This is the second hour of the night lecture, December 9th.

This is the second hour, December the 9th, afternoon lecture.

We covered the part force bears in clearing a pc. Now let’s go in over something that we’ve already been over several times, and let’s get the part that space bears.

Now, you may have found some of the data I was giving you perhaps, at this time, a little bit inapplicable, or you may have found it confusing, or you may have found it to your level of agreement, at this time, just a little bit outside of use. All I was trying to do was to impress upon you that:

We find out that an individual’s concept of his space regulates his concept of density. And his concept of density would be his degree of aberration or his degree of freedom, as the case may be. And we could just arbitrarily divide up the arbitrary scale we call the tone scale, something like this: And, get down here at minus 8 and let’s take that, and let’s find out the gradient scale of space.

One, something is going on at all times with the preclear which is a push-pull of confusion; and that your best interest is not to fight the battle of this push-pull of confusion directly, because that is a snare and a delusion. And although it’s very convincing, you don’t get very far by addressing it.

Now let’s take the first level here of Differentiation. Let’s take down in this band Association, and down in this band and from here down, Identification. Now let’s just take those as three levels. And let’s look at space in relationship to these three things. I give you Korzybski when it comes to a complete, exhaustive dissertation on Differentiation and Identification. You don’t need to study that but you can c… conceive of a fellow who can… you know, the best way I know of to recognize this, is to get some fellow who’s having trouble with his wife and give him some good old straightwire – the First Book covers this, by the way, considerably. We get this fellow who’s having trouble with his wife and get who he has her confused with – just that. And you’ll find out he’ll study around and he’ll study around and he’ll study around and finally he’ll find out that she wears her hair exactly the same as his mother. Or she has a certain mannerism that connects him to an aunt, or Grandma and his wife are confused, and he has attached to his wife everything he has found wrong with Grandma. Ha-ha! And furthermore, his wife won’t do the things he expected from Grandma. That’s a real lovely piece of identification, isn’t it?

Now, we had our highest – the high tide of the confederacy – with uh… Technique 88, on processing real facsimiles. W know more about that now, but processing locks, secondaries, engrams, flows, all of that sort of thing, done as itself, no. Not… you… you can get there by doing it that way but uh… you’re fighting a game which has got a win-lose in it. You’ll just move over into the area of creative processing and approximate these flows and things. Now, you have to know about flows and you have to know about energy behavior, you have to know about all these other things, and you know about all these other things, do creative processing. You’d approximate ‘em, do approximations. You have to know the beast in order to knock the beast flat.

You’ll find more fellows have married their grandmothers and their aunts and so forth, and the wife isn’t there at all. She isn’t present.

One of the things you have to know is you don’t… you… you don’t, by the way, after you’ve studied animals… Let’s… let’s say you’ve studied lions exhaustively. You know the habitats and uh… hobitats and happitats of a lion. You know all these things, and you don’t then go and be a lion. No, you would learn these things to either shoot him with a camera or to shoot him with a gun, or to make sure that uh… he didn’t uh… propagate quite as fast or that he propagated faster or that you could keep him this way and that. You wouldn’t be a lion.

Well, what do we do? What do we do? We… in the old days we got him to take a look at Grandma and then look at his wife, and we found he was occluded on Grandma. How do we solve that today? Make him create his wife and put her through her paces and even create a body, his own body, out there in a mock-up, and have his wife put that body through its paces. And we go around on this and do the create and uh… alter and destroy cycles, start, change, stop cycles, and so on. We… we do all these things and uh… we find out that the other just sort of clips out.

Well, just look at this universe along that line. Uh… you study it, and then don’t go be a… a MEST universe. Uh… let’s look at it as though we were small game hunting; it’s actually a very small game. It looks big, but uh… any time you’ll pull the bottom drawer out and found no mystery in it, why, you can kind of dust your hands of the whole deal. It’s a wonderful piece of confusion. MEST is chaos; it’s chaos; it’s chaos with two vectors. It’s not complete chaos; it’s just chaos with two vectors. And one of ‘em is have and the other is have not.

Why? Because all of a sudden he’s gotten action, capability of control in space over an energy form.

Now, let’s look now, at flows, what we were going to talk about originally. Here is this big sprawling confusion, and the win-lose, and your preclear’s been rattled all over the time track and he’s still rattled. And your poor psycho, my God, he… he has… he has even lost present time to such a degree that he thinks he’s in some other time, and he’s very upset. But uh… he’s just upset because of these factors.

Now how would we… how would we really get Grandma back? We haven’t been able to ever find Grandma, we know Grandma’s very aberrated… get an E-Meter… every time the E-Meter says uh… we say, „All right, now Grandma,“ and uh… the E-Meter goes „Rrrrrrr.“ You can just feel the brake lining smoke as it stops and sticks. He’s evidently somewhere there on Grandma, and is she solid! Or we get a sudden change of density. He just gets a lot thicker all of a sudden.

Now, let’s look at flows. Let’s take the two terminals of an electric motor, and we’ll find these two electrodes are going alternately plus and minus, or in the case of a DC motor, you’re just getting a continuous one-directional flow.

You see, that me… E-Meter registers thickness – density of energy. The denser, the thicker, your preclear is, the less space he has.

All right. Here we have, though, a current flow which depends upon a plus terminal and a minus terminal, and they must be opposite. And if they are opposite and can be held apart, we get action, we get energy flowing. If they are the same, they slightly tend to repel each other. So therefore, it tells you that any cohesive piece of MEST that is staying together well, has in it minuses and pluses. It’s a great big ball of minus and plus stuff, all thrown together. Otherwise, it wouldn’t stay together.

So we say, „All right, now mock up… mock up something which we will now call ‘Grandma’. Okay, we’ve got Grandma. Now we’ll have Grandma go through her paces.“ That is just your standard cycle running, and try to run her upscale – reverse the scale on Grandma, and so forth. ‘Regret’ is the attempt to reverse scale, by the way. ‘Regret’ is the attempt to not have, and reversing scale is to not have by getting space into it.

Now, you can take a… a magnet over here and uh… you… the plus poles of the magnet, if put in juxtaposition near each other, would uh… repel each other. But if you turn that magnet over and you get the plus over here and the minus over here, those two things come together. They attract each other. So, we’re going to get a piece of matter, then, which is sticking together well, such as tar: it contains a lot of pluses and a lot of minuses, and they are intermingled.

So we just handle this thing.

Now, pluses and minuses intermingle to the degree that you have cohesiveness. And cohesiveness is established by the uh… balances of the pluses and minuses, and this makes what’s called density. And of course, space must have collapsed between the terminals to bring a plus and minus together in a solid piece of matter. There couldn’t be any space between these terminals.

Now it doesn’t matter whether he gets a pumpkin on a stick or… or uh… whether he gets uh… uh… a skeleton, or whatever he handles that he calls ‘Grandma’; he’ll handle this after a while and he’ll finally realize that there was some possibility he did have a native capability of being able to control the old gal. So he’s willing now to get a pumpkin with a skirt on it, or a skeleton with uh… the typical hairdo Grandma had, or something strange. And you get him to handle this. And if you just went on down the line, the first thing you know he could… he could mock up Grandma three – dimensionally and she’d really be Grandma. And the same time you do this, he could look at all his facsimiles about Grandma too. Don’t even direct his attention to ‘em. He just could do that.

Let’s take two electric motor terminals and they’re sitting up here, one’s plus and one’s minus. If we take the space out from between the two of ‘em, they come together, spat! That’s right, they’ll come right straight together. Even the juice isn’t going through them, the residual current as such, but they’ll pull each other together. And there they’ll be without any space between them.

So we’ve solved those two points. Now just let him stand Grandma up there and stand his wife up there, if necessary, these two mock-ups side by side. Probably by just handling ‘em, you’ve blown all this. But the truth… the final finishing touch would just be: „Look at them. What’s similar about ‘em?“ And the fellow all of a sudden says, „Well, what do you know? They both have flat feet,“ or whatever it is. He has this identification. He’s taken a single point of similarity and he has made it equal to the other point of similarity. You see, they both had flat feet; that made ‘em similar. They both complained about their feet; that made ‘em similar. And he’s closed the gap on this similarity down to a point where there’s a solidity in the fact that we have Grandma-Mama, or Grandma-wife being the same feet. And out of this we get ‘same person’ and out of this we get ‘same behavior’ and out of this we get the same reaction toward ‘em. Well, that’s an identification.

Now, let’s get this analogy. When your preclear is no longer able to maintain space, the plus-minus terminals come together on him and we find the preclear beginning to approximate matter. Everything is solid, the space around him feels sort of solid, he gets sort of solid. All of this proceeds from this principle of matter in the making. A preclear is in the best shape who can hold a negative facsimile and a positive facsimile beautifully and cleanly apart. He can hold ‘em apart with great ease.

Now obviously this fellow has no space with regard to them. He’s never been able to cause them to act. That’s one… that’s one: he… he wants Mama to come in and tuck him into bed and she never does. Just let him start on that one. Uh… and… and she… he just never could control her, he never could, he’d be lonesome or he wouldn’t have anything to play with or something of the sort, and he’d want Mama to read to him or something like that, and she… she’d go over and do something else. He tried to say, „Come here“ or „Go there.“

He starts to be unable to locate these facsimiles or establish them in space anymore; when this capability leaves him, he gets lost. And the penalty of getting lost about this, in terms of energy, is to have the plus-minus terminals and facsimiles in one’s field start collapsing. And the final end of this is to become a cohesion of matter, unable to locate anything in time and space. Got that?

A little baby, by the way, will get completely outraged about this. They have no concept of the idea that they can’t place in time and space at will, because they’re pretty high on the tone scale, although they’re all messed up with trying to learn how to use a MEST body all over again. And uh… you just get the baby reaching for a bottle, and then just arbitrarily move the bottle in some other location. And move it back and forth, and boy! That baby will start to raise more cain than anything you’ve ever seen.

It’s loss of space, then, which makes matter. Loss of interval between the plus and minus particles. And as that interval decreases and decreases and decreases, the object is more and more solid.

But let’s feed the baby so we don’t even have hunger as a sort of thing, and then let’s get the baby’s eye on something like the bottle that sparkles or attracts the baby’s attention. And now let’s move it out of reach. The baby will start reaching – move it out of reach. When the baby doesn’t reach for it, make him have it. You could drive him silly. I mean, he’d just go crazy right on. He’d just spin right before your eyes if you were to keep this up continually on and on and on. When he doesn’t want something, make him have it; when he… when he wants something, don’t let him have it. And you’ll just spin him in.

Now, it tells you that there would be types of matter which would be made up mainly of pluses. It could have a predominance of plus, or a predominance of minus. And what happens to this matter? It doesn’t stay together; it’s very pervasive. Hydrogen is one of them. You let some hydrogen loose in a room, uh… the stuff is not cohesive, it’s quite expansive; and it’s trying to flow around all over the place. You let some hydrogen loose in space and it will swell up that space.

Why? Because you’re keying in the whole doggoned track of the MEST universe on him. You’re just dumpin the… the… the whole aberration scale that he has right on his head.

Now, uh… that’s fascinating. It’s a matter of pressures involved here in space, and that sort of thing. But uh… it’s not in nice balance, but it is in nice enough balance to be matter.

So he wasn’t able to command, control or locate, or even get into a reasonable agreement with, the control and location of Mama in time and space. He’ll stand for a lot, but ordinarily he cannot control this factor and in view of the fact…

All right. Let’s take, then, this principle of the plus and the minus particle collapsing, and we find out that your preclear becomes solid to the direct ratio that he is unable to maintain the distance amongst his facsimiles, memories and MEST objects. When he’s unable to do this, he begins to become matter. And he begins to become matter and act like matter, that is just to the ratio that he goes down the tone scale.

And by the way, I should define ‘control’ for you. Control is simply locating something in time and space. Creation would be uh… locating something to control – or creating something to control.

So, we want to see somebody go down the tone scale, just start taking space away from their terminals. Just take the space out, just take the space out, and keep taking the space out; and the next thing you know, this guy’s getting solider and solider and solider. And he starts to obey the laws of matter itself.

And uh… he isn’t able to do that and so what happens? By golly! She goes out as a perceptic. Goes right on out on a pers… I was going to say, when it goes out in terms of perspective. She goes out in terms of PERCEPTIC. And this vanishment is because she has gone out in terms of perspective. He can’t control his viewpoint where she is concerned. He cannot control then, he figures, any space in which this character has been, which is all around him. And he can’t control the force and can’t control the location and it gets awful solid and the next thing you know, it’s just energy he can’t handle. You see, it’s a body of energy, a collection of particles. And so he says, „I can’t therefore view it.“ So you get an occlusion on the track. Isn’t that interesting?

Now, you could say that matter could be complexly composed in this fashion: matter which is composed of a lot of pluses is trying not to be itself; matter composed of a lot of minuses is still trying not to be itself. It doesn’t have a cohesion, it has an ex… uh… an expansive tendency or disassociative tendency. So that isn’t a stable commodity. And matter which is composed of pluses and minuses with great balance and evenness and the space is missing in between those terminals becomes very, very solid. And if you try to bring too much plus-minus terminal together and take too much space out from between the two, the thing will go kaboom! As in the case of plutonium.

All right, what do we get then in terms of identification? Identification is quite black ordinarily. Now we get Mama or Grandma, or somebody like that. He hasn’t been able to handle that… that mass of energy. And in view of the fact that he hasn’t been able to handle it, control it, something like that, it buries itself. Well, now it buries itself. He’s immediately saying, „I can’t take responsibility for it.“ He can’t take responsibility for it because „It’s cause and I’m an effect. Well, if it’s cause and I’m an effect, I don’t want anything to do with it, and the best thing to do is just shut that thing off completely.“ So he takes no responsibility for the vision or anything else. Saying, „No responsibility for the vision“ is just exactly the same as saying, „I don’t want anything to do with that force. That force can master me.“

Now, this is all very elementary and it isn’t anything that you should puzzle yourself about, and I would actually recommend that you get a couple of magnets and uh… just uh… have one… have their ends marked very plainly – bar magnets rather than a horseshoe magnet – and just mark the ends of those magnets very very plainly; the plus ends plainly and the minus ends plainly. And you’ll see that if you have the plus opposite the minus, that is to say as the magnets are lined up, that they, of course, will snap together. And so you can have too much cohesiveness.

No responsibility is the inability to handle force. Responsibility is the ability to handle force in the MEST universe. And that is the definition of responsibility and that’s all there is to it.

Now, let’s put those apart two feet, one from the other, and as they… do you leave ‘em alone, nothing happens. But let’s remove a little space between ‘em, and have ‘em one foot apart, and you notice that they… one… one’ll get sort of edgy, just sort of skiddy.

Now… so we get this solid pack idea of identification. Therefore, anything that comes along that vaguely relates to this commanding energy, the energy which handled him which was Mama and which is now in the engram bank as Mama, we’ll get the engram bank identified with Mama or Grandma, or whoever it is. We get that bank identified with them and anything else that moves into present time throws the bank into restimulation and actually will handle him in the same way. And he can’t identify the difference between one and the other because he’s got ‘em in identification. He is identifying, that’s the trouble with him. He identifies Mama alright. What we want to do is differentiate Mama.

Now, let’s take another six inches of space from between ‘em and they’ll do what? They’ll go clank!

Now, we start moving it up the line and the occlusion disappears and so on, and we get into a degree where he can see that they are just similar. They vaguely associate one with the other, and there’s just this similarity and you could actually interpose what? Space! You put space into action there. And the form that Mama is, is no longer packed tight. It’s… it’s gotten space in it. And other things don’t pack in with it. You’ve got space in there again.

Now, what is known as a – quote „psychotic break“ unquote – is this clank. Some person disorients a human being one time too many; and it’s just that, just disorientation. Tells him he’s here when he’s there, and fouls him up one way or the other, and pulls the space out. Or tells him he can’t stay there anymore, or tells him that he can’t have that space, or tells him that he can’t have that matter, which also contains space. He loses something, in other words; but what he loses, most importantly, is space.

So you get up the line up here, and when a fellow’s really free, he can create space. He can make space open up and close up around these things.

And so he loses this space and one day he feels, with several facsimiles, a clank. That’s good, he feels this clank, see, and he doesn’t feel good at all.

One of the interesting exercises is to put a couple of anchor points out here on either side of some object he’s created, he’s got that, and then make it get bigger by expanding the anchor points. If you keep doing it, it just gets into smoke. It is practically… gets to be smoke and that’s all, ‘cause you’re putting more and more space per particles… unit particle.

Now, what do you do… what do you do to get this guy in good repair? Well, you just give him some space. That’s simple. Just give him some space. Of course, the… the… the regular treatment is to put him in a cell or something, you know; take his space away from him. Just give him some space, make sure he’s got space, lots of space. And he’ll… he’ll… he’ll snap out of things most remarkably. I tell you, that most of the mad hatters that… that go out in the deserts as hermits and uh… and so on, they get remarkably sane and calm when they’re put down in a desert fastness, because they’ve got a lot of space! That’s quite important to ‘em. They’ve got… it… it just goes out in all directions, and they’re very happy about this.

Now there’s association: Association is logic.

Did you ever get out on a plain and suddenly take a deep sigh of relief, to be outside in the country where you get this tremendous expanse in all directions, so forth. You all of a sudden feel the pressure off of you. In other words, your concept of how much space you have to move around in is increased, so therefore you automatically, more or less without thinking about it, increase the space amongst your own facsimiles. Now, as you walk through crowds, go on to subways, rush up Time Square, rush down here, down Broad Street, and get on to streetcars, in and out of taxicabs, dadump, babump, bangs, crash, zing, uh… and so on, you keep getting the idea that you don’t have very much space. Well, this speeds you up; it feeds you more juice.

Well now, there’s differentiation at one end and identification at the other end. And logic sits in between. Uh… what’s this business then of finding the common denominator of all of these other things? Finding all these common denominators and so forth? Well, you’re actually identifying so you can pull to pieces again. You’re… you’re showing, „Now look: these things are related to this degree. Now we can bring them up into association. And now we can bring them up into complete differentiation.“

I’ve seen guys stand on the corner and just shake. Uh… it gives ‘em lots of juice. And that’s why these cities appear to be fast, but you’ll find the truth of the matter is, there isn’t a heck of a lot accomplished in them. ‘ The reason why is their level of reason is lower.

When you start to differentiate, you have looked over this, you find a common denominator to any problem – it will actually be up in a high band. The common denominator is in the high band because you can take it then, and build down into an identification with it. So you can go both ways on this thing, and your association can be… I mean, your… your uh… common denominators can be top scale or bottom scale.

A country is sane as long as it has, unfortunately, a farming belt. It’s got a big farming belt to draw people from for the cities. When these kids are in there for a few years and they get in there and pitch in the advertising agencies and in the newspaper offices and so forth, and they feed new blood to the city. And then they’re used up and ashcanned, and you can get a new set of kids.

What we’re studying is: What series of postulates would you make to cause the MEST universe? So we’re studying this thing from… from up here at uh… point Observer.

It isn’t that there’s anything good about a farming belt – imagine farming – but uh… there’s uh… more space in it. You’ll get people will talk slower or faster, as the case may be. They’re regulated.

What’s this silly series of isolated postulates that differentiate everything in the MEST universe? What postulates are they? Well, you’ve got the first postulate in Q-l. And uh… that is that uh… you’ve said that… you’ve said it could locate in space and time. You’ve said, „Well, we can create space and we can create particles, and we can get action this way. Well, I agree… agree… agree… agree.“ It doesn’t mean that that’s all theta can do at all! Or even vaguely! We’ve just got the highest level that we can get there and uh… have a MEST universe. We can have any kind of a universe we want to if we go on to that point ‘X’ Observer and looked down, and made another postulate. Let’s make the postulate that the capability of theta is to produce solid matter, uh… capability is to produce solid matter which then will create space. Anything. I don’t care how backwards it would be. You could think and think and figure and figure and all of a sudden you could figure out how a universe could operate that way. You could make it operate.

God help you, you’re… most people in cities here have a sort of an hypnotic look, as you go down the street; they’re really knocked in. Well, that isn’t the case on a wider front.

Now this goes from the Observer, then, into high complexity, because from the time you get down here to identification, it… it’s really very complex. It’s all solid and there’s not much space. AND EVERYTHING IS IDENTIFIED. You say, „This is… this is hydrogen. That is gold. Something or other is that. This is a body. Uh… this is a swamp. That is a planet. This is an asteroid.“ We’ve got classification by object.

All right. Now, let’s look at that plus-minus factor and just base a process on it. Now, be… be… be sure you get this; don’t pass this by and remember that I said that people were skiddeded from one body to another body. That’s not important, knowing that one, but it is important knowing this one:

You want to how NOT to find out about the physical universe? Classify it by object. German classification as the modus operandi and the only way to go about it would have led into deeper and deeper and deeper MEST. And it would have become more and more solid and more and more cumbersome and more and more cumbersome, and more and more solid. Until one day, with the solidity, the bottom falls out.

That this factor of reduced space results in aberrated behavior, and it is a curve of space reduction that first produces reason: at about 22 down to about 10 or 12, you’re getting reason; that is to say, a fellow thinks consecutively on problems. And it then declines from there… Reason, by the way, is not an aesthetic or otherwise, but it’s just mental action, let’s say, on any wave length. Uh… and it declines from that 12 or up there, it gradually goes on down to 4 and then it spis in quick.

You get differentiation and association in space. That means restoration of space, then, is the key to this thing, hmm?

From 4 down gives us another example of Man’s intolerance… for well, he’s… he’s just living in this little, tiny, narrow band and he can only survive in this little band. Well, he can only survive in a small band on the tone scale, too. It’s a wonder that he’s here at all.

All right, let’s take uh… find out how Start has to do with that. Now Start can exist there and this could exist in Change, and this can exist down here in Stop. But, you say, that stuff down there is in motion. Well, that’s true – that’s true. That… that’s down at 0.0. Uh… you’ve got objects which are in motion. They’re not true statics at all. They become dead as far as theta is concerned. And all of these scales are viewed from the viewpoint of theta and its capabilities. Don’t try to view this picture from the standpoint of MEST.

Now, we take… take from 4.0, he’s really on his way. Why? By golly, in that band, he is depending upon otherwise originated flows. He’s depending upon flows which originate elsewhere. He cannot support a body without feeding it.

Now if we looked from here up, we look from identification… everything… we say, „Now look. We’ve got to identify this and we’ve got that identified, and we’ve got something or other identified. We try to look up from here to 40.0. Oh, no! I’m sorry. It just uh… it just gets to be too airy. It’s just thin and airy, and you look high enough and there’s nothing there. And Man’s been doing that just uh… since… for ages and ages and ages. You run preclears, „If I just could find out the secret of the MEST universe, I could have put my own back together again and I guess I’ve been worried about it ever since.“ You get this off of preclears.

Do you know that if I were to tell this to an audience in some other part of the universe that I would have mouths open in the audience? That a being could actually exist at a low point on the tone scale so low, that in order to have any kind of a body, he would have to feed it from sources other than himself. They would just sit there and just gawk, and they wouldn’t believe it. That would be the… the horrible point.

You say, „What are you really worried about?“ or something like that, and the E-meter’s falling, and you say, „Well, your own home?“

You have automobiles out here which don’t run unless you put gasoline in their tanks. In other words, this society is built on MEST-universe-pour- into. There isn’t much of this pour-the-MEST-out; it’s all the MEST-universe- pour-in.

And the guy says, „No, I’m… yeah. I’ve always been worried about the house. I don’t want to leave it.“

Well, now, what do you do for homo sapiens, then? We find he’s getting less and less space between those terminals, less and less space, less and less space, and it’s pretty easy to upset him. Something can come along all of a sudden and jerk a little more space out between the plus-minus terminals and those terminals do a creak, and some of his facsimiles collapse. A little bit of loss – you wouldn’t think very often the loss was at all important – will cause him to really take an awful dive on the tone scale.

And you say, „Well, uh… sort of like a little world to you, isn’t it?“ Whamm! And you say, „It’s interesting you don’t like to stray far from it. What are you… what’s the matter? You afraid something will happen to it when you…“ WHAAMMM!

Now, here’s the other strange phenomenon. People become saner by jerks; they become saner by little jumps. They don’t become sane by a smooth traveling-upward climb. It’s jump, jump, jump, jump. And you can process somebody for just hours and hours and hours and hours, and you say, „I’m getting nowhere. I’m just getting nowhere with this case.“ And then all of a sudden, the guy will go home and he’ll come back to see you the next morning and he’s very happy. And you say, „What happened?“ Well, if you don’t ask him what happened, you won’t find out, because he… he… although he might tell you (he’d be that interested), he’d say, „You know, I was sitting at the supper table, and all of a sudden, I just kind of felt the lights turn up brighter.“

Well, you could run out houses until you were blue in the face. But if you just start to mock up houses, in a lot of preclears that you run, you’ll all of a sudden get this tremendous spaciousness. You… you… the guy’s looking at a plain or he’s looking out here at a tree, or… or… a… a world that’s flat, or something. He… he’s looking at this plain. And you say, „Now we were trying to mock up houses. Now let’s… let’s get down to cases on this. Now let’s mock up houses again.“

Then you say, „Well, what… what’d you think of?“ Or anything like that. Don’t bother to ask him; it doesn’t matter a damn what he thought of. What actually happened was, is his positive-negative terminal space on some of the facsimiles that’re bothering him suddenly widened. And that little little jump like that was the actual jump which he felt. It’s a sudden jump. He will all of a sudden find himself looking at a work of art.

And the guy mocks this up, and he says, „I keep getting this plain, and that’s about all I wanna mock up.“ He gets real interested in this, and he feels all kind of griefy, and he gets kind of upset. There are many things that lead him into this. He’ll tell you… some of the most esoteric things are responsible for this state of mind, until you suddenly spring the one „home universe“ on him. „Eeeowwwww!“ It was a universe he and several others, or just himself, built once.

And by the way, art is wonderful. It will fish people out of the slough of despond faster than anything I know, if they’re permitted to choose their own art. You can’t go around and play Wagner and say, „Well, nobody’s sane in the institution today; I mean, let’s uh… so let’s play uh… let’s play some Prokofiev. Uh… oh, they’ve all gone nuts. Well, that doesn’t work.“ Well, I was talking about art.

One preclear had a home universe which consisted of simply one thought pool. They had fixed up a sort of a place and they’d just sit there and look in the pool. And one day the pool turned black and they couldn’t figure out why the pool turned black. And they sat there and sat there, and what do you know? Seventy-four trillion years later, in a session, in Scientology, we found this preclear. For all intents and purposes she was still sitting alongside of the thought pool. She sort of dragged it along with her and sort of hid it behind her back. And that was the case in her… her case. If she just could have found the secret of the MEST universe. She kept thinking about this, „If I could just know the secret of this, and what had happened to that pool, why it would have been all right. But then one day I found it out and I told somebody and they really gunned me down or they did something to me, but after that it was too late and it didn’t matter,“ or something of this sort. Very sad.

Although as one fellow I knew oh… oh, he’d just be feeling horrible, and he always went home and did the same thing: he put on a record of Caruso. And it was an old, beaten up, knocked apart record of Caruso, and every once in a while he’d get terribly drunk and he’d hock it. And then he’d practically go mad till he got this record back again. He’d do anything to get that record back. And he… he played it on a wind-up phonograph, and his life was a contest between trying to endure it and getting filled up again with Caruso. And he’d put Caruso on the platter uh… he’d put on the record and listen to Caruso. It wasn’t any particularly good Caruso; it was old, scratchy, made at the end of Caruso’s career, as Pagliacci, I think, something like that, or whatever Caruso sings.

Uh… you’ll… one time a preclear of such a history in processing uh… oh, a violent, violent distaste for anything like past lives or anything like that! Oh, no! And uh… I saw this on the E-Meter and ran this on the E-Meter. So uh… we suddenly hit the word ‘stars’ and we got nothing but this: „The day the stars fell down.“ And she cried and she cried and she cried. This person had never spilled a grief charge. And this person just cried and cried and cried and cried. And then she’d utter that phrase again and she’d get this visio. It was the day the home universe caved in. The MEST universe had overlapped and with a dull crash, that was the end of the home universe.

Now, he’d listen to that thing and oh… up he’d come. What would it do? This big, ex… you know, Caruso really could fill a lot of space. It’s too doggoned bad we didn’t have in his day real sound recording, because his loss was actually a great loss. You know, there isn’t anybody fills up space with sound the way Caruso did. Too, in the early days of Paul Robeson. Paul Robeson singing bass could knock out the back rafters. He could just start hitting one of those low notes and pour in the volume, and all of a sudden he keeps pouring the volume in, and you say, „Lookee here, this roof is coming in any minute.“ He’s to a large degree lost that today. He’s singing baritone, and so on. I guess he bought too many pamphlets or something.

And so a viewpoint up here, looking down at this, we can see what’s going on. But if we try to keep on viewing this thing from MEST and holding on to MEST while we go ahead and do this, and so on, it’s not so good.

But uh… uh… when… when it comes to these jumps, you see, they can almost come from any source. Now, I… I could tell you some very touching and remarkable stories concerning the effect of aesthetics on individuals. It doesn’t take much to throw them; it really doesn’t take much to put them back together again. And if you know that you’ve got a little principle working there, which is just more space, what made his space constrict on him? I mean, why… why did he begin to feel he had it?

Now when we say, „Start, change and stop,“ we actually could write right here, „Start – change – stop,“ see? We could uh… just have those just a little bit on the scale. Just this little tiny gradient here at the place marked „2“ here. Have this little gradient, Start-change-stop. And as we go down there we… we see that there’s a slight drop – oh, just one of these little emotional curves. And that’s what an emotional curve is: Starts something, changes, stops.

Now, what does he need at this moment to feel he’ll have more space? You establish that and he’ll do one of these little jumps. Now, maybe he did something to somebody and he still has that facsimile sitting there, and so on, and it constricts him because he’s backed up and he isn’t occupying all of his own body. And that is an awfully important one. You’ll find out the guy who can’t get out of his head isn’t in his body. He doesn’t think he is. He’s already backed out of his body. He owned it once, but he’s backed out of it. He’ll tell you almost anything to try to convince you that he never was in it, or something of the sort. But the fact of the matter is, he isn’t in it, to any great degree at all. He’s dispersed.

The fellow who thinks he’s still operating this universe can get Start. He still thinks he’s operating his home universe, he’ll get Start. And all of a sudden things will get three-dimensional to him. He’ll get Start – he’ll get things three-dimensional. And then you say, „All right, change it,“ and it’ll – „not quite so much.“ And then, „Stop,“ and it goes „Flap!“

He’ll be as far back as his ears. He’ll… he’ll just bare… barely be in the back of it, you know, just nyah, and very diffused. The whole front of the body, somebody else, something else owns, and he can’t move into it. Now, the way out is through. He has to own every single scrap of that body and be willing to use every single piece of that body before he can cleanly step out of it.

Most of you people with bad eyes think the whole environment’s holding against their face. They have no space points.

But this is a question of space. He isn’t occupying the space of the body. He’s backed up in space too much. This means, then, that his facsimiles will be hard packed on to him. He’ll be thick. He’ll be thicker than he should be, in terms of electronics and ridges around. What about these guys and these ridges? They just haven’t got enough space amongst the ridges. How can you put it in there? Well, you can put it in there in 40,000 different ways, in creative processing. I mean, this is… it’s so easy.

So we get this Start, Change, Stop. And there’s two reasons for this: In one’s own universe, all he had to do was say, „Let’s do it,“ and uh… that happened. There’s nothing to that. There was no balk. But in this universe, he could start something very easily, but to change it became a little harder, and to stop it practically became impossible. So he gets quite upset. He’s still trying to run his own universe.

But just remember that, that the trouble with him is energy and the trouble with the energy is it’s lost the space between its terminals, and the remedy is to give him space. And the second he starts to get wider and wider things of space, and handle things in space, the better and better he’ll feel and the more and more expansive he feels and the freer he is to act.

So we get this Start, Change, Stop. And we get it for that reason. But there’s a deeper reason than this, and it’s simply this reason: Start, Change, Stop on the big scale. Of course, you have three-dimensional visio when you say, „Start it.“ That’s space. ‘Start’ and ‘space’, for this universe, are synonymous. So when you get visios you can always conceive of starting something, you have space. Then you tell your person, when he’s mocking up things, you say, „All right, now change it,“ and he has a little more trouble with it and it sort of wants to cave in on him. He started it all right. He had it way out there. He had it out there about 30 feet. And it was just fine, and you say, „Change it,“ and this thing shows! It’s going to start coming back in on him again. And you say, „Stop,“ and then my golly! He just can’t hold it out there.

All right. When he gets down to a certain level on the tone scale, he begins to be troubled by flows. He begins to get so solid as matter that he begins to be troubled by flows. Now, let’s… let’s uh… long build-up here to this data about ARC; feel you need this.

Now you say, „All right. Now let’s mock up this thing, and now let’s… let’s uh… let’s make it walk to the right. Now let’s stop it. And every time he starts to stop it, he find it’s sticking on his nose practically. It just flies in and hits him.

Uh… flows are just flows, and when a differentiation, when the ability to differentiate is as low as 4.0 on the tone scale, one flow can very easily be mistaken for another flow. At 2.0 and at 1.5, the person thinks any flow is at his band level. He thinks anything that’s said to him when he’s at 2.0, really he… he seldom differentiates.

Why is this? It’s because Stop at 0.0 has no space, and Start at 40.0 does have space. You see why this is? Be… and differentiation is simply the distance between the particles. When you have all the particles on one point, so to speak, you’ve got identification; and when they’re just a short distance from one another so you get some sort of a battery action amongst ‘em – a mild battery action – they trickle through. You can think consecutively: add up, subtract, run this facsimile into that facsimile, cook up a new one, pour into the cook’s stove and boil it up real hot and serve it out as a geometry. Uh… and you get more particle distance in it where there’s no interaction between these points, and we get, of course, difference. Well a particle is different from another particle just simply because it is located in a different point of space, that’s all. And we get thinking, then, can be very airy. I mean, the fellow can think about this particle for a while, and he can think about that particle.

You come along and you say, „How are you this morning?“ And he’s liable to glare at you. Why, he knows very well what your emotion was when you said that. He can only put on you and feel back the emotion of antagonism, you see? So any flow that comes in is a flow of antagonism. It might be the sweetest flow in the world, it might be the pleasantest flow, or it might be meaner than hell or it might be griefy or it might be anything; he can’t differentiate. He’s lost that power to differentiate and as a net result he thinks everybody’s being antagonistic toward him.

Now, hold your hats, because there’s a higher drill than differentiation. You’ve got to be willing to use force. And the postulates that you get down lower scale are pretty interesting, but they get enforced by force. But you can actually do this drill and improve the ability of a person to run mock-ups very fast. A lot of you have asked, „What… what about… what about getting a concept of this dog. I can just get this concept of this dog marvelously, but I don’t see a dog.“ No. No good – not a mock-up. A mock-up has a location in time and space – not a thought. You’re thinking of thinking of a dog… you’re thinking of seeing a dog, not seeing a dog or perceiving a dog.

Or he’s angry and he’s… he’s… responds to that anger; he goes around looking for everybody to be angry or looking for people to be afraid, and he’ll vary between those two things. He hopes they’ll be afraid, but he’s scared they’ll be angry. The most horrible thing you can do to a 1.5 is really get mad at ‘em. Oh, because that confirms the reality of what he’s been reading off of you all the time.

What’s indicated there? Black and White Control Processing! And I don’t mean by running black and white now. I mean you mock up a black point in front of the preclear with his eyes open or closed. He finally gets to a point where he can see this black point no matter how small, no matter how big. He can SEE something in front of him. And you ask whether or not you should see these things in your imagination or see ‘em actually. Well, they… they look awfully thin when you first start, but you actually see them. You… you… you know when they’re there and you know when they’re not there: That’s the criteria of it. „Do you know that thing’s there? Do you feel that it’s gone when it’s gone? Do you… when it’s there do you know that it’s there?“ That’s about it. Rather than the thinness of the perceptions.

Well, he can’t differentiate too well in terms of flows. When he gets really bad off, by the way, he will mistake… when he gets volume of energy packed around him he can actually go to the point of mistaking sight and sound and crossing up on the perceptic band. Yeah, that’s… that’s really weird. If you suddenly hear somebody hearing radio programs, you know where they are on the tone scale and at what volume. They’ve got a confusion on wave length. And when a person is so bad off and the energy is so thick around him that he can get confusion on wave length, he’s pretty bad.

The fellow… fellow will feel this sudden surge or something when he knows this thing’s gone, when he knows it’s there, when he knows it went into yesterday, something like that. You… you’re figuring for that positiveness.

You go around the Veterans Hospitals, every once in a while a guy is suffering so badly from shock and he’s got ridges around him packed so solid that he will be seeing what he ought to be hearing and hearing what he ought to be seeing. That’s quite confusing, but all he’s done there is he’s unable to differentiate, he’s too low on the cycle of action, on ALL cycles of action, in… on differentiation; he is low on it to the point where he can’t tell the difference between wave lengths.

All right, let’s just drill with a grey spot on the wall… or a black spot on the wall, and let’s move it no matter how slightly to the left, no matter how slightly to the right, no matter how far up, no matter how far down. And let’s turn it a color, or let’s increase it in size and let’s drill with little black spots and little white spots and big black spots and big white spots. And move ‘em around in time, space. Put out a couple of anchor points and put the spot in there. Deal with that simple geometric figure. And deal with it and deal with it till all of a sudden the fellow heaves a sigh of relief and he says, „Ahh! You know? I believe I can see something!“

Now, he has a communication difficulty, then, by being unable to select out and perceive by various points on the wave length scale, as you saw yesterday. Now, what else gets confused there? Well, he really doesn’t know too well what kind of a flow it is and what that flow is saying when he feels a flow. When he feels a flow, it’s a flow. A flow is a flow is a flow is a flow, as far as he’s concerned. A is getting to equal A. Any kind of a flow is any kind of a ridge. Any kind of a ridge is any kind of a ridge. And a flow could be a ridge could be a dispersal, when he gets down to matter; matter doesn’t care.

That’s very fascinating. There’s all kinds of variations of this drill. You take the black spot. All right, now cut it in half and move the two halves in opposite directions. That’s kind of complicated. Now turn just one of them into a cross. Now turn the other one into a cross. Now turn the first one you turned into a cross back into a circle. See, it’s just control. You’re practicing on control on a mock-up.

Now, where do you enter into the picture on this? Well, there’s the nastiest, stupidest, doggonedest trick when it comes to MEST universe energy and evaluations concerned; let’s look at what a dream it is. Now, I want you right now, as a class, to just make a little test of this. I want you to get… I want you to get this… this… this feeling: Get the feeling that you are agreeing to something. Now, just… just spend a moment or two at this: Get the feeling you’re agreeing to something. (…) Now, you get that feeling?

And that… imagination isn’t good enough. You have to… you actually… what is indicated, if a person is doing this, or if a person is worried about imagining it; if he can imagine it all right but he can’t see it and this is worrying him, start him in at the bottom of the energy scale, which is black and white spots. If he can’t see a black and white spot after a lot of figuring, if he can’t get some kind of a flicker – somewhere – with his eyes open or his eyes closed or something like that, ask him to see if he can conceive a little bit of space – by putting out a couple of dimensions. And if he can’t do that um… in imagination, at least let him locate the anchor points in the room he’s sitting in. And if he’s gone down to that level, he will receive quite a shock when he locates the anchor points of the room he’s sitting in.

Now, we’ll see how good you are individually. Can you get the feeling of disagreeing with something now? (…) If you study that over for a moment, we won’t occupy much time with it, you’ll find that the agreement was inflow. Did you notice that? Yeah. And uh… that the disagreement was an outflow. Well, those are your two vectors. And of course if a fellow agrees, agrees, agrees, agrees, agrees with the MEST universe and he keeps on agreeing with the MEST universe, he keeps inviting this inflow. Inflow, inflow, inflow, inflow, inflow, inflow, inflow. And pretty soon it gets stacked up pretty tight around him. He gets darn near like a lump of matter.

You think, just because you can see them, that he does. He thinks he’s seeing them, but he actually hasn’t located them at all, or they don’t exist for him or he coils at the thought of putting out anchor points. So this is your gradient scale of how you move in on energy. You’ll find out uh… by the way on… on this, it’s… it’s very amusing what you can do to give the fellow the difference of concept on anchor points.

All right. Let’s get the message that that energy that he’s seeing stacked up with is carrying.

Now, let’s get Start, Stop and Change on a chain of thought. Start, Change and Stop on a chain of thought. Let’s start a guy thinking about some thought or other on some subject. Now let’s increase the amount of thinking he’s doing. Now let’s decrease the amount of thinking he’s doing. Now let’s stop. Now let’s pick the chain up he was thinking about just before you started processing him, let’s decrease it and uncreate it. That is to say, stop it again.

Now, let’s get this as a flow: wanting something. Let’s get this as a flow: wanting something. Now, let’s get as a flow: not wanting something. What do you do to not want something? Well, that fits very nice; that’s a very nice mechanic, well, isn’t it? When you agree, when you want something, you have… you agree with it, and when you don’t want something, why, you disagree with it. Isn’t that cute? Huh.

Let’s work until the preclear can start thinking about anything. Increase his thinkingness about it, decrease his thinkingness about it, and stop thinking about it.

Well, if you agree, if you agree, let’s uh… let’s also get this one: uh… when you agree, you’re having something, aren’t you? When you agree, then you have something. Well, that’s… that’s very logical. In other words, uh… you want something, you agree. That’s all there is to that. So therefore, you can have it. So therefore you can have some time, too. You get havingness, you get things and so on.

Let’s work until he can start out thinking about guitars. All right. He thinks a little harder about guitars. Now he changes from thinking about – change is in there too, you see – he changes thinking about guitars to thinking about guitar strings. Now he decreases thinking about guitar strings, then he stops thinking about guitars. Rrrrrrrrr.

Now, that’s all right if the MEST universe can keep you completely in the dark about the fact that there’s somebody else in the MEST universe besides you. But any time anybody goes off on the first dynamic and they say the first dynamic is the only dynamic, they’re working a control operation; it’s a control operation of magnitude. And here’s why it’s a control operation of magnitude. That’s all right, see, that adds up very beautifully. When you want something you agree to it and when you don’t want something you disagree with it. When you’re going to have something, you agree with it and when you don’t have something, you disagree with it. In other words, not have… that’s… that’s perfect, isn’t it? As long as it’s just you. As long as there’s no interchanges.

You would be amazed what will happen to some preclears. You say, „All right, and let’s start thinking about cars. Okay, fella. All right, now let’s think a little bit more about cars. Now let’s change to thinking about car tires. Now let’s decrease our thinkingness about car tires. Now let’s stop thinking about it.“

Well, the MEST universe tells you that ARC is no good. It tells you it doesn’t work and it tells you it can’t happen; which is a lie. That is the biggest lie it tells, because let’s look at a… the piece of matter that you want. Now, here… here’s flows. You get here the pc, and let’s mark the pc as „I“. All right. Now, that’s agree into him and here’s „I“ again, and that’s an outflow, and that’s disagree. And here is „I“ again, and in we go; he’s pulling in, that’s want. And we get… we get it not want. Isn’t this orderly, as long as it works out in terms of just you. I mean, it works fine, perfect; as long as you’re never interfered with… with another flow of any kind whatsoever, this is perfect. And this is the way ARC is broken to pieces.

„All right, now let’s start in thinking about…“ And you keep it up, at that rate the fellow can just feel his brakes start smoking on some of these lines.

Now, let’s take this line up here and let’s see what happens over here to thee. All right, so we’ll just call this „you“, as different than that. „You“ comes in on an agree, that’s „you“ agree; you understand, I mean, by „you“ I mean another person. Here’s „I“, he’s confronted with another person; we’ll call this other person „you“. And here’s this other person who is doing a disagree.

„Now let’s think about a guy you don’t like. Now let’s increase the thought about it. Now let’s decrease the thought about it. Now let’s stop thinking about him.“

Now, here we have „you“ again wanting and that’s he wants. And here is „you“ not wanting. Uh… that’s… that’s very interesting, and so forth. I mean, there we have your interrelationship of flows and this tells you, then, a lot of interesting things. Very interesting things. Tells you too much, really. Really bogs you down when you start looking at it.

Oh, boy! You can… you can see the brake fluid squirt out of his ears, sometimes, when he tries to stop some of these chains of thought.

Here… as long as „I“ here wants agreement from „you“, he will pull into himself agreement, won’t he? „I“ wants agreement, therefore he’s gonna pull in agreement. Now, this is on a calm rational basis; he wants agreement from you. He wants something from you.

What you’re doing… what you’re doing is just working with the control of association when you’re doing that – mostly, associative thinking, and you’re doing it on this little band here, rather than on a large band.

‘Course, what’s he gonna get? He’s going to get disagreement. The second he wants agreement, he gets disagreement. „You“, of course, fires back at him. I mean, if… if „I“ were completely capable of monitoring the direction of flow of „you“ and „I“ wanted agreement flowing into him, he would get disagreement from „you“. See? Simple.

Now you get all sorts of pictures and mock-ups and everything when he does this, quite ordinarily, but he isn’t paying any attention to them. You just want him to get his time factors in there.

Now, „I“ wants to be disagreed with. He wants things to disagree with him, and uh… so on. He wants this individual to disagree; he’s about to be eaten or somebody’s gonna give him a cigar that’ll make him sick, or something of the sort, and so he says, „I don’t want it.“ Zong! How does this react? We have „you“ agreeing, don’t we? He disagrees and „you“ will agree.

Now you could do at it… more… „Now let’s think of a big, wide space. All right. Now let’s change it. Now let’s think of a little, bitty cooped-up place. All right, now let’s… let’s… let’s change it into a nicer place. Now let’s think of a big wide space.“ You’ve got the guy on up the tone scale. And he’ll generally laugh or smile or feel pleased about it.

Now, that isn’t too bad, but, heh, look at this. When… when „I“ wants to disagree here, „I“ again, he doesn’t want the cigar, he doesn’t want the meal, something like that, down at the level where flows are confused, so it doesn’t… the… the agreement flow and the want flow, are… are… they’re… they’re the same thing, practically. Look what happens here when… when „I“ wants to be disagreed with, and so forth, he creates in „you“ want.

Now wherever you can run these curves backwards, do so, but most of the curves, when they run Start, Change and Stop and so forth, the guy’s Start gets awfully confused with Stop. So if you start an automobile, back it up. You’re running a curve backwards. Have him stop the automobile; now make him make the automobile back up. And he’ll be back at the beginning of the thing again.

You say, „I am no good; I am not edible; I will make you awfully sick.“ The reaction on the part of „you“ is to eat.

But get… now, of those drills, this starting and stopping a chain of logic is a very interesting one. Of course, that doesn’t cover too much, but when we apply that on a chain of logic to thinking about wide spaces, changing their character, thinking about small places, thinking about a little bit bigger places, thinking about big wide places again – why it’s interesting what happens.

Now, „I“ wants, here… let’s see what happened when „I“ wants something, he… he wants something, it’s coming in: anything he wants’ll disagree with him, of course, because here we are here.

Now we could take the whole emotional scale and we can start planting the emotion – this is quite necessary in this mock-up – we can plant the emotion in the incident uh… in the… in the scene. In that case, you have to have scenes. Or you plant the emotion in the thought chain. „All right, let’s… let’s think… let’s think now about your grandfather. All right now, let’s think cautiously about him. Now let’s hate him. Now let’s be… feel fear of him,“ see? Now it’s best to put a mock-up out there and put the emotion on that. „Let’s… let’s get afraid of him. Now let’s feel a little bit of grief about him. Now let’s feel a little bit of caution about him. And now let’s feel enthusiastic about him.“

You want to know why, when you go out and buy a possession in the MEST universe or acquire a possession in the MEST universe, you don’t like it too well after you own it, after you’ve acquired it. You’ve seen that manifestation more times: you just will die until you get that something-or- other, and the second you get it, you say, „Well, there’s probably something wrong with it, or I’m not sure whether I want this or not,“ or something of the sort, and „I really don’t quite want it.“ That’s because anything you get will disagree with you, of course.

Of course, you’re taking the guy up scale when you get these upscale emotions, because they’re on the emotional curve. Enthusiasm is at 4.0 and apathy is at the bottom, so you can run the guy from apathy on up.

Now, let’s look at it the other way around, and we’ll just have „I“ wanting „you“. „I“ here wants „you“. Okay. He’ll create a current flow in front of „you“ and of course „I“ gets „you“ not wanting „I“.

„Now let’s feel… let… let’s get a visio of a stopped car and feel apathy about it. Now let’s change the thing and feel cautious about it. Change the car and feel cautious about it. Now let’s start the car and feel enthusiastic about it.“

Now, let’s get a couple, and they’re having trouble. And he has decided that he loves her desperately and he wants her desperately and she just doesn’t want to have anything to do with him, until the day when he finally says, „I don’t want you or anything to do with you,“ and then she wants him desperately. See how that works out?

By interrelating those two things, you’ve shot the guy up tone scale. You’ve done the same thing as, „Take a little tiny space; now make a little bit bigger space; now make a great big space.“ You’ve brought him up tone scale on that gradient scale, and you’ve got Start, Change and Stop regulated against emotions, which again give more space!

Student: Ron, you can check that by wanting something that you know you can’t have and see what happens.

Do you know… ever hear of anybody who was enthusiastic spoken of as ‘broad’ and ‘expansive’? Yeah, that just means more space in him. And did you ever hear of anybody uh… apathy, and so on – actually there are a lot of degrees of apathy – but a guy… a guy gets awful solid at apathy. A catatonic schiz is actually so solid in some cases that you can mold their flesh, and it stays the way you put it. They’re still alive it says at the bottom of the bed chart.

Mm-hmm.

Now, therefore, identification, association, differentiation goes from condensed space, such as an object, through wider spaces with more or less related objects in them, or disrelated objects, up to widely different objects.

Student: It doesn’t run as agree; it runs as disagree, as a… as an outflow instead of an inflow.

„Let’s uh… let’s get a picture of a mine, uh… in the West and a plugged hat. Let’s get a high silk hat and a mine in the West. Uh… now let’s get the uh… now let’s get a factory chimney and a breadfruit tree.“ See, those are widely different things; they’re in widely different places. Now you might experience just a little bit of difficulty sitting ‘em down side by side. Now you could practice sitting ‘em down side by side and then start moving them out again.

Mm-hmm. Wanting something you know you can’t have, that’s right. Guys get down to a locked basis on this, so they know that anything they want they can’t have.

Your enthusiasm and zest for existence comes mainly from your ability to differentiate. You go into one place, you one… one quarter of the country – one province – and you find out that they’re talking there with uh… one accent; you go over the border of that area and you find out they’re talking with another accent. And you say to yourself, „My, isn’t that interesting?“ A guy alongside of you who’s way down tone scale, heard ‘em talking the first accent, went over the border, heard them talking the second accent and there was no difference between the two accents. Didn’t make any difference at all to him. He couldn’t tell the difference between the two. Oh, he really could tell the difference between the two; it’s all the same to him. It would’ve meant space caving in on him.

Now, it gets worse than this. Let’s take a look here at agree and have. And here, let’s take a look at have, and let’s take a look in terms of time and, you know, have time.

Now you get… get the difference and the handling of and the similarities in and the identification of s… objects and spaces with regard to thinking.

Now, here we have „I“ and „I“ has an inflow of agree, and „I“ has an outflow of disagree, and „I“ has an inflow of have and „I“ has an outflow of not have.

You know space, by the way, has another action in it. You can get always a minus side of the curve. What do you think when you have to drive a long way across a lot of space to get someplace? Lots of space with very little havingness in it? Well, how do you think some rocket jockey feels when he would shove off from one planetary system to another one by slow freight. There’s LOTS of space. It sure increases the appetite for havingness and there’s lots of space in between those two.

Now, the essentials of energy are have and not have; have and not have. And haves and not haves actually, somehow or other in this cockeyed universe, get together. It’s fascinating, isn’t it? You’ll find more haves supporting the Communist Party. Didn’t ever strike you as strange that some fellow that makes 5 million dollars a year is supporting the very party that will eat him up? Well, that’s in terms of appetite.

Space, however, becomes infinite and so forth, only… and becomes too big, only to the degree that a fellow feels he can handle force. Oddly enough, if a fellow can handle lots of force, he can handle lots of space. He’s just as happy about it as a clam.

Now, let’s take this as a uh… a schedule here of person and object. This isn’t related at the top here. Person and object. And let’s have this object, which we will make into… I’ll just put an M there. You see, the behavior of this object, the object is saying, „Have me.“ Let’s say it has that potential on it, object. And here the object is saying, „Don’t have me.“ That’s actually what a negative terminal might be saying, any time it’s putting an outflow – you see, it’s established by the polarities – uh… any… any uh… it might be said, when it’s hit… hitting any kind of an outflow, any terminal is saying, „Don’t have me.“ It’s doing a repulsion. And when it’s pulling in, it’s saying, „Have me.“

But for instance, if you were to suddenly adventure upon a voyage which would take eight months and you would not even see land or water or trees or anything else for eight long months, and all this time you could see by the passage of stars that you were on your way someplace, I’m afraid that the degree of force of which you’re capable of handling right at this moment would make you feel awful funny.

Well, that’s why your very, very low tone scale people, by the way, collect only things which are not desirable.

Now if you want to get that same feeling, go out and look at a bright sky, a real bright sky when there’s no moon and just look at that sky for a while. And just spend a few minutes looking at that sky, or a half an hour just looking at that sky. And you’ll all of a sudden find out what your force registry is with regard to space. God, a guy gets tiny! Gee, he becomes weak looking at all that space, all that distance, all up there. Eeeowwww!

Now, we have… over here, we have uh… agree and here we have disagree. This should tell you wonders about possessions and about engrams and deposits of energy, and so forth. Now, what… what happens here? Now, let’s look at the extremes up here: „I“ agree and M disagree. We’ve just covered this; the object of course agrees and disagrees as we saw it on the first graph.

Now you take somebody else… somebody else – maybe young and feels enthusiastic and zip, and so on – terrific capability of force, he’s got his ideas. And he looks at all this space and he says, „Ad astra per astrum!“ or „Stars, here I come!“ Yes yes. That’s very interesting, the interrelationship of that.

Now uh… this second graph here shows you that if a fellow, if „I“, in this case, you’d think, agrees with something, he could have it. If he agrees with something, he can have it. Isn’t that a beautiful universe? Plus-minus polarities. And if he disagreed with something, he wouldn’t have to have it, would he? Well, let’s look at this.

Now, space has a great deal to do with „Let’s pretend,“ and the reason why it has a lot to do with „Let’s pretend“ is because when you see lots of space you know there’s lots of room to set up lots of things in it. So it doesn’t matter whether anything you set in it is true or not, there’s lots of space to spare. If you want to repair the ability of a man to pretend, the ability of a man to assume, and so on, show him that he can keep manufacturing space and putting things in it almost ad infinitum. That there’s no capacity; that he can keep manufacturing space and putting things in it and knocking things out of it. And all of a sudden he’ll get more and more expansive and more and more expansive. It’s actually more important than anything else to demonstrate lots of space. And one of the ways you demonstrate lots of space is by mocking up a space, pull in… putting up… up anchor points, and then putting something in it and then putting it in yesterday. And then mock up lots of space and put in anchor points and then put something in it, and put it in tomorrow. And the guy has a flicker of a notion of how to do this, at first. If he’s worried about his facsimiles being in present time, something like that, give him one. Just tell him to mock up a facsimile and put it in yesterday. And then put that in a thousand years ago. And of course it’s all the same thing.

He agrees with something so it, of course, has a flow pulled around past it and it’s immediately saying, „Don’t have me.“ The second he agrees with something, it says, „Don’t have me.“ He goes down and he says, „Well, that’s fine. The automobile is going to run and uh… all of this, and I agree with this thing perfectly,“ and of course that day it won’t start. That… it’s just a lead-pipe cinch that that’s what’s gonna happen.

The way you do that – he just knows they’re there. And you’ll find 90 percent of your preclears that are in bad shape will be doing this trick: They will be going back to yesterday. And they know it’s there because they’ve still got their eye on it.

Now, we get disagreement, and the fellow says, „I don’t want it. I wouldn’t ever touch it if anybody ever gave me one and a million dollars to boot. I’d have nothing whatsoever to do with it,“ and there it is sitting on his doorstep. This ferocious and horrible determinism not to have something winds up in what? It winds up in making the full vector of matter say, „Have me.“

Then you’ll say to ‘em innocently, „Now…“ just very innocently, „Now… now how do you know it’s there?“

Well, now, a fellow… this tells you something horrible. That tells you that you could only really only acquire enMEST. You could never acquire good MEST. EnMEST would say enturbulated MEST, busted up toys, run-down thingamabobs; uh… it tells you that any time you tried to conquer a nation, you would conquer rubble. It tells you the automatic result of an attempted conquest of a nation would be rubble. It tells you that any time you try to get ahold of a great big bank of energy, it’s gonna be a mess. It’s gonna tell you that if you consistently ran MEST universe facsimiles and ran them as facsimiles, that you’d result in scrambling the bank.

„Oh, I’m looking at it!“

Why? Because the preclear is saying, „All right. I agree, I agree to run this. I agree to have this energy inflow. I agree to have this energy inflow.“ And what do you know, the energy at that moment is going to say, „Don’t have me.“ „I agree to this inflow, and therefore I’m gonna run this – engram.“ Result: occlusion.

Here is a guy with tremendous space scarcity. The way you give him more space in a hurry is just simply to put him straight and then drill him until he’s got it well that all he has to do is say, „I know it’s in yesterday.“ That’s all there is and the thing disappears. That’s all there is to yesterday you see. Yesterday is „I recollect that I had – and n… now necessarily… don’t necessarily not have, but I probably don’t have now.“

All right. Here, he says, „I uh… don’t want that damned engram. I’m not going to have anything to do with it, and to hell with it. It’s not gonna influence me, it’s not gonna influence me, it’s not gonna influence me.“ It says, „Have me.“ He rejects it and he’s got 1t. Why? It agrees with him.

Now if he still can’t get this, you get this one: „Well, take a look at it and realize you had it yesterday too.“ He finally can stretch his imagination far enough to grasp the fact that he had it yesterday. He can convince himself that he had it yesterday.

But there is a little bit of light. If you were to say to an engram, if you were to say to an engram, „To hell with you,“ it would wind up owned. If you were simply to say to an engram, „Okay. So we’ve got it here on the track“ – and we finally locate it in space and time, that’s all. Now you say, „To hell with you.“ Watch it blow up. Just put out a good strong impact against the engram of „to hell with you!“ It’s worth an experiment, you see, ‘cause it’ll work.

When he’s got himself convinced that he’s looking at it and he had it yesterday too, he can also get the concept: „I won’t have it then tomorrow.“

You get this beautifully clear lock and just suddenly muster up, just muster up and… and you’ve got the thing located (that’s of course 90 percent of running it). Uh… you’ve got the thing located and then just put out an upsurge between it and watch what happens to it. It’ll go zook. It’ll actually change location in space. Without monitoring it any further, you just put an outflow and say, „Zong. I don’t want anything to do with you.“ It’s liable to explode, or go away, or anything.

Now really throw the… throw the 64 dollar one at him: „All right. Know it’s tomorrow now.“

But… but we say, „All right. All right. The MEST universe is trying to make me do this and that. And in school they wanted me to do so-and-so and that uh… here they wanted me to do that, and every place they’ve gone… they… and so on; and the thing for me to do is to knuckle down and to do my job of work and get in there at 10 o’clock in the morning and… and… and work right straight through till 10 o’clock at night, and… and… and do all of this, and I… I’m going to agree to this, and I’m everything…“ Oh, boy. Boy, is that job gonna disagree with you!

Work anyway you can to get him to get things to disappear in space. There’s another method of getting things to disappear in space. You put out anchor points and put an object in the midst of all these anchor points and then you collapse the anchor points. And that stuff will disappear. There’s no space for it to sit in. If he can’t get that, just make him vanish things and vanish things.

The first thing you know, they’re gonna say, „Well, that’s it, that bum. He just works sa… he’s a sap. Uh… ah, well. Uh… I… I know… I know a fellow down the road, oh, we’ve got him… the next post above him is open uh… in the uh… department so uh… I know a fellow down the road that used to shovel uh… uh… stuff out of the curbs and off the curbs and things like that, and I think he’d probably… I… I don’t know. He doesn’t seem to want to work here. Let’s put him on.“

Now here’s a neat trick for you: „Get a concept… get a concept of anchor points WAY OUT in front of you. Get this concept of these way out anchor points: One to the right and one to the left – way out in front of you. All right. Now bring those anchor points in until they sit about three inches in front of and to the side of one eye, and three inches in front of and to the side of the other eye. Got those anchor points in? Now put them out about 2O feet. Now put them out a few hundred miles – that should make you feel more comfortable.“

The Service is the most wonderful place of this in all possible operations, because the Service doesn’t give a damn; it’s too down low tone scale for anything to happen anyway. And one day, just as an experiment, I told a kid that – I… I was in the hospital, and uh… the kid was off one of my ships and he came in and he says, „I’ve got to get back aboard,“ he says. „I can’t stand this place any longer.“ He says, „What do I do? What do I do to get back aboard?“

You know, you can actually knock a man down with that trick. He… he doesn’t know what you’re doing. You say, „Get two points now and let’s put those points as far out as you can get ‘em. You got ‘em now?“

And I said, „Well, the next time the doctor comes in interviews you down in the ward, you say, „Now, I don’t feel very well and I don’t see why I’d have to be returned to duty, because my stomach hurts, and I hurt this way and I’m in bad shape.“ And I said, „Make it very convincing. The truer you make it, the faster it works.“ And I… so I just explained to on this.

„Oh, yeah.“

He says, „Gee, that sounds awful dangerous to me. They’re liable to keep me here.“

„Now bring ‘em in right to here.“

„No, no. No, no,“ I said. That’s… sick call was at 9 o’clock and he was up with his kid at 10 o’clock shaking me by the hand and saying, „I’ll see you back aboard, Skipper.“ I got him out of there from guns!

And he’ll go ‘reel’ – he starts bringing in all the energy with him. Did you notice that? You notice you had the idea?

Now, there as some kid that was running the communications information center on a big cruiser; there wasn’t any other officer remaining aboard that cruiser who could run the CIC, Combat Information Center. And uh… that cruiser was hot and heavy, right in the middle of everything. And this kid had to have an operation for a piece of shell fragment, and so on. And they sent him back to the States in a hurry by special plane so they could have him back again because there was a terrible scarcity of good CIC officers. And the second he said to ‘em, unfortunately, „I’m necessary aboard my ship,“ the last I heard he’d been there 14 months.

Do you know there are a lot of people walking around with the… with the whole environment sitting here? Right here on the ends of their noses? Collapsed space: There’s no space in front of them. Well, various things that have happened to them is… is people have kept insisting that they do things. People will stand up in front of ‘em and say, „Now you do this. Now you do this. Now you go there. Now you do this. Now you do that.“ And they’ve done very little of that, you see. „Now you do this, Now you do that. Now you do something else,“ and so on and so on and so on. „And you ought to be careful. And you shouldn’t talk so much. And don’t be so enthusiastic about things. And you know it probably won’t come to pass anyway.“ Just this noise – sound – yak. And it’s poured at them from a close distance and they keep trying to get rid of that yak. They don’t want that, but somebody’s convinced them they don’t own any space right in front of their bodies. And so they get this idea they don’t own anything there, and the first time you ask them to put out an anchor point, it’s quite common that some person will appear in it. Bang! Or, there’s a great big black curtain appears in it. Ask ‘em to reach over and pull the curtain aside, and find out if anything’s there. And they’ll say, „Yeah! I wonder where that came from? That’s a picture of my mother!“

This is the modus operandi, but don’t take that as… don’t… don’t take what I’m saying as freak. It’s not a freak. I’m not talking about a uh… a peculiar, occasional manifestation. I’m talking about agree. I’m talking about disagree. And when I’m talking about „have me“ and „don’t have me“, I’m talking about time.

Now that’s, by the way, one of the tricks in… in mock-ups. One of the ways a preclear gets rid of things is to drop black curtains over them – quite common. He keeps pretending to himself that he’s got rid of them. He’s lost the ability to make them disappear. He’s run out of space. How he can run out of space is more than I know. This MEST universe is really lovely. That you could run out of space! People think they have though.

So, this individual wants time, he, of course, wants time. He’s got to have, to want time. In order to have time, he’s got to have, you see; he’s got to have an object. He really does have to have an object. If you don’t believe it, try to go on a vacation sometime with not a dime in your jeans. –

You know uh… you couldn’t hire somebody that’s lived in Lower East Side, New York to… to move out, really, in the wide open spaces. They would get upset. They’d really get upset. That’s too much space and their… the amount of force they have does not match up to that much space. It has to have a much narrower space.

He wants to have; in other words, he wants time. And what’s he find, the second he does this? The object that he gets disagrees with him so he can’t have any liberty. The second he wants some time, he can’t have liberty. The moment he decides that he wants some time on his hands, he is, at that moment, going to have… the things which he does have become disagreeable. They’re gonna upset, uh… the gaskets are gonna blow and so forth.

Well, anyhow, you get this fellow that thinks he doesn’t have… that he doesn’t have enough space or something of this sort, and he hasn’t made objects go away. Or he’s got a terrific „Save it, hold on to it“ or something of this sort. And he actually has this black cloth sitting across the object. And you take a look at his visio – a funny thing will happen: This fellow’s got no field of visio. And yeah, he can’t do a mock-up or anything like that. You say, „How about…“ just… just as a little test, „how about reaching out now and picking up the corner of a black curtain and lifting it and see what you see. Put… pick it up very cautiously and take a look at it.“ My God, there’s everything he’s ever mocked up or thought of, it’s sitting right there with him. It looks like a junk heap or something or other to him. You’ll have to teach him how to get rid of it.

It isn’t anything mysterious. Don’t look at this as something mysterious that sits in back of something or other and it depends on chance. A roulette wheel is chance; this is not chance. This is the way it works.

Now very often you will find him slamming down a black curtain right straight across his face and saying, „Yes, it’s gone.“ Sure it’s gone! Same way a little kid will hide his head under the pillow and say, „I’m hid.“ He can’t see you, so therefore he figures you can’t see him. Just as silly.

So he’s got to have in order to have more time in order to do this and that. He sends away to Sears & Roebuck in order to get one of these whirligig windmill machines that will run a storage battery so he can have lights in his house, and he spends a lot of time lighting this thing up. Then he’ll have some time to read at night, and he’s got this up, see, and he won’t have to waste all that time filling that lamp or lighting that candle or striking that match and reading that book page. And he sends all this away, and what’s he spend the rest of his time doing? Keeps climbing that tower and fixing that propellor and going down the tower, and so forth, and by golly, he never has any time to read.

So this is the trick on space. You’ve got to drill your preclear into realizing he’s got lots of space and he can create lots more. And you do that by drilling with anchor points, and also, you do it by reversing these scales. You get him starting things, and you start him upscale about this. You get him upscale on emotions. You have him mock up things and then run him up scale. See, don’t run enthusiasm uh… enthusiasm, conservatism, anger and then finish it up in apathy. Uh… if you want to, you can go ahead and do that. Of course, you’ll kill the fellow if you keep on doing that. Let’s not do that now.

You see, he doesn’t get an agreeable time; he gets… he gets some time, all right.

Let’s start in fairly low on the scale. If you can figure out what his chronic tone is. Maybe this guy’s scared. All right, this fellow’s afraid. Let’s see if he can feel some grief. „Let’s feel some fear. Let’s feel a little bit of anger. And let’s feel a little bit of that.“ First you start in depressing his tone. Then you bring it up: „Now let’s see if you can feel some enthusiasm.“ You’ll find normally he can’t feel any enthusiasm. No-no. He can sh… feel a little conservative about it because he’s got that mixed up with a lower scale. Because your person who is afraid very easily feels boredom.

Now, what would he have if he says, „Now, I don’t have to… I don’t have to have any… I don’t need that. I… I don’t need that at all. Let’s see, I’ll get along with what we have and the hell with it. Ah, well, make, ah… what we got do, and we don’t want any of this other stuff.“ Actually, the riches of the universe pour in on his head. Everything around him starts saying, „Have me, have me, have me; ga… how about me?“ That’s… that’s the way she works.

Now another thing the fellow will be doing, he’ll be holding on to things like mad to keep his space contracted. He’s got things flowing in on him, and you try to solve that and it doesn’t solve right away quick. Well, the reason why it’s not solving is a very simple thing: He’s simply trying to keep things from going away from him. He keeps the inflow, he’s doing it. You’ll find that every once in a while. Ask Mr. E-Meter along about that time: „Now let’s see. Are you holding things in?“ What do you know? The E-Meter will go „Zong!“

So, if he has… if he… if he wants time – and he, by the way, unfortunately, gets all kinds of time, because the universe says, „Have me“. So either way you look at it, you get flypaper. You see, there’s no… no way out of the flypaper. If you decide not to have with the universe and disagree with it thoroughly and rush against it and disagree the hell out of it, it says, „Come to Papa.“ And if you say, „I agree with you, I agree with you,“ and… and uh… all that, and all is well, why, uh… it says, „We don’t want anything to do with you, fellow.“ For every win, there’s a lose; for every lose, there’s a win.

You ask him now, „Are you trying to get rid of these things?“ E-Meter – no move.

One of the v… very interesting things that you can run with a preclear: he’s loused up on time. What is apathy but too much time? That’s right, it’s energy. It’s too thick a havingness. He’s got too much.

„Well, you want to get this engram and stuff away from you?“ No move.

If you want to take somebody and really cure him of apathy, if he feels that he is in terrible danger and dire straits, the damndest thing: have him take everything he owns, except the shirt he stands in and the pants and shoes he’s wearing, and take it out and throw it away. Regardless what it is or anything else, just have him take it out and dump it and destroy it. And what do you know, he gets lots more space, right away. Instantly, get lots more space.

And you say, „Are you trying to get this stuff out there?“ No move. Yet he can’t put a toothpick out five feet in front of him without it slapping him immediately in the face. Bop! You obviously say, „The trouble with this preclear is everything is flowing in on him. All right then, everything flowing in on him.“ He’s getting all packed full. Ah, he wants it that way. He knows as long as things are flowing in on him they’re not flowing away from him. It’s very good, see. I mean, that’s very good philosophy. If you keep things flowing in, they won’t flow out. Now that’s good.

If you could get a psycho… you could get a psycho to part with one of the Kleenexes in the box of Kleenex which you’ve just presented them, you’re pretty good. Whoa, boy! They’re having a hell of a time.

So how do you solve this? You just mock the fellow up, get the fellow to mock himself up, or mock something up that vaguely is a shadow that he calls him, or anything you can put over there, and you say, „All right, now get it holding things in. Now get it holding things in.“ And the guy’ll look at this thing and all of a sudden it’ll get very thin, I mean the… the constituency of it’ll get thin. The size of it will start increasing, and increasing and increasing and increasing. It’s letting things go.

You say, „Part with one word.“ Uh-huh. No, they’re saying, „Agree, agree, I agree, I’ve agreed, I’ve agreed, and my God, I’m getting so rocky I don’t know which end I’m standing on, but I’ve agreed; don’t punish me any further, I can’t stand the pain. Don’t punish me any further, I agree.“ And they wind up by having to have everything which is disagreeable. Everything which is disagreeable then and there happens to them.

And then you turn around to run this flow back here and you find out the flow’s much better. So you take this nebulosity again and you make it smaller, and then you make it even bigger. And then you move it someplace else. And then you change it to a color. And then you make it much bigger, and then you change it to some color. And you put it over here. And every time you make it bigger you bring him on up tone scale.

You wonder why machinery doesn’t work for some people. Well, there’s nothing mysterious about it. It isn’t anything esoteric you’re examining; it isn’t anything that goes into the firmament in some fashion or another and is tailor-made by some god. This thing’s already been set up. You say to this piece of equipment, „I don’t want you,“ or, „I don’t care what happens to you.“ A null or a flow against and it works. And you say to it, „All right. Now, let’s see. You have to do this and you have to do that to it, and you have to do something else, and we’ll have to take good care of it; we’ll have to wash it and we’ll have to grease it, and we have to paint it and we have to polish it and we have to buy licenses for it, and so forth, and we have to park it out front, and we park it out back,“ and so on. You’ll find out all of a sudden that the payments on it, or something or other, and that is… this, or something or other, and then it needs replacement, because there’s a later model. It won’t take you anyplace, either. It’s always in the garage, or someplace else. It’s fascinating.

The fellow who could handle, customarily, mock-ups and say, „Well, where do I put the head?“ and you say, „Why do… why do you want someplace to put the head?“

The thing which you either completely disregard or disagree with will serve.

„Well, the MEST universe isn’t quite big enough.“

Now, there’s a level of outflow… there’s a level of outflow which is so low on the tone scale that it is just MEST handling MEST, and that just doesn’t work. Your Japanese officer in the Philippines, for instance, found out a locomotive wouldn’t go, so he had his men beat it with sticks. It didn’t go. It’s just MEST handling MEST. On that level, everything is enMEST. The guy, the object, everything. And you have to go up tone scale a little bit to get this principle very smoothly workable. You can’t take a sledgehammer and smash all the spark plugs of a car in frightful disagreement, and so forth, and have the car function.

When he’s dealing like that, don’t think that he’s… he’s feeling insignificant. He’s not feeling insignificant. He’s trying to get spatial uh… expansion on something. He’s holding in something for a long time. He’s suddenly starting to get expansion. Well, get him to decrease it down and up and get things relative to the way HE wants them, till he can finally get this figure which is very small or in the distance or something, and realize that it… know completely that it is 2000 feet tall and he’s much bigger than that. That’s one of the ways of going about it.

Now, the way to handle a car is the way you handle anything else. There is a difference of flows, you understand. If you just differentiate flows, you’re all right. You can put out a sort of a smooth wave to this car and you say, „All right, all right, let’s go, let’s run.“ No gas, no tank, nothing; it turns over. You think I’m kidding.

Well, the idea is to get more space. We… we want more space in these incidents, we want more space around the preclear, we want these ridges out further and we want all this to take place. And you’ll get action when that takes place.

You’ve got to come up tone scale a little bit to do that sort of thing, but there’re pieces of equipment around that just absolutely have no business running whatsoever. There’s no business running. And you put ‘em under somebody else’s management, and they won’t run. They just quit, right there. That’s because they were being kept alive with something more than mechanical information.

Well, one of the reasons why he’s holding on to something goes right back to what I started to tell you about a little while ago, and that’s the loss of the home universe. As long as he keeps things flowing in, nothing’s going to flow out. And the reason he doesn’t want anything to flow out is because he remembers losing the home universe and one day it flew out. Somebody sort of pulled the bottom out of the tub and bang, there it went, down the drain and he never could figure out what happened to his universe.

Now, it’s hard for an engineer… it’s hard for an engineer, as indoctrinated as he is into the workability of structure and mechanics, to recognize or even look at this factor. This is another one of these factors, but by golly, this… it’s just as actual and real as that electric light. MEST works when it has been aligned by theta. You look in the old axioms for homo sapiens, it covers this to a heck of a degree. MEST works as long as it’s been aligned by theta. And as long as the MEST flow that’s going out is aligning, MEST hasn’t… no… I mean, pardon me; the theta flow going out is aligning MEST, MEST doesn’t have a chance in the world. It just has to get into line, that’s all. You get a smooth outgoing flow.

Or, one tricky fellow still had it, and I imagine many of them have facsimiles of them. And you start uncorking the facsimiles, (sh… tell me) the facsimiles of the home universe and they’re very, very beautiful. The guy doesn’t want to get rid of these. He doesn’t want to touch these in any way. That’s the only recollection he’s got of the whole deal and he’s sort of been hoarding these all the time. Why? He’s gotten into a state where he couldn’t possibly create another home universe, he thinks, so he’s holding on to it like mad.

But your engineer building a dam, anyplace he is, knows this, continually: He gets one foreman and all the equipment goes to hell and nothing happens, but obviously he’s a good foreman. He’ll get another foreman and everything runs smooth as a clock. And the difference flowing off of these two men can be sensed by the individual himself.

And if you want to look around your preclear with an E-Meter or you want to look around your preclear in processing or mock-ups or something like that, you’re going to find those facsimiles. You’re going to find he’s holding on to ‘em. And tha… that’s what he’s dodging mainly. That’s the secret. Somebody got to it before and so we’d better not find out how anybody gets to it again.

One is gonna get the job done one way or the other, and so on. And the other says, „Yeah, I can do the job.“ He doesn’t necessarily say it without volume, but the MEST lines up. Energy vectors, somebody understands the law of something or other or something like that, he really just enforces into it.

Well now, you know a minus space… minus space would be into somebody else’s space and scattered. And that’s what takes place from 0.0, on an arbitrary scale, down. Your thetan… your thetan is in somebody else’s space, and there’s a MEST universe space and he’s scattered in it. And therefore he’s in minus space, and that’s why you have a minus tone scale below there: He’s dispersed. And you’ve gotta collect him. And the way you collect him is he thinks he’s got a lot of space. But you’ll find out when you first start processing him, he won’t even vaguely be able to handle space. He’ll get real upset if you ask him to „Now saw out a square block of space.“

Okay. I hope you understand a little bit more, because you look this over a little bit more, you’re gonna find a lot more there than I’ve written down. I leave it to your wits to figure out the rest of it. Let’s take a break.

He’ll say, „I don’t want anything to do with it.“

Well now, isn’t that strange? I mean, you’re gonna saw out an imaginary square block of space out of the room and move it someplace, and he doesn’t want anything to do with it. He’ll be on the minus scale.

And as you get this person more and more able to handle space, he passes this point of 0.0 and goes right on up the scale. And after a while becomes terrifically able to move around.

Now the wrong way to get somebody out of his head like that is just keep hammering him and damning him and shaking him and uh… processing him and uh… sort of saying he’s being reluctant and he’s being mean because you can’t move him out of his head easily with perception. He hasn’t got perception because he can’t handle energy, and he can’t handle energy ‘cause he’s in minus space. That’s all there is to that, so you rehabilitate his anchor points, rehabilitate his ability to use space and you run him up scale on emotion with Start, Stop and Change and other things in the mock-ups and so forth; and you give him differentiation and you give him space back.

By the way, this person could possibly be the most logical person and very forceful person you ever saw. Well they’ve just got a lot to spare, that’s all. That’s why the MEST universe was tough on them is ‘cause they were tough on the MEST universe. They started in on the MEST universe and they started going „Rrrrrrrrr“ – the MEST universe gunned ‘em right back. Because all that you’ve got back from the MEST universe was the volume you put into the MEST universe – no other volume.

So, do we have this now and so on? This person is in other space than his own and dispersed in it. And then a 0 would be a sort of a solid dot in space. And as he comes up the line he is a solid bit of energy, and as he comes up the line a little heavier he might be appended to some old MEST body down here at 0.0. He’s got some old body, he thinks he’s a space ranger, he thinks he’s a school teacher or he thinks he’s buried someplace, right about that level.

And the way you get him out of that is just ge… he gets to be an energy unit and he’ll be shooting energy all over the place, and all of a sudden he’ll get all very active and he’ll start talking to you about ray guns and… and how he – „Look at that streetcar conductor. Now look at him now. Okay. Ha! The guy’s hat flew off,“ see. Something like that. He’d say, „What do you know. I’m getting a little bit better. Marksmanship is getting pretty good.“ And uh… you keep him from going back into action there because that’s kind of senseless, wanting to go into action.

And then let’s get up the scale higher here, get up the scale and he’s getting more nebulous and all of a sudden he finds out one day he can mock up a body. He’ll say, „Isn’t that pretty? I am that body,“ and… and all that. He’s got lots of space and he can make lots of space and he feels very free about it all. And then one day he makes a MEST body and uh… he… he’s just sitting there calmly at the office and the such… secretary comes in and says confusedly, „I didn’t know you had callers.“

And the body gets up and says, „Well, I’m sorry. I was just going.“

Okay, that’s how she is did. And uh… those are our aims and goals in how these cycles of action run.

Now you understand, of course, that any cycle of action that goes from 40 down here to minus 8, any cycle of action can be used to reverse this, and every one of them reversed will give us what? Space! And we’re looking for space, because if you haven’t got space, you aren’t going to be able to get out of this space because you haven’t got anyplace to go. You know that horrible line? No place to hide? Well, that’s a guy who’s in somebody else’s space and dispersed in that.

Thank you very much, and good night.