This is the second half of the evening lecture December the 4th and we’re going to cover now something which some of you have seen before but which becomes far far more valuable than anything it uh… ever had as an evaluation before. Much more valuable now, and that is the logics six and seven as they were written.

Today we’re going to continue to talk about spacation. We’re going to go into energy, particles, and then go into time. We’re going to cover this all very rapidly and if anybody gets left behind, that’s too bad.

Logic six says absolutes are unobtainable. That is just a forthright uh… effort in this universe to try to step on and stop somewhere along its track the terrific idea of absolutes.

We have a couple of questions here which have been asked; they’ll probably be answered in this lecture just in general.

Absolute good, absolute evil, absolute right and absolute wrong, why are they absolute? Because they’re by arbitrary definition only. A girl is good who pays her dues to the church or whatever they pay to churches. A fellow is evil if he does not properly work at his job and so on. There’s this whole series of control definition… agreements have… have really nothing to do with any high level of… of operational information.

Now the subject of spacation is the subject of the creation, handling of, or concept of space. What’s space? Very difficult problem at this time. It is sufficient to answer the problem in this wise. Actually the physicist has no definition for space – now isn’t that a heck of a thing? He operates in space all the time and he doesn’t have a definition for it. He says, „space,“ and everybody knows what he means, only he doesn’t know what he means.

Now let’s take a look at this universe and find out how this applies. I think it’s uh… what is absolute zero, minus 173, or 273, what is that? 273?

Now, uh… a mathematician has a viewpoint for space. He says „point, a point is something with location but without dimension. It has no length, breadth, or thickness.“ That is a point, mathematician’s definition of a point. Now that’s all very well, but uh… what about this space?

„273.“

Well, I’ll tell you what a space is, and a space is something, uh… well, you see it’s like this. Time… time, you see, you have time and you have, uh… well uh… the two interlocked and uh… and you, have time. That’s… that’s motion, and uh… what motion is… is uh… well, that’s time, uh… uh… well, operating in space. You see how that is?

273, minus 273 centigrade, isn’t it? And uh… uh… nobody’s ever gotten down there. They… they get down down down down, to Kelvin zero, that’s right and they get down there and uh… they claim theoretically that all motion stops there. Well, of course, they’re trying to stop motion to get down there. That’s very interesting because you could mock up a minus 273 degrees below zero with great ease.

Now that’s all very clear and I’m very glad that you have that, because that is the limits of uh… our understanding the subject. Now, I want you to get into something very practical like building a steam locomotive, uh… weights, balances, and all into other complicated things here in this subject of physics because we haven’t got the time to spend on these basic fundamentals like what is space.

All you do is go out here about three, four thousand miles out and where you don’t get any… any radio RF or anything like that… no RF or anything like that and… and just mock up some space and say if there’s no heat or cold in it. And there’s nothing in it. And if you mock up some space and say there’s nothing in it, then you have no motion in it. And if minus 273 degrees below zero is defined as no motion… Now when we say absolutes are unobtainable we find out theta-wise they’re obtainable by postulate. But that is by the introduction of an arbitrary, isn’t it?

All right, let’s… let’s take a look at space. Now when you… when… when your physicist starts talking, remember the other day I was telling you, you can do an awful lot if you have three frames of reference. And you compare each frame of reference to the other frame of reference, then you’re all right.

Postulate – you just simply say bow bow, and that’s that. But as a practical matter in this universe when you take MEST and start to reduce it down, and reduce its heat down and reduce its mass down and reduce it down and reduce it down you get to, I don’t know how low they’ve gotten, maybe 270, I mean I don’t think they’ve gotten that low.

If you have three frames of reference just as you have if you have three summer lines of position, you’ve got a position. You can orient yourself, but don’t just take three, think you have something very thorough, if you merely have three things, each one defined in terms of the other two and without any further definition.

Oh, they haven’t. They’ve now got within a tenth of a degree; they’ll never get there. Same way, we go up the other way and we talk about a pure metal. Talk about a pure metal, and it’s always… it’s always at least uh… 2,000ths of a percent or something like that impure.

Don’t think you have something defined. That is definition, as you find in the HANDBOOK FOR PRECLEARS, that’s definition by association. Uh… what is a cow? Well uh… a cow is like uh… yeah, well, you know what a bull is. Well, uh… well, a cow is not a bull but it is like a bull, and uh… they’re in a barn so that’s like a barn. low you understand of course what a cow is. That’s silly, isn’t it?

They don’t even obtain a pure metal; it’s always 99.99 or something like that. pure. Uh… that’s… that’s… it’d be an absolute so as soon as we start in on this we… we just don’t get an absolute for this universe. This universe could be destroyed the moment it ran into an absolute wrong, or it could run, into an absolute right; the universe would be destroyed.

And yet, the physicist has been doing this. He says, „What’s space? Well, space is something in which uh… operates, uh… well, it’s motion, motion, and that’s time and… and motion… motion is change of position in space, and you see that changes position by time and time is a change of a… of a… a action or something in space.“

I’ll tell you why that is. That’s… again, it’s a theoretical statement but it works out, works out very nicely. And mostly it works out in processing. You never get an absolute anything in processing. You don’t get absolute reductions, complete states, and so on. Why? This universe and most universes favor a gradient scale and it’s a gradient scale of data or space or action or objects. It’s always a gradient scale.

„You know, what is a cow? A cow is a… it’s like a bull, but it’s not a bull, but cows and bulls have something about this thing, otherwise you wouldn’t have barns. And uh… the barn, that’s a… we don’t know anything else about a barn. Actually it’s a far clearer explanation than…

That’s logic seven: gradient scales are necessary to the evaluation of problems and their data. It’s worse than that. It’s… it’s even worse than that. The universe is conducted on a gradient scale and the reason the gradient scale is so very very interesting here and why it works so very well in creative processing, is because it was a gradient scale of agreement that brought the person here. And it was a gradient scale that made the universe. A gradient scale of agreement – if you agree to a little bit you can agree to a lot. If you don’t agree to a tiny little bit you can’t agree to anything. That tells you something in argumentation.

„Well, I’ll tell you. Space is something that is determined by time and energy, and energy is something determined by space and time, and time is something determined by energy and space.“ Now I tell you, get up… get an airplane up in this rat race and you get going around this field. And you go round and round and round. And you’ve got to get out of this rat race before you ever land or go anyplace with the airplane. Now that’s the solid truth of the matter.

When you are arguing with somebody and they’re yak yaking around, get something; a lot of people do this, you’ll hear this being done all the time but it’s not done adroitly. You want to be very smooth and completely deadly in an argument, get them to agree so lightly that they agree without friction and then hold that tone level as the agreements progress. That’s deadly. Because the guy will follow more or less right straight through and arrive at your tone band.

Physics, nuclear physics, atomic and molecular phenomena, is going round and round in that rat race right now. What’s space? Space is a dimension in which a motion can operate and that’s time.

He’ll arrive at your tone band level with an agreement on which there’s no stress and no strain. You’re not fighting then to get an agreement. That is the wrong way to get an agreement. The agreement just sort of slides in gradually and if any agreement slides in gradually it can wind up with something as, evidently, as big and as solid and as real as the MEST universe.

What is time? Time uh… well, time is a measurement of change of a motion in space. Well, now, what is a motion? Well, that’s something operating in time and space, of course. Now I want you to get clearly there that if you have uh… some sort of a rat race like this, it adds up to space, energy and time, and that stands for S E T and that is SET.

Agreement itself… when we knew more about agreements, I said in 1950, we’ll be able to crack cases faster and do more in processing than we’ve… ever before been done. Yes, and that’s so true because reality was apparently an agreement. It was so obviously an agreement that we couldn’t call anything real unless we’d agreed to it. And again, there was not an absolute agreement. But it wasn’t required as an absolute agreement.

And SET was the most incredible, to read, of all Egyptian cats. And that was night itself. Now, actually, when… when you said… when you said this, you… you actually have a slightly wider range of comparison. We’ve said, what is space, energy and time. Well, space, energy and time adds up to SET and SET is a cat and that is an Egyptian cat, and it was a black cat. Now that’s all there is to it. But actually you’ve said more than energy, space and time. Space is time and energy, and time is space and energy. You’re not out of any rat race, I mean, we’re just there.

The fellow walks in the room, he sees… he sees a… a… a big tiger. The tiger’s standing over there on the top rim of the venetian blind. The tiger’s twelve feet long and the venetian blind is only about three feet, uh… three… two uh… and he walks in and says, „There’s a twelve-foot tiger standing on top of the venetian blind and I wonder that you people aren’t frightened to death.“

And we’ve got to get out of this association of ideas and get over into another association of ideas before we can determine this and before we can use these concepts actually and handily in human experience – not just build uh… atom bombs and child’s toys and so forth with them.

And this tiger’s completely real to him and he is so rough that uh… rough in the wits, that he doesn’t know how to put this tiger over on you. He merely says it’s there, and that’s all there is to that. And you will all say, „Well, there is no tiger there.“

Before we can do anything with these things we have to have them in a framework where man can experience. Now you are motion in space and time. You’re quite aware of that. But unless you compare that immediately and exactly to understandable experience, these three things aren’t worth much to you.

Now if he did this he might get away with that here. He… he’d get a laugh and a nice mock-up but uh… if we went down to the Kiwanis Club… if he went down to the Kiwanis Club and he walked in and he said, „You should be afraid of that tiger that’s up there on that venetian blind, because he’s liable to jump on you.“ And they’d say, „Well that’s all right, now take it quiet, oh yeah, that’s good and that’s good. Have a drink of coffee, sit down for a moment. Let’s talk it over.“ Talk it over? Get the cops!

You build an atom bomb, so what? That’s nothing. So what are they? Space is a viewpoint of dimension. That’s a good definition. Thought it up myself and recommend it to you very thoroughly. Space is a viewpoint of dimension.

And naturally select out of that environment a fellow who insisted on seeing tigers on the top of venetian blinds. The sole test of sanity administered by a psychiatrist, and wouldn’t you know it, the sole test is „Is he in agreement with the MEST universe? Well, if he’s in agreement with the MEST universe, why, it’s all right.“

Now we have such a thing as height, length and breadth. And you would get here uh… from an origin, you would get X Y Z. Now actually that’s a sort of a floor there and this back area here is a… a wall. You see how that would be there, you got a quadrant. You’ve got a chunk of space; it’s a viewpoint of dimension, that’s all, just a viewpoint of dimension.

Might be in apathy; we can put him there if he isn’t, but uh… is he in thorough agreement? All right, he is. Then he is sane. The guy’s strictly a fruitcake. All right, where do we get this… this thing about agreement?

Now that doesn’t mean that you necessarily have to be at the point of view of your space. You can make some space that has a viewpoint of dimension way over there. Or you can be at the viewpoint of dimension yourself. You can mock up one, put one out here. You can be at it yourself, or you can be operating in a hidden viewpoint of dimension. That is to say, here’s a viewpoint of dimension over here someplace and you can actually operate without Knowing exactly where it is. You just know you’ve got some space.

It’s a gradient scale of agreement. You might start it out this way. You’d say at the beginning of the track, there you were. And maybe you decided that you’d like a universe. Well, now something had to happen – you had to agree to something before you could have a universe or you and a couple of guys or something of the sort… And you’ve decided to fix this stuff up and so on. A… and something had to happen before you did that.

And if you do that you have to put in a false viewpoint of dimension. You have to add then a viewpoint of dimension of your own. Now supposing you didn’t know where 0 was and you were out here. And you were operating in 0’s space, X Y Z 0 space, and you’re at… you’re at this little point here which is point one. And you want to use X, Y, Z coordinate space and you don’t know where 0 is.

You had to have something occur, either initiate natively or have it initiated upon you, that it was desirable to obtain something called a universe. And have some action and so forth and uh… so on. And uh… uh… you should notice I have never defined the word „universe.“ Because if I defined the word universe as such you would say, „Uh-huh, that means parallels to the MEST universe,“ and universes are very much not necessarily parallels to the MEST universe at all. Some of them don’t even have action in them. Uh… they have something else. It’s very interesting.

You’ve got to postulate something to use that adequately. You’ve got to say you know where 0 is. You’ve got to sort of assume you know where 0 is. That is the physical universe. You’re assuming you know where 0 is. 0 exists in the physical universe.

Now, when these fellows set this up, whatever they set up, they had to agree that – amongst themselves at least – that it was desirable to have this thing. And then they got to agreeing about a bunch of other things so that they could get some sort of a uh… group effort on the thing or even to agree on something.

What is the point of origin of the coordinates of the physical universe three-dimensional space? Actually this type of space is the idiot’s delight. This type of space goes into minus coordinates and down here you have a quadrant. Here you have a quadrant, back there a quadrant, here a quadrant. You’ve got eight quadrants.

One side would say this is desirable and the other side say this is undesirable, and they’d have a game. You see, it took this sort of thing.

If you take three intersecting planes there it gives you all these beautiful quadrants. Three intersecting planes – it’s very lovely, beautiful, and uh… the planes don’t exist, all they are is a viewpoint of dimension. Now to each one of you postulating a viewpoint of dimension: as long as you postulate that you do not know where origin is, you cannot then yourself say you are origin. As long as… as you think, „Well, there’s an origin someplace, and that’s really what the origin is, why, I’ll just kind of tap in and say, „Well, I… I’ll be origin too, I mean I’ll just view this thing from this.““

You have to agree, by the way, to disagree. That sounds like uh… one of those circular statements but uh… unless you and your arguing opponent are thoroughly agreed upon something, you can never fight.

But it’s a sort of diffident thing; it’s something – you don’t say I’m origin for the MEST universe. Just… just think of this. Just think of this as the thought to yourself right now: I am the origin point of the whole MEST universe.

And one of the best ways to pull the bottom out of an argument in which you find yourself engaged is suddenly find that you are sweepingly in agreement. Only make him discover that he is sweepingly in agreement with you. Now, when these… these fellows, this universe… now a lot of things could have happened. The MEST universe simply could have overlapped, bing. The universe built in this direction and then the one day, it had a lot of agreements native to it which were native to the MEST universe.

Sometimes people get pale when they think of that. „That’s just, oh no, I am the point of creation of the MEST universe. No, no, uh-uh.“ Now, what he does instead, he says, „Origin, I don’t know anything about that – wherever the origin is, but I sort of look at what is there in terms of origin. I sort of look at this from a viewpoint here that, well, uh… it’s a secondary viewpoint and somebody must have given it to me.“

Or the MEST universe says somebody who has… came in there and here was a bridge sort of built over of agreement. And the next thing you know, the fellow’d agreed that something was terribly desirable or in some cases there was just a sudden big boom.

And here we get the whole theory of God made the physical universe and God made me but uh… I am – by His good offices, good graces and by a charter which I don’t quite have a copy of – am able to view all this space by His leave. And that’s where you get that.

And their universe caved in, which is a very startling thing to have happen. Somebody could pick up its wave length, its chain of agreements, find out what its laws were and blow it up. There’s nothing to that.

Now, what kind of self-determinism is this? This is pretty horrible self-determinism. Now what… what’s the viewpoint of space of the MEST universe? Well, the truth of the matter is, you are at the viewpoint of the space of the MEST universe with an extensional line from the viewpoint of space of… of dimension of the MEST universe. You’re actually at that point. You want to know where you are? Well, you’re actually at that point. And you want to know what you’re doing? You’re kidding yourself you’re someplace else. Now, that’s the trick of the MEST universe.

Now that was normal and usual. Practically everyone here can get a lot of nice big bops on an E-Meter. And it’s a peculiar kind of bops. Somebody was just mentioning it to me. Uh… it’s… it’s a big theta bop; little theta bops about so little wobble uh… back and forth, back and forth, back and forth, but a theta bop which insists on running ten or twenty points on the scale wide, it just jumps way back about maybe a third of the dial back and forth or half of the dial back and forth, something like that, that’s a bop on the loss of and still trying to hold on to the home universe.

If you can tell a fellow, „All right, now look, we’re going to coincide our viewpoints of dimension. Now you agree that uh… it’s that-a-way and that-a-way and that-a-way. Now you agree that, don’t you? All right, now that you’ve agreed that, you have that, now you know you couldn’t possibly have made that, now we’ll move you someplace else and you pretend you’re at this new place.

See all that kind of a bop is trying to hold on to? Still trying to hold on to that. And you’ll run this as an explosion sometime or sometimes you’ll run it as a persuasion, but always you will run it as something that shouldn’t have happened.

It’s very simple to take a thetan and knock him into a state of somnolence and make him believe he is someplace else and then actually operate with him at that new place. You could, for instance, take a… go down the street here and find a lady of easy virtue and uh… put her into a super trance and then tell her very convincingly while she’s in this super trance that you’re going to take care of her body, but you simply want her to go down and uh… uh… uh… be Mrs. Eisenhower. The darndest things would happen to Mrs. Eisenhower. This is one of the oldest political gimmicks in this universe. This is so old and so worn out as a political gimmick that nearly everybody has done it and he is now guilty of an overt act every time he thinks of it.

That’s regretted and the poor fellow’s still staying with it. All right, that bridge, then, led over into the MEST universe and the fellow suddenly found himself agreeing that this was a flock of space which had its origin at point unknown and he is part of that organization now, and he has volunteered. And the next thing you know, you’ll find out he has agreed. How is all this done? It’s done by hypnosis; it’s done in various other ways.

You take somebody’s body here and you just change this false viewpoint of dimension. Because it is a false viewpoint of dimension from which he is operating, an extended viewpoint of dimension of the same point in space, he can then be shifted anywhere because he’s already lost. He’ll already believe he’s anywhere if he doesn’t know where he is. All you’ve got to do is get somebody thoroughly lost and then tell him that he’s at Broadway and 42nd Street while he’s standing out in the middle of Albuquerque, and if he’s so thoroughly lost he couldn’t even recognize Broadway and 42nd Street he would shake you by the hand and pant with gratitude. You’ve at least given him a name for the place he is and the point he is.

Hypnosis is just a sudden agreement. And uh… it’s done in various ways and then he comes down this whole long scale of agreement and things get more and more in agreement and they are probably more and more actually to his personal discredit and uh… antipathetic to his best beingness, habit he’s still going down the line, and goes down the line further, and further, end further, and further.

Now you recognize that, he’s… he’s so anxious to be found that he’s willing to believe he’s lost. All right, we take this fellow and bring him into the MEST universe, and you say, „All right, now, uh… you’re coming in here at the point of origin viewpoint. And uh… here you are and you see all these beautiful dimensions. Now you’re here. Now just out of a favor we’re going to let you into this place and you can go someplace else and take a look at it.“ Of course, the viewpoint of dimension is right there.

He’s gotten into the game called the MEST universe which is set up to need a lot of recruits. And he gets all these recruits. Now the essence of untangling the MEST universe was nothing very special, except this: it was the… it was the uh… difficulties of discovering what had been agreed to from a point in the universe where that agreement was a reality and where the rules had been hidden.

He’s never been anyplace else from the moment he first heard about the MEST universe until right this instant. You want to play around with this with a preclear, you can feel the walls start creaking. Now we’ll say something about it takes two to disagree. If two disagree with the MEST universe, it’ll go by the boards or something like that. It’s almost… it’s almost that delicately in balance. It’s something you have to be very, very careful about, not something which you have to fight and hit over the head with a sledgehammer.

There’s no anatomy of this agreement really, was there, at all? See, now you had to look around and find out everything had been agreed to in the universe and then you could trace back and then you could actually pull somebody out of the universe. That’s about all you could do about it or you could turn around and… and set it up so somebody else who wanted it could actually turn around and master the universe.

The only reason people are hard to process is they’re scared that they’ll find just that and go zip and here won’t be anything. And so they… they won’t move over here and touch this viewpoint of dimension but they’re at the viewpoint of dimension; they’ve never been anyplace else because they can’t be anyplace else in the MEST universe but at the viewpoint of dimension. But that’s a point of no space.

In order to do anything about this, you had to know what this anatomy was. Well, it’s the anatomy of agreement and that anatomy of agreement is always a gradient scale.

And origin is a point of no dimension. A point has neither length, breadth nor depth, but it is something from which you could view length, breadth, and depth. Now if you very adventurously suddenly start out and postulate that you are a viewpoint of dimension, you have broken agreement with, as far as you are concerned, with being where you are.

You can test this agreement with a hypnotized subject very easily. Now the reason why it’s… it’s a… it’s an interesting thing for you to study in Scientology is this: you’ve got uh… you… you’re on a level of agreement on a certain series of data but what is the data? The data is on a level of agreement of how we disagree with the MEST universe. How can you turn it backwards?

You are saying I am at my own point of origin; naturally, how could you ever be anywhere else. If you’ve agreed that you were at the MEST universe’s point of origin and then the MEST universe has given you a point of origin which you can now use, you have abandoned your own ability to be a viewpoint of dimension. And if you’ve abandoned being a viewpoint of dimension yourself then you don’t think you can create space.

We’re in agreement on an anatomy of agreement so that the anatomy of agreement can be reversed or handled in any other fashion. Or even by the way that you can continue on and de pen the agreement in same quarters. I can show you ways and means of getting somebody to agree even much better with that MEST universe.

What’s space? Space is a viewpoint of dimension. That’s why in mock-up processing you get this odd phenomena: An individual goes ahead and he looks at these mock-ups and they fade out and they get thin and they do this and they wobble around. He thinks he’s viewing them in somebody else’s space.

I haven’t left the data out because I haven’t talked to any psychiatrist for a long time. But uh… the data is… is… is quite… quite ordinary, uh… hypnotists, uh… you get uh… you go around and prove the reality to them. You… you coax them into facing reality, uh… narcosynthesis, electric shock, all of these things are methods of getting somebody to agree with the MEST universe.

He doesn’t know he’s really viewing them in his own space, that he’s never had anything but his own space, there isn’t anything but his own space, he… he doesn’t know this so he thinks they wobble around. Get him to postulate first a viewpoint of dimension. Get him to postulate and look and make the area in which he’s going to place the mock-up. Now the way you make this area, is simply to give it dimension from the viewpoint of the individual. You just give it dimension, you say, it’s uh… uh… long that-a-way and that-a-way and it’s… it’s… it’s tall that-a-way and that-a-way to a certain distance. And it’s… it’s wide this-a-way and that-a-way, and it just goes out there.

And uh… I’ve been meaning to tell psychiatry about this because I’m sure they haven’t thought of using any of these things, but these are practically the only methods of really reducing somebody by getting him to agree. And the hypnosis, narcosynthesis, I want you to take a list of this hypnosis, electric shock, uh… dope, uh… the uh… phenobarbital, uh… there are other methods: telling a person how tired they are and they have to have a rest, uh… uh… telling people that they’d better… better look to their souls and so forth, these are all methods – these are all methods which psychiatry ought to have because I know they’d be completely original to psychiatry.

And uh… it’s uh… it’s a very finite dimension. I got… I’ve extended a shell out there and got this shell all around this particular area and, all right, now we’ve got a space here. Now we’re going to put a particle in this and we’re going to make the particle go into motion and we are going to have a mock-up.

They deepen one’s agreement with the MEST universe. You just tell these people to face reality now. Now I’ll tell you what’s wrong with you, you just have not faced reality. Now you must face the reality of your problem.

And actually, if he goes at it a long… this isn’t a ritual line, this is really the only way you can do it. He’s been doing that other automatic and let’s get out of the automaticity bracket. He’s been doing the other automatically so you just say to dickens with this automatic. It’s getting postulated space, and you’ll find something very peculiar – that the things are more durable.

The day you face the reality of this problem you will then be able – then you will be able at last to be better off. And this fellow goes into apathy and he goes further and further and further. And of course, he goes more and more under control and I am sure that the fee has nothing to do with it whatsoever.

His… his mock-up won’t… are… he looks at them and he’s much more interested in them and they’re much more durable and he’s more careful of his space. So, whenever you have a preclear doing a mock-up, he will think he’s using MEST universe space and as such he… he really won’t have too much brrrr doing this because he knows he’s just working on borrowed space, and… but that’s the biggest gag that could happen to anybody, isn’t it?

You can get a much better fee – I tell you as auditors quite frankly – it… it’s much easier to get a great deal of money out of somebody who’s on a down spiral into becoming MEST that it is to get money out of somebody who is going on an up spiral toward becoming theta.

Fellow comes along and he says, „Now look,“ he says, „here you are at this point of dimension? Now you’re going to look at our dimension. Ha-ha. Now you’re going to look at our dimension. Now look out that-a-way and this-a-way and tall-a-way and wide-a-way and… and just… just look at this all. And that’s our viewpoint of dimension. How do you like it?“ Rrrrr.

Just give you that word of warning. They… they’ve been working themselves out… they’ve been working themselves out of… of uh… preclears uh… in various parts of the world uh… too rapidly. They… they clean up a practice. Fellow takes a couple of weeks and all of a sudden he looks around and he doesn’t have any patients any more and of course the truth of the matter is, he… he then starts getting a flood of patients sooner or later.

You see, all he’s done is make this fellow make some space. I mean, „Now you’ve seen our viewpoint of dimension, isn’t that nice? That’s a nice viewpoint of dimension. Now we’re going to let you go into one of the coordinate points from this viewpoint of dimension and uh… you after that will be able to view our space. And that’s very nice and we’re not going to charge you anything for it. That’s very nice of us.“

But he’s cleaning up the rate of one normal psychoanalytic practice every fortnight, and… and this is a rate of speed which has exceeded, of course, exceeded the desirable feed-in of cannon fodder. So go very cautious about this, I mean, slow down, hold motion, and you will be able to get a lot of MEST.

So, he is told he is at the viewpoint of a dimension and after he’s told he’s at the viewpoint of dimension, so help me, he is permitted then to go to a coordinate point in these dimensions and thereafter operate.

Now, now the gradient scale of agreement is mirrored, OF COURSE, in the gradient scales which you find in existence all through matter. Just look at matter. Look at liquids, solids, gases and right there uh… you have gases, liquids, solids. It’s a gradient scale. That’s interesting, isn’t it?

Position one, the only space there is as far as he’s concerned is, the space which he is manufacturing every instant from viewpoint one. But he’s manufacturing from viewpoint one a backtrack back to origin point and he’s keeping this space manufactured all the time very arduously in order to have viewpoint one.

You have flows first of one kind or another. And then there’s a little bridge in there; you’ve got a ridge sort of a situation, a couple of other things and… it’s very interesting, that formative state. Uh… examine that and you’ll find out that they go into gases and then ‘the gases go on a gradient scale and they’re heavier and heavier gases. And then all of a sudden you’ve got liquids. And uh… that goes into a gradient scale of liquids and they’re soupier and soupier liquids, and then you’ve got solids. And you go on down the line of solids and then you get to a solid that’s what? You get the whole tone scale repeated again between – uh… you get a tone scale repeat, by the way, from uh… enthusiasm, which is a gas. This is of a much… much lower harmonic than… than 4.0, but you get enthusiasm as a gas down to a conservative gas, sort of inert and so on. And uh… it’s conservative, then a real inert gas would be just bored. And you go down below that and you start to get into the antagonistic gases and then you get into those that are… that are good and angry and you’re right into between 2.0 and 1.5, you’re in a liquid band really. Now you go on down from there, you’re in solids, and you go on down the band of solids little by little by little and you would get down to what? One point zero; one point zero is a dispersal.

Now, there isn’t any reason why he just can’t start manufacturing space from viewpoint one. He just manufactures space out here and here and here. No reason why he can’t. It’s idiotic that he doesn’t, except for one thing: If he did that too thoroughly the MEST universe would vanish.

Now we go from 1.0 on south from that. A dispersal, plutonium. Plutonium is so solid and it is so determined to be scarce – at that level you see, MEST has got to be scarce. You’ll find the haves. There’s a harmonic scale of have on the metals, on the elements. It’s ever so often you’ll find the elements as they Go down, very-even numbered, I mean as they go down, they’re very nice and regular, not even-numbered, very nice and regular.

Now he does this very diffidently because he’s afraid that if he does this the MEST universe will vanish and then he won’t know how to get back to that point of origin. That’s cute, because the only way he can get back to the point of origin is to say, „Well, let’s see, I’m… I’m viewing this thing now from the point of origin of the MEST universe. Okay, now that I’m there I shall now extend myself to the coordinate point one. Okay, I’m at the coordinate point one, I shall now view the MEST universe.“

They go right on down, have me, have me, have me. See the metals go uh… liquids and so on, they say have not and then have me and then don’t have me and have me and don’t have me and have me. It… it’s sort of divided up into that idiotic scale. You can take the periodic chart and look it up and add that up – a little mental exercise for you. Uh… anyway – not even vaguely important at this time – it might help the field of metallurgy but that’s… to the dickens with that.

And he will again. He doesn’t get lost. That’s elementary, an elementary dissertation on the thing.

Uh… gold for instance is a have me. And uh… plutonium is so scarce at such a terrific don’t – it’s a… all mixed up. It’s a don’t have me and a have me. And it’s a wonderful maybe and it gets right down there and it’s so scarce and it’s so determined but it doesn’t know what it’s doing, that it is a dispersal, and you start putting any plutonium together and it goes Kapoom! – won’t hold together – and that’s the way a preclear is.

What do we mean by space then? We mean a viewpoint of dimension. That’s just an elementary definition, but it’s a very workable definition. That definition will work in physics, by the way.

You put him together at a certain level and boy does he disperse like mad. So you see there’s an echo in the material universe itself. And in each one of these substances there’s no such thing as an absolute purity or an absolute state of it. Or anything else absolute – I mean, that’s just typical of this universe that it follows down.

What is the space of… what is the space of an electric motor? The space of an electric motor would be two things: the viewer’s – the viewer could consider himself at point of origin and space would be his dimensional set-up, see – I mean he’d be at point of origin looking at electric motor, that would put the electric motor at coordinate point one in the viewer’s space. Now he could look at it just exactly in reverse. We could say the electric motor is a point of origin and the viewer is at coordinate point one. And the viewer is using the electric motor’s space in which to view the electric motor. Yeah, we could do that.

Now let’s look at the chart of the gradient scale of survive and don’t survive and let’s take a look first at uh… the corollary: any datum has only relative truth and corollary: truth is relative to environments, experience, and truth. And we look at that. Let’s go down from there and say: in logic eight, a datum can be evaluated only by a datum of comparable magnitude. And a datum is as valuable as it has been evaluated, oh, it’s quite important. Because the form, the network, with which you are operating in creative processing and which is your main high road to a good thorough theta clear…

Now, we could go further than that. We could say: The viewer is at origin point and the electric motor as a coordinate point one. But the electric motor and the viewer are both viewable because of the existence of an unknown, get that, unknown coordinate point.

A cleared theta clear, this is the high road to it. It’s a gradient scale and it would run datum of comparable magnitude. Everything is… is… is to be compared in this universe by a datum of comparable magnitude.

Of course, neither the viewer nor the electric motor would be viewing with own space and therefore would not be viewing with any great clarity. Get that unknown. All you have to tell somebody and convince them of, is that it’s unknown. There’s a fellow by the name of Herbert Spencer, old favorite of mine. He talks about the knowable and the unknowable. Well, that’s just great. Any time you say that this thing is unknowable, you postulate that somebody has postulated it already, and then you don’t know what he postulated.

All right. Uh… let’s take the first datum of comparable magnitude which was attained in this. And let’s take uh… survival and uh… succumb. Two data of comparable magnitude. Now there… there we have a dichotomy which is right up there. One can be evaluated to some slight degree by the other and you can extrapolate from these experience. And you can take a terrific amount of experience out of these data.

That would be all there would be to the unknowable. I’ll go over that again. The unknowable, the unknowable would mean that somebody knows that somebody has postulated something, but this person doesn’t know what that somebody else postulated. And then that the individual himself is willing to make a postulate, that he will now never know what the other individual has postulated.

Well now, is survive an absolute scale? No, it sure isn’t and in the first book we have a graph here, it looks something like this. We had a track of this, a track this way and so on. And this was plotted against time, plotted against objects, and this was plotted against uh… immortality and there was a dynamic survive here and that showed that… that arrow over there, survive, showed the potential of survival.

All knowledge is, is a series of postulates. Now, anything can work out from these postulates, so when you say something is unknowable you have to go through that… that complete complexity of conditions. You’ve got… you’ve got to postulate that something exists to be known and that then nothing can be known about it. Big trick.

How long would this individual survive and so we… we have that there as a… an extremely valuable breakdown as far as our thinking and processing was concerned; now you could break that one down, you could break that thing down into eight dynamics. That was how many things were surviving when any individual was surviving in this universe.

All right, let’s look how that applies here to point of origin. We have to postulate that this universe, uh… work as it does, we have to postulate that there is a point of origin and that is unknown. And, furthermore, when you start a preclear working, one of the first things your preclear does is run into the postulate that he can’t know because somebody else has made a postulate, now he can’t know what that postulate was. That he’s running across an unknowable. You’re running across the fact that the preclear is certain that if he knows something it will blow up.

You had him paying attention to all eight dynamics. Now, you have this plotted against time and we got our tone scale and you’ll find the first tone scale in the first book. It just isn’t numbered. It even tells you it’s got a gradient scale, it’s got geometric progression, all sorts of things.

Or if a mystery is exposed the power will be gone in it. Ah, ah, true, true, if a mystery is exposed, the power will be gone in it. The uh… whole principle of the unknowable though and the unknown and the „We’ve got to know but it doesn’t exist,“ and that sort of thing depends mostly upon the confidence that somebody else can make a more powerful postulate than yourself.

But anyhow, then let’s look this over. Down here at the bottom here was succumb. And this thing was all plotted out against time and it showed that the impulse of the organism, the life organism in particular, was an effort to persist as long as possible in a living state.

All right, if you believe that other people can make much more powerful postulates and they’re in full control of their minds and situation at all times, why, you of course have set yourself up a continuing and continual unknown.

In as good a state as possible and as long as possible for all eight dynamics and that was survival. We had the opposite to it was the impulse to succumb. Well, now what was right and what was wrong? A little bit later got to figuring out right and wrong, and I got this: That… that which led to the maximal survival for the maximal number of dynamics could be considered to be right. And that which was minimal survival for the minimal number for the maximal number of dynamics, whichever way you want to look at it, uh… was wrong.

You see, that doesn’t happen to be true at all. You get up into the telepathy bands some time and find the postulates other people are making around you. „Let’s see, will I have chocolate or vanilla? Well, let’s see, the waitress looked at me rather hard when I said „chocolate,“ so I guess I think I’d better take vanilla, but I don’t like vanilla. But then you can’t ever have what you like anyway, so the best thing to do is – probably they haven’t got vanilla anyway – well, I won’t order it.“

And you could adjudicate then right and wrong. You could actually sit down and figure out and get a good working frame of reference then as to what was right and wrong and how did it compare?

Yes, indeed, there are much more powerful postulates around than both you and me.

Well, it compared well enough so that a bar association of one state in this union reconvened their rules of evidence… committee on the rules of evidence, and started to work. The reports are not in on that yet, but they are working over the rules of evidence because they’ve obviously got to be changed.

All right, don’t get confused about this viewpoint of dimension. We could go much further into this, but that’s about all we got there. We got a viewpoint of dimension. That’s a very simple way to view this.

We had a working… working material on right and wrong. Well, what’s right and wrong? Right and wrong would be yes and no. Now, some of your engineers will tell you that they’re working on three-valued logic. They aren’t but Boolean algebra depends on yes greater than no and no greater than yes. It’s just a two-value that way; in other words, it’s plotting yes, no and maybe. And uh… uh… one of your big switchboards, whenever you pick up a phone down here, is running a switchboard which operates on Boolean algebra.

You say it’s down there that-a-way, there’s a point and there’s a distance between myself and that point. There’s a dimension between myself and that point. It’s a very interesting thing that the meter is a metal rod of certain length which resides in Paris. That’s a meter. It isn’t even the number of something or others, uh… it isn’t even the number of something or others as a hemisphere, uh… yards, or something of that sort. It’s some equidistant point on the equator. The French tried to make it this and they sent a big expedition down to Equador to measure all this and then they flubbed it up, and so the meter doesn’t mean that.

Last time I looked they were… yes, greater than no, no greater than yes, hunt hunt hunt hunt hunt, well, the yes on this is greater than no, plug. Hunt hunt hunt hunt hunt, well, the no is greater than yes, plug. Hunt hunt hunt hunt hunt, no greater than yes, plug. And uh… some engineers that work on that, by the way, practically work it in their sleep after a while.

It could have been circumference, something to do with the circumference of Earth, but they missed it by enough to make it unworkable, unusable. So, uh… it… it is really a length of a piece of metal at a certain temperature which is in Paris.

Boolean algebra, it works things out yes greater than no, no greater than yes. Well, they’re… they’re not really working on two or even three-valued logic, although many of them will tell you, „I’m working on three-valued logic.“ Yes, maybe and no. They’re not.

What is a yard? Well, a yard is the length of a… of a… of a… something in England, uh… that’s a yard. There’s this down… there’s a couple of these things have been duplicated down here at the Bureau of Standards, US Bureau of Standards, and they are kept down there in cages, so that they won’t get out and measure people. And… and they’re… that’s… that’s… that’s feet and yards and meters and so forth. All right, that’s what they are.

I had a very interesting argument with one of the chaps who builds some of the more interesting electronic brains, a friend of mine. One… one afternoon we had a good time. We went down, and I finally managed to drive home and pound down this datum that there was actually not three-valued logic which he claimed he was using, but there was actually twelve-valued logic.

Now it’s a funny thing, you just take it for granted that those things exist and if you went down there what would you have to do? You’d say, „Let’s… let’s look… look, let’s see now, this… this goes from this distance over here, from this viewpoint of dimension over here to this viewpoint of dimension with relationship to me. That’s what your view of it says.

And twelve-valued logic consisted of the yes greater than no is greater than yeses and so on and the modifications thereof. There was maybe and there was more yes than no maybes, and rare no than yes maybes and those… there was nothing was less maybe and more maybe. And we had a good argument about it and he finally bought this and so forth and then I of course did the horrible thing of demonstrating to him that it was an infinity-valued logic and he’d bought a pig in a poke.

You say it looks from this viewpoint of dimension to this viewpoint of dimension and it exists in space which has been postulated from a point of origin by a fellow by the name God or Johnson or somebody. I mean, they’re just that foggy on it. They… they wou… you would say, „Space, well, they…“

We’ll call this an infinity of lines here. And we’ll call this thing here in the middle maybe. Now all that means is neither no nor yes. So that’s the definition of maybe… neither no nor yes. And the only time a problem is in abeyance is when you can’t get a greater factor on weight on the yes or the no.

First thing they tell you, „God is everywhere.“ Rrrrr. You mean we can’t have any of our own space in this universe because that’s all God’s space. That’s the neatest trick of the universe. That’s been perpetuated for 76 trillion years. You think that’s new?

I should have done it, I shouldn’t have done it. What do you find in a fellow who’s worried about it? Worried means he is unable to unbalance the balance between yes and no which puts him on a maybe. The anatomy of maybes as you heard in technique 88 was never more valid than it is right now. The anatomy of the maybe – how do you resolve indecisions.

It’s all somebody else’s space so you be careful what you put into it. And you be careful what you take out of it, but the only thing you ever see which is the most mysterious thing to you, the most mysterious thing is all you ever see; if you were going to look at the standard meter, you would see that it existed from this far maybe to your left to that far to your right. Or you could go around to the end of it and look down along the length of it and say, „It exists from this point here out there. There it is.“ Or if you, your… your visio was pretty good, instead of seeing with MEST eyes, why, you just turn around to the thing and you’d say, „Well, it goes from a certain distance from here out that-a-way to there.“

What is an indecision? How do engrams come into suspension. MEST itself is a flock of indecision. It’s a big chaotic confusion and you have to pour some positive and negative MEST together to get a stable MEST. You have to get it stable – if you want it stable you’ve actually got to hang it in the maybe, otherwise it will flow off and go in some other direction.

Well, if you were to lie down on a bench and take a look at this meter, you’d say, „Well, it goes from a certain distance below my feet.“ And now if you turn around on the bench you’d say that you went from a certain distance from my head, that’s all the same meter. You’ll notice it keeps occupying different points in space.

On a ship for instance they have a terrible time with this. There… there’s so many, so many elements that say more yes than no and so many elements that say more no than yes that the whole bottom of the boiler or the boiler tubes or the propellers or even the steel itself in the hulls is liable to flow right away into the water. And you call this electrolysis.

Well, it’s an awfully neat trick of you to be able to do this because you see you’re viewing it all the time from a point of origin which you don’t know about and you don’t own. You want to keep that firmly in mind all the time you’re looking at that meter. That it exists, it exists from a viewpoint that is being viewed all the time.

The potentials are slightly different in the MEST they’re using and they can’t get a decent balance on it and they have an awful time with it.

That’s why, somebody’s got his eye on you. Viewpoint of origin, that’s what we’ve got here. And all these things I’ve been saying, you got an X Y Z coordinate there. Now there’s no reason at all why we can’t have space that looks this way. That’s the Z coordinate and that is the uh… Y coordinate and that is the X coordinate and this is the G coordinate. And back this-a-way – we get more complicated space now. Back this-a-way from the point of origin we always have a spiral. And that’s twisted space when viewed backwards from the point of origin. This would merely be a fixed point of origin, a more fixed viewpoint – you would say the forward look in this space gives you this picture and objects which are in that conform to that pattern and are distorted to that degree and back of this there is a negative viewpoint and everything just all sort of twists away.

I saw a ship one time that had just eaten up her third set of boiler tubes in a month. They couldn’t get the… they couldn’t get the positive – negative terminals. This is one of the big problems of marine engineering, by the way.

Once upon a time you probably made a lot of experiments with this sort of thing. The space is terribly interesting in that it is, uh… well, this, by the way, this is, by the way, uh… torsional G space. And that is… it would be the general viewpoint, I’m sure, taken by the torsional people.

If you were able to go in and solve this just bop, you would be worth your weight in, I don’t know, you couldn’t be worth your weight in theta, you already got that. Well, it would be a valuable contribution.

You’ve seen contortionists, well, they’re… they’re operating in that kind of space. Now… now, here, this is… this is very solid mathematics. Somebody cores along to you, and he says, „Oh, that fourth dimension, that’s very mysterious stuff.“ It sure is.

All right, now again here, survive then would be yes. Toward good for the dynamics. Survive and that would be good. And that would go out here toward infinity. A theoretical infinity of good.

You know, you could have fourth dimension that was a twist, a spiral, just like this, existing in an X Y Z coordinate. You could say, „Well, that’s time.“ Oh boy, how far fouled up can we get? I mean, time is really the fourth dimension, after all. Now let’s make it a little more unknown and say that although all the space of the MEST universe is from the viewpoint of origin, let’s… let’s be very careful now to say at the same time that this space is from the viewpoint of origin.

Maximum number of dynamics – now you could draw one of these darn things for every single dynamic, you could draw one for the first dynamic, and the second dynamic, for the third dynamic, fourth, fifth, sixth, seventh and eighth dynamic. You could draw one for each one or you can draw this as just a composite of this arrow which was in the first book – the impulses toward survival.

Time happens to come from another viewpoint of origin. And if time comes from this other viewpoint of origin, you get motion created elsewise and uh… time actually comes from S… from uh… Saturn, everybody knows that, and time is space. When they say time is the fourth dimension they’re saying time is space. Oh, oh no, time can’t be space because time is one of the dependencies for motion, and space, and matter, and energy.

And it would be: value of assistance toward survival, would walk over here toward good. And we will call that, just for the heck of it, yes.

So time can’t be space, not fourth-dimensional space nor eighty-eight dimensional space, nor contortional space, nor G space nor anything else. You see, it couldn’t be space, because space can be postulated in any way, shape or form.

All right, it’d walk over here toward good and an infinity of good would be the theoretical goal, but absolutes are unobtainable, so there couldn’t be an infinity of good. Something would happen if you had an infinity of good, probably the whole universe’d – it wouldn’t necessarily blow up but it would probably be just… just stopped.

Now there… here’s an interesting space over here. Uh… this, by the way, is figure two, this torsional G space. Uh… here we have over here, we have three-dimensional time. Now, I want you to watch this on three-dimensional time.

Because there’d be no differences of potentials anywhere along the line. Now let’s look over to the other side, here, and say this is no. And we get here, succumb. And we get with it uh… evil. So we’ve got that, good and evil, just arbitrary values. We have another word that goes over here, right. Another word that goes over here, wrong.

Uh… three-dimensional time works this-a-way. Now this is linear time out this way, and it’s going where this arrow is pointing. Now, linear time from viewpoint AB moves forward and goes to second A prime S prime. Follow this very carefully. Uh… this goes forward to viewpoint A prime prime and BB prime prime. That’s really what time is. I… I hope you’re paying attention to this; that’s really what time is, because there’s always from each one of these coordinates a sideways time.

An infinity of evil would cause a complete succumbing of the entire universe, theoretically. Because you have only one… one terminal. Now maybe you’d call this plus, call that minus. You’ve got the same thing, you’ve got… you’ve got orders of experience here. The plus, the minus, yes, no, survive, succumb, good, evil, infinity here, and infinity there, and right and wrong. So plus, yes, survive, good, infinity, and right are datums which interrelate and which evaluate each other. And there’s a gradient scale of each and anytime you find the point for one of those on that gradient scale – you’ll find the rest of them at the same more or less point on that gradient scale.

Now it’s obvious that there is such a thing as sidewise time for this good reason: There’s sidewise time because something happens simultaneously to somebody else someplace else right this minute that you didn’t know about. Isn’t that true?

How right is something, how much is it going to assist the survival of something? How wrong is something? How much is it going to make something succumb? How evil is something? Well, it’s as evil as it is wrong and wrong is succumb. And how much of it’s evil? It causes succumb, therefore is uh… uh… complete sexual freedom evil? Now, instead of just going in and reading Plato and other Christian uh… authorities on the thing, let’s look this thing over and uh… we’ll find that uh… that we have an actual way to evaluate this. We have a way to evaluate it here and then we’ve got a way to evaluate that column against this column. Why, what do you know? We’re working out here a system of ethics.

There was somebody had something else that you didn’t know about, something happened to him simultaneously that you were here. Isn’t that right? All right, now, if that’s the case, that’s the case, there’s such a thing as sidewise time, obviously. It might be called simultaneous time, you see how simple that is? So there’s such a thing as simultaneous time, that’s sidewise time.

System of ethics, that system of ethics will hold for a lot of universes. But more importantly, for this universe particularly, it holds for logic and that probably holds for most universes too, just the way it is there. Something which is right or it’s wrong, that’s no action, no action at all.

And now… now when you get sidewise time, that would be known as G-Q and G-Q, uh… G prime, Q prime. I hope you’re following this very closely because this is very important here. Uh… you see, that goes forward and that shows you immediately that this linear time which is to point K, that’s linear time that’s going out here from origin point, this is for figure three uh… out here from origin point out to K is linear time, so you’ve got that.

You don’t take any action either. You’ve got to throw something onto this. Now you could actually throw onto a preclear enough new data in order to unbalance his bullpen of maybes. You could theoretically just give him enough data and he would go from that data into a state of decision just by learning more about a situation. But that isn’t too much so.

Well now, you’ve got to be able to stand up in time, haven’t you? Time isn’t just hitting you in the stomach or something like that. It’s hitting you in the head, in the feet at the same time. They’re aging simultaneously, aren’t they? Well, sure they are, they… they’re absolutely aging simultaneously and you look at almost anybody and you can tell that’s so, so obviously there is vertical time which is measured by this coordinate.

Now how much of a gradient scale is this gradient scale? Well, that’s quite a gradient scale. There’s an infinity of lines from here to here and another infinity of lines from there to there. And right in here there’s an infinity of lines, and right there there’s an infinity of lines.

Now, in other words, there’s a sheet of time moving forward through space, and that makes it obvious that there’s a sheet which is merely following this sheet so that all three of these sheets are coming forward at the same time, A’ to B, A, prime, B prime, air. Those coordinate shields and so forth in time are sweeping forward simultaneously.

That’s a wonderful number, infinity. Somebody thought it up and it simply means the mostest. It means a never-ending mostestness. And so let’s look this thing over and of course ‘we can say it’s an… I can say very soberly: Now I wanted you to note in particular that there is one half an infinity between here and here.

And after we get through living this moment, it being rather secondhand, somebody comes along right afterwards and lives through this moment. Well, that demonstrates conclusively, actually, I’m making more sense up here than a physics professor does.

Now absolutes are unobtainable, now you could theoretically… you have an infinity of evil. You don’t have an infinity of evil. Uh… let’s have… let’s put something in here which is uh… a little more interesting, and let’s have a zero, huh? Well, it’s not a zero, couldn’t be, couldn’t he – and let’s draw a curve from here across to here, like that. Just for the… the heck of it and then let’s put the number 40.0 here, just for the heck of it. And uh… by the way, this number 40.0 had better be just about over here or somebody will get that into a… a spin or something of the sort. And uh… let’s put as an unbalanced uh… maybe of some sort, here uh… but let’s put around here someplace, 20.0, and over here we’ve got a 0.0. Now those are just tone scale arbitraries.

Now this is grand 0. And this is grand Z, and this is grand… grand Y and this is grand X. Now those things can exist then from any point of origin inside the coordinates of origin, can’t they? Now there are eight coordinates of origin so that demonstrates conclusively that there must be linear lines of K at any time there and at all points of origin so that demonstrates that there’s an infinity of time which is running linearly in all directions.

They’re just tone scale arbitraries. Why I thought we didn’t have any action here on… on maybes. No action at all unless you take a… unless you take a no responsibility. A no responsibility for it – we’ve already investigated and 20.0 should be right about there. And that’s about… a lot of action involved in that.

Therefore you have… you have three-dimensional time and three-dimensional space, which obviously give you in its various coordinates the fact that there are… there are coordinates of this space which have partially negative time and partially positive time and which are going in opposite directions at the same time. That demonstrates there’s an infinity of universes and coordinates and that somewhere in this universe there is a viewpoint of origin and if you went beyond that you would find one of the factors of time negatively; you’d wind the clocks backwards or something of the sort.

Or, let’s see, let’s work this out a little bit better. Let’s put 20.0 there. You got a conservatism there, maximum action. All right, now all I’ve done here is make an approximation of the cycle of action. And the cycle of action runs on this line, to some degree. It can be plotted on this gradient scale to some degree, but it is not, again, an absolute plot. So you have this thing which is running here, not as part of the graph, but it’s standing out three-dimensionally from the graph as a cycle of action.

Now that we’ve made it very clear to you we will go on. You see how silly you can get when it comes to saying time is space. When you… every time you say time is space, you’re saying space is static and time moves, so you could say space is a static sort of viewpoint that just stays there all the time and then time moves through this in some fashion or another. Boy, that’d be wonderful, wouldn’t it?

This cycle of action here is a cycle of logic. That’s what we’re plotting. See that? And down here we’ve got something that we call approximate cycle of action. Now why should we put anything like that? Our tone scale actually doesn’t work like that. Or does it?

Well, let’s look at something a little more actual with regards to space. Now, I’m… I’m glad you got all those points. And I hope you get a good note on there because the actuality is that the mind runs in torsional G space. Oh, in all psychology departments it runs in torsional G space and that’s why they get so twisted.

Your tone scale theoretically would work with bars up to here, something like that. No, we turn this tone scale on edge and we’ve taken a viewpoint. We’ve taken a viewpoint of what is good and what is right and what is survival for us. And we’ve plotted it over against logic and so actually that cycle of action isn’t really logic, but that cycle of action put on there is how we apply the gradient scale called logic to our problem in our cycle of action. So I put a problem on this to see how the problem works out by gradient scales. Now you just set this problem 20.0, 40.0, 0.0 over here. Now how does it work out?

Now, here’s where we have… here’s where we have a very nice pleasant thought for you. I mean, this is a quiet thought, and… and I’m… you agreed to be in this universe that there was an origin. There’s an origin for space, but you didn’t agree to be that origin, because if you agreed to be that origin, the only space… it would be you alone who would be there uh… manufacturing that space, and therefore responsible for everything in it. And you would not find that very desirable because it would be impossible for you to engage in any football games, or randomity.

You find that – by golly we sure are right before we make any postulates. A lot of people won’t act for fear they’ll be wrong. That’s a low level action. Now you find out that there’s a sort of an increase down as we go along here; there’s an increase from this uh… forty point zero right through to a conservation.

Well, let’s… let’s say… let’s say, then, that you say here is an origin point of space. That means there’s a viewpoint of dimension. You get this kind of a thing all the time. You say, that corner of that room goes up that way and it goes across this way and goes out that way and there’s a floor downstairs and it’s an extended line out there and that other line can extend theoretically from that corner.

When you get down here to a maybe we want to conserve things and then we get a stop down here. So we have up here start at right; at maybe we have change – it would be in this area here someplace. But actually, there is an inner cycle here before you get to the maybe from 40.0 down the scale, there would be change and then you would get the conservatism of no-change and then you would get the change again. First you would get the change as you came over here from forty. You would get the change which you would call uh… uh… you would call this change before it got in there: increase or growth, increase or growth, and it got over here into the center. Growth has stopped and decrease has not yet begun. So we have conservatism there, maybe.

You say, „That’s a… an origin point“. So, let’s look at you. We’ll put down here „I“ the observer and let’s put „I“ the observer here, and he… he’s at this point and let’s put him uh… there at that point. Now he’s got this kind of an idea on things. He says, „All right, now here we go. We… we’ve got a room here“, and he says, „This is origin point one or prime origin prime prime, origin point prime prime prime and origin point four.“ Now there’s… there he’s got those.

We… we’d better not go any further there, you see. I mean uh… we better not make too many changes, we’re here at an optimum state. This is a guy maybe in middle life. All right, now decay sets in and we get another change.

Now he pins down and postulates four origin points. He can pin down and postulate eight origin points. He knows that if he was in that point and viewed that area what he would see from that point. So he can – he also knows how these things are modified one way or the other.

It’s the change of decay and it goes over here to wrong and that would be death. Survive, succumb. This could be creation, growth, conservation, doing things in life and so forth, then decay and death on that cycle of action.

So he says, „Look at this room, there are four origin points, there are eight origin points, it doesn’t matter. There can be an origin point for every dot on that acoustic shielding up there“, but he… he knows what these origin points are; he’s accustomed to that as viewpoint because he’s been around himself and looked, so he can postulate these as origin points and then he leaves himself free to be an observer.

Or this could be considered over here at 40.0. We’ll cover all this material very much more thoroughly later. But at 40.0 we could have… up above 40.0 we start something at somewhere before we reach 20… before we reach that maybe we have 20.0 and that’s where we get optimum action about the thing. A heavy action, actually, a maybe is plus and minus opposed in some fashion or another so that you… you’ve got those things. You’re trying to maintain a balance and believe me you get plenty of action when you’re trying to maintain a balance on anything.

And he can then swing himself back and forth on origin points which are all around him and he can postulate that he isn’t the origin point and in that wise he goes into action. You see, if he were the origin point only of dimension, he would never be in motion himself. He would be pinned in one place and that would be the end of that; but by letting other things take the responsibility for being origin points he can shift himself around in any confined area which he himself has uniformly postulated.

And so you get over here and then you would get uh… your stop when we got down here. All right, now those two things compare. Now, if we’re going… if we’re going to work this problem out, we’re going to find we work it out by gradient scales.

Now he has been in agreement in one lifetime, he’s in agreement since childhood, with origin points. Origin points? He knows what origin points the family made; he knows what origin points he himself has made. Well, there was a time in his life when he was so careless about this and he knew so little about it – he’d never taken the anatomy of it apart – origin points would shift all over the place on him.

Well, gradient scales, the best way I know and the best way I know to apply this in processing – your preclear is obviously wrong. He is obviously wrong. How wrong can you get? Human. You go into ARC with homo sapiens, practically 90% of the things you have to do to stay in ARC with homo sapiens are wrong. It’s just automatically.

All you got to do is feed somebody some hashish, by the way, and, boy, do his origin points go by the boards. He becomes sufficiently non compos mentis to be unable to control the origin points of any area or postulate origin points of view.

Look at the code of honor processing and try to make it stick. That’s a good survival code, but boy, homo sapiens kind of objects when you run it in there.

I just talked as though they existed, they exist for him. He’s… he becomes unable to control and postulate the origin points of any area. And if he does that, he gets distortional shapes of things. He… he lies down on the bed and the bed is 18 miles high. It is 87 miles to the door, the corridor is one inch long. He gets this kind of upset because it throws him out of „orientation“ – so what is orig… orientation?

That’s a good survival code, if a lot of people were using it it’d be all right. So, you’ve got to back him up from way down here before just wrong. You’ve got to back him clear on up to the top.

Orientation is the principle here of being able to have an „0“ moving – that’s origin point in motion. „I“ is the origin point in motion. „I can be here, then… or second point uh… origin point motion two or it can be over here – origin point motion three, this is origin point motion one. Now that… he could be at this… this here two, three, you see, he apparently is in motion.

Well, how do you… how do you do it? You have to pick him up someplace on a gradient scale toward that wrongness and back him up the scale and get him up tone scale to a place where he can better act and where he can get more right than he is wrong.

All he’s got to do is keep shifting these origin points and other people have agreed these origin points and coincided with their agreement with him so he can keep shifting these things in accordance and in viewpoint of everybody else.

You’re not ever trying to get to a point where he’ll be absolutely right. Theoretically, that’s unobtainable. All right, that’s an application of a gradient scale. But there’s the basic gradient scale then. And a problem on it.

Here on Earth he knows how to shift his origin points according to this society. This is one of the things he had to learn in order to know how to walk, fall, talk, anything else. That’s the first thing he had to know and that’s the first principle of education, is you have to learn origin points.

Now, let’s look at gradient scales just a little bit more here. Let’s look at a gradient scale which simply comes like this. Let’s look at the gradient scale of any part of a gradient scale; now this is a gradient scale of destruction.

If you learn the principle of points of origin and that’s an origin of dimension, that’s a… an origin point is just a viewpoint of dimension, you understand, so when we say „origin“, we merely mean viewpoint of dimension.

This gradient scale of destruction would start in. Here, here is your… your destruction. We’ll draw as down and here’s your gradients of destruction and here is uh… a gradient scale of volume. And this is small, large, small, large, volume of destruction.

He’s got to be able to postulate their existence instantaneously in order to perceive, and if he’s learned how to do that properly then he as X has four, six, ten thousand points of reference which he handily has nailed down, pinned down, and he knows they’re not going to move around and it gives him a feeling of security.

Now we just walk the preclear into this. We’ve found a lot of things on the E-Meter. Now we found he couldn’t destroy a lot of things. So we take the smallest part of them – small volume of them. At a small volume destruction of a small number of what he can’t destroy and we get a mock-up.

If you want to give your preclear a fantastic feeling of security, start picking up his origin points and moving them around. Now I’ll give you an example of that.

And we get a slightly larger volume of what he can’t destroy and we get a mock-up of that. Get him to execute that. If we can’t get him to execute that, get a smaller margin that he can execute and go up in the leaps and bounds that he can do it.

Shut your eyes, shut your eyes and take the upper corner… oh, pardon me, open your eyes again, look at that upper corner of that room over there. Okay, now shut your eyes again. Now move that corner, postulate that corner out into the middle of the room, now put it back where it was in the first place, now let’s move it out into the middle of the room again. Now let’s put it back there and let’s look over to the other side here of the stage and let’s look at that origin point over there. That’s a postulated origin point.

So he does that successfully, that means he can do this successfully. Now he can do that successfully, he can do this successfully. That successfully, he can do this successfully and finally he can do a large volume of destruction on it and he can get very close to an ultimate destruction in his mock-ups. And when he can do that on that subject, that means he’s rid of an awful lot of aberration.

Now close your eyes. Now take both of these origin points and bring ‘em slowly together just up above my head. Interesting feeling, isn’t it? Put them back where they belong. The second you do that it leaves some people sitting outside. It leaves some people no place.

He can mock up then in excess of any facsimile he has on the subject. It just puts the MEST universe to shame. The MEST universe quits. It just quits right there. Is… its hold is so slight on an individual. You think it’s heavy.

All right, now shut your eyes again and take that origin point and move it over uh… to your right about four feet and then back again. Move it over about four feet and back again. Now take these two forward origin points on the roof and move them both over four feet simultaneously to the right and then back over about to four feet to the left and then just move them back and forth, back and forth, till you get a sensation of motion.

But it’s actually just very airy, when you go at it like this; you have to be careful because you’re liable to find your preclear sort of nnneeeaa. Don’t work too fast with this – be careful of it.

Isn’t that interesting? Well, that’s what motion is. It is, isn’t it? You… you can experience that. And uh… one of the first things you want to… want to show your preclear… want to show your preclear is something like that. He… he’ll have an idea then what motion is, better than anything else you can tell him.

All right, now, small to large, now that’s what we mean by a gradient scale of mock-up. Now you could actually have a gradient scale that would take in first… the first dynamic, then it would take in the first and second dynamic. Then it would – see your volume of magnitude, first, second and third dynamic would be the next mock-up, a next series.

Motion, all he’s… all you’ve got to do for motion is just keep shifting OM-1 up here back and forth, up and down, back and forth. Well, how do you do that? It’s just by repostulating origin 1, origin 2, origin 3, origin 4. You just keep postulating those and you know how the society thinks and you’re in agreement with the society and you know how this universe is and you’re in agreement with that. And you’ve learned all these things very arduously, there’s some universe race out there, the darn fools, which have postulated that it’s only four inches across one galaxy. And, of course, if they postulated they only have to shift that particle across one galaxy and they’d never get a chance to look at it because the galaxy is too small. And yet if you want to go from one corner – assuming it has a corner – of this universe to another corner of this universe, all you have to do is take a very, very clear view of some origin point, postulate it, take a clear view of another origin point, postulate it and shift. Just move those origin points and you’re there. That’s space.

Next series of mock-ups would be the first, second, third and fourth dynamics. Next series of mock-ups would be the first, second, third, fourth, and fifth dynamics. All right, now listen, mock up the scenery. All right, now let’s put some animals into it and now let’s blow that up. Or make it decay, or make it get old – do something with it.

That’s the most fundamental thing about teleportation. You’ve agreed on the origin points for everything else because you’ve agreed so hard. Well, you’re never going to get a solid object to move as long as you continue in complete agreement that you will never change the origin points of an environment.

Now, put the MEST universe in there and away we go. Now, anybody is trying to infer in any way that I am just trying to blow up the MEST universe, I… I wish he’d… he’d stop on that because, uh… truth of the matter is, I am. Anyway…

It’s just as though you went down and swore your boy scout oath. And, and, and uh… gave your pledged word as a knight, that you would never at any time disagree with the rest of the society on what the origin points were. We have a… corners of a room. Look how standard they are for every… corners of a room, floors, ceilings, roofs of buildings, ground levels of buildings, and that would be anything from a Nipa hut straight on through to skyscrapers. Uh… that there is a center to every cube – you’ve agreed that. And that these things can be movable in or not movable in. You can move in ‘em or not move in ‘em. It’s very upsetting to a preclear to find himself sailing through walls for the first time. Well, he’s just… he’s just postulated that you can’t move in that area.

We’ve got here then a gradient scale which would go like this. Let’s take a gradient scale of color. And this gradient scale would go something like this. And it would merely mean brightness of color. And it would run from none to brilliant. No color. All right.

Now in order to perceive motion, all you have to do… well, we’re in the subject of motion right away. All you have to do is perceive motion – and we will have uh… point uh… N here as uh… as uh… uh… an origin to point N as an origin, point NO-1 as an origin… All right, observe from… from ON-1 here, now let’s… uh… let’s… let’s look at this chair. Take a good look at this chair. Now this is point uh… NO, it’s point NO right this minute. Now we’ll move it over here to point NO-1. Now it’s at point NO, NO-1.

Now let’s work it on a no-color basis. The fellow has possibly black and white or possibly grey and not-so-grey, something on that order. All you would do would get him to contrast one and then contrast the other one. Anything that you could run.

Look at that chair now. Okay, shut your eyes and move that chair. Shift it from point NO, now to point NO-1. Just from NO-1 back to NO. Now shift it from NO to NO-1. Now get to shifting it so fast that it’s a blur. Did you make that chair move back and forth for yourself? That’s motion.

Get a little bit of each and so on…’ small spots, and then move in time, space and location and handle him yesterday, handle him tomorrow. Now, let’s get a little bit bigger bit of color, and it doesn’t mean, uh… that means color. Uh… well get something a little, a little brighter grey this time.

„It becomes a solid block“.

And mock that up here, there, everywhere – on top of the roof, under the house, in the basement, uh… below your feet, above your head, behind your back – all right.

„Ummm?“

Now put it in yesterday, put it in tomorrow, now put it in next week, okay, now let’s get… let’s get something that’s s… quite a lot brighter than that. Let’s see if you can get any white. Well, very possibly he can get some white, but maybe it’s still grey, or maybe this time he can get some good dark black.

„It becomes a solid block“.

So you get this good dark black and you put it here and you put it there and you put it back and forth and you put it in front of the guy and you put it under his head, put it under his arm, put in tomorrow, and put it in next week, and put it in the year 1202, and – all right.

„Yes, it’s true, it becomes a solid block. Thank you.“

Now what we’re heading for is to turn on his color, so let’s ask him what his favorite color is and then let’s go on the theory that he couldn’t possibly get anything that was pleasing to him. Ask him what his favorite color is. Now, if he couldn’t get anything pleasing, if he could only get that much color, he couldn’t get anything pleasing to him, so let’s get something that’s rather displeasing to him.

You’ve said that this point of you is shifting and in view of the fact the point of view is shifting, it’s unoccupiable. You get anything that’s shifting that fast, becomes unoccupiable and you finally say, „That is solid“.

And you say, „Well, all right, what’s your favorite color“, and he says, „Oh, green I think. Green is my favorite color.“ You say, „Get some very bilious green.“ Well, he’s perfectly willing to get that much bilious green because he wouldn’t be able to please himself to the degree of getting any nice bright good-looking green. So he’ll try to get some bilious green and he’ll say, „Well, it’s still kind of grey.“ And you say, „That’s all right, now let’s get it grey. Now let’s get it green again, bilious green, sickly green, got that? All right, get it grey, and so on.“

Now each one of these points has a viewpoint of dimension. Each point in this chair has a viewpoint of dimension.

And you just go on that way, back and forth, back and forth, and you put it in front of him, put it behind him, put it up to the right, and to the left, and under your head and in the next room. And over in the next lot and on a ship at sea and uh… then in tomorrow and then in the year 2897 and then in the year 610 B.C. and uh… all right. Next, you see.

„Well, then if you shift as fast as that chair you can get inside that chair“.

And in such fashion we would come right on down the line and if we just kept that up and kept that up as drill drill drill drill, something would happen along the line that would make his colors brighter, and brighter, and brighter, and something would suddenly trigger. Something would trigger and he would suddenly say, „Well, the devil with it. I can get colors of anything I want to. Of course that’s nonsense, I’ve been getting them here for minutes. I mean everything is all right.“ Okay.

„Sure.“

The uh… great oddity this… this thing on a gradient scale. You wouldn’t believe it when you first start in on a preclear. This… this preclear’s saying neeoooww and ooohhh and all last night and then so on and he… the… and „it’s bad thetan and… the… and they can’t and… and every time I… holy God! I never want to have another night like that.“

All right, viewpoint of dimension then can be existing from any origin point, and if you have a multiple series of origin points you can at any time get what is laughingly called matter.

What do you do? You say, „Well, all right, now let’s see, what do you say that was happening to you?“ And he tells you, he says, „Well, it was so and so and so and so and so and so and so and so.“ And you say, „Well, all right now, where… where did it happen?“ „At home.“

You can get uh… energy. Anything you want to say you get you can get, but the mechanics that you use are this.

Well, you know you’re not going to get him into a nightmare that fast and you say, „By the way, uh… take the house across the street.“ „Yeah, yeah, yeah, what’s that got to do with it?“ „Well, take the house across the street and turn it Around on its foundations. Get a mock-up, turn it around on its foundations. All right. Now turn it back again. Now turn it a little pink.“

Now, if you want to operate in five-dimensional space, it becomes very simple to simply postulate different points of origin and different complexities to these points of origin and it’s wonderful mental exercise for a preclear to start operating in five-dimensional space and do this.

„Now turn it blue, now put it about ten feet up in the air, and make it turn around again. Now make it come down on the foundation, now send it up into the air, now turn it around and bring it down to the foundation. Now put it behind your back. Okay, now let’s put it back on the foundations again. Now, let’s put it over in the next state and uh… let’s put it in last week.“

He’s taken this uh… here; now he’s got 0-1, 0-2, 0-3, 0-4, 0-5, and he is at X-l. And he has postulated that in any five-dimensional pentagon of that character – of course in any pentagon, you understand, there are many, many areas where nothing is there at all. You understand that. And no matter how… how much looks like it’s there, there’s just a lot of nothing there. You look at any pentagon and it’s true. So… that was a labored joke.

„Okay, now let’s reach into the house just next to it and pick up a bedroom.“

All right, there’s… this bears no similarity to any buildings. Uh… we’ll just say there’s nothing in the center here. So therefore the center at all times is avoided as a point of origin. It’s all times avoided.

„Ohhoo oroor.“

Now what are you going to get if you have X-1 and… and uh… X-1 moving to X-2? That’s all right. X-1 to X-2 in that pentagon. That will be okay, but uh… what about moving X-1 to uh… T-I? What about moving that? T is not for time; we’re just being very snide about time by using time’s sacred symbol for something else.

„Now just a minute, pick up the living room.“

Uh… X to T, well, it’s gotta follow a route like this. That right? It’s gotta go from here back through there. It’s gotta avoid that because nothing then goes through that point. All right, now what happens here when we move X-2 down here to T-2? If we moved it directly and those two things were moving you would get a flow action, whereby the X-l, T-1 flow would push out of line the X-2, T-2 flow. It would get sort of crowded in there.

„Okay, I got the living room.“

It couldn’t help but get crowded because you… when you had… can’t have the shortest line, uh… a line is the shortest distance between two points, why, you’re naturally going to get a lot of lines coinciding in there someplace or another. So you get it going and get a different type of wave in that type of space; it’s going to look different, it’s going to feel different and so forth.

„Now rearrange all the furniture in it, now shake it up like a dice box, now put it behind your head. Now put it under your feet. Now put it up on the roof. Now put it down in the firehouse. Now put it over on the Eiffel Tower. Okay, now put it on Mars, now put it on Venus, now throw it into the sun so it will burn up. Okay, you got that? Now burn the sun up. Okay, you got that? All right. Now, let’s take a bedroom.“ „Da da da da da.“ „Now let’s… I said, let’s take a kitchen.“

Sound can’t go, then, straight from X-1 to T-1; sound has to detour over here by the dotted line. So therefore sound with sound here’s bunched up so there would be a higher intensity of sound at point S. So everybody knows, who lived in that universe, everybody would know that uh… this was just an S point, and everybody would know sound got more intense at an S point. So therefore it would be a very, very good thing uh… to get a seat closer to the S point.

And after you’ve handled all that sort of thing, get a lawn chair out in the yard and handle that and tear it up and put dogs on it, and behind the back and over the head and under and locate it in space, and put it in last year, and… and put his grandmother on it and then bury it in the old churchyard. And do all sorts of things with this thing and then say, „All right, now take a bed.“

What do you know, over here in this figure, your previous draft uh… over here everybody knows that sound in three-dimensional space goes back here to the back wall and hits and comes forward this way and the greatest intensity of sound is here, right in the center. So this is intensity. And uh… the sound is blurred though.

„Well, mmmm, all right.“

There’s more sound action there at point „IN“ but it’s blurred, and your greatest sound clarity would probably be then at back „B“. Well, that’s just a freak of three-dimensional space. It is distorted because of three-dimensional space and the insistence on putting walls up in three – dimensional space and so on. And so you’d get a different type of behavior of waves only if you had pentagonal space of some sort and supposing you made a real postulated space that every pentagonal space would go over to the right as a warp here. And this warp is where you put in the furniture you don’t want. Therefore you could… you could actually train somebody who would see no motion at those points.

„Okay, now put it behind your head, above your head, over your head, around your head, around… top of the railroad, top of the firehouse, now put your Uncle George in it. Now invent an uncle to put in it. Okay, now put a blonde in it, now put a brunette in it. Yeah, what did you say? No, that’s all right, I said put a blonde in it. That’s good. I said put two of them in. Okay, now put them down… down in the city hall.“

At that point of warp he would not make any points of origin; he would collapse a point of origin, and the furniture which was „in there“ would never be there for anybody. You could train anybody you wanted to, in other words. Just start out from scratch and train people to view things differently than they are viewing them and they would get a different universe.

„Now put them out in the middle of Grand Central Station. Now take Grand Central Station and turn it around. Now put your body in that bed in Grand Central Station. Now have eighty snakes jump on it.“

They would not only get a different universe, they would not necessarily get this one at all. If you would just want to make an experiment sometime, get somebody trained to take every point, every uh… this ought to have a name on this… on this figure 1 here, 0-1 uh… 0-1 ought to be uh… called an anchor point. And just train him to have an anchor… here’s… here’s his anchor points. Anything which he ordinarily orients his scenery by would be his anchor points; without those anchor points he wouldn’t have any dimension.

Well he says, „To hell with it – sure.“ you say, „All right, get the snakes. Well, get them eating the body up. „Well, you don’t know quite when you’ve passed over anything resembling snakes because his nightmare was all about snakes. This… it was something quite mysterious to you. Of course, you’ve got him in the middle of Grand Central Station, he knows that couldn’t happen in Grand Central Station. That’s a complete disagreement with reality and he thinks he can do it because it’s because he knows it couldn’t happen in Grand Central Station. As a matter of fact, you’ve got him back toward his own universe. You’re restoring power into the thing. But if he said yow-yow-yow-yaw-yaw, you said, „Well I just said have this long tall snaky-looking porter come up and tuck your body in better. Okay now have him shuffle off and have him hiss at somebody.“

He’d have to have that, uh… pardon me, he wouldn’t have any motion; he would have dimension, but if he had to use OM-1 here all the time for his origin point only and his dimensional point only, you see, he couldn’t get any… any… any motion himself. He couldn’t get into motion. He would eventually get to a point where everything… everything else moved but he didn’t. And he would see motion and freeze and, what do you know, that’s one of the commonest things you find out wrong with a preclear. He’s gotten to a point where everything else is in uncontrolled motion and so then he conceives that he can’t move. In order to control it he says, „I am these dimensions and they are running in me. And therefore I’ll stop them by not moving.“ You get that as one of the first reactions in a preclear. He sees something going fast, he stops.

„Yeah, all right.“ You just work it up that way. Finally you’ve got him in home in his bed at home and you’ve got the whole last 24 hours – you take the whole last 24 hours and you turn it right side up and you turn it left side down, and he says, „What are you doing?“ And you say, „Well, just take this space which contained the last twenty-four hours and turn it right side up and upside down“ and he of course does that, and so forth.

The best way to anchor anything, one of the first and fundamental ways to anchor anything down is to be the viewpoint of dimension of that thing, because it is then owned. God owns the universe because he is a viewpoint of dimension.

And he says, „What are you doing this for?“ And you say, „How about that nightmare you had last night?“ „What nightmare? Oh, the nightmare! Yeah, yeah, that nightmare, well, let’s get down to some processing, something important.“

We’ve all said that he exists, but we’ve never said where the viewpoint of dimension is and then all of us handily operate in groups and postulate viewpoints of dimension for that particular area of the universe and we’re off.

Funny part of it is, the darn things stay keyed out. It… it’s just like a bunch of liars out in the old West, the MEST universe is lying like mad to this preclear and he’s lying to himself about perceiving it anyhow and what’s happening in it and what he’s scared about, and everything else. And you just keep talking it.

We’re all set, then we can see everything everybody else sees. We can get the same motions everybody else gets; we’ve trained ourselves to do that. It was training, agreement that does that.

And by golly, after a while, his concentration on these points of agreement in the MEST universe will shift. This is really a problem in the centering of attention, the fixing and unfixing of attention units… is really this is a problem in to some slight degree. That’s uh… not wholly true but to some slight degree it’s fixed and unfixed. So you get that as a gradient scale.

Now, what about somebody who is unable to control a motion? Let’s say he is unable to control a motion. Let’s say that at OM-1 up there is out of control. There’s too much motion in there. How do you solve OM-1’s concept. of being in too frantic a motion? That’s a dispersal case, mind you.

Now your gradient scale could be these wide beams, one, two, three, four, five, that could be those wide beams or we could have a gradient scale that would go like this and there’d be one, two, three, four, five.

He’s in too frantic a motion. You’ll find out… the first thing you will find out is that these corner points, these anchor points here, O-l, 0-2, 0-3, 0-4, are in vibration. He won’t pin himself down as… as something to move in relationship to these viewpoints of dimension, these anchor points, because he doesn’t dare, things always get him out of there.

Get the idea? There could be a gradient scale within the gradient scale within the gradient scale. You can have the tiniest graduations imaginable. You’re having trouble with this fellow, you… you… you’re already starting in too heavy if you have any objections. You shouldn’t hang him up on… on when he… watch him when he’s processing and when he says, „Well, I… yeah, yeah, I can do that.“

They chase him out of there. So he… he’s just gotten… gotten unconfident about the whole thing and he no longer desires to have, in figure l, 0-l, 0-2, 0-3 and 0-4 to be very static. He… he doesn’t want those things to be motionless.

Watch him, he’s holding his breath a little bit. „Yeah, yeah, I… I… I… I… I, yeah, I did that.“ Watch that; you’re feeding it too heavy. Just look at your preclear – it’s like reading a meter. If he says, yep, yep, yep, yep, yep, yep, yep, yep, yep, yep, yep, yep, yep, you’re feeding it too… too slow. Get it somewhere in there where he’s saying, „Yes, yes, yes, uh-huh, yes, umm yes, yes, yes, yes, yes, yes, yes, yes, what are we doing this for?“

He wants to… he’s trying to shift the room out from underneath him on the theory that he might not be able to shift himself out of the room fast enough. Now you take a little test to that. You’ll find most of your occluded cases when you have them shut their eyes and try to hold an anchor point still. Go ahead and shut your eyes and do that. Take that anchor point over there and hold that thing still.

That’s the way it operates with regard to him. So it’s up to you to monitor the gradient scale according to how fast your preclear’s taking it. And don’t ever let any preclear kid you into this, that there is any aberration or an upset that is so powerful that he couldn’t possibly mock up anything about it. NEVER let yourself be kidded that such a thing exists because it evidently doesn’t exist.

Don’t let it move, hold it still. Now take that in relationship to the other anchor point in this room, 0-2, and hold those things the same distance apart. And hold each one of them dead still. Don’t let ‘em shift. Any difficulty with that? All right.

There is always a gradient scale that he can attempt. There’s always one. There’s always a level where he can strike in with a mock-up and win. Never otherwise. It appears to you perhaps at this stage of training that a mock-up is really a very light and filmy thing to be working with. Do you know how powerful and deadly facsimiles can be and how preclears can agonize and how long it should take? And you wonder what happens to these facsimiles; you just walk off and leave these facsimiles, just play around with mock-ups all the time. And you say, „Well, we do that all the time“, and so on. Well, we ought to do something too about the facsimiles.

What you’re doing, you see, is you’ve… you’ve already agreed that, those were static and stable and there and then you thereafter didn’t uh… uh… like that agreement and your agreement left to disaster for yourself so you had decided then that the best thing that you can do is to he kind of cautious about that agreement, and you are actually kicking sideways from that agreement and you don’t want those points to stay still and that’s why you can’t step easily out of the body and anchor up the atmosphere. You know what space is then? Viewpoint of dimension.

You’re doing something about the facsimiles when you do the mock-ups. The mock-ups kick those facsimiles out, they unload them. You’re not converting energy, really, when you’re doing mock-ups. You’re not converting energy. You’re putting new energy into a new field, handling it in a new way, and the facsimiles actually come loose, detach, and blow, and that is that.

So you can have three kinds of space; you can have point of origin, you can have the viewpoint of dimension such as OM-1. You have… this is the big, the big point of origin down here, 0. This is mythical. Then you’ve got OM-1, and then you’ve got anchor points 0-1, 0-2, 0-3, and 0-4, so that you can get motion into OM-1. Nothing will move unless you do that. Okay, let’s take a break.

And you won’t have any trouble with any of that. That’s something for you to… to look at as you work with this. You are working the most direct process to an amputectomy of a facsimilectomy… That’s the most direct course through to that.

Now you see what this is all about. Gradient scales and how it formed out of the logics. It’s actually a very interesting application of a piece of knowledge which has been with us for a long time.

Okay, let’s call it an evening. Thank you.