And this is January the 22nd, 1954, first morning lecture. Continuing some of this material on "Livingness Processing,” which is more or less the spontaneous name people are giving it.

This is January 22, 1954. We have in outwork here that we’ve been going over, some interesting material. It might have given you pause for thought and you might have achieved some results with the material you have been getting in the last few lectures and you might have been drawing a few blanks on it.

You must understand that this type of processing does not invalidate that which you already know, nor does it invalidate emergency-type processing. But it does lay open to view the cause for slow recovery on the part of some cases. These cases are busily validating the vicious and the wicked and they keep on bringing it to life. All right. Sounds awfully metaphysical, doesn’t it? But it’s what you charge up with energy.

Now, how about this? Have you been using this material on your preclears? Hm? Been drawing blanks or have you been getting someplace? Hm? Wonder why you’re getting someplace?

So, we’ve got real low-toned stuff: We’ve got-oh, something like-oh, I don’t know, Brahms, on the first record. (You can’t get much further south from death than that.)

Male voice: Blank.

And on the next platter we’ve got some Sibelius, next machine.

Could be.

Next machine up from there, why, we have some Dvorak and the next machine up from there, we have some hot jive and the next machine up from there, we got some circus music. In other words, we’re getting into a good band.

Female voice: More certain.

We’ve got these five machines, they’re all laid out there. All right, we’ve got one energy unit-energy production unit-we’ve got one generator. And this generator can plug into anything. So, we take-it’s got one line and let’s say that we take this line and we plug it into machine number one and we get some Brahms. There we are.

Yeah. There’s more certainty.

So, we decide we don’t like Brahms, so we plug the machine in tighter into Brahms. So we decide that Brahms is just horrible! So we solder it in. So we decide that Brahms is utterly intolerable, so we put up some additional lines from our generator-having no more current than we have, you see-some additional lines from the generator to be sure and carry it over to plug it into Brahms. Let me tell you that at no time along the line will you get into Dvorak-much less any circus music. And the more you play that record, of course, why, the more tendency it has to wear out or break down or something of the sort if it’s built out of MEST—but supposing it’s built out of something that’s indestructible?

All right. Now, let’s go into this problem more technically and more tactically. The problem set up is this: A thetan endows with life. He validates what he endows with life. What he endows with life is validated and comes to life. Conversely, what he resists he to some degree endows with life. And what he decides to unmock when he is in a very, very strong and powerful condition, he can do so. Let’s add that little factor and think about that one for a moment. A thetan can dematerialize or disendow.

Well, you can play this until the preclear, listening to it, finally decides it’s not very important, you know, he decides he can live, although Brahms is playing. And then, after awhile, he decides that-he decides he might as well be able to tune out Brahms. Leaves him with no music.Interesting, isn’t it? That, in effect, is the erasure of engrams and what it does. Just as an analogy. This doesn’t say, however that in terms of an emergency, this thing called the body, which will only stand so much stress and strain, after all, cannot have Brahms played with great speed so as to get the Brahms out of it in a hurry before it collapses. And if what’s wrong with this body happens to be Brahms, believe me, you’d better play some Brahms, in an emergency. But remember as you go forward, that if you just play Brahms, you get Brahms. I hope he hasn’t turned over more than four times in his grave right at the moment. Beautiful sadness. Let’s all be buried.

He only gets into the resistance band and the only reason I’ve been talking about it is because I’ve been talking about Homo sapiens and along that band. All right. Now, let’s look at this resistance band and find out that it’s a protest against being unable to unmock. You find that very acceptable there. All right.

I see this goes counter to some of your musical tastes. So we won’t take Brahms and pick on Brahms, we’ll pick on Mozart. About the same speed. Now, as we go up the line into other lower-toned levels of music . .. [laughter]

Now, we have a protest against not being able to unmock. And that is the main protest. He is resisting things because he cannot destroy them. And there is the make-break point of where the thetan ceases to be dangerous to the environment and the environment begins to be dangerous to him. And that is the high point, a very high point, where he discovers there is something he can’t unmock.

Male voice: How about Bach?

He has started something rolling-the Frankenstein effect, which I’ve already spoken of-and he starts something rolling and he finds he can’t stop it. Well, his next step would be to unmock it, but he’s already found he couldn’t stop it, which has made him change his mind about what power he has. And so he starts into resistance rather than unmocking. And he says, “There are certain things dangerous around here which I can’t unmock and therefore I had better put up barricades against them.”

I am chipping away at altars and shrines.

Well, in view of the fact that this is slightly in agreement with the spirit of the game on a higher scale, it works out to be quite powerful. On a little higher scale he said, “There are certain things around here I mustn’t unmock, otherwise I won’t have a game.” You see? And in an effort to preserve the game, he has, then, preserved certain (quote) “enemies” in the environment. He has admitted the existence or the possibility, then, of other-determinisms in the environment in order to have a game. And having admitted this, he gets into the state of mind that there can be a dangerous environment.

But as we go up the line, and still below 2.0, we run into Wagner, for instance. Wagner is exactly at 1.5-no place else. Much higher toned than most music.

Now, he discovers by the. Frankenstein effect one day, quite opposite to his intentions, he cannot stop something he has started and then he decides he can’t unmock it. He discovers he cannot do this.

We get into, again, a plugged-in, soldered-in problem. Wherever we plug in this dynamo, we’re going to get music-it’s certain. But the funny part of it is, that so long as the individual works below the level of hot jive or circus music, he is incapable of accomplishment, for himself or anybody else. He doesn’t exteriorize well.

Of course, the reason he cannot do this depends upon, basically, his first machinery to unmock. He says, “There must be a limitation on the amount of unmocking which I am going to do, otherwise there is not going to be a game. So I’ll prevent myself from unmocking everything.” Well, he did that when he could unmock everything, but the moment he set up this automaticity, he set up this: “I now have an automaticity which is now my randomity and I, therefore, must resist all effects and I can no longer unmock everything there is. There must be certain things I must preserve in order to have a game.” Well, he’s set up a limitation himself, already, upon his unmocking machinery.

As a comment on this music thing, by the way, many music lovers-you know, that’s like bird lovers or something of the sort-Boy Bird Watchers. Anyway... Shades of Pogo.

Now, he forgets about this, which is what you have to do to set up an automaticity. And one day he starts to unmock something and it kicks this machinery into action and this machinery kicks back against him and he is unable to unmock something. Thereafter, the environment becomes exceedingly dangerous to him and becomes more and more and more dangerous to him. Because the more he sets up the environment as his randomity, the less sphere of operation he has.

As we examine this picture and preclears, I have-not with ever hitting music-broken more preclears of classical music. They drag in, you know, and they’ve got this enormous library of records and they’re playing all this “beautiful sadness” and having a fine time and they’re real low-toned. They’re not getting anything accomplished, they’re having a horrible time in life and so forth. Arid the next thing you know, they’ve thrown the whole thing out or offered the collection to whoever conies by and they’re playing circus music or jive or early Dixieland jazz band or something of the sort that completely changes their musical taste. So, I’m rather on solid ground when I talk about this, because I haven’t yet had anybody remain in the classical band after having been processed up into motion.

What does this depend upon in the first instance? Simply this: “In order to have a game, there are certain things which I mustn’t unmock.” Let’s say he’s playing a game of castles and he says, “Well now, there are certain enemies that I can’t just look at and say, ‘Poof, you’re gone!’ These are the people who are going to storm the castle or storm the planet or storm the universe or something of the sort. And I have to put up some kind of counter-resistances to these and they can’t unmock my people either. And so therefore, we’ll have a big game and a big battle and everything will be fine”-lots of motion and so forth.

One case on that is very noteworthy. A girl that, at eighteen, was one of the most interesting music lovers I’ve run into for some time-it was all apathy, apathy, apathy, apathy, apathy, you know, round and round the disc. Strictly classical. Couldn’t tolerate anything that was smoky or had any speed to it and couldn’t even tolerate fast classical, like Bach. Wouldn’t even tolerate that.

Well he, in his self-confident and cocky condition, he simply puts this aside as a basic, fundamental truth that he has originated all by himself and he then later on starts to unmock something and it comes into collision with this early machine. He’s forgotten about the early machine, he is merely astounded and surprised and because he is still in a high enough state where it doesn’t worry him too much, he simply accepts the other-determinism in the environment. That’s his first real acceptance of the fact that it can’t be altered by himself and he is unable to unmock. All right.

And this case was in real bad shape. No responsibility and terrific domestic problems and so forth. And only processed her for two hours and she threw away the library. She literally did that. And after that, why, she came up the line, and you could mark her increase in interest in livingness by her brand-new taste in music. And this brand-new taste in music was happening every few days. Went up through Burl Ives and then started to get a little faster.

We track this back, then, as we function and we discover that the next point was reached where the individual, in effort to prevent the environment from taking everything he has, decides to make it unacceptable to the environment. And then because he can’t go up to get unacceptable-more and more beautiful (you see, that, he figures, is just more and more acceptable, which it is not, by the way) and he goes down the other way and he makes things less and less acceptable in the hopes that the environment will itself leave these possessions alone. And the worse off he gets, the more tawdry, hideous and forbidding become his possessions. I can very well conceive of a thetan, at length, only willing to mock-up very, very hideous spiders, you see, all the way down the line.

We won’t slander music anymore, but it is a direct index.

What’s in full play here? The unmockers have been set up as his randomity, that is to say, machinery which is going to unmock everything he possesses has been set up as his randomity. His own unmockers begin, at first, to be his randomity and then the whole environment’s effort to unmock what is his becomes his randomity as well.

People who talk about musical processing, actually, are taking a very, very, old, old, old, old technique which was used by psychiatry an awfully long time ago. Because they found that insane people would respond to classical music and they tried to play it out of them.

Now, it is noteworthy that nations will arm and arm and arm and arm, without too much protest, one nation to another, they’ll bicker back and forth. We’ve had an example of this in the ’30s when a fellow by the name of Schicklgruber came into power in Germany and he armed, armed, armed. He was building Messerschmitts in all directions and he was building cannon and tanks and storing them here and storing them there-all against every existing treaty-and nobody said anything to him at all. Intelligence organizations of the world reported to their respective countries that Germany was far better armed and getting better armed every day than it had been prior to World War I. And nobody paid any attention to this. They didn’t pay any attention to this until there was a violent effort on the part of Hitler to unmock some of the materiel and the mock-ups that belonged, in various ways, to other nations. Now, we get a stir against Hitler.

Well, now instead of going off into music, let’s go off into these machines. And we find out that that machine which is plugged in plays. You, as an energy production unit, can plug in any machine you’ve got, into anything-anything. And when you plug in Brahms, you’re going to get Brahms.

So the thetan, in the same way, seldom objects to other people’s mocking machinery-that is the machinery that mocks things up. He’d just as soon others created. And he holds on to that clear on through until he gets very bad off and then he realizes at long length, just before he goes out the bottom, that it was the mocking-up machinery of others which was his downfall. In other words, he selects creating machinery as his last randomity and unmocking machinery as his first randomity. You see how that would be? Very well then.

Now, you could plug in Brahms long enough to where you wear the groove a bit out and get the preclear to a point where he’s in pretty good condition (that is to say, as far as Brahms is concerned) and he’s out of the Brahms bracket. Now, if he no longer compulsively has to listen to Brahms, of course, there is always this accidental factor which you’ve always been waiting to key-in. This keys-in accidentally and it’s about time it stopped keying-in accidentally.

We find our preclear in the condition where his unmocking machinery is taking apart everything which is beautiful and his creating machinery is trying to create things which are ugly. Well now, what do we do about this? This is the problem. If you cared to put somebody on an E-Meter, you would see this very clearly. You would find out that he couldn’t have a more beautiful body or more beautiful possessions than he has, quite ordinarily. Otherwise he’d be at least a Theta Clear. He’d be up there someplace, and higher, if he was in the state of mind where he could possess and create very beautiful things and just keep on creating without any question.

Something comes along which gives the preclear a renewed interest, because his ability to perceive is now better for not being totally fixated. What you’ve done is restore more attention. He can also listen to Brahms and see something else or hear something else. You see that? And then you wait for something to pick up his interest in life.

Now, his own creating machinery is still quite strong because again, conversely, other people have not selected his creative machinery as their target, beyond this: they have pecked away at it a little bit whenever it seemed to come into conflict and unmock their creative impulses. His creative machinery has been clipped, normally then, after the product has been displayed and has been used, via somebody else’s understanding, to unmock their products. So his creative machinery has gradually disintegrated too, but it’s sort of after the fact. What’s primary here is the unmocking machinery, the destruction machinery.

Now, as he has more attention, something is going to come along and pick up his interest in life. That’s certain, because he can perceive better. It’s not that his tone is so much better-perception and tone, you know, are not quite the same parallel lines.

All the way along, then, we find that evidently the primary problem is a sort of a backwards thing. It’s the destruction machinery that people protest against and use as their randomity and get upset about and they pay most attention to and try to protest and resist. Every time you try to protest and resist destructive machinery, of course, you validate it and, as a consequence, it gets liver and liver and liver.

A fellow sometimes that’s in pretty good shape may have his perception off on a certain band and so forth. I mean, it’s a spotty problem; it’s not One of these smooth problems, perception is. Well, what factor was this? It was the renewed interest factor-let’s call it that-renewed interest in living. Well, why must we have that one key-in accidentally?

People out here in the police department wouldn’t object particularly to your going up on the side of a mountainside and putting up some sort of a beautiful garden without any permission from the owner or the city or anybody. You could go, they wouldn’t say anything about it. After they found out about it and saw it and so forth, why, they’d come up and they’d say, “Well now, you really shouldn’t have done that.” But that’s about all.

Let’s put it in on purpose.

But supposing you had taken a steam shovel up there and you’d dug large gouges out of the hillside and, oh boy! They’d be up there with warrants and they would be in full cry. That’s because you’ve destroyed something. The protest, then, is against destruction machinery, not against creative machinery.

Well, then how would we put it in on purpose? We might find we had to play some Brahms, but then, by golly, let’s unplug Brahms and let’s plug it in the next machine. And let’s unplug it there and plug it in in the next machine. And then unplug it there and plug it in on the next machine and then let’s plug it into the circus music.

Well, in taking apart the preclear, then, it would seem that we had several methods of approach. We could simply keep trying, as the metaphysician one way or another attempted, to just create-materialize, you might say-out of whole cloth, whatever he chose to have and just keep on trying to create it until he had created it. This is doomed to failure. Why? He’s trying to mock-up something, generally, in a state of beingness, which unmocks before the mock-up can thoroughly appear. The unmocking machinery will cut in before the materialization is far enough along to be visible to all hands. And that is why you don’t make a mock-up which everybody can see. It’s very simple. It is a simple problem.

Well, how would we go about doing this? Acceptance Level Processing gives us an enormous clue. If you have experimented at all with Acceptance Level Processing, you have discovered this: that if you get far enough south with an individual, he has an acceptability on some subject.

Let us take, for instance, this problem: We have a soldier who has no arm. And we’re going to set out upon this rather impossible adventure. We are going to take this as a case and try to make this case grow a new arm. I don’t say this has been done, but I’m just giving it as an example-an extreme example which is very visible. Now, we have him mock-up a new arm and we have him mock-up the new arm and mock-up the new arm and mock-up the new arm, in place or away from place, and we go on mocking-up a perfect arm on the theory that if we long enough validate this perfect arm, it will appear.

Let’s take the matter of money. This individual can’t accept five cents. You know, he mocks-up five cents, but it’s not quite real. He can’t move it in on himself. He mocks-up a five-cent piece and can’t move it in on himself. Do you know that there is a five-cent piece that will move in on him? A counterfeit. A counterfeit five-cent piece. Sometimes that won’t move in on him. A counterfeit five-cent piece that’s covered with germs. That may move in on him. A counterfeit five-cent piece that’s covered with germs that he has stolen and is about to be arrested for will move in on him.

You know that we’ll find this taking place as we do this: An automaticity will set in. And every time he mocks-up a perfect arm (which is there for only an instant) he feels it sort of sweeping back, in through the operations which patched up his arm after it was lost and into the actual incident of the loss of the arm. He keeps putting his arm there and all of a sudden these other incidents keep turning up. Puts his arm there and the other incidents turn up and he puts his arm there and the other incidents turn up and he puts his arm there and the other... Well, for heaven’s sakes!

How far south are we going, you see? So at some point, here, money is going to start moving in on him. It’s what kind of money will he accept and what kind of money is acceptable to others.

Now, supposing you were putting his whole arm there, you know, and it was only lost up to the elbow. And we put the whole arm up to the shoulder there. Well, this gets very interesting. We put the whole arm up to the shoulder there and we put the whole arm up to the shoulder there and undesirable sensation and condition begins to set in, in the upper arm. Not because you’re keying-in the operation-not that mechanically-but because you are actually interfering with the automaticity, the body machinery, which in itself makes the upper arm. So we have run into this as a liability: we have begun to interfere with that creative machinery which is already functioning and without which our preclear cannot get along, mostly because he is not in a condition to create the machinery which his taking over is destroying.

Now, Acceptance Level Processing is done in brackets and is a substitute for wasting, in brackets, any commodity. Now, instead of wasting the good commodity until the fellow can accept it, we waste it, you might say, in another fashion by deteriorating its value or substance.

Well now, by creating that upper arm over and over and over again, he’s actually taking over and being the automatic machinery which gives him an upper arm. And he’s being, as well, the lower machinery which tries to give him an arm. Well now, that lower machine might start to revive, but at the same time he is taking it over, it is ceasing to be an automatic process.

This person cannot have a sexual sensation, so we have this person waste sexual sensation in brackets. Have him waste some. Then somebody else waste some for himself. And then somebody waste some for somebody else. And then somebody waste some for him. And then have him waste some for somebody else. And we get this run round and round enough, we finally bring it up to a point where a fellow can have sexual sensation.

But what, if you please, is being made into a further randomity? The unmocking machinery, of course. And this unmocking machinery, every time you put a new arm there, is taking it away and putting an operation there, saying, “No. No. You can’t have that. No. No. Can’t have that.” His unmocking machinery is reinforced by all the very convincing operations and the shock of the original accident.

Well, there’s another way of doing it. We take sexual sensation and then deteriorate its condition and it just gets worse and worse. And you can get sexual sensation bad enough, you know, poor enough-a promiscuous sexual sensation that carries with it the probability of disease that can’t be felt very well and that is entirely illegal. And we get down to that level and all of a sudden the fellow starts mocking something up like that and, my God, he’s turned on a fire hose of acceptance.

And you see this clearly? This, at first, as you would gaze at it, would appear to be an almost unsolvable problem. Because, as you know, how do you take over automatic machinery? You make the preclear do it. How do you throw it out of action? You make the preclear do it. So we’re going to make this fellow create an arm. Well, he has a machine already (the body has a machine) which creates arms. And you’re going to throw that machine out of action, of course, by trying to create an arm directly.

Actually where he’s mocking it up-the point where he’s mocking it up-it’s been nice and stable as long as it was just sexual sensation. He couldn’t feel it or anything, but you know, it was nice and stable. And the next thing you know, as you go downhill and start adding deteriorative factors to this sexual sensation, suddenly the sexual sensation, now beautifully deteriorated, begins to pour at him as though it’s shot from a fire hose. I mean, he gets this-this enormous flow starts up. And then he has somebody else and then you change the sexual sensation around until it’s acceptable to this other person in the bracket and so on.

Right there you have the failure of materializing attempts, when carried on by people who are-both those connected with bodies and those who are a low order of Clear. They simply take the automatic machinery which has already been very carefully set up in order to create something and they’re not putting anything in its place. They’re knocking out and finishing off the creative machinery. That’s not because something is unmocking the creative machinery, you see. Just let’s forget about unmocking machinery. And we find out that the individual is trying to create an arm-he has a machine which creates an arm-and by taking over the machine which creates the arm, he throws that out of action. So we’ve entered the problem in the wrong direction.

You get two people and you get the sexual sensation that one of them finds acceptable from the other. And you just deteriorate that until-you know, mock it up differently and differently and differently and, all of a sudden, it’ll pour in on this other person. There is an automaticity here, you see.

Let’s take over, then, something that is closer to truth in the first place: nothingness. Nothing is much closer to truth than somethingness. Because out of all this we have merely consecutive nothingnesses and somethingnesses are built of consecutive nothingnesses. Space: nobody can find the particle. Science plays “particle, particle, we describe the loveliest particles. But they keep getting smaller and smaller and each particle we find becomes subdivisible into numerous other particles. And even when they have a great deal of mass, we take them apart and find a smaller particle.” Something is wrong here, obviously. So, let’s go upstairs toward nothingness instead of downstairs into more somethingness. And we find out that by getting closer to truth, as in a nothingness, and closer to automaticity, which is the unmocker which is a machine which makes nothingness (that’s reinforced truth), why, find a very interesting, easy case entrance, don’t we?

Cute, isn’t it? Cute automaticity that will set a fellow up to have nothing but promiscuous, disease-ridden sexual relationships. That’s a cute automaticity, isn’t it?

We have him get no arm and we just go on having him get no arm, that’s all And you’d be surprised how expert an individual can get on the subject of “no arm.”

Well, this will work with anything. It isn’t that this is a terribly valuable technique, 7 because it’s a slow technique. But it certainly is educative. It tells you that Brahms, being the acceptance level of the individual, will pour in on the bank like mad, but that circus music won’t. Can’t have circus music. You mock-up circus music and it just doesn’t go anyplace.

Now he has a chance. At least we’ve taken out the automatic machinery which are giving him no arm; we’re to be-taking out the unmockers.

But you mock-up Brahms and Brahms will come in on the bank. You see that? So, there is an acceptance level.

Now, after the unmockers are out, if your case comparably is in better condition, theoretically he could then mock-up an arm and it would stay mocked-up. Because all he’d have to do to mock-up the arm after he had kicked out the unmocking machinery is simply to twitch the machinery which mocks-up an arm and he’d have one. That’s without further disturbance. Of course, there is a chance that it might give him the kind of arm that he had on Planet 999 or something, but this, of course, is randomness itself. But where we would come into a clear, clean materialization, it would be in the absence of these automaticities. But the first one to take out is the unmocker. Now you can worry about the other.

Well, what the devil kind of an automaticity is this that the fellow mocks-up something bad enough-not that Brahms is terribly bad; he probably meant well and he’s probably amused an awful lot of psychos. Anyway... When we get the music downscale enough, it turns in to the individual and actually flows in. Well, doggone it, you know about automatic machinery. What is this thing? What’s this thing that’s doing the “selective havingness” of the preclear?

A creative machine is no great liability unless it insists on filling all space. If that creative machine which insists on filling all space gets loose, an individual, of course, has to just keep on filling all space till the machine quits. But that’s-you just get the preclear to do what the machine is trying to do. But that is a somethingness machine and somethingness machines are really quite easy to handle-quite simple. There’s nothing much to a somethingness machine.

Well, hold your hat. It’s your machinery. How you loved this machinery once. It’s a machine that gives you and gives them what they want. That’s a sort of a prostitute type of machine, isn’t it? A machine that gives you what you want.

But there is a great deal to one of these nothingness machines because there are so many ways you can make nothing. Now, you’d think it was quite the opposite, there are so many ways you could make something. Well, there aren’t many ways you can make something. The basic way you make something is simply to say it exists. That’s the basic way you make something. And then how do you refine that? You say it exists and then you say it exists a little better. Change it around and you’ve got it.

Now, here we have the fairy godmother. She was the character who gave you what you want. Here we have the fairy who came along and gave you three wishes-anything you wanted. Man has always known there was something a little bit wrong with this fairy godmother’s three wishes, because he writes up such stories as “The Monkey’s Paw.” You ever read that story? Oh, that’s a very interesting story. Very fine story. Don’t eat it on a full stomach if you enjoyed your dinner. [laughs]

Now, you can put it on an automatic bracket and fit it in against the time of the MEST universe and do a lot of other things, but it’s not very hard to do those either. Because if you’re in the kind of shape that can make something come into existence just by saying it is (and that’s the kind of shape you should be in), why, you certainly should be able to give it the rest of the conditions necessary.

The first two wishes are generally used foolishly and the third is used to cancel the first two. By the way, there are several stories called “The Monkey’s Paw,” but the one I had reference to is the fellow who . .. The boy dies and the Mother wishes that he’s back-wishes that he’s happy or something of the sort and I think that kills him if I remember rightly. And then wishes him back and, of course, they hear the scratching on the door and this body, buried for some time in a grave, is just about to walk into the room when they wish, hurriedly, that he goes back to the grave and it’s all cancelled out. And of course it is, so none of the three wishes given by the monkey’s paw come true.

But the nothingness machines-oh, they’re desperate.

But that is Man’s contest: trying to keep his wishes from coming true, because they’re such lousy wishes. We ought to run a course in wishing. If we had a nice course in wishing, why, things like “The Monkey’s Paw” wouldn’t happen, you see?

Now, people get discouraged about making nothingnesses, because everything is so obviously a somethingness. And machines which unmock objects and material are not very easy to handle, unless you just handle them straight from nothingness. You just make lots of nothingness.

You can well remember (quote) “wishing” (unquote) with great violence, something real bad on yourself. Can you remember that? Hm?

Now, let’s take the soldier with the arm again and we find out that if we just keep unmocking the arm, “Unmock the arm,” and he’ll keep telling you, “But it doesn’t exist anyhow.”

Audience: Mm-hm. Yeah.

You say, “That’s okay. Unmock it. Get a nothingness of your arm. Get a nothingness of you holding your arm over the head. Get a nothingness of your holding your arm straight out in front of you. Get a nothingness there. A nothingness elsewhere. A nothingness holding it straight out from the body and so forth. Just a nothingness in all these various positions in every conceivable attitude. A nothingness of its motion. A nothingness of its warmth. A nothingness of its blood. A nothingness of its ability with weapons. A nothingness of arm in all categories-past, present and future.” In other words, let’s just beat this arm to pieces that isn’t there. And then we find out, only then we will have relief from an arm that is still pretending it is there.

I knew a bus driver one time who became so angry with the management that he just went into a rage. And if I’ve ever heard a horrible curse in my life, it certainly was that one. And he simply said, “All right. I’ll show you about driving this bus. I’ll show you I’m careless about driving this bus. I’ll run it across the next embankment that I come to and kill everybody in it-including me.” And he did. Just like that.

Now, what kind of machinery do you handle first? And really, what kind of machinery would you really only have to handle exclusively? That would be unmocking machinery.

Well, now postulates that lead to these accidents don’t start out as violently as that. You’d start tracing down a postulate on an individual and you find out that, for instance, he sort of said, “You know,” he said, “I-I shouldn’t be doing this because it’ll be-I’ll wreck my hand.” And three hours later, we find him having wrecked his hand. You know, he sort of slid in sideways.

That is why I keep telling you as we go along here: remember to put some nothingness with it. Because you just put general shotgun nothingness into processes in general and you will get along very, very fine. And if you omit to put nothingnesses when you continue to handle somethingnesses, if you omit this, why, you’re just giving that unmocking machinery free play.

Well, what sort of an automaticity makes it come true? What is this that selects out an individual’s bad postulates and brings them true and takes his good ones and throws them away? What kind of an automaticity is this that gives him Brahms when sometimes he’d love circus music? But he can’t have circus music. He can’t listen to it, it makes him nervous.

And you can take a Step I by running somethingnesses forever, theoretically, turn him into an occluded case. Because you have paid so little attention to nothingness that he has made a randomity of his nothingness automaticities and he’s put them in full play.

He’s hung himself, or something’s hung him, with having to have Brahms. Just as something hangs you, Occasionally in auditing, with having to have only an entheta line of auditing or an entheta line of communication from the preclear. Well, somewhere in the midst of all these processes, we can stop this accidental factor of the automaticity and the accidental factor of waiting for the preclear to get a renewed interest in life. We’ll give him a new interest in life. We’ll let him reach for it and give him new dreams and goals.

A balanced case is not one which has its creation and destruction equally managed. A case that’s in good balance is a fellow who has his unmocking machinery thoroughly in his control. And his creative machinery, well, there it is. He could still have machinery that creates things automatically and still be in good shape.

Told you some time ago about looking into the mirror and seeing the ideal person. I planted that with you, malice aforethought, because I believe most of you saw a human being. Did anybody suffer any ill effects from that little process? Has anybody continued to do it?

Spirals are marked by a decline of the existing machinery. And the next spiral is marked by having to get some new.

Female voice: Yes.

Lifetimes are marked by a decline of existing machinery and having to get some new machinery. When a fellow’s unmocking machinery is totally random, why, he gets death, of course. He unmocks himself.

Mm-hm. But you’re seeing a human being, aren’t you?

A suicide is somebody who is trying to run an unmocking machine. Can you see how that would be? Well, your preclear doesn’t have to commit suicide.

Well, there’s one thing that keys-in Brahms.

End of Cycle, where you specialize in finding the preclear dead as dead could be, is much more effective. You see that? End of Cycle, which is an unmock end of cycle. You keep mocking him up dead, mocking him up dead, mocking him up in agony, mocking him up dead, mocking him up not there. Incidentally, you just keep mocking somebody up dead and, after a while, he’ll sort of hang up because there’s still a somethingness being created-a dead body. You want that dead body at least to go down to bones and dust every few mock-ups. And it works best, right straight through, if every time you mock-up an end of cycle with him dead or something of the sort, you simply complete it by having the body disintegrate, the bones disintegrate and the dust get there and then the dust blow away. And if you run it clear through to a nothingness, you’ll get far, far further with End of Cycle Processing.

What did you say?

And the way some of you are doing it now, you’ve begun to wonder if the technique actually does have this fantastic workability that you’ve heard, maybe, from this person or that-End of Cycle Processing. Well, that’s because you’re just omitting that one step: “Get a nothingness.” In other words, complete the machine all the way out and then you’re approximating an unmocker. And when you’ve got that unmocker fully approximated, the death machine itself will start to kick out. Because it doesn’t kick out until it’s run the whole cycle. It’ll just leave the preclear feeling dead if you run too many bodies lying there dead.

Male voice: I didn’t see anyone.

Now, we have a thetan dead and unconscious. Well, you’d better have him dead, unconscious and gone. See? Dead, unconscious and missing. He’s still there somewhat if he’s merely unconscious.

Oh, you couldn’t put one there.

So End of Cycle Processing is a method of running automaticity. And the rule in running automaticity is get the preclear to do, consciously, by his own postulates, what the machine is doing without his consent. And that’s the only way that you can really guarantee that a machine can be handled. There are many ways, you understand, of handling automaticities, but they all end up with that thing. They all go toward that as the final result: the preclear handles with his own postulates that which the machine is doing without his consent.

Male voice: No. I could, but I didn’t. It wasn’t very ideal.

I want to give you an example of this. Just been talking about these automaticities and we’ve just been talking about a great deal of automatic machinery. Forbidding stuff, automatic machinery. Some preclear comes along and hears of this automatic machinery for the first time and he doesn’t think it’s machinery. Well, this is very curious. He thinks it ought to be made out of flesh and blood or something. Actually, it’s as mechanical as wheels. And that isn’t just because this is an automatic age, it’s because the preclear has set it up on a very automatic machinery basis. He has various deposits of energy which are supposed to be constantly created, which discharge against this and that, and the wheels go round and round. It appears to have some sort of a beingness, some sort of a personality too, so a preclear very often conceives himself to be attacked by demons.

Hm?

So I’m going to ask you to look around you and get a nothingness of a demon that’s trying to kill you.

Male voice: I put one there, but it wasn’t human.

Now get a nothingness of a demon, again, that’s trying to kill you.

Female voice: I put qualities.

And duplicate him. Duplicate it.

You put qualities in this human being. Well, I seriously doubt if anybody put a thetan there who had great freedom. But if you did, fine. You’d have to put him there quite a bit.

If you’ve got a mock-up, for heaven’s sakes get a nothingness of the mock-up alongside of it and say, “That’s a nothingness of it.”

But there is this bar: Is that freedom and that thetan acceptable to you? And here we get Acceptance Level Processing keying us in. Well, what is determining what is acceptable to you, for pity sakes? Some kind of a machine, certainly, that gives you whatever you want-gives you anything you want. Of course, that’s a nice machine. A child will set up this kind of a machine. He can’t have very many things, so it gives him anything he wants and anything they want.

Get how we handle this sudden materialization when we say, “There’s nothing there.”

Let’s take somebody who has been commercially painting for a little while. He has keyed-in this machine beautifully. He’s giving them junk. He’s giving them what they want. It’s quite interesting, isn’t it, that it would go into the field of the arts and so forth. He gives them what they want. Well, that is the immediate reaction to this machine that gives them what they want.

You just get a nothing alongside of what materialized and say, “Well, that’s nothing of what materialized, here we go.”

Now, to tell you very carelessly with a wave of the hand and a nonchalant brush-off of the whole problem, that all you do is simply handle this machine just like you handle any other automaticity and now let’s go on to something else important, would all but ruin you. Because, basically, all automatic machinery is designed to give you or them what you or they want. And here is what automatic machinery is for. Cute, isn’t it? So, when we get to such things as ulcers of the stomach and other such conditions, why, can it be then we’re dealing with an automatic machine which gives them what they want or gives you what you want? Well, I’m afraid you are dealing with just that machine. So if you started to handle this machine as you would handle any other machine, you would be handling every automatic machine in the bank at once, wouldn’t you?

And get a lot of duplicates of this. A lot of duplicates of this demon that’s trying to kill you.

There would be one other kind of automatic machine: That which destroyed what they don’t want. Well, let’s look at that vicious little character. You find out they don’t want good literature-you’re a writer. You find out they don’t want a pretty girl-you’re a girl, a pretty girl.

Now just throw those all away.

What’s this machine do? It, perforce, has to turn around and destroy you. Because that’s not what they want, obviously. You’re not what they want. So somehow or other you must bring about a change by destroying yourself. They obviously want something much worse. So your machinery coasts on downhill, Do you see there’s two kinds of automatic machinery: one kind mocks-up and the other kind unmocks? That is to say, one kind creates and the other destroys. There is no machine which is a survival machine. All machines are survival machines whether they create or destroy. When a creation machine and a destruction machine are working counteropposed to each other, you get a persistence of a condition, which is to say, a "maybe.”

And you be a demon that’s trying to kill you-just right where you sit or right where you’re exteriorized-just be a demon that’s trying to kill you.

All right. So, an individual’s destruction machinery comes to this: His machinery starts Ю destroying anything that is considered high-toned, valuable, beautiful, efficient. And his creative machinery begins to create things which are ugly, diseased, broken, painful, sorrowful and doomed to no good end. Now, this is a very sad thing, isn’t it? That one could set up this machinery to run forever and never to be qualified again and then the machinery would get into this condition. Well, you’re examining, right here, the symptom of the dwindling spiral.

And look in front of you and get the obvious fact that there’s a nothingness of you. A nothingness of the body or a nothingness of you as a thetan. And get the feeling of great success.

The dwindling spiral would be that the destructive machinery would eventually become paramount in destroying things which you, analytically, would consider desirable. And the creative machinery begins to create those things which you analytically would consider undesirable. And so your analytical acceptance level is no longer consulted. You made all this machinery into your randomity by turning it into an automaticity. And it becomes your randomity, believe me. It becomes unpredictable because it is automatic and, therefore, adds so many unpredictable factors to the individual’s environment that he cannot possibly keep pace with it.

Now do that again.

Any person who is sick, any person who is unable to exteriorize, has his machinery in this kind of condition, to some extent. That machinery which creates has dwindled down to the creation of undesirable things, analytically. And that machinery which destroys, destroys only the beautiful. That’s a very sad outlook, isn’t it?

Now just get the fact that you’ve proved it utterly because you’re right there and you can’t see yourself now, so you’ve won.

But here we’re dealing with all machinery. I don’t care what this machinery was set up to do, it only had two purposes: one was to destroy the undesirable and the other was to create the desirable. And with the greatest innocence in the world a person sets forth and he gets these two classes of machinery: the class which will materialize things which he thinks are acceptable and which will dematerialize those things which he believes are unacceptable. That’s why he set up the machinery. He said, “Acceptable” because he wants to stay in agreement with his fellows; otherwise he won’t have any universe. And as he says, “Acceptable,” he, of course, doesn’t ever stop to think what is really acceptable.

And keep duplicating that and its sensation.

Now, we talked yesterday about the two levels of acceptance. There’s that level of acceptance which the individual touts and carries on the billboard up and down the street and says, “This is acceptable to me: new cars, bright clothes, shined shoes.” He says, “This is acceptable to me.” And then there’s a billboard under it.

Oh, get a tremendous satisfaction over having killed you.

What’s really acceptable to him? Bare feet, poverty and Model T Fords in a bad state of repair. What brings about a deteriorating condition? It is the enforcement of the society on a high acceptance level. Everybody working hard to enforce a high acceptance level creates a scarcity and starvation for pain, for poverty, for disease.

And look right in front of you and fail to find you and get that as a proof. You’ve done it-reduced you to complete nothingness.

And this scarcity is, of course, remedied. Now, here we have our problem lying out in front of us. We have a mechanical problem of abundance and scarcity. Those things which are made scarce, by definition, become difficult to obtain. Those things which are difficult to obtain become valuable, by definition.

Stroke your long brassy horns over that.

A diamond is valuable only because there aren’t many diamonds. Today, they are manufacturing a stone which has more glitter than a diamond. It’s a little bit smoky and is not quite as brilliantly clear, but it reflects more light; it is flashier than a diamond. But if diamonds were as common as glass, you would not feel proud, particularly, of owning a diamond. But if diamonds continue to be scarce, you are proud to own a diamond.

Now throw that away.

There is the thing which gets the individual into the “only one” computation. He tries 12 to make himself sufficiently scarce so as to be valuable. He has only decided that he had to be valuable at the time he decided that he needed help. The first time he decided he needed help was the first time he decided that he had to be acceptable to his fellow man.

And get a nothingness of a demon that’s trying to kill you.

And so his first premise of acceptability is “a condition which needs help.”

And now get a demon that’s trying to kill you and get a nothingness of yourself.

So his machinery, thereafter, bends and warps in the direction of making it possible for him to get help and for those things upon which he is dependent, to help him.

And duplicate that many times. Right where you sit, get a nothingness of you.

Ugly outlook, isn’t it? This is about the saddest thing I ever had to talk about. Miserable sort of a picture. But it’s better to know the anatomy of something than to just kind of “ride it blind” from there on. The thetan has been “riding it blind” too long. All right.

And get your last glimmering thought each time now, “Well, I’m all gone.”

When he needed help the first time, he was in poor condition, wasn’t he? So his first really intimate interpersonal contact-up to that time he could have had acquaintances, you see, he could have had bowing or hat-tipping acquaintances with an awful lot of people. He could have been (quote) “friends” (unquote) with an awful lot of people without giving a damn whether or not they were his friends or otherwise. But he would go along, he’d be perfectly cheerful.Now, we find out his first intimate contact in interpersonal relations, then, is based on a condition of disability on his part. You can find on the track that point in any preclear. It’s generally at the time of some very bad accident. And all those incidents are liable to be lying there in a group-badly grouped. Because they themselves are the things which are on top of the machinery he has constructed at such low points to (quote) “help him along” (unquote).

All right. Now throw that away.

It’s quite interesting, if you have ever had any experience with wounded, that there is nothing more cheerful, sort of an enforced sort of a way, than wounded men. They are very cheerful, they are very obliging, they are very pleasant. It’s an interesting thing. Because nobody will take care of one that is surly; they leave him alone. So they have to step into that band in order to save themselves.

And be the demon now and grow wheels.

This doesn’t say that these emotions only go with sickness. But these emotions don’t belong with the emotion of sickness; they belong way upscale. And here we have them enforced in a moment of sickness. We have them plugged in tight. Soldered in.

And get a nothingness of you as a demon.

You’ve just dressed and stitched up a wound and you ask the fellow if it hurt and he gives you-tries to give you a smile and says, “No, it didn’t.” He’s trying to be obliging, because his body depends upon it. His life (which is to say, his body) depends upon that emotion.

And put yourself back again as the demon and then get a nothingness of you as a demon. And then you as the demon and then a nothingness of you as the demon.

And so we have made a slave and have tied to illness and pain the one thing which an individual actually desires to have: cheerfulness, good fellowship, so forth. He had it once, way up Tone Scale, and then he had to join it way down Tone Scale. In such a way, the machinery itself becomes scrambled. He becomes very dependent upon eating. So he has to give them what they want in order to get back from them the substance with which to eat. And that in itself is a statement of economics. One gives them what they want in order to get back from them the substance by which to eat.

All right. Throw that away.

This would be an incredible picture if one did not know this about a thetan: a thetan does not particularly mind pain. What a thetan minds is an absence of drama, an absence of action, an absence of incident. This he minds. But at length, he will become disabused of the purity of this and so will have to bury its fundamentals and things become good and things become bad. And in such a way he is very scrambled and he gets to a confused level of what is good and what is bad and everything goes sort of topsy-turvy and his machinery, at that time, turns over on him.

And get you as the demon having been killed by the body and you’ve disappeared.

And we get into this condition whereby all his good conditions are unmocked and all his bad conditions are mocked-up. He just starts going in reverse.

And get the body there as evidence that it’s still there and you, as the demon, are not there, each time, and that this is conclusive proof that the body has killed you as a demon.

He does this so that he does get value and drama. Well, he doesn’t quite know what he’s doing, but actually what he’s doing makes very good sense. He’s at least in action. At least there’s something happening. He isn’t sitting on cloud 89, which is a rather dull cloud. He isn’t just passed by.

Now be you the demon and grant nothingness to your body and you as a thetan and all bodies and all thetans and the room and just everything now-you’re a demon with wheels. And let’s just grant, grandly, nothingnesses in all directions. Everywhere there’s a something, you make a nothing.

The beggar who comes to you on the street with an ulcerated sore, stricken with poverty, emaciated, obviously in pain and in want, is, according to a thetan, in better condition than a thetan sitting without any great ability on cloud 89. Until the thetan can recover his ability to make his own glory, he has no other choice but to continue to depend on the whole society and on all of the societies of livingness, for his action.

Get this as your sole mission in life.

And in order to get attention, he resorts to some of the most peculiar shifts. And these peculiar shifts to gain attention are themselves the woof and warp of the drama of life. And when he becomes dedicated to getting attention, he knows no stopping and he will reverse his machinery to the level which I said.

Oh, make more nothingnesses than that. And this time pick on beautiful things to make nothingnesses out of.

He finds out that he does not get attention by being beautiful, that he gets attention by being ugly. And so we get him uglier and uglier. He finds that the young get no real attention or respect and so he decides to be old. And too late he discovers-unable to reverse the current of the body-he discovers much too late that the old don’t get any attention either. But he’s discovered this too late.

Just bop them down and if you still perceive them, then put a nothingness of them alongside of them to show them, until you can bop down the actual objects. Now as this unmocker, let’s make a nothingness of all noises. Let’s just sort of mock-up the fact there’s a noise there and then swat it out.

Now, if he could just patch up the body again or materialize a body which was the optimum or ideal body, he would, of course, discard all this sort of thing.

Let’s get real successful at this.

Well, a thetan gets into the condition of having plugged in Brahms and then going persistently along the level with Brahms plugged in and you as an auditor come along and you keep Brahms plugged in. You run this one on him: you play Brahms at him till it begins to look a little silly to him. So he’ll stop, to some degree, listening to Brahms. You’ve busted no records. That’s about what you’ve done, if you continue with, you might say, entheta processes-those which validate entheta. At the same time, if you suddenly plugged in the circus music on him, you wouldn’t get anyplace either. He can’t accept circus music.

Now start knocking out things that might make a noise, knock it out before they get a chance. Swat it flat and make it disappear. Get a nothingness of that thing before it makes a noise.

So we have the conditions that we combat and which we are remedying. And those conditions are: an individual, who, if he is alive in this society, has his mock-up machinery usually in a condition to create the ugly, the inefficient, the cowardly, the dastardly and his unmocking machinery set up to unmock everything beautiful, brave, noble and decent. Cute, huh?

And be yourself and mock-up a big machine that makes nothingnesses out of things—a demon with wheels on that makes nothingnesses out of things. And then look straight through him and just fix your attention out beyond him so that he disappears.

Well, it has to be that way, he thinks, because if he were really able, he’d get no attention whatsoever. Well, how do we reverse this current? We could take over automatic machinery. We could ask him to be various kinds of automatic machinery. But beware: Just as Change of Space Processing can make a V (SOP 8, V) very ill-remember that it can-switching him from his right to the left of his body, repeatedly, will finally wind him up a day or two later quite sick. Asking him to be the past, the present and the future is, again, likely to make him quite sick. Our actions, then, are monitored by the tolerance of the individual for the process. Again, we are forced to give them what they want.

And keep doing that. Just put him there and then look straight through him until he disappears. Look at something beyond him.

But let’s not just go on giving them what they want. That would be just sort of running a case “hands off”-riding the bicycle down the street without any hands on the handlebars-just letting it roll. Not good auditing.

Now put a nothingness of this unmocking machine there. Put a nothingness of an unmocking machine there and look through it.

What you’re trying to do, in essence, is to plug out Brahms and plug in the next machine. And when he’s got the barest tolerance for that next machine, plug it out and get the third machine on. And when he has the barest tolerance for that machine, get the fourth one on. And then plug in the fifth one.

Just repeat that action time after time now.

Well, how is that best done? A whole ocean of processes greets your view the moment you study this problem. The point is, is which are the most effective of these processes? Because all of them are monitored by this unfortunate arbitrary: that which you validate lives. You, after all, plugging in second machine. It’s a low-tone machine.

Okay. Now throw that all away, whatever you did right or wrong.

Well, how do we solve this? Well, there is a method of solution which is more apparent than others and which is a very curious sort of a solution. On Creative Level Processing we would take our very resistive cases and so forth and we would process them more or less as we’ve been processing them.

Mock-up your body there or anything that even might resemble a body, even though it’s a chunk of blackness, and be the machine and look straight through the body and make it disappear.

We’d just try to get in the second machine up the line plugged in as soon as possible. But there is a level of case-maybe it’s the level of being able to exteriorize with a very bad certainty, maybe that level. And we could simply go on with this: we would have him mock-up himself as an ideal thetan. And we would go on having him mock it up as what he considered an ideal condition. You’d find out that this condition would better steadily.

Then put the body back again, look straight through it and make it disappear again.

What he considers an ideal condition would have less and less reservation to it, since you aren’t asking him to pay any attention to the reservations which turn up. You’re not asking him to evaluate them because a lot of things will turn up.

The way you do that is fix your attention on something beyond it.

Supposing we had him mock himself up as a dot of light out in space someplace. As perfect a being as possible. You’ll be surprised what would start going on in his mind.

Okay. Now throw that away. And look up and find the ceiling.

Well, I’ll give you this process, here, for the next minute or so, and you’ll see what I mean.

And look through the ceiling and find the roof.

Now, mock-up, as ideal as possible, a dot of light which would be you if you were Theta Cleared.

And through the roof and find the sky.

Mock it up.

And through the sky and find black space.

Now, throw it away and mock it up again.

And through the black space and find nothing.

Throw it away. Mock it up again.

Now do the same thing to the right.

You, as ideally as possible, and if you were Cleared.

The same thing to the left.

Throw it away and mock it up again.

The same thing down.

Throw it away and mock it up again.

The same thing behind you.

Throw it away and mock it up again.

Same thing in front of you.

And again.

And sit back and know.

Now, just continue to throw that thing up there.

Now let's grab two no-anchor points in the back of the room.

Throw it up there as good as you possibly can.

Okay. Find the floor.

Now, let’s go on with what you would do and what your potentialities would be and so forth.

Get any perception changes?

Mock it up, up there.

Audience: Mm-bm. Yes.

Make it as good as you can.

What did you get perception changes on?

I don’t care how muddy it is, its radiance doesn’t have anything to do with it. Let’s make it as radiant as we can or as good as we can. Make it radiant if that seems ideal.

Audience: Nothingness.

And get what it would do, then, for interest.

Which nothingness?

Just keep putting it up there.

Female voice: Going through-through the barriers.

Throw it up there some more.

Uh-huh. Through the barriers. Did you get any perception change before that or didn’t you notice?

Try and find something good about it, now, as you throw it up there.

Audience: Yes. Mm-hm.

Keep throwing it away or unmocking it and put it up there again.

What did you get perception changes on there?

Now say, “Now, I’m going to put it up there.” And put it up there. And say, “Now, I’m going to dispose of it.” And now dispose of it.

Female voice: Being a machine.

Go through a postulated routine, now.

Mm-hm.

Okay. Let’s throw it away now.

Female voice: Actually doing it and...

All right. Let’s grab the two back anchor points of the room for a moment.

Mm-hm.

Okay.

Female voice: ...and calling it back.

What did you find out?

Okay.

Female voice: Exteriorized quickly.

Mm-hm. Speeded up exteriorization?

What’d you find out?

Male voice: I find out the lights are like some low brand of angel

Mm-hm. Well, did that increase or change in any way?

Male voice: Yeah, it went from a little dot of light into a kind ofa nothing

Some kind of a nothingness.

Male voice: Yeah, a little-nothing.

Audience: Yeah.

Did it get disappointed?

Audience: No.

This is all right, huh?

Audience: Yeah, [various responses]

Uh-huh.

Male voice: It's like a shapeless space.

Uh-huh.

Female voice: I was able to run a couple of bodies-one the other side of the room and one this side, quite simultaneously, and watch other people running them and do all sorts of things.

All right. Do you think you’ve advanced your understanding any by doing this?

Audience: Yes.

I wonder if you’ve advanced your case any by doing this-understanding and case being slightly different.

You advanced your case any by doing this?

Audience: Yes.

Think so?

Audience: Yes.

Did anybody find a lot of undesirable conditions flicking off?

Female voice: No.

Undesirable conditions suddenly cutting in and flicking off?

Male voice: Yeah, boredom.

Sure, boredom and other things.

Female voice: Mine flicked in, but it didn’t cut off.

They flicked in, but they didn’t go off?

Female voice: Yeah, it’s still here.

It’s still there. We’ll run it some more.

All right. There would be a relatively simple direct process, wouldn’t it? Well, the process is workable. You throw up the dot of light and you grant it beingness or goodness or playfulness or whatever you can grant it and you just keep doing this. And the funny part of it is that even a Resistive V can mock-up his body, oddly enough. He can mock-up his body over a long period of time until he gets a beautifully clear mock-up of his body. He can mock-up a dot of light often enough and long enough until he gets a dot of light. In other words, he can get a specific mock-up if he works at it enough times, being careful to unmock it each time and being careful to postulate, rather than automatically run it. In this wise you would take over all the automatic machinery in the bank that applied to you as a thetan and you would at the same time, validate the entire problem.

Well, the workability of such a process is not particularly limited. But, it should be-such a process should be interspersed with Six Ways to Nothingness, Holding the Back Corners of the Room and any other type of process which was completely nonsignificant.

Because what you’re trying to do is strip away the significance from the preclear which keeps him nailed down into a body which is dependent upon every whim and zephyr of the universe.

The prime automaticity, of course, is the body itself. And the machinery which one is in contest with, quite normally, is the body machinery not his own, which makes it rather incomprehensible to him that this machinery would go into action. But don’t discount the fact that the thetan, too, can play a strange trick upon himself.

For instance, there’s a case that’s been hanging around here, has been coughing. Exteriorized him very neatly, got him out, had him cough outside. He found out the automatic coughing machinery was his own machinery. He started coughing and he kept on coughing-as a thetan. After he’d tell himself to stop coughing, something would go on coughing, way out where he was, way out in space. The body wasn’t coughing-he was.

Well, this doesn’t invalidate all you know by a long way, but it is merely another facet of this problem of “that which we materialize, we have.” Which is, of course, our primary stumbling block in all auditing. You will see other processes and other refinements which take care of this problem.

Okay?