nov 2013 03:24:59 +0000

People interested in this line of thought might in my ideographic system of writing for English. See neoideograms.wordpress.com They engage more of the mind than ordinarily written words. they illustrate Latin and Greek roots, overcoming the unconsciousness of not knowing the meanings of the syllables we use. They also illustrate ideas and words more directly, always creatively. They are a means of transcending ordinary English, and beginning to free oneself from its stultifying matrix. stevehudson@fastmail.fm

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By: Nicole Van Brabant

Mon, 11 Nov 2013 11:25:39 +0000

Hello Mr. McGean,
I am so intriged by what you are saying about sulfur. My first reaction was thinking about the Lake of Fire & Burning Sulfur, in the book of Revelations in the Bible. That if it’s good for you, of course the derelicts would have us believing that it’s not. Par for the course?

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By: Patrick McGean

Sun, 10 Nov 2013 17:20:16 +0000

The forgotten language of the matrix is biology, and cellular biology for the entire universe, that is the true matrix, and what we study. I wrote because of your ongoing Boycott of the chemical companies and would suggest the Cause of Fukushima to top the list, Boycott anything GE, including NBC.
Each of us can protect and repair the damage of radiation exposure, and the damage of the chemicals made by those you already Boycott.
You and Laura are both sulfur deficient as are all people on the planet but adding organic sulfur to your diet can protect by allowing the internal matrix to become biologically complete.
Dr. Richard L. Stump and I would love to hear you laugh on our Sulfur Hour Plus One, we seldom hear you laugh. Sulfur deficient?
By the way, we the people outnumber the rulers, the military, the one percent and sulfur will make them wish they had been more friendly when we erect the gallows. Or they can add organic sulfur to their diet and we will retrain the selfish bastards.
Patrick McGean
Director
Cellular Matrix Study
Body Human Project est. 1999
200,000 Plus living study members,

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By: unityoness2013

Sat, 09 Nov 2013 18:01:50 +0000

By: kozandaishi

Sat, 09 Nov 2013 15:23:33 +0000

Clouds

It all comes and goes faster than
Lightnin Hopkins in a New York minute
Percolating through the pores
These clouds of obscurity nothing
More than nothing more than
Vaporized layers revealing the
Nothing in which everything blooms

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By: Peter Schreiner

Sat, 09 Nov 2013 15:20:15 +0000

Jon, I find your Exit from the Matrix fascinating. It will take time to complete the program and regain the essence and comprehension of my dormant and repressed imagination, but the process, has begun.

Thank you.

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By: Michael Burns

Sat, 09 Nov 2013 08:16:22 +0000

This conversation is starting to become very interesting Jon. Back when I was developing myself as a painter, I hung with two other artists, both painters; we would get together and have incredible conversations about what you speak of here Jon.
Robert the oldest of us three, was more an older brother to my friend Doug and me. Robert and I believed deeply in the self-taught artist, searching, exploring, risk-taker, going it alone.
Douglas was different, but he believed for the most part in that ideal. He went on to get his Bachelors and finally his Masters of Art majoring in painting. He did wish to teach at the University level. So a Masters degree was a prerequisite.
Doug and I were the same age; Robert was about ten years older. We would get together and drink red wine or Retsina on a Friday night and sketch and draw the whole night in some café. Those were fun days… it is strange though, you’re writing and words, your thoughts on creativity, Art, imagination, and the paranormal; remind me so much of those days.
Anyway… we would get into these cafés, and Doug I would start strange these conversations with sketch books. Now you have to understand that we are all accomplished draftsmen, not neophytes. I had been drawing for about fifteen years or more, Doug about the same amount of time.
He would draw a line in his sketch book, any line; it didn’t have to have any particular shape, weight or size. Something outside his own sketching vocabulary. It did have to have intent. Not complete thought, as an emotion. It could be a crabbed, straight, heavy or thick line. It could be even be a few lines, but the trick was to remain ambiguous. He would then pass the sketch book to me and I would respond to the line or lines. It was important that nothing was suggestive of something known like a female body or an eye or a tree. But one had to read and respond, by inventing language. And searching for a common language with the other, that we both agreed on through the process, recognition of line weight of shape as a type of word or suggestion of a feeling. We would have these long conversations. This became exciting and necessitated moving to the next page, and the next, and so on. We would get a line conversation going, and start to notice dialectic establish for the evening. They became quite intense. So much so that we moved the conversations into one of our studios. Every so often we would get together, and have this intense collaborative time on a canvas. The last conversations Doug and I had resulted in thirty canvasses, over a period of about three weeks in my studio, it was about 1998, some of these canvasses were 6 ft by 8 ft. worked out continuously over days. Layers upon layers of talk. The medium was kept to acrylics, usually a white ground, or to soft ivory tones, no hard or heavy color, and the drawing media was charcoal usually, sometimes pastel and graphite.. Many of the conversations did start to develop into new feelings, strange feelings not specifically recognizable as an anger or frustration. These were intense periods for both of us; they were exhaustive. Always long periods in the studio. We would start at 9:00 o’clock in the morning and easily work until midnight sometimes… stopping only for food, or coffee.
Doug and I agreed that these sessions, started to cross over into our dream states. After a while we became aware of a third artist developing and becoming involved in the surfaces. And this happened in a matter of a few days. This ‘other artist’ would just show up for a period of time during these conversations. It was like a third hand involved in this process. This was quite startling to us, to say the least. It was a style change. A complete change in one’s own known aesthetic, and signature, in some instances almost like an altered state. That additional voice started to come forward in some works more than others. This was something that was completely outside the normal. They were amazing times, I will remember them always.
I don’t see Doug very often, he does not paint anymore. His hands are gone, he was gifted figure painter. But every time I do see him we talk about those intense periods.
I have one of the larger pieces upstairs, I love looking at the piece, and they were all fascinating works.
These periods of working with my friend, totally changed my ideas revolutionized for me what it means to be an artist. Without arrogance, and false modesty I would care to say, that being that kind of artist is the highest state of consciousness one could achieve in a waking state… an almost perfect state.

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