This is first afternoon lecture of November the 23rd. We have this afternoon, a very fast review of steps up to III, and we talk about Step IV, and their use. All right.

This morning — November the 23rd, first morning lecture — this morning we're going to take up a formula. And if you were going to write this formula, it would be "Formula Phi" — circle with a slant across the circle, which would just simply stand for physical universe — "Formula Physical Universe."

It's rather difficult to put into a communication system all the things that can be done by an auditor because many, many, many things can be done by an auditor.

What is the basic formula of this universe?

However, SOP 8 is a pretty good method of categories of techniques, and SOP 8-C would be what you ordinarily used with which to produce a maximum result with your preclear. However, you must understand that knowing the underlying theory of what you're trying to do, as you will during these next few weeks, you should be able to very adequately utilize any sort of a technique, anytime it comes up. However, we're not going to ask you this early in the course to utilize these things on a virtuoso basis. Let's just use them as they come up.

When you start to make a cake, it's always good to know something about the recipe of the cake. You don't have to know the formula to eat the cake. But to replace the cake, or if you drop the cake off the table on the floor, or if somebody else ate the cake, why, you might like to know how to make the cake again. And that would be necessary for you to have a recipe. And on these homely terms, let me give you just this: Formula Phi.

Now we have Step I. Step I is a locational step. Starts out while he's interiorized. You can start that out simply by asking somebody to be three feet back of his head; and if he's going to be three feet back of his head, he'll be three feet back of his head. But if you ask him and he isn't, you have given him a failure. In view of the fact only about 50 percent of the people you encounter will be three feet back of their head, there is a better method of doing it, which is to say, you exteriorize him by location — "where he is not," past, present and future. And "where other people are not," past, present and future. And "where is he thinking," past, present and future. And "where are other people thinking," past, present and future. And "where is he exerting effort," past, present and future. And "where are other people exerting effort," past, present and future. And "where are other people feeling," past, present and future. And "where is he feeling," past, present and future.

Formula Phi is a game consisting of limitations by barriers and non-total destruction of barriers. That's it. Sounds too simple, doesn't it? And yet that's all that a game consists of. This is a game, and the point where this game cuts in, of course, is immediately below your Factors. And when played this way — barriers and non-total destruction of barriers — why, you get the mest universe. Formula Phi is how to make a mest universe, and it consists of limitations, of barriers which will not succumb to total destruction.

Locational. Locational. Negative location. You got that? That's the pattern of the step.

The game requires that attention be placed on others, others on self, and others on others. And attention can interchange only by barriers, and this of course requires a coordination of place and time, which is the remainder of the formula. Coordination of place and time. Time being reconstruction and replacement of barriers.

Now, going right along with that, is asking him to be in pleasant places and unpleasant places. But until you've got him out of the places he is uniformly stuck in, your chances of getting him very thoroughly into a new place, simply on command, are very poor.

Now, in this way we would consider how do you make a barrier? Barriers are made by placing particles in juxtaposition. People are engaged in trying to make particles coincide at a point, and trying to make particles fail to coincide at a point, and that's that.

Where somebody is unable to be in a place at will and very easily, you can know immediately, looking at the Factors, you've got a proposition of cause and effect.

Competence consists of that. It's the ability one has to prevent particles from coinciding at a point, and causing particles to coincide at points. This is — sounds, right at first glance, like it might not lead immediately to some kind of a solution to the problem, but it is a solution to anybody's problem. Because he's dealing with this rather silly game — it's just a game. And you're dealing with this game, and after a while he starts to lose his cake — he thinks he can eat it or something.

Cause and effect must carry with it, of course, attention. You see, you've got cause and effect, and "attention" is the mechanical arrangement which comes about because of cause and effect. You can't have a very good effect without somebody — having their attention. You can be at cause without giving any attention, but you can't be an effect without having given something attention. So the difference between cause and effect, actually, is whether or not you gave attention to something, and whether or not you're still giving attention to something. And there you have it.

Editor's note: The procedures LRH covers in these lectures were published in Journal of Scientology Issue 16-G, 'This is Scientology, The Science of Certainty" and Journal of Scientology Issue 24-G, "SOP 8-C, The Rehabilitation of the Human Spirit." Both of these articles have been reproduced for your reference in the appendix of this transcript booklet.

Now, it's — attention is in two conditions. One, too dispersed and unable to fix, and the other is too fixed and unable to disperse. Those are the two conditions of attention. Follow those? Two conditions of attention. That's all the conditions of attention there are, there are no others. Too fixed or too dispersed as far as attention is concerned. When you speak of neither fixed nor dispersed and no attention, you are not, of course, speaking about attention. Well, there is no other condition of attention than those two conditions.

And the moment he stops creating the cake, he no longer has cake. And then he sits around and says, "I'm in bad shape." That's real interesting, isn't it?

You could just get an idea of a searchlight pinning down on a pinpoint on a wall so hard that it burns a hole in a wall — that would be too fixed an attention. If you get an idea of a searchlight coning out until it lights everything up, but rather uniformly but dimly, so that you could barely see the wall or not see it at all because of that — well, that would be the idea of an unfixed attention.

Now, how do you get, in this universe, something to move from one — how does one get a form or barrier, see — form, barrier. I mean, what is a barrier? A barrier is anything from particle to a Maginot line; anything from a wall down to a (quote) "electron" (unquote). I mean, a wall is just as unreal as an electron, and it's just as real as an electron. An electron is just as real as a wall, because here we are in knowingness, that's all. You know it's there, it's there. If you don't know it's there, it's not there.

Now, people's attention becomes so crowdedly fixed on something that it inverts. We have people looking at something very, very strongly and we find out that they will eventually begin to look in front of it or behind it — first behind it and then in front of it. What — the first condition is to look at all the space around it and the object, rather relaxedly. And then the next condition is to look at the object but not at the space around it. And the next condition is to look at the object so hard that one sees beyond it, or in front of it. In other words, one closes it out entirely.

We get an immediate problem here when we try to move one of these barriers. That is — moving a barrier; that's real cute. Now, every once in a while you get a pc and he can just put up something — if he could put up something, it'll just stay right where he put it up. So simple. It stays right there. He can't move it. You say, "Get a mock-up of a dog now, and let's move this mock-up of the dog from one corner of the room to the other corner of the room," and very often he doesn't move any dog anyplace. The dog just persists in staying right where he is. Well, this is where the barrier — he's gotten his barriers too mixed up. He thinks barriers are permanent. That mock-up is a barrier. See, it's — what is a barrier? It's something that stops perception. What's space? That's something that extends perception, see? So in dealing with barriers, we're immediately dealing with perception. All right.

Now, you see these various conditions of attention. Now, there is the condition of attention which succeeds that, which is, look at it so hard that they only see the space around it and it disappears, which is another in — stage in the inversion.

He gets this dog, and he doesn't see through the dog, he looks at the dog and the dog won't move. And what would he have to do to move that dog? Well, he has to unmock the dog, and mock him up again in a new place. And unmock the dog and mock him up again in a new place, and unmock the dog and mock him up in a new place, and unmock the dog and mock him up in a new place. And if he does this at the rate of one over c, he can make the mock-up move from one corner of the room to the other corner of the room. And people who could still do it simply do it automatically, or in a condition of complete knowingness. They've either got a good automatic machine that's doing it, or they are doing it themselves. You can always do it yourself.

Now, you ask somebody to look very fixedly at the space on either side of an object, and if they tell you the object has disappeared, you've got one of the later stages of fixed attention. It is so fixed, you see, that they don't see what else is to be seen, too. You say, "Put your attention on the space around this object." They do, and the object disappears. Well, this is unmocking, but gloriously. And that, of course, is an automaticity in unmocking. What is that? They can put their attention on the space and lose the object, or put their attention on the object and lose the space. That's fairly extreme.

Now, the fellow whose dog stays in one place has a bunch of automatic machinery which is building the MEST universe, and he's put so much dependence on it that he says, "I have no further responsibility for putting up this dog. I was told to put up this dog, so the dog is there. Yes, I can see a dog, but he doesn't move."

As we first enter this problem, the person is able to put his attention on the space around the object and on the object too. And then he is unable to put his space around the object — on the space around the object, he puts his space on the object when told to look at the object. And then his concentration is so great that his attention fixes beyond or before the object. And now as we get this deteriorating — you see this is superfixation, this is fixation on an inversion — we get another condition, whereby you ask him to put his attention on the space around it, the object itself disappears.

Well, when somebody says, "Move the dog," why, he waits for the dog to move. How can he possibly wait for the dog to move? Only if his automaticity is in excellent condition. Then the dog will move if he says, "Move." His automaticity moves the dog, then the dog would move across rather erratically and maybe jump against the ceiling a couple of times and fly through the chandelier, and — but he'd get on the other side of the room one way or another. Or the fellow simply would know that the dog was there and know that the dog was moving, and know that his perception was stopped. First, he'd have to know that he had perception. Then he'd have to know that he was — his percep­tion was being stopped by a dog, and then know that it was being consecu­tively stopped by a dog, all in the new positions all the way across.

Now, here is inverted havingness. They can't have something, they're so compelled to look at space. And this is an automatic unmocker, and actually is the anatomy of automatic unmocking.

Now, if we do this on the mest universe level, we have to mock and unmock the dog in new positions, like you do an animated cartoon. You know how animated cartoons are made? Well everybody sort of does that in order to get something to move.

Unmocking itself is a very simple proposition; you merely look through something and it unmocks. This is of the essence. I mean, you don't have to do anything very — very strong. Now, that is a very, very crude method of unmocking, by the way. The best method of unmocking — in case you know anybody, any problem to unmock something, they just look through it and it'll disappear.

Now, if he has to do it by a formula of mocking and unmocking it and mocking and unmocking it — if he does this by a formula, he's actually doing it on a little piece of automaticity. The best way to have a dog there is just know the dog is there and then know you're seeing him, and know it so well that you see him — so simple. And then just know that he's moving.

You don't have to go that crude. That's a crude method, you understand. The other one's to just know it's not there and it's not there. That's a very precision method, and the method which we are trying to achieve because that is the basic and optimum method of mocking and unmocking.

But if you did it in mest universe fashion, you have to unmock the dog and then mock him up and unmock him and mock him up and unmock him and mock him up and unmock him and mock him up, each time in a new, slightly different position, and you make all of these frames and they go across, and you've got a dog that's moving. But that's according to formula. And so that in itself is a limitation, to do it by formula. If you just know the dog's there, and know the dog's moving, you're all set.

Now, we've got this first step, and in this first step, you'll find immediately that somebody's attention is too fixed on where he is, or too fixed on where he isn't but thinks he is. Or it's so dispersed all over the place that he can't be anywhere. And somewhere on thinkingness, effort, feeling or looking, you will find some place, some thing, some object, where his attention is entirely dispersed and he cannot look at the thing at all. Just the effort to look at the thing is so great that his attention simply disperses — it flies all over the place. You see that? It goes out into the space around the object. This extreme condition, they can't look at the object, their space just. . .

Well, people who know, absolutely know, that this mest universe is one, terribly real; and two, not very visible; and three, that something else, such as God, put it there a long time ago and it's still there — given these three ingredients, you get rotten perception, just horrible perception. Why? Because there isn't anything else to look but you, there isn't anything else to put anything there but you, and nothing is from a long time ago — it's all right now.

By the way, I didn't end that other. Then after their — the thing disappears, because they look at the space around it, you get the final deteriorated condition ... There are two conditions beyond that, as long as we are just going into attention (I hadn't really expected to cover the thing). You tell them to look at the object, and their attention flies into the space around it, and they don't see the object. And the next one is, you tell them to look at the object, their attention flies around it and then comes back on a false object. You see, that's delusion. It comes back and then instead of a microphone they see a spider. You see? That's somebody seeing something.

And you keep putting this stuff up and putting this stuff up and putting this stuff up, and that's a real trick — you'd know you're here, you see? How do you know? Well, you could bring two pieces of what you know is here, and make them collide, and you see that they collided — obvious. And everybody agrees that they collided, and there's the other point.

Well, you shouldn't get confused about this — is the person knows he has to have something there, and in this franticness of trying to have something there, his automatic machinery simply is — he's going full automatic now, and the automatic machinery just isn't working, that's all. It'll put anything there. He's on a complete other-determinism. He isn't even on a mest universe determinism, so he's relied on other people to mock up the MEST universe for him for so long, that he can't tell what's being mocked up! He goes around and sees all sorts of strange, weird things because this automaticity — anything will kick in. See, he has — he's said, "I have no responsibility for mocking up this universe. This universe isn't mine. No part of it's mine." Well, that's the final deteriorated condition of attention.

Now, there is what's known as the parasitic individual — the 100 percent parasitic individual — the parasite. If you know anything about disease, you know that there's — the optimum germ is one that does not kill his host. And then you get your bad germ, who does kill his host. And your bad germ also merely fails to survive itself — that'd be a bad germ. All right.

Seldom you will see anybody like that. It — usually it works like this: Light stages of delusion — if the person sees a nothingness, something will appear in it.

We have these things which are parasitic. Now, get what happens here — get the evolution. An individual comes along and he says, "There is a universe here," and there is one. See, just like that — bang, bang. He says, "There's a universe here," — boom, and he's got one. And he says, "Now I'm believing in it," so he believes in it. And he says, "Now I'll continue to see it," so he sees it. He does these things, that's all — he's all set. That's all he has to do.

Male voice: Space.

And then what's he do? He does this incredible stunt. He comes along and somebody else says, "There isn't any universe there. I know there's no universe there. I can't see one."

Yes, if he actually sees a nothingness. If you ask him to see a nothingness, he'll get something appearing in it. Well, this is your — his machinery compulsively having to have something. He doesn't dare look at anything. His intention just blears out away from it, and the machine puts something else in, and he looks at that. Everything is something else. Anything is a symbol for anything else. You got the reactive mind at work there, you see? Anything equals everything, and all things have lots of significance, an empty space has lots of significance, and everything has significance, significance, significance — real deteriorated.

And the other fellow says, "Well, now," he says, "do you see an absence of one?"

But let's not pause on that too long. If you don't understand that, let's just go over it a few times and you . .. Actually you can take a flashlight and focus it and unfocus it and see all these things. It's just a condition of perception lines. There's nothing to this but perception lines. The fellow is looking at one thing and sees something else, that's all. He actually — there is a spider someplace. See, he's just so mislocated that you told him to see something, so he goes and looks at something, but he looks at whatever a machine is putting there for him, you see. Because if he's looking at a wall, he's looking at something a machine is putting there for him. I'm sorry it sounds complex, because it's not complex at all. You'll understand this better.

And the fellow looks around and says, "Yes, complete absence of one."

But let's get on to something very simple. You can understand how a person can be someplace, and not be someplace. You can understand, too, how a person can be someplace without looking, and be someplace with looking, and not be someplace without looking. And also, by the use of extended viewpoints, not be someplace and look.

He says, "Well then, you're seeing something, aren't you? You see a complete absence of my universe, so you know that my universe is hidden from you. Now, if you're good enough, heh! you'll be able to see it. Heh-heh-heh-heh-heh-heh!"

Now, you're going to run into that one. That's a periscope effect, and so on. You'll find somebody, he — every time he gets out, why, the next thing you know, why, he has a beautiful view of something or other, and it's superimposed on a beautiful view of something or other, but he's not near these two places and knows it. And it's very confusing. He's just being supercareful. He has been hit once too often, and in this desire not to be hit, he isn't there. He puts a viewpoint there instead.

And on this speciousness, and on this complete lie, we go forward into agreement. We know it's there because we all see it. That's the next point — that's mass agreement. See, we know it's there because we all see it. And the way we got into seeing it was just on that basis of, "Well, you know, you don't see it, do you? Well, that sure shows you you're stupid. What's wrong with your perception that you can't see this?" Then they have various methods and trickery by which one convinces the other that this is that way, and this is the other way. And this becomes very treacherous, this sort of a proposition, because one can't ever be sure of what he's seeing unless somebody else tells him. And if people tell him often enough and so on, he then finds himself in agreement with all kinds of people all around the place.

I'll show you how that'd work, is let's mock up a television camera, and we put the television camera over on the top of the Walt Whitman Hotel, and we run a cable over here and the fellow looks at a viewer. Now, in essence, that is the mest universe dramatizing the thetan's ability to put out a viewpoint. Well, of course if anything hits the top of the Walt Whitman Hotel, it won't hit the pc. It won't hit him as a thetan, it'll simply hit a television camera. And he's very happy about this — extremely happy, you see.

Well, he's satisfied now. He's still seeing what he saw before, but he gets afraid, finally, that that isn't quite right, because — the communication factor which can enter into it. He's now agreed on communication systems, and he agrees on other things. And he starts depending on other people keeping the universe there, and himself agreeing with them that it is there, and this is how he sees it — he thinks.

So every time you've got somebody using viewpoints, there's two things taking place there. One, he can't look where he is, because there's such a scarcity that he's not there to look, to some degree, you see. But he has to be someplace else to look because he can't be there to look, and he's just confused to that degree. And the other condition is, that he is being terribly careful.

See, his dependency is that the universe is there because they say it is, not because he put it there. So as long as he's in agreement with them, why, he has a universe. So he's dependent upon their agreement amongst themselves to continue to have a universe. Now he's in a parasitic condition: he is parasitic on other people's agreement about the universe.

So you have him mock up some viewpoints so as to — very carefully, at a distance from him — and look from them so that when they're hit they won't hit him. And then have them hit, you know, and blow them up and so forth. And then put some viewpoints someplace else to look with. These things are very handy. You put the putting up of viewpoints in his own hands — that's an automaticity of viewpoints.

Now, this parasitic quality then begins to pervade everything he does. He starts to depend on the actions of others to do this and that, he starts to depend on them going through this and that. And somehow or other he'll make it one way or the other — if he agrees, stays in close enough agreement, why, he's all set — he thinks. So he wears the same kind of hat and he wears the same kind of shoes — he just suffers at the idea of getting out of agreement with somebody, you see?

When somebody's getting this effect you say, "You're right there," and all of a sudden, he's looking at the Walt Whitman Hotel, but he's looking at it from the other side and back toward himself. This is real silly. He — don't be confused about what that is. This guy is just being superdispersed and using viewpoints, so he's being very careful.

And you take somebody who is depending upon the anatomy of this knowingness — the anatomy of this knowingness, you know, the anatomy of this universe — somebody who depends upon this anatomy for his daily bread, such as engineering. You know, he depends on taking it apart or routing its currents in some direction and so on. He has become parasitic upon the postulate. So he's secondary to the postulate, so of course you can't ask him to make postulates anymore, because he depends upon the consistent and continuous agreement postulate. And so you find (quote) "scientific" (unquote) fields going around saying, "Well, according to Professor Wumpfcuddle, we believe that the writings which were made at that time were written according to the best authority available then. And, whereas this institution cannot make a forthright opinion at this time, we have the feeling that when more investigation is done, it may indicate that somebody at some time or another will also fail to know the answer."

Nearly anybody uses viewpoints. If you just waste viewpoints for a while, the condition remedies. This isn't a mysterious perception thing. He just can't be where he looks from. He knows better. Just a tricky little arrangement.

Now, what's very satisfactory to somebody for a while, is this thing called electronics. Electronics get very satisfactory to somebody because he can put up a couple of terminals and he can see something go between them and measure it up, and all the time he — if he just keeps overlooking it — he's always overlooking the fact that he's using electronics to measure electronics.

That'll come up in auditing every time you turn around. Somebody will suddenly say, "You know I can't look at — I just — I've got a — yes, I've got a big picture of the corner, but, gee, that's a big corner." Viewpoint, that's all. He isn't in the corner, he's got a viewpoint up in the corner. See how that is? All of a sudden he gets a terribly big, magnified view of a clock. You say, "Look at the clock," and he gets a huge magnification of this huge clock. He knows he's not in front of the clock, but he'll get this big view of it. Here he's got it on a screen, you see.

And — but it's very satisfactory for a while because he can produce a consistent effect. And he takes old Ohm's law and holds it to his bosom, and he says, "My," he says, "I at least have one thing that won't go wrong on me." Well, he'd better not move out of the exact universe and position he's in with that Ohm's law, because it'll cave in on him. Ohm's law is all very well. And then you go out into space. And you just go out into 273 degrees minus centigrade with Ohm's law — trrhh! Impossible!

And you say, "What on earth is wrong with this person? He feels like the universe is caving in on him." Well he ought to. My God, he's got viewpoints all over through the past, present and future, and he's got things scattered up. And every once in a while, some guy will go to sleep and he'll have big dreams about fires and so forth that he's — he's still got a viewpoint kicking around somewhere, but it's parked in front of a facsimile. See, the facsimile might still be out in Iowa or someplace, but he's got a viewpoint parked in front of it. You follow that? That's this silly business of "long lookingness."

Good old Ohm's law goes by the boards, and comes into immediate collision with Boyle's law and a few other laws go by the boards, the second that you start to pour current from one terminal to another in minus 273 degrees C. This factor, by the way, makes space opera possible. You hear of somebody walking up with this little jim-dandy disintegrator, and he pulls the trigger on the disintegrator and the castle falls down. Well, of course there is your basic agreement. He's dealing with more basic agreements than anybody else — there isn't anything.

Then there's the other silly business of unmocking everything with blackness. That's, of course, real silly. But of course, that's the first antagonist of space, is black space. You know, all space is black unless it has some light in it. And a fellow who's had to come up against space and space has really impressed him, believe me, he'll use that as his pattern of view. And he's got nothing but viewpoints scattered all over black space. If you don't think there isn't a lot of black space, sometime, why, go out on a dark night in Arizona or someplace and really take a look up. And you don't see very many stars, but you sure see an awful lot of space, and all that space is black.

And naturally, you take anything — any current which was generated in minus 273 is earlier agreement than current which was generated in other pressures, and your engineering becomes very interesting. Now, you can make a bomb — the Russians are rumored to be doing this — they're making bombs in minus 271 degrees C or something like that, where you have almost zero resistance. Into one small condenser — one tiny little condenser of no size at all which here on Earth would hold a volt before it went zap! — well, you can pour about eight billion volts at five hundred amperes into it, in minus 273, and you just pack that thing full, see, and then you warm it up. And believe me, it goes bang! right away.

Well now, you're in the edge of a galaxy; it gets a little bit thicker as you go in toward the hub, but not much. Now, let's look in the direction where there isn't any galaxy. Let's look away the opposite direction, 180 degrees of a sphere away from the Milky Way, and you look out that way and you will see a lot of black space. There's no stars out that way. See, it's real blank.

But Ohm's law looks kind of silly, the second you start — Ohm's law holds good for the area of agreement in which Ohm's law is good. And it's pretty hard to convince an engineer of this until you just insist that he go up track on his science far enough so that he all of a sudden falls in. He runs into the absence of "prime post unposted," and he's done. And he can do anything within the realm of this agreement. Of course, he is just recovering some small shadow of what's been agreed upon about the behavior of energy. Everybody agrees on this, they'll all see it. My God, they've been on the track long enough, they'll see it.

So you run out of this galaxy, and you find an awful lot of black space between here and the next galaxy, believe me. The next galaxy, a collection of stars exactly — is about the same as this. I think it's the galaxy up in Andromeda. You look through the constellation of Andromeda to see this galaxy, and you can almost see it with the naked eye; little tiny blurry patch up there. But you turn a telescope on it, and boy, that's a long way away. But it — there's a lot of black space around. There's very few galaxies in it. And there's much more space without galaxies in them by about ten to the hundredth power, than there is space with galaxies in them. And now you get inside the galaxy and you look around and you don't see much stars there, either — there's just a lot of black nothingness. Well, a fellow of course is terribly impressed by this, and he decides right away the thing for him to do is to pattern that, see? Very simple. All right. So much for his black space.

Now, somebody who starts to attempt with people who are entirely agreed upon something else, any kind of a re-perception of vanishment, or re-creation of something — boy, it gets real poor. I mean, he tries to make them perceive time as time is. Time is the proposition of, "I have no more space right here around me to put anything in, so we will just say that space was yesterday. Now we have some new space. Now we'll fill it all full, and then we'll say this new space is yesterday. Okay, it's yesterday. All right. And now we'll have . . ." The guy is sitting there in no space, you see — only except as he is saying that he's sitting in space.

He gets the idea after a while of — he's lost so many things in space, and he's lost so many mock-ups in space and universes and things and stuff and the suns have gone out on him (he's had a lot of fun!), that at last he gets the idea the way you unmock things is to cover it with blackness. Cute trick, isn't it?

Of this illusory stuff, is all of this stuff made. But it's pretty hard for somebody dependent upon that agreement to recognize that it is, because he's gotten into a situation where he depends upon the fact that other people see it in order for him to have it. Well, that's bad.

Well, of course, the most unmocking thing you ever ran into is black space — that'll gobble up almost anything. The only thing better than black space is just plain, ordinary, routine nothingness, and that's very superior. Of course, it makes these boys sick because they get it confused with the nothingness of black space and that's a very sickening thing. All right.

Now, there's this: Knowingness — a state of knowingness — your primary state of knowingness is the primary state of creativeness.

That's enough time on just talking about attention and beingness here and there. Well, what's the technique that goes along with Step I? Very simple technique. I'll give you an example — and this may sound very peculiar and obtuse and strange to you, but I'll give you an example of this technique.

These two things are immediately and violently opposed to each other: knowingness and space. They're but violently opposed to each other.

Now, is your mother here?

Space is your first barrier. That is your first not-know. See, a fellow just knows, you know? There he is, he just knows. Now he puts something there to know which has a barrier. So he says, "Now I know this." What is the barrier? It's the eight anchor points of his first piece of space — those are barriers.

Male voice: No.

Now he says, "I know this." What's he know? He knows this space now, and he knows up to those anchor points, he says. That's real cute.

Well, where isn't your mother?

Now he says, "I know this space." Now he makes another space, and he says, "Now I know that space, which is a new set of barriers, so now I know more!" That — real good.

Male voice: Every place but where she is.

We've got now quantity of knowingness — and the second you have a quantity of knowingness, you've got a quantity of trouble. Because the first, the greatest knowingness there is, consists of no quantity. It has no dimension and no quantity, see? And the second you put a quantity in it — you say, "I have a quart of knowingness" — boy, the fellow has come down to one quart. See, he has infinity until he has a barrier.

Every place but where she is. You know that?

And the moment he imposes his first barrier — which, by the way, makes space — he has a decline of knowingness. Now he says, "I know distance." Now, just get how this works out way on down the track: If you're in Hoboken, it's pretty hard to tell what's going on in San Francisco. See that? So your knowingness is immediately a foe, and space is a foe of knowingness. See, if you're in Hoboken, it's pretty hard to know what's going on in San Francisco — as long as you think there's a difference of space between Hoboken and San Francisco. As soon as you know there's no difference of space between Hoboken and San Francisco, you can "know" without going to either one. See, you could know everything that's going on.

Male voice: Yes.

Now, you run into this in Change of Space Processing. Some of the damnedest things happen. By the way, if this — these conclusions were not backed up by immediate processes, I wouldn't be telling them to you. And all I'm trying to do right now is not teach you theory — this is a process I am teaching you right this minute. I'm not even vaguely interested in teaching you the grand theory, or making a book covered with human skin, or something, and cryptic cabalagrams which will then impute by symbolic function some other necromancy. I'm not even vaguely interested. This is — comes to a very direct process, and the only reason I'm telling it to you is because it lands in the lap of a process, boom. And I want you to be doing this process today, so I want you to figure this one, and know what we're doing.

Okay. Where is she thinking?

Barrier. The first barrier is an imposition on knowingness. So we have such things as "mental blocks." See, the barrier gets into the shadow of mind, you know? In addition to making a barrier up there, you make a mental block — isn't that cute?

Male voice: She's thinking where she is.

Now, you — some guy going down the street here, you say, "By the way, what did you want to be when you were eighteen?"

You sure of that?

"Oh," the fellow says, "I wanted to be a writer. I can remember it just like it were yesterday. Tsk. Here I am 58, but. . ." so on.

Male voice: Yes.

You say, "Well what happened?"

Good, fine. Where are you?

"Well, you know, you get old, and you lose your pep, and . . ."

Male voice: I'm here.

"Do you?" you say.

Good. You know you're there?

"Oh, yes," he'll tell you very — very hastily.

Male voice: Mm-hm.

You say, "Well, where'd you get such an idea?"

Well, where aren't you?

"Oh, I don't know, my mother used to talk about being old," he says, "I don't know — doesn't have anything to do with writing."

Male voice: Well, I'm not anyplace else but here.

"Where was she, when she told you about being so old and so forth?"

You're not anyplace else but here. Are you in your feet?

"Oh that was my old home, over here in Haversham, that was my old home. You know, that's a funny thing, doesn't have any connection with it at all."

Male voice: No.

And you say, "Well, what else is wrong?"

Knees?

"Well I never got a university education," he says, "and of course you have to have a university education in order to write." By the way, which is just completely reverse. If you ever want a — anybody to be a writer, why, don't even let him get into grade school. And — because that's the imposition of space, which is exactly opposed to creativeness. Fixed space — space fixed for him, see, is a direct opposition to creativeness. All right.

Male voice: No.

We talk to him a while about this, and the next thing you know, if we've just expertly flicked out the things which he's imagined lay across his track, he'll find himself chewing on the end of a pencil that night, wondering why he doesn't write something, see? Because he — all of a sudden you've made him look around, and darned if he can see any barriers! But as he was walking down the street just before you got hold of him, why, boy, he could see more darned barriers there. It seemed like everything he was trying to do and so forth, was something that he would just bump into, you know. And then there is the barrier called the future — that's real cute. A fellow permits the society and meters and all kinds of things to predict the future for them. Well, that's him saying, "The future has gimmicks in it which know." You see, the future knows, or these gimmicks know the future.

Either shoulder?

Well, let's get the two ends of a communication line, A and B — let's go into this again. One end, A, is "know" and the other end, B — effect — is "not-know," see? So we got a communication line. Now, ordinarily in life, we get that sort of thing swapping — they start swapping ends. A is "know," and that goes to B. Now we get the second line, B, now knows something and starts to communicate and we go to A', see, and we get back at the target, B'. And B' is now receiving something. And that's a uniform communication line.

Male voice: No.

But a person potentially knows. This is real easy. He potentially knows, which means he has a potential creativeness. Because the only thing to know is something which you would create so that it could be known. So knowing a communications system — huh! — it's real silly, see? Knowing somebody else's communication system — this is real silly. Do you see why it's silly? From a standpoint of knowingness. Well, it's putting in some barriers so that you can gain some data. And a communication is only really valid if it's knocking out barriers for people. Then it can be a valid communication which will lead up scale toward greater knowingness.

Ears?

If the communication is putting in more barriers for people, it'll go down scale toward less knowingness. Did you ever see a fellow who had just been shot, or had just run into a brick wall, or had just hit his head on a — the lower part of the cupboard or something of the sort, and did you ever find him in a particularly brilliant state of mind? You never did.

Male voice: No.

Well, that's the kind of communication like they do in war — a fellow comes up, to whom you've never even been introduced, and shoots you. Well, now, he in essence on a particle level is "know," and boy, he sure puts you into a state of not-know quick, see? So we've got "create" and "created for," as the two ends of a communication line.

Top of your head?

So you're getting into agreement with this and that, and I'll tell you how to make a preclear good and sick. This isn't a process. This distance, you see, is the first foe of knowingness, and the second foe is energy. But to think that energy could ever deliver into anybody's hands more knowledge — see, that's not right, it doesn't. A person knows as much as he knows.

Male voice: No.

Now, if you can knock down a few barriers for him and clip his own concepts of limitations and knock out his agreement with people who have agreed upon these limitations, he'll go right back up Tone Scale like a rocket ship, see — real fast. That's because you're knocking out these various facts.

Chin?

It isn't that communication is bad or that automaticity is bad or any of these other things are bad, that's not what we're talking about. It's that they impose new barriers. And you can evaluate with great ease as to whether or not something is very handy and easy to handle, just on this basis, is: Does this system introduce a great many new barriers, which exceed in quality and quantity the barriers which it is essaying to reduce? See? Anytime you have to make more barriers than you're trying to destroy in order to effect something, the system is going to collapse.

Male voice: No.

Now we'll take the penal system of modern culture. Here they're imposing more barriers than existed before, and wonder why they have increasing crime. The system of handling criminals is to impose new barriers on the criminals, you see? And then, of course, they wonder why they have more and more crime, and why they've never solved a single criminal from the beginning of the society.

Throat?

That system, by the way, was invented and condemned and thrown out as completely unworkable in the city of Philadelphia in the United States in 1835. The modern penitentiary system of the US was reported on, worked with, and condemned in 1835 — which is, of course, why they're using it in 1953, '54, see? It's real sensible. You put in new barriers, new barriers, new barriers, and then wonder why everybody gets worse and worse and worse. Well, the barriers are new automaticities of some sort or another, and they let "not know" in on the scene.

Male voice: No.

We realize that the uneducated, the unknowingness — the people who are not informed, who haven't been around and looked at the thing — are most liable to be criminals, according to modern law. That is, people who have no opportunities for havingness then get to a point where they can't have, and where they can only steal to have. People have many times observed this to be the case. Well, of course, there is an opposite one in there. If you drive somebody down completely into apathy, he won't be a criminal either.

Stomach?

Well, that's the course which police try to take. They try to drive the whole populace into complete apathy in the hope that this is a solution to crime. And in the process the whole populace passes through a criminal band. See, the whole populace — populace wouldn't go into this criminal band in the first place unless people were dropping new barriers in front of them. So we handle this thing of barriers as a social problem, we find out this little law (and this is a specific law): The validation of barriers is the source of aberration as well as the source of a game. And it gets into aberration only when the barriers exceed the number necessary for a freely moving game.

Male voice: No.

Yes?

Are you in your eyeballs?

Female voice: We have a wonderful example of that in South Carolina. We have the chain gang with the bars on the suits, and we have the third greatest delinquency in the United States — juvenile.

Male voice: Near there.

Mm-hm. Sure. Work out every time.

You're near there.

So you have a test, then, for any process: Any process which imposes more barriers and limitations than it destroys, is an unworkable process or a deteriorating process. If you remember that, you have a little guide rule which, in itself, will evaluate systems such as those used by psychiatry, such as those used by surgery.

Male voice: Yes.

Now, of course there is another way of removing a barrier. There is this method of removing a barrier which is practiced, which doesn't remove the barrier, as you can see immediately. We'll take sacrifice as an effort to remove a barrier. The whole theory of sacrifice is in itself the theory of surgery. They cut out people's appendix, they cut off people's right ears, left ears, throats — they have a good time with this "sacrificed." Now they've gotten to a point where every time a woman reports with a stomachache, they give her a hysterectomy. Take out the ovaries, womb, so forth, and then they wonder why her endocrine system goes to pieces, having removed it. There is this way of handling barriers — and this is a real interesting way of handling barriers — is handling them in such a way that they're unremovable.

Well, take a look. And shut your eyes and see if you are in your eyeballs.

Now, this is one way of handling barriers. You take an automobile to an intersection that's very busy, and fix it so it won't run. That is a method of setting barriers by destroying parts of barriers. That's interruption of flow. Any way you could interrupt the flow would erect, then, a new barrier. And this is an artificial method — they apparently, you see, are picking up barriers. Somebody come along, and they'll say something is a barrier — they'll say, "Well, the appendix is the barrier and the tonsils. So therefore, if we take out the appendix and the tonsils of everybody in the United States, we of course will have no sickness and we will have removed this barrier." Yeah, that's real good, but we have spoiled the mobility of everybody who has undergone the operation. We've hindered their mobility. So all we've done was just fix these barriers so they're less movable, by pointing to something specious. See, we were going to remedy all this sickness, you know, and there wasn't that much sickness to be remedied. So now we create more sickness, you see? And this is the MEST universe at work in the dwindling spiral. There's how it sets up a dwindling spiral.

Male voice: No.

It pretends to remove a barrier, and fixes it up so it's unremovable — see, so a bigger barrier is unremovable. So you see that little law operating there. That system which imposes more barriers than it removes is an unworkable system — up to this point: up to 20.0 on the Tone Scale. And then after a while, the loss of barriers becomes important to a person. They want to be able to make barriers. If they can't make enough barriers, they get unhappy. Why? Well, they know everything that is going on, and the only thing — the only way you can produce randomity, and the first way and the only way, really, you can produce randomity — is to claim you don't know.

You're not in your eyeballs.

First is knowingness, and then there's this cycle: create, persist, destroy. Knowingness, and then the cycle of create, persist, destroy. The only thing there is to create is a barrier. That's the only thing you could actually create. You could create the fluidity of this and that, but your inner systems of creation are not themselves tremendously workable.

Male voice: No.

Now, you can get barriers to release other barriers. There's a bulldozer, you see, plowing down the line and knocking off the top of a hill so you can build a house on it. There's a barrier removing a barrier. And work is the process of using barriers to remove barriers. It's not anything bad about this — let's just see the scope of this. All right.

Are you in the middle of your head, exactly? Take a look at the middle of your head and see if you're in there exactly.

What's the process that comes out of this? I'm afraid that this is terribly, terribly easy. I'll give it to you — just this: The law behind it is the material which I've just been giving you here about limitation by barriers. And the other material we had last week, such as there's automaticity, and there's two kinds of automatic operations: one is automatic creation, and the other is automatic destruction. Mock and unmock, in other words.

Male voice: I don't think so.

Now, there's several methods of unmocking. These people who have occlusions are using a funny method of unmocking. They're doing just that, they're putting up new barriers to take out old barriers, and they're putting up more new barriers than they're taking out old barriers. And that is, this blackness works in this fashion: instead of unmocking something, they've found out — they've agreed so thoroughly that nothing can be destroyed, they don't destroy anything; what they do is paint it with blackness. And that's the way they destroy something — cute, huh?

Well, just take a look at it. Oh, take a look at the back of your forehead — let's do this much more artistically — take a look at the back of your forehead. Are you in it?

And you start to knock out the automaticity on some of these cases of painting with blackness — which is putting up black screens — you just have them put up black screens till they take over command of the machine, and you find out that they've got... If you've gotten to the point where you're going to really break the case, they've got about eight skillion, billion facsimiles that suddenly decide they're going to rush in on them or do something to them. And they've got them stacked up all around, about eighty-five billion deep. They start to pull the blackness off, and they just look at these things, ulaarrh! Tremendous pictures — very dangerous things, pictures.

Male voice: No.

So — however, by using directly treating the automaticity, we to some degree validate black barriers. By making somebody hold on to the two back corners of the room, we to some degree validate the room. So, validation of barriers only works up to the point where one removes a few of the major automaticities of the case.

All right. Take a look at the section between the back of your forehead and the middle of your head and take a look at that. Are you in it?

But there is one process which shotguns throughout the entire bank. He of course has depended upon other people to create this universe for him for a long time — he's forgotten he's creating it. And so he's turned over most of his machinery and responsibility for this thing to others and other places and so forth — he thinks. Now, he's still running it. His energy is actually being completely sapped. What energy he can create immediately goes into the banks with a crash, and activates some more of this stuff. So the more energy he puts out, why, the more of a trap he's in. All right.

Male voice: No.

We'll take that extreme case and we find out that this process works very well. Now, let's take a little case that's much, much less worse off — pretty good shape — they're just in agreement on the communication system, on how you put it together, and the world looks pretty bright to them, you know, and all that. Well, the process works on this case. And we come to the high case on the matter, who is trying to put a universe there, and this process has to be reversed for this case — in other words, the person who is running on a negative number of barriers. And so, we'll just go in for the process, and this process is very simple:

Okay. Let's take a look at the middle of the head there, with your forehead beyond it. Are you in it?

You have the person see through an existing MEST barrier, to another MEST barrier beyond it. And then have him see through the mest barrier beyond that, to another mest barrier beyond that. And then have him see through that mest barrier to find nothingness, and then to find — from finding nothingness, relapse to merely having knowledge. You see how that is? We just get him to postulate at that moment that now he knows.

Male voice: I feel something move back. (laughing)

Now, it's just an automatic process, really, and this permits him to take over the machinery which he now has inherited, which is trying to unmock the universe and himself. Or it takes into his control the machinery which has in the past tried to unmake the universe. And we get the third case, the fellow who doesn't have enough barriers — now we just have to reverse the process. We have him look at a mest universe barrier — and by the way you can do all of these on the one run, and you just do this in the same sequence.

You feel something move back, that's quite unusual.

You just take the mest universe barrier which he sees, and have him put another one closer to him. And then have him put a mest universe barrier just beyond the one which exists there, and then push all three of them together. You'll get some real rare barriers. They'd be good and heavy, I guarantee — good and heavy.

Male voice: Mm-hm. I think I'm on the backside of the half of the . . .

Now, there's another part of this process. Let's say we take those two windows — now, we see those windows a little further away from us and then a little closer to us. And that's all there is to the process. We just take a couple of mest objects and we see them a little further away and a little closer. Why?

You think you're on the backside of the half there? Well, take a look at the middle of the head and just make sure you aren't there.

We're just throwing them out of line in place, because of their fixity in place. We've relied so heavily on those things telling us where they are, that they have gotten us completely discombobulated.

Male voice: There are some — should be somewhere.

This is our first attack, now, in SOP 8-C, on the third step — the third step being space. Well, a fellow can't create space or have space if he thinks everything has barriers in front of it. If he's running on such an automaticity of barriers that he cannot see barriers adequately anymore, he's gone inverted.

All right. Well, now what — take this section between the middle of the head and the back of the head and so forth. Well, if the back of the head were in line with your forehead, and your forehead was furthest away, would you be in the back of your head?

In other words, he's — he saw barriers and he believed in barriers so hard, and depended upon them so hard, that now they're beginning to disappear. Well, you start to run the third step on this person, and you'll come an immediate cropper. This person will not be able to make space. The test of that is just: can he hold up eight anchor points and know it's his own space.

Male voice: Yes, I believe so.

Well we won't worry about whether he can do this or not, and we'll just remove this step from the realm of a pat, formulated procedure of making space. Let's not worry about that, because that in essence is fairly slow. Let's just take the space which he's now afraid is liable to vanish, and let's go about it first in this other fact: Let's first make him see through these barriers, one right after the other, until he can get that real good and get any barrier at any depth from him in any direction — till he can get that real good. And then he can take existing barriers and have them be closer and be further away, which unfixes them, as part of the same process. And then have him put in entirely different barriers — which is your three steps that you'll have to follow — entirely different barriers. And you would actually, in the process, just do this, one right after the other, one right after the other. First, he'd see through in all directions. By the way, there's these directions you use this on: straight out in front of him, straight out behind him, straight out to the right, straight out to the left, straight up and straight down. And those six directions are the directions which you would employ.

You would, huh? That is, if you were looking at the back of your head — why don't you just try it out? See there if you're in the back of your head — just look at it on the same line that goes towards your forehead.

Now, remember that this can be done also in a bracket. You have other people looking through barriers — a very disturbing thought! And other people looking through other people's barriers. What do you use for barriers in that case, mock-ups? No, just use the mest universe, sixth dynamic. Just get the idea of your father being outside that wall, looking straight through the wall and not seeing the wall — the wall will disappear for you, too — at something in this room. Now get him looking through the wall to see Mother — wall will disappear. That's just others for others on the subject of barriers. And we work out the mest universe, then, in terms of a bracket.

See, if your back of your head there and your forehead were on a line, and you were looking at the back of your head, with your forehead furthest from you . . .

But that's nowhere near as important, to work it out in terms of a bracket, as it is simply to run the first part of the drill. You'd be amused at how far these brackets go, and how — what dependency there was on them. And now there's the next one: People who have been trying to make something out of nothing, just endlessly, and on and on and on, who are trying to make something out of nothing. Oh! You see, there's nothing there to make anything out of. They have to go on a basis of knowingness, knowingness, knowingness, and they've strained their knowingness to the complete limit. Then they finally find out they have to know something before they can make something out of nothing anymore.

Male voice: I feel like I'm a lot lower now.

What do you know? Every piece of machinery they have which is super-automatic, is either making something out of nothing or nothing out of something. So with this banishment of barriers in this universe, we run the second part of a technique. There's a second lineup: We just simply make nothing out of nothing. All right.

I don't care how you feel like you are, I'm asking you something. (audience laughter)

Now, let's just turn on, and just make nothing right here where I have my hand. Let's do that arduously, please. Let's just make nothing out of that spot.

Male voice: All right.

Get the fact that there's just nothing in that spot there, and now let's just make nothing out of it.

All right, what is it?

Now let's make something out of it with nothing appearing. Let's just ardu­ously make something out of that spot, and don't have anything appear there.

Male voice: I figure.

Let's just arduously make something out of that spot.

Huh? Yeah let's figure it all out.

Now let's make nothing out of that spot.

Male voice: No.

Now let's get somebody else making nothing out of that spot.

Well now, are you . . .

And somebody making nothing out of that spot for somebody else.

Male voice: What was your question?

That's the other part of the process.

. . . are you in front — in your forehead? I'm asking very complicated questions here, all calculated to confuse you.

Why does this process work? The process is that every automatic machine that you have has . . . The most automatic machinery which you as a group have here right now, of course, is machinery which is gauged to make nothing out of nothing. Because that's practically anybody's in America. You're trying to make nothing . . . You people are trying to succeed one way or the other (this would not necessarily apply to preclears) — you're trying to succeed one way or the other, you're trying to get out of the traps of your own makings and so forth, and so it's a natural thing — your automatic machinery which makes nothing out of things turns on. But nothing — a machine set up to make nothing out of generals, a machine set up to make nothing out of garbage, a machine set up to make nothing out of food. Of course, by the way, stomach somatics turn on, on this, like mad. These machines, of course, are making nothing out of what is essentially nothing.

(If he was going to move out, he would have moved.)

Now, just look at it sensibly enough from the standpoint of nuclear physics and you'll find out that they just keep trying to find space, see. Pardon me, they try to find matter, and all they find is space. And they just go on doing this. And they just keep finding space. Well, it's wonderful that they can find space. This is a great attestation to their complete phobia on space, that they can find space there — that's wonderful. It's — the boys however, oddly enough, are using up their own space to find it there. Because these boys are the shortest people on space you ever saw. They've got ridges — boy!

Male voice: I'm just back of my forehead.

Now, the formula one has used, of agreement, is to take nothing out of nothing, and that condenses nothing so that you eventually get something. There's all kinds of these "explanations," you see — wonderful explanations. They've come down the line, with the concatenation of agreements, down through the ages. And, you see, if you — it winds up to the fact that if you take nothing out of nothing, you eventually will wind up with matter.

Just back of your forehead.

In other words, you take space out of widely dispersed particles — none of which can be found — you take the space out of these widely dispersed parti­cles, you'll get a condensation of these widely dispersed particles which gives you solidity. But nobody can find the particles themselves, so this means, essentially, that you've taken nothing out of nothing to produce something. Real cute, huh? All right.

Male voice: Yeah.

You just start setting up, then, machinery which makes nothing out of spots behind the preclear, above the preclear, below the preclear, to the right of the preclear, to the left of the preclear, in front of him, behind him, and so forth — if you have him start working on this, you'll find out that he'll start running into two things: He'll start running into solidity and complete emptiness. Because the machine to make nothing and the machine to make something are both the same machine. And this will appear very silly to him after a while, will appear real silly.

Uh-huh. Well are you back of that position?

Now, prediction machinery is giving to automatic machinery the right to know. And brother, any system that is set up that is called the human mind — we're not dealing with the human mind — we don't give a damn about the human mind. Let it go on and run around and be stimulus-response and stand on its hands, and fill chairs at universities — we don't care about the human mind. It's simply this: it is a prediction machine, set up in such a way that the future knows and will tell you. There's only one way you will ever have a future — make one. There's only one way you'll ever have one. Nobody could tell you about the future. Your future is into constant state of manufacture, and it works out in certain ways because people are solidly in agreement on this fact, and that's the future. But when you set it up so that the machine knows and you don't — nyarroww, how horrible can we get? That's "Let's go round and read all the meters so we can tell whether or not the meters are hot. Let's have the meters tell us that the motor is running all right."

Male voice: Am I back of that position?

And, "Go ahead, little pyrometer, you just sit there," that old boy told me. "Go ahead, little pyrometer, you just sit there and say anything you please, this motor's running okay."

Yeah.

Now, it's very difficult to get agreement on anything that isn't in agreement in terms of mest, which is in itself a solid pattern of agreement. So, if a bunch of engineers can stand around and they all see that the meter reads so-and-so, they know that they have something within the composite of agreement which is agreeing with them. And they now know that they are in agreement one with another, because the thing which they most agree upon — mest — is telling each one of them the same story. And this is a terrible dependency, believe me. The reason they can't blow up barriers — and they can't blow up barriers, they can blow up the form of barriers, but they still get residue. The reason they can't is because they didn't blow up their own agreements first.

Male voice: No, I'm in that position.

Now, all you have to do to blow up your own agreements, is to just get masses of people agreeing with masses of people there's a barrier there. And you know what you do and what happens to your own ridges? What happens to your own body if you go and run that technique endlessly, and on and on and on? Well, I'll tell you — it just plain melts, that's all. These heavy, heavy ridges that are so thick, they just get gooey and soggy and floppy and start disappearing and falling to pieces, and boy, you have to get real hateful toward them to make them form up good. All right.

Well, let's take a look back of that position and make sure you're not there. Where are you not behind that position?

What's the technique we're going to run, then? We're going to run this technique of — which is called "an invalidation of barriers." And it consists of seeing through, consecutively, various mest barriers in the six different directions of back, front, top, bottom, right and left. Seeing through consecutive barriers, each time seeing the next barrier. You know, we'd look through the floor, and see the floor of the room below. And we do this — with the mest eyes or just with the mest eyes closed, it doesn't matter which. And we just do this and we just do this and we just do this, and every once in a while we run a bracket in on it.

Male voice: I'm not way back.

We get somebody else looking through barriers in six different directions. And we get others looking through barriers for others — every once in a while a bracket. And then we run this handy jim-dandy little machine, which — you're just going to make nothing out of a spot of nothing for a while. We're not going to run that one very hard, because that is a demonstration, not a therapy technique. The other — invalidation of barriers — is therapy; that's good. And the other one is a demonstration technique — making nothing out of this spot up here. Because a guy gets sicker than a pup after a little while. If he gets too sick on it, why, have him mock up dogs eating his stomach, and Papa and Mama eating his stomach, and it'll disappear — the sickness will — because his stomach, of course, is motivator-hungry.

Well, let's take a look way back and see if you are there. (pause) Find that easy to do?

Anybody with ulcers for instance, has eaten more than he has been eaten, so the stomach is superguilty. He's thrown agreement out of balance, in other words. All right.

Male voice: No, not too easy yet.

There is the process, and there is the formula, and there is the game. You understand this: perception of something is an effort to get the sight stopped. And so if you keep on trying to stop your sight all the time, after a while you can't see. See how simple that is?

That's not easy to do. Well, it's much easier to look forward, of course, you're fixed on that. So tell me if we've got a ceiling over our heads.

Okay.

Male voice: Yeah.

We'll just move into Step III on you and that is the way we'd go. No, I'm not going to do anything more here. Are you in your head?

Male voice: Yes I'm in my head.

You're certain of that?

Male voice: Yeah.

All right.

Now remember that before you start shifting somebody around, you better collect him.

Are you more certain at this moment that you're in your head than you were a little while ago? Yes or no?

Male voice: I believe I am.

You believe you are, sure.

Every once in a while, somebody will look at you with a gasp of relief, and say, "I'm in my head!" Just on this kind of an orientation proposition. "Are you in your right foot, are you in your left foot, are you in your right knee, left knee, zum-zum-zum-zum-zum."

And "Oh," the guy will say, "no, I'm in my head."

You say, "Well, what part of your head? Are you in the front part of your head?"

"No."

And after a while — you can keep this up as long as you want. And he'll, after a while, just get ornery as the devil toward you. You just keep asking him if he's in the front part of his head — are you sure he isn't in the back part of his head? And he just keeps looking, see? And right away, he's gone up above symbols.

See, the fact that you keep chattering at him and saying, "Well now, are you sure you're not in your chin?" and so on, your words are rendered nothing because of the certainty of his position. You can ask a fellow, by the way, to keep on kicking a wall and keep on asking him if he's sure the wall is there, and make him kick it again. And he'll get awful mad at you, but he'll sure get awful sure there's a wall there. His perception will come way up.

Well, so much for that. Now, just as I was doing there, I was trying to make him put the back of his head in line with the center of his head, in line with his forehead, with his forehead the furthest away — he would have been back of his head looking at himself, pang! But a lot of people won't do that. So you would immediately then decide, as far as this case is concerned, that you'd just better go into an unmocking proposition.

So let's go into the second step. Now, we've gone into Step II, and the greatest automaticity there is, of course, is the body. And let's see if this fellow is going to shed it, and make it possible for him to shed it right away.

Now, how — why don't you mock up your body sitting in that chair about three feet in front of you. (pause) Do you get it clearly?

Male voice: I didn't get it clearly.

You don't get anything there.

Male voice: Just vague.

Very vague. Well, okay. Why don't you — see, and there goes Step II. Why don't you look straight up and find nothing.

Male voice: All right.

And then sit there for a moment and just stop perceiving there, and sit there and know. (pause) Now let's look straight down and find nothing.

Male voice: All right.

Now sit there for a moment and know. Look straight forward and find nothing. (pause) Got it?

Male voice: Yeah.

What happened?

Male voice: Nothing.

Huh?

Male voice: I was just. . .

What happened?

Male voice: . . . trying to find the blackness on the — um — to get the nothingness.

Uh-huh. Well, why don't you just find nothing there.

Male voice: All right.

Why don't you skip the blackness and everything and just find nothing out there. And then sit there and know for a moment. Now let's look over to the right, and find nothing as far as you can see.

Male voice: Okay.

All right. Just sit there for a moment and know. Now nothing as far left as you can perceive.

Male voice: All right.

Now sit there and know. Now nothing as far back as you can perceive.

Male voice: All right.

Sit there and know for a moment. Now why don't you mock your body up three feet in front of you over there. (pause) Is the perception clearer?

Male voice: No.

No? Nothing happened there in the perception?

Male voice: Don't get anything.

Don't get a thing in front of you? You get no mock-up now.

Male voice: I get no mock-up.

Why, that's real interesting. Why don't you look up, straight up now, and find the ceiling.

Male voice: Mm-hm.

And look through the ceiling and find the roof.

Male voice: Mm-hm.

And look through the roof and find the sky.

Male voice: Okay.

And look through the sky and find nothingness.

Male voice: All right.

All right. Now let's look straight up above you and (we'll just do these steps with variation, and you can vary them any way you want to) — look straight up and find a tile ceiling above you.

Male voice: Okay.

And let's look through the tile ceiling and 150 feet up, find a granite roof.

Male voice: Mm-hm.

And now let's look up above that and find a yellow sky.

Male voice: Okay.

And let's look through that and find nothing all the way up through.

Male voice: All right.

Mm-hm. What happened?

Male voice: I had a hard time getting through that yellow.

You did, huh? Well, that's peculiar. All right, now let's put a mock-up of yourself out in front of you again. You get a better one?

Male voice: It was just a little one.

Hm?

Male voice: Same, about like I did the first time.

Oh you do, huh? Well, all right, now let's look straight down and find a mosaic floor.

Male voice: All right.

And look through the mosaic floor and find a torture chamber.

Male voice: All right.

And look through the torture chamber and find the bottom of a well.

Male voice: All right.

And look through that and find the molten core of the Earth.

Male voice: Okay.

And look through that and find Boston on the other side of the Earth.

Male voice: All right.

And look through Boston and find a green sky.

Male voice: Okay.

Okay. Now let's look through the green sky and find nothing.

Male voice: Okay.

Okay?

Male voice: Uh-huh.

Now, let's get a little mock-up of you sitting there three feet in front of yourself. (pause) Perception better?

Male voice: No. It seems like I'm trying too hard.

Mm-hm. Interesting, isn't it? You're trying too hard.

Well, I'm just playing this one way across the other. We gave him a flock of imaginary barriers — that is to say, mock-up barriers, a flock of MEST universe barriers — and we suddenly find out that we're working with the effort band.

So put an effort out in front of you.

Male voice: All right.

Why don't you put a beam on the effort band, and push yourself out of the back of your head. (And I'm not giving you this as a pattern of auditing at all.) Put a beam on that object and push yourself out the back of your head. Did you push?

Male voice: Yeah.

Mm-hm. Are you outside? (pause) Push yourself right on out.

Male voice: I . . .

Hm?

Male voice: I am pushing hard.

Well, rig the beam up with some machinery so it pushes you out. That work real good? (pause) Hm? (pause) Did that work real good?

Male voice: It made it easier all right.

Are you exteriorized?

Male voice: I think so — I'm not, no.

You lost again? Are you in your right ear?

Male voice: No.

Your left ear?

Male voice: No.

You in the back of your head?

Male voice: No. Right in front of my face, I think.

You're in front of your face?

Male voice: Mm-hm. In my head and in back of my face, rather than the back.

Oh, you moved forward. Is that right?

Male voice: I think so.

Well! Okay.

Now, as interesting as that might be, this is not a particular pattern method of doing it. You know this man is now — this is not labeling you — skip it now, we're all through with that session.

Male voice: Okay.

We know a lot about our pc. If you listened carefully, we know an awful lot about our pc. Terrific amounts we know.

We asked him to move back and he moved forward, see? So he's got some kind of an automatic inversion of some sort. But he did locate himself. He's perfectly sane, we know that. Why? Because he can find himself in his head. Mama isn't present and so forth — so he's perfectly sane. We know he was on the effort band. Well, I've played those three with a great variation, one against the other. Now let's play it with less variation and let's take it just by rote, the way you could be absolutely sure it would happen. See, I mean you do this just by rote now.

[to another student] Are you in your right foot?

Male voice: No.

Your left foot?

Male voice: No.

Stomach?

Male voice: No.

Right shoulder?

Male voice: No.

Left shoulder?

Male voice: No.

End of your nose?

Male voice: No.

In your right eyeball?

Male voice: No.

Left eyeball?

Male voice: No.

In your right ear?

Male voice: No.

Left ear?

Male voice: No.

In the back of your head?

Male voice: Hm-mm.

On the back of your head?

Male voice: Hm-mm.

Is the back of your head three feet in front of you?

Male voice: About six inches.

About six inches, hm? Well, mock your body up just a little bit further ahead of you than that.

Male voice: Okay.

You got that? Okay. Now right from there, tell me where you are not in the room.

Male voice: Mm, not in the corner. Not in any corner.

Mm-hm.

Male voice: Not in any wall.

Okay. Why don't we mock up a whole bunch of sandbag barriers. Instead of the walls of the room, make it a bigger room with a bunch of sandbag barriers.

Male voice: Okay.

That easy to do?

Male voice: Mm-hm.

All right. Now where aren't you amongst these sandbag barriers?

Male voice: Not in any of them.

Okay. Locate you a little better?

Male voice: Mm-hm.

Okay. Let's look through the sandbag barriers and find yourself completely surrounded by temple colonnades.

Male voice: Yeah.

Got them real good?

Male voice: Mm-hm.

All right. Change them blue.

Male voice: Mm-hm.

White.

Male voice: Yeah.

Blue.

Male voice: Mm-hm.

Green.

Male voice: Mm-hm.

Blue.

Male voice: Yeah.

Okay. Blow them up.

Male voice: Uh-huh.

Blow up the sandbags.

Male voice: Yeah.

All right. Can you be right up next to the chandelier up there?

Male voice: Mmm. Yeah, I got one up there.

Well, can you be next to the one that's there? Well, let's mock up about eight chandeliers up there.

Male voice: Okay.

Now blow them all up.

Male voice: All right.

Got that?

Male voice: Mm-hm.

Now you got the chandelier up there located?

Male voice: Mm, yeah.

You got it located?

Male voice: Yeah.

Put eight more chandeliers up there, and blow them up.

Male voice: Yeah.

All right. Now you got that one located?

Male voice: Yeah.

All right. Be next to it.

Male voice: Yeah.

You right there?

Male voice: Mm-hm.

All right, now let's locate the other chandelier.

Male voice: What other chandelier?

Well, let's put eight more up there and look around.

Male voice: All right.

Now blow them up.

Male voice: Mm-hm.

Eight more.

Male voice: Yeah.

Blow them up.

Male voice: Mm-hm.

Eight more.

Male voice: Mm-hm.

Blow them up. Now let's put a lot of pendant chandeliers, about twenty of them, hanging all over the ceiling.

Male voice: Mm, yeah.

Blow them all up.

Male voice: Okay.

All right. Now take a look around, you find a couple of chandeliers up there? Male voice: I have to put one up there. All right, put it there. Male voice: Okay.

All right. Now be in the bottom of it. Male voice: Mm-hm. And now be very close to the lamp. Male voice: Mm-hm.

All right. Now let's feel a little heat from the lamp. Male voice: Yeah.

All right. Let's feel a little less heat. Male voice: All right. A little more heat. Male voice: Yeah. A little less heat. Male voice: Mm-hm. A little more heat. Male voice: Yeah. A little less heat. Male voice: Mm-hm.

Okay. Now let's be on the glass of the lamp. Male voice: Yeah. Pretty warm? Male voice: Yeah, it's hot. All right. Now, let's just slide inside. Male voice: Yeah. That easy? Male voice: Mm-hm.

All right. Now let's be up near the filament. Male voice: Yeah. Interesting?

Male voice: Pretty bright. Pretty bright. All right, make it duller. Male voice: Yeah, it's red. All right. Now make it brighter. Male voice: Yeah. Now make it duller. Male voice: Mm-hm. Make it brighter. Male voice: Mm-hm. Make it duller. Male voice: Yeah. All right. Unmock it. Male voice: Mm-hm. All right. Now put it there again. Male voice: Yeah.

All right. Now let's be right on the filament of the lamp — juice, you know. Let's put a beam across between it. Male voice: Okay. Put a beam across there, see? Male voice: It lit up. Okay. The beam lit up, huh? The beam?

Male voice: Yeah.

All right. Now mock up an asbestos island in the middle of the beam. Male voice: Yeah. Now let's be on the island. Male voice: Mm-hm.

Okay. Now, let's just put another tiny test beam on these two filaments. Male voice: Yeah.

All right. Now let's just connect up with them, just a little bit. Male voice: Yeah. Just let a little less through now. Male voice: Yeah. A little more. Male voice: Yeah. A little less. Male voice: Mm-hm. A little more. Male voice: Yeah. A little less. Male voice: Mm-hm. A little more. Male voice: Mm-hm. A little less. Male voice: Yeah. More.

Male voice: Yeah. More.

Male voice: Yeah. More.

Male voice: Mm, yeah. And less. Male voice: Okay. Less.

Male voice: Mm-hm. Okay. Now let's be up on the roof. Male voice: Yeah.

Find a real dirty place on the roof. Male voice: Yeah. Let's be in it. Male voice: Okay.

Now let's find a real clean, bright place where you've got a good look out across the town.

Male voice: Mm, okay.

Let's be on it.

Male voice: Yeah.

Now let's put a town all with conical roofs.

Male voice: Mm-hm.

Blow it up.

Male voice: Okay.

A town with green roofs.

Male voice: Yeah.

And blow it up.

Male voice: Okay.

A town with pink roofs.

Male voice: Yeah.

And blow it up.

Male voice: Mm-hm.

How does this town look now?

Male voice: This one here?

Mm-hm.

Male voice: It's okay.

Looks real good? Well, change it around so it looks better.

Male voice: Yeah.

It looks much better?

Male voice: Mm-hm.

Good. All right. Now build the whole thing out of gauze, so there's no town there at all, hardly.

Male voice: Okay.

Got that real good?

Now shine some lights through the buildings in such a way that you can see they're not solid.

Male voice: Yeah.

Blow it up.

Male voice: Mm-hm.

Okay. Just get a hole in the ground here.

Male voice: Yeah.

All right. Now let's be — dispense with the hole. And let's be over the — is there anyplace around here — let's be up in the air about a thousand feet above the town.

Male voice: Okay.

Is there any furnace going or anything like that around?

Male voice: Big refinery.

Big refinery. All right, let's go over and be on part of the chimney there at the refinery. Go on, be ...

Male voice: Yeah.

Got that?

Male voice: Mm-hm.

Interesting looking place?

Male voice: Yeah.

Yeah. Well, let's kind of flip through the smoke.

Male voice: Yeah, it's kind of — burn.

All right. Now let's make soothing smoke come out of the chimney.

Male voice: Mm, yeah.

Turn it slightly purple.

Male voice: Huh! Yeah.

All right. Now, let's take another look at it again.

Male voice: Yeah.

And flip through it the other way. Easier to do this time?

Male voice: Yeah.

That was real easy.

Male voice: Mm-hm.

All right. Now why don't we just be down outside the furnace door that's feeding this.

Male voice: Mm-hm.

Take a look around the furnace room.

Male voice: Yeah.

Fill it up full of gnomes.

Male voice: (laughing) Yeah.

Give them picks and shovels.

Male voice: Yeah.

Blow them all up.

Male voice: Okay.

Okay. Now, let's look around this room. Put another furnace there.

Male voice: Yeah.

Make it disappear.

Male voice: Okay.

Another furnace.

Male voice: Mm-hm.

Make it disappear.

Male voice: Mm-hm.

Another one.

Male voice: Yeah.

Make it disappear.

Male voice: Mm-hm.

Now is there some fire going in that furnace?

Male voice: Yeah.

Okay, let's be up close to the door and feel some heat.

Male voice: Mm-hm.

All right. Now let's be very close to it and feel less heat.

Male voice: Yeah.

Okay. Now let's just see right straight through the furnace and see the far wall of the building.

Male voice: Mm-hm.

Okay. Now let's shorten up vision until you can see inside the furnace.

Male voice: Yeah.

Got that?

Male voice: Mm-hm.

Where's there a real cool spot inside there?

Male voice: Pretty hot in there.

Pretty hot in there, huh? Well, mock up a match and give yourself a hotfoot with it.

Male voice: Yeah.

Got that?

Male voice: Yeah.

Pretty easy to do?

Male voice: Mm-hm.

All right. Let's get a blowtorch and give yourself a hotfoot with it.

Male voice: Yeah.

All right. Blow that up and let's be over very, very close to the furnace door so that you can see a little fire on the other side of it.

Male voice: Yeah.

Now we're going to do this real quick. When I say go, why, you jump inside and jump out again, okay?

Male voice: Mm-hm.

Go.

Male voice: Yeah.

Hot in there, huh?

Male voice: Yeah.

All right. Let's turn the whole interior of that furnace into an icebox.

Male voice: Yeah.

Now let's be inside and feel how cool it is,

Male voice: Mm-hm. Yeah. It's real cold.

Okay. Now, be outside of it.

Male voice: Mm-hm.

And unmock the icebox and substitute a fire in there.

Male voice: Yeah.

Now let's look at the fire other people believe are in there.

Male voice: Yeah.

All right. And let's be in the fire other people believe are in there. (pause) Now turn the flames around yourself a delicate shade of pink.

Male voice: Mm-hm.

Now be outside the furnace.

Male voice: Yeah.

Now I want you to be inside the furnace at the foot of the chimney.

Male voice: Yeah.

And now I want you to go right straight on up through the smoke, right on out the chimney, out into the air on the other side.

Male voice: Hm. Yeah.

Got it?

Male voice: Mm-hm.

Look around from where you are above the chimney.

Male voice: Mm-hm.

Mock up a couple of vacuum cleaners to mop you up and polish you up.

Male voice: Yeah.

Give yourself a halo now.

Male voice: Mm, okay.

Brightly polished halo.

Okay. Now let's be over the river.

Male voice: Mm-hm.

And let's find an old, dirty barge.

Male voice: Mm-hm.

Got a garbage barge around there anyplace or something like that?

Male voice: There's one down there, I'm sure.

All right. Let's find a real dirty barge.

Male voice: Yeah.

Let's turn it into Cleopatra's pleasure yacht.

Male voice: Yeah.

And be on its deck.

Male voice: Mm.

Got that?

Male voice: Yeah.

All right. Let's change it back into the coal barge or the barge.

Male voice: Mm-hm.

All right. Now let's find a very scrummy, dirty part of the barge.

Male voice: Mm, yeah.

Let's be in that.

Male voice: Mm, okay.

Real good?

Male voice: Mm-hm.

All right. What's the matter?

Male voice: There's a rotten orange right in front of me.

Good. Be in it.

Male voice: Yeah.

Got it?

Male voice: Mm-hm.

Be outside of it.

Male voice: Yeah.

Now mock up in its place a golden pomegranate.

Male voice: Mm-hm.

And blow up the pomegranate.

Male voice: Yeah.

All right. Now let's be way up in the stratosphere where it's real cold.

Male voice: Mm-hm.

Now mock it up as real warm.

Male voice: Mm-hm.

Now be up high enough so that you see the curvature of the Earth.

Male voice: Mm-hm.

Put an orange in its place.

Male voice: Yeah.

Blow up the orange.

Male voice: Yeah.

Let's take a look at the curvature of the Earth.

Male voice: Yeah.

All right. Now let's be out in black space.

Male voice: Mm-hm.

Good, black space.

Male voice: Yeah.

Just nice and cool? Any sensation about it?

Male voice: Mm.

All right. Now let's be up near the Sun.

Male voice: Mm-hm.

All right. Now let's get that corona. Do you see the corona — the flames coming off of the Sun, the fission?

Male voice: Mm-hm.

Looks real savage?

Male voice: Mm. Yeah.

Turn them into silk ribbons.

Male voice: Yeah.

All right. Turn them back into the corona.

Male voice: Mm-hm.

All right. Now let's be in — on the tip of one of these plumes of flame.

Male voice: Yeah.

And be well away from the Sun again.

Male voice: Mm-hm.

Now let's be on the tip of one of these plumes of flame and roily-coast right on into the Sun.

Male voice: It isn't bad.

Good. Now let's be way outside the Sun again.

Male voice: Mm-hm.

Take a look around.

Male voice: Mm-hm.

All right. Now let's be in the center of the Sun.

Male voice: Yeah.

How is that?

Male voice: It's all right.

Mm-hm. Hot?

Male voice: It's kind of warm.

Kind of warm? Well, mock up an icebox there.

Male voice: Yeah.

Is that cold?

Male voice: Yeah.

All right. Blow up the icebox.

Male voice: Mm-hm.

Now be in the center of the Sun.

Male voice: Mm-hm.

Okay. How is it, real good?

Male voice: Yeah.

All right. Now let's be above Earth.

Male voice: Mm-hm.

Now let's jump these planets one after the other: Earth.

Male voice: Mm-hm.

Moon.

Male voice: Mm-hm.

Mercury.

Male voice: Mm-hm.

Find it?

Male voice: Mm-hm.

Good. Mars.

Male voice: Mm-hm.

Jupiter.

Male voice: Mm-hm,

Earth.

Male voice: Mm-hm.

Sun.

Male voice: Mm-hm.

Moon.

Male voice: Mm-hm.

Let's be on the far side of the Moon now.

Male voice: Yeah.

Let's find a meteor coming in.

Male voice: Mm. Yeah, there's one going by.

One going by. Get in front of it.

Male voice: Yeah.

Okay. Now move through it.

Male voice: Yeah.

Okay. All right. Now be back here again.

Male voice; Yeah.

Be three feet back of your head.

Male voice: Yeah.

Now let's take a whisk broom and dust the body off.

Male voice: Yeah.

Got it?

Male voice: Uh-huh.

All right. Now look right straight through it and see the floor on the other side of it.

Male voice: Mm-hm.

Now look through the body.

Male voice: Yeah.

Got that real good? Look through all parts of the body now. Find no body there at all.

Male voice: Yeah.

Now put a body there.

Male voice: Yeah.

How do you feel now?

Male voice: Good.

Okay.

Now, there's actually a very full rendition — although I had to put a couple of other little angles in it, not to amount to anything — but there is actually a full rendition of being someplace: exteriorizing somebody by having him, just gathering him up and be in back of his head, and stabilize him and have him be in some safe places and dangerous places, and change him around.

When a person is not immediately in the vicinity of all of his automatic machinery, it's very simple. He can be any kind of an automaticity, even he — any automaticity ever set up, he can duplicate. And he can do better, much better, than feeding it to some remote machine and having it do it.

Okay. Feel okay?

Male voice: Yeah, I just noticed my leg was asleep and ordinarily it bothers me when I. . .

Oh yeah, just noticed it. Yeah, well, all right.

Now, there is a full run on Step I. Now, I tried to get the first case I did here just to snap on a couple of visios and so forth, and take over real quick. Didn't work out, case needs some work. What kind of work does this case need? This case needs one hell of a lot of III.

Did you have your own room when you were a boy?

Male voice: No.

No. That's about the first certainty that you have. Somebody's out of space. See, any of these things, he's fresh out of space. So you just better invalidate barriers with him, and you would just do III round and round and round and round.

Now, how would we do III with this first case we did — not the second one, but the first one. We would do III with many patterns, there's many patterns. You can run space in brackets of eight, you can — oh, there's just an awful lot of things you can do. The truth of the matter is that if you let him see nothing in six directions and then know after each one, you know, and you just kept that up, you would eventually breed a disrespect for barriers which would permit him to do almost anything he wanted to do. I mean, that's your basic technique as far as space is concerned. Just an invalidation of barriers. But you can come around the other way and do it the other way too.

You can go six ways and just do nothing but find the room, and then know. And then turn around, and find nothing in all directions and know. And then six directions, find the room. And then six directions, find nothingness. You could do it that way.

Or you could do it this next way: Six directions and find nothingness and know after each one, then six directions and find the room each time and then know after each one, and then six directions and find a phony barrier (you know, one that he's putting there consciously) each time and then we would go again and know each time, and just dispense with that.

Then we could go into barriers beyond barriers, which he himself is putting there, you see. And we could vary that to have him going through barriers other people mock up for him and put there, and seeing through them or stopping at them. We could do all these variations. There's just endless variations we could do on that. We could have him be in six ways of space, which is another one. But the one which you were doing this morning includes most of these ways, except the mock-up barrier.

Now, that would be Step IV on SOP 8-C. Machines or things — things which make, cause to persist, or unmake the following list. You've got the list right there, you know, in SOP 8 in Step IV — things or machines which make, or cause to persist, or unmake the following things, see? And what would you do with those machines? Would you cause them to work? No, you wouldn't cause them to work. You just run wasting such a machine, and somebody else wasting such a machine, and somebody else wasting somebody else's equipment that way. Just vary it enough so the patter doesn't get too solid. And you just beat those things to pieces till you get no registry.

You will normally find that semen and money cause the biggest commotion on a meter dial. But he's used bodies for anchor points and so forth. What's this? This is just curing up all kinds and varieties of anchor points, on an automatic basis. So we have to first get a machine which makes admiration, and then we waste that and save it and accept it and desire it and be curious about it in a bracket — see, that's one.

Then we get a machine which causes admiration to persist. And in brackets, each time, we waste it, save it, accept it, desire it and be curious about it. And then in a bracket again, we just go right on around on machines which unmake admiration; things which knock out admiration. We run this in a bracket.

Now, you want to talk about a full automatic psychotherapy — that Step IV done in that fashion, believe me, that sure does it. And all of those are used one way or the other, in one form or another, as anchor points, which again cure space and barriers. Because here's a problem in barriers which a person has in terms of ideas. So you solve the idea of barriers down there at IV.

See, the fellow — well he can't do that, he hasn't got that much money. He can't do something else because it'd make money and somebody'd take it away from him. You get somebody to find out that he can't have any anchor points because he can't have any money, we — and he — eventually get him up in money, and he'll eventually find out he can have a penny. First time in his life he's ever realized this, but he can have a penny.

You wonder what's wrong, why this guy gets frantic about anchor points. Money is the mutual anchor point in this society. See, that's an anchor point that drifts all around. Everybody mocks it up wherever it hits, complete with treasury stamp, which is a neat trick — it's very able to be able to do that.

All right, your Step III, then, would just beat space to pieces. And don't forget this: that you can just tell a preclear ... Now for instance, you're about the band where you could — well, possibly you'd have to work some IV on you, but you'd exteriorize somewhere along the line of just holding on to the two back corners of the room. All of a sudden you'll find yourself hanging out in one of the corners looking at the room — or feeling the room, anyway.

Now you get that. That's a very quick rendition I've given you here. I've given you a full review of Step I, and I've given you a mix-up of these steps. That's a real potpourri, too. And given you some kind of an idea of the varieties, and so forth, of running Step III. And by golly, from what you had already and what you've been demonstrated to, you sure should run — be able to run that Step IV. You see, you don't waste these things in 8-C; you waste the thing that makes it.

You'll find many a Step I will bog on you simply because he can't make admiration. Why can't he make admiration? He must have something that's unmocking admiration faster than he can mock it up. So every time he mocks up some admiration, he's got an automatic machine that on the thought and wavelength of admiration, immediately it unmocks it. And then he says, "You know, I can't have any admiration." Well, this is real silly, you see? All he's got is a piece of automaticity that's knocking it out faster than he can put it in. Somebody else says, "I can't have a mock-up." Well, he's got something knocking out mock-ups faster than he can mock them — simplicity itself.

We — first case here, we had a couple of very faint visios. Sometimes those things will do a little flick and I'm always willing to take the chance that after you've made a guy look at something or something that it'll do a flick like that. Well, he couldn't get a mock-up. If he can't get a mock-up of himself sitting out in front of himself, they're very, very vague and so forth, he generally is on barriers of effort and ideas. You know, "It's work," he kept saying. "Well, you have to try," you know, "you have to try."

How are you going to try with some energy to make an idea? Actually caused me for years to be very upset with the human race because I couldn't understand this. And it was something I couldn't wrap my intelligence around, merely because it's just about as false as a Confederate minus 28-cent bill, see? How can you put effort into an idea? An idea brings about effort, but to get a picture and use some effort to put a picture there, immediately tells you about an inversion on the subject of effort.

Well, how do we go about this? Probably he's got automaticity that furnishes effort, but he's counting on the body to work for him, and he's always counted on his body to work for him — is that true? And he's been fresh out of space. So it's just the degree which we're working on.

Case is not difficult case for you to solve. I mean, I could work with this case with what else we know here, and probably have him exteriorized in another five or ten minutes — there's nothing much to that. But you can very easily overshoot this.

Well, I'll give you an idea. Put your hand — not your mest body's hand, but your other hands — put one of those hands on each shoulder. Now just shove yourself back there a little bit. Now pat your body on the head and say, "Poor body, it's worked so hard." Get that easily?

Male voice: I made something.

Why sure. Nothing much to it. Be back inside.

Okay. You see, the guy's got the idea you got — have to work with your hands, and he'll have what he calls a theta body, which is the same shape as his own body. You notice that? It's just another form of idea.

Well, how do you turn up anybody's perception? That's what everybody's going to start squawking about. You know, how do you turn up somebody's perception, that's the main thing.

Well, remember what I told you at the end of this morning's lecture. I'm going to tell you this practically every day, so just make up your minds that there's some validity to it. Look, thinking, on a circuit variety, is condensed effort. Effort — you condense effort enough, and you get thinkingness: the fellow works and plans ahead to do his work — he has to know before he goes and so forth.

And now we have feelingness — see, effort is condensed emotion, and emotion is condensed looking. So we find a guy looking or we find him emoting or we find him effort or we find him thinking, and what we've got is too fixed an attention on all of those factors. You got it? Much too fixed an attention on some part or portion of that band, see that?

So his attention is so fixed on it that you're going to ask him to perceive — well, he can't perceive. Why? He's got this fixed on this part of this band. Well, how did that band get there? Well, that's just a different kind of barrier in each case.

People are the barriers which bring about fixation on emotion, and people get fixed on emotion and stop looking. They've got to have some sensation.

Now, mest barriers bring about effort, and a person who's handling a lot of effort is no longer very emotional. And after he's worked like mad for a long time, he finds out that he'd rather "think about it," see?

Now, how do we stretch these things out? In each case, it's a barrier. When he's down to "thinkingness has barriers," oh boy! See? Now, we'll just cure him of his thinkingness having barriers, and we'll cure him of his effort having barriers, and having barriers of effort. And the next thing you know, we will cure him of doing anything but "know." And then he can turn around the other way, and here we go.

In essence now, on these steps, and the particular step which is III, the goal of that step is to be able to unmock the body and the room to such a degree that the body isn't sitting there, but the individual is. And after that he can be anyplace. See, that's the goal of that step as you carry it on, round and round and round.

And what about perception? Well, the only way you can see is to have something stop your sight. So seeing and stopping is the same thing. Now, in order to see the microphone you have to want this to stop your sight, see? So you want your sight to stop. And by the time you've been looking at barriers for a few trillion years, you eventually get the idea your sight's stopped. Stopped where? Stopped right up close with effortful barriers.

Those people who have trouble getting out of their heads and so forth, get the idea of a huge block of stone in front of you, an enormous block of stone — and give it a little push.

Now get a block of stone big enough to build a pyramid out of it and give it a tiny little push with your little finger. You see?

All right. Blow up the stone or move it away or leave it when you get out. (audience laughter)

But there in essence, you see, that is the idea of a barrier. You actually can have somebody who is on this, he will be able to mock up a black piece of metal or something in front of him like an iron cube or a pyramid or something solid in front of him and give it a shove, and out he comes.

And we got that test on the first case I processed here. I told him to mock up a wall and push on it, and push himself out. And you know, he darn near did — his neck straining and so forth. That's pretty good.

Well, there's nothing wrong with that, but it shows you that his level of work is still in good condition. He can mock up a barrier which is at least solid, so the case is of very little difficulty.

(Recording ends abruptly)