Okay. This is the second session, the — afternoon session, November the 17th, the first hour on it.

Okay. Second section of the November 17th morning lecture to the Second Unit.

This morning I gave you some things to do with regard to putting emotion in things. And I found out that many — many were neglecting the "emote" and putting some "shun" in. Ha-ha, joke!

We have this drill. All right, now I've given you the basic basics on this drill. I want to give you a little more and I want to give you why we're doing this.

And, it's a very funny thing. I'll tell you a operating — a operating principle, which you should "hoperate" with. And the motto of a case is, and the significance of and the reason why of a case is, is they can't look at it. And if you take any case anywhere, you'd think offhand it's a problem of "they don't know it."

You could take a preclear, by the way, and simply have him double-terminal blackness, each time "What is the significance of it?" and he'll line charge like the devil and won't get rid of his blackness, because he's got a machine that keeps making it all the time.

Now, this is not an attainable — an instantly attainable goal for people: they can't just suddenly, pang! for some reason or other, "know it" because they want to carefully let go of the stuff they've got their hands on, see? They want to let go of it very carefully.

By the way, nothing is permanent unless he's got a machine making it permanent. You got the idea?

Now, for instance, there are a couple of techniques you can run on people which will just stop their clocks, completely. (I should tell you these for the benefit of humanity, some of which has been going on too long already!) But one of these is a button, it's a magnificent button, there's nothing wrong with this button at all except it stops people's hearts. And you could, of course, say that this was a fine button to have around, but watch who you're trying to treat with it. And if you double-terminal "constancy" — just that, just double-terminal "constancy" in a bracket for a while, ha-ha! All of a sudden the guy's ticker goes pocketa-pock, pang-pang, pocketa-pock-pock-pockpocketa-pock-pock, pang, pang-pang. Because he ordinarily is running it on his body, you see? And that's the one thing the heart does: be constant. That's the only order it's got, is "do-don't, do-don't, do-don't, do-don't." Only it says, "do-dup, don't-dup, do-dup, don't-dup." And that's all it does, you see?

He can't send himself anyplace, really, just straight out, unless he says to something, "Now, you indicate that I am going there, and I go." So you find nearly everybody's got one of these silly machines that every time he thinks of someplace, he's there or has a facsimile of it.

Now, I'm not mincing matters with you — tell you that you can simply take the human anatomy to pieces and strew old bones around with what we're doing here. So you can go too far with one of these techniques. There's nothing to be afraid of with the techniques we have, but you can actually go too far with them. And one of them is this button "constancy."

After a while, he gets a machine that says, "Every time I think of it, I'll get a picture of it." And that accounts for these — the fabulous skill with which the thetan throws these facsimiles at himself and so on. He makes them and throws them at himself. The tremendous ability of a thetan is just beyond — oh, you can't describe it!

"Persistence" doesn't process that way for some reason or other; the idea of persistence. But "constancy" brings in the second dynamic nostalgia, the genetic line — boy, it just runs on constancy. If you want to turn on beautiful sadness on somebody, just start running constancy. You'll find out that's the one thing that's been demanded of them all their lives — they must be constant. And this, of course, is persistence, and persistence is the one — anything that is not admired, persists.

Well, now we have this list and it goes from this column over here on the Chart of Attitudes from the bottom to the top — just the emotional list. And we put that emotion into everything.

But let's get back to simplicity — real simplicity. There aren't very many of these buttons, there's just constancy and two or three more — they're relatively unimportant. What you can say is the common denominator of all preclears is: they don't look, they think.

Now, how do we do that? We say, "All right. Now take a look at that case. Now let's put the emotion of 'slight resentment' in it." And then we put the emotion — "Now change that to the emotion of 'diffidence,' of not quite wanting to be there." Diffidence, you know, something — just something terribly faint, you see? That, of course, is the faintest one of cowardice. And — in other words, the faintest kind of emotions a person puts in there — nothing dramatic. You start him out and say, "All right, put terror in that case," see — he can't do it, so you made him fail. And the process to get him certain is just let him have wins, on a gradient scale, until at last he can win.

Now, there's a world of difference between thinking and knowing. Thinking is that process in which a person engages by which he hopes he will someday come to know. Now, the funny part of it is that he knows already, and the more he thinks the less he knows.

So we start over in this column, and we take the faintest variety of these emotions and we simply put them into anything and everything. Put them into the corners of the room, put them into screens, put them into drawers, floors, put them into the right foot, put them into the left foot, put them into shoes, put them into windows across the street. And just go on directly looking, with mest eyes, at the object — or if exteriorized, simply looking at the material, exteriorized. But if he has any difficulty looking at it exteriorized, have him do it with mest eyes.

They used to talk about that non communicative owl — you remember in grade school, this noncommunicative owl. He must have been set up by the Fourth Invader Force in this universe. I think they invented the tune, and so forth. It was:

All right. The reason why we're doing that is to regain the control of those anchor points which he mutually owns, and which comprise the barriers of the mest universe. We're returning him into his first feeling of ownership, and then certainty they don't have to be owned, see? Those are the two stages.

"A wise old owl sat in an oak,

Now, people who are way down have a feeling that they have to own something or it isn't theirs. Now this is an immediate — a direct statement that they can't create it.

And the more he saw the less he spoke;

If a fellow — I tell you, if a fellow could create a jacket, (snap) you know, another jacket, (snap) another jacket, (snap) — he sure wouldn't care how many people came up and took the jacket. He'd think it very amusing. As a matter of fact, early on the track he was very upset when people didn't come along and pick it up. But later on he got upset when people came along and picked them up. So he got the idea that although he had things which he had made scattered all over the universe — these things being held out against him — he yet didn't own the universe as well as he should, so he went out on campaigns of conquest in order to own what he didn't have to own.

And the more he spoke the more he heard;

A child, for instance, owns his hometown. You never ask him about it, but he simply does. If he's moved around too much, after a while he runs into enough people that convince him it's some other place, you see, and all of a sudden he doesn't own — he's moved to San Francisco, he doesn't own San Francisco. Why? Because he met some kids in San Francisco and they own San Francisco. It never — never occurred to him, you see, that anybody did own it until that happened to him.

Why can't we all be an effect?"

Well, by doing this drill, one reverses being an effect into being a cause. One is causing things to feel, rather than being an effect of things which feel.

And this made him very learningful. We're assured of this — made him very learningful.

The basic terror in interpersonal relations comes about because one feels emotions from people. That's the basic. They just don't like that.

And the only trouble is that unless you were talking directly on the line of agreement which brings people into the state they get into finally — where they're more effect than they are cause; unless you're talking on that, boy, there's really darn little excuse for education. But if you're talking on that, you are undoing — you are undoing the agreement.

You can take somebody who is supercharged with hate, something like that, and may be all right if he's blasting it over to the right or left, but when he starts to blast it straight at you — wooww, no, no! That's real bad.

Now, it's something like a large and complicated watch. And this watch has to be taken apart. It can be taken apart solely and strictly on the same basis of you take apart a — a baby takes apart a watch, you know? He takes it apart with a hammer. Well, anybody can take a watch apart with a hammer. If you want to take a watch apart — meaning you don't want a watch — with a hammer, why, I advise you to go down and find a big electric shock machine or something like that. That takes watches apart with hammers. And that's not the right way to go about it, because after the parts get that strewn around, it's very difficult to take the watch apart in an orderly fashion. And to some degree we are taking a watch apart.

Now, the mest universe is evidently mutually created, and it is the second universe. And we have three universes, and one is one's own universe, and one is the mest universe, and one is the other fellow's universe. Now, the mest universe is a mutual system of barriers on which we have agreed so that we can have a game. And one's own universe and the other fellow's universe are those things which moderate and monitor the condition of the mest universe. But the mest universe has gone along to a point where it, being a mutually agreed-upon thing, has decided, on its own responsibility, apparently — you see, I mean according to the thetan — that it can't be destroyed.

The trouble — only trouble with this watch, however, is that it has four balance wheels, eight mainsprings and no handle to wind it; the handle to wind it has disappeared. And then people run down and we can't wind them up again.

And you get every physicist coming along the line — this is really why your physicist is in horrible condition — his cant and his creed, the affirmations which he eats with breakfast, lunch and dinner, is conservation of energy. Morning, noon and night — conservation of energy, conservation of energy.

So the thing we do, is actually start taking balance wheels and mainsprings and things — excess mainsprings and other things — out of it and all of a sudden we've got the neatest, best-working watch you ever saw in your life.

Well, as you go up scale, if a person can't destroy, he can't create. He's afraid to create endlessly if he can destroy nothing. So you get people trying to come back into their own, sometimes, with tremendous, chaotic, emotional splurges of destruction. They try to destroy, destroy, destroy. That's all they can think of. They're in an anxiety state which is horrible. That's Hitler — that's his anxiety state. He — in order to create anything like Germany, he had to destroy endlessly in all directions, so that he could create something — he thought! Why, his intelligence service and German science had almost achieved the ownership of Earth. There was nothing like German chemistry. It was fabulous. And when I was a kid in engineering school, if a fellow wasn't able to read in original German, he might as well quit. Because nobody began to print anything like the number of reports being issued from Germany.

But if we take it apart with a hammer we don't get that effect, we just simply get — well, we get psychiatry or we get a lot of things. Atom bombs — that's taking a watch apart with a hammer. "The way to settle the political affairs of Earth is not to solve underproduction and overconsumption, and overproduction on the second dynamic and so forth. These are not the problems to solve. The way to solve that, is you get a formula, see, and it's got a lot of wild figures in it, but it all adds up somehow or other if you put enough figures in it. And then you put this to work on uranium and you get some plutonium, you put that all together and put it in the hands of an idiot and tell him to press the buttons." And the watches come apart. Believe me, they just strew their mainsprings all over the place.

How many reports are you getting from there on science now? None. You go over, and everything is being made on an American pattern. Isn't that cute? Their whole economy is American. Because America is still at the level of creation — in terms of mest objects — where it doesn't have to destroy everything before it can put something American down in its place. And I don't believe Germany was on that Tone Scale. But I believe Hitler and the clique which took over from an exhausted state, were. So they just had to destroy, destroy . . . This was the most asinine gesture of this century. They owned the world — the thinking world, the intellectual world, the mechanical world — all the worlds there were to own here on Earth, were being slowly, more and more, dominated by German equipment, German chemistry, German machinery, so on. And then all of a sudden, why, somebody has to break out a rifle. Yeah, utterly, utterly silly.

I saw a cartoon, one time, down at Cal Tech — one of these small trade schools on the other coast, they teach carpentry and things there. Anyway, they had a nice cartoon, and this professor is standing in front of a very large class and he's saying, "Gentlemen, I have here the end product of all science. In this capsule is enough explosive to destroy the universe." They haven't been admired for this, obviously, or they wouldn't go on persisting.

But there is the psychology — if we must use that word — of a criminal. Psychology is used because it's Homo sapiens' effort to make himself more complex. And he has gotten to a point where he has to destroy mest, somehow or other, in order to own it.

Well, it is not a very orderly thing to do, for instance, to solve a society the way somebody solved Arsclycus. If you want to run back on the track and examine facsimiles with "yes" and "no" on an E-Meter, why — it'd be very pleasant for somebody who's in good shape to do this, and very horrible to somebody who's in bad shape to do this, by the way, because they bog in it. You'll find that there are facsimiles floating around you or the GE and someplace, and you can contact them. They have to do with this place known as Arsclycus, which was just built without planets. It's just endless roads going through the sky, you see — they just went in all directions.

I've read some accounts of pirate ships, where always the kids are led to believe that piracy was something very colorful. Well, it was colorful in terms of lots of motion. But their equipment told a story: It was as much as a ship's rigging was worth to be used by pirates for a month or two — as much as her hull was worth, her guns were worth — anything. She was a ruin — enMEST, enturbulated mest. They had to mess everything up that they touched in order to have anything. Now, you see?

And there's where we picked up boredom and monotony on this track. Oh, oh, oh! I mean, you could just run this for a couple of minutes on a pc and he just gets tireder and tireder and tireder. He has no idea why he's getting so tired. But it's the fact that nobody could ever stop working. And a person went about ten thousand lives there, returning back to a body and then using that body and wearing it out. And he — each time he'd come back he would be assigned — and he had a cross mark on him and they had him by the wavelength, you might say. And they had a piece of the body which they'd given him, and when he tried to escape, of course, they'd put pain in that piece, and that would hurt that part of the body so he would come right back. And when his body was worn out, or if he sassed a guard or something like that, they'd just knock off that body and he'd report back again and they'd say, "This is a Tilemaker, Third Class. He's all trained," see? And into the body — next body that's coming out of the vats — pang! out he'd go. Biological society, built in the sky.

Now, you will see this — that's the mockery level of the Tone Scale, down there around 2.0 and so forth, that mocks everything that is higher on the Tone Scale. Because we've got a repeating cycle as it goes down. Everything is — goes down in reverse geometric progression. All right.

Well, when that thing went to pieces because of an overdose of gravity, it really went. It scattered pieces all over the universe. And you sometimes run — get a tumbling sensation in a preclear. We're not going to audit facsimiles — this is just fun just to show you what might have been going on, on the track.

We've got up at the top of the Tone Scale this feeling, "Well, let's see. Let's make it run a little bit wrong so we can make it run right again." Good. More people are doing this with their bodies: "Let's see if we can make it run a little bit wrong, so we can make it run right."

Well, this made a person very insistent about being dead when he was dead. There is basic on being dead when you're dead. You're just not going to run any kind of nonsense about checking back in and being assigned a new number. You're going to have some randomity, see? And when a fellow's dead, he is the most insistent person you ever saw.

Way up, the fellow says, "Now, there's a nice mock-up. Whssh! There's another nice mock-up. Now we'll take this mock-up which we have now and we put another mock-up there, and we'll get these two mock-ups interested in each other. That's good. That'll be good for so long. Now let's turn them around so they fight us. Oh well, we have to make somebody to be us." And here we go. "Now, we'll have to get some kind of destruction going here, otherwise we can't create unlimitedly."

I dropped by a funeral parlor one day. I kind of sailed in one afternoon and I — I noticed lilies of the valley, and it was very nauseating all up and down the street and it was getting more and more nauseous. So I decided to pick it out for some randomity (I didn't have anything else to do), and I went in one window and so forth, and the thetan was still in the body — it was a funeral parlor.

Time is a wonderful mechanism of uncreation. Time uncreates, pocketa-pocketa-pocketa-pocketa-pocketa-pocketa — automatic destruction. "Nothing 'gainst time's scythe can make defence / Save breed to brave him when he takes thee hence." Well, Shakespeare's eleventh sonnet — you're pretty good this morning! Time is the great destroyer. And the thetan comes up against time, which he has set up and which he's agreeing with madly, and then he decides he'll let time do it. Not "Let George do it" — his motto should be "Let time do it."

They had a guy laid out on the table, and you could bat the body and get back an electronic reaction — pow, pow, see. And he was just absolutely frozen, see? And in a mad rage, "I'm dead, you understand! Dead!" Because they'd kept trying to revive him, evidently, with Pulmotors or something of the sort. The body was all scarred up — he'd been drowning or something and they'd keep trying to revive him and trying to revive him and trying to revive him and working over him and so forth. And that means he wasn't being convincing, you see? And boy, it was the deadest thetan you ever saw. Of course, when they finally embalmed and buried the body and so forth, he finally said, "Well, you're convinced!" Shove off!

And you know that you can very often get somebody who can't destroy a mock-up easily and just say, "All right. Now let time do it."

He hides this from himself by occlusive screens and so forth. He doesn't let his right foot know what his right frontal lobe is doing. He doesn't get these things into communication with each other. He has to break communication in order not to know. See that? Has to break communication in order not to know. See, he breaks communication with the body, and now he doesn't know anything about the body. And there's the system of breakdown which he uses. Now, he's gone through this system of breakdown constantly and continually.

"Okay. It's gone."

How does he do this? In order not to know, if he's already perceiving (see he gets into a perceiving band) — in order not to know, it's only necessary not to look. He can think about it and suppose about it.

You should wonder a little bit at this tremendous force time has. You say, "All right. Let it age a hundred years."

Most everybody is going around — while they're traveling through life in this direction, their head's over this way. And they're going ninety miles an hour in that direction. Well, they can think about it and they can say, "Well, you know, I think there's a turn up here someplace." But that system comes all the way down the track.

"Okay, it's gone." Time to destroy.

Now, if they didn't look at, feel any emotion about, feel any effort about and finally, didn't even think about something on the Arsclycus band, why, once in a while they figured they might skip a cycle. That was — that's really true. They kept a vat full of stuff and when they gave the guy the body, they took a piece of this body and they kept it alive in a solution. (This is science at work!) They kept it alive in this solution over here, and that was a piece of a body and it matched him, of course, and all they had to do was torture this piece and he hurt.

So we have, then, the automatic destructive mechanism in this society. Well, anytime he depends on any automaticity, he's — gets in bad shape. Because that's a dependence on something. And when it goes to a point where he can no longer be causative and no longer engage in motion, when you start salvaging him, why, these dependencies he has, these automaticities — depending on automatic machinery which he's forgotten about and depending on this and depending on that, rather than doing it himself — he's at the point where the motorcycle is taking him down the road, he is not taking the motorcycle down the road anymore.

You can do that, by the way, if somebody is madly Russian-doctoring around sometime — we'll get a nice big laboratory. Be sure and get somebody that builds the Frankenstein equipment for the Frankenstein pictures, you know? The kind of big drums that go bzzz, bap, bzzz, bap — you get some of that in there just to convince the public of what you're doing. You can conduct all sorts of experiments of this character which are fabulous.

And in order to make him take the motorcycle down the road, why, you just have to give him drills which makes him own and control motorcycles, not motorcycles own and control him. Simple, isn't it? (Completely irrespective of a couple of motorcyclists in this class; I've been using that for some time.)

You can hypnotize somebody and say, "All right, you are now Malenkov." Just like that, you can say, "You are now Malenkov. And be in the same position there as Malenkov, be in the same space. That's right." This guy is drugged — you know, drug hypnosis. "All right. Now have a terrible headache. You now have a terrible headache." You know that you could actually detach him to the point where he would go on monitoring Malenkov. You'd actually say, "Beat it," and he would leave enough in the body to keep this one tick-tick-tick, and go over and monitor somebody else's body. This is politics earlier on the track. Now, this has gotten to be almost a habit on the track line. All kinds of weirdities come up.

The anchor points of the room — these anchor points here — are looked on as somebody else's anchor points by most people, do you see? He never recognizes that they belong to him. They belong to him and others, or everybody else, see?

Fortunately, we don't have to have anything to do with these weirdities. I mean, it doesn't matter in our processing today what these things are. I'm just talking about a laboratory lineup. If you really wanted to make a society stand on its ear and become completely fogged about the whole thing, you just start doing things like this and you would get these effects. I mean, Malenkov would have a headache. That's all there is to that.

And if we're going to create more causativeness on a case, we have to at least give him some sort of a lease on the space he's occupying. Otherwise, the space keeps catching up with him all the time, and we have this system of barriers here. You see, a game is composed of limitations, and limitations become barriers, and these barriers are such limitations to him that he just looks at it and he says, "Well, I know that stuff is real. I know it's real. It is real." And as a matter of fact, it's a lot realer than he thinks it is.

Mysticism, by the way, is actually an effort to suppress this kind of technology by reversing it. You know, if you deny hard enough and if you resist evil and — that's not truly mysticism, that's Christianity more than anything else. That was the greatest invention of the last two thousand years, by the way — the resistance to evil. And I'll say a little bit more about that.

That's what's remarkable about all this mest, it is much realer than any thetan thinks it is, and it isn't real at all. See, he's got to go up through the band of its tremendous reality, and only then he's getting up to a level of certainty where he can put up more barriers. Then you ask a thetan to dispense of all of his barriers? Oh, no! Hm-mm! There's things like privacy, there's things like this, things like that.

But let's get back on this "look" thing. All right. As long as this preclear you've got drugged on the table doesn't know where he is, you can convince him he's someplace. You see that? See the principle? Well, the only way he can be convinced that he is someplace, is by not permitting him to look. You see that?

A lot of people are engaged totally in maintaining a distance. They use their words, they use their gestures and so forth, to maintain a distance. Such a case, you say, "All right, now what is your zone of occlusion?"

If he doesn't look, if he doesn't see, then he can be told he's anyplace, and he has to believe one. So hypnosis is just simply the matter of confusing a person to where he looks too hard at something, and then you don't let him look at it, and that loses him. There are any number of techniques can be born out of this "fix or unfix attention" hypnotically, you see?

The fellow says, "What do you mean?"

The whole subject that we're studying is actually attention fix-unfix, where viewpoints and space are concerned. But that requires lookingness.

And you say, "Well, how far don't you see away from you? Where can you put a mock-up up?" something of that sort.

So we can take a person and actually have him be someplace else when he is right there. See, he'll still keep this body, but he'll actually be and operate someplace else. Now, you'll run into this every once in a while with a preclear. We call this inverted dynamics.

"I don't know," he'll say, "there seems to be some kind of — if this is what you're talking about, there seems to be a sort of a shell out here, right out here."

What dynamic are they inverted on — they inverted on one, two, three, four, five, six, or seven, eight? Actually there's about ten cycles of inversion. At least ten. They just keep inverting and then reinverting, and then inverting and then reinverting, and each time with less horsepower until you get them just completely run on down the line.

And if you'll notice, it's just at his fingertips, see. He knows he can shove something away that close to him, you see? But something that's three inches further out, he can't do it. So his zone of occlusion is actually the motion of his arm. And you ask somebody to trace it out — it comes right straight in up against his back; he can't reach back there. That is not an ordinary case, that's a case that's pretty far down on causation. He can't, in other words, cause a repulsion or create a space wider than that. See, he's lost further ability to do so.

Now, any one of the oddities and the phenomena which you observe, below the level of knowingness itself — just spontaneous knowingness . . . How would you — what do I mean by that kind of knowingness? It is simply, you'd sit right there, you wouldn't look, and you'd know that there was a telephone number somewhere else. In other words, that is just instantaneous knowingness. Would you know by looking? No. It's a type of pervasion without perception. But boy, don't ever mistake it — a guy who can't see doesn't pervade without perception.

Space is a viewpoint of dimension. It doesn't exist without a viewpoint. The problem of space was not solved in physics and is not even defined in physics. This is — ordinarily and routinely says that it is a problem of psychology. And psychology didn't solve it and so, more or less, isn't here. Find psychology is a perishing (quote) "science" (unquote). Why? It had two basic things it had to solve in order to resolve the human mind, and one of them was time and the other was space.

This fellow who can pervade without perception, boy, he's got Superman whipped the way he can look through walls. Oh, that's terrific, you see. And that's way, way up.

Time is the co-motion of particles — planned co-motion of particles. That you're in agreement with other people on how these particles are moving is fabulous. I mean, that's — you agree that the particles move in such a way and they do. And you go on.

Every once in a while you walk into some sad apple — pardon me, some gentleman — who is utterly convinced that he is telepathing all over the shop, see. Oh boy, he telepaths but good, he does. They sit down and they concentrate and they do this to influence other people's minds.

Of course these bodies are all in tremendous agreement. As long as you stick with a body, you stick with the agreement. You exteriorize somebody, bing! and some weird things start to happen — space starts to go wrong on him. Now, you start putting motion in people and you'll notice this — at least two or three people present will notice this — they start this exercise I'm giving you, they will suddenly see buildings lean toward them. Aaaaaaaah! And other strange things are liable to happen to the scenery. But the stuff always goes back again the way it should be. And you might not think it will, but it does.

I'll tell you how you influence somebody else's mind. That drill you were doing this morning will do more to influence somebody's mind, because you can transfer thinkingness the same way. And we'll do some drills on that later. You just simply handle and monitor somebody. He thinks what he thinks and so forth. That's all there is to it. That's telepathy. What do you care what he's thinking? Make him think something else.

Now, you run this scale, and then the second dynamic, and then these two, very important: disgust and ridicule. Almost anybody backs off from these. They'll run betrayal by the hour; they will say, "My parents and my thetan have betrayed me" — anything like that. "My parents have betrayed me. Life betrayed me. Everybody betrayed, betrayed, betrayed, betrayed, betrayed." But, by golly, they never come around and tell you, "You know, everything I look at ridicules me." I've never heard anybody say that in social conversation. "The whole trouble with my life is that everyone ridiculed me." Hm-mm. That's the deadly stuff. What is ridicule? It's somebody grabbing hold of one of your anchor points, claiming it and holding it away from you.

Anyway, people who go around and practice telepathy so they'll know what other people are thinking tells — that tells you what? It tells you immediately the fellow must be bottom-scale, because he's interested in what somebody else is thinking. Well, boy, when you go around and listen at Homo sap thinking . . . This is really the most enjoyable thing you can do, is just sort of go down the street and — or drive a car or something of the sort, and pass a lot of people and pick up what they're thinking about. Most of them are thinking kind of a "mental-audio" sort of a"Dum-juh-duh-zu-zow — so you know, if I do so-and-so, and so on." Most non sequitur stuff you ever listened to. I mean, the fellow says, "Well, now, let's see ..."

If you want to turn on the emotion of ridicule automatically with an individual, is just give him the idea of somebody grabbing his mock-up and rushing off at a distance, and then holding it so that it can't come back in again. And he'll get this nyaaaaaah-urk.

I ran across one, one day while I was driving into town, and I got so entranced with it, I forgot to get out of the car till I'd gone beyond my destination. But my body had turned, but I thought the body in the car was ... Strange. But this person was doing the most fascinating job of driving: "Now I step on the throttle." He was driving with all of his mechanical motions and so forth planned, audio, in advance. Oh. this is real fine. And I kept expecting the car to run into something. And I was minus randomity that morning and decided I'd love to see a good wreck. (audience laughter) So I just rode along. Very fascinating.

So he wants to be able to put ridicule — disgust and ridicule, for himself and for other things — in every tiny section of the environment.

Now, this sounds wild to you, but people do think like that. They just talkety-talkety-talk, bom-bom-bom-bom.

I've had a preclear get so angry doing this, that although he's been completely unemotional about everything else in processing . . . He's just going along and life has been — he's just dutiful, obedient, you know, do everything you ask with no emotional changes, a little bit of interest, sort of a sweet, sad smile on his face the whole time. All of a sudden start putting ridicule in something, and have the guy get madder and madder and — he's putting it in! And get madder and madder: "Why this stuff? Ruff-rrr-rrr-rrr."

Now, you listen to people talking and they — boy, they sure sound reasonable. You listen to people — two people talking across the store counter while they're buying something. And you'd — you just merely assume that those two people are being reasonable. The possibility is that you haven't listened to them. If you were to really sit down and listen to these two people talking across the counter, it's — just run-of-the-mill Homo sap today — you would hear some of the most fascinating non sequiturs you ever heard in your life.

One exercise I hadn't done with an individual, and — I don't know, I did this with him and all of a sudden he says in a rage, he says, "If that stuff ridicules me anymore I'll bust it into little pieces." To most people, its very "stationariness," its very "held-outness," is in itself a ridicule. Okay?

Where do these non sequiturs come from? Now you've got "not look" on a symbolic basis. If a person can know everything, he can look at everything. And there's the test between the top and the bottom of the scale: If he's got instantaneous knowingness, boy, he's sure got instantaneous lookingness. He can do such tricks as look up eighteen pages deep in a phone book and read the whole column aloud to somebody else — relay it to a body and read it aloud. That's real high, see. And you can get perfect imagery, while exteriorized, on anything.

So we have these items. You can also put, if you want to, betrayal. But that kind of has a tendency to sort of collapse it in on somebody. You can add it in if you want to, and see how it acts.

You start fooling around with this stuff very much, it keeps saying, 'There's a barrier. There's a barrier. There's a barrier. There's a barrier. There's a barrier." And you have to dim that down and keep it dimmed pretty well, in order to get any randomity or be anyplace.

But the important one is the second dynamic. And when you get through with the rest of the emotional list, you just beat that second dynamic to death. And then, "second dynamic ridicule." It is a specialized emotion all of its own. Got that?

Now, what's "not looking" — not looking, not feeling, not effort, not think, see? First it's not look, so we feel. Now it's not feel, so we have effort. So it's not effort, so we think. So it's not think, on that band, you see, and it's again some lower order of looking, such as with MEST eyes. Now it's not look, and again a lower order of feeling, such as with a body, see? Well, then it's not feel with the body, so effort with the body. And then it's not effort with the body, so it becomes think with the body. And then it's not think with the body, and we got Homo sap. All right.

And that is the drill on which we will drill. Now, we've only got a couple of days to get this real good, see. Get this real good, so that anybody here can simply look across to a windowpane or something like that, and get its agony. You know? Real good, hot agony. And real good, hot pain.

Now, a symbolical level takes up on this, you see, and it's just one of these cutting out, one right after the other, on that band. Now, we can just add up — to the side of the Tone Scale, up here — a scale which starts up at the top with "know." Complete certainty on everything and anything, anywhere at any time; that's just complete know. An almost unobtainable height if one stays in an area where, to produce any randomity at all, he has to pretend he doesn't know. Because we immediately cut down from that and go to 20.0 on the band. All right.

Now, you try to exteriorize somebody ... By the way, I didn't mention those, but pain, of course, is on that list. I think it's on the Chart of Attitudes, isn't it? Pain is at 1.8 on the Tone Scale, it should be on that. No, it isn't on the Chart of Attitudes. So add it in — pain. Pain, in all shapes and forms, such as aches and so forth: "Just make this microphone ache." You get the idea? "Now just make it ache a little bit more." And pain is condensations of lookingness.

Now, our next step, then, that we get interested in, as far as people and beingness is concerned, would be ... I mean, the highest step in which we really get interested, is in "look and not look." See, it would be "know and not know" way up at the top there. He'd have to not know on something and this produces a randomity. In other words, he's got to choose something out to fight it; and that gives him action and motion. And he gets into action and motion and he's happy about it.

Now, you'll notice as you run these — later on, you'll notice that all these emotions have to do with motion. Very early, you may have heard a 1951 tape, fall '51, on motion and emotion, which gives the fact that the fellow in apathy — you come along, he can put his hand on something, you move his hand and he'll leave his hand where you moved it to.

It isn't true that everybody everywhere in every universe, you know, has action and motion. That's just a peculiarity in this universe. You have to learn all kinds of weird tricks, and these weird tricks are motion. It's real peculiar when you first run into motion; it's quite interesting because it produces emotion, which is quite different than you run into elsewhere.

And the fellow in grief has a tendency to just flop about it and kind of hold on.

I had a preclear one time, he would just sit and he wouldn't think or anything of the sort. And what he was doing, I didn't quite know. But I put him on an E-Meter and it didn't wiggle; nothing wiggled. And I started batting him with just random dates. Good old electropsychometry, you just start hitting them with dates — dates, dates, dates — billions of years ago and present time. And all of a sudden present time started to wobble around. I ran into a duality. Some kind of a weird situation of Lord knows where or what; there was someplace where everybody merely sat around and knew. And he was stuck there. So I unstuck him and got him in motion. Probably a terrible disservice.

And the fellow in fear, which is covert hostility — about same tiny gradient in there, they're very close together — you come along and you push his hand away, and he'll say, "Yeah well, that's very interesting." And when you've looked the other way, he'll put his hand back again — when you've looked the other way.

But the point is that not everywhere do things go into motion. But here in this universe they go into motion. If you could avoid just all motion and get a process that had nothing to do with any kind of motion, you'd be way ahead of yourself. But there is no such process that I know of, because you've got to track the line of agreement somewhat in order to take the watch apart smoothly.

And then you get the fellow in anger, and you come along and you start to move his hand . . . You can do this with a chair; dumping a fellow out of a chair is another test too. You just come up — it sounds very impolite and it doesn't make for good communication with a preclear, but it's a terrific assess­ment. Just walk in the room — just walk in the room and get the back of the chair and give it a push. What he does tells you he — where he's on the Tone Scale right now, and you just process him accordingly, and it saves you lots of time.

So we've got a problem in taking the watch apart of, in some cases very low, and in some cases a very slight bit of "not look." In other words, "not perceive" — it's just a better phrase. It's the gradient scale of perception in reverse, then, which marks the Tone Scale band in which we're interested from 20.0 down. The gradient scale of nonperception.

Anyway, anger: You start to grab the fellow's hand, and he looks at you meaningly and you don't move his hand! The harder you try to move his hand, the more it sticks.

The essence of perception is the definition of "what is space?" Space is a viewpoint of dimension. Now, a viewpoint of dimension, then, requires some kind of a perception. Immediately we have space, we have some kind of a perception understood. As soon as this perception is understood, we are able to proceed.

Now, on resentment: You walk over and you start to move the fellow's hand and he flips his hand up toward you. And that's the first outgoing motion that you run into. That's at 2.0 on the Tone Scale.

Now, the less perception a person is able to attain, the lower he would fall on this band. But remember, this band inverts and then reinverts and then reinverts and reinverts on each dynamic. So it's not a smooth track down — I mean, it's a complex band. That is to say, for every level on the Tone Scale, you have one, two, three, four, five, six, seven, eight dynamics. And for every band down, they turn over again.

And next is, with the resentment, now we get up to boredom. And the fellow starts — you move his hand, and he'll say, "What do you want to do? Why?" He'll engage in a controversy about it. But his hand, in the meanwhile, was sort of idle around the place, so on. He'll turn it over and look at it and put it back and move it around. There's motion there, but it's a sort of an eddy, like a stream goes around a steep bend, it leaves an eddy in up against the point.

So that you have a fellow who is inverted — you'll see what I'm talking about a little bit later when you do some of this processing. When you invert an eight... We start out with a fellow at eight. What is symbolical of this superknowingness way up at 40.0? Well that's — superknowingness is, of course, what you would call "He's God and knows it." It doesn't necessarily mean he's God of the mest universe. That's a different thing. But as far as he's concerned he's God and he knows it. The eighth dynamic, sure. Seventh dynamic, he could make spirits, why sure. Sixth dynamic, he could make mest. And we go on down the line and we fall down again.

And now we get conservatism and we reach over and we say, "All right, now let's move your hand," or something of the sort, and he'll say, "Well, yes. Now what's the significance of — why — where do you want me to move my hand to?" and so forth. Well, if you touched him a little bit too rough, he'd be very dignified about it, but he'd push your hand back. In other words, we've got a mobility and we've got choice. In enthusiasm — the fellow's enthusiasm, we reach over and start to move his hand — "Yeah, well what do you want me to do with my hand, huh? You want it there? You want it there? Where do you want it?" He's doing it! You haven't got much to do with this.

And then we get to an inversion. And it goes in — now he slips out of one, so he becomes a particular god. Now, as he reinverted down, he'd probably get into the Olympus sort of a standard, like Athena or, well, Jove — that is a particular god of something, you see? We've particularized. Well, this is an inversion again.

That is motion and emotion. Now, you get this on beams. If you want to turn on the feeling of sadness as a thetan, put a beam against the wall, and then just slowly extend it. That's just — that's it. I mean — a writer, by the way, knowing this, or a cinematographer knowing this and so on, could actually kill America in its tracks to the motion on a screen. It's just the motion of people is exactly what's translated to the audience.

See, we've gone — we've gone — he's turned away from himself to be "the some­thing of something else." And in each case, as you go down, you finally get all the way to the bottom and you'll find fellows in insane asylums insisting madly and wildly, if they're pretty high on the band, that they are God; and pretty low on the band, so forth, why, you'll just have them merely praying to God all the time — just incessantly, incessantly. God is finally other-determinism again.

You could just have this thetan put a beam up here and then just slowly draw away. Just slowly lengthen the beam. And he gets the emotion of sadness out of that.

They take over as they own things — to make this easier to understand — as they own and are things, they then unbecome them. So you've got an inversion of becoming and unbecoming and becoming again and unbecoming, each time in a lessening scale.

Now, by other speeds of withdrawal and so forth — these speeds are all comparable in comparison with mest — we can get every other emotion on the band. It's just the speed with which he rushes up to it, the speed with which he draws back from it or the speed with which the beam vibrates. And we've got all of these emotions. Because we're in the field of feeling, and feeling is a condensed lookingness.

See, on the upper band he's God and knows it — this is in the psychotic bands and when we get to where one, two, three, four, five, six, seven, eight — eight inverts again; now we've got somebody who is the effect of God. So we get "become and unbecome." And in each one of these things he's cause — this should explain, by the way, a manic to you. He's cause, and then as it inverts, he becomes the effect now of what he was cause before, see? So he just keeps on going down this way, cause and effect, cause and effect. And as you go down the Tone Scale, he slides to the left, and he goes over to the right, and he slides to the left. He is something which he isn't. And then he unbecomes what he hasn't been — what he thinks he's been, but hasn't been. You get the compounding delusion? He is — you make that very clear — he is. See, he decides he is something.

So, now you have this drill down? Real easy drill. Real easy. And remember "Old Man Gradient Scale" as we do this. Let's not make it too tough on somebody. And let's keep it building. Now it's your contest to find out: how high can it go? And you're going to be very surprised; you're going to take what you normally consider to be a human emotion, and this flabby, almost emotionless piece of machinery known as the body — the amount of emotion which can be taken out of a body even in a high state of ecstasy, so-called, is so flat as to be almost indistinguishable from complete flatness. And it's just how close can you get to zero, really, compared to how much . .. Now, you know how much emotion can be turned on by a body. And as a thetan, early on the track, you were obviously quite surprised by the amount of emotion which would suddenly generate from a body being blanketed.

Well, he isn't anything. I mean, he's himself, that's all he is. That's plenty. If he really were himself, that'd be terrific. But he becomes something else, and then as he is cause in that, he gradually involves himself until he has to unbecome it, and he becomes the effect of it.

By the way, the first ded on the track is a blanketing. And it is against, usually, the kind of body which the preclear has. And if the preclear is mixed up in his sexual relationships, it's against the other kind of body — the other sex. You see, he — the thetan first blanketed a male, you'll generally find he's a male thereafter. And if he first blanketed a female, he's generally female thereafter. And where he's got his sexual relations mixed up, he is in this life a male, but the first blanketing, female — so on. So he envies, very much envies, the opposite sex. You, by the way, find that turning up more often than you'd think in preclears.

The second law of magic is "Do not be hoist by thine own petard." In other words, don't blow yourself up with your own bomb. Don't knock your silly head off with your own wand. Because — cause and effect, cause and effect.

As we run various emotions, we find out that they turn on much, much hotter than we thought these emotions could run.

Well, this gives us inverted dynamics. This makes the fellow one, and then we go down a whole row of dynamics and we get to a point of where he's the effect of one. Now, this would start him out as a thetan in good working order and would finish him up on one cycle as a thetan who was being affected by a thetan that he had been. And this is a person's past sneaking up on him. This is people's avidity for studying this past.

Now, there's one more that we will — might as well run into this category, but run it in there last, please run it in there last — is light and electrical energy. Put light and electrical energy into mest objects and bodies.

But unfortunately the past is nearly always up Tone Scale. A few generations ago, people were moving faster.

Now, let me give you a little word of warning and a little word about the ping meter. I'll have to demonstrate this ping meter to you someday, but I haven't got the — all I've got right now is the Mathison model, and the Hubbard-Mathison model is coming right up. I got ahold of this ping meter, and Volney got himself a very nice piece of equipment there. The only trouble is, went over it with the first class, and we were puzzling around about what was happening to it, and gee-whiz, this is very remarkable — very remarkable.

So here we have "not look." Now, let's get how we get "not look" out of this "become and unbecome." It's very simple. If a thetan is looking at sixty miles an hour — now, just to be real crude about this, let's say his lookingness is traveling sixty miles an hour, and it meets something coming at him ninety miles an hour, his lookingness is coming back at him now thirty miles an hour. Is that right? It's real simple. If he's looking at an angle, he will simply get his attention brushed off. And the matter of fact, if he looks head-on on anything — he just starts to look head-on — his attention will be thrown off of it.

But — it's supposed to detect pain — it's the machine that cries for you. Put this little probe on some hurtful point in the body and the machine goes "Waaaaah."And you take it off, put it on some point that isn't in pain, and the machine says nothing. Interesting, isn't it? Only trouble is, it's detecting the only points in the body where the thetan is in communication, and pain is obviously the highest communication he can get on the body. And so if you turned around to take that piece of pain away, that would spoil a commu­nication point.

Now, you can run this experiment with any individual. You can tell him simply to look around a 360 degree sphere ... You want to get somebody who is wearing glasses and tell them to do this, because he'll get it right in the face. You just tell him to look around at various depths until he finds an impression of something somewhere. And he'll say, "What kind of an impression?"

But after you've massaged him or processed him over a certain area . . . For instance, a person took his prefrontal nerve up here and just cleaned it all up real good, see — took off all the screens and bric-a-brac and junk and just cleaned it up real fine so his forehead was in beautiful electronic condition, see. And put the ping meter on it — and felt wonderful, you see — he put the ping meter on, it goes, "Wah, wah, wah, wah, wah, wah, wah." According to the ping meter, he was in agony.

"Well, just an impression. Just search very carefully across this sphere, see, and look very carefully up this way and really look up there."

And, another pc there — I cleaned up the Assumption on him and all of a sudden got his face live. Whole face got real good and live and he felt good.

"What do you mean, look at the walls and so forth?"

So you see what the machine detects is — actually, what it detects is points of communication. It's where is the thetan in communication on the body, where is the communication good on the body? And it's just designed for people too low-toned to react the right way. And the button was backwards, and the machine ought to be registering where you hit anesthesia. Wherever you hit anesthesia, the machine ought to cry and say, "You're dead." See? It should just say that, right out loud — "Dead. Dead. Dead." And really, it's a death meter, not a pain meter. As long as it's a pain meter, it's a life meter. So it's turned all around and it's got a switch on it now that's anesthesia, and you just turn the switch the other way and it'll register on pain. Also, he's putting the second meter on it. This thing is strictly terrific.

"No. You know, kind of into the ether. You know? Just up this way." And just use some strange word so he won't look straight at mest. "And just search it very carefully."

But it did this — it did this: the first meter which has ever demonstrated the fact — the first electronic equipment that ever demonstrated the fact that one human being can influence another human being emotionally. Because you put the ping meter on a dead spot on somebody's body and just leave it there, it won't ping. And you, as the operator, all of a sudden snap a beam through from the center of awareness of the individual to the ping meter — at the exact instant you snap the beam through, the machine goes "Waaaaah." And you put it all around on the body, and you just look at the body fixedly thetawise, see, keep snapping these beams through.

And he'll start looking, you know, and he'll look upon it all of a sudden, he'll look — bang, see? Right in the eyes. Nearly every time.

In other words, it is registering, incontrovertibly — I mean you could go over this and beat it to pieces, physics and everything else, and you'd still have to come up with the conclusion that one human being is monitoring another human being's electrical contacts. That gets real interesting, isn't it?

I've done this on people and they've cursed me for an hour. "Look at various distances." There's stuff waiting out on the fringe of consciousness, you see? Perception has to do with impressions and particles and so forth. And when that velocity hits one of these ridges sitting out there — we don't have to know too much about ridges, that's just another barrier.

I said several times on the congress tapes, there is no actual interchange. I understand that is misunderstood a couple of times. A couple of people have spoken to me about it. For God's sakes, please get this straight. There's no actual wall here either, but it's good and solid and it sure registers on meters made out of the same stuff. But remember, a meter's made out of the same stuff.

People get happy about ridges, by the way, and they start validating ridges and validating ridges, and they just get more and more ridges, and the ridges get heavier and heavier and thicker and thicker and more of them. Anytime you start validating something too heavily it has a tendency to become real, because that's the way things are created. So this stuff up here can get solider and solider and solider and solider until, boy, a fellow can't move. He can make air — you can actually, by concept, make air so solid that you kind of have to walk through a room as though you were at the bottom of the sea. You can just get real solid, I mean, everything can get. . . What are you doing? You're just packing it up.

Now, here we have done the incredible thing of getting a meter made out of just nothing more than this stuff, you know, which registers the fact that two life units can influence each other. Well, I throw that in on this processing — don't start using members of the class on this target. Don't necessarily refrain from it, but look out the window and pick up passersby. Because you actually can turn on various emotions in individuals with the greatest of ease. The greatest of ease.

All right. Now, this not lookingness — he gets off there and he takes a look up here someplace, and he looks up here someplace and he looks up here someplace, and all of a sudden he'll hit one of these ridges and it'll discharge. Because it's only his perception that can discharge it. It's set up there to discharge. When? Some past date. And he's just carrying it forward and he probably has a machine mocking it up all the time, see? Real smart. Real cute. New automaticity. And he looks at it, and he sets this thing off.

In regard to that, I quite often and usually refrain from doing this. It'd be the easiest thing in the world for anybody, with a little drill, to simply take a crowd or an audience or something like that, and just fill them full of enthusiasm, you know? Just go fsshhew! The best ways to do it is just to throw back a handful of anchor points against the back wall, get it exactly the right location, make it your own space, wipe out all other anchor points there, see, and just drop enthusiasm, crush! This would be a magnetic personality.

Well, the way this thing was set up to operate was every time his perception went across a certain subject, he has a bunch of lighted relay stations ... If you figured out the perimeter around a preclear as the coast of the United States with the preclear in the center of it, and every time his attention went on certain subjects or looked in certain directions, that attention — because he saves energy, you see — is then shunted to every lighthouse on every coast in the United States and activates every machine that's there. And that's the way he triggers all these things off and keeps going. Oh, he's a complex piece of machinery, that's right. By blowing up the United States you would, of course, dispense with the lighthouses, but this is a little rigorous. Because he can't dispense with all these lighthouses instantly. You can simply get him to take over control of these lighthouses. It doesn't take too long to get them in fairly good working order. He's — there's only a few lighthouses that get him into trouble. He swears they're lighthouses, too — they're "real important," and they're "just what he needs," and so on.

So I am very sorry that we're taking up a first stage — our first instant of play here — that thing which is actually practically the total of personal magnetism. We solve more of these doggone things en route, that we all of a sudden remember that there was something called- — at one time or other talked about, called "personal magnetism." But nobody could contact it very easily, so everybody kind of abandoned it. And the best way to contact it, they used to say in the old days, was you sat with your feet soles pressed together and your — the outside of your thighs flat against the floor and your head held in a certain position and your ears wiggling at a slow beat, and if you sat that way for eighteen or twenty years you would then be able to control your emotions. You sure can! But it's not advisable.

But what do you know, that perimeter — if you could just set down a bigger United States, with bigger coasts, in addition to the first one, with a whole new set of lighthouses, they're getting slightly activated too. Now we get a bigger United States, you see, and we get more coasts — this is actually apparent if you get up above some preclear and tune up your wave band, you can see these things — get more coasts, and that's a third ring now. And they get slightly activated, too, every time he thinks some kind of a thought. But if he thinks a thought that is really in that direction, why, boy, these things are going around like a pinball machine. It's real, real interesting.

And there were all kinds of systems. There's various systems, such as you take a certain pill and it does it. And there's other systems where if you get your handwriting analyzed, you will then be able to improve sufficiently so that you have personal magnetism of some sort or another.

This is not anatomy, as far as the body's concerned, but this is actually a thetan's — to some degree, his anatomy. All right.

This is the entire fight of the society: to be acceptable to one another. And yet the way to clear somebody — you could clear somebody just by running huge crowds agreeing with huge crowds agreeing with huge crowds themselves. It's interesting, isn't it? I mean if you just sat down and kept putting this up and putting this up and putting this up, putting this up, the person would get out of a slavish, propitiative agreement and come on up into an antagonistic agreement, and he'd actually run the whole Tone Scale in Mock-up Processing. Real slow method of doing it. Real slow.

We get a bigger United States, and we put it down on this whole picture, you could see how this goes. Because it goes out there a couple of light-years in both directions as far as he's concerned. I mean, it's not small. It's the area he's covering, because it's his own space. See, so this is pretty big — he's a big guy.

That's much faster than anything we envisioned in Book One but it's too doggone slow, but it's a last resort. But that just gives you some sort of — because he has to be in agreement in order to have time, in order to have communication.

Well, now we get into this lookingness. Gradually he has to — in order to turn off the automatic machinery, he has to look closer. You get this? He can't look as far. Or if he has some automatic relays all set up electronically, right in close, he has to look way out all the time; he doesn't dare look up here. The second he does, he gets pinged. It's an actual physical blow that he would receive. But he receives just a trickle of it, you see. Just enough to take his attention away from it. Totally mechanical. It's as though you were asking somebody to look into the teeth of a fire hose. And this is just not going to work as far as he's concerned. So every time he starts to look toward some kind of a subject of any kind that has some automaticity and a relay station on it, his attention just goes zoonnnng, and he's off of it.

But the first thing he's got to have is anchor points. And the best anchor points to get back for you, right now, are the anchor points which comprise ... When I say an anchor point, now, I mean any kind of a point, any kind of a particle, any kind of an electron or anything which anybody believes is an actual point. There is nothing more real than a real anchor point. It's tremendously real. It exists as much as anything will ever exist, and that exists as much as anything does exist, because it exists and it is a havingness type of existence. Let's not go off on the basis of "all is illusion," and we're just kidding ourselves that we see it. This is the reverse english, the inversion on the truth of the matter.

So you try to explain to the preclear, "The trouble that is wrong with you, Mr. Verypretty is — the trouble is, that you are having difficulties domestically and this upsets our processing."

The fact of the matter is, is you're pretty doggone good — you can see it. We can make, out of a complete illusion, a complete reality. And that is the greatest gift a thetan has.

Do you know that you'll occasionally run across one — he could, see, have a black eye, he could have his shirt half torn off him every time you called on him. He could have the police over to quiet the riot three nights a week, and he just looks at you very calmly, and he says to you, "That couldn't possibly be the trouble with my case."

So we're trying to rehabilitate, then, the ability to take over, control, handle and alter the emotion and condition of any particle in the mest universe or any space in the mest universe. And remember that this is most handily worked, not segregated against the corners and points of the room or anything like that, but whole objects and whole spaces.

And you look at this boy and you say, "God's sakes. Well, what's wrong with him?"

Take the street now, and from end to end (this you wouldn't start out with), from end to end on the street down there — a street full of cars and so forth, and three blocks long, this street is, that your preclear can see — now fill it completely from end to end with ecstasy. Pssshhhew! (snap) And you, as in the auditor, looking — if he was real good, would be able to look over there, and the taxi driver would start to get a sort of a noble look in his eye. That's right.

Well, I'll tell you what's wrong with him: he's got so much commotion, every time he tries to look at it his attention flicks off of it. He's got a complete occlusion on it. You ask him what he had for breakfast — if he's having a rough time in the family or something like that, he doesn't know what he had for breakfast. "Well, all right. What gas station did you last stop at to fuel your car?"

So, let's find out now with the easiest one we've got — this is still probably one of the most effective techniques we have. I mean, it's right up there on effectiveness because a person can audit himself, you see. I mean, he doesn't have to depend on somebody else to do it. He's trying to take out of the hands of things doing it for him, and take it on back to himself.

"Oh, well down there at 9th and Chester, and I — and so forth. Attendant down there named Joe. Got 9.1 gallons and the cost was so many dollars and so many cents. Ha-ha! And it was 10:32 in the afternoon and the date was the 8th. That was a Wednesday."

This is following and obeying this rule: that in order to remedy an auto­maticity, it is only necessary to make the preclear do it himself often enough to regain entirely his control over his ability to do so.

You say, "Boy, what a sharpie!" And then you say, "Well now, to take up your domestic affairs."

We take anything that's running automatically, we take the fellow with purple spots in front of his eyes, and we say, "Put five more spots there." Now, widely get him to a point where he's the one putting the purple spots there — which is the truth. He is the one putting the purple spots there. That he can, by — merely by making a postulate, "There are now purple spots in front of my eyes," pang! — he's seeing purple spots. He hasn't got himself hypnotized. I mean, that's his native ability.

"I'm not having any domestic trouble."

What he wants to get out of is just because he says there are purple spots, they don't have to appear. He can say, "There are now purple spots in front of my eyes, but I don't see them." Okay, so he doesn't see them. "Now I see them." So he sees them. "Now they don't exist." So they're not there. See, this is real active.

Well now, that is putting something in a highly extreme form — very extreme form — with a pc.

Now, how do you mock up something somebody else can see? Well, believe me, that's way up the line. That's way far in advance of anything we're trying to do right now. So let's not worry about these odds and ends. Let's just simply look at mest, and even with mest eyes, and get the stuff to emote.

But let's just narrow this down into what actually occurs with regard to this — I mean, that does occur, but this person goes around all the time — all the time, I mean, he's got this button. You just have to run the button on him. Just tell him, as an auditor, that he must run this button, see. We say, "All right. Now run this button of 'people's wives departing from them; people's wives and people's husbands departing from them.'And that's the button you should run on this next case. Now, when you finish up the session and so forth, want to make sure by the time you finish the session that you at least run that button."

When you've got that, a lot of your preclears who will otherwise be a little bit rough as a case (and that is, they'd take some smooth handling by somebody who knew what he was doing, so forth), you find out they learn how to do this, they say, "Body, body? There's lots of emotion, I don't have to have a body for emotion."

He'll say, "Sure. You betcha. Yep. Yep."

There's one other factor that you can put into things. Put the feeling of beauty and the feeling of ugliness into them. Sometimes this registers with a preclear far better than some other emotions.

And you run against the preclear a couple of days later, preclear's walking around, "Huh, what wall, what room?" See? And nothing's been done for him, you see.

If anybody is starved for anything in this MEST universe, it's beauty. You can take the toughest, roughest boxer, the meanest, orneriest clown, the most debased thief, and beauty registers on him one way or the other. But it's very odd that when a person is very disgraced and very degraded, the one thing which instantly puts him to just sweeping shame, and just sweeps him back down the sewer in a hurry, is to be confronted suddenly with something beautiful. So there's a great deal to aesthetics which we mustn't neglect.

And you say — go out, get ahold of this auditor: "What'd you run in that session?"

I wrote about it in 8-80, and you have the book — old 8-80 — "beauty and ugliness." Now, although we were running it there with dichotomies, it has actually never slackened off on its importance.

"Oh just what you told me."

You can ask some preclear and make him break right down and cry, "Where are you not being beautiful at this moment?" Well, this is the first thing we're going to do. We're going to handle feelingness, so on. As far as SOP 8 is concerned, this is your fastest, smoothest approach on SOP 8-C because it'll hit anywhere up and down the range of case with which you're trying to operate here. It won't hit all the cases you will run into in the society; not until you've patched them up somewhat and done this and that with them.

"What did I tell you to run?"

I've seen people shriek when you ask them to do this. You say, "Make that feel a little resentful."

"Oh, you said to do a little bit of Straightwire, next-to-the-last list. And you said to run some Step I, Orienting Straightwire, and I did that. And then I double-terminaled his difficulty with his liver and so on."

"What? Make that feel any way at all? It can't feel."

And you say, "Well how about husbands and wives departing from him?"

Well, that's really the truth of the matter, but you press it a little bit. You say, "Oh, well, go on and make it — make it — make it think a thought."

"Oh, I — I guess I just — there wasn't time in the session." Now we've got a reason, see? He's got to justify it. "There wasn't time in the session" — and he may even invent one to make himself completely right and say, "I tried to run it, but so-and-so."

"It doesn't think!"

You can take auditor-preclear teams that have failed and get two E-Meters, and you can ask the preclear what the auditor's been running on him, and the auditor's machine will clong, clong, clong and the preclear's machine will sit steady even though it hasn't been run out.

"Well, make it. . ."

The auditor, because of this — unless he's snapped well up the line — is always running out of preclears what should be run out of the auditor; because of this difficulty of lookingness.

"Well, it doesn't do anything. And nobody can do anything to it. And you should know that. What are you trying to do with me?" And have them get up and try to walk out! Real upset! And your bottom-rung cases get into that kind of condition.

Now, let's take lookingness in symbols. We can understand human behavior in terms of lookingness; we've advanced an awful long way — that's what I'm trying to show you here very briefly. We say to this person, "Where did you get that hat?"

We will take up — as soon as you've handled emotion adequately, we will take up with regard to that, thinkingness and lookingness with regard to that. And on some of the cases that have hung fire we find out that it's — they're so convinced that something should be able to look but mustn't look, and they're all hung up on viewpoints. mest has viewpoints, so you have to be able to hang up viewpoints pretty good before you're very able. Okay?

And they say, "Oh, hats are brighter colored this year. And I asked my aunt about hats. And you know, she used to be in the style business. She was in New York and she — long time she was a dress designer. She has some of the loveliest dresses and so on, and she used to particularly take a great deal of pains in matching them up with shoes and so forth. And by the way, I think I've got to go down the street and get a shine."

Now what questions do you have to ask about all this?

What you said was, "Where did you get the hat?" See, this is real fun.

Male voice: Is that related to the ability of personalizing? You see a little dog and you practically make him talk.

Now, if you just look at this in Homo sap, it becomes very, very amusing as a game. You ask him, "Does this streetcar go to Poplar Place?"

Yeah.

"Oh, it's about twenty-five minutes."

Male voice: I mean, you put into him . . .

"Twenty-five minutes to where?"

The thetan does that. That's the best thing he does. A little kid does this all the time. A happy tribe, happy natives, across the world do this all the time. Everything is superpersonalized. But then they, by the way, they build it into an automaticity.

"Well, it's about twenty-five minutes out on the line here."

Male voice: Yes. It always answers.

"What is?"

Yeah, so ... Any other?

"Poplar Place — oh, we don't go there, that's the other streetcar."

Second male voice: Ron, like sec, running the emotions on the second dynamic there, just how far shall we go? Like sexual emotions and things like that?

You say, "Ahhhhhh!"

Hm.

You've just asked him about something that he just couldn't look at, that's all, which is locational position. Locations, positions and so forth. So he went off into time and he went off into something else.

Second male voice: The gamut of maybe puppy love or things like that?

Well, if you look at people who are real bad off, if this is their attention, they're going this way, here's the center of the case — here's the buttons and buttons and buttons. So we look at them and their attention . . . We say, "Look at the ashtray" (and we'll just say that "ashtray" is really what should happen on that case), "Look at the ashtray," and his attention — this hand line here, see — goes up here and psheewww! Over here is a connecting thing which says, "cigarettes," and he'll say, "I don't know. When I was quite young I used to play with matches."

Oh, sure. Sure. There's quite a wide band there. I just leave it to your imagination. I point out to you that there's a nostalgia comes into the second dynamic, too. And there's a high — sort of a high whine ecstasy that sounds like an airplane in a power dive. And there's a tremendous gamut of these emotions there.

You say, "This is probably an ashtray. Now, take a look at this ashtray and let's see whether or not we can't pick up something about your mother, and get a little Straightwire on your mother and so forth. All right. Now, just let's recall a time . . ." See, his attention, all the time you're talking since the word "mother," is idling like this, you see. "Now, let's get a time when your mother spanked you."

You understand that these characteristic emotions, as they go down scale — you go from 40.0 down to 0.0, why, and -8.0, you've got your emotions going over and over and over. And most everybody is to some slight degree in the effort band, or below the effort band and in the thinking band. So it's of great importance.

"Well, I don't think that's what's wrong with my case. Actually, it's a question of matches. I remember being punished and then afterwards I was sick for a long time."

Now, if somebody hangs up and he's having a real hard time in this class, just make him make the things think a thought, and you'll get along better. And put something else into them — effort. "Now put some effort into that microphone," see? "Now put laziness into it. Now put some effort into it." That's real low band.

Now, an auditor will do this. He'll have a case in progress, the case will be coming along very well, case will be doing all right in terms of communication. The auditor adjudication of the speed of communication of the case says the case is progressing. That's all an auditor needs to know. And boy, before very long we ought to know real well what this is all about, so we don't have to ask somebody how he feels. You ask people how they feel now, to be courteous, not because you don't know. You know and then you ask. Just to be courteous; just because man talks that way. Not because you have to find out. So we ask him, "Do you feel better today?"

Male voice: How about putting the minus Tone Scale into things? Hiding.

"Well, I don't know. I had an awfully bad night last night. I haven't had a bad night for a year."

Well, all that emotion down that line is wooden — pretty wooden. I'd rather get a stronger emotion on the upper band. But that's a good suggestion. Good suggestion. Anybody can stretch that out that wants to. There's that old minus scale there. "Put a protective feeling in this table." And of course, there's one danger in that — that's what this stuff is: barriers to protect; to protect and to protect other things.

Is he trying to be insulting? No, he sure isn't trying to be insulting. The fact of the matter is you've asked him about his condition and that's one thing he can't face. He's totally justifying, trying to look for some justification of condition. Why is he looking for justification? Because he's got logic machinery sitting around. And he flips in this direction and it shoots him off over in this direction, and he pings a couple of these relay stations and that clicks a couple more things and above all this — "How wrong can you get? Dead." So he has to be right somewhat, so he has to tell you he's alive and this means he has to be right, so he explains to you how right he is.

You can put minus scale in there and you can put the whole band from top to bottom if you want to — including effort, including thinkingness and so forth. But specialize in the Tone Scale as it goes from 0.0 on up the line, the second dynamic and ridicule. That pays off, very heavy. And disgust, which is about the same as ridicule.

And you ask somebody, "Are you going to the theater tonight?" And he'll very often tell you how alive he is. Just routinely. And you ask somebody if he's eaten yet, he'll tell you how alive he is.

Only you'll find out that if you start running much disgust, you'll find out the fellow is starting to be an effect slightly. This is a double-terminal process. This really belongs — if you want to know where it belongs in SOP 8, it belongs at V, really. Because it's a double-terminal proposition. It solves a person from discharging against emotions and being an effect of them.

But if he considers this discourteous, he will tell you about how dead he is, kind of threateningly, or needing energy or sympathy. In other words, he goes off into computations, pang! pang! pang! All of this thinkingness sets up because his lookingness collapses on a certain subject. So he thinks. And then he doesn't know what he's thinking about. And then that inverts and he finds himself looking at something else. And then eventually that other thing inverts, and so he's looking at something else.

But you're not trying to process him so as to run out a bunch of emotions, so he will discharge against these things. You're trying to make him do it independently so he doesn't discharge. And you're trying to give back to him the control without running a single thing out, and without any anything in the bank. You don't want to even worry about it. If he starts worrying about being an effect of it, well, you just overlook it and keep pushing to make him a cause on it.

Psychology, our unlamented predecessor. We have nothing to do with psychology. Psychology is the study of the human brain and stimulus-response mechanisms, and its code word was, "man, to be happy, must adjust to his environment." In other words, man, to be happy, must be a total effect.

You find many people, they say, "Well, I know how that stuff feels."

It was almost fatal, by the way, to run into that and tell somebody he has to start making the best of it and putting up with things and taking a rest, and that'll fix him right up.

And you say, "How does it feel?"

Well, anyway, we have this problem coming up continually where you have distracted attention. This is one method of distracting attention. The other method of distracting attention, of course, is to pull it in, in some other direction.

And they say, "Well, it feels disgust."

Now, in psychology they neglect the factor of causation, because they neglect — they're treating the human body and trying to understand the human body. So they, of course, are not looking at that thing which monitors a human body. It's the thetan, so they never would have found the thetan. Furthermore, the thetan works like radar. Radar is much closer to it than MEST eyes.

"It does?" you say.

Mest eyes depend on light coming in and hitting and agitating something or other for the GE to see. But what do you know — you never look at what the GE sees. I don't know why you use one. You don't feel what he feels, see what he sees, nothing. See, this is a real weirdie. You've got viewpoints dropped over the iris, and you've got hearing points over the eardrums and you've got feeling points over the fingertips and along the nerve lines you've got stations set up so that you can feel what he feels, but you never get a relay from the GE. That's real interesting, isn't it?

"Yeah. Sort of a disgust for itself and a dirtiness, yes."

You can monitor a GE if you want to and turn him into nip-ups because he's a total effect — practically total effect. So that you generate any kind of energy, you're going to affect him one way or the other. But you're not doing anything with the energy, normally, that you have to have in order to run the GE and that sort of thing. Once upon a time you could probably just run one. You know, it didn't have to eat, nothing — you just mock up a body.

Oh boy, climb the nearest fence, boys, here we go!

There's a certain shame — the first shame on the track, by the way, is when a person no longer is able to generate enough energy to run something — when he starts to eat and get the energy from someplace else. Eating is your first dog down; then below that level he can't make up new mock-ups just pang! pang! pang! so sex is invented as a substitute for eating and to continue lines of mock-ups.

Okay. Any other questions about this?

All right. When we look at lookingness, we are looking at the same time at its collapsed states, which is feelingness, effort, thinkingness, and not thinkingness. And every time we look at lookingness, we're looking at geographical position. And you'll get so darn sick and tired of geographical position. Because as far as this universe, and as far as three universes are concerned, the key to them is contained in the Prelogics.

Male voice: Yes, after you spoke about putting the second dynamic emotions into things, and spoke about disgust and ridicule, you mentioned, Ron, something about light and electrical objects.

The first thing theta does is create space and time and objects in them, and — creates, see. And then the next thing it does is locate things. See, it just creates these things. But that is locational itself, and then it locates things in space and time.

No, light and electricity.

You get a preclear to start locating things in the barriers of the mest universe. It's just as valuable to get him to locate things in other people's universes, by the way.

Male voice: Light and electricity.

We have three universes, all locational. Viewpoint of dimension. The moment we're into space, we're into location. And the second somebody tells you that he is "lost mentally" or "feels lost," it's because he's not looking at something. You see, first he didn't know, and then he had to look. First he said he didn't know, and he said he'd look, and then he didn't know and he did look, and then he couldn't look, and then he decided that he'd better feel, and then he wanted to feel so he couldn't really look anymore, and he started on down — and here goes your pc. Each time he tries to look, his attention is shunted off someplace else.

Yeah.

So I give you buttons to run this morning — that's what we're getting around to — and, of course, here and there you avoided running the key buttons, see? You run the Tone Scale buttons because they were all written down. Well, a very important button there is "ridicule." You see, you — here and there, in the offices over there, you dropped ridicule. I mean, it's very neat. That's — "Huuuuhhhh! No, not ridicule!"

Male voice: Putting it into . . .

Now, instructing on any such subject as this, using the symbols which comprise the English language, which of course is a symbol relay system itself (it's quite remarkable that we get across anything on a symbol relay system), we use these buttons and point them up and we get drills in progress, and the next thing you know we're running into one of these "not looks."

Well, I'll give you an example. Put some light in that wall.

Well, you could be very, very uncomfortable if you simply were crushed into looking. Boy, we could bust the watch real royally — smash! And the way to really get a busted watch is to have somebody else look for you. You know, go around and clean up somebody else's bank for them. You can do that.

Male voice: Oh good. Thanks.

You can go down the street and a little crippled boy is hobbling along and you all of a sudden turn his leg red-hot, stretch out the bones, straighten it up and he goes, throws away the crutch. You can do this if you're hot enough. But it — does it do him any good, really, in the long run? No, it doesn't. Wonder why? Boy, has he been an effect, but royally! You made him more of an effect than he was before; so you crippled his own self-determinism to some degree. He'll have a straight leg, but he'll wonder after a while if it isn't better to have a broken back.

Well, do it.

So when you interfere with self-determinism to that degree you get into trouble. That doesn't matter, it doesn't mean you shouldn't do it. I mean, I'm just telling you what I know so ... You can sure produce an effect.

Male voice: Yeah.

Now, we have, in any of this instruction, the process of reversing the line of agreement, which comprises a state not as able as it should be. Now, somewhere up the line, one attains a state of balance on cause and effect which gives him a sufficiency of barriers to enjoy the game. And not so many barriers that he's now not enjoying it, see. If you have too many barriers, why, it's being in jail. And if you have not enough barriers, why, no motion, no action.

Got some light in it?

So as we look up the line here, we're going up against the past. The past is running at higher speed than the present. Why is this? Let's take the fellow who runs a piano. He learns to run this piano; this is in the year 1722. Now, by the way, he's dead — he's wanted to be real convincing now — he died in 1745. He died real dead. Boy, was it convincing, his body was tramped by a horse and he was completely mangled. There was no doubt in anybody's mind he was dead. By the way, you'll find him holding on to this impact and so on, occasionally, when he needs to be reassured. See, it's: He's not there, he's there, he's not there, he's there, he's not there... You've got a "maybe" at work, but you also, between these two things, have the certainty of impact. No doubt in anybody's mind that they were hit.

Male voice: Yeah.

You can go back down through a person's lifetime and you'll find a lot of these impacts sitting around — boy, there's no doubt in their mind that they were hit. In other words, something produced an effect upon them. They're more certain about what they hit, though, if they're in pretty good shape, because they've certainly produced an effect on something else.

Now put some electricity in it.

Well anyway, this fellow could play this piano back here in 1722, and he played the piano very beautifully and he was very fast — clavichord or something of the sort. And he — just gorgeous, you see. I mean he — artist. Real fast and terrific virtuosity, and the best there was and all of that sort of thing. And that life's all gone. That's laid away. Doesn't remember. We only live but once, the beautiful sadness of that. He's been very convincing.

Male voice: Yeah.

Death is a sort of an accusation. You say, "Boy, did you produce an effect upon me and a bad effect too. And all of your effects are bad, damn you. Because look how dead I am." Of course a person who can remember is not dead, see? So, of course, a person who's dead is dead, if you want to really be convincing.

Okay. Put some light in it now.

So in 1940, why, Mama puts this person down to the piano and says, "Now, you've got to practice for two hours a day and you'll be a good piano player. And I've got a good teacher for you, and it cost a lot of money to buy this piano. We're paying five dollars a month for it. And we're paying umpteen dollars for the course of lessons. Now practice on the piano." And the kid — very happy, see.

Male voice: Yeah.

And he starts monkeying around with the piano. Bum-bum-bum-bum, bum-dum-dum-dum. He starts monkeying around and they show him a piece of music he's supposed to play, and he looks at this music, and it sure doesn't look right to him — looks awful funny. He doesn't pay any attention to the music, to hell with the music. And he finally gets it down to where he's got a boogie beat down here, see, on the bass; and he gets this boogie beat and he's getting real interested and the piano teacher says, "No!"

Put some electricity in it.

And Mama says, "My God! We're trying to teach you to be a concert pianist, Oswald." And he tries this a couple of more times, you know, kind of speedy, and he'll just have to slow down. He's supposed to read music and he's supposed to do this and he's supposed to do that. In other words, instructingly, they're making an effect out of him — crush, crush, crush, crush, crush, crush!

Male voice: Yeah.

All of a sudden he starts to play the piano one day, and he gets sick! He gets real sick. He doesn't know what on Earth has hit him. Nobody else does either. But he doesn't look at the piano; he can't tell anybody it's the piano. He doesn't know it's the piano. And this is your mechanism of the hypnotized subject unable to look at the tie signal of the hypnotist, as you'll find in Book One. You know, the fellow says, "When I touch my tie, you'll take off your left shoe." The hypnotized subject never sees the motion; he just doesn't look at it. All right.

All electricity is, is light with effort in it. You get the idea?

We have this poor kid there, sitting in a fast ridge of terrific automaticity. Oh, if just left by himself, he could have sorted through so he could have learned a piano without ever contacting that ridge. But now, by being an effect — this "he has to learn" — they've got to set up all of his piano playing automatically, and as soon as it's being set up automatically according to music, in comes the old ridge. And the second we've got an old ridge coming in on him, it's moving faster than he is, and it goes boom! And boy, don't think it doesn't go boom. All of the automaticity about piano playing — he can't play that fast.

Male voice: Yeah. Thanks very much.

Then we get, every once in a while, a child wonder. He sits down at the piano, two years old, and pangity-pang-pang, Mozart and Brahms, zing-zing-boom-bong.

Did it kind of flare up for you?

Or you get a kid four years old, and he all of a sudden starts talking ancient tongues. Somebody listens to him for a while and says, "My God, do you realize that you're talking algebra?" And he doesn't see anything peculiar about it at all. Just some old automatic ridge.

Male voice: Yes.

Well, sometimes they can handle them; mostly they can't. And when it caves in, it caves in but hard. It's running faster than they are. All right.

Good. Good. If you get real hot at this, you can short-circuit out E-Meters.

In the course of study, as we go up along the line, we are continually pushing the preclear to look at things which are running faster than we have the preclear running. So if your cases hang fire at any time, you're just auditing too slow, and using too slow a technique. Speed has everything to do with it. So that the fellow can't look quickly, you see — he doesn't look speedily, he doesn't carve through anything, his attention goes off in some other direction.

Okay. (You have to provide your own, though.) (audience laughter)

Techniques, as they are developed, make a very integrated picture. Extremely integrated, actually, since they are all designed to pick it up at the easiest end and reclaim with the least excitation of unhandled automaticity.

All right. That's the end of this lecture.

You know, a fellow's memory starts going to pot by handling automaticity and so forth, unless it's being handled by an auditor, and handled very well.

(Recording ends abruptly)