All right. This is the second hour and just a — it's not an hour, but just a second rundown in this morning's work.

This is the second period this afternoon. This afternoon, I'm going to give you the integration of these two things: geographical location and positioning — positive and negative positioning — in auditing terms.

Now, you understand why we're doing this technique of putting emotions in barriers. We're trying, in the first place, to invert barriers.

Now, every time you try to position somebody, you run into the fact they may start thinking or start being where they are — they might start being where they think they are. You get that?

We haven't come to Step II yet, very much, but that's the automatic machinery which unmocks barriers. And I showed you some of that yesterday. That's a little bit advanced. But the point is everybody perceives a little bit differently. They've got various mechanisms by which they can demonstrate to themselves that it's not safe to perceive, and in this wise they rather cut things from under themselves.

You ask somebody, "Now, are you in Paris?"

We've got to get this very good on being able to put thought, emotion and all kinds of effort, including light — which I gave you yesterday — and today, blackness.

And he says, "Yup."

I mean, you can close your eyes — I want you to shut your eyes right now and do this trick. I don't care if it sticks you on the time track — you can unstick later. Doesn't matter.

You say, "Hm. Are you in South America?"

Close your eyes. Now make the forward wall of this room black. Okay.

And he'll say, "Yup."

Now make the outside of the wall behind me — the other side of the wall behind me — black, and with effort in it, no matter how tight or weak, but get that wall black and with some effort in it. The opposite side.

"Hm. Are you at the North Pole?"

Now get the back wall of the room, the outside back wall of the room, black. The other side away from you. The other side away from you. Get it black. Now get a little effort in it.

"Well, yup."

Now get the roof of this building, the upper side of the roof of this building, black, and with some effort in it.

Now, right there, without going into the impossible and the incredible and the dangerous methods of relocating him, unless the case is very far down . . .

Now get the four outside walls of this building, the outside of the walls, black, and with some effort in them. No matter how faint that effort is, but get them black and get some effort in it.

When a case is real far down you've got to go much further than this. I mean, you've got to go into the impossible and the incredible and the dangerous — just shake them loose. Because they're not in shape where they can run anything like, or understand what you're talking about.

Now get the floor under your feet. . . I'm not asking you to unmock any of this, the devil with it. Get, if anything, an effort to make it persist. Under your feet, the floor under your feet, the underside of it — get it black and with some effort in it.

But this is merely the case that doesn't understand what the devil you're talking about, and is pretty foggy and gropes around, and so forth.

And the upper roof again, black and crushing down. Lay a black sheet across there real good.

Any case present here, you would follow into this kind of a position: You would say, "Now, let's waste a machine that sends you someplace." That's actually, you think, maybe Step IV. No, it's not. That's Step II. This guy is not going to exteriorize well until he can be located well.

Now let's lay a black sheet on the outside walls of this building, crushing in against the building or even pushing in faintly — I don't care how much effort, but get some effort in that blackness. Now let's make it persist. Definite effort to make that persist.

Exteriorization, inability to, has immediately under it this heading: "Not located." That's all the reason there is to why a person can't exteriorize, actually — they're not located. Their abilities are somewhere else, see? Simple. Everything they know or can do or can feel — all these things are elsewhere. And every time you ask these people to get into locations of this or that or "where are they not," they either get occluded or the mock-up disappears or they disappear or the body unmocks or everything gets very solid or they suddenly fix.

Now get the ground underneath the whole building with a definite effort to make a black sheet come up against the underpinning of the building. And get an effort to make that persist now.

I had one case here, I asked him to disappear and he probably never, at any moment, felt more solid than just at that instant when I asked him to be three feet back of his head. And he all of a sudden fixed.

Now get the outside walls of the building black and pushing in.

All of this comes under the heading of, and we use — just use the word machinery in lieu of postulates and facsimiles, see? We use the word machinery. Because they very happily mock all this up in terms of a machine. But their mothers show up and their fathers show up and so forth, because these are machines, too. They're facsimile machines. They're biological machines. And they're all basically postulate machines. That's the most basic machine there is, you see, is a postulate machine.

Get the roof of the building black and pushing in. Get it real black. Make it persist.

But you just don't walk into a case and say, "All right. Clip out all the postulates now which make you forget about all your automatic machinery. Now clip out all the postulates that hide all your automatic machinery. Now clip out all the postulates to protect all your automatic machinery. Now clip out all the postulates that keep your automatic machinery from appearing. Now clip out all the postulates that made your automatic machinery in the first place." And say, "All right, you're Clear. Five dollars. Next case." Don't do that. People like to drag it out longer. (audience laughter)

Now get any building on the street — whether you can see it or not, doesn't matter — but just get a black shroud over it, pushing in against it. And make it persist.

You want to know what this stuff is up here in the wall — this MEST is up here in the wall — it's a postulate. That's no reason it isn't real, though. The realest thing there is, is a postulate.

And get another building, any other location, and get a finite direction to it and make it covered with blackness with a little effort in it. And make it persist.

Don't go into reverse on this and say, "Well, the most unreal thing there is about it — it can't be real because I just thought so," you see? He keeps saying that every once in a while, "Well, I just think so, so therefore it isn't real." Waaa! Boy, that person is an inverted one, see? Because he thinks so, it isn't so. The only reason anything ever got so is because he thought so. See what great simplicity we have here. All right.

Try and get the push in on that building now. All right.

Let's take this thing very logically — illogical basis — which is, is. It's merely a geographical location. Now, a geographical location depends upon the fact that we have to assume that there are barriers. So any machine that makes barriers is the most senior machine there is. Because that has to precede the machine which unmakes barriers. So you have machines that mock up barriers and machines that unmock barriers as your two fundamental machines.

Let's get another building someplace, I don't care at what distance away. Cover it with blackness, and have the blackness have some effort in it to push the building in.

Now, there are various other machines which stem from these. There are machines that make barriers disappear by covering them with blackness. And there are machines which fight other barriers by covering other barriers with blackness. And that cancel other barriers by — make them intolerably full of effort. Now, these machines are just basically these two machines: one, the machine that makes barriers and the machine that unmakes barriers.

Now mock up a black tree with some effort on the side away from you — towards you. A black tree.

See, viewpoint of dimension — the second you put out eight anchor points, you put out actually, in essence, eight barriers. And you've got space if you've put out eight barriers. You haven't got any space till you put out eight barriers. Space doesn't exist till you do. No reason to be tangled up about this, it's just — it doesn't exist, that's all.

If you've been having trouble getting effort in it, put some tiredness in this black tree — the effort called tiredness.

So don't think that you can go on agreeing with the mest universe forever and have an excellent case. The reason why you can't do this is because the MEST universe is composed entirely of barriers. You've just asked the fellow to go on agreeing with barriers forever. And it's an automatic machine that you're validating.

Now let's mock up, anywhere around, a small black doghouse with a little effort in it.

So you keep punching this machine and punching it and punching it and punching it, and all of a sudden the barriers get thin and they shiver and the rooms start going out of plumb. And the Walt Whitman Hotel (which is one of the favorite things they were using up in 726) — boy, it took a beating during the last six weeks. (audience laughter) It all of a sudden is out of plumb. It grows in height. Well, these things — that isn't — nothing's supposed to happen that way.

Now let's mock up the front wall of this room as black. The whole thing black. A little effort in it, even if it's the effort of tiredness.

You ask a guy to hold on to the back corners of the room and not think, that's real good. If you ask him to hold on to the back corners of the room and think, that's real bad.

Now the side wall over there, mock it up as black. Put some effort in it. Make it persist.

What's the difference between these two? You ask him, 'Well, just hold on to the back corners of the room and just relax." In other words, let the machine called George do it. He's out of contact with that machine anyhow, and if he doesn't think, it's all right.

The other side wall black. Put some effort in it.

But now if he holds on to the two back corners of the room and thinks, he starts energizing all kinds of machinery. And so this machinery goes into action on the machinery which he's using to mock up the MEST universe.

Now the back wall of the room black, with some effort in it. Pay particular attention to the outside of that wall, but let's get the whole wall to some degree. And get the idea of making that persist.

And it's very funny about these machines. One day — one day not too long ago, I ate a smelt that probably did, a little bit, when it came from the butcher. And it made me a little bit sick at my stomach, just for a little while, until I went out walking around — walking around. And I located the machine that makes smelts, very simple, and kicked hell out of it. And the smelt disappeared. It's very simple. Wasn't anything to this.

Now let's take the front wall again, and on the opposite side of this front wall, let's put a sheet of blackness. The far side of the front wall, put a sheet of blackness.

But, of course, the most direct thing to do was simply to unmock the smelt. And the next most simple thing to do is, of course, to not eat smelt. And the next most simple thing to do before that, is to not have a stomach or a body which needs anything like energy to motivate it. Simple, isn't it? All right. Now you get no randomity, see? Simple! Okay.

And now, like you were blowing bubble gum, pull a bubble of that blackness through into the room so it comes right through the wall.

So let's look over the problem of automaticity and geographical locale, and we find out there's no geographical locale unless some automaticity's been set up in the first place. As long as a fellow simply knows he is, he also knows where he is. If he just knows he is, then he knows where he is. But boy, a lot of people have come down the line on validation of automaticity to a point where they don't know where they are. See, they don't know where they are. And the reason they don't know is very simple: is because the machinery is superior to them. And the machinery tells them they have to have a location. So if the machinery tells them they have to have a location, then where they are has to be located for them by things which they create. But that's on automatic . . .

Now cut off the bubble and drop it on the floor, so it'll persist.

You know, one of the weird double-terminal buttons that you can run is — the least admired thing I know of in the whole universe is just this one, that's why it's so persistent — is "setting up something so it will continue to run with no attention." And you mock up yourself doing that in four positions and you'll find out it gets mighty hectic and erratic because you've walked into the center of automaticity. Real erratic, such mock-ups get very often. All right.

Now reach through the wall and get another bubble. And drop it on the floor so it'll persist.

What's the process then? Well, you play Step I against Step II. And you could actually just keep doing this Step I against Step II until a person gets cleared. Step I is "Where are you with relationship to the barriers?" And when we get to II, he didn't exteriorize easily and well on I, so when we got to II we merely assume — and we — remember, we'd do all these things with the person exteriorized too; it isn't just to get him out, that isn't our emphasis. When we get to Step II, we find out that we have located him by things which he had a hand in creating. See that?

Reach through the wall and get another bubble. Bring it through so it'll persist.

We locate him, he just feels fine about it, and then we're immediately into the echelon that he has exited and is located in — he's now located in space which he has a hand in creating. The essence of simplicity.

Now reach through the wall another place and get another bubble. And another one. And another one. And another one.

So at Step I we find out that he is not located in the space which he has created. In Step II, why, we start to make it unnecessary to be so dependent upon this space which he himself created and now thinks that somebody else is creating, see? So that's Step I and Step II, the values of.

Now just yank the rest of the black sheet through the last hole. Make a big bubble out of it and fix it up so it'll persist.

Actually, II is a much higher echelon step than I. But while a person is still inside, you find you have to go all the way down these steps to find someplace to start unmocking this maze — this mirror maze — which he's got fixed up and which he's lost control of.

Now put this bubble on yourself. Yeah, make sure it'll persist. All right.

Now, lost control would be the one thing that you can say is in general and in common with all automaticity. He hasn't any control. It's where he doesn't have control that something is automatic.

Now let's put another black sheet up there on the out — or — of the wall.

And for instance, pc this morning did a couple of shivers, and — threw it a little bit to make her make a machine which would knock her out of control. Well, of course that's fun too. So somewhere back on the track they have a machine that knocks somebody out of control. That's the basic machine. But later on, a pc — earlier lives and that sort of thing — starts getting hit by freight engines and running through The Perils of Pauline in general, and this earlier machinery gets a lot of facsimiles piled up on it. And these are all barriers.

Now let's unmock the wall in some small portion — just unmock it so there's a hole in the wall, and let that stuff come through.

Now, you understand that running a facsimile is validation of a barrier. People start validating the barrier called the facsimile to a point where that energy becomes, if anything, more real than mest energy. And that's why after, at the most, a few hundred hours of auditing, Dianetic processing starts to cave in. You see why that is? It's very simple. It's just that you validate the barrier of the engram.

And let's get another portion of the wall unmocked, and let it come through there too.

If you validate barriers which contain unconsciousness, only — you can only do this for a few hundred hours and then all of a sudden this starts to become a new reality. Because you've set up an auditing machine which is — has as its prime purpose the correction of barriers. And the correction of barriers, of course, can only take place when you say, "I've got barriers." And this can only take place when you say, "I have no responsibility for the barriers," which is to say, "I didn't make them."

And another small portion of the wall, unmock that and let it come through.

When you take complete full responsibility, it is the willingness to mock or unmock barriers at will. Any barrier, no matter what it is.

Now let it come through while you insist that it doesn't.

Now, people go around all the time with mental blocks. They can't think of this, they can't think of that, they can't remember this and they can't do this. And they wouldn't dare get on a stage and do something because — and et cetera, et cetera, et cetera, et cetera.

Now pull the rest of the black sheet through into this room.

All politeness, manners, social culture, is based upon validating series of invisible blocks. So these invisible barriers — these blocks, barriers, same thing — these invisible barriers themselves becoming validated, get more and more real, more and more real, and start to supplant the reality of the situation.

Another bubble, and put it on yourself — very carefully, so it'll persist.

You get somebody being very polite while the house is burning down. You see, he's rushed in to pick up the baby, and he brushed by somebody suddenly on the stairs and knocked them a little bit, you see. And he stops to apologize and excuse himself before he goes on and rescues the baby! Oh yes, that's more important than rescuing the baby! And so things go out of balance.

Now get somebody else mocking up a big black ball with plenty of effort in it, and dropping it on you.

And by the way, as I talk about this sort of thing, I'm kidding it merely because it doesn't deserve anything more than a little smile or a joke or a laugh. But I'm not trying to tell you that all this is real bad. As a matter of fact, it's a wonderful way to get randomity. It's real good. But you carry it too far and then say, "I've forgotten how I'm doing it," and then you've got other people around with whom you're in constant communication who think it's just wonderful that you started doing that out, that way, because he knows the only chains you can put on yourself you put there yourself. All I'm trying to do is tell you: "Now, look, if you throw away a few hundred pounds of these chains, why, you'll be lighter." That's all. It's a supersimplicity.

Another big black ball with plenty of effort in it, and squish it down over you. And help it cave you in.

Now, a failure to exteriorize is a validation of a barrier called a body. You know, you've said, "It's there, it's there, it's there." After a person passes a certain point in this, all of a sudden it's not there anymore, see? The — that's automaticity for you. As soon as you've completely decided, and as soon as you're completely assured that the automaticity which you've set up is itself utterly dependable, from that moment on it deteriorates in dependability. So you set this body up and you get it beautifully trained and it's just like getting all dressed — training is something like getting all dressed for the show, with no show. You get to a point of where it's all automatic, and after that you don't put on a performance. That's quite a button, by the way — quite a button to run.

Another big black ball with plenty of effort in it. Have that dropped over you by somebody else. And let them cave it in.

As a little kid you were always doing this. You'd say, "Well, gee, I could be Buck Rogers dead easy if I just had a space helmet and a space gun and . . ." You needed the equipment. In other words, "havingness before movingness." That's just reversing it. You've got to have movingness and out of movingness comes havingness. And if you haven't got enough sense . . .

And get this stuff now being very gluey. Now take two — a piece of it, like taffy, and pull it like taffy.

Alexander had enough sense. One part of his campaigns way back there in the fourth century before Christ — he made his troops burn their baggage. And then he didn't have much sense after that, and he forgot to. And he got less and less motion. Believe me, he got less and less motion till they finally all said, "We want to go home." And they went home. And there went the end of the world conquest. Why? Well, when havingness has to come before doingness in each and every case, you get less and less havingness, really. Really. Because what comes before havingness is doingness. The postulate of motion exists before the particle is moving.

Plop the two ends together and pull it again like taffy. Make sure it stays black and make sure it persists. All right.

And so, you've gotten all dressed up with a body and you have a recognized identity, and everything is swell, but no play! This is silly, see?

And when you got that real good, (if you have to, make some more of it) drop it over somebody else — very carefully, so that it persists.

And now if a fellow's buried this fact away from himself, he's saying, "I'm having no fun." Of course he's having no fun, because he forgot what show he was supposed to be in! Very simple. He finds himself going to the office every morning and sitting down at the office, or going through the same motions every day. And because he no longer — he found it was — well, it was dull to just flip from place to place and be in this place and be in that place and look at this and look at that. He finally conceived it was dull or he let himself be talked into the fact that he conceived it was dull or something of the sort. And as he did this, he said, "Now, the best thing to do is give myself some limitation of motion. And the best way to limit motion is to be carried various places by something which is itself destructible."

Now find some somebody else and drop it over another one so that it persists. All right.

Now, he forgets this and he starts walking up and down the street with a body. And you see, he takes the body here and he takes the body there, and then after a while the body's taking him there, and the body's taking him elsewhere. And you ask him to be three feet back of it, and he sits there waiting for the body to move him out of the back of his head. You actually can exteriorize somebody once in a while by saying, "All right, now have the body put you out back of your head."

Now just mock up, all the way around this room — have somebody else mock up all the way around this room, a big black sheet which completely encompasses the outside of the room; have them put enough effort in it to make it persist.

I was exteriorizing a case like this not too long ago .. . (You mind if I tell this?) And — exteriorizing a case not too long ago, and was getting along fine and used that technique: "Now have the body put you behind the head. Now put you back in your head." "Now put you behind your head," and so forth. A lot of effort on this case.

Now mock up a big black envelope and drop Earth into it. And pull the strings tight. Fix it up so it persists.

And all of a sudden, he said to me, he says, "My body isn't doing it!" See, he was real, real determined about this. And the determination, it was a great certainty. No, his body wasn't doing it. And after that, why, with a little more work with effort and so forth, why, he exteriorized.

Now another big black envelope. And you hold it open while somebody else drops Earth into it. Pull the strings together.

But after — I shouldn't tell this! This is the darnedest thing that ever happened. After he was well exteriorized and so forth, why, he was sitting back of his head very nicely, and he was fine. He reached up like this with his hand and all of a sudden goes, crunch! He tried to catch himself with his own hand, and he saw his hand closing on him, as a thetan! (audience laughter)

Now get a big black envelope with plenty of silence in it, and slide it over this building. And have somebody else nail it in place.

Now, that gives you some idea about the validation of the body to a point where the piece of machinery, you see — it's supposed to work on an automatic basis and it goes on a different circuit. But that is only a very humorous part of the same thing.

And have somebody else come along and drop another envelope over the top of your envelope for somebody else — as though you weren't there at all. All right.

This happens quite ordinarily in Theta Clearing. The body has done so much for somebody, and it is so much a piece of automaticity, that he has this problem of, it must move him out. And then when it can no longer do anything for him, then the auditor somehow or other must move him out.

Now let's mock up a tree out of this blackness.

There isn't any reason why he really just can't be out, beyond this: he's set up this machinery. Well, it's set up to run that way, and so it's got to be undone the same way it's done. You undo magic by running, vaguely — but not in a time sense — but you've got to run somewhere close to a parallel of how it was done. And you just undo it, just backwards. So now he's got to have somebody else move him around or something else move him around, which is characteristic of an automatic society. He has an auditor, and the auditor's moving him around. Because when a fellow sets himself up as an auditing machine, that is really something.

Mock up, now, a signboard — completely black.

And if you want to get some line charges out of some of these people present, just have them run, on the second step, "auditing machines." And if somebody's been self-auditing a lot, have him run "a self-auditing machine." Believe me, he's got one — it's his body. And you wonder why he doesn't get out of it. Well, he's automatically auditing himself.

Now mock up the moon as black, and keep dropping blackness on it until you really get it black.

Well now, here's this darn machine that moves him into various places. He wants to be told to go. So he, long ago, has set up a machine which will send him to places where he thinks of. You know? He thinks of Paris, and the machine sends him to Paris. In other words, he sets up a relay that puts him in Paris when he thinks of Paris. Because he has the idea of having to be moved. There's no reason why he can't just say, "Paris." He knows if he wants to be in Paris, and he's in Paris. That's all there is to that. So you just clip out the machine. Otherwise it'll continue to baffle you on Step I — "Where do you think you're not?" You get that now?

Get somebody else giving you some assistance in putting some more blackness on the moon.

"Where do you think you're not?"

And have somebody else cover the sun so it's entirely black. And have them say they're doing it for somebody else. Okay.

And the fellow says, "Well let's see, Paris? Yes."

Now get two people, entirely black, with some effort in them, agreeing with each other that it must be all black.

Well, this starts to get very mysterious to him, too. See, it gets peculiar to him after a while. He doesn't realize the machine's in action.

And get two of you, entirely black, agreeing with two other people, entirely black, that it must be all black. Get a definite effort to make that blackness persist. All right.

Now, you're going to tell some preclear to unmock something and it'll promptly disappear. And nobody will be more surprised than the preclear. The thought to make something disappear, on his part, when given to him by the auditor and translated into his energy, triggers his machine and away it goes!

Throw away any mock-ups and blow up anything you've got there in the matter of residue.

Now, one of the reasons a person wants to be so darn secret about his machinery and his equipment and what he's really doing, and why he's hiding even from himself and from a body and from everything else, is because you could actually walk around and trigger people's automaticities.

How many people are fouled up like fire drill right this minute?

And you wanted to look hard enough and search hard enough and tune your wave bands up delicately enough, and if you were good enough, you'd simply be able to trigger their automaticities. They run like a bunch of puppets on a string when you do this. You can walk down the street (pardon me, walk down the street — you sail down the street and — just above people's heads or something like that) and every once in a while shift your beam around till you find it, bong, you see? And set somebody's automaticity up that tips their hat. And they, right out in the empty air, will tip their hat. Most surprised preclear ...

Male voice: The sun won't obey.

When I was first researching this — I should give you a little research case that happened on that. I found out that they were using ridges — instead of moving their arms, people were using ridges to move their arms. People have two or three different kinds of systems to handle the body. And one of these cases of handling ridges, I told this person to simply put a beam — they were outside and in front of themselves, so I said well now ... That's, by the way, a difficult position to get most preclears in. When they're real good off, why, they go into it easily, but a lot of them have the Assumption in restimulation. They've got an old theta body right in front of their face and it has a vacuum in it. And other people occupy this space all the time out in front of you, you see, so you begin to think of it as other people's space.

Huh?

Well, anyway, this girl beamed this thing on her shoulder and almost dislocated her right arm. "Well," I said, "with a little more caution, put some energy into the little ridge which is on the left shoulder." And she put some energy into it and the arm flew up again. So I said, "Now selectively start beaming these various ridges on these arms." And, of course, the motion was very random and very hectic for a short time, but she was able to sort out the exact ridges which she energized in order to lift teacups, in order to do this, in order to do that.

Male voice: The sun comes through.

And this preclear got more fascinated — they practically could see them out in front of their body, you know, sitting there saying, "Gee, that's interesting," and punching another ridge. "Gee, that's interesting," and punching another ridge and seeing what happened to the arm, see? Examining their own anatomy — just as though they hadn't set it up.

Sun keeps coming through?

Of course, after she'd done this for a little while and got back into her body again, she fully expected, having blown up a lot of these ridges, that the body couldn't do this. So she had to concentrate, for a very short time, in order to lift a teacup — a split second.

Male voice: Uh-huh.

It's very funny. We found out afterwards this ridge was so darn prominent and so on, that in washing dishes she very often broke cups. Fascinating, wasn't this? She very often broke cups. She had a ridge that lifted a teacup delicately and gently while she conversed elsewise. Blew it up, and she stopped breaking teacups. Okay.

And how many people feel just completely nyaaaarrhh? Huh? Everybody? (audience laughter)

The gain on this is apparently a negative gain, meaning you have less, but actually have more. So these two systems interlock.

Male voice: No worse than I felt before.

And I told you this morning how to run out a machine. One of the first things you have to do is find out what kind of a machine are you looking at. And you tell the person to "Be here" and "Be there" and you all of a sudden find that he's going automatically or that he's just fixed — he's going noplace. He can't get out of his head. Well, that's "attention too dispersed, attention too fixed." It's being done on an automatic principle — what is he doing?

No worse, huh? What happened as you did that? Did you get any of the blacknesses?

You ask him to put his attention on space and it collapses on the object in the center of the space. Or his attention on the space and it collapses immediately in front of the object, see? What's he doing? Or you ask him to put his attention on the space on either side of an object and all of a sudden the object disappears. What are you basically dealing with, with those three tests?

Male voice: Oh, yeah.

Now, what are the tests? The test, very simple, is "Now put your attention on the object. Okay. Now put your attention on the spaces on either side of the object. Now put some emotion in those two spaces on either side of the object." That really puts his attention on it.

Did you get them outside the room?

And he says, "I don't know, every time I try to do that the object becomes brighter," or "the object splits in half," or "the object gets smaller," or "my attention seems to snap in just beyond the object."

Male voice: Very strong sensation of the — all these manipulations.

This is merely a symptom of how much space he's able to spread his attention over. That's all it's a symptom of. That means he's gotten barriers to the point where he hasn't anything else but barriers. He hasn't got any space between barriers anymore. He's got lots of barriers and nothing between the barriers.

Mm-hm.

Now, you want to give him something between the barriers. The best way to do that is to make it possible for him to handle barriers. All right. So we put his attention on either side of it, find out what he does. And you will just have to guess what the machine is, that's all. Don't ask him. He won't look at it. That's the one thing he's trained not to do.

Male voice: Felt like hell. Much worse actually during the period . . .

He — always with a great surprise — great surprise, his attention snaps together. Just — you see, this is a very simple thing you're doing here. His attention snaps together on the far side of the object, and you say, "Well, now let's run a machine. Let's waste a machine that concentrates for you." And he does that very happily.

Well, that's all right.

But he's very puzzled as to how you possibly guessed this. Concentrates, be damned. You're just looking at a superfixed attention, which is so superfixed it doesn't even hit the object, it sort of squeezes the object in and locks on the other side of it, or locks on the near side of it. "Now let's get a machine . . ."

Male voice:. . . of the run than I feel now.

Now, this other fellow: you say, "Look at the object." He doesn't. Every time he looks at the object his attention flies out on either side of it. What kind of a machine is that? You tell me.

Yeah. Who feels real bad on it? Anybody feel real bad on it? No? All right.

Male voice: No-concentration machine.

Now let's put out a couple of huge black beams to reach present time with. (audience laughter)

That's right. A machine which keeps him from concentrating.

Now let's withdraw the black beams from present time.

But that's rather condemnatory. "A machine which makes it possible for you not to concentrate" is the polite way to, you know, tell the preclear. And that's it. "A machine that makes it possible for you not to concentrate all the time." Because that's his automaticity. That's real cute, see.

Now let's get present time putting a couple of huge black beams to locate you.

He could run this machine over here, and he doesn't have to look at it. So he gets the machine set up that fixes it up so that some attention will go on to this machine; he doesn't have to look at it and he's got it all rigged up so he doesn't have to look at anything. Whoo! All of a sudden, why, that's what happens. But he tells you, "All right."

Get it withdrawing them.

You say, "Put your attention on either — on the space on either side of the object." What happens? The object disappears. What's he got? What's he got? Puts his attention on either side of the object and the object disappears. What's he got?

Get you putting out huge black cables in all directions to locate present time.

Male voice: I'd say he's got a machine that keeps him from putting his attention on the object.

And present time putting out huge black cables to locate you. Okay.

Well, that's basically true. But what would you say he had?

Now let's get a huge spider web that you're putting out to locate present time — really black and nyaaah — to locate present time with.

Second male voice: A machine to make things disappear.

And have present time send out a duplicate spider web over the top of this one, to locate you, so that you got two spider webs.

That's right. See, it's simpler than you've said. Much simpler. It's something that unmocks things.

Now let's get present time dropping black football helmets on you.

And a person like this feels that he has to look solidly and hard at mest and keep his attention on it very carefully, or it'll disappear. And he's sort of got the feeling like he's got one finger in one corner of the room and one finger in the other corner of the room, and if he suddenly released his fingers the whole mest universe would collapse. It won't.

And get you dropping black football helmets on everybody in the room.

So he's got this, and mest disappears when he takes his attention off of it. And he wears glasses in order to see MEST or he has corneas so he won't have to see mest. He's trying to handle a machine that is handling something, by handling it with another machine. He's got a machine starting something and another machine stopping something. He always has this. Anything you can say about any machinery, he's always got a machine doing the opposite someplace. It'll show up sooner or later.

Now put black jerseys on them.

So, all right. We have any one of these machines. Now, we tell him to put his attention on the object and he says, "Yes. Yeah, all right."

Paint their faces black.

"Well, does your attention snap in when you put it on either side of the object? Does it snap in on the object?"

Put black pants and skirts on them.

"No."

Now take some black cones and drop one over each person present. Now, you've done that?

"Well, put it on the object. Does it slide out any?"

Now put some effort in the cones — squish!

"No."

After you've done that, claim somebody else did it.

"Does it converge in front of it?"

Okay, throw all that away.

"No. What are you trying to do?" he'll say.

And let's reach for present time with a couple of black beams. Good, persistent beams that'll be here for the next eighteen thousand years.

"Converge behind you?"

And get present time reaching for you with some black beams that'll be here for ninety-eight thousand years.

"No, it's just the object," so forth.

Get a truck to carry them around with. Okay.

What's the matter with him?

Now turn the walls of this room black.

Male voice: He's got a mock-up machine.

And then look at them as they are.

No. He's just real satisfied with that mest universe machine he's got. He wouldn't disturb it for worlds. You know? He's all very complacent about the whole thing. Of course he doesn't have much motion or action, see? In other words, he isn't having any trouble with attention — he thinks. All he can see is the mest universe. Remember that.

Did they un-black?

Now, don't come around saying to somebody after he gets out of his body that it's dull. Of course it's dull. The only set of barriers he has are mest universe barriers. He can't interpose or eradicate barriers at will. And if he can't do that, he can't pick up any randomity anyplace. You see that? He's satisfied with a barrier. In other words, he's got an automaticity in perfect balance. But yet, that would be a real good Homo sap. Kind of bored, but real good Homo sap. And that would be so high above normal or above average in the society that you could hardly reach it with a rocket plane.

Male voice: Little bit.

Male voice: What had the preclear ought to see?

Make them black again. Now insist they don't turn back the way they are.

Hm? What's this?

Now make them real black and insist they're lost. A beautiful sadness of the drama of the black barrier that's lost.

Male voice: What had the preclear ought to see? What's the right one you ask him to put his attention on then?

Now throw the blackness away.

There is no right one. Of course.

Throw away all the blackness you've got. And throw it all away.

Second male voice: It'd have to be right.

Now make another little cube, just in case you need it.

Male voice: See an improvement.

Throw that away too.

The next thing you would ask that fellow is say, "All right, now as you sit there, see if you can't — there's a bolt there on the side of that machine — now see if you can see the machine without the bolt being there." Gradient scale, see?

Another little cube, just in case. An expandable type of blackness this time.

He'll say, "Yep."

Throw that away.

"All right. Now see if you can see the machine without the upper part of it there — being there. Just make it go thin. See if you can get that a little bit thin — the upper part of the thing. Now let's see if you can make it thicker. Now make it thinner. Now make it thicker. Now make it thinner. Now make it thicker. Thinner. Thicker. Thinner. Thicker."

Now make the little tiny machine there, the little tiny one that'll make blackness any time you have to get hidden, when you don't know you have to get hidden.

And all of a sudden, pang! he has control of the thing. He can say, "It isn't there," and it's not there. And he can say, "It's there" and it's there.

Be very careful of the little machine. Put it in a golden casket now.

Soon as he's controlled this type of an operation, he can mock and unmock a mest universe barrier at will, at least for himself. And you do this with walls, and you do this with people, and you do this with other things, and then you can do it with his own body.

Throw it away. You can save the casket. All right.

Or you can start out with his own body first — "Now get your nose not being there. Unmock your own nose." See? You can unmock the whole body and just leave the preclear sitting there two feet above the chair. There's the essence of the situation. Because he's depending on this to locate him so thoroughly, that his whole track is jammed. You see how that is? This person's very satisfied with this — that's just fine — that tells him where he is.

Get another little cube of blackness that'll produce black-producing machines.

He shouldn't need this to tell him anything about where he is. He should be able to see it or unsee it at will. Right?

Now keep that. Save it.

Male voice: What's the scoop when your auditor asks you to unmock it and nothing happens, and a split second later you forget that he asked you, and then it unmocks?

And get another little cube of blackness with which to work. And save that one too.

I would say this was just difficulty in shifting attention. I — tell you what I did to somebody that had this "lag" happening, very short time ago — this little lag, little lag. He kept remarking on these little lags. "Now get a machine that checks it over and makes sure it's all safe before you do it." Does that hit you?

And get another cube of blackness. Try this one on just to make sure it will occlude you. And having tested it, save it carefully.

Male voice: Yeah.

And make another cube of blackness. And save that.

Okay. That's an automatic checking machine — little time lag in it.

And another cube of blackness. And save that.

Well, now there's a tremendous variety out of these simplicities. But it's just — you just hit it on the button. Or hit it way off the button — waste any kind of a machine.

Now throw the last one away.

Now, what ways do you use in doing this? First, is you can make the preclear do it and then not do it, and do it and not do it, until he's thoroughly doing this at will. Got that? That's the first step, always. In other words, you just make him do it instead of the machine do it. The machine will do this, sooner or later.

Now throw them all away.

By the way, he's got a machine that sets this up, this tells you that sooner or later that damn machine is going to stop setting it up for him. You get that? He's very satisfied with the way that sits there. Well, that's just fine. What childish dependency. Sooner or later, why, he's going to start looking around, when he gets to be a few years older or something like that, and he's going to say, "What wall?" He doesn't garnish this in any way — he doesn't — it's just there. This is the practical, matter-of-fact person. And as he goes along in life, the whole universe starts to slide out from underneath him because he's just stopped leaning on it, he's just lying down completely. It tells him what to eat and what to wear and where to go and what to do. It evaluates for him.

Now throw away any remaining blackness that you have around.

Now, evaluation is this — evaluation, the definition of evaluation, is changing position in space. That's basically evaluation, see? If something can change a person's position in space, then, that person — depends on the intention — but that person, of course, can then evaluate for the individual.

And you've just about got it.

You don't get this very much — an auditor — there's Change of Space Processing. An auditor says, "Be here, be there, be someplace else," and so forth. For the first few minutes after the session, if the preclear's been very concentrated on the session, the auditor's word has carried a lot of weight with him. It fades right away because, of course, the intention behind it is simply to return self-determinism, not to interrupt it. So you get — a guy will get another postulate in the road of the natural consequence of this. Well, why do you think Mama evaluates for the body? The body was carried around in a womb all over the place by Mama, then packed all over the place as an infant by Mama, and then Mama finally says, "Well, I remember when you were a little girl, such and such happened and so-and-so happened," (and it didn't happen at all, by the way) "and you were so-and-so, and I was so-and-so and you said so-and-so, and you used to have curls until you were nine."

Okay? How you feel?

And the fellow says, "Uh-huh. Uh-huh. Yes, Mama. Yes, Mama. Yes, Mama."

Male voice: Oh, I doped off several times.

His memory is a thousand times better than his mother. You process some preclear, you run through birth, you find out there was nitrous oxide used in birth and so forth. Preclear goes home. Mama says, "Why, there wasn't any anesthetic used at all in birth. I just lay there and screamed, and they didn't pay any attention to me."

Did you get any somatics?

And the preclear comes back to you and says, "Well, you couldn't have run birth. It must have been a delusion as far as I was concerned, you see, because actually, I..."

Male voice: Well, I — well, I've been getting them all morning. I was feeling them.

And you say, "Did you talk to your mother about this?"

Yeah. Did you get any of those blacknesses?

He says, "Yes."

Male voice: Well, it's not completely black, it's more of a gray. And I...

Well, you're not in a position to evaluate for him the way Mama can. Because Mama's carried him around all over the shop. You see that?

Did you get anything black?

This stuff is saying, "Here you are, there you are, there you're someplace else, now you're someplace else, now you're someplace else, now you're someplace else," all the time, see — 100 percent evaluation! Boy, after a while this stuff becomes thick, heavy. You don't have to make any effort at all to keep from seeing through it. And as a matter of fact, once in a while you'll be a little tired . . .

Male voice: Yeah. I'm getting them, mocking them up, yeah.

The way it ought to be is once in a while you're a little tired, something like that, you have trouble watching a television set. Because you're thoughtless about the whole thing — in other words, you don't have any real intention — just go over and sit on the television stage and watch the actual play rather than look at it coming through the set. Just rack around until you've got the actual television stage, look at it. It's in color, no flicker, no interference. Much better.

You're getting black things, mocking them up. Okay. Did you get any outside the walls?

And then you go a further stage than that. If you sit there, and you're bound and determined to sit there in your own home and watch a television set, which is the purpose that you're doing, why, you're liable to — if you're a little bit tired and aren't watching quite what you're doing — simply actually watch the television, not the screen. In other words, look at the cathode ray emanation point a foot or two back of the front screen. And you're — you watch this terrifically concentrated tiny scanner. There's a picture back there. I mean, it looks just as good as any other place.

Male voice: Putting them on the out — yeah, I got some. I got some blackness there.

And by the way, you have other troubles with television: if you get too concentrated on the screen itself, you'll start wiping it, if you've got any power. I mean, that is MESTwise.

Uh-huh. With some effort in it.

I mean, you can set up enough vibration in the thing to upset it. Or you can turn the screen on and off, after it's been turned off. That is to say, you can make it glow. Get it in a dark room — you can make it glow and then go faint and glow and go faint — actually glow and go faint. Somebody else comes along, you know, and sees the thing and there's the television set lighting up and going dark again. This is very upsetting to people. Well, it's not much of a trick if you've watched a lot of television, because you're fixed on that wavelength. Easy, huh?

Male voice: Plus I had a purple light turn on again for a while.

But as long as this stuff is all there is evaluating for you, you of course get completely mest values across the boards. Then you've limited your ability to this limit: that anything you use or believe in has to be constructed by the same methodology that constructed this. And that, in essence, is what's wrong with the engineer. See that?

You did, huh? The Martian excursion number! (audience laughter)

There's no reason why, for instance, you can't mock up a motorcycle and go down the road at 185 miles an hour on a motorcycle that runs far better than any motorcycle you ever ran into that was built out of this stuff. Might run a lot better. You could probably make out a noisier one too, oddly enough.

I'm not evaluating for you. Just because I tell you that's the gate to Mars is no reason why it is the gate to Mars. It's — the truth of the matter is, it probably isn't the gate to Mars. It's probably the other gate to Mars. (audience laughter)

Male voice: Wouldn't break any rods either.

By the way, another thing that is far more deadly than blackness — ask somebody to do it — is just what you're talking about: Have them mock up everything in ultraviolet light. They don't like this one because a thetan becomes visible with it.

That's right. You could probably make a noisier one. Oddly enough you could probably make a far noisier one than people would tolerate in your neighborhood. Of course that's not in the bargain, not in the contract here — I'm going to teach you all how to be noisy ghosts and clank chains. But we can. That's a real trick — you just mock up the sound waves.

Second male voice: He becomes invisible?

How do sound waves mock up? Well, you have to know what they look like. Well, how do you find out what they look like? Well, you look at them, of course.

He becomes visible with it. At least he thinks he does at this time. Okay.

Now, the motto — the motto in this First Unit was: "Don't think about it, look at it." Second Unit too. "Look, don't think. Look."

Did this leave anybody bogged down utterly? Or with terrific somatics? Hm? Well. . .

You find out every time you make a mistake around, it will be because you didn't look. Every time you've made a mistake with machinery, equipment — busted something, something of the sort, it's because you didn't look at it. You should have looked at it. You know, just get back and say, "I am now looking at it." And then let a machine look at it for you, such as ... (audience laughter)

Third male voice: Licorice all over the walls.

The body, for instance, is an automatic seeing eye dog. And you know how you actually see with a body? You drop a little gold plate over the front of each eye. And you know how you hear with it? You drop a little hearing point over each eardrum. Real cute. And you know how you feel with it? You drop a feeling point over each fingertip and along each nerve course. Then you forget that you dropped them there, and your eyesight deteriorates, and you try to beat up the mest eyes in order to see better. And what's pushed them in is the anchor points which you've got tied in there too tight.

Hm?

Now, you say to somebody, "Why don't your eyes get better?" all the time. And the fellow goes on trying to adjust his body's eyes. And up to the time when you finally work him on a drill, and where you mock up a couple of eyes, couple of viewpoints, a little disk — or you mock up a couple of viewpoints, and send them here, and then mock up an optic nerve from the viewpoint to where he is and let him look into the end of the optic nerve, and he sees the viewpoint, he says, "What do you know!" And then have him put a couple out here on his nose or a couple on his ears and look with those, simultaneously, down an optic nerve and around the corner, so on, on the other side of a barrier. And he looks down these things and he looks through these and, gee-whiz, he's looking out of each ear, and he's seeing a lot better than he ever saw with mest eyes. Why, he gets sort of — "So what the devil am I doing!"

Third male voice: There's licorice all over the walls.

So at last he will take a look at what he's looking with, and it'll be a couple of these disks. Only they're all twisted around and all upset and all wedged and driven in, in some fashion or another, so that he doesn't see well with them anymore. Because he's not taking any responsibility for them anymore — he's letting them all run automatic.

Well, throw it away. Blow it all up. Blow it all up.

When perception is done automatically, it deteriorates. When perception has deteriorated, it's been done too long automatically. That isn't, though, letting the body see for you. The body never did see for you. It never will. It's just a system that is utilized, and you know where to place these anchor points because it's made out of mest. So you put your viewpoints on the front of the eyes and go on looking through them. That's funny, isn't it?

Make you feel better?

Once in a while somebody has — the body puts one on a knee or something of the sort. And a preclear will have an interesting time — he's running around the body looking it over, and all of a sudden he's looking at the room. He's found one of the GE's viewpoints. It's real cute. Real messed up when it comes to straightening out perception without hitting automaticity.

Male voice: Little bit better, yeah. Uh-huh.

Now, a process I want you to be — pay attention to, is you just diagnose what kind of a machine is interrupting beingness, see? Just interrupting this beingness.

What did that do to you?

What kind of a machine is it that keeps a person from turning on a sexual sensation in the wall? Simple? Now, you can remedy that simply by running a gradient scale and keying out the machine. You can run it by creating just — or just getting the preclear to do it, you know, gradient scale, until he can do it. Next, creating and destroying such a machine. Next, creating and destroying it in brackets. Next, and probably best for you, wasting, accepting, saving, desiring and being curious about, in brackets — bracket of five — such machines. Pang! Out they go. Boy, they're the easiest destroyed things you ever saw in your life.

Fourth male voice: Oh, it didn't hurt me any.

Now, wiping out occlusion without treating the machines that make occlusion, makes a rough go for a preclear. I showed you that this morning, morning processing. Put the blackness on things. That's making the preclear do it.

It didn't hurt you. Well. . .

We're bucking right straight into the teeth of all automaticity with this process of putting emotion in mest. Right into the teeth of it.

Fourth male voice: No. I got the effort real good.

But it's time now that you put it into mest in brackets. Put emotion and all the things I've given you into mest in brackets. And where somebody is clearly bogged, why, the group involved and so on, should simply get him to waste the proper kind of a machine to square it up. And let's take out these reluctant pieces of machinery, the reluctant dragons, and give them a yo-heave. Got it now?

Got the effort good.

I want you to do that the rest of this afternoon and this evening. Okay.

Fourth male voice: First rattle out of the box — effort to persist.

Mm-hm.

Fourth male voice: Before you even mentioned it — that's the effort. That was the effort.

That's right. It's the effort to persist. And many people are running on this effort. And some are running on the effort to persist — they're having to trust the effort to persist which they have made, see? And there's where you catch the lower rung of the case. But there's no sense in putting everybody through that wringer.

Fourth male voice: It was a desperate effort to persist at first. But it kind of smoothed out.

It smoothed out. Sure.

This is fascinating, in fact, but that of course — I didn't get into machinery this morning, but I talked a little bit about machinery yesterday, the day before. And it's a wonderful fact that this is just machine-made stuff. And I can tell you that bluntly, without you suddenly changing postulates on it, because that's what it is. You got a mock-up machine which makes black. That's all there is to it. And these people that have things "suddenly disappear on them" have got machines that unmock the universe.

There are two ways to handle machines. You waste them in brackets or you create or destroy them in brackets. You waste them, save them, accept them and desire them, be curious about them — in brackets. Now what's a bracket? We've heard a lot about this bracket. Let's make sure you know what a bracket is. A bracket is: person does it for himself, somebody else does it for himself or herself, another person does it for another person, and somebody else does it for the preclear, and the preclear does it for somebody else. And that is a bracket of five.

When we start dropping space around people, we do a bracket of six. And the additional bracket is somebody creating space for somebody else with somebody else in it, and somebody creating space for somebody else with the preclear in it. You can look that over as a pattern and you'll get the idea of what that is. That bracket is quite important to you at this time. And you can blast through without using brackets, but it's not very easy on your preclear. And very often a case just sort of hangs up because some part of the bracket hasn't been run on something.

Now, in view of the fact that I ran blackness on you in irregular brackets this morning, may possibly park somebody — that's why I was being careful at the end of the session, but it evidently hasn't. Okay. Because you see, you should run people making the walls of the room black for other people, and people making the walls of the room black for you, and you making the room — walls of the room black for others, and you making them black for yourself, and somebody else making them black for himself. See?

You can also hold corners of the room this way: the preclear holding them for himself, the preclear holding them for somebody else, somebody else holding them for himself, somebody else holding them for the preclear, somebody else holding the four or eight corners of the room for somebody else. And there you've got a bracket.

Female voice: I'm beginning to feel very funny at this point.

Funny?

Female voice: Yeah.

What's the matter?

Female voice: I don't know. I'm shaky all over.

Hm?

Female voice: Sort of shaky and faint all over.

Well, mock yourself up as shaky and faint. Again. Again.

Make sure each time that you make it persist. Again. Again.

Mock yourself up shaky and faint.

And now mock yourself up in the future, shaking yourself to death.

And again in the future, as having shaken yourself to death and being buried.

Got that? Come on, mock yourself up now in the future. Get yourself in the future, dying because of such shakiness and sickness.

Now mock yourself up in the immediate future now, as no more than walking down the steps than you pass out on the street. And then the people come and find you dead.

Make you feel better?

Female voice: It's a little more under control.

Good. Now mock yourself up as completely out of control.

Female voice: (laughing)

Just flying all over the place. Shaking, flying all over the room. Completely out of control.

Female voice: (laughing)

Somebody trying to control one of their own machines. It's always a silly picture. Machine is supposed to move, and they're trying to keep it from moving but it's their machine so they can't stop it.

All right. Mock yourself up out of control.

Mock yourself up going downstairs utterly out of control, flying off the walls and banging against the stairs.

Female voice: (laughing)

Got that? You feel better now?

Female voice: Mm-hm.

That — there are three basic rules on the resolution of automaticity. You just make the preclear do it all by himself, and — if you just make him do it instead of having it done for him — and he'll recover from that automaticity. That works in any universe. See, I mean, it works in the MEST universe, his own universe and other people's universe. But make him do it himself. Now that's the basic law: You make him do it, and he owns it.

Now, if you can't make him do it right away, you can make him change it or you can make him alter it, some slight fashion.

Now, another way to handle automaticity is to merely create and destroy the mechanism which is doing it. You mock up a mechanism which you say is doing it and then destroy it. Create it and destroy it. Now, you can do that on a gradient scale. You can mock up a little piece of the mechanism and you can destroy a little piece of the mechanism, see? Until you could mock up the whole mechanism, create and destroy it. That's very direct.

But don't omit this one, please. It's much more effective to waste, accept, save (it doesn't matter which way you run those two), desire, be curious about — in brackets — the machine.

Male voice: Anytime.

That's in anything. Anytime you want to run something that's going to make a case feel better quick: waste, save, accept, desire and be curious about — five of them — in a bracket of five, works much, much, much better in the usual run of preclears. You understand that? And they have to know they're really wasting it — that's the test.

My God, sometimes you'll get a communication lag that you'd think — require a time clock or something. You feel like setting the clock and coming back tomorrow and we will get it. But the pc really has trouble sometimes wasting something.

"All right, now, let's waste Mama." You just say to some preclear, grandly, "Let's waste Mama. Okay?" Bog!

You almost always enter that one on a basis of gradient scale. You waste on a gradient scale: "Let's waste Mama's shoe."

"Waste Mama's shoe. (sigh) Mama's shoe. No. I couldn't possibly . . ."

"Can you waste a footprint in the garbage dump where she walked five years ago?"

"Yeah. Yeah. Hrmph. She wouldn't have walked in a garbage dump. She's pure. She told me so all of her life. And I gave her so much trouble at birth. I tore her to pieces. Everybody said so. And that was why she was sick all the time. My, if I could only immolate myself upon that altar." (audience laughter)

Yes, Ed?

Male voice: Ron, when you say "extend cables to present time," I don't get that. I am present time. And that means that some source of present time's a thing somewhere I'm putting cables to. How am I mixed up in that?

Okay. Where is present time?

Male voice: It's what I am.

Okay. Where else is present time?

Male voice: Well, the other fellow's universe where he thinks he is, or feels he is, or is.

Mm. Nomenclature here. We're talking about — when we talk about present time and we just say present time, we mean mest universe instantaneous nowness.

Male voice: That's what I mean.

All right. . .

Male voice: You said put cables to it.

But that — you couldn't be present time. That stuff can be, though. You can be present time too, for a moment, if you want to be. But that's the stuff that regulates it. It's a coordinated motion that's going forward and backwards across the whole universe simultaneously. We'll go into that a little bit more.

When you say reach for present time, you might as well say reach for the corners of the room where they are this instant. Got it? So that puts you in contact with MEST.

Now, of course, the only criterion about time is the preclear. But you're asking him to reach for an arbitrary time. Present time is an arbitrary time. That's the agreed-upon time. And it's the instant — the same instant, across the whole universe. It isn't later at some part of the universe than another part just because the universe is in motion. That confusion gives people the idea of a communication lag. Okay?

What else do we find ourselves bogged into right this minute? Nothing very horribly serious? All right.

Now, I'll give you a little bit of the patter here of what we should be pattering about. All right, I'll just give you this as a whole, as a drill right now.

Let's put some thinkingness in the forward wall. Let's get the forward wall to think a thought. Any part of it.

Now let's get one of those chandeliers to think a thought.

Let's get the other one to think a contrary thought. (audience laughter) I didn't say an insulting thought! All right.

Now let's put some effort in the first chandelier up there. Put some effort in it.

Now let's put a little tiredness in the other chandelier. (Sometimes a little bit tricky because there's light emanating from them and people have the idea of light as a symbolical.) All right.

Let's put a little tiredness in the top upper corner of the door up here. Put a little tiredness there.

Now let's put some effort there anyway.

Male voice: (laughing)

How many people blew a lock on Mama? Okay.

Now let's put, into that door, some apathy.

Let's put a little grief into it now.

Male voice: (laughing)

Okay. Now, let's put some cowardice in it — timidness, anyway.

And now let's put a little bit of fear in it.

Male voice: (laughing)

Now let's make it be angry.

Let's put some resentment in it.

Male voice: (laughing)

You getting good this morning?

Male voice: (laughing)

Now let's put a little boredom in it. Put just a little tiny bit of boredom in it.

Now let's put a little bit of indifference in it.

Now let's put some desperate boredom in it.

Male voice: It is not, then, sleepy.

Just bored — just doesn't know what it's going to do! All right.

Now let's put some conservatism in it — some impartiality, some doubt.

Now let's put a little enthusiasm in it. (audience laughter) Okay.

Now let's put a little bit of ecstasy in it.

Now some serenity. (audience laughter)

And now put a little pain in it. (audience laughter)

Some pain in it there real good? (audience laughter)

Male voice: Yeah!

All right. Now let's put some frigidity in it. (audience laughter) Sexual frigidity. (audience laughter)

Now let's put some sexual conservatism in it. (audience laughter)

Now let's put some sexual longing in it. (audience laughter)

Now let's put some sexual anticipation in it. (audience laughter)

And some sexual happiness.

Now let's put some sexual sensation in it — raw! (audience laughter)

Now let's make the door happy.

Now let's mock up a broom. Now, you see, this is one's own universe we'll go into now. Mock up a broom, or anything that you say is a broom, or any concept of a broom. Have it ridicule you.

Now mock up a car and have it ridicule you.

Now get the idea of somebody else's mock-up of a broom — other person's universe — somebody else's mock-up of a broom and have it ridiculing you.

Throw it away.

And get the front part of the room ridiculing you — mest universe.

Get it disgusted with you.

Have it be pleased with you.

Now have your nose ridicule you.

The tip of your nose ridicule you.

Put some frigidity into the tip of your nose. All right.

Let's put some frigidity into the tip of somebody else's nose. Okay.

Now let's put some darkness into the first chandelier. I don't care what part of it. Put some darkness into it.

I'll give you a real hot, good game. There's a light — now put some darkness into it.

Male voice: That's effort.

That's an effort, isn't it? Any one little tiny part of it. I don't care what part of it you put some darkness in. I didn't say make the whole thing dark. All right.

Now have it think a thought that relieves it of the darkness. Feel its relief.

Well, this comes very close to being your drill. Now, you see the variations on this.

Now, the ones I didn't point up and run a full scale on is on mock-ups. And let me tell you where that goes. That can go as far as and as rough as a mock-up of Mama — we shouldn't attempt this with anything like a group at this time — but a mock-up of Mama, and you simply have the preclear change emotions in it, clear all up and down the emotional band, including the second dynamic, including ridicule, love, affection, hate, so on. And the two things you start beating to death are love and hate — in terms of people in your own universe. See that? Mock-ups of brooms, mock-ups of dustpans, of stoves, of cats, of dogs. Anything — even a thought of a mock-up on the thing, you see? And you just change the emotions in the mock-up of the thing which you have created.

A good drill on this is just to put this new list I've given you on all the emotions — ridicule, love, hate, sexual sensation and so forth — and just do some Self Analysis and just put those emotions into the mock-ups which you get. Just in routine. See that? See? Oh, yeah?

Male voice: Sexual sensation — / cant get no concept on the thing.

Well! (audience laughter) Can you get the idea of frigidity?

Male voice: Yeah. And sexual longing and sexual disgust and . . .

All right. Well, you just work those enough then and all of a sudden this thing will turn on with a roar. That's right. Okay?

Now, you could, as I said, just do some Self Analysis in — with this list, and put the emotion, in turn, in each one of those. However, that's rather — a little bit in advance of some of the people present. We're right back into the worries about making up mock-ups and so forth.

So, to some slight degree, we'd be neglecting one's own and other people's universes. And we probably won't unneglect them until we have done something of Step II, which is get rid of these damn machines. And we're not ready to do that step until you've got this mest around you here in remarkable condition.

So the only new thing or variation which I would really ask you to do today — now, I've just given you a pattern on the whole process, you see, but as of — what I'm asking you to do today here is a little bit different: put it into mest, all these things, and blackness and effort and so forth. Put it into mest, in a bracket — bracket of five. You putting it into MEST, somebody else putting it into mest, somebody putting it into mest for you, you putting it in mest for somebody else, other people putting it into MEST for other people.

Now, you got that routine? Boy, it's sure awful self-evident, that routine there.

Male voice: For the moment being — neglecting own universe and the other fellow's universe.

Yeah. Well, I say. You — because we'll run — rattle into and bog down on: "Can we get some mock-ups and can't we get some mock-ups?" And the only reason you can't get mock-ups ... I beat my brains out wondering — trying to why — find out why people couldn't get mock-ups. And honest, I almost am at the point of strangling somebody when I find out all of a sudden how easy it is to undo this one. The only thing that's wrong with it is we've worried about it so hard right now, see? You got machines that wipe them out faster than you can make them, of course. Because when you put up a mock-up, you'd be located! And if you got located you might go to jail. And there's somebody still looking for you in the ninth ward of Arcturus. I mean, that's what it amounts to. Grrrrrr! (audience laughter)

Another thing is, is we've got to solve, we've got to solve — I repeat this — before we do any further auditing: the primary reason for a tacit consent of nonadvancement of cases amongst the people of their own class. You see how you solve that? People are afraid of emotion and they're afraid to look. And if they're afraid of emotion and if they're afraid to look, then they're scared of turning on any real hot run in somebody else, and they're afraid of emoting themselves. So they haven't sufficient volatility to respond to very much processing. Well, we've got the technique which unlocks this. Believe me, this is the technique which unlocks it. So let's unlock it!

If I were auditing you personally, vis-a-vis, you on the couch or in a chair, and me sitting at my desk and so forth, and we were going at it by the hour, this is exactly what we would be doing. Wouldn't be doing anything else. It'd probably have a lot of frills on it and it'd probably surprise you to death where it went occasionally, but at the same time it would just be the deadly proposition of making awfully sure that you could enter some gradient scale which would put blackness and lightness and — we'll go into that this afternoon, shouldn't try it this morning — colors. Miscolor things. Different color things. And a blackness-lightness, effort-thought, on all the emotional band, into any and every kind of a mest object, in terms of brackets, so that you're willing to let somebody else put it into mest too. See? Get that?

And you'll find out that a person's been getting along horribly and all of a sudden he's perfectly willing to let somebody else put it in, but he won't. And you'll find somebody else is in — gee, he was just getting along fine as long as he was putting it in, but all of a sudden other people putting it in for other people, well, nowrrrh! Or other people put it in for him — he can do it himself! I've had people get real mad. You just run them on a bracket, see? Not particularly surprising.

So I'll be real mad at you if you don't get real good at this. And if you don't get real good at this, if I get real mad at you, it'll create a terrible effect upon you. You realize this? (audience laughter) You understand then? You're doing this in self-defense, you realize this? Oh, dear. Gee, I haven't gotten mad at a preclear since 1950 — that is, not seriously. (audience laughter)

Okay. In the next two minutes, why don't you all step — the Second Unit — step in the other room and let me snap a wide-angle photograph of you.