And this is what? The twenty-first of January, 1953. Lecture consecutive to the January nineteenth evening lectures, giving a further rundown on Standard Operating Procedure Number 5 Long Form.

This is the second part of the evening lecture of January the twenty-first, continuing on Step IV.

Tonight we're going to take up Step IV. Step IV is characterized in Standard Operating Procedure Short Form as getting a mock-up of one's childhood home or that home which presents itself out of one's childhood, and being able to handle that mock-up completely. That is its start. And it goes through into a technique known as GITA: Give and Take. Actually, there's give, null and take: the three motions possible. I needn't take this up to any further distance than that, because it's on other tapes. But I need to take this up to this degree: to give a whole, overall, well-defined goal to Step IV so that you can use it as itself a complete processing for a certain level of case.

Step IV as given in the Short Form can be followed exactly and in a short form. But here's some additional information born out of experience in its use.

Now the level of case we are interested in at Step IV is a person who is pretty badly stuck on the time track. He's usually found to be stuck in electronic incidents and is very thoroughly mired down in energy and is incapable of taking charge of 'any great amount of energy. Therefore, things can sweep in on this preclear. He is usually rather badly restimulated, and his body is rather out of whack. He is stuck.

What is an object? An object is an area of particles in a condensed space. Value — aberratively — is determined, to a large degree, by its density and its aesthetic. There is lead, which is almost as dense as gold, but it is gold which holds the eye. It's almost as if one mass of particles says "Have not," and another mass of particles says "Have." And those two masses of particles will go together with great ease.

Here's the first one we get on this step: he is stuck in his head. He can't get out of his head, and when he does, he's all over the shop. He just disperses, and he just doesn't quite know whether he's out or in or where, and he gets back in.

Black and white consist of black equals have-not, white equals have. A mass of white particles — colored perhaps slightly — say "Have," and a mass of black particles — equally dense — will say, "Have not." You get these two masses into conjunction one with the other, and you get a flow.

Step V is characterized by: if he does get out, he snaps out and snaps back in again. But this person just doesn't get out, and if they get out they're not sure they're out. Great insecurity on that subject.

The problem of flows is the problem of terminals. And to have a flow you have to have one terminal which is a have terminal and another terminal which is a have-not terminal. Now this black- particle idea and the white-particle idea are very fascinating, subject to a great deal of controversy. Anything that's subject to that much controversy isn't there, believe me. But people who are short on space have assigned a high value to some object.

You'll run down an awful lot of preclears, you say, "You're out? All right. So-and-so and so-and-so..." and all of a sudden you'll find out they don't know whether they're out or not, and they haven't known. Well, he's a IV or worse. And the first thing we suspect he is, is a IV. So we ask him, Can he get a mock-up of the old homestead? Okay. If he can get mock-up of the home of his childhood, we have then fellow that we carry right straight on through with Step IV. Now you can carry him through with Step IVShort Form and get along all right.

Value on an object — either to have it, or a have-not value (that is to say, it's dangerous is a have-not value; it's desirable is a have value) — gives an equal amount of fixed attention. In other words, one can fix his attention on a dangerous or undesirable object and fix his attention upon a desirable or helpful object equally. That's quite interesting, isn't it? They have two different effects, however. The have-not tends to come in on the person and the have tends to leave.

You'll find cases as they progress down to this level become relatively difficult for you, and so therefore Step IV Long Form will probably be performed by you many times. Don't disabuse yourself of this. It means lots of hours of auditing.

There's a difference of behavior.

But let's not be as optimistic as I've wanted to be in the past.

Black and White Processing is creating an interesting flurry in the States. (They finally learned about it in the county next to Phoenix. Word goes awfully fast.) I saw quite a bit of correspondence, one way or the other, about it. Auditors writingauditors with stunned exclamation points in their letters and so forth: Black and White Processing works! Well, of course it works. The funny thing — it's very old now, very old.

I can talk from a security now; I can talk from a level of static that is liable to make me very disagreeable: I don't care whether anybody agrees with me now or not. And the reason for this is I know what can happen; I know what can happen with any case if given enough auditing. And one of these days, why, I'll probably hit a better button or a new button or something of the sort that'll snap out a IV or a V. But actually, right now, our only real problem is a IV or a V; they're a problem for us. And they're only a problem for a length of time in auditing. You can knock this case out — a IV, V, VI or VII — you can knock this case out with Self Analysis. There is the technique that will knock it out. Now you have that security. That's a security: you can do it. We won't think in terms of numbers of hours now. You just go on for 80 or 100 or 200 hours. We know it will happen.

When you size up the whole problem of terminals, you're sizing up the problems of locating terminals. And why do you locate things? That's because you conceive them to have a value or not to have a value. That is to say, they — a value, then, as dangerous or a value as helpful, or a value as undesirable or a value as desirable. So a person locates masses of black and masses of white on the track; and you'll find him desperately holding on to one or the other. He'll be concentrating on one because it's terribly dangerous (black) and he'll be concentrating on white because it's very helpful and aesthetic and desirable.

Furthermore, we know we have a technique which will remedy any way we go wrong.

You'll find a preclear, every once in a while, floating around in a cloud. He gets these white particles and he feels very peaceful whenever he can float around in this cloud. And then he — all of a sudden, he isn't floating around in the cloud. He's in a black mass or something.

You know, it's a great satisfaction to be able to operate from such a security. I don't care how long it takes, it's a security. You can always say to yourself, "Well, if it won't happen any other way, it'll happen with this. And it'll take a long time, possibly, and maybe it won't, but it'll happen."

Well, if you turned a person around on this evaluation and made him believe that everything white — everything white was enforcedly and have-to-be kept and desirable and everything black had to be gotten rid of, you'd get him quite upset.

And the only insecurity about it is, Can I get this fellow to do it for this long, but well can I spend this much time with him?

Now you could turn him around the other way and make him believe that white is something you got rid of and white was really dangerous. That's by making white objects hurt him, you see, like — there's your electronic incident. White is desirable, but it hurts him. And black is something desirable, because you can get lost in it and nothing can find you in it. And you'll find him holding on to black and trying to get away from white, but white's really desirable so he really wants white. There's your big maybe.

Well, what do you know? You don't have any insecurity on that either. Because you as a professional auditor had better prepare yourself to take charge of and to have and put into existence an auditing group.

Well now, you'll get all sorts of manifestations in the body. You have various areas of the body which a preclear will conceive to be white and conceive to be black. If you have a preclear who has been in communication rather continually with another being, and he's had a flow between himself and this other being — communication lines — one fine day he loses this other being: What's he do? He needs two terminals. The basic unit of this universe is two. You've got to have two terminals. Well, so he makes two terminals in his own body, and you get the basis of schizophrenia. And he can see his body as being white and black, and then he'll start seeing other bodies as white and black — half-white and half-black. And he'll put his hands together and he'll get a discharge from his right hand to his left hand and so forth. You get this — he'll compartment up his own body in order to have two terminals, you see. All of this is — tells you that there's an upset about particles in space; that's really all it tells you, and that's all that's important about it.

Self Analysis will operate on a group. It does tricks with a group. And all the various cases that are sitting around in your area that you just don't like to fool with, that are real tough, that sort of thing, you make a group and you have it meet on certain nights and you make a pact with them that we will do this. And you just set that group up as a ragbag. It'll just be a professional auditing unit. And instead of sitting around and worrying about whether or not the HAS is going to go by the boards or whether or not it's legally executed or something of the sort, your group has something to do, and that's get clear. And that's what they ought to have been doing all the time anyway.

And the way to undo the upset is to get a person into a position where he's able to use anything for an anchor point or get along without any anchor points. And then he's completely free to have space.

Now, if you have — if you have, let's say, two cases and these cases are just "Oh, my God! Not — not — not that; not — not — not — not one of these cases again!" don't go into the hall and cry for a little while before you come back into your office.

And how do you cure him, then, of bad anchor points (you know, condensed space where pain existed and he wasn't supposed to have it and he didn't desire it) or holding on to good anchor points?

Just say cheerfully, "Well, let's see now, I've got two cases like this and next week I'll probably have five like this! What we'll do is just turn over the living room at such and such an address at this place, and this is the auditing group."

How do you cure him of this? By drilling him with every conceivable kind of an anchor point. Starts out with the old home. You get him so he can handle all known kinds of anchor points. That goes into houses, of course. He'll know all kinds of houses and he'll drill with these houses, and that goes into all sorts of things that you can use.

Now it doesn't matter whether you have put a new case in there or this case has been there for a long time. This is unimportant.

But basically all these things are energy, aren't they? An object is condensed energy. This is nuclear physics. Anything converts and gives off energy and so forth. An object — a solid object — is a relative term that goes from all space with no particles in it as not solid, but the second you got two particles in it you have the first definition of object showing up. So you could have a billion cubic miles of space with two particles in them, and you could call that an object. Or you could have one cubic centimeter with ten to the ten-billionth power particles in it, and you could call that an object.

You have got to make sure that they do just one thing: that they do group auditing on Self Analysis, that's all. You just make sure that happens. And when you do — when you figure out they're about ready to get some auditing and get sprung and straightened out in the other categories and so forth, well, you can check the guy and tell him so. Therefore, you'll find yourself on a consulting basis.

So the definition of object is kind of slippery, isn't it? But it does tell you this: that you desire your preclear to go up scale in terms of objects. So your bottom-scale processing would be in terms of what we call, in common parlance, solid objects; from that up to loose fluids, liquids — unsolid objects. See? That's starting in there around 20. Bodies in action around 20 are very unsolid; they're unsubstantial. And a body which you would mock up initially and originally would probably be very, very unsubstantial. Your mock-ups as you start on the track are quite unsubstantial, and then they get more and more substantial.

In the U.S. early, if this had been possible this would have been a godsend to an auditor, because about ninety percent of his cases were cases that would have just hung around and gotten lots and lots and lots of auditing by the techniques we had then and which required continual advice. And the next thing the auditor knew himself was doing, he was appointing co-auditing teams and he was trying to run co-auditing teams. And at any time between eight o'clock in the evening and three-thirty in the morning he could expect phone calls: "I've just stuck my wife in birth and..." And he'd have a dozen of these teams running in a neighborhood. Well, it was very often wonderfully successful. But it also, where it wasn't successful — oh, was it a beautiful migraine to the auditor!

Now, of course there isn't any particle there; there really isn't, but there's a terrific agreement on the existence of these particles and there's all sorts of things that are agreeing that they are things and that they are foisting off on you the idea that they're objects and so on, and everything's got this in it.

So, in lieu of your co-auditing team setup, you can compose a group which does group auditing. And they just go by the book, just the way I laid it down to you the other night. And I'll go over those steps very rapidly right here, because you're going to do this — I'm sure you're going to do this with people who get down to Case Level IV. I'm just sure you're going to do this with them, because it's the only really sensible thing to do. Instead of taking thousands of dollars away from them or millions of pounds and beating yourself up by some case that is just a long series of loses and no wins, the sensible thing to do is to set up a group auditing setup.

And there are some of them are saying "Have not," and some of them are saying "Have," and you can get very much bogged down in all this. And it all — at IV, V steps, it's just a horrible confusion really.

Now, the people are there. They are audited by one or another of them. Just say you have a rotation of assignment on who reads the questions. You don't read the questions. The reason you don't read the questions is because it gives a monotony of voice, which has a tendency to take some randomity out of it and put it into a static. Furthermore, it gives these people self-confidence to be auditing a large number of people and builds them up quite startlingly.

At IV it's not too much of a confusion. By the time a guy gets to Step V, which is Black and White Spot Control, boy, he's really in a confusion. "Objects, what are they? Are these anchor points from the past or are they mine or are they somebody else's?" Everything is hanging up on everything else, and you're getting a terrible snarl. And the keynote of that snarl is there's no space in which to unsnarl it. Everything has to be in this small area, because there really isn't any space.

And so, period by period or night after night or whenever your group would be meeting, you have one of those people reading this long series of questions. Now, if that meeting is going to take place for two hours, you'd have two of them. That's so one of them would get — each one of those two is going to get at least an hour's processing out of this. Because the person doing it shouldn't be getting the mock-ups. Nor necessarily should he be repressing getting them: You'll find that's quite inhibitive. A person reading these things and he keeps getting the mock-up himself, and he thinks he's not supposed to pay any attention to it so he puts up a resistance to the mock-ups; and the next time you give him Mock-up Processing, he can't get a mock-up! Why?

You get some preclear at IV Just to hold his eyes out in front of him. You see, he could do that very easily at III; he could hold any anchor point out in front of him. (That's a test: Can this person keep an anchor point stable, and can he perceive it clearly? And then he goes ahead with Spacation. But at IV this thing is erratic.) Well, you make him hold his eyes out in front of him eight yards or something; make his eyes go way out in front of him, just hold them there. Ooooooooooooh. Just horrible things will happen to him. He gets somatics and he gets all sorts of things, because you're telling him to change his space.

He's just stuck on "I'd better not get this mock-up because if I get this mock-up, they won't." So he just should disabuse himself of that and just go ahead and do that.

Well, it's very odd that you can take a person at IV and make him change his space that easily. The consequence of changing his space carries with it an enormous amount of liability in terms of somatic.

Now he gives the line and the perceptic together, in Self Analysis. It says: "A time — can you create a scene when you enjoyed something?" Now, if you were to give that line and then wait for a while and give the perceptic that he's supposed to get out of the mock-up, a person would have lost the mock-up or have gotten it and kicked it aside or something and he'd have to get it back again; and he'll get confused. So he would have to get it back again to get the perceptic out of it, if you give a lag. So the proper way to read it is quite important: "You enjoyed something. Touch." You just read it off like that. "You enjoyed something. Touch."

A somatic is occasioned by two particles in proximity to each other in such a way as to make an undesirable condition. A somatic and pain basically is a concept, not an actuality, but is occasioned first by the concept that there are particles — that there is space and that there are particles and then these particles are too close together, and that it'd stop because these two particles can't be shifted anymore. You get pain as a result of that.

Now another thing is you'll have a tendency and your student will have a tendency, your preclear will have a — I mean your group- auditing preclear will have a tendency to start with Sight, at the bottom of the page, every time he starts a new page. In other words, he starts the new page, and he'll start down here at the bottom with the first perceptic at the bottom of the page. In other words, you'll never get a change of perceptic for that mock-up. So make sure that as he turns the page, that he picks up the perceptic next to the one he left off with on the former page. In other words, it says External Motion and then it says Emotion. All right. He's — the last one on the last page he gave was External Motion; now in the next one of this page, he picks it up as Emotion. If he's not sure quite where he left off on the other one, just have him pick up one out of the list at random.

So he's in a condition there where when you tell him to handle a couple of particles, anyway he handles these particles he's liable to get pain. And the reason why he doesn't want to handle particles is when he handles them he gets pain. That should be very clear to you.

But don't get this, whereby the first of every page of Self Analysis starts out — the first line on each page starts out with the perceptic first announced in the list at the bottom.

You start a person at IV, and particularly at V (much worse than IV), and start him handling particles and if you make him persist in handling particles and having them appear far apart or far away or something on that order, he's going to hurt. It won't kill him, fortunately. If he starts to believe that it's going to kill him and that it's absolutely certain, he's at V. And if he can do it and you still have a live body on your hands, he's at IV. This is an empirical test which is not recommended in auditing.

See, it would cut down the randomity. Because if you keep changing the perceptics, you have actually an infinity of mock- ups.

Now, why couldn't the whole universe fit in your head? It can. It can! How would you make it fit in your head? Well, make a fellow see his eyes out there at — first at eight yards or — first at two feet and then at eight yards and then out there a couple of hundred yards and start stretching his eyes out to infinity, just mock his eyes up out there. You'll get some interesting results, as a matter of fact.

The book contains practically an infinity of mockups. There's just no limit to the number of mock-ups that you can get out of this book, providing you keep altering those perceptics. And if you, however, every time you went through the list, started in at the first of the page for the first question on the page on the perceptics you would have, of course, every one of them being the same each read-through. That's just to add randomity. I'm not — I'm stressing it far more than it should be stressed.

You see, he's in his head and it's an area of condensed particles, and a body is very valuable because of its condensation of particles and also because of its mobility and a lot of other things.

He reads these things in a clear voice and enunciates them very clearly so that people don't have to say "What?" Because that breaks the communication line and it slows down their ability to mock up. So your people reading the mock-up should read it in a clear, ringing tone. It's very good for them to have to do this.

When you first start doing this he'll set up flows, because he is fixated on locating things in space. He has got — just got to locate things, that's all; he's just got to. And the keynote of this is he's been convinced there's a scarcity of particles, so he's holding particles together. And below that he gives particles away because he's in apathy, because he knows he can't hold them. (All this is covered in the Philadelphia Tapes.)

Can you recall a time... is not repeated, by the way. That's not repeated over and over. All that we repeat is just the line. "You enjoyed something.... You went fishing.... You had a date." He doesn't keep saying, "Create a scene in which you had a date.... Create a scene in which you went fishing." He just reads that line, just the line that appears there, with the perceptic immediately following.

So what do we find? We find the concept of scarcity underlying this. There's too much scarcity about this. There's so much scarcity about that, that one — there's so much scarcity about item X, that one would waste it and throw it away before he would consume it. Can you imagine anybody with that idea of scarcity?

And he reads that clearly, He said, "You had a date." He doesn't say, "Yahadadate." Everybody says, "What?" It's very bad form, and it's quite an obfuscation of the whole process.

Yes, well, you'll see it show up in a preclear. It is so valuable that he's just in such utter apathy about it, that if he got it he just might as well throw it away because it couldn't be anyhow. And the only way you can convince him that it is, is let him do what he would normally do with that article; that's waste it.

Now, we have, inevitably, several people who can't see a mock-up.

If you gave somebody down here — if you stopped somebody on the street and gave him a hatful of diamonds, they probably wouldn't consume them in any fashion or other. They probably wouldn't sell them or get money from them or do much of anything else. They'd probably kind of go and give them away and maybe they'd give them away to the damnedest things, or they might even go and dump them in the sink. (I don't know whether you could make a test on this or not. I couldn't afford to just now. But you'll see this work out in processing.)

Well, it's just marvelous that it happens that just imagining they're there — as long as one imagines they're in a specific place in present time, he imagines they're there, he just imagines he's got a mock-up out there; he doesn't see it, hear it, feel it or anything. When he gets the perceptic, get him to get a concept that it's got that in it. There will always be those people and they will always say — they will always say, "Well, I can't get a mock-up." Well, by our present definition, believe me, they can.

You'll find a person, for instance, is — well, let's take an actual case: Let's take milk. A person has an idea of milk — couldn't drink milk. This person's got a little bit of an allergy, and they can't drink milk. That isn't because milk's dangerous, it's because milk's too scarce! It's awfully valuable; it's white, isn't it? And it's just so scarce that they just — you'll find out that they — you first give them some milk, and they can eventually get some milk as long as you'll let them pour it down the sink. And then you can give them some milk, and they'll give it to everybody else in the house. And everybody's got to have milk, and then you can provide milk and you can have tank cars coming up full of milk in mock-ups and, oh boy, do you have to start laying it on. And finally you're able to get them to take one drop of milk themselves. It's so valuable that they couldn't possibly consume it. Got one drop of milk; then they can take a glass of milk. Then finally you can have everybody starve to death because they have no milk and there's just one glass of milk left in the world and it's sitting on the table in front of them, and they'll drink it. You go up higher up the tone scale, they say, "Well, I'll just create more milk." You get the manifestations of give and take there; there are particles, there's a fluid.

"Can you get an idea of you going fishing?" "Yeah."

Now, you start in on a fluid on a person who is pretty far down the scale, and you're going to have a rough time. You've got to start out on this person with objects. You start handling fluids, you start handling particles that are loose and with space between them, and they can't handle space so they're going to have a hard time handling this. So you start in the theory — not otherwise on these tapes — the theory on Step IV, in Give and Take, is: Get particles in solid form and handle them, the solider the better, and then graduate from that to particles in looser form. This would mean that you would wind up with this person handling gases.

"Well, where do you get an idea there might be a scene about you going fishing?"

If you give somebody at V — and you start giving them Give and Take too quick and you tell them, "Get air," you will practically kill that preclear before you're through. You're asking him to reach for an object which is at 20.0 on the tone scale. It's a fluid; it's even a fluid to the point where it's an invisible fluid. And there, they just get in terrible condition trying to handle this fluid, just grim. Air. You'll have them lying there and gasping.

"Well, I don't know. I can get that idea anyplace." "Well, can you get it over by the door?"

You say, "Put some air in your lungs. Now let's get the idea of air and put some air in your..." I won't do it to you. You'll have to have them mock up big machines and tanks and containers and domes that seal in air and all that sort of thing, and you start that process of Give and Take — giving away air and taking in air — and they'll practically gasp themselves into oblivion.

"Yeah. Yeah. I can get an idea that it's over by the door."

You'd be quite amazed. That's because it's a fluid.

"Well, all right. Now can you get an idea that there's sound in it?"

You start in with milk on this preclear: No. No good; no good at all.

"Yeah, I can get an idea there's sound in it." "Well, all right. You've got a mock-up." The fellow says, "I have?"

So, what? They will consume an engram — solid object, close- packed particles — before they will consume flowing energy. It's interesting, isn't it? That tells you that somebody at a low IV or V, VI and VII, when they start to pick up energy, will allow themselves to have only the least desirable and most solid form of the actual energy which they conceive themselves to be surrounded by. They'll give it away if it's good energy, and they'll take it if it's bad energy. So you'll find these people will just wallow in engrams. You start showing them up engrams on the track and, my God, they'll pick up more engrams in less time, and they'll get more and more and more engrams, they'll get heavier and heavier and heavier engrams. You start giving them flows and they can't handle a flow too well and the flow... They can feel these flows running.

Now, you wouldn't think offhand that that would be productive of very much result. As a matter of fact, I thought at first the same thing. But on test, it has proven otherwise. It is very good. A person's ability picks up quite rapidly.

Why are they feeling a flow? Because they're at a level that'll handle a solid object, not a level that'll handle a fluid. And it has to be a fluid to flow.

All right. You, then, along about Case Level IV have a choice of forming an auditing group which does this trick on regular and stated intervals at regular and stated times at regular and stated places or (you'll have to do this to this Case Level IV anyhow) of just starting in from scratch and just slugging through with GITA. You'll make it as an auditor — as a professional auditor — and you have to do this step anyway to make a theta clear.

Now, you get the gradient scale? Down 0.0 you've got the solidest kind of a solid object there could be, and just a little bit above that you have a less solid object and above that you have a less solid object. (This is a have or have-not object.) And a little bit above that you have even a less solid object, have or have-not, and above that — and finally you get up, well up, and you start to get fluids. Gaseous objects.

But you could just sit down, and you find a Case Level IV — yes, he can get a mock-up of his childhood home — and take it from there and go through it all the way through the long form. If you did that, your preclear is going to be remarkably well off.

These people will favor clouds and that sort of thing. They're not at 20.0 when they start favoring clouds, by the way: that's still a pretty hard-packed object.

Remarkably well off. Because this is, to be very technical, a bitch kitty. This solves concentration and fixation of attention.

You want to make a preclear good and sick at 4 or 5 on the tone scale? Start him handling — and by the way, you can do this technique and should — start him handling vials of energy, little vials of energy. Evidently somewhere on the track somebody convinced us that capsules of energy were terribly important. The preclear would get inside of them as a thetan and be surrounded by energy. "Oh boy, lots of energy!" And go on a big binge.

The goal of Step IV is to resolve problems related to the dispersal and fixation of attention. It resolves it for this reason: it is totally devoted to concentration on points which themselves are anchor points. And a person gets concentrated on these points, and when he gets concentrated too thoroughly on them his concept is that he no longer has a great deal of space and so he must have a great deal of energy hitting him.

Well now, your give-away case, you can create those vials in them and give them away. He can give them to everybody, he can waste them, he can throw them away, he can do anything with them. Now, you'll find that when he creates it, the energy might be nice and bright red or nice and bright green. Here's a vial of energy; good, solid, good sensation in it and everything else. Sounds wild, doesn't it? It'll make your preclear sick as a cat. And he can get this vial of energy all right, and it'd turn black. The second it comes into conjunction with use, it turns black and gets kind of solid. He's bringing it down tone scale. Now a person could have consumed enough of these vials of energy to be himself a black mass of burned-up energy. He's got the idea that energy burns up, you see? And so he then can't be reached anymore by this energy.

Soon as a person believes he doesn't have very much space, he begins to believe that he's got too much adverse energy. The reason for this is he has no place to put this old energy, and so he says it must be all crowded up here. Therefore, he conceives that he is stuck on a track. Why is he stuck on a track? It's because he can't handle the problem of fixing attention. That's all there is to that.

Well, you can make him create the energy and give it away. Or you can have the thing box these vials. This is important: vials of energy on Give and Take Processing. It produces an astonishing result on your preclear. Vial of energy.

So Step IV is the too-much-energy problem. And any technique addressed to fixing or unfixing attention belongs, in Standard Operating Procedure Issue 5 Long Form, under Step IV. Any technique which is addressed very exclusively to this problem would be a Step IV technique. So you can take any technique that you know about that has to do with fixing or unfixing attention, including that oldie of "Let's get the idea of your attention being greatly dispersed. All right. Now let's have it suddenly fix on something, this point right here."

So you have him mock all these up, if he's low on the tone scale, and give them away and have them taken away and thrown away and wasted and anything else. And he'll finally get up to a point where he can't get enough energy. Then he'll start to take them in. And then you've got to mock up all kinds of energy vials and capsules and tanks and so forth around him in such a way that he can take in this energy, and finally he'll get up scale to a point where he doesn't care to bother with it anymore.

The fellow does that a few times, and who shows up? Mama. Or who shows up? Papa. Or a school teacher. Or somebody else. Or an automobile. Or something; anything.

A preclear who cannot himself generate energy is up against this one, that he thinks he has to be given energy to consume it and he thinks the energy belongs to somebody else and he thinks it's some kind of an object (particle mass) that he has to consume. As incredible as that one may seem, it is the basis on the thirst for a preclear to run electronics. You'll have preclears that'll have an absolute thirst for electronics, and they'll have an absolute thirst for running engrams. They would prefer to run a bad engram with lots of somatics in them to none at all. They would — they would rather, rather than leave engrams alone, they would rather run a black engram. They are just on that level of energy consumption, don't you see?

Or you get this — you just hold a rocky, erratic ball out in front of you and make the preclear hold this and hold it, in spite of the fact that it's wobbling and everything else. (You — this isn't a Step III. A Step III says, Can he hold it stably and know it's there? Then you go on with Step III. But if it's too erratic and so forth, you go on to Step IV.) If Step IV — if you said to him "Hold that ball there," the damnedest things would happen to him. You want to test this. Why? It's because you're demanding that he fix his attention upon some new arbitrary, and his attention promptly starts to come off of all the other spots it's fixed on. Isn't that wonderful?

Bad energy is better than not having any energy. And they're at a level that has to take energy in a solid form.

He has an infinity of attention. All of these control mechanisms and other things have abused him into believing that he has an insufficiency of attention. There is no limit to the amount of attention he can have. He could be a hundred thousand people doing a hundred thousand different things, and he has enough attention units to do all of that. But control mechanisms have been exerted against him to a point where he believes he can be just one person and do just one thing at a time. Well, boy, that's way down scale and that's a IV. And sometimes you get a IV; his attention at the level he's at is awful thin.

Now, basically, food, diamonds, money, bodies, houses, anchor points are energy particles. So you're working up to the point where your preclear can consume exteriorly created energy or create energy and give it away in terrific abundance. And if you want to cure scarcity along any lines of objects or fluids or items, so forth, get up there and cure energy. Until they are convinced that there is an abundance of energy through mock-ups, they are going to contract their space down in order to make sure they have energy particles, And they themselves will hold that space contracted.

By the way, attention starts to go onto a negative basis by the time you get down to V and VI and VII. And by the time you're in VI and VIII, attention is just all over the place and a guy can't fix it on anything. That's because it's fixed too far, then he — therefore he can't fix it on anything. So if he can't fix it on anything it just wanders around all over the place, and what's he going to do with it? Well, he can't do anything with it, because it wouldn't fix on anything anyway and if he fixed it on anything it'd bite him.

Why? To hold on to energy, because energy is valuable. And the harder packed it is, the more valuable it is. And the harder packed the have-not energy is, the more dangerous it is. And they will get to a point where they will take this hard-packed, black energy and they will use it in which to hide themselves; and they will use it in all other forms, and so on.

You ask that fellow to fix his attention on one thing, and you've done a quite remarkable thing for him. You can show him that he can fix his attention on something without getting bitten. He gets well. All right. That's treating a psychosis. Now, teach somebody that he can — he's safe to fix his attention on something, that's all. That's the shortest statement I've ever made on the address of psychosis, and I think you'll find it bears up.

But we have what? We have a psychosis (and I use that word advisedly) in any Homo sapiens at whatever step or whatever level of the tone scale on the subject of energy particles. And that psychosis, the desire for these energy particles, makes him aberrate the only thing which permits him to be: space. He will abandon space, because he's already on a give-and-take basis on space to where he will waste space or give it away or not use it. So space just ceases to be important to him to the degree that energy's important; and if he has to choose between not having any space and having some energy particles, believe me, he'll choose the energy particles. He's at that level on the tone scale. And there's Homo sapiens, right there, bang!

Now, with Step IV our problem is essentially a problem of not enough space. The fellow is down awfully close to stop on the tone scale, isn't he? He's having trouble with anchor points and that sort of thing. You make him hold this ball out in front of him there, and the darnedest things will start happening to him. He'll get all sorts of things suddenly showing up in front of him or at the side, and he'll get somatics popping in and popping out. All kinds of things happening to him somatic-wise. Very uncomfortable.

Now, Give and Take Processing then works toward curing — now Spacation, at Step III, gives the person space. And Step IV, GITA, Give and Take, works to disabuse him of any necessity to have an energy particle of any kind whatsoever; and it does it by mocking up things and giving them to him and having — that is to say, having him mock up things and take them in and then mock up being given all these things and mock up wasting them and mock up having them and mock up hoarding them and mock up, until he finally gets the idea there's an abundance of energy particles.

Just because he's fixing his attention on an arbitrary point out in front of him. You just put a ball out there, and the chronic engrams in which he's stuck on the track will tend to fly in on him or fly out and show up in general. My God, you are liable to have him being run over by trucks; you're liable to have him being dropped out of airplanes; you're liable to have him sitting there, all of a sudden he'll say, "You know, I can't — I can't hold it any longer." "What's the matter?"

Of course there's an abundance of energy particles: Good God, there aren't any, so how could there be anything but an abundance? And so a person on something that doesn't exist can be completely convinced either that it is terribly abundant or terribly scarce.

"Well, there's great big balls of fire and they're about to come in on me. They'll blow my head off."

Capitalism can exist only by spreading and utilizing the theory of scarcity. It moves on that basis, it's its modus operandi. And that's what your red hot finds wrong with capital. He doesn't quite know what's wrong with capital, but he — but he knows that every time capitalists go around, why, everything gets scarce.

And you say, "Hold the point."

And he objects to that, rightly or wrongly. And so he gets down on capital. Capital always cuts its own throat, always. There will — inevitably in any society where capitalism takes hold, there will come a time when they're mowed down in mounds, just as happened over here in Germany not too long ago. It did happen over there. The state, all of a sudden, became the only capitalist. They said, "This is an awfully good business. We're going to create the only existing scarcity."

So his head blows off. (We haven't the facilities here with an undertaking parlor next door but... ) He'll get that. He'll actually want to put a pillow over his head or something of this sort, because things are liable to hit him. What's — that's because he's thought for the last umpteen-umpteen billion years probably that he had to sit there with his attention on this ball of fire to hold it out there. He thought he was holding it off from him. Somewhere during — you see, he got killed in the incident; he never found that out. His attention stopped when he tried to stop that thing from coming in and hitting him. See? His attention stopped there. And it stopped there so thoroughly he went right on and got killed, but he's still holding it off from him, see? There's where his attention is stuck. Now you suddenly put it on an arbitrary point out in some other direction, and what happens? It starts to come off of this thing and he goes on and he gets the full sensation he's liable to be killed at any moment. He won't be. (That is, ordinarily. That's why you should always collect your fees in advance for professional auditing.) Anyway...

The effort of a state toward socialism is the effort of a state to cure itself of scarcities. And the only thing that defeats socialism is the perpetuation of a scarcity by a few. In order to do what? In order to control. If you can create a scarcity, you can control. Therefore, all socialistic principles are fought violently, with blood, by anybody who is trying hard to control, because they can only control by bringing about a scarcity.

Any technique, then, which has to do with collecting one's attention into present time is a Step IV technique. And worse than this — worse than this — any technique designed to increase the beingness of a person, in terms of personal beingness and living here on earth and that sort of thing, is a Step IV technique.

I don't mean to turn this into a political rally or a Hyde Park talk. But when you see what the philosophy of scarcity can do to a preclear, I'm afraid your politics are going to do a sudden level-out. I won't say they'll level out at socialism or level out at communism or level out at anarchy or level out at capitalism or level out in any ideology that we have had before.

Your Step IV case believes he can only be himself, he can't be anybody else; he can't pretend he's anybody else. He really can't pretend this: he can't pretend — it's all got to be true, or he can't say it or do it. You ask a Step IV — and particularly a Step V (this is what characterizes Step V, by the way, a Step IV just a little less of this) — you say, "Now tell me a lie. "

They're probably going to level out into good sense, and then we will have for the first time a workable political system. One doesn't exist at this time, by the way. There's no such thing as an even vaguely good, self-perpetuating political system. Every one of them contains enough flaws in terms of scarcity and control to spin itself in. There are some much better than others. And those which seek to get a people to provide for the people have a better chance of survival than those which seek, by a few amongst the people, to create a control of the people by creating a scarcity amongst the people — have a lower survival value.

And the fellow will just sit there and look at you.

There are many levels of these things on the tone scale. And to start talking about politics and then go off into a description of existing ideologies would be very silly. But to start talking about the relative scarcity or abundance and the idea of scarcity or abundance held by a government will tell you immediately what the tone level of that country and what its future will be. You can guess. You know where it's going to change, if you know these factors.

You say, "Well, tell me that an airplane just flew in the window."

Now that becomes important to you in a preclear, because your preclear is essentially a government of a very vast number of subjects. And when those subjects are out of line, they're in bad shape and this preclear's in bad shape and he doesn't get free of these subjects; he is trapped by these subjects, these cells.

He can't do it. He's lost his ability to lie; and that's an awful thing, isn't it?

Once again we're talking right along with Book One, Dianetics: The Modern Science of Mental Health, about the reactive mind.

One of your first tests by the way on one of these cases, you really want to say, is just this, "Tell me a lie. " He can't.

What's the reactive mind? It's in the cells. That's right. What are the cells? Well, they're evidently sentient beings at such a vast and astronomically large number that it would stagger you if you tried to interfere with all of their functions and regulate each one of them personally. But you can command them as a whole.

That tells you that he's in vast agreement with the MEST universe. It's got to be true; believe me, it's got to be true.

Your ability to command that group is your ability to be, your ability to provide space. And you yourself, actually, are a political leader.

And he is so upset if it's not true, that he just goes into a complete flip sometimes. Well, this is wonderful because there isn't anything true in the MEST universe.

What is your political ideology towards your body? That is established by: How much scarcity and how much abundance do you allow this body? You see, you could bring a body under control by creating a scarcity. That's possible: food dieting very often does this. But it shouldn't be looked into any — much further than the creation of a scarcity — a selective creation of a scarcity.

The highest level, in this universe, of truth is theta in its purest form. There is a truth strata way up there. Has it got anything to do with energy or space or time or women or whiskey or any other interesting things in this universe? No, it certainly doesn't have. They're all a lie.

You get somebody and you want him to slim down. Well, do you know that you could diet somebody who was fat and make them much fatter? They're fat on a give basis. They're fat, they've collected all these things, they've held all these things and then they've lost too much in life; and so they've just gone into apathy on holding, and they'll waste everything that comes into them. They'll get fat. And you could feed them less and less and they conceive there's more and more scarcity, and so they get fatter and fatter.

You'd think a soldier out in the battlefield being shot in half by a tank gun, you'd think, "Boy, that's really true." No, that's not true! He is under the doggonedest spells of illusion and hallucination in order to be there in the first place, that you'd have to get an encyclopedia to list them all. He believes the darnedest things. He believes it's important whether or not he salutes his captain, he believes this, he believes that, and so on. On and on and on and on and on and on. Actually, it's more important that he salute his captain than it is that he got shot in half with a tank gun. Why? Because there's some aesthetic in a salute; there's no aesthetic at all in being shot in half.

Another person a little bit higher up the tone scale, you start taking the rations and shoveling them into him with a steam shovel and they get thin. Why?

Now, what's the level of truth of this incident? None. So we have this soldier, and he's lying in a veterans hospital and he's in terrible shape and so forth and he's got an arm missing because he was shot with a tank gun. Well, he's sick. There's no getting around that. No, it's not in his imagination; therefore, we shouldn't slight it and all that sort of thing. He's convinced!

They get disabused of the idea there's any scarcity of this stuff. So they say, "Well, let's just get on about our business. Get organized. There's no reason to be upset about this."

Boy, is he convinced!

Now you're doing that in processing, with a preclear. Your goal — your goal is to cure them of any idea of scarcity or abundance of energy. I mean, just blanketly. Cure them of any idea of scarcity, because it's a concept and an idea and it's an aberrated one.

How do you make him well? Unconvince him.

At IV your goal is to disabuse your preclear of any idea that energy is a vital thing to his being. Because it isn't. Beingness is space, it isn't energy. You want to know, How can he be interested? I told you once before: it's the conflict between having an audience and not having an audience, not having to bother about bodies and bothering about bodies; and on that cross it sort of sticks as a maybe.

How can you unconvince him? Run the incident. That just takes the tension off of being hit by the tank gun. That'll unconvince him slightly. But it should strike you as very strange that you can just recount this incident a few times and it blows up. Couldn't have been there in the first place, could it have?

But do you know that you can — you can take sensation as a concept, not as an energy flow? And do you know it's a higher sensation as a concept? What's the most exhilarated you've ever been in life? It's probably the moment you had an idea about something. Well, brother, I'd like you to find me some energy particles in that one.

So, what are we changing there? We're changing his idea about the incident rather than erasing anything. Although erasure's a better explanation to him. He can envision erasing the energy recording of the thing, but he couldn't envision on going over it until he's just tired of the idea.

What's the most excited an artist ever gets? Does he get that excited — does he get that excited because of sex, because of something or other? No, he doesn't. As excited as he gets about the great picture which he's going to paint. He doesn't even see it yet; he hasn't even mocked it up. He just got this idea he's going to paint this great picture. And there it is. And he's going to... No energy particles in it.

You'll find the darnedest things. We can run the incident or we can just say, "All right, now get a concept of glory. Now get a concept of nobility."

Where do you get this "Sensation is energy particles"? That was the first lie.

He'll say, "Wait a minute. Something happening to me. It's just that — there's something happening. I — I — "

Now therefore, Give and Take first addresses — for the person low on the tone scale — solid objects and moves as fast as possible into fluids and moves as fast as possible from just general fluids into energy itself. And just Give and Take, in any way that you can get up there to processing out this thirst for energy and desire for energy and desire for particles and desire for — and inhibition of particles and enforcement of particles and energy flows and so forth.

You say, "Well, just go on and get this concept of glory." "Hmmm. I don't know whether I like this or not," he'll say.

Why do you smoke? Very simple. I smoke because it amuses my cells. If I disabused them of the idea of energy, I wouldn't have any body.

What are you doing? You're pulling the underpin under all soldiering. The highest level of soldiering happens to be glory and nobility. And what do you find out? When you start running glory and nobility, you'll find that it's glorious and noble to get wounded! The boys who stand up and get themselves hit by bullets: I think they actually have to reach out and train the guns on themselves, practically, to get shot.

And your eyesight is so darn bad! For instance, you think I stand here on a stage and lecture to you. If you brought in somebody off the street, he'd swear I was here on this stage. I'm not even vaguely here. But if I knocked out — if I knocked out desire for energy out of the body, it'd be very amusing: I wouldn't have any body. Because these cells would all suddenly say, "Anchor points, anchor points? Well, they drove in my anchor points. And what the hell's going on here? I mean, I didn't have any anchor points to drive in. How interesting. You mean I've got nothing here but space? Oh, that's beautiful. I think I will go be a Texan, or something." And one of the liver cells would leave and so on.

I've played hopscotch with slugs and that sort of thing, and they really don't even look dangerous. They keep talking about your "number" on them — your number on the shell and that sort of thing. And so there was a shell fragment lying down one day, great big thing, and I went over. And what do you know! It had the serial number of one of my watch officers on it. Its shell manufacturing number was the serial number of this watch officer — his flag number, same number (and Japanese and German numbering systems are English, same deal). So we took this doggone thing and put it in a beautiful frame and put it down above his bunk. One night we drop an embarrassing barrage, and the thing falls down and almost fractures his skull. I swear, the man had — the man had to reach up and pull the darn thing down on him, and there was his number on a shell all right. Had his number.

I mean, frankly it sounds very extreme, very amusing to you. But that smoke that comes out of that cigarette looks very like the first energy in which you were paid, way back on the track. It looks very like it. Just get the idea of sitting in the midst of beautiful pyres of smoke as they come up. You know, you could — you could do that for a while and you'd get sssshllp! Oh wonderful, wonderful!

Well anyway, this doesn't minimize that sort of thing. But what do we find on a battlefield? We find — my, it's unaesthetic. The dirtiest trick they ever did was to take the drums and bands out of war. That was the dirtiest trick they ever did, because as long as there's that kind of glory around you don't have to get wounded to have glory as a protest against it. But if that kind of glory disappears, then you've got to get wounded. Sounds strange, doesn't it?

Now, you know that. And when you smoke it doesn't matter whether you're — by the way, a fellow conducted a test on this one day.

Glory — if there's no real glory in it and if you think there's glory someplace else in this battle and you're on a shore station someplace and you don't get a chance to go into battle or something of the sort, you can go almost loopy.

He put a whole bunch of people in a tank, great big tank, and cleared all the air out of the tank and made nothing but fresh air in the tank and then gave them pipes and gave them cigarette holders, all empty — they put them in their mouths — and then pumped warm air in so that we had a pool of warm air in the center of the tank, and then shut off the lights. And there wasn't anybody in there couldn't tell he wasn't smoking. It was an actual test that was made. And then he varied it in such a way as to give some of them actual smoking equipment and some of them not actual smoking — they couldn't tell the difference. Nobody could find out whether or not he was smoking the second the lights went out.

It's bad! It's bad. The worst place to be in a war is where there's no shooting going on. You want to — you want to get out to where the shooting is going on just as soon as possible. And everybody knows that. Troops always try to move out. (And when they get there, they try to move back!)

So, if you don't think — if you don't think that smoke is an illusion: a blind man, for instance, seldom gets much pleasure out of tobacco; he can't see it. So if you think the poison contained in the nicotine does something or other and so on — no, it doesn't do anything. You can put ten times as much nicotine or one-eighteenth as much nicotine; you'll do the same thing.

But your basic concept on that sort of thing is a concentration, implants, convictions — phony as a seven-pound note — convictions that such a thing as glory exists. Yeah, there is — you can play a game called glory, but it's only a game way up on the tone scale. And when you take that out of war, you don't end war; you perpetuate it. The way to — the way to stop war is to really make it nice and glorious. All right, and just make it glorious and then everybody will be very happy to go around and be glorious about the whole thing and then they don't have to get shot up.

What is the effect? The effect is to tell the cells, "Energy is exterior to you and energy is here and it is coming in through the body and is present here, and therefore you're under control because you're dependent on exterior energy to yourself. So don't go generating any." And naturally, a person very often will start to smoke and get terribly tired. Get up bright, fresh, cheerful in the morning, ready to lick the world, you know? Reach over there, get that cigarette, light it. Nnyrrrrr!

Now this possibly won't become too apparent to you until you work your first veteran who is in bad shape, and the most bitter tirades will come out of this guy on the subject of glory. Why?

Quite often the preclear has never added these things up. Why does his perceptic level go down right after he lights that first cigarette? It's energy, that's all. It's telling him that energy is exterior to him and that he is fed energy. And it keys in the earliest part of the track and the earliest part of one's beingness, just to that effect. Energy is exterior, and you've got to took elsewhere for sensation than in yourself. Of course, you don't look "in" anything for sensation.

He knows he's been fooled. When was he fooled? 1936? 1939? 1942? Oh no, these weren't where he was fooled. Uh-uh. Way back down the track when he fought his first war — he fought his first war. Somebody got him all hepped up: Gloria et Patria or something of the sort. Somebody sailed in on a white horse and, boy, did he look aesthetic and everything and glory. And there was a lot of band and music and all the girls said, "You know — you know we love soldiers. We don't have to go out to fight — we love soldiers. How about you going and being a soldier?" Glory.

Do you know the — one of the most delightful experiences is recovered in Step III? We're not without sensation, slap-happy material here, by the way. There is plenty of dynamite in Standard Operating Procedure Issue 5. You just run it off in its short form, and you'll see some of the doggonedest things happen to a preclear and he will get the strangest sensations and adventures.

Well, he probably did have several glorious wars and it was all very fine and very noble, and it finally petered out to what?

You start III. Possibly it's the first peace or happiness which this person has experienced for years, he will find by doing Spacation in Step III. He creates some space, and there's nothing in it. Boy, that's really wonderful. This is the sensation he's been striving for and looking for for just ages, and suddenly there it is. Interesting. If he does a good Spacation, that's the sensation he gets out of it: peace, abundance, timelessness; it's all very fine. As a matter of fact you could probably go off and leave him there on the couch in that piece of space and come back hours later, and he's still perfectly happy about it.

1939-1945. And if that wasn't a nasty, piddling, two-bit little mess, I never saw the like of it. It had gotten to a point, as far as glory was concerned, of where they wouldn't let you fight. About the quickest way you could get balled out in the last war was fighting. You could really get into serious trouble for fighting, with your own officers and generals. Now you think that's funny, but the object of war isn't even to fight anymore. I don't know what it is. It's, I guess, to destroy property or, I don't know, or to raise taxes or — people get awfully confused about this.

If he's nervous or restless about it, he hasn't created any. He's got particles all over the place and he's got flows, and the anchor points are unstable and so forth. In other words, you tried to do Spacation with a fellow before you did IV, and IV or V was desperately necessary on this preclear before you did a Spacation. You have to cure him of energy particles and the use of energy particles and the scarcity of energy particles before you can start getting him to construct very much space. See?

In the first place, it's all based on a bunch of lying convictions that don't have any basis in truth anyhow. And the concept of its ugliness or the concept of its beauty or the concept of something else is simply a concept based on the basic concept of conviction that such a thing as glory exists.

He'll hold on to those energy particles and pack them in tight. And you notice this person assigns values in the strangest ways. IV and V, it will be values assigned in various ways. You'll have the darnedest time processing him.

You'll find a guy all wound up and unwound and backwards and forwards; any one of your veterans lying down here in the hospital will unwind on concepts of bands and glory and so forth. It's very interesting how fast these cases will snap on those two points: glory, nobility.

Take money, for instance. You can start giving somebody GITA on money and, boy, you'll have to have him mock up the whole room and the whole street and give him the deed to the United Kingdom before you can make him burn a ten-shilling note. And then he finally will burn this mocked-up ten-shilling note. That's fascinating. And then maybe you can make him burn the second one. After you have filled up all the cargo ships in the Thames with money and he's made sure that they're all full of money, he'll get that next.

Of course, they're being directed in the use of force and they go into war in order to be able to demonstrate force with impunity, and then they're restrained from demonstrating force — their sergeants, everybody else, demonstrates they mustn't use force — and they finally wind up in terrible condition. You can look in vain for any further reasons. There's a lot of made-up data resulting from a lot of bad data; but as far as basic stuff, the basic convictions then are there. So they've got a concentration on glory on one part of the track, and they're trying to evaluate what just happened to them on another part of the track and it won't evaluate. Therefore, you'd better pick up the basic conviction and alter it in order to do anything about any of the altered — other convictions.

Money could be called an attention unit of the society. It flows through the society and is sort of mocked up; they're really attention units that flow through the society. If you don't believe that: you want to make a lot of money, just attract a lot of attention. Of course, if you attract the attention on the have-not basis, everybody will take the money the other way. But that's all right.

Now, I'm not going afield when I'm talking about this sort of thing, because essentially all that's wrong is that the person has got his attention snarled up one way or the other. He's stuck on the time track.

Now, concentration of attention is concentration of a particle. What's attention? We've always talked of attention units. Any time a person fixes his attention strongly and irrevocably upon something, there are particles involved, and the first manifestation of them are particles which are anchor points. So you cure people of anchor points, you cure people of particles.

I want to call your attention to the fact that a person, to have beingness, has to have space. Space is beingness. That's good theory and, boy, that's a way upper-echelon piece of knowledge: space and beingness.

Low-level material, then, as it goes up the line, takes a hold of solid objects without too much — any more attention to anchor points than those which are actual MEST anchor points, like the front doorknob and the newel post at the end of the steps and that sort of thing. They're really solid MEST objects, and those he is using for anchor points. And then as you go on up the line, by the time you get him disabused of the ideas of energy he will start using a particle only when he wants an anchor point. And then he can get particles and scatter them around and use them along that line. His entire evaluation of existence will change.

If you think you're short on space you will all — automatically become short on beingness. Therefore, put this down — put this down: A person is as free in space as he is willing to be anything in that space. Space is beingness is your highest echelon about space and that one — that one contains the technique. That's your first level of application about space.

Your preclear who is at IV and at V is at a stop. Now, he's out of space, in other words, and his space is pretty jammed up.

[from audience] Beingness.

That's stop. You wonder why he's stuck on the time track? Well, there's no other space to be in, and there's a scarcity of what?

Yes, beingness. A person is as free in space and has as much space really as he is willing to be anything in that space.

Scarcity of space. So therefore there's a scarcity of beingness, isn't there? And you've got to go up through and cure a scarcity of beingness before you get this person up there to a line where he is perfectly free to be many of himself. The only really safe thing to be, hanging around a universe like this, would be a couple of thousand people.

That's very important. If you — it's one of those techniques that you've just got buckets full of data over here and you've got buckets full of techniques and you've got card-file systems galore, and you would look through them in vain to find out what's wrong with Augustine Gilplatz that you're processing and you just can't figure out what's wrong with Gilplatz. Don't throw in the sponge. There's your basic security: Self Analysis.

Don't think, by the way, if you were in good shape that you couldn't monitor a couple of thousand people at the same time. You wouldn't have to have them in a regimental front anyhow, either. You could, if you wanted to. It would be amusing, for a Saturday afternoon anyway.

That'll do it.

Now, your road then on GITA is a simple one. And it's anything that shakes him loose from anchor points on the idea that the particles are more important than the space.

This is another security: What isn't he willing to be? Because that means that that much space is denied to him. And when you get a person into the horrible situation where he doesn't want to be anything else but himself or in the horrible situation where he only wants to be himself, you've got an aberrated boy right there. How much space has he got? He's got as much space as his body occupies; or the Freudian alter ego: as much space as his body and toothbrush occupy. That's all. He could be his toothbrush and he could be his shaving mug and he might possibly be his gloves, only they probably belong to Papa or something.

A person at IV and V thinks the particles are important, the space isn't important. His whole attention is on particles. A person who can have a III done on him still thinks space is desirable. A person at IV doesn't think it's too desirable. He's wasting it, or he's got it jammed completely, or he doesn't think about it at all. And it would be a brand-new thought to him, maybe, when you start in working with GITA and you say, "All right. Now let's mock up women. Start mocking up women now. All right. Let's mock up a few hundred women, a few thousand women. Let's just mock up a few more women and..."

He's gone right there. I mean, he'll just get out any further than that. He doesn't even — isn't even willing to be his own breakfast. That kind of belongs to the cook and the cook — that's the cook's breakfast and he doesn't like the looks of it too well. And maybe his wife nags him or something of the sort, and he wouldn't be his wife. Well, boy, he's in bad shape if he wouldn't be his wife, because there goes fifty percent of his immediate space area, zong! right in the home. And if a guy is a Homo sapiens and if he's living in the year 1953, God help us! He's already so short on space that he has no attention span that's worth talking about in terms of potential attention span.

The guy says, "I... I don't know, I... I can mock these women up all right. I get several of them, but I... I don't know, they just seem stuck right there."

So the amount of space a fellow has determines the amount of attention he can demonstrate.

Well, that is a condition that isn't covered in the other tapes.

Now, he runs into something in the society which is evil. He says, "This is evil." That evaluation comes down the line, "This thing is bad and this thing is evil," and he goes back from it — nyeow! Well, unfortunately, he went back from just that much space. That's what you mean by "driving in anchor points." The way you get a guy solid and the way you get energy solid and the way you do these various things is to drive in his anchor points.

The normal course is that he can mock up women and stuff them into his body and his place of his body, and he can mock up women in his body and have them walk out away from him; or she can mock up men and stuff them in as though she were the man, and so on.

How do you drive in his anchor points? You show him things which he doesn't want to be. Now one of the worst tricks is just stand there and tell him that he doesn't want to be him: "Look at yourself, mud all over you. And look at your manners. And look what you're doing, and you know people don't like you. Now I was talking to that — and if you were a good little girl, like Mamie Gilplatz, why, you were a good girl, that would be different, but you can't even be yourself, you little mug! " And this person does what then? They won't even occupy the space their own body is in.

And just on and on and on. Or turn around and make them walk away, and they just go on walking away. That'd be a very, very smooth-working case on GITA.

So they go down below the level of IV, because at IV we're assuming the person can occupy the space his body is in. He can took at his hand and he can say, "That's my hand." He doesn't say, "That's my hand." He says, "That's my hand." See?

The next level that you run into, of trouble, is they start — you have mocked them all up and you got a lot of them packed in, now you make them walk away and they get out there a hundred feet and they can't go another step. This fellow can't get a woman to walk another single step beyond a hundred feet away. All the way around him in a circle he only lets a woman get a hundred feet away from him, and that's as far as she'll go and he can't make her go any further. So you obviously got to have more women. And if you mock up enough women, or enough men, you'll eventually get where he'll let one of them walk away. You've mocked up 8,675,000 women, and he will finally let this worn-down old hag with no teeth wander off.

A I — you can tell the difference between a I and a IV, just like that. You could say, "Do you own your own hand?"

Now, he'll get them out there, if he's on a take basis, and he will get (or she will get) this person — a person will come within about — well, he'll let them get within about fifteen or twenty feet and then he can't get them any closer than that. They don't stick there: I mean, he can get them walking out again or he can get them out further, he can get them walking out easily; but when he turns them around to make them walk back toward him again they just don't come in, that's all. Well, the thing there is you just haven't given enough of them away, you haven't wasted enough of them, to prove to him that they exist. So you just waste a lot more. All right. And have a lot more walk away, until they can walk in.

"Sure, I own my hand!!" That's a IV — I mean, that's a I. "Sure."

Now, there's a condition that is not mentioned (it was sort of understood that it exists): it would of course be, if you had an inflow — which is a take — and an outflow — which is a give — you'd also have a null. You'd get somebody who would get them stuck someplace. When he could mock up women, he would get them along a certain line; and they wouldn't move in, and they wouldn't move out. That's a null: gets no action.

All right. Get the difference: occupation of space. Now let's look out through this MEST universe right now, each and every one of us, and realize the number of things in it that you're not willing to be. Well, every one of those things is space you don't want to occupy.

Well, technically, this doesn't fall into Step IV. That determines a Step V. He can't make these women walk in, he can't make these women walk out. Or she can't make the men walk in or can't make the men walk out away from them. They just stick. If he gets them they stick, that's the end of that. Of course you haven't got any motion possible there, have you? So this person is more thoroughly stopped and is even more out of space than a person at IV, so that falls into the category of Step V.

Now, a IV has gotten to the point where he has to concentrate attention on certain things. And that attention is really fixed.

So when you start to do GITA and you get this — you get this manifestation — you're using these objects, and you're creating and making women walk in and creating and making men walk in, you're creating castles and having them move in and move out; and as long as a person can move in or out these things and getting them on up the line and get things more and more fluid, more and more fluid — of course, a house, you see, and castles are very, very solid, so that's one of the first things you start in on and that's why the step leads off with a house. You get them way on up, you'll eventually lead them right straight on out by handling energy. And they handle energy — I don't care whether that's in terms of explosions or otherwise; you don't have to worry about that. It's just their desire for energy and their desire not for energy, and you may put the energy in capsules and you'll get the doggonedest reactions you ever heard of. You cure them of energy, in other words.

His attention is concentrated upon Mama, who is now in a different space and maybe in heaven. His attention is on Grandpa; he's maybe in heaven too (although the neighbors had a lot of doubt on the subject). He's concentrated upon school-teaching; he's concentrated on this. In other words, they — his attention was dragged out to ugly things and he was told he couldn't be those things so he has to be very alert not to be those things. So he doesn't occupy any space which is occupied by anything which looks anything even vaguely like anything that he's not supposed to be. Because as space decreases you get association.

All right. Now we start in this preclear at IV and we've got an additional test. Yes, he can mock up his home, he can really change it just a little bit.

Association is at 20 on the tone scale, so that means there's less space at 20 than there is at 40. And why do people begin to associate too closely, and what is this stream of consciousness called association? It happens at 20, down. And that means when a person really gets down the tone scale his energy is condensed, and it is condensed but thoroughly. And it's condensed so that he has ridges. It's condensed to such a degree he has heavy electronic engrams. He has thisa and he has thata and he has something else — packed! And why is it packed? That's because he hasn't got any space to spread it around on, if he has to have it at all.

Now we say, "Now, move it!"

So he associates too well. And every time he associates too well, he can look at his wife and realize that's really Grandma! That's what you're trying to — trying to fix up in a preclear, isn't it? Misidentification.

Mm-mm. It doesn't move. We can't move it a few inches to the right and a few inches to the left, and we can't move it in closer. Uh-uh. We've got a V. Now, you need that datum, because it's not elsewhere in the tapes.

Well, when a person goes down IV and below, his attention is so fixed in so many places in space and at the same time he doesn't have any space. He can only be his immediate body and maybe not wholly that, and those parts of the body which are ill are those parts of the body he can't be. Boy, is he limited!

What is the difference then between a IV and a V? The ability to move something, the ability to get things to move. Give and Take Processing falls into a null with this person, and these things do not move after they are mocked up. Ja wohl! Very simple.

And you wonder why this fellow has heavy engrams come in on him. You wonder why he has a hard time. You wonder what all this stuff is when he talks about occlusion, and why can't he see past his face and so on. He hasn't got anything to see out there. There isn't any space out there; he knows that. He has to take his MEST eyes' word for it. So you just ask this preclear, "What things aren't you willing to be?" And then make him mock himself up as those things. That's a fantastic technique.

So we get into a V. And the V is the case that can't move anything anywhere, or things have a very definite tendency to stick and stick very hard and stick very solid. And where it comes on a case level that you've got one of these sticks, of course, what have you got? You've got a stop. This person is even further out of space than somebody that can do GITA; they're really out of space. What is — what is stop? Stop is no more space. Stop is also stuck, and stuck is also no more space. And stuck is also no more beingness. So you have — this person has an awful time recalling or getting reality on any past.

"All right. Mock yourself up as Grandpa." "Okay. Now do everything Grandpa does." "Oh, no! That old ba — "

You get a person who is really badly upset about maybe he didn't ever live before or did, or he's got these engrams and he can run them but he doesn't see them and so forth. You've got somebody who stops very easily on the track. This person gets started, by the way, he has a hard time of it; he doesn't want to get stopped. He has an anxiety about being stopped because he knows what happens if he gets stopped, even in conversation: he's dead. Stop is death, and that's the end of that. So any kind of stop becomes death. Well, this fellow probably dies a hundred times a day. And that's cured in V. We're not taking up V just now. This is the case where everything is stopped. "You can't move a mock- up" could be the definition of V.

"Now, come on, come on, come on. Spit on the floor. That's right. Get yourself spitting on the floor. Get yourself scratching yourself. Get yourself being mean to everybody in the neighborhood."

IV, then, on this rundown that I've given you here, is IV on a Long Form. And this includes cycle of action. See, it includes anything — any step — that would get a person to handling energy particles easily.

"Now, now mock up Grandpa out there doing all the things you 'd like to do."

Cycle of action. The reason why a person is stuck is because he's stuck on cycles. He started a cycle of action and he couldn't finish it, so he's still stuck there. Well, if he's at a IV he's going to get stuck there, and he's probably got that stuck somewhat in restimulation. And along the whole track, then, he's strewn with failures, stops. Stopped where he shouldn't have stopped; he didn't complete any cycle of action. And in trying to complete the cycles of action and so on, he gets stopped some more.

"Oh, no!"

Now he gets to a point where he won't start, really, a cycle of action. He knows he'll get stopped before he starts. And as such he'll get quite upset if anything slows him down or stops him to any degree.

The guy will practically get ill on this. But when you get through with that, it isn't that he's now willing to be Grandpa: He doesn't care. He's no longer concentrated on that point of space, so he has that much more space. And all these techniques are devoted to that.

Furthermore, he's trying to finish off, if he's doing anything, a half a hundred cycles of action or more, which were begun at God knows what points. The service facsimile, then, boils down to "the computation Which permits one to pretend he has finished some cycle of action." It would be what he uses as a dramatization, rather than finish some cycle of action or rather than finish cycles of action. He does something else than finish cycles of action. The service facsimile would be the excuse as to why he didn't complete a cycle of action. So that you can find his service facsimile chains are all these failures that he's using to explain why he fails — which would be the chain of failures go into restimulation when ever he can't finish a cycle of action.

Cycle of Action Processing belongs under IV, because interrupted cycles of action say "Stop." And what is a stop? Stop is at zero, and it says, "There isn't any more space." So the fellow has been able to start a cycle of action, and then one way or another it has been communicated to him he has no more space to operate in. If he has no more space to operate in, that means he has no more beingness.

Now, you find a preclear then getting restimulated, particularly at those times when they are unable to complete a cycle of action. What is restimulation? A restimulation is a recalled association on not having finished a cycle of action. He recalls, because he doesn't finish some minor cycle of action here in present time — he's just realized that he hasn't finished that cycle of action — it calls into effect then all the cycles of action which he hasn't finished. And he has all these explanations worked out in the past as to why he hasn't finished these cycles of action; and so he calls into existence in the present the reasons he hasn't finished these cycles of action, and then it's all explained and understood. Then he gets into trouble with the service facsimile is because it's no explanation at all. Everybody challenges it, and he gets upset about it.

This is death, by the way. This is the upperechelon explanation of how the phenomenon of death comes about. This isn't death's explanation; this isn't data pertinent to death. This is death.

Sounds confusing to you? Well, that's what the service facsimile is: a flock of confusions about cycles of action. If you're confused about it that — you've got the definition.

Death would actually work out in this fashion: if given that datum, then death would be an inevitable result as one of the resulting phenomena. You see?

Now, I haven't mentioned before the value of a particle or what you did with a particle or what an anchor point was, until this talk tonight, to any great degree. Now, I've defined anchor points very widely, but not as a particle. An anchor point is a particle. And all the particles you have, have been anchor points. There is no particle except a particle which has been an anchor point.

Space is stop — I mean, no more space is stop. So space, cycle of action, runs this way. You can make this test, you know. We start in at the beginning of a cycle and we find we've got three- dimensional — get the idea of starting something, you've got three-dimensional vision. It's halfway through, you've got — dimensions are flatter. And when you get stop, it's flat, isn't it?

All objects, then, are composed of anchor points which have been drawn together. When something is drawn together in such a wise as to hold, you get some position or other on the tone scale. And when you get a solid object, you get one position or other on the tone scale. And they will be ridge positions.

Now you can run that test, by the way; it's empirical data and was one of the things that demonstrated this technique. It — actually, starting things is three-dimensional and there's no- dimensional in a stop. That's because one way or the other the person was convinced on this cycle of action that he didn't have any more space. If he didn't have any more space he couldn't move of course, because motion is change of a particle in space.

What is a ridge, then? A ridge is a mass of anchor points which have dragged in just so far and are at one or another ridge levels of the tone scale. You will find some ridges which are nothing but pure, unadulterated hate; they're just held right there. Most of the ridges are apathy; they're in and out, and they're held there. And some of the ridges are conservatism; and they're particles which are held right there. In other words, you get these harmonics on the tone scale would be the various tones of where ridges have been formed by people having anchor points out and then dragging them in suddenly.

So you can say — instead of saying he was stopped, you could say he ran out of space. How would you tell him he'd run out of space? Tell him he's run out of beingness. One of the ways of telling him to run out of beingness is to shoot his body out from underneath him. He's really convinced then that he has run out of beingness. Now he has to be another being; and he preferably will be another being in another space. He'll even jump over to other families and so forth rather than go a consecutive line in a family. He deserts a space because there's no more space there, that's all.

Well, this happens then that when one's attention is violently shifted from out to in, he goes down tone scale; and when his attention is shifted from in to out, he has a tendency to go up tone scale. Simple mechanism, isn't it? It really is — it is that simple. It's just that simple. And he, of course, used anchor points to make space, so when he dragged in his anchor points he had less space. That's why objects are solid. And if he drags in enough anchor points, there's enough memory of anchor points dragged in or put out, piled up in one place, he gets a solid object. That's how you get objects, and that's what the universe is composed of.

You want to know what's aberrative in a child's background is, When didn't he have a bed of his own? No space. He couldn't be, then, could he? That's silly, isn't it? We're not dealing with logic now; we're dealing in actual physical manifestations which, when applied to the human mind, become aberrated thought.

Now, are anchor points sentient? Well, they're composed of thought. "I thought you were there; therefore, you're there. I think, therefore I am. Well, an anchor point is, therefore it thinks."

So how do we convince somebody he's stopped? How do we convince him he's stopped? We just say, "There's no more space." Well, how do you do that? You can run him into a brick wall, you know. He's sure convinced there's no space there then! That's a good, fast way of convincing him there's no space, is throw him into a brick wall at about five hundred miles an hour or something.

I mean, if you want to — you want to mess that one up that way, that's very interesting. That tells you that an atom is probably sentient.

Another way to convince him there's no space is to put in a series of explosions all around him. You can't occupy a series of space in which the body which you own and which you are can't live. You never add it up, you see, that you can live in it and that you aren't your body and it doesn't matter really whether or not there is a big explosion going on there or not.

What's an atom? An atom is probably an anchor point. Not my definition; it's some such thing. I don't care how you work this out according to an atom either. Physics doesn't agree with chemistry on nuclear physics and chemistry doesn't agree with physics on nuclear physics, so I don't see any reason why Scientology has to agree with either one. That would be a good, safe thing to be — a nice little anchor point, way disassociated from all other anchor points, living a sort of an independent life and thinking one's own thoughts. After all, there's no such thing as size.

You value the body. Now, value starts to enter in and evaluation starts to enter in as space begins to get limited. Value is a phenomenon of reduced space, and those things which are really valuable (such as teeth) have the least space per particle in them. Oh, you — people really get upset when you pull their teeth; they get upset all out of proportion. Dentists have the most beautiful teeth: they can diamond-set false teeth, and they can do all sorts of things. But you start taking somebody's teeth away from them, they get very upset. It's the most solid thing in the head; therefore, the most valuable. Also the most scared.

When you create something, you are the one who gives it a beingness. That beingness is as much as you give it. I don't know how much beingness that is (neither do you). So I don't know how much beingness is in an anchor point (you don't either). Nor do I know how much beingness would be in an atom. But there would have to be some beingness in an atom if it were created; no matter what tiny little amount, there's some beingness. Therefore, there appears to be a considerable beingness to the MEST universe. It's made up of points which were created by beings and which demarked a certain area of space.

Teeth are really scared. You start running GITA with teeth, and you have yourself a wonderful time.

You're getting into data now, you see; and you start getting up toward the top of the tone scale on data, and all we're saying is "There are postulates." And now you can make a postulate this way and a postulate that way and if the two are not in agreement that's your hard luck, not mine. And you had to make a postulate which didn't agree with another postulate so that you'd get enough interplay to have a confusion that would stick.

Now, the basic method then of convincing somebody he's stopped is to convince him that he's run out of space. That, of course, would end his beingness. So whether you're dealing with a minor cycle of action or a major cycle of action — the minor cycle and the major cycle are related. Death is "You've really run out of space, fella; therefore, you've got no more beingness." Or it said, "Look, you've got no more beingness, fellow; therefore, you've really run out of space." This is just stop!

So the highest level of object would be that — I mean, the greatest duration of object would be that object which was most in conflict with itself in terms of maybes. If you really got something in terrible conflict with itself so that it was just — and then condensed way down in terms of space, you'd have something that would endure forever. The dream of Egypt was eternity. Examine its politics. Becomes very fascinating.

Why do you find deaths in restimulation on the track? That's because they're stops. That means there's no space; that means the particles are solid packed in them. So if there's all those particles and no space to put them in, of course there's a jam right there on the track. And a fellow has the concept that he can't walk through one of these solid particle things, so he sticks there on the time track.

Anything which wants to endure for a long, long time, build solidly, thinks in terms of "Get nice, solid matter and construct it very solidly. Put it all together in such a way that it will last." So, in order to do that you just have to have lots of maybes. Interestingly true.

His attention units are out there on all those particles, and all of a sudden all these particles are gathered up in, right here, right close to him. And the second they're right close to him, he's got no space. He knows he's got no space. And if you can bring in attention units fast enough, a man dies. Yeah, this is mechanical death.

You can produce death any time just by making a person bring in a spanned, widely spread attention to a very small point, quick.

You can hit the biggest bear in the world in the paw with a British Swift (4400-feet-per-second muzzle velocity) bullet, .22 caliber. You understand that you can take an elephant gun and stand in front of this same bear and blow his brains full of bullets, and he will probably still come right on and chaw you up. You aware of that? Heavy, slow-caliber bullets do not stop that bear; but you just hit him in the paw with a terrific, high- velocity, small-caliber slug and he drops dead. That's very interesting, isn't it?

You can check this. Hunting books and so forth will give you that strange datum. That's what's known as shock. It's the shock that kills him. All the attentionness and beingness that is a bear suddenly is centered upon that hole in that paw, and that hole is too small. Bang! All his beingness is in that hole in that paw, and he ceases to be. He runs out of space quick. You convince anything it's run out of space, and it's convinced it's dead.

Well, then how do you unconvince it that it's dead? You get it to have more space.

And you know what you've got to do with every preclear — every preclear you've got? You've got to convince him he's not dead.

And how are you going to do that? By giving him more space. Well, then to do that, then you'd better be able to give him more beingness.

Your preclear at IV level is dead. He knows he's dead. He's been dead for a long time. He's just cheating a little bit; he's moving around now. But he's stuck, you see? And you'll find as you move him back down the time track, if you were to move him up and down his time track a few dozen times and do it very carelessly and you were using the whole track, he'd hang up in a death. It's just inevitable that he'd hang up in a death.

Now, do you keep on processing deaths? No. You'll just keep on concentrating his attention tighter and tighter and tighter and tighter, and he can't run an engram. He hasn't got any space to run it in. All the beingness he is, is right here and now. And that beingness is the whole track, and the whole track's particles are right here and now, and he's really concentrated. This person will succumb to a much lighter shock than another person. Therefore, he begins to be concerned about his own injuries.

The motto of IV is Give Him More Space. Give him more space. And that is done by taking his attention off old anchor points. This is so elementary. This is just — what's he been using for anchor points? The first thing he uses for anchor points is the first anchor points that he had in his youth. He's still holding them, still holding on to them, still evaluating his present environment with the house in which he was raised. That is the most easily accessible and generally obtainable datum from this preclear — that he can get this house. "Yes, I very often think about that house."

"Well, mock it up out in front of you now." "Now turn it blue."

"Oh, I can't do that."

"Well, have you got it mocked up?" "Well, yeah."

"Well, turn the front doorknob."

"Yeah, I can do that." "Well now, let go of it."

"Well, I didn't really have a hold of it, I just had it turning." "Well, all right. Have it open a little bit. Now have it shut." "Yeah, I can do that."

Now you open and close all the doors and open and close all the windows. And then turn the place around and see it from another angle. And boy, that is the first time that he — " Oh, wait, wait, wait!"

You're going to turn his anchor points around? He's still operating, he might be now — have arisen to the enormous — I mean he might have gotten up to some completely vast, otherwise unattainable, height in life (like a clerk on the ration board) and still be using — still be using, if you please, the anchor points of some house that has long since — was torn down and another house erected in its place and that was bombed out and they built another house in its place, and the whole neighborhood is changed and everything. It's a nonexistent locale. And he's still using for his anchor points a newel post at the bottom of the stairs and a mailbox out in front of the house, and maybe it's quite specific — maybe there's a snowman or something he built there once, and he's using that as an anchor point. And those are the anchor points of life. That's this whole life is all tied up in those little anchor points.

And how big is something? "Well, let's see, it's much bigger than the distance between the snowman and the front post, so it's pretty big."

How long is a block? "The blocks in London are twice as long as the block in front of my house."

How big is big? "That big." The entire system of linear measurement is taken from those anchor points in his childhood home.

Fascinating! You'll learn to handle that childhood home and then make lots of them and then put them behind him and above him and to the right and to the left and... You get all finished: "To hell with it," he says. "I'm not interested in those anchor points anymore." And what do you know, he has more space.

Now, that's the first step, because you've pulled his attention off those anchor points. He was safe and secure in that area, and he hasn't felt safe or secure since. So he's still holding on to that area. There goes a lot of his attention. So give him more space.

You say, "How far is it from London to Manchester?"

He's liable to do an odd one on that. He's liable to say, "You know, it's only a block." He'll say, "It's very strange, but it's only about a... You know that they're coexistent? Half of London is lapped over half of Manchester. Ooooh, this is bad. I never knew that before. Because they aren't actually that way: I know, I've seen a map and I've gone down there and it's quite a ride and... ooooh!" This will startle people.

"How far is it between your office and your home?"

"Oh," he'll say, "wait a minute. Heh! I know it's a lot longer than that because I ride it on a bus every morning, and yet they're only that far a..."

In other words, his idea of spatial dimension agrees with his idea — general idea of space, and when you ask him to get mock- ups on this basis he gets what's his actual concept of space. And that means there isn't much of it.

He goes out into the MEST universe and plows around and rides here and goes there and does this and does that, and he protests these long distances between his house and the office. Why?

Because he knows the distance isn't there. Actually it isn't there, but he conceptually, actually he conceives them to be very close together. And he protests. It's an imposition upon his credulity that they're actually that many miles apart. He knows they're not: conceptually, to him, they're right close together.

His anchor points are all jammed!

Now, the main problem with a IV is that he's using everything and anything for an anchor point. He's taking his cue about space from everything. He makes all kinds of mistakes on the subject of space. That is not in putting things around, but he'll lose things fairly easily and get rather frantic about finding them again.

Now, he overlooks such things as — he generally, by the way, is "Time is two feet to the left" or something, or "Yesterday is five inches above your left eyebrow," or something like that. I mean, he's got spatial upsets about time. He's got havingness and space all mixed up. That's because they're jammed, they're getting too close together. His particles are too close together.

So what is your main object, then, in processing him is to get these darned anchor points scattered out where they belong and give him space. And you can make him hold anchor points out there or tear up old anchor points. Now he's using bodies, he's using actual milestones and bric-a-brac, he's using incidents which have happened to him. He's using anything and everything you could think of as anchor points. Everything becomes an anchor point to him. He long since ceased to get frantic on the subject of anchor points.

A I, by the way, will get very frantic on the subject of anchor points. Every once in a while you get a I and you say, "All right, now do this and do that and such and such is the case — "

And he'll say, "Wait a minute. I'll have to put my anchor points back there again."

You didn't even — he doesn't call them anchor points maybe. You — he said, "I have — don't you know? I mean, I have a couple of bright spots and they came together for a minute when you asked me that." He's actually using anchor points. They aren't something mythical I invented. A I will every once in a while get quite frantic and put those things back again and orient himself — reorient himself on something that happens.

But a IV has been in apathy on it for a long time. Anything that shows up is an anchor point. He has somebody he's lived with for years and that somebody stands in front of him most of the time or sits in front of him, or when he sees that person that person is in front of him. And he tries, then — when you ask him to get rid of that person or do something about it — he tries to move that person. He's never moved that person. That person has been chronically there; in actual — in real existence, that person is there. It's his wife, let's say, and she sits at the table and lies in bed in front of him; when he sees her, she's in front of him.

What's the only thing you can change there? You can change the environment. The anchor points of the environment can be changed all over the place.

He sometimes, if he's lost his wife or something like that, will have a chronic visio on her — always there — or a chronic occlusion on her. That means that she's always there right in front of him. And it has never occurred to him that she never shifted from that position with relationship to him, but the environment shifted all over the place.

Those anchor points shifted. Get him to shift those anchor points, and all of a sudden that occlusion will go away.

And of the various rooms:

"Now see her in a palace room." "Now see her in a theater."

"Now see her here; now see her there." "Now see her on a snowfield."

"Now see her walking on water." "Now see her..."

And all of a sudden, why, he's got enough space surrounding that object so that the object will blow. He expects the object to sort of carry itself away or something. He's not sure how he's going to get rid of this occlusion or this person that's always in front of him. He's not at all sure of this. You shift his anchor points with regard to that. She never moved with regard to him, but the anchor points moved all over the place.

So we again come back to the problem. The problem of IV is a problem of anchor points, and the problem of anchor points is a problem of fixed attention. So you got to repair that on a IV level before you're going to do too much in the line of processing.

Let's take a break.