Psychotherapy, as such, demands at the beginning of the action, that a person be potty. And people who are a bit potty, psycho, who are skidding their wheels mentally and other technical terms, don't group audit worth two nickels and a collar button. They just don't group audit.

Have a lot of data this evening of one kind or another. A lot of things have happened here in the last four years, just to take a wide look at things, since the advent of Dianetics: The Modern Science of Mental Health. But two very, very important things have occurred. Two extremely important things, I might say, have occurred on that line of research and investigation into the field of human livingness, and that is simply this: A human being as such is not a body – very demonstrable and highly therapeutic, but he is not a body. And that by the treatment of a body we do not particularly aid or assist the person we are treating.

You put them in a group and they goof - that's the technical term for sitting there.

That is a lesson which medicine has yet to learn, which psychology (late, lamented psychology) unfortunately never did learn right to the day of its death – never did learn. It thought it was treating a bunch of neurons and it was not treating neurons. Now, we know what it might have treated, but it didn’t treat it and so it’s gone.

Now, Group Auditing actually belongs in the field of the sane and able, although you could take a group of people who weren't too well off and do a lot with them with Group Auditing; this we know.

Well, anyway, our next important discovery came out of an earlier discovery, which was quite important, which was a triangle. And this triangle was a very interesting triangle.

But at the same time, the place where it belongs is with the people who are pretty sane, who just have some minor odds and ends - broken backs and that sort of thing - wrong with them, and who actually want to do a little bit better in life than before.

So let me go back into ancient history for a moment and let’s take a real good look at this triangle.

Now, what exactly does Group Auditing do? Group Auditing has the remarkable ability to increase one's awareness of the environment, and to increase one's communication.

Here is the ARC triangle. [See ARC Triangle in the appendix.] This triangle was discovered in July of 1950 to have an enormous bearing upon life and existence at large. Doesn’t look like much, is it? It’s just a triangle with A and R and C at the corners of it. But this triangle encompasses understanding; it encompasses as well mathematics. And you omit any corner of this triangle and you will discover that the other two corners will collapse.

Now, let's take playing baseball. Do you suppose that if a baseball player had difficulty communicating with a baseball he would be a championship baseball player? No, if you were to actually test just this one factor: the communication consideration of the baseball, amongst a lot of baseball players, you could pick out blind the big-league players. See, you could just pick them right out of the lineup. Or two or three bush-league players who ought to be in the big leagues, and two or three big-league players who ought to be not even in a bush league. It'd be the ability of the individual to communicate with a baseball. All right.

Now, this triangle has affinity, reality and communication. Now, those three corners one after the other support one another. In support of this, did you ever try to talk to somebody with whom you had no agreement of any kind? Sometime try to talk to somebody who just landed from Mars, just do it as an experiment, and you will discover that, one, you have no agreement on language and so immediately you cannot communicate – that is the first thing.

Here is an individual who is not having too good luck with a car. We put him into better communication with this car. Just have him touch the steering wheel and let go of it, and touch it and let go of it. And touch the fender and let go of it. And touch the starter button and let go of it. And touch another wheel and let go of it. And touch the steering wheel and let go of it. And we keep this up for about a half an hour a day, for a week or so, an individual who was not able to drive a car is now able to drive a car. Peculiar, isn't it? We increase his communication, we increase his ability.

You will discover, next, that you not only won’t like him but you will probably fear and suspect him – so there goes affinity. When the agreement goes out, the affinity goes out. When communication goes out, agreement goes out and affinity goes out.

Group Auditing belongs to the sane and to the field of increasing endeavor and ability. And unless somebody in this mechanical society today starts to practice increasing one's ability to do, the next thing you know we're all going to be sitting back there with folded hands while the machines grind on. The ability to construct the machine will have been gone.

Now, let’s say we have somebody that we decide we’re going to do business with one way or the other in spite of the fact that he is a dog, a bum, and in spite of the fact that you never met such a louse in your life. But we’re going to do business with this dog! And we go over and we try to talk to him, masking the fact that we have no A at all – masking the fact that we have no affinity. And what is going to be the result of this? No C. You won’t be able to communicate with him. You talk to him for a short time, you’ll become speechless, or you’ll wind up in a fight or an argument. But C will break. Why? Because affinity was not present – you didn’t like him.

That would be an interesting society, wouldn’t it? One that ran totally on machinery and then all of a sudden there was nobody in the society left who could build a whole machine. And a machine breaks down, and another one breaks down, and another one breaks down, and another one breaks down, and nobody can put together any machines anymore. Be an interesting society - look peculiarly like this one.

Under affinity we have whether or not we like people, whether or not we can live near people, whether or not we feel emotional toward people. Actually, affinity – the technical definition of it – is the consideration of distance, but that takes in like and dislike and the emotional scale.

So Group Auditing belongs to the field of higher alertness and higher awareness, and what we are trying to do with these exercises is simply increase your alertness and awareness. If it accidentally knocks out a psychosomatic, if it betters your eyesight or does something of this character, why, do not be alarmed, do not be alarmed, that was just an added bonus. And don't look for anything to happen at all. Don't expect something to happen. If it happens, I will simply make it happen. You don't have to do anything about it. Okay.Now let's find the floor.

In Scientology, in Dianetics, we have this emotional scale [See Emotional Tone Scale in the appendix] which starts in with apathy, above it is grief, above that is fear, above that is anger, next is antagonism, next above antagonism is boredom and above boredom, conservatism, and there we find enthusiasm sitting on the top. All right, that is not the top of the scale but that’s merely the emotional scale. So we go up this emotional scale and we find human beings can be found at one place or another on this emotional scale.

That's an easy job, just find the floor.

Well, if we have a person who is chronically in grief… Let us take somebody who goes to all the funerals in the community. I knew one fellow one time who was not chronically in grief who went to all the funerals in the community and he was a very interesting fellow – very, very interesting fellow. He went to the funerals on Sunday and foreclosed on the widow on Monday. And I guess the reason he went to the funerals and furnished his car for all the funerals in the community was just to make sure the fellow was good and dead before he dropped the axe on the fellow’s relatives. He was a banker, a small-town banker“ the most hated man there, but he went to all the funerals. He was chronically somewhere on this Tone Scale.

Male voice: It's there.

But you have met somebody that you would swear had just that moment come from a funeral. They’re always ready to cry about something. They’re always in grief. Life is sad. Life is a sad thing. Have you ever run into anybody like that? All right. Then such a person could be said to be chronically in grief – just part of this emotional scale.

Let's find the floor.

Have you ever met somebody who was always mad about everything? It didn’t matter what he was mad about, he was just mad about something. But it turned out to be practically everything. So you come in and you say, „Good morning.“

Okay.

He doesn’t say, „What’s good about it?“ – that would be in antagonism – he’s angry though. You’ll find out he’s angry about the morning mail, he’s angry about the state of the office, he’s angry about this, he’s angry about that. In other words, he’s angry! Well, he actually isn’t angry about anything. He’s just parked at this point on this emotional Tone Scale. He is angry, period.

Now do you think if you threw your hat down you would be able to hit it?

Now, once in a while we run into… on the upper scale we run into fixed conditions. Now, in the old days, nineteenth-century material would label this as manic, a „manic“ state. A fellow – he always felt real good and so forth, a lot of push and bang and so forth. He’s actually stuck on this emotional Tone Scale. Well, the optimum condition on the emotional Tone Scale is to be able to change your position on the scale. After you’ve been angry for a moment, you should be perfectly willing to merely feel antagonistic and then bored, you see? The fellow who is stuck at anger only goes in one direction, and that’s down. When they start sticking on this scale, there is only one way they go – down.

Audience: Yes.

The angry man can be counted on sooner or later in his career to go into self-destruction – apathy. Hitler, Hitler was an angry man and he eventually went into suicide, and anger. Was simply a chronic state. He was in a fixed anger band and then when he pitched off of that he went downscale.

Well, what able people we are. Let's find the floor again. You got a floor there?

Well, all of these emotions about which I’m talking about, and these emotional conditions, are under the heading of affinity – that is the degree of affinity.

Audience: Yes.

All right, now, if these angry conditions, griefy conditions, and so forth, are part of a fixed scale, then we would expect R (reality) and C to equally be part of that same scale. So we have actually here a scale of a series of these triangles, see?

Is it a solid floor?

We could have these triangles in such a line as… We’d say this one is apathy – this person is always apathetic. And this one, let us say, is anger and this one up here, let us say, is enthusiasm. All right. What is his degree of affinity? His degree of affinity is apathy, here. What is his degree of affinity here? It’s anger. What is his degree of affinity here? It’s enthusiasm.

Audience: Yes.

All right. Now, let’s take this R. This individual who has an affinity of apathy is then going to have a reality which matches apathy, and what kind of a reality is that? Apathy is „Oh, well, it doesn’t do any good anyhow. Oh, (sigh!) there’s no sense in doing anything about it. It’d just get worse probably.“ This sort of an enthusiastic existence we find in apathy has the same reality and we find the fellow meets ex­istence and makes agreements on this band. He actually only agrees with things which are on this affinity band. See, he’s in apathy so he agrees with apathetic things.

Hey, what's under it?

So we find out that if he picked up a pet, it’d be some cat that could barely drag itself along. But mostly it had better be a cat that doesn’t move at all, that’s much better. And if he started to find out what life was like, he would have an interesting observation – life is all in apathy. The only thing this individual would actually see sharply would be those things which were apathetic, so he would make friends with apathetic people. He would find himself involved with apathetic organizations – if he did any circulation at all. Let’s say that such a person could get out far enough to be part of an organization (they usually don’t). But anything that „nothing could be done about“ would be right there for him to observe. His world is the world of apathy. Now, much more important than that, is even this apathy very real to him? No, it’s not – it’s an apathetic reality. When he looks at the wall, „The wall. Well, might be there, might not be there. It’s a wall, I guess, but of course one never knows about things.“ And he wouldn’t get up for one moment to walk over and touch the wall and find out whether or not that wall had the slightest reality as we see it, you see? Solid. „It might or might not be solid.“ See? But his curiosity is insufficiently aroused about this condition and he will walk around through life rather under the impression, probably, that walls „Well, they are or they aren’t.“ Once in a while his body will run into one, and after he’s hit it very hard he’s liable to stand there for a moment or two before he bounces.

Audience: Ground. The ground.

Now, that is his reality, and a thin, soupy-looking world this would make, wouldn’t it? Because under the heading of reality we get perception. What does the world look like to this man in apathy? It’s very hard for somebody who is not in apathy to really get down and understand what the world looks like to him, but believe me it’s a kind of a soup. The walls are sort of soupy and they might or might not have form. The statue out in the park is a sort of a gelatinous, shapeless mass. That’s the way the world looks to him; it’s an apathetic world.

Are you sure the ground is under it?

The odd part of it is that he could go out and stare straight at a pile driver which, on an anger basis, is going „crash, crash, crash, crash,“ and, you know, he would never see or hear that pile driver rise or hit. What he would see, however, is the fact that the fellow who’s supposed to be watching it isn’t moving and he’d notice this lumpy mass that he would figure out possibly was another human being sitting there motionless. But the pile driver itself could be in full action and go unobserved by the individual. That’s the truth about apathy. Hard to credit, but that’s the way the world looks to this fellow.

Audience: Yes. No.

So that if somebody comes into his plane of vision who is moving, who has some life in him, something like that, that person might as well be invisible – just might as well be invisible. And then he’ll turn around and try to understand this fellow for a moment, but that’s an apathy too, and we’ll get to that after a moment.

Do you think so?

Now, reality is what is perceived. That’s perception to the degree of: What is perceived? What does it look like?

Audience: Yes.

This C over here is the action of perceiving and so we have communication at the band of apathy. What do you think it is? What do you think communication might be at the band of apathy?

Oh, not "probably" - do you really think it is?

Fellow manages to drag himself in the front door and he slumps in the chair. The other person, let us say, is in apathy and the other person is already slumped in a chair, and they sit there. That’s communication – they sit there. You come along and you say to this person, „Hi, Joe.“ I just told you that if you were in a state of liveness that there’s a definite possibility that he won’t see you. Well, boy, there certainly is truth in that, because he doesn’t hear you and he doesn’t answer you. He actually will not answer you. We call this – a technical word – communication lag.

Audience: Yes.

Now, communication lag assumes that the person actually has heard you and is going to answer you. And that’s too high for apathy, because this person has not seen you or heard you and this person doesn’t reply to you.

Well, tell me, is the floor solid or if you hit it a little bit with your heel would it go through?

A rock, actually, or a piece of bread dough is in apathy. Did you ever say hello to some bread dough?

Audience: No. Solid.

All right. Now, this triangle, then, in all three of its corners is native to apathy.

Well, hit it a little bit and let's see if it goes through.

All right, let’s go upscale here and let’s look… You understand that right above apathy there is a band called grief, and right above grief there is one called fear, and then we get into anger. There’s also one in there, resentment: a person doesn’t dare be angry anymore but he’s… well, if he just had a little more energy or if he was a little bit better known or he had a little more money, what he wouldn’t do! But he doesn’t say that to the person. He knows better than to get angry anymore; he’s caught below anger.

Audience: No. It doesn't go through.

All right. We have in this triangle all parts native to this band „anger.“ In other words, affinity matches up on R and on C. All right, let’s take a look at… we know what affinity is for anger: the fellow is actually holding. Anger is not a motion particularly. It is actually a bursting, destructive action held from acting. A person who is being emotionally angry is generally not striking. See? He’s being angry! He’s actu­ally holding himself as much as he’s driving himself, and boy, does it make a complicated picture.

Well, all right.

These people who are in chronic anger reach out and hold back to the same degree, but both with equally violent force which makes a very chaotic picture. A fellow in anger is apt to pick up something and restrain himself from throwing it, you see? But then he does throw it, then he wishes he hadn’t thrown it, you get the idea?

It didn't go through. Well, what do you know, we're in luck tonight.

He’s up, down, back, and actually he’s traveling a distance up and down across overt action and withholding the overt action.

Let's find the chair you're sitting in. You don't have to look very far, let's see if we can find this chair.

All right, this individual in anger has a reality of angry, he likes violence. Wagner. Oh, that’s good. That’s good music. Yeah, particularly when it’s utterly discordant. If you could… he would never really be satisfied with Wagner unless you could play two of Wagner’s pieces simultaneously.

All right.

All right. So our next look, as far as his reality is concerned, is to find that masses – heavy withholding forces and masses – attract him a great deal. Things have to be kind of massive.

Now let's find out if the chair has an arm.

So we have some nations that have been in anger. Germany during Hitler’s period is rather typical. Boy, the art during that period – man, did it have mass! You know, it was mass. We won’t mention the art, but it was mass. And by the way, what do you call them, the WPA… No. The Works Progress Administration Division of Arts that painted all the pictures in the post office? You know, that had the cogwheel, you know, and the overmuscled fellow and the woman who is much, much too thoroughly constructed in some areas. You know that school of painting, actually, came over here – Russian, German – that school of painting. That is what we call… These, by the way, all have arbitrary numbers in Dianetics and Scientology: that’s 1.5; apathy is 0.1; 0.0, the guy is dead. So this is 1.5 art – mass, you know, heavy massiveness.

Audience: Yes.

Now, his reality, then, his reality only matches up where he sees something which is counterbalancing great forces. And this he considers – „That’s real, that’s real.“ Now, this fellow could see a perfectly… You can walk up to this man with the greatest of enthusiasm and you can explain to him how he’s just inherited a million dollars – enthusiasm, good news, good shape and so forth. And do you know there’s a possibility that he wouldn’t see you or hear you, and a little while later might turn around and remark to you that you were in his office, what were you doing there? If he did take in the news, it would be a shock to him. Why would it be a shock? It violates his reality. He knows everything is bad, and you’ve just told him that something was good. And if he had to accept something that was good, his reality would be violated.

No. Does it have a back?

Well, now we have a band that we can call sanity, only that actually is the lower margin of sanity – 2.0. When people fall below 2.0, tsk! as a chronic state and never change that state, they are insane.

Audience: Yes.

But above this state we do have various other emotions… Most people, by the way, are 2.5 or something like that. They’re just mildly bored. You know, existence is sort of onerous, but we kind of try to make nothing out of it somehow. We get up here to enthusiasm, we find that we don’t have anything much in common with anger. Anger doesn’t have very much in common with apathy, but anger can sink rapidly into apathy and enthusiasm can sink rapidly into anger – change of tone. That’s how those tones change. The individual who is violently angry for a while will go into apathy and say, „Well, go ahead and shoot me, what do I care?“ You know, he’ll just skip it – the whole thing.

No. Does it have a seat?

But enthusiasm up here will react down into anger sometimes. The individual has gone out and he’ll say, „Come on, let’s go. Let’s get this job done. Let’s be this way, let’s be that way. Let’s be hotter than a firecracker, you know? And let’s get the show on the road for the team, you know. And throw your money in the box, and we’ll build all this and we’ll get it all straight,“ and so on and so on. And you know, „Nobody’s doing it!“ And he’s down there in anger.

Audience: Yes. No.

All right. Now, anger does have a C. But what kind of a communication do you suppose an angry man has? It’s again not much of a communication, is it? You probably would get an answer out of him if you walked up and said „Grrr.“ You’d undoubtedly get an answer out of him.

Does it have a back?

Well, all of these three corners of this triangle are similar. Now, give an angry man a communication to hold and pass on to somebody else when he sees them. Do you suppose that communication… Let’s say a man is violently angry and we give him a letter to mail. Do you suppose the letter will ever get mailed? It sure won’t. He’ll stick it in his pocket, he’ll throw it away or do something of the sort. But he won’t pay any attention to this letter.

Audience: Yes.

Similarly, we tell him something. Have you ever tried to convince a very angry man that there was certain information on the subject about which he was angry which he might be able to use? What do you elicit? You just get more anger.

Does it have legs?

All right. So A-R-C here – we’re right close together. There’s darn little communication at anger. We’re still below 2.0. Now, we get up above 2.0, we get into the bands of first antagonism, then boredom, then conservatism, then enthusiasm. And we get up here to enthusiasm and we have a fellow who is at outflowing communication, and the C at enthusiasm is outflowing.

Audience: Yes.

The odd part of it is that if an individual were stuck at enthusiasm, apathy would be almost invisible to him – incomprehensible, invisible. So this enthusiastic person walks around; he thinks the whole world is enthusiastic just like he is because he doesn’t notice anywhere in it that anybody is apathetic. Someday somebody forces this upon his attention and he goes into anger. But his communication, quite normally, is an outflowing communication, and the one which inflows to him… Here we have communication moving though, that’s sane. Communications which move in he can receive if they are on the enthusiasm band, but he will not receive a communication which isn’t if he’s really stuck on this band.

Does it have legs?

Things which he sees in the world are those things which give promise, being better and being more usable and so forth – these are the things he sees. He doesn’t see the angry things, the apathetic things. So therefore life is disillusioning to him after a while if he is stuck at enthusiasm, but who wants to be stuck any place on this scale?

Audience: Yes.

An individual should be able and be at liberty to be apathetic, angry or enthusiastic, bored, antagonistic or anything else as the environment seems to indicate, and that is the answer to it.

Male voice: Support.

Because these people who are stuck on this scale are not evaluating their environment. They are being angry without the environment calling for anger. And that’s the interesting thing. The environment doesn’t call for him to be angry, there’s nothing going on, and yet he’s angry. The fellow’s got lots to eat, and he’s living well, and so forth, and the environment says „No rea­son for apathy.“ And yet he sits there and he says, „I get so discouraged.“ What does he get discouraged about?

Well, well, it has legs. Now, where do the legs end?

All right. Let’s go into the other portion of this – understanding. This ARC triangle makes up understanding, and these tones are the lower tones of humanity. These are the tones of humanity, which is why we stress them. There are many other tones, and they go upscale from there and they even go downscale from there.

Audience: At the floor.

But as far as humanity is concerned is they hang around to a large degree in this band and we find these are the most common – enthusiasm, anger, apathy, the rest of these – are the most common emotional states of the people we run into.

Well, wait a minute. Where do the legs end?

But each ARC triangle here, or any ARC triangle, would be a triangle of understanding. And what is understanding? It is the ARC of the individual. That is understanding. Now, you could teach a parrot to say „How are you Joe?“ But that doesn’t mean that the parrot understands that there is such a thing as Joe or even that he’s talking. He might have an idea he’s making a noise as a copy, but he is not doing, one, communication; he’s not in agreement with the message which is „How are you Joe?“ In other words, he’s not greeting Joe. And over here in affinity he doesn’t care whether Joe lives or dies; it’s all the same to him. So he doesn’t have any understanding about it. He might be talking, but he’s not doing any understanding.

Female voice: At the floor.

For understanding to occur, A, R and C must be present. But we have differences in levels of understanding. What does an apathetic person understand? He understands that life is sort of a lump of bread dough – his reality – he knows that nobody ever talks to him and that he doesn’t talk to anybody else, and he knows that there’s no use trying to go on anyway because you can’t win.

Audience: (various responses) They end at the floor and...?

The very word apathy, by the way, comes from Zeno’s Apatheia, writing in the later days of the Roman Empire, who wrote a philosophy on the line… Oh, this is the most popular philosophy of the later Roman Empire, a gorgeous philosophy, „You can’t win, so why try?“ And the name of that book is Apatheia – Zeno’s Apatheia. It’s where we get the word. You can’t win, so why try? Well, he knows this is what the world’s all about: You can’t win, so it’s no use doing anything about it.

Audience: At the seat.

At least Schopenhauer writing many centuries later did have enough anger in his philosophy to say „The thing to do about life is to stop the whole thing. Don’t let it go any further. That’s what you do with life.“

At the seat!

All right. This apathetic man’s understanding of life is in this framework then of ARC. And you could understand what his understanding is by locating his feeling or his experience in any one of these corners – then you know what his understanding is. You think a man in apathy really understands anything? He does, he understands apathy. That’s all he understands. And when a person is momentarily in apathy, that’s what he best understands – apathy. If you were to walk up to a person who is saying „I can’t win so why try?“ and you were to say to him, „(Sigh!) Well… hi, Joe. Joe, you know, you can’t win so why try?“ He’d understand you perfectly – buddy. He’d understand you, but that is all he’d understand. He’d understand that particular transmission.

Well, all right.

This angry man, he understands anger, and this enthusiastic man he understands enthusiasm and that is all he understands. This world – his reality – is built out of enthusiasm.

Let's find out where these legs end again.

This man’s world is built out of anger. And with anger goes of course breakage, stopping, not running, withholding.

Female voice: These legs don't end.

An angry man in raising a child will do one of the most weird things – a chronically angry person – one of the weirdest things you ever saw. He’ll say „Johnny, Johnny, go and get me my cigarettes.“ Johnny starts to go and get him – “Come here!“ Get the idea? He says, „Come here. I’ll get ‘em myself.“ He probably will. Johnny was perfectly willing to get his cigarettes. He knew right where they were and would have brought them to him in one moment. But the mere fact that Johnny started out made Johnny come back. You get the idea?

Audience: (various responses)

All right. We just had a conference with this very angry man and we have agreed on such-and-so and so-and-so and we start to leave the conference – see, we start to leave the street corner where we came to this agreement. And we start to leave, and he’ll say, „Oh, just a moment.“ And then we’ll have to wrap the whole thing in some opposite direction. You see? Stop that motion. Stop any motion you start and start any motion you stop and you’ve got anger. And that’s his understanding of life. It’s all stopped, but if it starts, stop it; if it stops, start it; if it tries to change, kill it.

All right.

Enthusiasm, the same way, you come along and try to explain to this enthusiastic man who is normally quite enthusiastic about existence or about a project – you try to explain to him „But people don’t want a Utopia. People… they can’t win and they know they can’t win and they don’t want a Utopia, and there isn’t any reason to go on with this thing.“ You just might as well stand there talking to the wall. He doesn’t understand you. He will tell you so immediately, „I don’t understand what you’re talking about. This is just nonsense. It has no bearing on any reality.“ And the truth of the matter is probably the Utopia would meet that kind of a reaction. No, he’s all wound up in the idea and the only thing he can understand is enthusiasm.

Have you got a chair there?

Now, actually, if we have this triangle here, this ARC triangle, and if it’s so important, there probably is something more important to know about it. And I always had the hunch there was something more important to know about it but didn’t quite meet up with it until some months ago when I suddenly tripped over – slightly, just a slight stumble at first, caught myself and walked on down the line with aplomb – over communication as being slightly more important than anything else.

Audience: Yes.

„Hm,“ I said, „that’s real interesting.“ Research and investigation is always very interesting because you never know what you’re going to know even though you know what you’re trying to find out already.

Well, is there a floor there?

And there is this business of the two-dimensional worm: Two-dimensional worm is crawling on a two-dimensional plane. This sheet is a two-dimensional plane, it has no height. Let’s say there is this little spot on this sheet and let’s say that it sticks up this way towards you a quarter of an inch, see? That makes it three dimensions. But this is a two-dimensional worm; he lives in a two-dimensional world. And so he’s crawling along here and he’s having a fine time. And he crawls along and he all of a sudden bumps into that third dimension, you know? He just ticks it slightly on his way back. Oh well, he’s probably dreaming, hallucination or something of the sort. Skip it!

Audience: Yes.

So the next two-dimensional worm crawling along. And he hits it kind of solidly and he says, „You know, this shouldn’t have happened. There is something wrong here.“ So he goes on back and along the line and he runs into another worm and he says, „You know, the funniest thing happened to me. I was walking along and I… and I don’t know,“

Well, fine.

So this other worm goes over and runs head on into this thing, see, crash! And he backs up and he says, „That is not supposed to be here.“ So he tells his grandchildren about it and shows them the bump.

Is there a ceiling over your head?

But another two-dimensional worm comes along and climbs the pole slightly. All of a sudden he’s being very brave, you know, he’s looking up. And all of a sudden he says, „What am I doing here? Where am I? Where have I gotten to? Oh, my God, isn’t it a horrible long way down.“

Audience: Yes. Does it fall in?

The reaction… we used to have a phrase for this in Dianetics. We’d call it „up the pole.“ A guy got up the pole. We’ve seen them. The guy would all of a sudden get completely esoteric on some point or another. He couldn’t express it to any other of us two-dimensional worms, but he sure was trying to talk about something. And all of a sudden he’d look around and he’d say, „My God, how did I get up this high?“ And he’d fall off and feel terrible and so forth. Up the pole, a rather strange manifestation.

Audience: No.

Well, anyway I bumped into this little post. Well, now the ARC triangle, I point out to you, is perfectly flat. See, it’s a perfectly flat triangle. It has no poles in it. And I was crawling along one day and I ran into a pole that I thought was right there at C. All right, so it was there at C – something a little more important at C than at A and R.

As you look at it, does it drop?

Well now, this was totally contrary to the agreed-upon society in which we live, because this society’s psychology, long dead, had already determined completely that the important thing was reality and so had everyone determined that the important thing was reality. And that all we had to do to make somebody well was to make him face reality. And this was the total trick, but it never worked. And I had eaten this up with my professor’s Scotch as a fact, and it’s not a fact.

Audience: No.

You can agree to anything you want to, wherever you please and whenever you please, and it won’t do a thing to you. You can agree on anything. But if you talk to somebody and he doesn’t reply, you’re stuck. And the important corner of this triangle is C.

As you look at the ceiling - look at the ceiling now - as you look at that ceiling, is there a ceiling there?

The entire mechanism of how this energy-space production unit, the awareness-of-aware-ness unit which you are, gets stuck in a body, gets stuck in a universe, is totally contained in communication and is not contained in affinity or reality at all – although these two slightly monitor the condition of being stuck. A guy can be happily stuck or unhappily stuck. He can be married to a gorgeous woman or a bum – he’s still married. He can like it or dislike it-he’s still married. He could have agreed to it or it could have been done by a shotgun – he’s still married. How do we get him unmarried? In processing you can do it with C alone – communication.

Audience: Yes.

Communication is the most imp… single most powerful item or object in this or any other universe – with communication is created space, energy and time itself. And the only way that anybody gets stuck to anything is by a failure to complete something known as the cycle of communication.

You sure?

And this cycle of communication is a very quick thing to look at here – hardly anything to it. The cycle of communication over here: [See Cycles of Communication, Cycle 1, in the appendix] Bill says to Joe, „Hello.“ And Joe’ – same Joe, you see, but now prime to do it – says „Hello“ back and is heard by Bill’. And this is the origin and this is the live form – of course, he’s a live form too but he’s a special live form, the origin live form. And this over here is the answer and this over here is the acknowledgment, and that is the mechanics of one cycle of communication. Somebody originates a communication. He says, „Hello.“ This person receives it as a live form, and this person who has just received it now answers, and this person who originally spoke is now answered and acknowledges the fact that he’s been answered. And that is one side of the cycle of communication.

Audience: Yes.

And now we go to the other side [See Cycles of Communication, Cycle 2, in the appendix] and we find out Joe this time says, „Hello.“ And now, we have Bill being the live form. Bill’ says „Hello“ back and Joe’ acknowledges.

All right.

Now, this is better explained with „How are you?“ Bill says – he’s the originator – he walks up and he says, „How are you?“ And Joe, the live form, the person addressed, hears him and says, „I’m fine.“ And Bill receives that again as the second live form.

Look at the floor. Look at the floor. Is there a floor there?

That communication having been gone through with, Joe says, „Well, how are you?“ And Bill says – he receives it here – says rather unimaginatively, „I’m fine,“ and Joe acknowledges it here.

Audience: Yes.

So we have Cycle 1 and Cycle 2. And here again we had origin, we had live form, we had an answer, and we had an acknowledgment and as long as we complete this whole two-way cycle of communication on any subject in any kind of a temper or anything else, no aberrative action has been taken – no action has been taken which could even vaguely be aberrative no matter what’s said. R covers what is said (reality, reason, significance) – doesn’t matter what is said as long as this two-way cycle of communication is uniformly carried through.

Are you sure there's a floor there?

Bill comes along, he originates a communication. He has interchanged it, talked to Joe and gotten an answer back. Then Joe originates a communication and is answered back by Bill, and they can talk there… they actually theoretically could talk there for a hundred thousand years without picking up a single aberration between them as long as they followed these rules.

Audience: Yes.

And the second that they break these rules or any part of these rules, they get into a misalignment with each other and they get upset, and you get different types of personalities that react differently on the communication line. They could talk this way for a hundred thousand years and it wouldn’t matter what they said; they could sit there and they could say to each other: Bill would say, „You know, you are the lousiest, scurviest dog which I’ve ever met, Joe.“

Well, let's look at the ceiling, and is it distant from the floor?

And Joe could say – he hears this and he could say, „Well, that is your opinion.“

Audience: Yes it is.

And Bill could say, „Mm.“

Oh, it's different than the floor?

And then Joe could say to him, „I have seen swindlers in my time. I have seen fellows who have done every single crime in the calendar and multiplied them across the line, but you very easily are the crummiest of them all.“

Audience: Yes.

And Bill could say, „Huh! That’s what you think.“

Is it different than the floor?

And Joe could say, „Mm.“ And they could go on this way and on, and be in a horrible temper with each other and they’d all of a sudden find out that they weren’t mad at each other anymore. They would be actually deaberrating each other.

Audience: Yes.

But Bill can walk up to Joe and he can say to himself, you know, kind of „Well, there’s that nice fellow Joe over there. I’ll say hello to Joe.“ So he’ll say, „Well, how are you, Joe?“

Well, all right. It's different than the floor.

And Joe hears him and doesn’t say a thing. And the next thing you know Bill will break his neck one of these times. This can go on just so many months or years, and one of these days, why, Bill can be certain to break his neck. But at the same time Bill will find that he looks at Joe longer and longer, sticks around him more and more. Insidious, huh? A lack of a cycle sticks Bill to Joe.

Audience: Yes.

Now, we try to find out how this works in real life – believe me, it works in real life. And you can take a family, you can take the person in the family who is least following these communication cycles and find right there the aberrative member of the family – the aberrative, not the aberrated – but the person who is causing the rest of the family to be screwy. It’s a fascinating thing.

All right.

Now, we look at a marriage and this fellow says, „Your Honor, I didn’t do a thing to her. I was always a quiet fellow and minded my own business. I worked at my job, brought home my wages every Saturday night, did everything I could to make a good home for her, Your Honor. And then she ran off with the chauffeur! It’s not my lookout, is it? (Sniff!)“

Now let's look at the floor and find out if it's different from the ceiling.

And Your Honor says to the girl, „Did you do this?“

Audience: Yes it is. Yep.

And the girl not knowing anything about the laws of communication and having no argument in her defense says, „Yes, I did.“ So she is deprived of home and mother, or whatever they do in courts these days – cut off five inches of her hair or something, I don’t know.

All right.

And yet the truth of the matter was, this was what went on in that family: She’d get up in the morning and fix his breakfast. He’d get up, sit down at the table and she’d say, „Well, Bill, how are you? How are you this morning? And isn’t it a beautiful morning. And I’ve just made some hotcakes here especially for you and…“ He walks out the door in the morning and she says, „Goodbye, dear.“ Nothing. He comes home in the evening. She walks up to him; she gets his slippers, gets his pipe, gets his paper, has a snack before supper, all set, and says, „Well, dear, did you have a nice day?“ Nothing. And she put up with this four years before she ran off with the chauffeur. Why? Because at first she stuck harder and harder and harder waiting for that answer – that’s all, just waiting for the answer. That’s all that she wanted. He could have said, „Go to hell.“ It would have been a perfectly valid answer of some kind or another; at least he was alive. And for the first two or three years she was simply waiting for the answer and waiting for the answer.

Now let's look at the right-hand wall.

And then she inverted till the point where she knew darn well she was not going to get an answer, and instead of sticking to, started to fly away from. Get the idea? People come in just so hard and so close on no communication, then they’ll invert and they’ll start to get away from things that won’t answer them. But it takes quite a while for the cycle to run.

Male voice: I see it.

So eventually there was nothing else she could do but run away with the chauffeur. She would have run away with the garbage man or his office secretary if it had been legal.

Is there a right-hand wall there?

Who’s the offender? Well, that’s a question for jurisprudence to answer, not us. But I can sure tell you how people get aberrated and I can tell you, out of all the data of the human mind, that there’s not very much of that data that is very important. There are easily fifty thousand separate phenomena, all of which are well worth cataloging. Psychology found over three of them. But out of all of these fifty thousand phenomena, the phenomena which I’m giving you tonight in very shorthand form – because you have to take a pretty close look at this – is nevertheless the aberrative phenomena and does open the door to what we call treatment or processing.

Audience: Yes.

And for the first time, with great security, with great certainty, Dianetics and Scientology can move very comfortably out of the field of aberration. Who cares about aberration. All we’re interested in is ability.

Is it a wall?

Thank you very much.

Audience: Yes.

All right.

Now let's look at the left-hand wall.

Male voice: I see the left-hand wall. Is there a left-hand wall there?

Audience: Yes.

Are you sure there's a left-hand wall there?

Audience: Yes.

Are you absolutely positive there's a left-hand wall there?

Audience: Yes.

All right.

Are you sure there's a left-hand wall there?

Audience: Yes.

All right.

Now let's look at the right-hand wall. Is it any different from the left-hand wall?

Audience: Yes. Closer.

All right.

Let's look at the left-hand wall. Is it any different from the right-hand wall?

Audience: Yes.

Are there two different walls here?

Audience: Yes.

Well, what do you know.

Let's look at the front of the room. Let's look at it real good. Is it there?

Audience: Yes.

All right.

Let's look at the back of the room. Is there a back of the room here?

Audience: Yes.

Is there a back of the room?

Audience: Yes.

You sure there's a back of the room?

Audience: Yes.

Well, all right.

Let's look at the front of the room. Is it any different from the back of the room?

Audience: Yes.

All right.

Now let's look at the back of the room. Is it any different from the front of the room?

Audience: Yes.

Well, fine.

Now let's look at the front of the room.

And now let's look at the floor. Now is the floor any different from the front of the room?

Audience: Yes.

Is the right-hand wall any different from the floor?

Audience: Yes.

All right.

Is the left-hand wall any different from the floor?

Audience: Yes.

All right.

Is the right-hand wall any different from the front of the room?

Audience: Yes.

All right.

Is the left-hand wall any different from the front of the room?

Audience: Yes.

Are all these things different from the back of the room?

Audience: Yes.

Is the ceiling different than the rest of the room?

Audience: Yes.

Is the ceiling there?

Audience: Yes.

Oh, is there a room here?

Audience: Yes.

Hey, what do you know, we got a room. All right.

Now if we've got a room, tell me, what is the distance between the front and the back of the room? Let's look at it.

Audience: (various responses)

See that distance?

Female voice: Yeah.

What distance is it?

Audience: (various responses)

All right.

It's as it is, isn't it?

Audience: Yes.

All right.

Now let's find out what distance there is between you and the front of the room.

You got that real good?

Audience: Yes. Mm-hm. All right.

Now let's find the distance between you and your eyeballs.

Female voice: Yes.

All right.

Now the distance between you and the front of the room.

Audience: Yes.

Good.

Now let's get the distance between you and your eyeballs. Is there observably something...

Audience: Yes.

...distant here?

Well, what do you know.

Let's get the distance between you and the front of the room. All right.

Now the distance between you and your eyeballs. All right.

The distance between you and the front of the room.

Female voice: Mm-hm.

Distance between you and your eyeballs. And all right.

Now let's get the distance between you and the front of the room.

Now let's look this over real carefully. Let's get the distance from you to your eyeballs.

Good.

Well, now let's get the distance between you and the front of the room. You do that?

All right.

What am I doing to you? You're awfully quiet here.

Let's get the distance between you and the front of the room.

Female voice: Okay.

Now the distance between you and your eyeballs. Okay.

Now the distance between you and the front of the room. And now the distance between you and your eyeballs.

Now, this is real cute, now. All right.

Now let's look at the distance between you and the front of the room.

Let's look at the distance between you and the front of the room. I didn't say look at the front of the room. Now, you look at the distance.

Got that?

Good.

Now let's look at the distance between you and your eyeballs. Do that easily?

Female voice: Yes.

All right.

Now let's look at the distance between you and the front of the room. All right.

Now let's look at the distance between you and your eyeballs. All right.

Now let's find something in the room that you could have. You do that?

Let's find something else in the room that you could have. It could even be your hair, but there must be something in the room you could have.

All right.

Let's find something else in the room that you could have. You got that now?

Did you find something?

Audience: Mm-hm.

Anybody present not find anything? All right. Fine.

Now let's look at the distance between you and the front of the room. All right.

Did you do that?

Now let's look at the distance between you and your eyeballs. All right.

Now let's look at the distance between you and the front of the room. And let's look at the distance between you and your eyeballs.

Got that now?

How's that?

Female voice: Fine.

Hm?

Female voice: Good.

You feel odd?

Feel peculiar?

All right.

Find three places in the room where you are not cross-eyed. Come on. Find three places where you're not crossed-eyed. Female voice: Yes.

Now find three things in the room that aren't giving you orders.

Okay.

Now find three people in the room. Good.

Now find three more people in the room. Fine.

Find three more people in the room. Good.

Now find three people in the room. Are they alive?

Audience: Yes.

Well, all right.

Let's look at the front wall.

Now let's look at the distance between you and the front wall.

Now without turning around, let's look at the distance between you and the back wall.

Well, good.

Let's look at the distance between you and the front wall. Well, fine.

Let's look at the distance between you and the back wall. Well, fine.

Let's look at the distance between you and the right-hand wall. Well, fine.

Let's look at the distance between you and the left-hand wall. Well, fine.

Let's look at the distance between you and the floor. Good.

Let's look at the distance between you and the ceiling. Got that now?

All right.

Let's open our eyes and look at the distance between you and the front-hand wall.

Male voice: Front-hand? Mm-hm. Front-hand wall. You got it?

Audience: Yeah.

You see the distance?

Audience: Mm-hm.

Oh, let's look better than that. Let's look at the distance. Let's look at all of the distance between you and the front wall. Just look at it. Is there a distance there?

Audience: Yes.

Did anybody find the wall on his face? All right.

Let's look at the distance there. You got that now?

Well, fine.

Let's look at the distance between you and your eyeballs. All right.

Let's look at the distance between you and the front wall. Well, fine.

Let's look at the distance between you and your eyeballs. Now we got that real good now?

Well, fine.

Now let's have the front-hand wall start saying, "Hello" to you. Have it say, "Hello" to you over and over.

Good.

Let's have it say, "Hello" to you over and over.

Well, fine.

Let's have the back wall say, "Hello" to you over and over. Got that?

The back wall say, "Hello" to you over and over. You have to put the hellos there.

Male voice: Oh!

Okay. All right.

Now let's have the front wall say, "Okay" to you. How's that, hm?

Female voice: Fine.

Real easy?

Female voice: Yes.

All right.

Now let's have the back wall say, "Okay" to you. Good.

Now let's have the front wall say, "Okay" to you. Over and over. Good.

And how's that now, huh?

All right. All right. You asked for it now.

Have your eyeballs, both of them, start saying, "Okay'' to you over and over.

Have your eyeballs start saying, "Okay" to you over and over. Anyone's eyes who drop out, they'll have to sweep them up themselves.

Have your eyeballs say, "Okay" to you over and over.

"If a pain turns on, please do not stop the processing," it says right up there on the sign.

All right, that's fine.

Now have your eyeballs say, "Okay" to you over and over. Good. Good. That's fine.

How you making out?

Male voice: Fine.

Female voice: Okay.

All right? Anybody stop it because it hurt?

Female voice: Uh-uh.

Huh?

All right.

Now let's have the back wall of the room say, "Okay" to you over and over. Highest prices paid for old ridges.

Female voice: Got one right here.

All right.

Let's have that back wall say, "Hello" to you now. Now have it say, "Hello" to you, over and over.

Okay.

How's that working, huh?

Male voice: Fine.

Has anybody had a pain or a somatic? No pains? You're doing all right, huh? Okay.

Successfully no result. Good. Good.

Now let's have the back of your head say, "Okay" to you over and over. Okay. That's fine. That's fine.

Have the back of your head say, "Okay" to you over and over. Well, that's real good.

Now is there anybody who hasn't gotten any sensation at all because of this? All right.

Now let's have the eyeballs say, "Okay" to you over and over. Have your eyeballs say, "Okay" to you over and over.

Good. That's real good.

Now have your eyeballs say, "Okay" to the environment, to your surroundings.

Have your eyeballs say, "Okay" to the surroundings.

Okay.

Your eyes saying, "Okay" to the surroundings? All right.

Now have the surroundings say, "Okay'' to your eyes. Been doing that?

Well, how about the back of the room saying, "Okay" to your eyeballs? Okay.

Now let's have the sides of the room say, "Okay" to your eyeballs. Okay.

How you doing - horrible?

Female voice: No.

Or horribly?

Male voice: Horribly.

How you doing? Has anybody had their eyes bum or anything like that?

Female voice: Burnt, yes.

Hm?

Male voice: Just got bright all of a sudden.

Second female voice: Dry and quivery.

Well, that's too bad, I'm sorry.

Let's have, now, the floor - the floor say, "Okay" to your eyeballs. Okay.

How are you doing, huh?

Audience: (various responses) Working real well?

Female voice: Well.

All right.

Now let's have the ceiling say, "Okay" to your eyeballs. (pause) Your eyes roll back in your heads or anything else, don't disturb your people around you. (pause) The ceiling above your head, please.

Have it say, "Okay" to your eyeballs. Doing that easily?

Well, what do you know, what do you know.

Have the right-hand wall say, "Okay" to your eyeballs. All right.

Let's have the left-hand wall say, "Okay" to your eyeballs. You doing this now?

Female voice: Yeah.

Okay.

How you making out? Hm? Rough? Easy?

Female voice: Yeah.

Just getting real easy?

Audience: Mm-hm. Yeah.

Is it getting easy? Is it getting hard? All right.

Now let's have your chair say, "Hello" to you. You having your chair say, "Hello" to you?

All right.

Chair saying, "Hello" to you very nicely?

Female voice: Mm-hm.

Mm-hm. Well, that's fine.

Isn't that nice and obedient of your chair? Who's getting an argument out of the chair? Anybody getting an argument?

Okay. All right.

Now let's have your chair say, "Hello" to your eyeballs. Have your chair say, "Hello" to your eyeballs.

Okay, now.

Now have the floor say, "Hello" to your eyeballs. Good.

Have the ceiling say, "Hello" to your eyeballs.

And the front of the room say, "Hello" to your eyeballs. Now let's have the front of the room say, "Hello" to your eyeballs.

Okay.

How are you doing?

Audience: Fine. Okay.

Huh? Horrible? Has anybody got an eye ache?

All right. Now let's see if we can't get rid of this eye ache in a hurry. Have your eyes say, "Hello" to you.

Did you have your eyes say, "Hello" to you? Huh? All right.

Still got a headache? Is it better?

Oh, how could this have happened?

Let's have your eyes say, "Hello" to you a few more times just to make sure. Okay.

How is that now?

Anybody got an eye ache left? Huh?

Is it all right now?

All right.

I'll tell you what. I'll bet if you looked around, carefully you understand, you could find the floor.

Let's find the floor. Have you got the floor?

Audience: Uh-huh. Yes. Does it exist?

Audience: Yes.

All right.

Does the ceiling exist?

Audience: Yes.

Well, let's find it real carefully. All right.

Now let's ascertain this with some care. How many corners does the ceiling have?

Come on, let's look at the back of the room. How many corners does it have back there, huh? Front of the room? Let's look at this carefully.

Audience: (various responses)

If anybody has counted four, let's look.

If anybody gets more than twenty, let's uncross the eyes, huh?

Audience: (laughter, various responses)

Got them?

Audience: Yeah.

All right.

Are you very puzzled about how many it really does have or whether this is a corner or not a corner?

Audience: (various responses)

Well, just decide either way and we'll go on with the processing. All right.

Now having inspected it very, very carefully, I wish you to face to the front of the room - face to the front of the room, compose your body very, very comfortably, and discover from where you sit, the two back corners of the room and kind of pretend like you're holding on to them. The two back corners of the room, pretend like you're holding on to them and then sit there and don't think.

Male voice: Which corners back there?

That's your choice.

Hold the two back corners of the room and sit there and don't think.

Male voice: I'm stirring up saying, "Hello" to them.

If it's hard for you to hold them from inside, try holding them from outside. Everybody, let's do it.

Two back corners of the room, hold on to them and don't think. Okay.

How is that, huh?

Audience: All right.

Is that real easy?

Audience: Mm-hm.

Real easy?

Did you really hold the two back corners now?

Audience: Yes. Mm-hm.

Did you sit there without thinking?

Audience: Yes. Mm-hm.

Did you do a real good job of it?

Audience: Yes. Mm-hm.

Well, that's a success. Let's do it again. Okay.

How is it now?

Audience: Fine. All right. Hm?

All right.

Let go. Let go.

And let's find the floor. Find your chair.

Find the floor. Find the floor. Find the floor. All right.

Find your chair.

Find the front wall.

Find the front wall.

Find the front wall.

Real good.

Find your chair.

Good.

Find the front wall.

Find your chair.

Find the front wall.

Did you do that?

Audience: Yes. Uh-huh.

All right.

Find your chair. Did you do that?

Audience: Yes.

Well, all right.

Find the front wall.

Did you do that?

Audience: Yes.

Well, good.

Find your chair.

Did you do that?

Audience: Yes.

Well, all right.

Find the front wall. Find the front wall. Okay.

Find your chair.

Good.

Find the front wall.

Good.

Find your chair.

Fine.

Did you do that?

Audience: Yes.

You sure?

Audience: Yes.

All right.

Let's see if you could grope around now and find the front wall. Let's see if we can't do this. Grope around and find that front wall.

You find it?

Audience: Mm-hm.

Well, good.

Let's find our chair.

You got it?

Audience: Yeah.

Is it a chair?

Audience: Yes.

You sure it's a chair?

Audience: Yes.

All right.

We are now going to run, for a very short time, a very difficult process known as "Start Laughing."

Come on, let's start laughing now. All right.

Let's start laughing. Come on, start laughing. Fine.

Keep on laughing.

Good.

Keep on laughing.

Okay.

Keep on laughing.

Fine.

Keep on laughing.

Fine.

Come on, let's laugh.

Come on, let's laugh. Say, "Tee-hee," anyhow. Let's laugh.

Come on, keep on laughing. Okay.

Let's laugh.

Okay.

Let's laugh.

Fine.

Let's laugh.

All right.

Let's laugh.

Let's laugh.

Come on, let's laugh. Okay.

Let's laugh.

Come on, let's laugh. Let's laugh.

Okay.

Let's laugh.

All right.

Let's laugh.

Okay.

Let's laugh.

Okay.

Let's laugh.

Okay.

Let's laugh.

Okay.

Let's laugh.

All right.

Everybody, let's laugh.

If you can't laugh, say, "Tee-hee." Let's laugh.

Female voice: Tee-hee. Tee-hee.

That's right. Got it. All right.

Let's laugh. If you can't laugh say, "Tee-hee." Let's laugh.

All right.

Let's laugh some more. Let's laugh some more. Okay.

Let's laugh some more. Let's laugh some more. Let's laugh some more. Come on, let's laugh.

Okay.

Let's laugh.

Okay.

Let's laugh.

Okay.

Let's laugh.

All right.

Let's laugh some more. Okay.

Okay. Good. Good.

You know, that's a horrible thing for a Group Auditor to have to run, because he can spot every case in the room that's having trouble - they didn’t laugh.

Okay.

Now let's find the floor.

Let's really find the floor this time. Let's find the ceiling.

Let's find a chair.

Let's find another chair.

Male voice: Now, wait a minute here. He took my chair.

Audience: (various responses)

Find another chair.

Audience: (various responses)

Find another chair.

Female voice: Okay. All right.

Find another chair.

Audience: (various responses)

Can you conclude there are chairs in this room?

Audience: Yes. Yeah.

All right.

There's a multiplicity of chairs in this room, right?

Audience: Right. Right.

Okay.

Let's take two of them and find the difference between them.

Audience: (various responses)

Got a difference between the chairs?

Audience: Yeah. Yes. I got gypped.

You find a difference between two chairs?

Audience: (various responses)

Well, all right. All right.

Now hold up your two hands in front of your face - hold up your two hands in front of your face and find a difference between them. Find a difference between your two hands.

Audience: (various responses)

You got them?

Audience: Yeah. Mm-hm.

All right.

Turn them over now and look at the back of them and find a difference between them.

Audience: (various responses)

Male voice: They have nicotine on them.

Got it?

Audience: Yeah.

Did you find a difference?

Audience: Yeah. Several. Well, good.

Let's turn them over and find another difference.

Audience: Yeah. Mm-hm.

Is there really a difference?

Audience: (various responses) All right.

Let's find several differences between these two hands.

Audience: (various responses)

You got it?

Audience: Yeah. Mm-hm.

Well, all right.

Do you have two different hands?

Audience: Yes.

You do have?

Audience: Yes.

All right.

Now let's find the difference between one side of your head and the other side of your head.

Audience: (various responses)

What's the difference between the left and right sides of your head?

Male voice: It's missing one side.

You got that?

Audience: Yeah. Mm-hm.

Hm?

Audience: (various responses)

You got the difference between the left and right side of your head?

Audience: Sure.

Well, good.

Now without looking at them, find the difference between your right and left foot.

Male voice: Yeah.

Is there a difference?

Audience: Mm-hm. Certainly. You sure there is?

Audience: Sure. Yeah. Have you got a right foot?

Audience: Yes.

Have you got a left foot?

Audience: Yes.

Let's find another difference between them.

Male voice: Yeah, I've got six toes on one foot.

Second male voice: Yeah.

Got one?

Audience: Yes. Sure.

All right. All right.

Now let's get a difference between your right shoulder and your left shoulder.

Male voice: Yeah.

Get such a difference?

Female voice: Mm-hm. Is there a difference?

Audience: Yes.

Well, all right. Fine.

Now let's get a difference between your right elbow and left elbow.

Audience: (various responses)

Got that?

Audience: Yeah.

All right.

Now let's get a difference between your right knee and your left knee.

Male voice: Yeah.

Got that?

Audience: Mm-hm. Huh? Did you find one?

Audience: Mm-hm.

Do you have any knees?

Audience: Yes.

Well, all right.

Do you find a difference?

Audience: Yes.

Well, that's better.

Now let's get a difference between the right and left side of your head. Is there a difference between the right and left side of your head?

Audience: (various responses)

Well, all right.

Now, something we were examining earlier in the session, let's find out if there's a difference between your right eye and your left eye.

Audience: Oh yes. Yes.

See if you can find another difference between your right and left eye.

Audience: (various responses) Can you get that difference?

Audience: Yes.

Huh?

Well, tell me, are they two different eyes?

Audience: Yes.

They are?

Audience: Sure.

Well, just kind of guess at this now. What would happen if they both occupied the same space?

Female voice: Don't see as good.

Second female voice: Yeah.

Male voice: See better with one eye - big one.

Audience: (various responses)

What would happen if that happened?

Female voice: They'd unmock.

Audience: (various responses)

Well, now let's make sure that they don't occupy the same space. Let's check them carefully and find out if there's a distance between them.

Audience: Sure. Yeah.

There is?

Audience: Yes.

Well, is there a distance between the eyes themselves? Is there a difference between them?

Audience: Yes.

You got it?

How about the back side of them? Is there any difference in the back side of them, the right and the left eye?

Audience: Sure. Yeah.

Uh-huh?

Audience: (various responses)

There is a difference, huh?

Audience: Yeah.

Well, all right.

Now let's take your right ear and left ear. Is there a difference between your right ear and left ear?

Audience: Certainly. Yeah.

Hm?

Male voice: Sure.

All right.

Let's find another difference between your right and left ear. All right.

How's that now, huh?

Female voice: Fine.

Real good?

All right.

Now let's find a difference between the right and left wall of the room. A difference between the front and the back of the room.

A difference between the floor and the ceiling.

Audience: Mm-hm.

And a difference between you and the person next to you.

Audience: (laughter; various responses)

Male voice: Okay, wise guy, shush up.

Can you find a difference between you and the person next to you?

Audience: Yes. Yeah.

I thought you couldn't laugh.

Female voice: What do you want me to laugh at?

All right.

Now let's find another difference between you and the person next to you.

Female voice: All right. Audience: (various responses) Can you get this difference?

Audience: Yes.

Is it unique and distinct?

Audience: Yeah. Yes.

All right.

Now let's find a difference between you and the rest of the people in your row.

Audience: Yeah. Yep.

Can you find that difference?

Audience: (laughter; various responses) All right.

Now let's find a difference between you and the people in the room.

Audience: (various responses)

Got that?

Now let's find a difference between the people in your row and the people in the row next to it.

Is there one?

Audience: Yes.

Is there one really?

Audience: Yeah.

Well, fine. Fine.

Now let's find a difference between the lower part of the room and the upper part of the room.

Audience: (various responses)

Is there a singular and remarkable difference?

Audience: Yes.

What's the difference?

Audience: People.

No people in the upper part of the room! That's fine.

Now let's consider the upper part of the room the lower part of the room.

Female voice: Sure. Sure. Can you do that easily?

Audience: (various responses) Huh?

Audience: (various responses)

Can you consider you're sitting on the ceiling?

Audience: (various responses)

All right. Fine.

Let's consider now that you're sitting on the floor.

Audience: Okay.

Male voice: Plop. All right.

Now let's consider you're sitting on the ceiling.

Audience: (various responses)

All right.

Now just for novelty, let's consider you're sitting on the floor.

Audience: Okay. Floor. The floor.

All right.

Now let's consider, just for novelty, that you're sitting on the ceiling. No, so that it's commonplace that you're sitting on the ceiling.

Audience: (various responses)

You get the idea of you're sitting on the ceiling, and that if you fell you would go down there?

Audience: (laughter)

Can you get this easily, that if you fell you'd go down there? Can you get that?

Audience: (various responses)

Well, fine.

Now let's consider that if you fell, you would fall to the floor.

Male voice: Ow!

Now let's consider that if you fell you would fall to the ceiling.

Female voice: Oh.

Male voice: Altogravity.

Now, can you consider now you're all sitting upside down?

Audience: Mm-hm.

Huh?

Female voice: Right.

Can you consider that easily?

Audience: Yeah. Mm-hm.

All right.

That's a good place to end the session, isn't it?

Audience: (laughter)

All right.

Now let's consider you're sitting right side up. Just for fun, let's consider you're sitting right side up, that the room is right side up and that Earth is beneath you.

You got that?

Audience: Yeah.

Huh? Can you do that?

Audience: Yes. Yeah.

Well, now let's consider that Earth is sitting above you.

Audience: (various responses)

You get a rolly-coaster sort of feeling?

Audience: (various responses)

All right.

Now let's just suppose that Earth is sitting under you - can you do that?

Audience: Yes.

That you are sitting in this room.

Audience: Yes.

That you are sitting in a chair.

Audience: Yes.

Good.

And that you are sitting in a body.

Male voice: Yes. We can do that.

Can you do that?

Audience: Yes.

All right.

Now let's consider that you're in good condition.

Male voice: Yes.

Can you do that?

Audience: Yes. Sure.

All right.

And now let's consider it's end of session. Thank you very much.

Thank you.