You understand then, that consecutive shifts of anchor points make consecutive spaces. Do you understand that? Consecutive shifts of anchor points would make consecutive spaces.

We have the first of the Prelogics having to do with theta's ability to locate things in time and space. And the ability to do that is of the essence, and so we'd better go into this a little bit further and find out what connotation this has and in addition to that, find out what time is, just by doing this.

Now, please don't boggle over that one. You just gave me the answer. You said if you move these eight anchor points to eight new locations you'd have another space. So therefore if you moved one anchor point, you would have a different space. It wouldn't be an entirely different space, but it would be slightly different, right? And then if you moved another anchor point you'd have a slightly different space. And if you moved another anchor point you'd have another slightly different space. And if you moved another one you'd have a slightly different space again, and so we get logic.

Well, it comes into a lot of definitions. I'll type this up or do something with it so that you'll have this piece of paper here. But the definitions with which we're dealing can all be stated geographically - in relationship to position.

And all logic concerns itself with is a shift of anchor points in the creation of new spaces.

So we find that determinism is the responsibility for location in space and time. That's what one determines. He determines location. That's all one determines. And when one can't determine something it's because he can't determine a location and that's all there are to it.

I don't say that profoundly or with a terrible snap or punch. It just happens to be true. One of the main reasons this material about space is true is because it has a workability. You can untangle riddles of existence, you can untangle logics and you can improve aesthetics by these drills.

And when you have you putting people in spaces and - relative to other spaces, why, you're determining them; and when other people are putting you in spaces and time, why, that's them determining you. That's all there is to self-determinism. It's all right to say self-determinism, but let's find out what we're determining from a standpoint we can use in processing.

Now, let's take a writer. We're going to make his stories better. He's been writing for the Saturday Evening Post and the American Mercury for a long time. And his stuff is getting paler and paler and paler. His word rate is more or less the same, so forth.

All right, then, we have determinism. We have another word here which is just terrible in - when these two come into conflict, and this second one is determination. When one's lookingness has shortened to a point where he has mostly effort, he doesn't use determinism, he uses determination. See, I mean, that's of the essence, determination.

What's happening to this man? He's sitting at the same desk using the same type of paper, sending mail to the same addresses and receiving back about the same amount in checks. And he's doing this consistently and continually.

It means "a will to effect something," is determination - the connotation of that word, as we're using it here, is "the use of effort in." And where we have determination cropping up, it takes the place of what we know as determinism. Determination is the will that one is going to effect a change of location in space. And determinism is the fact that one merely makes a location in space. He actually effects a location in space. And determination is trying to effect a location in space.

We have a minus randomity and that will show up in minus originality. It will, every time.

Well, let's get the difference. A fellow says, "This block of stone will be at 9th and Chester"; it is. And the other one, he takes the block of stone and he puts his shoulder to it and pushes; that's determination.

The fellow, if he's doing a comfortable business of it, has ruined himself. If you just add a few bill collectors, believe me, you'll pick up his originality. You've changed his space by giving him another type of anchor point that can't be determined by himself.

Well, after he has done just so much determination by pushing on the stone, he can't tell you whether he's got to go and send the stone to 9th and Chester or 8th and Walnut or whether he was ever trying to - had any purpose at all for the stone. As far as the purpose is concerned. "What are we going to do?" that comes under the head of "How many things are going to be in this location in what space pattern?" "The reason for" is then: "We've got to have reason for effort," and so forth, is that so other people will attract their attention to that place. That is why they should pay attention to this location at 9th and Chester. See, that's "the reason for"; that's about all it is. "The reason for" comes down to grabbing a lot of other people and giving them a push toward 9th and Chester.

But he'll get - merely get hectic on it. Will he get better? No, he won't get better, that's right.

Well, now there's - people easily entangle; and most of the cases which are bad off have entangled badly determination and self-determinism. They know they got to have will and willpower, which comes under the head of biceps, and this doesn't work.

But if we were to suddenly ship him out to that famous town called Keokuk to the Bide-a-Wee Saloon, let him spend a few nights there as the bouncer, we could probably put him back in the same desk in the same publications and they wouldn't have the same kind of a story from there on out. What have we done? We've just given him some swiftly changing anchor points which, in their change, make a pattern. And the Bide-a-Wee Saloon, believe it or not, can be to a writer an aesthetic.

If you've ever seen anybody really getting down and sweating over something and grinding his teeth and having a rough time in general, he was using determination. Determination is an act or a play. It's something else. Determination is a something else thing; it isn't the thing. You see, it's a - a fellow says - says, "Well, I will do it! I will do it! I will ..." Well, he hasn't done it, has he? That's the first thing you can ask yourself about that.

All right. Now let's take a vaudeville actor that's been doing two a day. And he's been doing two a day and two a day and two a day and two a day. Now one day we walk up and ask him to do another act. Actually, he'll want to practice this new act for some months before he puts it on, you see.

Now, a low Step case is saying, "I will be exteriorized! I've got to be! I'm apathetic that I can't be!" and so forth; he's ramming all around the place; he just isn't. He can't get the concept of simply being. See? He's got to try to be before he is; and you know that you have to try to be. Well, that's merely a symptom of necessity to use effort. He's indoctrinated into the fact that the only allowable portion of the lookingness band which he is able to examine is that one which has effort in it, and he knows he can't do that. In other words, he has to collapse his looking in order to look. And if you find any one of these boys looking, you will find he's doing just that; he's collapsing his looking in order to look, and of course then he can't see. That's the only squirrel cage he's in and he's going round and round in that one; he's collapsing his looking in order to look.

But we walk up to a fellow who goes on on TV. It's all different. It's got to be different, got to be different, got to be different. The second we walk in on this fellow and we give him a new act, this is routine. Why? It's just the fact that newness is routine. He expects his anchor points to shift.

Did you ever see these people looking? Well, he's collapsing his looking. And when they look at something suddenly - you can actually get them to do this - you can say, "Look at that building." He's got the idea of the building being right here, see, and then way out there someplace. Very interesting.

It isn't that one of these people is more happy than the other person. But vaudeville, by God, they had to shift these boys around from theater to theater. And they had them on tour all over the country and they had one act on tour all over the country. Why? Because the audience wasn't going to sit there and look at this one act going on.

Long time ago somebody decided that self-determinism was the stuff all right, and then immediately tried to sell everybody determination. "All you have to do is make up your mind to be cleared and you'll be cleared! Yah, yah, that's all, ah-hoo!" A fellow told me that one time; immediately afterwards says, "Well, now, if I wanted that ball in the middle of the floor, and you (he said to the little girl) wanted the ball in the middle of the floor," and so forth, "why, my self-determinism would cause me to pick up the ball on the floor." And she said, "Well, what if I picked up the ball?" "Well, I just - you'd just get killed that's all." Well, this was - this was the way he solved things. This case couldn't have been exteriorized with a rocket pistol.

Now, people that are very calm and are very good in the effort band will actually sit with a great deal of entertainment and watch the same act happen over and over and over again without, really, enough change in the act to bother with. They will. They'll watch this same act. That is - all due respect to them, God bless them - the English and a joke. They are a very calm people, really, and they'll listen to this joke from the stage and it has a sort of a nostalgia to them. And you can tell this joke over and over and over. In other words, they're not so anxious about changing space. The perimeter of England is relatively fixed. And it's - the classes are relatively fixed.

Now, determination has all of these things; besides "I will be," it's "I must be here," "I must be there"; "It must be here or there"; "You must be here, there"; "They must be here or there," or "He must be here or there," or "She must be here or there." In other words, we've introduced "will" into the problem, and the second "will" is introduced into the problem we, of course, immediately introduce conflict because the reason one uses will is because he feels it's going to be opposed. And if something is going to be opposed, then it has to have will exerted against it, and so on. It never occurs to these people to simply relax. All they have to do, actually, is just relax and say, "All right, I'm there," or "I'm looking at it" - they are. And if they can relax sufficiently on the subject, why, they stop trying. They don't have to know before they go, they simply go. But all this determination is knowing before you go.

Now, when you get strata which are occupiable strata and a fellow has a freedom within a strata, it is a superior condition to having a freedom amongst a certain fixed set of anchor points to having a completely random set of anchor points none of which you can determine.

"I will. do it! Now, what are the factors involved in this problem? The factors involved in this problem are such and such and so-and-so and so-and-so and so-and-so. And if I walk across to the other side of the room, then the significance of being on the other side of the room will be .." and so forth. That's just determination. He knows he's going to be opposed.

So we get the determination of anchor points coming about as becoming accustomed to anchor points. One will substitute becoming accustomed to anchor points for being able to self-determine the existence of the anchor points. You see?

In other words, there's going to be something else saying "Be elsewhere." He knows this will occur.

Now, this is a child being born in a town. It's a new town, brand-new town. But there's the town hall and the graveyard and the church, and as he goes along he merely becomes accustomed to these anchor points. And he becomes accustomed to them because they keep on staying there. And as long as he changes and they change only as the seasons and corrosion and erosion and new graves and a new steeple and so forth occur, why, it's all right. Perfectly calm, peaceful.

Now, what's loss? This is a very important thing, loss, because people go black when they lose and so forth. What's loss? All right, loss is it or you, they, he, I, she is not here or there and won't be here or there - of course wasn't here or there. This is loss. It's just the place isn't - the thing is not necessarily completely disappeared, but the location in which it is, is the - now the wrong location or can't be determined.

But now, if you get erratic changes; if he gets up one morning and the damn church is on the other side of town. Oh! Or it's gone! Well, the gloom settles over everything. Here's an accustomed anchor point.

A person can consider he has lost a dollar in a poker game if the dollar is right in plain sight sitting in front of him but closer to another player who has just taken it in the pot, you see? See, the dollar is lost. In other words, his possession of it has ceased. His possession of it simply means his liberty to move it.

People will use a consistency amongst a great deal of randomity to peg down and pin down a piece of space which is unalterable. And they go around and look for an unalterable, apparently unalterable, piece of space in order to judge the motion of other pieces of space. So an actual anchor point in its most absolute sense would be an unalterable point against which you could join all or figure out all other pieces of space.

Now that the dollar is sitting in front of somebody else, did you ever reach over while you were playing poker and start to make change out of the pile of somebody who was - who was very, very alert, shall we say, to the insidiousness of man? The moment you do that, of course, you're in a little bit of a squabble. Why? You're just changing its location in space; it's the only thing you're doing. He objects to that. He has large significance to this.

Remember the first part of anybody's life, he normally has such an anchor point - his home town or something of the sort.

"Why you can't and why I must, and why I can't and why you must change locations in space" are the whole total of significance; that's significance. It's just a consideration has been added, completely specious and spurious of the point involved - that's the speciousness of the thing; the point involved is simply that something is going to change location in space. All right?

But where you moved a kid around an awful lot in his early years, he loses his fixed anchor point. And he starts to get "all anchor points is random," And you've got to give him something to pin and judge other. anchor points by: Well, he's noticed the mobility of his own body and so he accepts mobility of everything, but the mobility of a body as less so.

Ownership is a matter of "It's here" or "It's there," and "I'm here" or "I'm there." The plainest example of it is "It's here and I'm here!" We've introduced determination into self-determinism. It's almost a dare. Any ownership is a dare: "Take it away. Go on. Go ahead. Go ahead, take it away. Go on. I'm right here. No, I won't do anything. Oh, go on, touch it."

Space opera is terribly aberrative. Nobody knows where the hell he is. There is no fixed anchor point. He goes charging around one end of the galaxy or the other end of the galaxy and so forth. He might get some sentimental attachment to a star. But the darn thing would go out on him the second he gets up toward the speed of light. They change color, they go out, they disappear. He's out of that system. He's into another system. He's around and about. Very, very aberrative. Space Opera you'll find hung up on anybody who pings on an E-Meter about space opera. He's hung up; he's in suspension.

This is deeds of title, car licenses, everything else involved in this. If you touch somebody's automobile it's just - just faintly and you're in a line of traffic or something of the sort and you drift forward slightly, and there's a little tick, about enough maybe to have bent a cigarette slightly, hardly any noise involved - you very often have found somebody getting furious, just furiously angry and being all upset about this, and so on.

I tell you that the nose of a ship and the tail of a ship, which ship is relatively destructible and often is, are darn poor anchor points. And guys who go ashore on a planet, or go into a planet and so forth, very often come back to the ship in a remarkably altered condition if they return at all.

Well, you see, you have almost moved something which he owns, so he has almost had to pay off because of the dare, and he gets all geared up to do this. His large significance on the matter is he mustn't have that thing moved.

So you've got constantly shifting friends - which are other anchor points, if mobile - constantly shifting this and constantly shifting that.. When we get friends down to a point, we find that friends are mobile and we find out that somebody can have a concept of having friends as long as he can have a concept of being able to have an anchor point which is not movable.

Now, the worst possible thing you could do to anybody in a fight is simply move them off the space they're occupying, or move something they own off the space they're occupying. If you want to get even with somebody when you're fighting with him it tells you the way to drive a man utterly berserk - he's thrown his hat down - is simply pick his hat up, you see, and just put it in another location. You don't have to have any emotion with this or anything of the sort, nothing goes into it at all. Just put his hat in another location. And he says, "Don't do that." Why, just dust his hat off, and very carefully - don't throw it down, you see, or anything like that, because that springs him. I mean, he immediately then - it's destruction of property or destruction of a space shape has occurred and this is the trigger, and this is - this is horrible. So all you would do would be to pick up his hat and move it to a slightly different location, very carefully, and the guy would go mad. I mean, he hasn't received enough overt act, ordinarily in this society, to strike, and yet something is being done which he must not permit, and the result is he will talk. That's in essence this.

Soon as all of his anchor points become mobile, undependable, he's moved around and shifted around... It - this is just visio we're talking about. It isn't entering a bunch of symbols into his head or anything, you see. I mean, we're just looking at an anchor point.

Now, artists and writers and things, their pictures, their books, and things like that - they never, when they're early in their careers, they never think of the thing as being theirs - somebody else's; it's just something created; they don't care. They can always create something else; it doesn't matter to them. Can always put something else in a new space.

He's got an anchor point. This anchor point's a small mountain to the south of town. Once in a while when he wants to feel real calm, he's liable to find himself taking a walk down there and sitting down on it. That's right. When he wants to feel real calm about life or wants to go for a walk or think something over, he'll go to the other - sit down on that small mountain.

Later on it becomes very upsetting to see their name in bookstores and books in bookstores, and to have people buying their books, because possessions of theirs are being moved around. They've lost the idea of selling something. And this is aided and abetted by publishers who pay on royalty instead of buying something outright.

Now, because anchor points get so mobile and because he loses anchor points so suddenly and inexplicably - if Papa dies, bang, there goes an anchor point, believe me. He's even lost an anchor point which was a mobile anchor point. Well, that's real bad. Why, everything sort of starts caving in on him from that point on. And so an uncertainty about anything is an uncertainty of an anchor point.

This society would be agreed with if the thing were bought outright and he had no further title to it. But they've got it rigged so that one goes on having titles to things just forever.

Well, if you tie - as we go back to the early part of this lecture - if you tie - if you see knowledge and workability in a certain set of anchor points, let's say a book - Dianetics: Modern Science of Mental Health - and you say, "There is something - there at least is an anchor point." You say, "This has got a lot of - lot of rationalization about anchor points and what happens and I can see some truth in this thing. In other words, I can get some certainty out of this." And you say "There is that anchor point, even though it floats around and keeps appearing, and so forth, this is an interesting anchor point," see? If other people keep hammering and pounding on you hard enough about that anchor point not being an anchor point and it being uncertain and "Well, they don't know," and so forth, of course that anchor point goes by the boards. One of the meanest tricks that thetans do to thetans is take away the stability of the anchor point. Do you see any difference between invalidating a subject and stealing an anchor point? Or moving an anchor point around and painting it a different color?

For instance, I have a motion picture about - I wrote a script and scenario for a producer a few years ago. And the conditions of sale were so many thousand dollars on the delivery of the scenario, and then a percentage of the box office gross from there on. This is very, very grim. One keeps on owning the damn picture, you see? And then he goes past marquees every once in a while and he finds out that it's still playing someplace or another, and then he has to worry about it being up in the projection room and how much the manager of the theater is - and whether the manager of the theater is saying how many pieces came into that particular space, of money you see, and whether or not this goes through to the producer and so forth. Some little scrap of it is his property, you see And other people are pushing it around.

Now, you know there was a terrible howl went up in a small town I know about. There was a beautiful copper dome they had on the state capitol. And the state capitol sat up above the plain. And it was a very beautiful copper dome. Well, it had been there for many years and had gotten rather green, but that was quite the way it should be, patina. And one. day they hired a new janitor for the state capitol. And this guy breaks out a pot of aluminum paint and goes up there on the scaffolding and aluminum-paints the state capitol dome. Honest to Pete, if he'd taken the town's leading citizen and shot him down in his tracks, he probably would have - would have had a little notoriety out of it, anyway. They would have put him in jail. They probably under that guise, because this town is out West, they might have even have given him a medal or been interested or thought the good old days had come back or - there'd been - have been opinion on him - diversified opinion. People would have said, "Well, that number one citizen was a dog in a lot of respects anyway," and they would have argued about it. But boy, as one person, that town said, "He must go."

Well, an artist or a writer who has gotten to this stage of where people have harassed and worried him about payment and about books and so forth, he'll only be upset if he doesn't feel that he would immediately be happy about creating another picture. See, the big difference is - so if people can make him unhappy about creating things, then he'll stop creating; that's the theory people go on. He'll stop filling up space and they can maybe have a chance to fill up space, only they don't. But it's an amusing thing - vested interest.

There were volunteer crews going up there to the to the capitol immediately with brushes and all sorts of ideas as to how you removed aluminum paint.

Well now, everybody has a vested interest in the MEST universe; he's done a certain amount of creation in it. And if he were very factual about it, he would be wanting to know as a personality, individualized to the extent which he is individualized today, exactly what percentage of the MEST universe he created and exactly where these units were. This would be of concern to him. And people are shoving these around all the time.

Well, that man probably hasn't been in that state since. He probably just kept going. Now, there's - thetans will pull this trick. They will often destroy an anchor point so that they can set up as an anchor point. And you will see the evolution of subjects, the evolution of governments and so forth, much more plainly if you see it in that light.

You can get a preclear pretty shocky, by the way, by pointing this out to him and then showing him that people are driving automobiles and some of the particles he created might be in that automobile. See, there's never been a transfer of title and nothing has been routinized. So he has to figure either that he owns it all or to hell with it, he doesn't own any of it. And you'll find these people in this frame of mind mostly about just the MEST universe in general. Its space - what part of its space did he create, and what part of it doesn't he own, and so on. And he's real messed up about the whole thing.

Hitler comes along and bombs some of the main areas in Europe. And then he sets himself - in the form of symbols of soldiers - up as a different anchor point. It's almost workable. But the trouble is, he never set up anchor points bigger than the anchor points he destroyed.

And loss, of course, then takes place anytime anybody loses anything. See, he's a co-loser. The building burns down; well, that might have been some of his particles too, so he's a co-loser. So you get to a large degree the terrific absorption of interest in the destruction of things which people demonstrate.

You know, all he would have had to have done, actually - this really isn't much of a trick - if he blew down a cathedral, why, he should have been in there with a bigger cathedral. And although people would have hated the guts out of that new cathedral, he should have made it good enough and big enough so that nobody could have knocked it over easily.

All right. Ownership being "It's here and I'm here."

And they would have tried to have knocked it over or bombed it over or done something to that big cathedral but they wouldn't have been able to do it. And at the moment they weren't able to do that, they would have - accepted German rule throughout Europe - if that had happened here and there throughout Europe. German rule would have been accepted.

Now, protection is "I'm there." It's not so much "I'm here" as it is "I'm there." Protection, "I'm here," is perfectly good but then that's ownership and that's utterly defensible; one can see that there's a possibility of defending.

But he never put back anything but somebody walking around in a pair of tight pants and a tunic. People didn't appreciate these fellows. They shot them wholesale. See? He took out anchor points.

But protection - on the connotation which we'll use it here, since the word has too wide a latitude to mean anything very specific - protection would mean "Now that object over there is mine," or "That object over there is under my guard." You see, "I'm not there, but it's there. And as soon as it's there, why then, if you start to move that, then I will have to do something to you," and we get retribution. We get retribution after the fact because one is not there on the ground.

If I were going to do anything to a country, to take over a country, or if I were actually terribly serious about overthrowing a regime, even in the field of psychotherapy, believe me, I would never putter around the edges and merely try to teach people the truth of the matter. I'd just simply use this very formula. I'd put in the biggest goddamn sanitarium you ever saw sitting in the middle of everything, see? Oh, big, huge anchor point sitting down and then I would claim that that anchor point was all of psychotherapy and had been put up by psychotherapy, see?

Did you ever try to protect a preclear while he was on the couch? Noise, sudden noise occurs which is liable to be very upsetting to the preclear, and you're there immediately - pam! - to keep the noise from hitting the preclear, see. You put out some kind of a beam to arrest this or something of the sort. Real weird to do that, because you can't protect the preclear from being hit by the noise.

People way off in the far distance could have been saying, "But-but-but-but-ooh-uh, there's nobody there!" (This is a psychiatrist.) “We're the psychiatrists, out here - I mean, and we have this sanitarium and that sanitarium and we have a big association." Nobody would have believed them. And if you actually had gone in to - for a kill on the subject of that, you really would have - preferably something with tall towers, you know, so it's got altitude and something that looked awfully solid. Tall towers that nothing could have disturbed. You could have run into them with an atom bomb and they still would have been there. See?

And I've run auditors and just have run that fact out of the case all by itself as an isolated fact, and we got into protection.

I've forgotten who it was, I think it was Praxiteles, no less, that offered - but I may be wrong about this but I read it in a book one time which was not of very good repute. But I've since heard an echo of it in - read an echo in other hooks on history - but somebody offered for some fantastic. sum like 10,000 talents, to cut a statue of Alexander the Great out of a mountain in Macedonia. Ten thousand talents, and a talent is about a million dollars or something on that order. I don't know what a talent was, it was somewhere in there. And this huge memorial, tremendous memorial. And everybody thought that was too conceited and Alexander shouldn't do that and he didn't. And as a matter of fact, for almost a thousand, fifteen hundred years it was firmly considered in Europe that Alexander was only a myth. Yet the man left a town called Alexandria. Why that town wasn't big enough - Caesar burned down his library and the anchor points. But, you know, the Pharo - the Pharos, in the harbor there - the big lighthouse - well, believe me, in most languages in the world a lighthouse is one of those things. People really know that anchor point.

The effort to protect when one is not present is the effort of protection which is aberrative. Spaceship is about to hit a planet, and you decide it better not hit the planet; you might have some of your anchor points in it or something. So you put out a beam or something to keep from hitting the planet. Of course, it hit the planet an hour ago, and your beam is intercepting into the facsimile; that is to say, the space-particle pattern which arrived at you is not the space-particle pattern. So we're into the problem of present time.

You get - most books concern themselves with the Seven Wonders of the World. These were anchor points. If you understand them as anchor points, you can see the thirst for an anchor point. And this is the thirst for solidity. And the second a fellow gets himself confused with being an anchor point, he gets himself confused with having to be solid and tries, immediately, to start throwing out all space in order to achieve enough solidity so that he will be an anchor point for a lot of viewpoints.

So protection is nearly always after the fact and people are engaged almost always entirely in locking the door after the horse is gone. It's almost a hundred percent operation.

Well, how does this come about? How does he go into this starting to be an anchor point? Very easily. All anchor points become unstable for him. He loses his stable anchor points so that he only has one anchor point left - his body.

You won't find a government will take a single preventive measure on Earth today unless it can be demonstrated that thousands or millions of casualties or losses of some sort have occurred through them not doing it. Protection is after the fact.

Then he'll try to make that body solid because he hasn't got any anchor points. Savvy? You can see people doing this.

When you realize that protection is after the fact, you see that the act of protecting, as it's past, then confirms one into the past instead of the present.

Well, he can't look at that body because he's setting it up to be looked at. And so we get the thirst for people in yanking in facsimiles for solidity, for all of this. It's an actual thirst; it's a craving to be solid. And you come along as an auditor and start to run space on this fellow. What's he trying to do? He's trying to be solid. Why? He hasn't got any anchor points. Where's his certainty? Gone. Where is he? How the hell does he know? He can't see his body and he has no fixed anchor points.

The effort to protect puts the preclear in the past because of this MEST universe lag in communication. And you'll find out that the people have gone down most solidly into the past in failures to protect. We'll go into that more on space.

Now, if you were to go into a local area, a small town - a small town of Bimburg - and you were to find some of the older citizens of Bimburg, you would find out that they would step out of their heads - bang! Why? Well, there's a mountain on the north side of town and there's a couple of silos on the south side of town that have been there since hell froze over. And it's all real ancient. Nobody has done anything to the graveyard there. In other words, it's literally sprinkled with old, solid anchor points.

Now, a protection failure could be qualified as "I was not there." Whenever a person is thinking "I wasn't there, and I should have been there" you've got a protection failure.

Now, it doesn't matter how many new anchor points got put in the area as long as they don't completely overawe the old anchor points. That is, are they - they must be bigger or more solid. So in Bimburg they theta clear easily.

And you'll have some little kid, Papa is dead, and he should have been there because Papa died, and therefore, it's his responsibility. His responsibility for Papa's death is his blame. He should have been there and wasn't there so therefore, he is to blame for. See, he's to blame for Papa's death. Simple.

But let's take the plains town - just take the plains town of Wichita. Very changing, industrialism hit it recently, boosts on this fact is - it's the biggest growing town. Ha-ha. There isn't an anchor point anywhere around there.

Now, hiding: "It's not there, but it is there", and so you get hiding as a maybe. See, a fellow says, "It's not there," but he has put it somewhere. So you're onto a maybe. So things that are hidden go riding forward on the time track. It's most likely that you'll find hidden things in present time rather than - the preclear has - rather than things which you can see. And so we find this to be the case. Seeing somebody else's ridges is quite a trick; he's hidden them.

The river that goes through there customarily and continually flops out of its banks - it won't even stay put as an anchor point. It's mobile. Everything's mobile. Bridges, they're mobile - poom. They go out in floods. The buildings that are there; there are some old buildings in town but they've been completely dwarfed by new buildings.

You see, a hidden thing is more likely to be riding a maybe than otherwise, because it's basically a lie; he says - he says, "I haven't got anything here," and he's got something. "I didn't put anything under the bed"; he's put something under the bed. And that's what hiding is, is: It's there, but it's not there, or it's here but it's not here. Overtly, "It's not here." Actually, "It's here."

No old settler can go around and put his finger on anything in Wichita to amount to anything. Why? It's on a flat plain and the only thing there that's remarkable is that river And it, as I say, is not a stable point.

This gives everybody a sneaky feeling sooner or later in processing, and that is exactly what that sneaky feeling is: he's sure he's hiding something. The auditor is always sure the preclear is hiding something. And it's both true; he is hiding something and so forth. But the consequence or significance of his hiding something is utterly nonsense. There is no significance to what he's hiding. Nobody is going to steal his facsimiles if he brings them into view. A person will get this sudden lurch feeling in his stomach "My God! The auditor's liable to locate me!" See, he's even hidden himself. It's just "Whoo! That's bad." Technique which I'll give this morning which does self-location and so forth is - generally gives people that feeling.

Well, you're not going to do much - do much easy clearing in Wichita. They're stuck. Everybody is trying to get as solid as possible and the town is trying to pull in as many inhabitants as possible and get as solid as possible, and everything is trying to get as solid as possible from all directions. Sure, they'll acquire anything new so they can be more solid. Now, you're going to theta clear somebody or you're going to do something easily in Wichita - that doesn't have any anchor points? Oh no, you're not.

Then, something being discovered which you have hidden resulting in the loss of the thing - well, this combination of stuff is guilt. You said it wasn't there, but it is there, and then they found out it was there, but it wasn't there, then you've been caught in a lie. In other words, you've been caught nowhere.

You want to really clear somebody, you go on out to -oh, I'll tell you where they clear pretty easily is Phoenix. The people around Phoenix clear pretty easily. They've got the Camelback. Boy, that's a big anchor point. But there's one thing wrong with Phoenix. It's all new settlers. See, I mean, people come in there who've already lost their anchor points and now they're trying to put down new anchor points. But it's a good place to because there are several big bumps on the plain around there and there are several things that are apparently unalterable.

Male voice: Shame in there?

I learned this, by the way - an actual test in Europe, on the plains of France where anchor points have just been knocked to glory, and so on. You have a confused condition. People are confused.

Shame is a little bit different - shame and degradation. They're going in here a little bit later. Now, let's get into something really important in this, something that you've been batting around with for a long time. Something we talked about yesterday in terms of certainty, now we'll talk about it in other terms.

And up in the mountains of Spain, although they're kind of hostile and kind of suspicious and awful damned independent, nobody's moved those mountains around and nobody's moved the population around for the longest time. And you say, "Be three feet in back of your head." The fellow says, "Okay." He's eighty years old, he says, "Okay."

What is reality? Well, let's find out what reality is by finding out what unreality is. We find out reality is "I'm here and it's here." That's reality. Or "It's there and I'm here" - reality. Now, unreality - what is this unreality that things kind of fade out and you get the sensation of having lost something and so forth? Unreality is "I'm not here, and it's not here or there." That's unreality. It's the effort to withdraw. It's the "I'm not here" with that effort to withdraw.

"Why don't you fix up the body?"

Now, what's happened is, is the fellow just about was ready to hit a brick wall, and just an instant before he hit the brick wall he said "Ha! Ha! I'm not here." That damned brick wall hit him anyhow. See, his postulate didn't work. And the MEST universe or somebody else got him.

"Why?"

So, his postulate was invalidated, and that is unreality. So that any time in the future something invalidates a postulate - in other words won't let it remain in that space (the thought) - he is up against it; he's pam just on this.

"Well, don't you have any aches and pains from it?"

Somebody says, "Oh, that - that's really - that's really not so, is it?” And he gets a feeling of unreality. Well, it's basic; the basic engram on that is he was about to hit something, he says, "I'm not here" and boom! A heck of an invalidation. "Those anchor points are going to stay at that distance" was the first thing he said; and then that failed - And then he says, "I'm not here at all," and then he got hit; and there were anchor points. Well, that was anchor points with an emphasis he didn't want. And this is certainty on the MEST level.

"Yeah, once in a while."

Certainty is that which is added to convince a fellow he's there by hitting him with anchor points. See. That's external certainty; that's certainty by impact. You want to know why an impact does deliver a feeling of certainty to an individual, it's simply that it confirms his presence in terms of sensation. And it immediately afterwards restimulates "I'm not here." See?

"Well, fix them up."

The best way to be present is just simply to have some anchor points, not be hit or pounded around. But it's the mest - it's other-determinism. This certainty by impact is other-determinism determining one's position. Certainty by impact is other-determinism; that's what's wrong with it, and it, of course, always winds up in somebody else locating space for you. Somebody else locates space for you, why, that's other-determinism and that does not enhance one's self-determinism.

"Why?"

A psychiatrist trying to give a person an electric shock is simply delivering him an impact rather - that says to him "You're here."

"Well, go ahead. Fix them up."

Of course, they spoil the whole thing. If they just simply would take the guy and hit him with a zap gun and the fellow could suddenly look at that beam and look at the room, boy, he would get an illumination the like of which he never heard of, see. I mean, he'd be sane right away. They ought to try this sometime just as a change. But, unfortunately, they are too decadent to do this and they are liable to get sick at their stomach doing this because they'd see all the pain. So, they anesthese somebody and make him unconscious before they give him the electric shock and that, of course, puts him nowhere. This is a confirmed nowhere then and is the most - easily the most aberrative thing you could do to an individual. This is an engram.

"Well, all right. Yeah, I can see better." Completely unconcerned.

We haven't forgotten Book One - but this is why an engram is particularly rough; it just goes on that basis. And it goes on the basis of "I'm not" - the fellow is already "I'm not here;" see? And then you fix him up so he doesn't know where he is; he's in a complete fog; his consciousness goes because you've ripped off all of his anchor points and put them all out of control. And then, while he's in that condition, you suddenly wake him up into a one-sixteenth consciousness, or daze, by the administration of a terrific impact or a pain, and of course, this tells him he's somewhere. This impact or pain says, "Well, he must be somewhere," but it doesn't give him any present time anchor points.

But if you were to walk in there with a big bulldozer and say you were going to take down one of those mountains, "Ahhh, no, no, no you won't. Uh-uh."

The way not to give an electric shock - and let's be very psychiatric about it - the way to - not to give an electric shock is to anesthese somebody first. But the psychiatrist, being a sniveling coward (to be polite about it), wouldn't dare give anybody an electric shock without giving them some anesthesia first. But they've got to give an other-determinism present, if they just cut down the volume of the shock and omitted the anesthesia - but then that heads under the heading of cruelty. That would tell the fellow where he was, and that's cruelty, see, to such a person, because that person doesn't want to be there, and yet you insist he's there and you give him enough impact to show him that he is there; bring anchor points in on him quick enough. All right, you see how this is?

Those MEST anchor points are much more important to these people than they are as bodies important.

You see how psychiatry is invalidating itself and its own treatment; this is why an electric shock never does a patient any good.

Mountain people have a tendency to be lanky, thin. Plains people have a tendency to be fat. It's a difference between pulling in the anchor point. It's how many anchor points has this fellow had and how much have they been disturbed.

If they would give instead of 110 volt AC straight out of the outlet plug, which is what an electric shock is today - built up logarithmically - that's all it is. Oh, they have great big machines and so forth, but if you looked into them, their electronic components are simply a light cord. You'd give anybody an electric shock just by taking apart one of these plugs; you know, take an extension cord, set it into the wall outlet, and just fray the two ends off of the - unplug it out from the wall before you do this - and take the plug off as it goes into the lamp, you see, or take the end plug off the extension cord; now you've got two bare wires. Now plug the plug you unplugged back into the outlet, you've got two live wires, and you just simply touch the two live wires to either side of his temple.

Now, so you'd better clear up the situation about anchor points with the preclear so that you can find where he is. You'll find out that most of the preclears you ask won't know where they're not, much less where they are.

Well, because the - because the area is too small for the amount of shock involved, it'll burn him; he'll get a little burn on it probably, so the thing to do is to give him some jelly or something over the area to spread the area of impact, you see, a little bit; and it's more, then, like a blow. And then you would simply take these two probe - these two ends of the electric wires straight out of the outlet, you see, and just touch the fellow to either side of the temple and he would have had an electric shock administered to him.

All right. The gradient scale of certainty is any place You can find him certain of anything, of course. Survive, the dynamics, thought, emotion, effort. And you can start in on some of the most idiotic certainties in order to get a high-grade certainty.

That's all; it's a much more therapeutic electric shock, by the way, because there's been no hocus-pocus involved in it and there's no unconsciousness in it. This would really say, "Bud, you certainly are on either - there's two anchor points for you you're not going to escape easily." This is what it amounts to.

You can say, "Move that desk." Fellow does. You say, "Did you apply any effort to move it?"

Why anybody needs a machine to do this is a little bit puzzling, except, I suppose, it just adds more necromancy. It's something like witches have to have pots to boil things in so they can make potions and incantations before they simply hit the fellow over the head with chioral hydrate and give him the implant quick.

"I sure did."

Now, the sound of the voice, the impact, the cuff in the cheek, the cut, the slash, while the person is unconscious, tells him he is somewhere without any co-related anchor points.

He's certain he has effort.

So, he's got sitting all by itself out there in the middle of the ocean, you might say - the ocean of nothingness - he's got five or six anchor points. Well, they must be valuable because they had impact with them, and somebody else wanted him to have them. This is certain. This is one thing a fellow is always certain about a bad engram: somebody wanted him to have it; he didn't want them. But somewhere in this mass of unconsciousness, uncorelated with any other anchor points, he's got some anchor points. And so these things will drift on the time track. See, they are - don't tie down in any particular time.

"All right, now, let's feel the end of your nose with your hand. Feel that?"

Why does "Remember something real" and so forth, why does this start snapping a patient up line? Well, it's very simple, he's just not adrift, then, because he's tied down location.

These are funny things. Nobody ever asked him to do this sort of thing before.

Now, you can actually straightwire out an engram one way or the other just by making the fellow locate it. If you were to simply take the fellow and cuff him around and ask him the question several times, "Well, all right, now you keep saying that operation is in restimulation. Now, goddamn it, were you out of the operating room at any time? Now, come on! Were you out of the operating room at any time?"

"Now," you say, "now look at something."

Fellow would finally break down on your new impacts and say, "No No I had the sensation once, I remember kind of like a dream of standing on the other side of the room looking at them butcher up my body."

Well, of course, if he's looking through the body at something, his level of certainty on it is the same as the body's level of certainty on it. Maybe a little less so. But if you just say, "Look out of your head, now, and see if you can locate any parts of the room," very often the fellow will do so without any business or monkey business about being back of his head or anything else. You just say, "Take a - close your eyes and take a look at the room." A lot of guys just will. There isn't any reason why he couldn't see his room,

"Well, you didn't leave the room though?"

All right. So we - we've got then another band that you've been neglecting to some degree. He can be certain of what he feels when he can't see. Well, let's make a test of that.

Or he'd finally say, "Yes! I did. I went into an 'in pawns' area. Yeah, I - I'll admit that now. But there was all of that - drifty anchor points there, and there was somebody else someplace else and out of this confusion I couldn't orient myself for that period of time."

From inside your head, look at the end of your nose. Can you see it? Well, let's feel it. Can you feel it? There you are.

"Well, where was your body at the time?"

Give you any idea of certainty that it's there?

"It was in the operating room."

Male voice: I already knew.

"Did anybody remove your body from the operating room?"

Huh?

"Well, they must have taken it down the hall and put it in bed."

Male voice: I already knew it was there.

"Well, did they take it anyplace else?"

Yeah, sure, you already knew it was there. Well, let's just find out something else. What don't you know in your body is there?

"No, I'm sure that they didn't take it anyplace else."

Male voice: Mm...

"All right. Well then, what about this operation?"

Well, let's assess your body.

Well, you could actually jammer and yap at a person around like that, and beat him around until you actually got him more stirred up about putting some anchor points into the area, and you would have, in effect, settled either your determinism of where the engram belonged or his.

Male voice: Some internal gland maybe.

I've seen auditors do this in desperation by the way; practically get the feeling after a while that they'd just like to throttle this preclear. That's because the preclear won't put the engram anyplace, because it, of course, doesn't belong anyplace.

What internal gland don't you think is there?

Now, get this as unreality: "I'm not here." Now of course, unreality is no perception, which is "I'm and it's not here." "I'm not here; it's not here. Nah, there's nothing here! Ha-ha!" And that's the basic on unconsciousness: "I'm not here; it's not here." That's a complete scattering confusion and disorientation.

Male voice: Well, I expect it is but I can't say with certainty.

People hope for unconsciousness sometimes just because they get so worn out trying to place anchor points. They know they can't place them anyplace, so let's just be in nowhere and that's the end of it.

And which is it?

Now, anxiety is, is "I'm supposed to be there." He's not, of course; it's just "I'm supposed to be there." Some fellow who was accustomed to being audience gets on a stage. Some fellow who was accustomed to being stage is audience. In either case, they will feel anxiety. One will feel anxiety for the audience, "What are they thinking? What are they saying?" and so forth. Fellow who is on the stage is not accustomed to being on the stage, he gets very anxious about the audience because he's not there, see; he's on the stage. And people in the audience will just very often - some poor actor or something who keeps dropping the teapot in the play, or whose hand is shaking s-s-so badly when he tries to utter his lines, and people in the audience will just agonize! They just watch this fellow and they just go batty, you see. And that's all there is, just "I'm supposed to be there." See, it has to be based on the idea they're supposed to be on the stage and they're not on the stage, and then they see something going wrong on the stage, and they feel, "Gee, you know, that'd be me." They get an association of location, so you get an anxiety and that's why anxiety and stage fright go together so easily.

Male voice: Oh, I'd say the liver.

Now, this business of shame and degradation is where a fellow has said, with great confidence, "I'm not here," and then the brick wall hit him. And you get the emotion of shame. Shame is "postulate didn't work." And real degradation is "It didn't work and it's not worked and they haven't worked for the longest time." See, it's just a continuation of shame, shame, shame, shame, shame and then you get degradation.

The liver.

And there's sudden impact of - the fellow is carrying - carrying the - well, this fellow's carrying the jewels of the czar of Russia and also has in his keeping the czar's mistress. And he's a very faithful and loyal courier and he is delivering same to the czar in - all in good order. And he's been entrusted and brought up all his life, you see, to have this take place, that he should be entrusted with such things. And as he's driving down the road or something like that, why, the revolutionists hit him, slay mistress, jewels and everything else with a terrific bombardment of bullets, or he goes over the cliff and hits something with a crush and he doesn't have these jewels or the mistress anymore. He's hit an impact and he was not supposed to be there at the moment of impact, you see? He just wasn't supposed to be there, that's all.

Male voice: Yeah.

In other words, the resulting - you just keep mounting it up. These things which he has are supposed to be someplace else, they are with him, he has this under protection - in other words, he's supposed to be here with these things - and all of a sudden, why, pam! he gets this terrific reason why he's not supposed to be there. If he were walking down the road all by himself, he had nothing in trust but a body, and he felt he could get other bodies and so forth, and he were hit in the face with a cannonball, why he wouldn't feel degraded particularly by it.

You can't be sure the liver is there? Let's feel the liver. Where is it?

But it would be other people's determination of location, and other people's determining that he ought to be there, and then he ought to have these things there, and then he can't have these things there, and he is made to desert all these things, then you get, by this complexity of spaces deserted, degradation,

Male voice: Supposed to be right around in here somewhere.

And if you get - just in spaces deserted, valuable spaces deserted, you got degradation. And you just do a series of mock-ups of the fellow running away from various spaces, various valuable - first, just various spaces, then from various valuable spaces and just keep running away from these various spaces, and on and on and on, and all of a sudden, boy, the feelings of degradation would turn up to a point where, as a preclear, you'd almost throw up. And that would probably run out and get him loosened up on the track. All right?

Well, it's supposed to be. Where isn't it?

Interpersonal relations, on this positional matter, would be "want and don't want others to be here," in most cases. Want to be here, and don't want others to be here - just this interlocation, interrelationship of places, see? And where interpersonal relationships are bad you get into "want and don't want others to be here." That's about all the guy can hold on to finally, and most people down on the street are in that situation - don't want others to be here; they don't want them too close up, and they - so on.

Male voice: Well, it isn't where it isn't.

And they get to a point finally where others aren't here. Guys can talk at them and yap at them and so forth, and no respondo. Interpersonal relationships are perfectly easy to manage upscale where everybody has a certain degree of determinism and no great anxiety about space. The second they get anxious about space they just tip on over into this: Spaces are too valuable and they can't desert them or come back to them.

All right. Where isn't it?

Now orders and commands are "Must - must not be here or there" for people and objects. And control: "Other things must be in consecutive places." Control is consecutive places, assignment of consecutive places. And let's go back and look at this all in terms of space now.

Male voice: Well, it's not in the chest.

Determinism is the establishment of space, whether creation or simply taking over something else's anchor points; that's determirnsm.

All right. Where else isn't it?

And determination is an assignment of space; "That's your space, and that's my space and that's somebody else's space;" and so forth, which immediately bars out uses of space. Denial in uses of space is the lower scale of determination, and it'll follow all through on "I will be and won't be;" and so on.

Male voice: Stomach.

Loss is just the failure to assign space.

Where else?

Ownership is the fixation of space.

Male voice: Head, shoulders, feet, hands.

Protection is the shielding of space - fixed shielding of fixed space.

You know that?

You can also protect something in motion, but then each time you have to have a new fixation of shielding; that's force screens. You want to know what you're dealing with with force screens: you're dealing with the shielding of a space so nothing else can get into it. You've immediately gotten randomity mixed up into this.

Male voice: Can eliminate all that.

And we have, there, protection and randomity right together. You have to select out something to protect, which means that you have to have selected out something evil or destructive, or otherness. You have to have found an otherness about existence before you can have randomity.

All right. Let's eliminate it. All right, where else isn't it?

Now, the best way to get some randomity going is to start selecting othernesses, because it's very apparent that in order to have some action you've got to have a villain. See? There's got to be an other beingness who is not doing the assignment of space correctly and you're going to assign the space correctly. Just any kind of interaction like this, and you get randomity. And that's what randomity is. And that makes motion.

Male voice: About all there is left is where it's supposed to be.

Motion is something determining the courses of things. Something has to start reversing courses of things and changing courses of things before you get motion. Everything would be a static if that didn't happen. See how that is? Everything would be a static unless something had come along and had determined a - first thing it does is determine a change of fixation; and that's what life is best at.

No kidding? Well let's be above it. Let's feel around above it.

Life comes along and finds all these anchor points in the shape of a star, and life at first says, "Isn't that interesting, everything is in the shape of a star," and looks at it for a little while, and says, "Well, I've looked this long. Now I think it ought to be in the shape of a diamond," and simply reaches over and fixes this thing, which it had not - has not had any contact with formerly, into a diamond, and you get motion. Otherwise, the star would simply stay there without a determinism being exerted against making it into something else besides a star. Well, that's what life is best at - is shifting it around.

Male voice: I haven't got any facsimiles to compare it with.

That is not an aberrated impulse. Life just does this; it gets no interest, no motion, no livingness or anything else unless it starts shifting things around.

Huh?

You get somebody doing something who has a very high velocity or something of the sort, and he won't be able to stand it unless he shifts something around.

Male voice: I said I haven't got any facsimiles to compare it.

You get some truck driver, you look in a plant - here's a big plant and they've got a big lot of trucks there, you know. And they're high-speed drivers, they're boys who are really doing a good job, they are not the boys who break the speed laws. They break the speed laws, but nobody could probably catch and wouldn't anyway. The guys who are really traveling fast - you know, I mean they're in high motion like we were talking about in the last lecture yesterday; speed - their velocity is way up, so forth.

Compare it with the ashtray out there and from inside your head reach out and feel the ashtray.

They look around the place and they'll see the trucks are parked in there, and all of a sudden it will irk them that a couple of trucks are parked a little bit out of line; they go and jump in the trucks and square them around and park them in the proper alignment order. Or the trucks are just too desperately well aligned. They see them like that every night, so they'll park their truck a little bit haywire, just a little bit kitty-cornered. Anything to change their - change position, and that way you get motion.

Now feel where your liver's supposed to be.

And if you don't get shift of anchor points, you don't get any randomity.

Now feel the ashtray.

An automaticity is where no one has - wants to shift anchor points anymore, and so they set them up so the anchor points will shift themselves. And after you've got it so anchor points shift themselves, you're all set; nobody is keeping track of them. That's no responsibility; nobody is keeping track of them, nobody is looking at them, nobody is shifting them. It's just sort of going on that anybody - any time anybody glances over that way, you get a change of pattern.

Now feel where your nose is.

And any time you get one of these sudden changes of pattern, you've got a picnic on your hands because nobody can tell which way it's going to go now because nobody was determining it before somebody looked at it.

Now feel the ashtray.

So, it was all set up to line up all the trucks. The trucks were simply left on the ramp and then this automatic machine was supposed to grab all the trucks quickly and suddenly and take them all in and line them all up in their proper stalls or parking places underneath the plant. There was a machine there that did that. They set it all up and the little hook would come up through the floor, you see, and hook on to the front axle and every truck would get its proper hook and they'd all go into place.

Feel where your nose is.

And then one day, a bar breaks or something of the sort, see, and nobody has noticed this either. Nobody is looking at the thing. And the lever goes down, the sun goes down, and as the sun goes down it establishes a certain degree of light on a photometer and this turns on the machine and it parks all the trucks.

Feel the ashtray.

Well, it has to assume that every driver is in by this time. Well, there's a little bar broken and quite in addition to that, somebody else didn't deliver his truck in that night, so there's a space empty. And they come back the next morning and all the trucks are wrecked.

Feel where your nose is.

And somebody says, "Who's responsible for this?" And of course, they can't fix any responsibility for it because the maintenance man, well, they forgot about it, but he was fired a long time ago; there's been no maintenance man for the rig. Well, the sun is responsible; it went down too late or too early or something of the sort. Or the fellow that didn't deliver his truck in - well, he's responsible. Well, he couldn't be responsible because his truck broke down. Well, why did his truck break down? He's responsible for that, then. No, what's responsible for that is management; management is responsible for that because after the maintenance man quit on the trucks, and so forth, and on the machinery, why, they didn't hire another one. And yes, they did hire another one; they sent orders to the foreman and the personnel department to hire another one, and as a matter of fact this is true, but when the fellow reported the machine which stamps all of the cards that hire and fire and so on, it stamped it in the wrong slot which said this person was merely supposed to clean up the place; he wasn't supposed to maintain it. So there was a machine failure there; well, that goes back to the maintenance man, but there was no maintenance man hired.

Feel your knee.

Who's responsible? And then we just start playing this game, you see, this fantastic game "Who's responsible?" And that all comes out from somebody having set up some automaticity. This thing will now assign spaces without any livingness supervising it. This will now assign spaces.

Feel where your nose is.

That always happens on any piece of automaticity. And there's one thing you can be absolutely sure of about automaticity: It's going to go haywire. It's going to break down. This is certain.

Feel your knee.

Some fellow - in a science fiction story one time - wrote a story about a civilization which was composed of machines but then there were repair machines which repaired the machines which broke down and got them back into order. And then there were machines which kept in order the machines which kept in order. And then the original machines that were being repaired and being kept in order, of course, their primary task was to keep the third echelon of repair machines going. So you had a circular society.

Feel your nose.

Looked awfully well on paper until I pointed out to him that this was all very well, but what would happen if a meteorite had struck the planet? Then you wouldn't get perpetuation forever of these machines. He had omitted this in the story; so in the rewrite of the story he put in that there was maintaining a force screen around the planet so no meteorite could hit it. Real silly.

Feel your knee.

To double-terminal the concept "setting up something so it will keep on going by itself" will very often produce a fantastic amount of action for the preclear; I mean, he'll get a lot of energy charges going in all directions, because that's all he's doing with automaticity; he's setting up something so it'll require no further action. That, in essence, is what happened to the MEST universe; it all got set up automatically. Now there's nobody hiring a maintenance man and we've got that sort of a problem in the thing.

Feel the ashtray.

Well, hiding is a denial of space, and when you have a person who is hiding something, he has some space but he's denying that he has space. Now, after he's hidden his first object, from there on he is denying space; first moment he hid something he's denying space. And you ought to add this to your list of things to be run in the MEST universe - the first place he hid something. He denied perception, he denied space the second he did that.

Feel your nose.

All right. Hiding self: When you've hidden yourself completely - when a fellow is completely hidden as a - as a thetan, boy, he doesn't have any space to the amount of space he could have at all, so he doesn't have any anchor points.

Feel the seat of your pants.

And now unreality (covering this in terms of space still): different space in the same space. Unreality is a different space in the same space. The fellow said, "I'm on the moon," and then the brick wall hit him. He said, "I'm not here;" you see. "I'm on the moon;" he said, and the brick wall hit him. He was right there on Earth; he was about to hit a brick wall and he said, "I'm on the moon." Bam! - brick wall hit him. Well, he got to the moon, but his lines energized and brought him back to before the brick wall.

Feel your knee.

You'll find a split instant of "I'm not here" and of the fellow being someplace else, and he'll get hung up being someplace else. So he's carrying - been carrying ever since, moon space; every time he saw a brick wall, he knew he was standing in moon space.

Feel the ashtray.

And by the way, it's not not hidden; that's not hard to locate on a case. When he said, "I'm not here;" where was he? And he generally said he was someplace, early on the track.

Feel your nose.

Now, let's recover the first space - on the MEST track, again on this same list - let's recover the first space where he coincided two spaces; that's what he did, you see. Unreality is a lot of spaces coincided one with another. Tremendous number of spaces eventually get stacked up with a fellow. And now it's real? Well, boy, he's not - he's not here in each one of these spaces. It would he perfectly all right to coincide space, but where you have the fact that it's not the space you get in bad shape.

Feel the two back corners of the room.

Well, no perception is no space, and anxiety is other space - always other space; it's just that - other space; he's supposed to be elsewhere other space. So he gets into the idea after a while that he has to be in other space, so then he, to settle his problem, he says, "All right;" he says, "I am in other space"; and he's done; he's not in other space because he has gotten an "I'm right here" keyed in the moment he did that. Nice little problems that mount up on people and which cause this thing called aberration.

I didn't say look at them, now. I said feel them.

Now, what's time? What's time? Time is "I'm not here." Anybody who is having trouble with time is also running "I'm not here." Anybody Who's running "I'm not here," or coincided spaces, is having trouble with time. Time is the single aberrative factor Why? It's "I'm not here."

Male voice: I heard you.

And do you realize this stuff, to keep on going, has to be saying - this MEST stuff has to be saying all the time "I'm not here. I'm not here. I'm not. here. I'm not here. I'm not here?" Huh? Has to be saying at the same time, interlarded with that, "I'm here. I'm not here. I'm here. I'm not here. I'm here. I'm not here. I'm here. I'm not here."

Feel your nose. Feel the two back corners of the room. Feel your nose. Feel your nose?

A fellow, to keep track of it, then has to at least locate the I-am-heres; he at least has to locate that. "I'm not here. I am here. I'm not here. I am here. I'm not here." Follow that? Time is consecutively on the track, the fellow is saying - is all the time he's saying, "I'm not here. I'm not here. I'm not here."

Male voice: Sure.

All right, remember when we talked about the motorcycle? Was the motorcycle taking the guy down the road, or was the guy taking the motorcycle down the road? Well, there's two postulates in time as far as this MEST is concerned: It's here and then it immediately has to be not here; it's here, not here.

Tell me when you do.

All right, the person - this is just a matter of consideration. Believe me, it's just a matter of consideration, no matter how much proof goes with it. It's fantastic that it is, but there isn't any energy has to change hands, there's - none of the effort has to take place to change this consideration.

Feel the two back corners of the room. You...

And you think and possibly you are looking at a point on a case where you could simply go bip! and the fellow would be Clear. It's whether or not he considers himself in tune with the I'm-not-here of time, or whether he's in tune with the I-am-here of time.

Male voice: Feel at them.

That's why holding the two back corners of the room produces such a fantastic result on a case. It does; it's fantastic. Because you're making him run - see, you're making him stop running "I'm not here. I'm not here. I'm not here." And making him start running "I am here. I am here. I am here." You've just changed his consideration.

Feel at them. Okay. Feel your nose.

And where you forcefully changed his consideration to "I am here. I am here. I am here. I am here," why, you're starting to key out the I'm-not-heres, I'm-not-heres, I'm-not-heres, I'm-not-heres, so the guy gets located after a while. And if you just keep that up for the preclear he'll be fully located before you get through.

Male voice: Yeah.

That's idiotically simple, isn't it? It's whether or not one takes the motorcycle down the road, and the motorcycle takes one down the road. It's whether one thinks the molecules of a space-there are those anchor points - are saying "I'm not here" or whether one thinks they're saying "I am here." These molecules are saying two things: they're saying, "I am here; I'm not here. I am here; I'm not here. I am here; I'm not here. I am here; I'm not here. I am here; I'm not here." If they weren't saying it you wouldn't get any progress on the time track.

Feel the rim, back rim of your chair where it isn't touching your body.

A fellow has to say, to go forward in time, there has to be this thing, and this is the base of the automatic machine which makes time. He's saying, "All right, I am in this instant; I'm not in this instant. I am in this instant. I am not in this instant. I'm in this instant; I am not in this instant. I'm in this instant; I am not in this instant. I'm in this instant." Has to be saying that all the time and it depends on how fast he can say this how much time he has. This is fantastic! I mean, it's one of those idiotic things.

Feel your nose.

Now, you have somebody who's having a rough time of it, simply hold the concept all through the MEST objects which he can locate all around him, "I'm not here." I don't advise you to do this; this is making him resist the universe. It's just a test; just have him locate this concept all through these objects: "I'm not here."

Feel the back rim of the chair just back of your body.

All right, now do that, do that, all of you. You get this stuff all saying "I'm not here."

Feel your nose.

Now get yourself saying now, "I'm not here."

Feel the ashtray.

It's a lie on some of these cases - it's a lie! But of course, you've hit your first one on hiding because there isn't a thetan present who isn't hiding.

Feel the back rim of the chair.

All right, let's hit the other one now; let's get in all the surrounding space around you, this stuff saying just repetitively pam! pam! pam! pam! pam! "I am here. I am here. I am here. I am here. I am here." Now get yourself saying, right where you are "I am here. I am here. I am here. I am here." All right, now get yourself saying, suddenly, "I'm not here; I am here."

The two back corners of the room.

Now get something saying - get you saying suddenly, "I'm not here," and then something in front of you saying, "You're here!" You're saying, "I'm not here," something in front of you is saying "You're here!"

Feel your nose.

Now that little operation, the last one I gave you where you're saying "I'm not here" and something else is saying right immediately "You're here" is the exact moment where your V level's case is stuck. And his consideration is that the MEST universe around him is saying "I'm not here." And all you have to do is change it to where the MEST universe is saying "I am here" and then change it to where the MEST universe is saying "I'm not here. I am here. I am not here. I am here." He can get it very smoothly because he's doing it automatically in the final analysis. And this permits him to recover this automaticity.

Feel your kneecap. What are you getting?

Now, if you get a machine which tells you "You are here; you're not here. You are here; you're not here. You are here; you're not here," the machine will eventually turn into the MEST universe and that is the primary automaticity in which you're sharing.

Male voice: Feel the nose and the kneecap, that's easy.

Let's feel that ashtray.

Let's feel the back of the chair.

Feel the two back corners of the room.

Feel the ashtray.

Feel the two back corners of the room.

Feel the ashtray.

Feel the two back corners of the room

Feel the ashtray.

Anybody around here that isn't - that can exteriorize, well exteriorize and do this exercise.

Feel the two back corners of the room.

Feel this microphone up here.

Feel the two back corners of the room.

Feel the microphone.

Feel the two back corners of the room.

Feel your kneecap.

Feel the two back corners of the room.

Feel your kneecap.

Feel the ashtray.

Feel your kneecap.

Feel the ashtray.

Feel your kneecap.

Feel the ashtray.

Feel your kneecap.

Feel the two back corners of the room.

Feel the end of your nose.

Feel your ears.

Feel the two back corners of the room.

Feel your ears.

Two back corners of the room.

Feel your ears.

Two back corners of the room.

Feel your ears.

What's happening? You getting a better or worse impression of the two back corners of the room?

Male voice: A little better. No worse.

All right.

Male voice: I don't trust myself anyway.

That's correct. All right. Now, where aren't you in the world?

Male voice: Lots of places.

Where?

Male voice: I'm not in Salt Lake City.

You're not in Salt Lake City?

Male voice: Or in Mexico City.

Well, good. Where aren't you in the past?

Male voice: Where am I not?

Yes, remember this question, class. Where is he not in the past.

Male voice: Well, let's see. I'm not in the islands.

What islands?

Male voice: Mariana.

Which one?

Male voice: Guam.

What part of Guam?

Male voice: Agana harbor northwest Piti. Neither place.

Agana?

Male voice: Mm-hm.

Piti?

Male voice: Mm?

Are you in a warehouse in Piti?

Male voice: Mm-mm.

Agana?

Male voice: Mm-mm.

Government house?

Male voice: Mm-mm.

Sumay?

Male voice: No.

Umatac?

Male voice: No. I'm not in Talofofo either.

Talofofo. You're not any of those places in the past?

Male voice: No. Isn't that I was there once in the past.

Well, are you there in the past now?

Male voice: You're saying...

Are you there in the past now?

Male voice: No.

No. Are you in the past anywhere?

Male voice: Beats me.

Beats you. Are you here in the past?

Male voice: Yeah, a little bit.

Oh, I see. You're here in the past a little bit. All right. Are you in the city hall in Camden in the past?

Male voice: No. No.

Are you in Philadelphia in the past?

Male voice: No. Right here.

Are you here in the past? Where?

Male voice: Right here in this chair!

This chair.

Male voice: Right.

All right. Philadelphia? In the past?

Male voice: No.

Are you here in this chair in the past?

Male voice: Yeah.

Philadelphia in the past?

Male voice: No.

No? How about your home town in the past? Are you there?

Male voice: No.

You're certain of that?

Male voice: Yeah.

Are you certain you're here in the past?

Male voice: Yeah.

You're certain you're here in the past?

Male voice: Yeah.

Well, we've got a new certainty.

All right, are you in your head?

Male voice: Mm-hm.

Are you back of your head?

Male voice: No.

Are you in front of your face?

Male voice: No.

To your right of your body?

Male voice: No.

To the left of your body?

Male voice: No.

Are you below your body?

Male voice: No.

Are you under your chair?

Male voice: No.

Are you in front of your legs?

Male voice: No.

Are you in your shoes? Are you in your Shoes?

Male voice: No

Are you in the past in your body?

Male voice: A little.

Are you in your head in the past?

Male voice: Suppose so.

Well, come on. Are you or aren't you?

Male voice: I don't know!

Are you in the street in the past?

Male voice: No.

Are you in the - this room in the past?

Male voice: Yes.

Are you in your head in the past?

Male voice: I don't know.

Where's the past?

Male voice: The last look I had.

The last look. Where was - where'd you take this last look?

Male voice: At Monaco.

Where are you?

Male voice: Where am I?

You're in the last look you had.

Male voice: That's right. Part of the scene.

Okay. You're in the last look you had. Okay. Now let's take the last look you have and tailor it up as two much fancier anchor points than you have there. Get it much fancier.

Male voice: Two fancier ones.

Well, duplicate it.

Male voice: The room?

Duplicate the last look you had.

Male voice: All right.

Duplicate it again.

Male voice: All right.

Duplicate it again.

Male voice: All right.

Duplicate it again.

Male voice: All right.

Blow up the last duplicate.

Male voice: Yeah.

Blow up the next to the last duplicate.

Male voice: Yeah.

Duplicate it again.

Male voice: Yeah.

Duplicate it again.

Male voice: Mm-hm.

Duplicate it again.

Male voice: Mm-hm.

Duplicate it again.

Male voice: Yeah.

Blow up the last duplicate.

Male voice: Yeah.

Blow up the rest of the duplicates.

Male voice: Yeah.

Blow up the look.

Male voice: Yeah.

Let's get your nose and your kneecaps as a couple of anchor points.

Male voice: Yeah, they're later.

Huh?

Male voice: They're later.

They're later, huh? Okay. Now, you in the past here?

Male voice: No.

Are you or aren't you?

Male voice: No!

You're not in the past here. Well, that's real interesting.

Male voice: I could get into present time like this.

Huh?

Male voice: I could get into present time by feeling my nose any instant.

Oh, you can do that. Do you have to feel it with your finger?

Male voice: No.

All right. Feel it with your finger. Now feel it from inside your head.

Male voice: Sure.

Feel it with your finger. Feel it from inside your head.

Male voice: Mm-hm.

Feel it with your finger. Now feel it from inside your head.

Male voice: Mm-hm.

Now have your nose feel your finger.

Male voice: Yeah.

Now have the nose feel you from inside your head.

Male voice: No.

Well, we found where the limiter is.

Male voice: I can tell you what the limiter is.

What it is?

Male voice: Well, if I feel my toe or any part of my body, well, it - it will receive sensation from here. I can receive sensation from it, but I can't receive it in from those corners without looking at them or reaching out with my hand and touching them.

Oh, I see. Well, put some sensation in them and get some sensation back.

Male voice: That's pretty thin.

Thin though, huh?

Male voice: You ain't kidding it's thin!

All right. Put some more sensation in it and get some sensation back.

Put some sensation now in your nose and get the sensation back.

Male voice: Mm-hm.

Now have your nose be angry at you and get the sensation of your nose being angry at you.

Male voice: Yeah.

Now just simply feel your nose.

Male voice: Yeah.

Get some sensation in the back corners of the room and feel it back again. Got it?

Male voice: Well, I don't get anything back trying to do various sensations.

Okay. Well, let's out-create it a little bit. But look-a-here. Let - let's get this now. Get the - close your eyes. Now feel the end of your nose.

Male voice: Yeah.

Back of your chair

Male voice: Well, where I'm leaning on it, yeah.

Well, feel it where you're not leaning on it.

Male voice: Well, I just know it's there.

Well, how do you know it's there?

Male voice: Well, it was there the last time I looked and nobody's taken it away.

Oh, you think this is it?

Male voice: It's still there.

All right. Now let's think at the back of the chair.

Male voice: Mm-hm.

All right. Think where you are.

Male voice: Mm-hm.

Think at the back of the chair.

Male voice: Yeah.

Is it there?

Male voice: Sure.

Get the back of the chair thinking at you.

Male voice: About what?

Where aren't you thinking at something in the universe?

Male voice: Well, Christ. There must be a million places.

Well, where particularly?

Male voice: Well, as fast as I think of someplace then I'm thinking of it.

Oh? Where aren't you thinking of in the universe? Where aren't you thinking in the universe? I said that now: Where aren't you thinking in the universe?

Male voice: Hell. I'm not thinking anywhere in the universe.

Oh, you're not?

Male voice: Not as far as thinking in something's concerned. I mean, it could be my head.

Yeah. Well, name one place where you aren't thinking.

Male voice: All right. I'm not thinking out on the sidewalks.

Whereabouts on the sidewalk?

Male voice: Any part of it. I'm thinking of it.

Your thinking of it is different than thinking there?

Male voice: Yeah.

All right. Now how about thinking on the sidewalk?

Male voice: I can get an idea of it.

How about thinking here?

Male voice: Yeah.

All right. Let's think at the sidewalk.

Male voice: Think at it?

Mm-hm.

Male voice: Mm-hm.

Now let's think at the chair.

Male voice: Mm-hm.

How do you know the chair is there?

Male voice: This body's sitting in it. I can feel the body.

You can feel the body and the body can feel the chair. Is that right?

Male voice: That's right.

All right, why don't you just directly feel the chair. Now feel the end of your nose.

Male voice: Mm-hm.

Now feel the tip of your chin.

Male voice: Mm-hm..

Now feel your forehead.

Male voice: Mm-hm.

Feel the top of your head.

Male voice: Mm-hm.

Feel underneath your chin.

Male voice: Mm-hm.

Feel the back of your head.

Male voice: Mm-hm.

Feel the front of your head.

Male voice: Mm-hm.

Back of your head.

Male voice: Mm-hm.

Back of your shoulders.

Top of your head.

Back of your shoulders.

Feel the back of your head in front of you.

Feel the front of your face in front of you.

Back of your head in front of you.

Front of your face in front of you.

Back of your head in front of you.

All right. Now let's think in the body.

Now let's think from in back of the head.

Think from in the body.

Think in the back of the head.

Think inside the body.

Think from back of the head.

Think from inside the body.

Think from back of the head.

Think inside the body.

Think in back of the head.

Think inside the body.

Think in back of the head.

Think inside the body.

What are you doing?

Male voice: I'm trying to think in back of the head and I am thinking inside of it.

Mm-hm. You're certain of that, huh?

Male voice: Mm-hm.

Now, let's feel the back of the head in front of you.

Male voice: Now I'd say yes but I don't.

All right. Feel the two upper corners of the room - forward. Feel the two forward corners of the room.

Male voice: I feel that.

Feel your nose.

Male voice: Mm-hm.

Two forward corners

Male voice: I feel that one,

Feel your nose,

Male voice: Mm-hm,

Feel the two forward corners.

Male voice: Same story.

Feel your nose.

Feel the two forward corners.

Feel your nose.

Feel the outside sleeve of your jacket.

Feel your nose.

Feel the outside of your jacket bleeve.

Feel your nose.

The outside of your jacket sleeve.

Feel your nose.

The outside of your jacket sleeve.

Feel your nose.

Outside of your jacket sleeve.

Feel your nose.

Do that?

Male voice: Nope. I know what it feels like.

Get any impression on it?

Male voice: No.

Hm?

Male voice: No. I know what it feels like.

Mm-hm.

[To audience:] Well, it's just this kind of process now we're trying...

[To pc:] That's all.

[To audience:] It's just this kind of processing that we're doing. What are we doing? We're doing extroversion-introversion on thinking, extroversion-introversion on effort, extroversion-introversion on feeling, extroversion-introversion on looking.

And cases, as you pick them up, are somewhere in that band. One way or the other we're getting feeling here pretty good. Now you just keep going on feeling. What's he certain he can feel? That's all.

Well, if he can't be certain he's feeling anything let's get certain he's not feeling something.

[To pc:] Now, what don't you feel right from where you are?

Male voice: Well, there's anesthesed area on my body that I don't feel.

Where's that?

Male voice: On my legs.

Where else aren't you feeling?

Male voice: Oh, the rest of this place.

Rest of what?

Male voice: The universe.

Well, let's not get so general. Let's take out some space in it.

Male voice: All right. The lamp!

You're not feeling the lamp?

Male voice: No.

Good. What is feeling? What is feeling?

Male voice: What is feeling?

Mm-hm.

Male voice: Well, the way I'm taking it right now is to touch something and you get the sensation of touching.

Mm-hm. All right. What's thinkingness?

Male voice: Oh, that's just grinding stuff up.

Thinkingness is grinding stuff up, huh?

Male voice: Yeah, more or less; that's about all the definition I need of it.

Well, are you where you are - think you are?

Male voice: Yeah.

And where do you think you are?

Male voice: Right here.

Uh-huh. Where's the lamp?

Male voice: Right over there.

Think you're in the lamp.

Male voice: But I'm not.

Okay. Well, think you are. Can't you get the thought? I mean...

Male voice: Yeah, I can think I'm in the lamp.

Well, all right. Let's think you're in the lamp.

Male voice: All right.

We're not asking you to see the lamp.

Male voice: Oh, no, I know!

Yeah, well, you don't know.

Male voice: Yes.

We don't want you to think you feel the lamp, we don't want to get any feeling on the lamp, we don't want you to get any emotion on the lamp, we don't - you - want you to get any effort on it, we just want you to think you're in the lamp. Got thinking you're in the lamp?

Male voice: Yes.

All right. Now think you're in the lamp.

Male voice: Yeah.

Think you're in your head.

Male voice: I am.

Okay. Think you're in the lamp.

Male voice: Yeah.

Think you're out on the sidewalk.

Male voice: Yeah.

Think you're in your head.

Male voice: I am.

Think you're over the sidewalk.

Male voice: Mm-hm.

Think you're in your head.

Male voice: I am.

Think you're over your head - sidewalk. What's happening?

Male voice: Hoo-hoo, I almost slipped! I almost said, "I am.."

Uh-huh. Well, let's let it go at the moment - because this tape's almost gone.

All right. Here we have your - your feeling is condensed looking, effort is condensed feeling and thinking is condensed effort. And if you've got somebody who is so scared of effort smiting him, if he lets go, the first thing you can do is disabuse him of being somewhere else in the universe than where he is and just get him absolutely sure that he is someplace. And then having gotten him sure that he isn't someplace else and at least has a good idea of where he is - he's got certainty on this, you see - you just turn around then, and start up the band.

Now, this'll invert several times. See, because you don't quite know where the preclear is on the Tone Scale. But somewhere he can look.

Now, let me make a couple of brief remarks about a case that should be dead, it's - only I've been processing in the morning for a short time every morning here for two or three mornings, and I'll mention another case, too, before I'm through.

This case was terribly antagonistic. Probably will remain so; probably will have no good word to say for anybody in Scientology. But the point is that I gave her a drill which went like this: "Where aren't you?"

"Stuck!"

"All right, where aren't you in the past?"

"Home!"

"Certain of that. Now where else aren't you in the past?" - two or three other places. Certainty, see? "All right, where else aren't you?" And she finally narrowed it down and found out she wasn't in the corners of the room. And then she found out - but first she thought she was sure she was in Europe and here, too, and in South America and here, too; she was all over. Just - this was fifty years worth of mysticism had managed to butter her all over the universe. She wasn't sure at all if she was - wasn't all of these places.

So as we went along the line, we got sure she wasn't in all these places; and then she was sure she wasn't in more and more local places; and then, by golly, all of a sudden triumphantly, she says, "You know, I'm not under my chair!"

And after I'd done that for a short time I gave her a drill. And the drill just had to do with feeling the front two arms of the chair and then feeling the back two sides of the chair, and the front two arms and the back two sides, with her hands, see, just feeling that, and then feeling her eyeballs with her fingers and then feeling them from inside of her head; and then the front two arms of the chair and the back two arms - or the back two sides - two sides of the back of the chair with her hands; and then feeling the two back corners of the room, the two back lower corners of the room, the two front corners of the room; feeling these, see, and the two front lower corners of the room. And we just went around and around on this drill. And she was three feet back of her head the next time I asked her to be.

I got her there by merely asking her to feel the back of her head in front of her. She did immediately. She had finally stabilized - finally gotten her certain that she was in her head. Being certain she was in her head, she could then be back of her head.

Now, from in back of her head she was asked to perform this same exercise of making the hands feel the two front arms of the chair, the back two points of the chair and then the four corners above and the four corners below on the room.

She got terrific impressions of plaster. She didn't see a thing; she got all this impression, impression, impression. She was cheered up, she was getting more and more certain, so forth. Because remember, thinkingness and feelingness are still two points of certainty. But we were adding effort in there by getting her to press her hands against the chair - by asking her to feel it with her hands and we were squeezing effort in without noticing it.

All right. We went round and round on this and all of a sudden her vision picked up and she came out of a blur with her MEST eyes - came out of the blur; then it flicked off again, then it flicked on again, then it flicked off and flicked on. Time she was leave - when she left she was still flicking on and off.

By the way, another girl who was about to get a prefrontal lobotomy and showed up here a few days ago - I meant to tell you about this. Husband was insisting she get a prefrontal lobotomy and everybody was insisting she get at least electric shocks, and so forth, because she was very confused inside of her head. She was a Step I, exteriorized her - she operated just beautifully outside of her head - a relatively short session - just gorgeously, and then I ran confusion drills just like I gave you as a demonstration earlier in the class. Having people disappear and then having explosions appear, and distract her attention, and so forth. And her attention was getting better and better.

But when I was running these subjective techniques her tone, which had picked up while I was just drilling her in Change of Space Processing and certainty on being there - her tone dropped; and she dropped back into a bit of confusion. So I had to give her more drills to stabilize her externally.

When she was about to go she came back into her head again and an overwhelming confusion hit her. I asked her to be back of her head and adjust her balance mechanisms in the skull. They were all out of gear. She'd been struck several times recently with fists. And then knocked her balance mechanisms out of - on the ears. She adjusted the energy which controlled them and ran them, and so forth, and this dizziness passed.

This person was more sane than an awful lot of people I've seen lately and yet the psychiatrist had bullied and screamed at her to a point where he had her completely convinced, her husband had her completely convinced, she ought to immediately go have a prefrontal lobotomy. She was a Step I - total session, half an hour or something like that. Fantastic, huh?

That shows you that they don't even care whether they're sane or not, or whether they're crazy or not. You know, we got to get a hole in that skull; that's the motto today. We can't burn one in with electricity, we can drill one in with a brace and bit.

I meant to tell you about that case; it was quite notable. The girl came here; she was calm - external look of her was calm. But the second she began to communicate, her voice was about that loud and she was disassociated kind of badly. She knew enough to come down here, that's about all she knew. And she stumbled around, and so forth, but in processing snapped right out. The second she was outside, the balance mechanisms were then not influencing her areas of beingness, you know, so she could drill all over the place and then she got very good tone. Then we adjusted those balance mechanisms - she felt a lot better. Told her to call me the next day if she didn't feel well, and I haven't heard from her. But if anybody gave her an electric shock or prefrontal lobotomy, it would be under the heading of assault. I mean, because there's no - absolutely nothing there in this case to indicate insanity. She wasn't insane, not even vaguely.

Makes you wonder once in a while - isn't it? I wonder what the name of the girlfriend was hubby wanted. Hubby had merely kept after her, week after week, telling her she was crazy and ought to have something done to her, that was all that was wrong with her. Somebody had been telling her she was crazy and he got her to go to a psychiatrist, and he roared and screamed across the desk and I suppose he had a couple of hundred bucks in his pocket, too.

I wouldn't say the thing smelled or was crooked. I wouldn't say it was a put-up job. I wouldn't say that out loud, merely because it's not polite, not because it's not true.

But here is exteriorization. If we'd treated her on running engrams and inside the body, and so on, it would have been a long, hard slug because she was already convinced that she was crazy. But immediately on exteriorization orienting her where she could find herself; straighten herself out, get anchor points, add up what the score was; immediately she knew, too, she wasn't crazy. Complete certainty. See?

Okay. There any questions on this process? You can have a fellow - fellow can think he's someplace, if he's the one determining the thinking. But if he thinks he's someplace when somebody else is determining the thinking, he's liable to be all over the whole flam-damn universe. So you have to get him over somebody else getting him to think he's someplace.

Now, delusion is simply seeing some other place, that's all. Seeing a mock-up of space or something like that - that's delusion. So you get him over thinking that he's looking at something else than what he's looking at, just by asking him where he isn't.

And you whittle this down to a point where he knows he's in the body. Well, you've already knocked into thinkingness and knowingness, into that level. Now let's get him on thinkingness and drill himself around, and on feelingness to get acquainted - you see, after we've got him in the body - then with feelingness let's orient him somewhat in the body. You'll find out this will turn on better and better and better.

And then we'll get him by thinkingness to be a few places; just think he's someplace. Boy, he sure gets sure after a while that he thinks he's someplace else, see?

And then we go on up into feeling and we go on up into looking. And with such a case we minimize this business about looking.

Male voice: How about a bracket on thinking where one is: having other people thinking you're somewhere, and you thinking other people...

No, I'm sure that would be quite workable. You ought to experiment with it a little bit. Actually, it isn't that complex a problem; you'll find that's not that complicated a problem. It's a very simple problem of - he - you get him to where doesn't he think he is. Well, he's liable to think he's everyplace. But you'll be surprised in two or three questions how he doesn't think he's anyplace but where he is.

Now, in this process you're going to invert and invert and invert. In other words, he'll get sure, and then you'll find out how much surer he can get than sure. And he'll get as sure as he can put out a lightning bolt in his own manufactured space that will blow down somebody else's anchor point. A good test on this would be the Pentagon building.

Okay. That's all set.