FIXED ATTENTION, DUPLICATION, HOW TO AUDIT CHILDREN

And this morning we have - first thing, we had a couple of outside pcs yesterday - just demonstration type cases.

And yesterday a Mr. Davis who has written over here several times wondering whether or not he couldn't be processed - paying preclear, by the way, I mean, he's perfectly willing to pay and all that sort of thing but he came in; he's an art - painter of some sort or another - designer. The girl in the office got him - got him mixed up with a - with a fellow coming up with wallpaper.

Male voice: Well, Dick, he took a few minutes and after about three-quarters of an hour, why, Dick handled most of it. I started to wind it up, and then Dick starts going again, and he kept going for two hours.

I haven't seen this report - or heard from them - it says, "October 27th. Processed by me for one hour; reaction time is very slow." That is a masterpiece of understatement. His reaction time was "slow"; it was detectable.

Two hours, huh?

"From one minute for Straightwire..." - one minute for Straightwire?

Male voice: And he - he got remarkable results.

Male voice: From one minute - one minute longer.

Mm-hm.

Yeah. Oh - longer? One minute longer Oh!

Male voice: It the guy, he - the fellow can - is exteriorizing, and he increased his ability to communicate, and he just looked like a different guy when he walked out of here in two hours.

"... He exteriorized readily, and was only then able to get him on the meter satisfactorily. Assessment taken and Creative Processing done so that he could handle Mother and God. He held corners, and so forth, and reaction time improved by over 1000 percent." You see any marked change in his handling of the mock-up, as we call the body?

Well, it would be astonishing to you to realize that guy was a neurotic - borderline psycho. And you were working real hot bait there and I never even bothered to tell you. He was real hot.

Male voice: Yes.

Male voice: I never saw anybody could respond that quickly.

Marked change?

Well, I asked him if he could remember something real and a couple of minutes later we dropped the subject.

Male voice: Oh, a marked change.

Male voice: Why, at the end of his session his communication was fairly good.

Alert?

He also stammered.

Male voice: Very much alert.

Male voice: He what?

Uh-huh. Did he get up like he knew he was going to get up? Or did he get up like he was... When he first came in, he got up and then found out that he had stood up.

He also stammered.

Male voice: Well, he went like he knew he'd been here.

Male voice: He didn't when he left.

Good. Good. That's fine. This boy is a caved-in artist, a caved-in painter And - that's just real fine.

Male voice: No.

Male voice: The exteriorization - I kept him on quite some time on that back in June and it proved to be a valuable exercise for him, and he just came up prettily.

Well, that's very good. Thank you.

What was the valuable exercise?

You ran a flock of explosions on him and exteriorized him, had him patch up the body. Good, yeah. That was very good, Dick.

Male voice: Exterionzation from place to place and position to position - exteriorized.

This chap just dropped in. He was into the correspondence and he'd written in a couple of times. I don't know where he's from or anything of the sort. But it seemed to me from his handwriting and his method of expressing himself that he might be an interesting case to see how fast you could drag him out of the ragbag and it was a good job of doing so.

Oh, you mean change of - let's get these processes right now. Exteriorization isn't a process.

But, how long do you suppose it would have taken to achieve the same results under Dianetics? Interesting, isn't it? When you see something like that, you realize we're going someplace.

Male voice: Oh, I'm sorry, Step I.

Well, we had another pc in here who was the age of 6, but retarded. The case I want to tell you about. This case - mother and two little children, they came in. I actually brought them in for interview and I learned a lesson.

Yeah, that's right; it's not a process. And the other, from place to place, is Change Processing, just as a designation which I have been using - change of space processing. Got that?

I saw Bob Burns [George Burns] and Gracie Allen last night, and Bob Burns was talking about he always learned something when he tried to teach Gracie a lesson. In one of these particular cases he had involved himself in - somehow or another - in trying to teach her a lesson about a watch; about leaving her watch around. And he eventually had to go buy her another watch. And when he did it the last time it cost eighty dollars and this time it cost a hundred and twenty dollars, so he had now... His - the experience he gained out of this - he always learns something; somebody always learns something - was that watches now cost a hundred and twenty dollars. This is very analogous to what I learned yesterday.

Male voice: Yeah.

I learn this lesson every once in a while when I don't have an adequate receptionist. You'd be surprised, if you're setting up an office or something of the sort, how an orderly office receptionist setup on preclears, and so on, materially speeds and fixes up your processing.

Now, exteriorization shouldn't be put down in your book as a process; it's not a process. It is a natural condition which we're restoring to a preclear. And when fellows get to a point where they're popping in and out of bodies, God help us. It means that they've got to own them, they've got to hide them and protect them, and - they're real bad off when they're in bodies. I mean they're just in a terrible condition when they're in a body. Horrible!

In the first place, the filling out of a form or two and the signing of a waiver or two of damages gets them into a certain mood. And if you have a printed or mimeographed form there, they're supposed to sign it out - former history, and so on - they're supposed to put their signature at the bottom of it, and you have a card for them to fill out with regard to an assessment, you see, that asked the very pertinent questions. We had these in the first Foundation, by the way, these cards. But it shouldn't be the auditor that fills these out. The person ought to fill those out when they come in the office before the auditor ever sees them. And then they hand this to the auditor, or it is handed to the auditor by a receptionist.

Male voice: I know that and I heard you.

You would be amazed of the fact that a piece of paper, which now contains data (has been handed over), breaks down the case. It just, "Well, the fellow knows all about it now," or, "I wonder if I should have told him that on there?" And you'll see that immediately - "I wonder if I should have told him about it?" - you'll just see him on that because he'll keep watching the piece of paper. Invariable reaction, he just starts watching the piece of paper and looking at you and looking a little bit nervous about the whole thing, and then starts explaining to you the items on the piece of paper.

Practically nothing can be done about them. I mean...

The second he does this, you better reach for an E-Meter because there's a sleeper here. And that is, there is something in this case he has not bothered to teach you. You can process that case, then, for about an hour or so, and then you say, "Well, that's the end of session," at which moment the case, with a gasp of relief or something of the sort, will give you the data you should have had at the beginning of the case and will depart hurriedly.

Male voice: It's worse than that in some cases.

This is why coming back twenty-four hours later is always a good, good deal.

Yeah, well...

But you can watch this manifestation. If the person is made to fill out a slip of paper, regardless of what they're asked on the slip of paper, and so on, you will know immediately from their reactions whether or not they're withholding vital data, and that vital data may contain something of the order of paresis. This is a real one to run into. Of course, if you get on to something like that immediately, (that's syphilis or something of the sort, you know) some socially unmentionable thing that they think of; and the first thing you should do is simply waste syphilis. I mean, pam! Let's get that one settled right now. It doesn't take you very long to settle it, and the case is liable to come back to battery on just that, you see?

Now, we have - we have in this - very interesting. I didn't mean to correct their - you on that - it's just that I want to straighten out that point real quick. That's very good; that's very good. Very good work, thank you.

It's what they don't mention that they won't look at. And if you want to do a fast job on a case, a real fast job on a case - they very often are fending you off during the entire session, you see? You're not in communication with the case. It's very simple.

I've got to start beating up the brush now for a few pcs. How long did this session take?

Well anyway, I learned - the experience I got yesterday, I've gotten often - and that is in the treating of children, keep Mama in the waiting room. You probably will learn this same thing several times before it's finally impressed upon you with sufficient velocity. Don't have her around when you're trying to process a kid. Just don't. Because you will spend all of your time talking to Mama and the second you start to process the kid, Mama starts to help out, and she helps out beautifully.

Male voice: Well, he could only stay one hour.

For instance, we had a little girl, brain injury at birth, and this would be the case of the shortchanged thetan. A thetan gets hold of this body and then it won't function or develop.

Well, it took an hour; I mean he took a long time on the session.

The thetan's pretty good but he's got the body in a motor rapport with everything a little kid sees. You know?

Adjust - adjust to that - long, long session. Just - get your - get your gun-shots in there so that the muzzle velocity is high enough to adjust to the techniques.

You tell the kid to make a mock-up and make the mock-up do something. The mock-up does it all right, but the little kid turns around in a circle too, you see?

Do you know, actually, auditors will say, "Well, this is a tough case," which means, "It ought to take a lot of hours." And then they will sit down and figure out, actually, how it can take that many hours. I mean, this has been going around the bunch. All right. So much for that as a case report.

If you tell the mock-up to wave, then the little kid waves. That's what's known as a motor rapport. It's actually an artificial - that can be artificially induced by mesmerism. Just stroking the muscle centers regularly of another person while facing them and looking them straight in the eye, and you'll get them up to a motor rapport to a point where if you surreptitiously reach behind your back and pinch yourself they will jump. What you've done is crossed energy deposits. It's very easy to perceive. But it's a very interesting manifestation.

This morning, it's about time that I lowered the boom on you with regard to a process which is - we have been fooling around with but which is very serious and is the process and is the key process. One might say that this is the announcement - this isn't ultimate but this is an announcement of; as far as you'd care to be, pretty close to the top of the ladder for this universe and bodies and exteriorization and all that sort of thing.

I'll go over that again. Mesmerism is accomplished by putting some person in a chair - the same type of chair you're sitting in, two upright chairs - and you bring them close enough to you so that your knees, one of your knees, is slightly interlocked with their two knees, you see? And then you simply monotonously start to stroke them from the shoulder down to the elbow, alternate sides - the left side, right side, left side, right side. And just a stroking motion, meantime looking them straight in the eye. And you say, "All right, now you can just concentrate..." - you can say anything you please, "Just concentrate on me," or something of the sort.

Now, there's some of you people who've been worrying a little bit because you weren't flipping happily and readily out of the body and flying about the place and seeing everything in a beautiful roseate or golden glow. And some of you have been worrying about this.

The next thing you know the person goes goggle-eyed and it is a different condition than hypnotism because they're in a motor rapport with you.

Well, you haven't worried me, merely because we, here, learned something about human beings and learned something about life and so forth.

Now, if you were to - if you get a person in a real good motor rapport with you, and you start walking backwards across the room, they will walk backwards away from you. You stop; they stop. You put up your right hand; they'll put up their left hand - mirror image. You turn your head rapidly from right to left; they turn their head rapidly from right to left. You see, this is just mimicry.

There's no sense in ruining, as Burke said early in the course, all these beautiful cases. But I've got to start beating up the brush here, because we're going to be fresh out of cases here in a very short time. You see what a resistance Homo sap will put up unless you practically turn sixteen-inch guns on him.

But you've induced a forced mimicry upon this person.

We have been talking about SOP 8 and we've been using SOP 8-L - 8-L is a learning process. You can run this on a preclear just as that and he'll learn something about life. Much more important, it's an educative process as far as we're concerned.

Now, the odd manifestations in it consist of pinching yourself so that they can't see you, or anything of the sort, and they will jump with the pain and get a red spot in the same place. This is the work of Anton Mesmer - late part of the eighteenth century, almost totally neglected. The work of Charcot is of about 1835 (if I remember rightly) and that has to do with hypnotism, which is just making somebody concentrate on some sort of a mental image. They're different manifestations.

If you're going to do anything about Mr. Homo sapiens, you had certainly better know how he operates. Why, that sounds - sounds very silly to say that; it sounds asinine for me to say, "Well, in order to do something about man you've got to learn something about man." It's silly for me to say that; it's too obvious. Only it's terribly original. It is painfully original in man's annals, archives - you don't find it - in order to do something about it.

Well, actually, you have to go back into the nineteenth century literature on the subject to even find mesmerism. You won't find it written up anyplace that I know of.

Now, you had a fellow by the name of Alexander Pope. In one of the earlier tapes I razzle-dazzled up poetry by attributing Gray's "Elegy" to Alexander Pope, and so forth. I was immediately assured after the lecture by two or three of the auditors that Gray's "Elegy" had been written by Gray. I get too subtile once in a while. Sometimes I get so subtile I don't know what I'm saying either. So you see, so it's even. I get lost, but when I open the box it's a big surprise. Anyway.

It seems to me that psychology, always searching for phenomena - data-data-data-data-data-should have dug this up. But, of course, they sort of can't look at crucial data.

Anyway, when we look into the annals and archives we find Pope's magnificent piece. It's much greater, that poem, than Zeno's Apatheia. I guarantee that if you brought this poem into a sick room your patient would die; we could guarantee that it would work that way. He says, "The proper study... Seek not for God to scan. The proper study of mankind is man." Nobody took his advice. He didn't take his advice either.

Anyway, this is the same thing as when somebody puts the Ping Meter probe on his cheek and then - there's no ping - and then somebody else concentrates on it and makes the connection, and all of a sudden there's a ping!

He goes on, then, stanza after stanza saying how it's hopeless. It's a gorgeous poem; you ought to get it and read it sometime. It's man's - the highest tone man ever reached in the study of himself Really fine, fine piece of poetry. Scans every line, rhymes too.

You ought to do that. You ought to do that. That's quite a revelation to somebody, It's all right to say, "Yes, this can be done," but when you all of a sudden realize that you are monitoring another body, it's quite a shock. It's the first - first meter, or any such arrangement, that has ever measured this - that - somebody monitoring somebody else's body. All right.

So we have then - we have, then, back on the time track just about that: a study of man. You have no idea how difficult it's been to study man; I can tell you now - take down my hair a little bit amongst us girls - I - it was just incredible. It was impossible to find out, as far as I could see, just where we were going with this because cases kept showing up which were worse off than cases I had ever seen. And cases were terribly bad off and they kept moting.

So, look at this. Any mental condition, any ability of the mind, the body, the thetan, can be exaggerated and fixed so as to amount to a neurosis or psychosis. You see? All it is, is a natural condition which is exaggerated to a point where there is no other condition. One loses, then, selectivity of conditions.

And the wonderful thing about it was, is how the people that I've seen walk through clinics and through my processing rooms and so forth - how people could still operate. This is fantastic. So we could just assume that man will operate - he will operate below anything else's operational level. And if you got way down below anything's possible operational level, you would reach a high-toned man. That's about it; I mean, it's real grim.

It tells you that if you're going to do subjective processing, rehabilitation of selectivity of conditions, selectivity of types of emotion, like "Make that chair feel angry," are tremendous processes because they unfix one from various parts of the Tone Scale.

Now, I've had you running computations, I've had you running all kinds of circuitry and shown you this and that, so on. We could go on for some time with this sort of thing because it's a beautifully complex problem and you can hit every part of it and it looks beautiful and it looks very convincing and so forth. Well, we could go on doing this.

The Tone Scale itself - chronic position on the Tone Scale - only concerns itself with an exaggeration of that ability. Don't think when you have loosened a person up so that he can again select, at will, all over the Tone Scale - just because he can select at will is no reason he won't ever hit a low tone again. The point is, he doesn't fix on a low tone. Volatility of emotion is a goal rather than fixity of emotion.

It just shows you how hard man will fight to keep a game going and how many things he will hide to keep a game going. It actually isn't very necessary for you to go out and clear all of mankind suddenly, at a swift swoop, for the excellent reason that if you did you'd spoil the game; you'd just ruin it - ruin it utterly.

Now, because certain conditions of the mind are selected out as psychosis and neurosis, you see, people consider, then, that any ability of the mind to do this is on the road to going potty. Everything, just everything across the boards, is then on the road to going nutty. All "nuttiness" is, is a fixed attention upon a condition and inhibition of other conditions.

Capitalists wouldn't have any slaves anymore, communists wouldn't be able to parasite on the workers - you just wouldn't have any game going at all. Medical doctors, you'd give them no pain at all. I mean, think of what you'd deny a doctor or surgeon - blood flying around the place and arteries beating and the terrific drama - the terrific drama of going down and showing the appendixes - the appendixes to the - showing them to the relatives saying, "Just in time! Just in time!" I've seen a doctor actually spatter blood on himself so that he could go down and see the relatives, saying the operation was just in time.

So that if you've got fixed attention upon a moment in time, it would tend to bar out all other moments in time. And the biggest scarcity is the scarcity of attention. There's no reason why you couldn't go around fixing attention on the whole time track so as to bring every part of the time track, as represented by the facsimiles, into full life simultaneously on the whole track. No reason why you couldn't do this, look at every engram in the bank and have an opinion on every engram in the bank at the same instant, even though that's seventy-six trillion years' worth of bank. It doesn't matter, you see?

Think of the drama - the drama that you would spoil.

But people believe that there is a scarcity of attention because they can't get other people to pay attention to them. And so they get the idea of scarcity of attention.

The only thing that happens to this drama is after a while it gets so - so dramatic that they can't tolerate it anymore so they say that's actual, and that's really real, and then nobody can tolerate the drama so nobody can have any drama and it just gets dull.

Every little kid gets this: Mama's attention isn't sufficient. Actually, if Mama was real good, she'd just make up a sort of a permanent mock-up of herself that would walk around and look at the kid, and the kid would be perfectly satisfied there was plenty of attention from Mama. After that the kid wouldn't bother Mama continually, you see?

Now, the only thing you would really do... You would, if you just cleared everybody across the boards, a full sweep, you'd spoil the game but remember the game gets spoiled in another way. The game gets spoiled by arbitrations of "let's restrict." And everybody has agreed on "let's restrict." And that's the one thing they have agreed on: that we have to restrict to have a game. And then they get too good at it. And they get to a point where there's no motion. And there's where the game is now.

But there is scarcity of attention. So, scarcity of attention results in a complete fixity of attention because attention is so scarce that one doesn't have much of it and so it can be fixed upon any moment of heavy charge or heavy no-charge. The fellow had something, now doesn't have something. That's a heavy moment of no-charge.

So, actually, all you really desire is just to bring up the level of the game, not to knock out the game. You'd be surprised how boring it is sitting out nowhere for a long time - very boring, no action, nothing like that.

Now he doesn't have something, all of a sudden he has something (that he doesn't want particularly) resulting in a fixation of attention. And when a person believes - it's just that, no more and no less - it's just a belief in himself that he doesn't have enough attention to cover all these things at once, why, he gets into this kind of a situation. So, his chronic tone results.

Of course, action is compulsive, you understand. You go high enough up Tone Scale and you're perfectly happy to be serene. That's a funny, redundant statement, but there isn't any other way to state it in a MEST language.

Now, it is quite common for an individual to face this when he has been brought up Tone Scale. When he's been brought up Tone Scale, that merely means he can reach upper levels. Because fixed attention is the thing, people assume immediately that a 40.0 would be fixed on 40.0 - that's what a 40.0 would be, somebody fixed on 40.0. The poor dope! He'd really be in bad shape if he were fixed on 40.0 because all he could ever be was serene. And you know, that's awfully dull.

So the technique I'm giving you now, actually, spoils your game to some slight degree.

A person's emotions tend to become more and more volatile.

The beautiful idea of "The fellow is awfully aberrated and we have to do something for him." We could have the terrible drama of dashing in to the relatives and saying, "Well, he only lives twice."

Well, people in this society are very, very afraid of emotion, and so they use the fact, "Now look, you're a Clear," or "You're supposed to be in good shape," to keep a person from getting angry; to keep a person from becoming anything. They're supposed to be just not there or something. A wonderful method, you see, of telling somebody, "Now because you're Clear," or something of the sort, "why, you can't emote anymore and you aren't there anymore and now we have complete control of you." Well, it doesn't work that way. They get madder, they get more apathetic, they weep harder and they get more bored and they get more enthusiastic oftener than other people. And this is very trying on people around them that aren't equally volatile. You see how that could be?

We saw a psychiatrist - we saw a psychiatrist last night - a play; oh, beautiful play, I mean, it was gorgeous. It opens up with a psychiatrist telling somebody - and it was on television, they've got that up pretty good now, you can almost see a picture - if you use your imagination. Anyway, this psychiatrist opens it up by telling the fellow, who is terribly discouraged, that it will take a long time. Well, he shouldn't really, really - he should realize something can probably be done, possibly, but it's going to take a long time. He explains this to his patient and that sets the note of the picture. And then he goes down and finds this girl who won't talk and can't communicate and who was arrested for murder, or something of the sort, and finally gets her to talk. And he runs half of the engram and gets her up to a terrific emotional charge, where she is just about ready to spill the grief on the charge, and so forth, but all he wanted it for was evidence for the court. So, he turns around and gives it over to the court; he leaves the engram half run.

Now, a person becomes afraid of volatility because it means that he is unstable, and he has associated instability, you see, with a neurotic condition. Believe me, the most stable person in the world is this raving psychotic. He's really stable, he doesn't vary an inch either way.

And then they go away saying - she recounted how she'd murdered the fellow, you see, and she was just getting down into a beautiful release of grief when he just quits, you see, and ran out and told the judge what the score was, and so they - everything was fine.

They also have heard of the "manic-depressive." People go around classifying themselves in psychiatric classifications - which is very amusing because the psychiatric classifications haven't any classification. And they say, "Well, I'm a manic-depressive, and therefore I go - when I feel good, I am in a manic; and when I don't feel good, I'm depressed." That's just wonderful, see? I mean, that's. the way human beings operate. When they feel good, they feel good; and when they don't feel good, they don't feel good. And we re saying the same thing, you see? Pam - pam!

And this is real sloppy processing - real stinking, real stinking. Right in the middle of the engram (while she's running the engram), he says, "Hold on to yourself" Isn't that great? I mean, so we can assume from this movie which was a factual movie, and so forth, that they had good technical direction, and we can assume that this sort of thing occasionally happens, that a psychiatrist does not know Dianetics, much less Scientology. We can assume that. Well, that's just an incredible fact: I hardly feel you would accept it for a moment, but it's true.

For instance, somebody came up here the other day, a kid that has been borderlining around here for ages, and he's - his communication level is way up, but he's fixed himself on this same idea. He's put his attention on the fact of being a "40.0," just for ages. He'd been doing this for a long time. He - mysticism; he wanted to be very serene. He's following the same track and he's making Scientology fit into a bracket of mysticism. Well, this is very hard to do. It's something like cramming TNT and nitroglycerin into a paper bag and then wondering why the paper bag doesn't contain itself.

And then he finishes up the picture telling - with the statement that the girl may recover sometime or another. Well, I don't know quite what this is all about, you see? "The girl may recover somehow or another," when the fact - the fact of the matter is that he had the engram half run.

Well, this fellow had gotten himself in the terrible condition of - he's just bored stiff of being serene. But he has to because that's what he's supposed to be, you see, and he's just all snarled up about it.

You see that? He has it half run and then he says she may recover sometime or another. Well, that is a beautiful example, and the only reason I'm bringing in television on you is just to demonstrate that that's the way they keep a game going. They do the right thing halfway and then hope that something else will happen. See, cause and effect, cause and effect.

So, I said, “All right, now put a couple of mock-ups out there and make them very painful."

Don't dare take on a full cause; if you took on a full cause you'd ruin the game. Well, does a process exist which gunshots the case and exteriorizes people rather easily? Yes. But you had a good time with computational processes. And I hope that with these processes you have gained an understanding of what Homo sapiens is all about and how you exteriorize him and how he resists it and what he will get into and what he thinks.

"No."

Because, believe me, after this it's going to seem kind of unreal to you that we would go through all of this amount of trouble. And if you start processing a preclear and he starts telling you this and that and so forth, it's all right in the processing room just to shoot him down in his tracks with a very fast technique.

What's this tell you? It tells you immediately the fellow's merely fixed someplace on the track if he can't put out a mock-up that has pain in it.

But remember, he's alive, he's out there on the street. That street isn't a processing room. You have to have some sort of an understanding of what makes him tick, for two reasons: one, so your insatiable curiosity will not lead you into numerous traps set by him, into tremendous numbers of insincerities rigged up as beautiful sincerities. You get the idea? It's the guy on the street we've been learning about, the fellow in the state house, the fellow in the government, the reactions that we see about in.

And he's, "Well, there's nothing you can do about this," he says grimly.

Well, here are two guys and they have a couple of cars. There's one very gorgeous car and it has run into - it's right up here up the street, up here, this morning - it's run into the back of a - of a rather knocked about Ford sedan. But this beautiful green car - brand-new car - evidently plowed in real hard and - as was pointed out - and the fellow in the big new car slammed on his brakes to keep from running into the back of this other car in the rain. The nose of the big car dipped, you see, and then struck, and then, of course, came back up - you know, when they slam their brakes the nose dips. A very lousy sort of a way to build a car, by the way. If you build a racing car that does that too often you're in real trouble because you get up there around anything that could be considered a velocity, like 150, and you have one that ducks its bonnet and does a bow, and it bows all right, it also somersaults. But anyway, they built this big beautiful car this way, so that it does that. Its front springs aren't tense enough.

And I said, "Yes, there is." I said, "When you can put out enough mockups and when you can turn on the condition of sheer screaming agony and turn it off anyplace in your body at will, you will again be happy."

So, here are two wrecking trucks, and one has hold of the front car by the front bumper and one - the other has hold of the back car by the back bumper, and they're trying to get these two cars apart.

Heard from him a day or so later and he says, "You're right." He said, "Boy, I sure can hurt good!"

And now let's get - let's get what they're doing. At the moment we passed, the wrecking trucks, each one having solid holds on the car with the big, beautiful new car sort of tipped up with its hind wheels slightly in the air, started to drive in opposite directions at the same time, you see, and yank and pull and bang, and you could hear pieces of bumpers coming apart and all of this sort of thing. It's very interesting.

Now, there's - he's restored his volatility and restored his ability to be something else than what he is. And the only reason you're processing anybody is he's stuck at a point that he doesn't consider optimum and he wants to be something else. Well, the thing he can be, according to his viewpoint where he is, must be solid, you see, and again stuck - Q and A processing. His next state must also be fixed.

Now, there's a perfect explanation: they're "wrecking cars," aren't they? And by Q and A there has been a wreck. So, what do you do about it? What do you do about a wreck? You do just what firemen do about a wrecked house by fire, you wreck it. See - Q and A. You can watch this identification running and actually it affords a great many jokes, because it's pretty silly. His intention - his full spoken intention, you see, is to - is according to what he said - what the owner understood - was that he was trying to "salvage" these cars, you see, and make them - bring them apart and repair them and fix them up and keep them from being further injured. That's what the owner understood. But there's no communication between the owner and the wrecking truck driver on this subject.

Well, his only salvation is to be any kind of a state you can think of. That's all. Now, if your processes return to him the ability to be volatile and use any and all emotions, why, and use any and all efforts and any and all pains, and so forth, why, gee, he gets into remarkably good condition in a hurry. What you're doing is unfixing him.

The wrecking truck driver - I'm sure that if you questioned him very carefully on the subject, you would find him very blank about it. What was he trying to do to that car? He wouldn't give you a satisfactory answer. He'd say, "Well, I was trying to get them apart, of course!" That's the obvious thing. Well, what is he trying to do? He's a wrecking car, so he has to wreck cars.

Well, go back to this motor rapport. People who wear stylish hats are in, to some degree, a motor rapport. Agreement throughout the society gets into a motor rapport basis.

Anyway, we have this sort of thing going on. As you see man operating, he becomes very funny. Now, as an auditor, you go much further on this and a lot of other things become very funny to you.

Now, you wonder why - what mystic quality there is in "lav," (lav, that's Russian for love), what mystic quality there is about this that causes a fellow's emotions to shut off because some girl - or some girl's emotions to shut off - and they just become fixedly apathetic or just nothing after some sexual partner has gone his or her way, see?

There's this fellow lying on a sickbed, and this beautiful sadness is going on in all directions, and the children are about to starve because Papa is dying or something of the sort. And this can become screamingly funny, believe me. It is very, very funny. Here's this fellow about to shove off and pick up another kid, see, throwing all of his responsibilities to the winds. See - wham. Dickens with them. And here are all these - these other beings - totally certain that they have to depend utterly upon this fellow who is passing away.

Well, now, let's look at the process of motor rapport - two people sitting on chairs facing each other, one looking into the eyes of the other with a stroking of the upper biceps, alternate left and right biceps.

Why do they have to depend upon him? Well, they have to depend upon him, you see, because he's leaving. It's just complete idiocy.

The sexual act approaches this very, very closely, believe me. And the absence of the other person tends to make a cessation of sensation. But here is a fixed situation - sensation - which was going on while they were together, and they're in a motor rapport.

I remember one time I was driving down the road - this was in the Bible Belt - and driving down the road. It never quite hit me what they had been about in the Bible Belt until I saw this huge, huge hearse. It was just a wonderful hearse. It must have cost fifteen or twenty thousand dollars; the most gorgeous limousine you ever saw; a better car than anybody was driving around alive in. And it was piled high with beautiful flowers - much better flowers than anybody had on his table or at any wedding. And it was followed by car after car after car, all of which were just completely crammed with weeping relatives.

Well, the other person suddenly decides that all is lost, and they're very cold all of a sudden, sexually, toward this person, and then they go away.

And I looked at this thing going along and I couldn't restrain myself; I started - it was just one of those moments when I was carried away, and I began to laugh because it was so silly.

Well, the thing to do is to do a valence shift to get the other person back.

This fellow, for just one - one sweep down the line of cars and so forth, had never in his lifetime been accorded anything even vaguely resembling respect. He had been sponged on and ruined, one way or the other, and everybody - particularly the closest relatives, were real happy about all this, and they were weeping and they were carrying on and all this beautiful style was going on. To do what? Well, to put this mock-up down in the ground someplace and cover it over. It - honest it was real silly.

What people cannot have in actuality - in reality - this is the inverted mock-up - what a person can't have in actuality, he puts into a mock-up.

And it had just come from an undertaking parlor where the undertaker had made a better looking mock-up out of it than it ever had been. So all the aesthetic, the flowers, the harmony, the sympathy - everything the guy needed in his lifetime, see, but never got - he's got it now; he's dead; he's on his way.

First, he mocked up what he wanted in reality - that's higher toned, you see - and then after a while he gets into the fixed condition of an inverted business on mock-ups so that he is mocking up things which he can't have in actuality or reality. See, he has turned his actuality into a complete agreement with reality - the MEST universe. See, he's just copying the MEST universe now.

This is a sort of a brutal sort of a - of a sarcasm or some kind of a ridicule on the part of a society, and yet they'd never see it that way, you see. Very, very fascinating. Man - man is just fabulous. He is - people - people say, "Well, why doesn't this Operating Thetan go out and do something or other in Russia and so on?"

Duplication, by the way, solves this. Lots and lots of duplication will invert this condition about mock-ups. You ought to do that. That is another, with Self Analysis, a neglected technique.

I know one pc I was processing was just furious with Russia beyond fury. And she kept on coming up the line, coming up the line, coming up the line, till one day it occurred to her that what on earth would she be doing for randomity. These Russians were such beautiful game. And a bunch of overt acts on the track, one way or the other, suddenly showed up and blew. Well, as a spirit she hung around Russia for some time before she finally got trapped in a body. And one of the Russians' penchants is to go on into the barn and all sit down griefily and burn the barn down on themselves, see? So she used to help them out getting into the barn.

People look at it and say, "Well, what on earth can you do with this? I mean, you keep making pictures alongside of pictures of the MEST universe. Well, it's silly!" If you'll notice, the pictures start out either nonexistent or quite different, and this person really has a devil's own time trying to get those things to exactly match the MEST universe. And what do you know, you'd say offhand, "Boy, that's very, very bad to get something that completely matches the MEST universe - a duplication which does."

And here - here's this vast country that if today - if you were to put the face of Christ above it in a - in a huge visible mock-up above Russia - why, the whole government would cave in and everybody would go to pieces. And if you put up signs or icons to the effect of "Lenin has come back after having joined Christ and seen the light," Russia would never - Russia would never never be able to rest again. I mean, that would finish - finish off communism, it'd just be dead-pam. There would be no more communism.

We must realize that it isn't a condition of being also able to match the MEST universe, it's the fact that they can't. They've gone negative on matching electrons. At least get them back up to the wavelength of an electron. Now, push them up this - up the line again, you see, so now they can match up all kinds of MEST objects and change them around. And this is the place where they get original. The other is "compulsive originality," as completely different from "spontaneous originality." Spontaneous - free originality.

When the truth of the matter is, you see, that they've done this in the past. The Russian peasant is actually so accustomed to the rigors of living and is quite savvy, really, about thetans; he knows he's a thetan. And so people come up who don't even look the least bit like the fellow that's dead and they suddenly say, "Well, I'm so-and-so." And others come around and they say, "They're so-and-so," too. It doesn't make any difference to anybody in Russia. Big revolt! Shoot down the government; kill everybody; burn all the barns! I mean, it's just fascinating.

What happens to an artist? He slides this band and goes through MEST and down without recognizing where he crossed the border. The next thing you know, he's riding on craftsmanship and - or he's painting on craftsmanship, or he is doing music on craftsmanship. What's this?

Some leader dies - somebody could come up right now and if religion was still allowed to run in Russia - that's why they're holding religion down, see, at the muzzle of a gun - somebody could come along and say, "I'm Stalin." And if Stalin had any friends (which he didn't have), the government of Russia would just go appetite over tin cup - pam. That's all there is to it. But actually it takes somebody of a saintly, apathetic sort of a character to get the Russians upset this way. You see?

Now, he has to have a compulsive originality, so he buys a plot genie. He goes out and studies the compositions of Rembrandt van Gogh, or he does some - to remedy this situation.

So this Operating Thetan immediately saw all these things, understood all this and so forth, and just didn't back off from the whole problem. It just melted as a problem; wasn't a problem. Says, "Look at that beautiful playing field." It's something - you - they get up on world affairs somewhat on the basis of "What! Burn down Yankee Stadium?" It's just that silly.

Well, now, you start duplication on that man, and he'll find out that he is so frightened of duplicating the MEST universe, you see? He's afraid of it. Well, that's where he's miring down. You've got to get him up to a point on duplication.

All right. Well, there are processes which burn down Yankee Stadium. We won't worry about those. We'll talk this morning about a process that brings a preclear into pretty good shape fairly fast.

Well, most people who really get in bad shape are on an inverted dynamic about duplication.

You've had this process; I've been talking about it all along; you've been walking around the edges of it. This changes utterly nothing I've been talking about for a long time but you must know that SOP 8, as released, is not complete. No Step listed is complete.

Motor rapport is a complete duplication. So, when the marital partner or the sexual partner suddenly departs, one says, "I can't depart!" therefore, one must not duplicate! See how Q and A this is? One of these idiotic simplicities. This person has left and there's no more sensation with that person, so therefore, in order to Q and A it, why, the pc would have had to have left, but he can't leave, he's there. So, there's no sensation and he just can't be this person.

There's just enough SOP 8 printed to do a job on psychosomatic illness and aberration and exteriorization up to a medium level of cheerfulness. That's how much SOP 8 there is out there. Every one of those steps, all the way down from I to VII, would require, for an outline of its total possibilities, at least a large chapter in a book to give everything that you really did with the Step all the way through. Those are model Steps, and the most elementary form of each Step is the part of SOP 8 that's been printed - just a mod - just an elementary summary.

When he went into a motor rapport with this person, this person was - he never really gets mixed up with anybody this way unless this person has quite a bit of sexual sensation to give off. You see, he gets into a "can't be" situation. The person leaves. He can't be, himself; gone. This other person meant sexual sensation, therefore, he can't be sexual sensation. He can't be gone, so he's in an unsolvable situation. The way to do it is when the sexual partner leaves, why, the only answer would be to have one's own body leave too, and that would solve the problem. But in view of the fact that one has a tendency to stay with the body, this problem doesn't solve that easily. See this Q and A at work? It's very simple. So the person winds up fixed in what? Fixed in a complete maybe. He's in a motor rapport with a person who isn't there, which means no sexual sensation.

Somebody could very cleverly take one of these Steps and expand them, and so forth, and he'd see where they led. If he just carried it out just a Step and never figured it, he didn't figure any further, just carried the step out to reductio ad absurdum, all the way down the line, just completely exhausted it as a Step, he would see that Step I, Step II, Step III, Step IV...

This is very curious. You should run this sometime because it's what led Sigmund Freud down the byroads and back alleys of the problem - and brought him some answers too. This is such a flagrant thing in a society which is divided into just two sexes. Of course, it's more randomity when you have three sexes. There's one society up the line that has three sexes. And there's extra chances.

Step IV, well, as I said, it's got a sleeper in it: level of acceptance; how you have to waste. People can't even waste some of those things, do you know that? You can take as rough - rough subjects as there are in that list - some of the - even the rougher subjects - some people can't waste them.

But motor rapport is a physical compulsive mimicry. Now, when a person starts to go into motor rapport with his own mock-ups you know that there's pretty much of a scarcity of mock-ups and a scarcity of attention.

I had somebody this - a very short time ago trying to waste boredom. I swear, I could just hear his brains cracking as he was trying to waste boredom, and it was utterly impossible. And then he got around to a way of where one didn't have to have boredom and he called that wasting it.

Attention, see, attention; it's the keynote of it. The little kid that doesn't get attention will get heavy mock-ups.

It - this just was an impossible problem for him because I just started him in at a wrong level on the Tone Scale, and I just did it on purpose and just pushed him into the wrong level of the Tone Scale and he ran up against a blank wall, just as though he had hit a - hit a concrete wall with a tank. And he just - you could just hear his brains crack and his ridges creak; he was having an awful time. What he had to waste was apathy and then he had to waste grief and fear, hate, antagonism and then he could have wasted boredom with great ease. But we don't go into that sort of thing because it's very hard to get people to read anything that's very long, and also there isn't any sense in putting out that much information in one fell swoop.

Now, if you give a little bunch of kids Group Processing, you'll see a kid mock up a choo-choo train and then come flying down the aisle as a choo-choo train. He isn't being a choo-choo train, he's just in a motor rapport with his own mock-up. When you see a child doing that, you can say immediately, "This child is not getting attention and affection," period. That's all, it's the main answer.

Now, I haven't been holding back information. It's partly laziness on my part. There is no significance to me doing this, just beyond the fact that it isn't all there. But it's workably there. Do you follow me?

Lack of affection inhibits his ability to melt down his own mock-ups. He can't have affinity, he can't have affection, so therefore, he gets fixed on something. He can't admire it, he just looks at it, so therefore, he hangs up in it in energy. And this is fixation of... Admiration and attention are synonymous, practically, so he's just gone as far as he's concerned. Other people won't pay any attention to him.

On a Step I it says drill dangerous places, do this, do that and so forth. Also, I don't know whether it says it in the present issue, but it says earlier that you do all these on a thetan exteriorized - do all these Steps. I don't know whether SOP 8, as printed right now, makes that clear or not. You get the thetan outside and then you do all these Steps.

So you see how you'd spot this motor rapport in somebody?

All right, let's take Step II. Step I as printed merely says you take him to all these other places and you do this and you do that and so on. Well, it doesn't go into Change Processing; it doesn't go into shifting him from one viewpoint to another viewpoint and building up his viewpoint and so forth, but a fellow would understand that if he read the Factors. I mean, all I've been trying to do is make sure the information didn't get lost; it could be reevolved.

Well now, if you go around and talk to many psychiatrists - go around and interview psychiatrists - you'll find these poor devils are in motor rapport on psychosis. And you see, it's a perfectly natural thing for a person, when he's illustrating a story, to throw an expression on his face or make with the hands concerning some object in the story. But you see there's - if you want a classification of insanity, just classify all the things which you know the mind can do. And then, you see, you would just merely take these things and exaggerate each one and give it some kind of a name so that it would be an insanity. And its absence creates an insanity too.

II, Step II. Obviously if a fellow just kept mocking himself up and mocking himself up and mocking himself up, if he was in pretty good shape, why, he would exteriorize; if he was in pretty good shape. But you can use Step II for a total exteriorization.

A compulsive absence or a compulsive presence are alike the same thing. Now, just - everybody gets mixed up on this. They're afraid of this thing called insanity, and nobody has a good grip on it. In the first place, it's an emotion which is floating around and is merely the way you twist energy. It's - put a certain tension on energy gives you an emotion called "the glee of insanity" which is the "glee of irresponsibility."

How? Well, you have to know about anchor points. You're not going to run any degree of charge off of the case one way or the other by putting up one anchor point; you don't have space there, you have a line.

Well, that's not really what we're talking about. We're just talking about a compulsive fixation on one thing.

Why do you think people have communication lines to other people? It's just because, you see, the whole universe would disintegrate if there was two of each of you - if you had two bodies and if there was somebody just exactly like you - someone just exactly like you - go through the same motions - you'd get a meltdown.

And if you consider mental aberration as a compulsive coursing down one track, you have all the definition you need. It's a compulsive travel on a certain thing, subject or something of the sort. And people know this and they become frightened of fixing on something, and you'll find some of the boys who can't even pick up a hobby. They're afraid to get interested. See, if they got interested they know they'd fix on it and then they'd be crazy. This is the way they add it up.

Now you've seen Matched Terminaling? Well, the two terminals disappear; I mean, they just melt each other up, that's all. That's because you have a line between those two and you've got the rudiments of a plane which is at least part of space. But a line - a line is too rudimentary So if you've got one individual and he's very different from every other individual, naturally all you'll get between individuals is lines and this makes energy. And you can compound the lines up and pack them down and stuff them into things and make energy out of them and all sorts of things. But just don't go around being two identical people.

So, you have people compulsively abstaining from living. And that applies to every Homo sapiens walking the face of Earth today. They're all abstaining from living because they're so afraid of dying. That's about the way it is.

Twins for instance, have lots of fun but that's merely because they're rare. If you ever wanted to look into the mental makeup of a twin, if you ever had twins as preclears, you're in for quite a time They re just melting each other down all the time. It's fabulous, and they're meshed and merged and they - their individuality is shot, and one of them hurts herself and the other one gets hurt too, and - just fabulous. I mean, they may be miles and miles and miles apart, and one of them is in an auto wreck and the other one develops a headache or ... The motor rapport is too close.

If you could ever recapture a moment of the complete motion, the complete wholehearted fling, flash, dash or concentration on just one thing, you'd suddenly realize that you'd been missing something.

So, being an individual is, in part, a prevention of what? Of melting the whole universe down. That's about what it amounts to. Don't have two of everything; that makes them less valuable, you see?

Now, your pc is fixed, and when he gets fixed on a motor rapport basis, my God, he's really down there. Tells you an awful lot of little kids are really batty - and they are, too.

Now, tells you that just putting out one mock-up, then, doesn't answer all the conditions of Step II. I was telling you now, Self Analysis, yesterday, get two mock-ups - space. Did you find that very interesting reading? Very interesting on a case level. Well, it would get a hell of a lot more interesting than that if you put up your body eight times and made space out of it. A fellow's got terrific certainty on his body; it's the first anchor point he'll get. So just put it up eight times. Some very interesting things will occur.

They make up a mock-up, and then they - you tell them to tell the mock-up to turn around, and that makes the little kid turn around. He doesn't turn around because he's watching the mock-up. He makes the mock-up turn around and that makes him turn around.

Now, what about these people that the fellow's worried about? He knows there's a witch from Haiti hanging around or he knows he has a couple of friends or something of the sort, that keep pestering him when he's asleep, and he knows he's haunted by demons or something of the sort. He's real certain of it, isn't he?

Well, this is something else taking place. The kid is making a stronger - has more control over the mock-up than he has over the body. And this would be a good condition for a thetan, wouldn't it? The kid has excellent control over mock-ups. He has excellent mock-ups, excellent control over mock-ups and practically no control over the body. So, therefore, he can turn the mock-up around, but his own body would just fly around with it, which tells you the GE spotting the mock-up would be in a motor rapport with it. So it's a condition that would have to do with the GE.

Well, for God's sakes take the most certain thing of the case and make anchor points out of them, and by that I mean at least four-point space and really eight-point space. He'll make eight-point space with great ease. He's certain of it; all right, let him make space out of it. So, he's just lost his - he's just lost his child or something of the sort. He's real certain of that child; he's never been more certain. As a matter of fact if you ask him closely as he's doing mock-ups, an image of the child will keep flipping in and out on him. It'll be blackness and the child and blackness and every once in a while he'll run into this image again.

How do you break it? It's a scarcity of attention. You mock up Mama facing the child, mock up Papa looking at the child. Now, they'll get Papa looking angry, and Mama looking at them censoriously. But you've got to get them - to get them to get Papa and Mama down below them looking at them admiringly. And when you can finally get them mocking up Papa and Mama like that, their motor rapport stops. The same thing with other children. You get them to mock up other children. You get this child to mock up - "All right, now mock up a little girl. Now have her jump up in the air." The little kid jumps up in the air.

Remember? Invalidation is: make anchor points uncertain. Well, he's got a certain anchor point there, and that's beautiful stuff to make space out of; so let's just have the child around in eight points of space and his concern about it will vanish. It's a very simple process.

What's taken place there? The mock-up jumped up in the air. The thetan is much more able in controlling a mock-up than he is controlling the little child. The GE takes a look at a mock-up jumping up in the air and jumps. The thetan doesn't have anything to do with it.

Somebody says, "I knew this girl. She left me, and my emotions have been off ever since." It's not - doesn't follow that he - you can't turn these on just because he says they're off. He's quite certain of this girl; he doesn't get a visio of her, but he will very shortly. Just make space with her. A lot of these things will blow. You don't have to have any motion involved in it; no motion at all involved.

Here's a body out of control. Here's also a thetan counting on the GE to take care of himself. Which is to say, to some degree, an abandonment of the body at that early stage.

See how that works? You take things of which the guy is certain and you make anchor points out of them, and he'll fly out into that space. He'll get all mixed up with life and so forth, and he will eventually pin his hopes on one type of anchor point; he's always got one anchor point, two anchor points, three anchor points. Well, you make space out of them. And the problems concerning these things will blow, but that's almost immaterial.

When you get something like a brain injury or something badly wrong with a child so that everybody is treating the child in some curious way, the thetan will approximate the condition and the body will act that way afterwards. That's a funny thing. It isn't that a brain injury inhibits the thinking or talking of a child worth a nickel, you see? But it's just - that's the way it is, and the thetan just mocks the body up to act that way and he's in agreement. He's agreeing with everybody.

And the point is - is you start him exteriorizing; that's Step II. Just keep it running all the way out. Most certain thing he's certain of is his own body; now, there's the entering wedge on a process. So just make - put eight - eight bodies; put him around eight times. When he can finally do this stably, he'll exteriorize.

What's motor rapport? It's just that compulsive mimicry.

All right. Now, let's go down to Step III. And here at Step III is plain unadulterated murder. It says, "Spacation." Now, you're running concepts in brackets and that's all you have to know about it see? You run concepts in brackets. You just do a bracket - actually, it amounts to a bracket of six on space. It's a bracket of six, it finally works out to be. I'll show you what it is in a minute - the extra bracket, but we - the extra point. Just space.

This is the old saw that "you'd better not imitate people who are stammering because you will be stammering too. Ha-ha! Boy, are we going to work an operation on you." That's pushing a fellow, you see, into compulsive mimicry by making him afraid of compulsive mimicry. If you can make anybody afraid of anything, you can force it upon them. See? Well, anyway, just - I wanted to talk to you about that. But I wanted to impress upon you the fact that parents are really no help to you as an auditor in processing a child. And you ought to have the slip of paper all beautifully made out by Mama and handed in to the office, and you see the kid by yourself.

And now we reduce that all the way and we find that we run a bracket of holding the corners of the room. It doesn't matter whether you do two or eight of them; it's best to do eight of them.

Yesterday I spent about four and a half minutes processing two children. Got in a very beautiful session on two children. Two sessions I got in, in four and a half minutes.

Your pc will all of a sudden get blazingly bright, clear, golden anchor points sitting all over the place! He's liable to go around saying, "Gee, I got anchor points! I got ahhr-ahr!"

I put a big crimp in motor rapport with one kid and I broke a line charge on the other kid because I made the other kid control Mama's mock-up and make Mama look at her. See? This took two and a - about two minutes for one kid and about two and a half minutes for the other kid.

How long did it take you to do it? Well, it didn't take you very long to do it. Everything is dark as a coal scuttle. Next thing you know he's got bright anchor points, and he sits them all over the house like Saint Elmo's fire. He's never seen like this; he's fascinated.

Total processing, about four and a half minutes. And total result, not very great. But merely break the - one little kid's worry because Mama is so worried about the other little kid, that the first little kid isn't getting any attention, you see? So, we just remedied that condition. Remedies are awful quick with kids. There's practically no locks to blow on this lifetime. The kid line charged - pam - and relaxed.

Now somebody comes along and they haven't got good perception. I've given you some class demonstrations here; notable for the slowness of the process. But very interesting that these class demonstrations will pick up perception. Very interesting - one yesterday - pick up reaction time. Gave you another one yesterday - finding the nothing at the end of the communication line. That is the search for the other terminal, and that is the biggest search anybody makes in the universe - the search for that confounded lost anchor point. And the only reason they're stuck in the universe at all is they're trying to find that lost anchor point.

And the other kid finally got the whole alley down there filled up with little kids waving up, and so forth, and to some slight degree remedied this scarcity of children, but just slightly, see? And she got a line charge, and an expression she had across her eyes vanished! And she had a very fixed expression, sort of like that, and it vanished!

Did you ever see anybody lose a collar button? Well, he'll just keep at it and at it and at it and there are about five other collar buttons sitting in that doggone bureau, and he'll just keep looking and worrying and wondering and fussing about that lost collar button. That's what people are doing with the missing terminal at the end of the communication line. He actually has an impulse to make things valuable, which makes them scarce. And you make things - something valuable, you've got to have few of it, believe me. So his idea, then, is the thing that has the fewest of anything is the thing which the most is lost. The fewest - the fewest is where it was but isn't and that's really upsetting.

Well, this wasn't very great advance on the cases but it wasn't much time to put in either. Because for the ensuing twenty-five and a half minutes of the thing, Mama talked. And the second time I tried to attract the kids' attention, and so forth, Mama had already learned a trick.

He wouldn't stay in this universe at all if he didn't think he'd lost something. Fellow says, "Do you want to take another airplane flight?" And the other fellow says, "No, I didn't lose anything up there." The hell he didn't. He's got things lost all over space; he's lost them on purpose so he can surprise himself when he finds them Then he's forgotten the mechanism And he has a hell of a time after a while, he just - he thinks he's lost, too. And he goes on down the line - great speed.

"Now, see Mama down there," she says, "Now, Mama is now waving at you. Now, Mama is now out in the street. See Mama waving at you out in the street." Real grim!

Well, this is just a question of anchor points, isn't it? Anchor points or terminal points - it doesn't matter; there's a lot of classes of anchor points; there are anchor points, dimension points, terminal points and merely mass points. You know, you just got a lot of points and you throw them all together and that makes a mass and then you can make a bigger anchor point; but every point in a big anchor point is mass. Call them "anchor points" and you're just as happy as dimension points. They're just points and they make space.

But Mama's real worry was about the husband. And the husband, you see, is a big problem, because he's one of these fellows that just keeps going and going and going and working and working and working. And the doctors all caution him, and she's cautioned him, and everybody's cautioned him, but he just keeps going and going and, "He's so ambitious, you see, and he just keeps building these things, and so forth. And, of course, it isn't so bad because he makes quite a bit of money doing it, but he just works, you know, and he just keeps going, and he keeps going, and isn't there some way you could stop him?" The beauty of working people outside who know nothing on the subject at all is that they act so much like people.

The whole problem blew apart at the moment we cracked the definition for space. This utterly, inanely simple definition for space was missing in the technology and knowledge of man - utterly missing. Now, he could have had that definition, you see, without blowing up the universe, you know. He didn't have to be this obtuse.

See, her computation was lying all over the place.

At first - he didn't have to he this stupid as to pretend to have a science of physics that depends upon space - utterly dependent upon space and then ignore the fact that it's dependent upon space and study energy. That's really "don't look at it," isn't it?

When Mama left - I hadn't noticed at the time because I was concentrated on the kids - I was backed away from my body a bit and sort of leaning on the wainscoting and taking a deep breath and all of a sudden realized that the room was speckled with the glee of insanity. So, I blew it up, and Mama was down the street by that time, and I flipped down there and took another look at her. I really hadn't looked at her because I was interested in the kids. And boy! it was from the nose back clear to within about a quarter of an inch of the back of the skull, just solid glee of insanity. The poor girl is about ready to flip her bonnet.

And then it keeps talking about space though: things drop through space, space, space. Everywhere you go in a physics textbook, you'll discover that they're using space, space, space, space, space; it's all they're talking about.

The doctors have talked to her about a brain injury on the part of the child and she's so worried about a brain injury and going insane that she just pulled all the insanity out of the bank (she could find it anyplace) and takes it upon herself so the child won't go insane. Huhhh! The child's perfectly all right - controlled, better attention span than the other child who has no brain injury. You get this weird picture?

And a physicist's main worry is, as he boils down atoms and gets more and more atoms, and they get less and less, and so forth is that - the fact that he finds smaller units all the time and so on, and he's running out - he - he's - right now, he's getting frantic because if he can't find a smaller unit than he's found, he'll have to face the fact that he's looking at space. See that? He can't do that, so you get - by the way, your nuclear physicists of today are crazy.

Here's this child - she's a little bit retarded, but nothing very fantastic - with the doctors and nurses and school people, and so forth, "Yak-yak-yak-yak-yak! Brain injury at birth! Brain injury at birth!"

That was the fastest route to insanity, the study of nuclear physics, if you were going to take it seriously. You find them dropping down Tone Scale like bombs. Why, these nuclear physicists are joining the "Committee for the Enforcement of Communist Liberty in America" and recommending enemy aliens for employment on secret projects and just... Ah, boy, they're really on their way. In a beautiful condition they are, for a - an auditor. How can anybody be that bad off and still live?

If they'd just forget about it, the thetan would get that kid into shape. This is a body the thetan's got to work with and he was shortchanged one way or the other and it's growing up somehow, but he's trying to compensate for it - markedly trying to compensate. I keep saying him because the thetan was a boy in the last life. Anyway. Which makes a confusion. This guy is awful confused. He's got a girl on his hands who is six, but is - acts like about three and a half; four.

You - to understand this and appreciate this you'd have to know some of these boys intimately, and if you do then you know what I'm talking about. But you haven't seen, on the streets, anybody as bad off as a nuclear physicist. In the common concourse of man, in the delicatessens and so forth, you just don't find anybody that bad off. Why?

Well, out of these things one can learn quite a bit. But it's strange how often one learns the same lesson, and - no matter how many guises it takes.

He is avoiding the last avoidance, which immediately tells you that his case must be in terrible condition. He's down there to a point of where he is doing a "must avoid but can't avoid." And that's like "must reach but can't reach," and so it develops an insanity; and these boys are mad as hatters.

And one is, that when you have somebody around who is doing a bad - well, he's just got to stop the husband, you see. Well, somebody like that is bound and determined that they're going to go in some weird direction with regard to children, and so on. At the same time her problem is quite actual. She's taking care of a couple kids there without any help. And one of the kids she's being pounded with, she can't send to school, and that's one of the main things that she's worrying about, the child is underfoot all the time and a constant attention demand.

The one piece of technology which they have to have to resolve nuclear physics and to resolve their own madness is just that idiotically simple definition of space - a viewpoint of dimension. They cannot admit that there is a viewpoint! Everything is impartial, you see? There is dimension but they can't figure out what makes space because they can't admit the existence of the viewpoint. And so, the whole subject is lost to them because they can't admit livingness, which is source, you see? So they're looking at the ultimate effect of livingness and are reaching as far away from livingness as they can reach!

So, the problem that presents itself is who in this family - who in this family needs processing? We learn the same lesson all over again - Mama. Because any processing you give the kid, Mama's going to louse up.

Well, just of course, in this whole statement you've got, why you get technical societies just going by the boards. My God - a technical society. If any of you have rehearsed any of your space opera lately - holy God!

She was told to encourage the little child to get pictures. So she now says "hello" to the pictures every time the little child says "hello" to the pictures and sets extra plates at the table for the mock-ups. Otherwise, she's not doing very much to drive this child batty. Any time you start to tell a little kid that you can see his mock-ups and you start treating them with more politeness and consideration than you're treating the little kid, you're in for trouble. And that's what this person's doing.

They have a big tower in the town, you know, and the fellow thinks a hostile thought to the government and goes down and turns himself in for an electronic shock treatment. Why? Well, he knows it's picked up on the tower. How does he know it's picked up on the tower? Well, he's been told so, with a few thousand volts behind it.

Well, as long as we're on this subject, we have on the whole subject of attention also the subject of responsibility. How much responsibility can you expect from somebody who has a tremendous scarcity of attention? They want all the attention they can get and they are told that an enormous number of things cut down attention. "If you don't do that, Mama won't love you." "If you do that, Mama won't love you." "If you want Mama and Papa to like you, then you had better..." so on, so on, so on, so on.

If you think a hostile thought or an unsocial thought with regard to the town or the government of the town or the people connected therein, you see, it says here in small electrons, you have to go turn yourself in to the local police station. They just simply walk in and turn themselves in, saying, "Well, I thought a hostile thought this morning."

Now, they get affection all mixed up, then, with attention, a scarcity of; and they just get completely scrambled to a point where any attention becomes more desirable than no attention.

"Okay, sit in the cabinet on the left" and the technician presses a couple of buttons and depersonalizes them completely; in other words, takes everything they've got and throws it away and then put them in a new doll or something that goes out and shovels...

Well, when this starts to take place, when you have people looking all over the place for attention-attention- attention-attention, somebody has cut the living daylights out of their affinity lines. Pay attention to that affinity line because in actuality an affinity line isn't a line, as you would say an "affection line" or an "admiration line." Ideally, it is a no-line situation. So somebody has to...

I don't know how they invent work for these people to do, is what's most interesting because all the machinery does all the work. This is a this is a technical society. And that's the kind of a society which an engineer creates.

I'm going to be very - much more specific about this. Get my language straightened up. Complete lookingness and just regard for - on a very, very high band - is itself affection, admiration, and so forth. What it is, it's synonymous with clear vision. But as you enter into the energy, there is a particle which can still be it, but that particle is less it than the no-line. See, the best communication line is no line at all.

And now, you talk with engineers about the human mind and he says, "Ahh! the human mind," he says, "is subject to error," he says. "UNIVACs and ENIACs," he says, "they're much more reliable."

TBD Now - but so we enter in - we can get a line out of it. Now, it essentially is what lines are made out of. This sounds perhaps a little paradoxical or something of the sort, but it's what lines are made out of. Which is to say it's this tiny entrance particle which is getting jammed-jammed-jammed- jammed-jammed-jammed; now it's getting nice and solid. Boy, that line's really visible.

What's his level of certainty? You just never happen to tell him, you see - you just - just don't ever bother to tell him this one because it's a crusher; he can't quite avoid it. What dreamed up the UNIVAC and ENIAC? If you force him down onto it, he will eventually have to admit that the human mind did. And this makes the human mind cause. He either goes immediately into apathy or goes into rage. You give him a rough time when you do this sort of thing to him.

And when you first start to process a preclear on lines - he'll start to pull up lines - the first lines he will see, and the first emotions he will run into ordinarily are apathy. That's the heaviest mass of particles. And above that he will run into grief And above that he will run into fear. Sometime when you've spilled a beautiful grief charge, don't be too dismayed a little while later to find your preclear in terror, because that's just the next line up.

I don't know a single engineer working with this sort of thing who isn't, bluntly, in the early stages of neurosis, and the bulk of them I have found have been in the late stages of neurosis. All of them are having tremendous trouble on the second dynamic, particularly. They're in bad shape, poor guys. All right.

You start pulling up lines on a pc, for heaven's sakes, pull them up the emotional band. Don't tell him what line you're looking for. These are just the lines he'll run into.

These lads, of course, because they're figure-figure-figure- figure-figure-figure-figuring all the time, and because they have gone past the point of any conscience with regard to anybody else; that is to say, they're not alive so they know nobody else is, you see? They've gone past the point of conscience. What they dream up as a society is an inverted level and so you get societies composed of God and so on.

And you say, "All right. Adjust your wavelength," you've got him exteriorized, "Adjust your wavelength and take a look for - take a look around and see if you can find a deposit of energy here or an old line or something of the sort." "Oh, an old line." Well, it'll run out and he'll find apathy on it. And then the next thing you know he'll find grief on it.

This society is on the verge of sinking into a technical society and that's no game at all; that's what you call no game. It's all electrons and everything. And everything's push-button and automatic and so forth.

On nearly every one of these things, as he comes up, you're asking him for the easiest thing for him to find, and he's finding tougher and tougher things.

Okay. Spacation, then, embraces space. And space is simply a viewpoint of dimension. And if carried out as a process will just knock cases just to flinders because it makes the case admit that space is caused by a viewpoint! And it's a process that has just as much duress on it as an electronic shock if you'd run it hard and tough. And it doesn't matter a damn how you run this process, I hate to tell you. As long as you run it in its orderly sequence, you can be as tough as you want, as mean as you want, interrupt anybody as often as you want and really boot them around because the process simply runs out every lock that you put into it. Just - that's fact.

See, you ask him, "Well, get the next one that you can see." Any time you say, "you can see" or "adjust your wavelength to view," you realize that you're coming into the next zone which can be tackled. So you get a gradient scale of visibility which is your gradient scale of trouble with the case. See? I mean, if you use visio to locate - if you use exteriorized visio to locate what's wrong with a case, boy, you're really processing. Don't kid yourself; you really are. You're soaring along - wham! wham!

And it gets the guy over the biggest hang-ups he's got which is DED-DEDEX, without thinking about them, and the overt act-motivator sequence and his unwillingness to free other beings. His fear of other beings is such that he's unwilling to free them, and so he hates to confront a solved problem on the subject of freedom of others.

You'll knock out more things in less time than you ever heard of in running engrams or ridges. Gee! it's just - it's terrific speed!

Now, how do you run a Spacation in brackets? Well, I'll come hack to that in a moment and we'll cover the rest of SOP 8.

And it goes up - what do you know - it just goes right on up scale. You shouldn't tell your preclear this because he'll go and - he'll go and try to locate them higher scale so as to skip them.

Acceptance Level Processing is a learning process. The pc finds out that he has been tying to get himself to get mock-ups accepted and it shows him what kind of a mock-up is acceptable. Sick little boy was all that was acceptable to his parents. "What.." you'd say, "... what kind of childhood did you have?

You'll just take off the main charges on a rising scale, and you're just getting a less heavy particle each time. Of course, you get to hate. You think hate is heavier than apathy, perhaps, just by the world's connotation of it, but it isn't - it isn't. It's already - it's just already a sort of an apathy because, you see, if a person is hating, he's already saying, "I can't do anything about it, and I have to hold and resist and force upon." That's hate.

"Oh, I don't know, I was sick my whole childhood."

And you come up the line. All this energy is getting liver. You're now going into more violent energy but it's always much easier to handle.

You say, "Well, mock up a sick little boy. Mock up a sick little boy. Sick little boy. Sick...”

Hate's very easy to handle. You can always get a preclear - just tell him to empty a few buckets of hate over himself. He finds out this is tremendously acceptable at first. That's a funny thing, they just empty a few buckets of hate or throw a few buckets of hate away. He'll wonder how to waste hate, and he can figure for a long time, because it's a solid ridge, and of course that's all it is, is figure-figure-figure-figure-figure. If you've ever seen anybody trying to figure out how to get revenge or if you read detective stories, or so forth, it immediately tells you that the thing is a solid ridge from one end to the other. Well, just skip the ridge and just get a bucketful of hate, which makes some kind of a liquid - different from a ridge.

"Well, I can't get any mock-ups," he'll say. It's pretty ... "I really - really once in a while get one but I mean I was a sick little boy, see. It's very hard..."

This has an effect, by the way, it's curious. Get him throwing buckets of hate on somebody or other, and buckets... He really starts getting the emotion of hate, too, if you do this - wonderful emotion.

"Oh, come on, get a sick little boy."

A wonderful process in Germany. It worked like mad on Germans, because they'd been hated and hated and hated and they finally got an acceptance level on that. It's real good.

"Oh, yeah, well I get that all right, now. Yes."

Well, you're dealing all the time with affinity. And you're dealing with some kind of a particle of admiration. Any one of these particles is better than no looking. Any one.

"Well, who's accepting it?"

See, it's just a - it's just what is less valuable; not what is valuable and what is not valuable. Any particle on the Tone Scale that has to do with an effort or emotion has tremendous value for the thetan. Because boy, if he's got particles hanging around he's already got them scarce.

"My parents."

You find out, by the way, people won't tear up and throw away ridges whatever their content. Their content makes them just completely miserable. They won't throw it away. Well, it's sensation! It's emotion! It tells them they're alive!

You say, "Just mock it up again. Mock it up again."

But more than that, it ruins their havingness. They think they have to have, and the body thinks it has to have, just so much deposit of energy. And you start tearing up too many ridges and start throwing away too many lines - sort of on this same line of throwing away lines - you start throwing too many lines without giving him back the ability to replace them at once and at will, and he'll start to revolt on you a little bit. And he'll get sadder and sadder and more and more apathetic, and more and more apathetic. He'll get real sad. Because you re knocking his havingness apart. It's exactly the same thing to a thetan as though you were to grab his purse or his tie or to grab his car or something like that, and you all of a sudden have laid heavy hands on one of his ridges. Well, that ridge isn't very valuable because he can - kind of apathetic about it - he thinks he can probably get another one someplace, steal one off Joe. But he doesn't have much confidence at first in his ability to make good, solid, heavy ridges.

"Yeah, the only ones that do accept it is my parents."

So, every time you tear up a line or a ridge, give him back the option of having it again. That's a little rule you should follow. Any time you take away a deposit of energy, make it possible for him either to have the energy at will - any time he wants it - or give him back the energy itself. And before you've got him up the band very high you'd better just give him back the energy itself.

"Mock it up again. Again."

You blow up this ridge with all the facsimiles on it and then you have him mock up a ridge - just mock up a good, solid, heavy ridge - and pat it into shape, and push it down and make it about as solid as he wants without exploding it and fit it back in the same position. And he'd do that a few times and all of a sudden he says, "Well, I can have lots of those - the hell with them." But just do that as you come up Tone Scale.

"You know all they wanted around was a sick little boy! To hell with them!"

That's why subjective processing, so-called, is destructive to a case, because you're asking the case to destroy, chew up, throw away, mangle and get rid of his havingness. And you shouldn't do that. You should be mocking it up.

See, that's kind of an immediate sort of a reaction you very often get off of a preclear.

Self Analysis becomes very satisfying from two levels, its anchor points, and so on. It's great. It's a fantastic thing but it gives the person space. I had a whole list of these one time. One time I sat down and thought of all these processes I was trying to do, and it's all being done by one process, if slowly: Self Analysis.

He learns that a medium state of sickness, amongst other things, is what is acceptable to the society; the society doesn't accept somebody who's well. And - the - you can't tell him this because it's just evaluating for him; just get him to run this process: "Now, put yourself up as mediumly sick - not objectionably sick." Just get him to put that up a few times. "Now get other people putting it up." All of a sudden he'll say, "You know, the whole society runs that way, doesn't it? It's kind of silly, but it's true. Everybody's got to be just a little bit sick so they're not too dangerous."

When he starts getting mock-ups, you see, they're mass - increases his havingness, so he gets over his scarcity of energy.

In other words, he learns also that he has to hold back his own brightness, his own recognition, his own lookingness. You can teach him this with Acceptance Level Processing.

Now, as you come on up the scale he'll hit these various higher lines. He'll start hitting dispersals. He doesn't have to exhibit terror. The behavior of energy at 1.1, and so on, is dispersal. So, all of a sudden he'll tell you, "Gee-whiz! There's just miles of energy going out," or "just flows and floods of it." Well, just fix it up for - so he can have a dispersal.

Now, let's have "What kind of lookingness..." (we were running this yesterday), "What kind of lookingness is acceptable to Papa? And what kind is to Mama?"

One of the more interesting ways to do it we went into yesterday. I wouldn't do it on a preclear who was downscale, I mean, but this - you can do anything you want with energy. But to make a - if you start waves of dispersals going out following one after the other, and then get about a dozen on the way and get them all flowing out into the infinite space and then suddenly stop the first wave you started, which is the leading wave, it makes (it was real interesting) - everything runs into it and you get a lovely ridge or you get a wonderful explosion. See how that is?

Normally, if a case is really bad off; he'll come - always come up with this: "Gee, no kind at all!"

You just like - just have the preclear put out expanding doughnuts, and he keeps dropping a new doughnut to expand and a new doughnut to expand and a new doughnut to expand and then just stop the first one that you've dropped in; all the other doughnuts will run into it, of course. It's quite fireworksy.

Case is stone-blind. Now, this is - what is his perception level - the level of acceptance of his perceptions? Well, this has a tendency to sort of clear the air for the ease and makes him kind of understand that maybe - maybe he wasn't the beast, the dog, the bum that everybody wanted him to believe.

Now, that's a dispersal and, of course, that is at fear. Well, that's one of the ways of handling fear. You wouldn't think so offhand because the person isn't getting any real emotion of fear. He just...

"Now, let's mock up an unsuccessful man." See, and he mocks this up and he mocks this up and he mocks this up, well, until you ask him, "Who - who's that acceptable to?" He's telling you his life has been very unsuccessful. Who's he acceptable to? Not his father, not his mother. Why, his grandmother! Bums coming to the rear door were the only ones who ever got fed and the only people she was ever nice to - tramps. Well, boy, you'll blow a whole character right there like you pointed a demi-cannon at him, see? There's nothing like this kind of recognition to teach your preclear what he's been up against, so that he will be willing a little more willing to be shot around.

Did you ever see anybody at a movie getting deliciously frightened? Well, they've just got a lot of energy to expend. They can have dispersals at will. Start and stop dispersals. People only become afraid of being afraid (which is about the worst thing that could happen to anybody) when they can no longer have dispersals and start and stop them at will. If you were to fix up people so they could have these dispersals - slow dispersals, fast dispersals, it doesn't matter. An explosion is the best dispersal. It's curing people of fear. And when you cure people of fear, that he can have a dispersal any time he wants a dispersal, he doesn't have to be afraid of being afraid anymore.

Now, he always will go on figuring - unless you run something like this - there's something really wrong with him that he's still hiding from the auditor; he's still hiding some- something really wrong with him, because, and so on.

And you can feed him explosions and he, one day, will integrate that fact. He'll say, "You know, I'm not scared of things anymore. I don't know why!" And you say, "Well, it's obvious. It doesn't need any further explanation because it always works out this way." You say, "Well, gee. That's interesting. I don't have to worry about this preclear because naturally the most - the thing he really was afraid of was an explosion, and I gave him enough explosions and he's not afraid of explosions anymore, so that's just fine." That's the way you rationalize it. That isn't quite the way the logic went.

Of course, the auditor's level of acceptance is assumed to be very, very sick and aberrated people, so very often you'll get somebody who is very anxious about being accepted, so they sit down on the couch and the first doggone thing you know they - they're just madder than hatters. Doesn't matter how computational this is, the point is that the acceptance level of the auditor, according to the preclear, is somebody who's madder than a hatter. And they want processing so they would simply act crazy. See how that is? You get this every few cases. The fellow is acting much worse than he is. Yeah, you'll get it - very interesting.

The logic simply went "that you gave him dispersals until he could have some." See, now he doesn't have to be afraid of being afraid.

And when we get to V, of course, we get Exteriorization by Scenery as simply Change Processing done and done and done and done and done and done. And it finally turns out to be real.

Because if you're afraid and can't have a dispersal, then there isn't any way to express the emotion so you get hung up. So that's a perfect trap. If you can't have a dispersal and the dispersals all stop, then you're afraid of dispersals which is afraid of being afraid. So therefore you can't have explosions!

And VI - well, I don't know any handier process in recovering some certainty on the fact that he's been alive and by that he may be able to adjudicate that he will be alive; that's all we're really trying to do with it one way or the other.

And explosions are beautiful and practically the only reason you're alive. And if it wasn't for explosions no cell in the body would function. If it wasn't for explosions no bus down on the road would be running. If you can't have explosions you've got to wreck machinery. It's fantastic the role of the explosion in this universe.

And he can't have any anchor points in this universe so let's have him have some anchor points in his own universe, so he can locate himself in his own universe, anyway. You'll find that process III run too hard on a very low Step case will just butcher him for a while. They'll feel their - feel their wits staggering, so you don't want to push it too hard. This fellow looks pretty shaky to you, well, give him a little bit of Self Analysis, anyhow. Let him find the room before you lower the boom on him.

This is all supposed to be an expanding universe. The guy that dreamed that up, by the way, is probably real short on explosions because the universe also implodes, of course. It isn't an expanding universe. It isn't a contracting universe. It just happens to be a universe. And it's not sitting in somebody else's space or it's - anything. It just happens to be a unit of space that invaded our units of space and we've got a universe. Or it's a unit of space which we made and made to invade our unit of space, and it provided a lot of randomity, and here it is, so we might as well do something with it. Anyway. Or we own it completely; it doesn't matter how we look at it.

Now we go into "What room?" we get just contact processing which is physical contact processing and we have talked a great deal about what you can do with various contacts, various viewpoints, people sitting in one chair and the other chair, and you can go on and on with this process. And it gets back to Step III again. All of this stuff keeps coming home to Rome, and Rome is Step III, because it has to do with space.

It's interesting that if you can get up a person's level of certainty that he can change his mind. And all the processing you need, you see - if you get him real up and outside of his body - is just he changes his mind about something. Well, that's the same thing as looking. That says that he can look at something else. That's all changing a mind is. You can look at something else. You can also look at the first thing while you're looking at something else. That's - you can also look at five or six things at the same time, and compare them all at the same time, run them together and combine their visios with one viewpoint. It's fantastic. But people, when they're thinking, are combining billions of viewpoints simultaneously. They're combining all these viewpoints and getting some filtered result.

There isn't any energy, as such, but there is reduction and increase, vanishment and creation of space; holding space steady and static - there's lots of space. That E-Meter over there is made out of something which is there because it doesn't have any space in it compared to how much space it could have in it. So you have metal. You see.

Now, you want to know what "thinking" is? It's a bunch of - a bunch of looking of a bunch of viewpoints which are all being filtered through one viewpoint, and the cockeyed scene that is viewed there for the last viewpoint is what the fellow thinks. And that's a thinking machine. It's very nicely designed.

And what's astonishing to the physicist continually is the fact there's much more space in this universe than there is matter, and he looks in the electron and boy he looks at those light-years between the electron and the proton in comparison to the size of the electron and proton and he gets really astonished. It's lots of space in the doggone electron. So he's scared to really look too close because he'd find it was all space: because he'd look in the electron and he'd find out that there was a lot of space inside the electron. He'd look in the proton, there's lots of space inside of the proton.

Now, compare this to looking. The fellow is sitting up in the middle of some terrific piece of space he's just built and he can look at ten things on the space simultaneously. He can look into ten areas. Well, he finds it annoying to have to split his attention ten different ways, so he thinks maybe it'd be interesting if he puts up a unit, which is himself now, and has it look at ten things simultaneously and he looks at it. That's real cute.

Now he finds that this space, again, is demarked by "yumptrons" or something of the sort. They're probably - probably would be called "peditrons" or it would be something learned like that and he'd look in there and he'd discover that what these things were composed of was lots of space. In other words, he's just looking at space, space, space, space, space and each time finding the dimension. And he thinks - he thinks he's looking for something. He isn't looking for anything! He's looking - you see, he isn't looking for any thing; he's just looking for space!

Did you ever see one of these kaleidoscopes that the kids spin around and look through and the colors all combine and that sort of thing? Well, that sort of makes one of these kaleidoscopes, you see? And he can stand back and look at the thing. And then he finds out that he'd better differentiate between the ten things he was looking at while looking at this viewpoint which he has set up. Now that's going to be quite a trick, isn't it? It's a nice problem and it keeps his mind occupied.

And if the guy would only suddenly relax and say, "Gee! I'm looking at a lot of forms of space," his problems would fall away, they'd be solved. He's looking at forms and arrangements of spaces.

That reminds me that Mama, yesterday - a very, very pleasant woman, very well educated, and so forth - yet used the word problem about every fifth or sixth word. "Problem child; this is a problem; that is a problem; something or other is a problem; problem-problem-problem-problem-problem-problem- problem." And you got the idea of looking at this huge battery of circuits, each one going under full steam, full blast, and each one with a terrific energy cone sitting on top of it squashing it flat. And this was - this was quite a thinking machine that was going there. It was liable to blow up at any moment.

Male voice: What he's - trying to do is prove he's not a view point.

Now, a thetan doesn't happen to need any filtering to do any thinking. But he doesn't have to do any thinking, and he doesn't. He just does looking.

You're right. You - that's a very good summation of what he's trying to do. Trying to prove he's not a view- viewpoint, that's right. He has got to waste himself as a viewpoint to that level and prove he's not a viewpoint.

Any time that you think anybody thinks, have them look at this basis of "All right, let's look at the ashtray. Now, let's look at this package of cigarettes. Now let's look at this box. Okay, now we're looking at those things. Now, we can look at that, and we can get the idea we're looking at that while we look at the cigarettes. Yeah, we can get the idea we're now looking at the cigarettes too, and we go over here on this box over here and we get the idea we're looking at all three things simultaneously."

You ought to see those guys optically. You'd think that they were all equipped to go on the firing range with optical range finders when they start polishing up their glasses.

And he'll try to cheat on you if he's very scarce of attention and try to flick his attention from one thing to the other back and forth. He isn't doing that.

Well, it's all gotten down to space. Now, let's take space in a bracket.

Now, you say, now, "You find that's kind of - kind of difficult to look at those three things at once with one pair of MEST eyes? Well, I tell you, let's put a viewpoint in the center that combines all three and look at it."

First, let's take the guy's own space and the other universe's space and thus dispose of two universes simultaneously. And it would go like this: We would have the fellow - let's just use eight anchor points just for the dickens of it - preclears don't have to have just two, there's no scarcity of them. And this works, by the way, very well if you just start out using eight anchor points. You don't have to work up to eight. But occasionally, if you ran into a case that was very resistive on the thing, theoretically and only theoretically, it might be best to start out with two, three, four and work him on up to eight. Personally, I wouldn't do that; I would just tell him to get eight anchor points, and he'd gasp and fume and fuss - and say, "Well, get eight black ones in the blackness."

He'll get interested. See, it's an exercise. That's a thinking machine - the way you derive thinking out of looking. Just look at this thing and, of course, it's a mess of boxes and it's turning around and it's shifting because he's already said that these things were varying - that his viewpoint was changing on these three objects out here - so therefore, the viewpoint that he's set up here to watch those three things, when you look at the mirror image of it, why, you're going to get a shifting pattern which is not quite distinguishable.

"Oh-ho-ho! I can do that." He can do that! What do you suppose he's doing?

You know that people have mirrors all around them? I don't give you this on an hypnotic level, or anything of this sort, but if you'll just casually look around you now, thetawise, if you'd just look around you, tell me if you do, honestly, if you find any mirrors.

What are they reflecting?

Male voice: The body.

Mm-hm.

Male voice: Mine's reflecting space opera.

Now, if you want to really have a rough time for a pc - those are just viewpoints - if you really want to make a pc feel real bad, make him bust one. Just make him pick up one of those mirrors - they sometimes have handles on them, and so forth - just make him break one.

You can ask somebody that comes in, you can just say, "By the way, do you ever have the idea that you have any mirrors sitting around?" And he looks around, and he - "Yes, yes, I have some mirrors around. It's funny, I never noticed this before. Let's see, this one over here - that's funny, it's not reflecting the right side of my body."

Somebody with no visio at all will find these, by the way, and see his image in them and he'll say, "Gee, that - that - this one on the left side is reflecting the right side of my body. How peculiar." And he gets very intrigued. He gets very interested.

These are sort of the last ditch of "what I will be interested in if I just get completely horribly bored!" But you ask him to break one or dispose of one - he can pick them up and turn them around, and that sort of thing.

They are made out of the centers of explosions.