You understand then, that consecutive shifts of anchor points make consecutive spaces. Do you understand that? Consecutive shifts of anchor points would make consecutive spaces.

Here we have, then, our primary problem Here we have our primary problem with the - with the thetan. And the fellow starts thinking of himself as low-scale and so forth - he shouldn't have been there and he was there, and he tried to be someplace else and he couldn't be anyplace else, and he tried to be someplace else and he couldn't be anyplace else to a remarkable degree. And finally he says, "To hell with it! I'm not anyplace, anywhere and I don't ever want to be anyplace, anywhere and I know I'm not here and if I stay here it's dangerous." It doesn't matter where he goes, he gets this: "If I stay here, I'm dangerous. If I stay here, I'm dangerous to myself. If I stay here, the environment is dangerous to me; because if I stayed here, I might be fixed here, because - and if I got fixed here then I would be here forever and I don't dare be here forever because I'm not dangerous; I know I'm not dangerous; I can't affect everything, but everything can affect me." This is a kind of a squirrel cage that goes on in his head all the time. "I'm not here."

Now, please don't boggle over that one. You just gave me the answer. You said if you move these eight anchor points to eight new locations you'd have another space. So therefore if you moved one anchor point, you would have a different space. It wouldn't be an entirely different space, but it would be slightly different, right? And then if you moved another anchor point you'd have a slightly different space. And if you moved another anchor point you'd have another slightly different space. And if you moved another one you'd have a slightly different space again, and so we get logic.

He walks into a grocery store; there are all these things to eat. Eatingness reminds him of the fact that he shouldn't be in front of things which are eating him. But these things are eating. Well, he knows he can't eat, they're not for him; therefore, it's - the first thing that occurs to him, may be, "I'm not - I don't belong here. I'm not supposed to be here."

And all logic concerns itself with is a shift of anchor points in the creation of new spaces.

And anybody could come along - a little kid - a little kid being pushed around in one of those wagons could suddenly look at him very sternly and say - you know, those - the way they have the little kid seats on some of those baskets in the Safeways? A little kid just barely learning to talk can suddenly look at this fellow and say, "Get out of here; you don't belong here!" and he'd run. He would. He'd leave. At best he'd be very upset. He wouldn't run out because this would betray the fact that he really didn't belong here.

I don't say that profoundly or with a terrible snap or punch. It just happens to be true. One of the main reasons this material about space is true is because it has a workability. You can untangle riddles of existence, you can untangle logics and you can improve aesthetics by these drills.

He - "It all belongs to somebody else," too, comes into this. It's not his. He's not the sole proprietor. He thinks he has - and he gets the other combination as he comes up scale - he thinks he has to be the sole proprietor and the only way he could ever have anything is to be the sole proprietor.

Now, let's take a writer. We're going to make his stories better. He's been writing for the Saturday Evening Post and the American Mercury for a long time. And his stuff is getting paler and paler and paler. His word rate is more or less the same, so forth.

Matter of fact, "sole proprietor" is something that's dramatized immediately here in this United States the like of which I never heard of. Only the US - the US is self-conscious about being someplace else in the world.

What's happening to this man? He's sitting at the same desk using the same type of paper, sending mail to the same addresses and receiving back about the same amount in checks. And he's doing this consistently and continually.

Do you know that the entire remainder of Earth is lying at the moment without borders, without adequate organization, without adequate communication, without adequate transport, starved for technical assistance. And the only two countries on Earth which would really be alertly able to do something about the rest of the world are both playing this game of sole proprietor inside their own borders only. One of them is England and the other is the United States. England has got the technicians and the technical skill necessary to do a tremendous number of things throughout the world; so has the United States.

We have a minus randomity and that will show up in minus originality. It will, every time.

This is very, very silly, seeing United States troops, for instance, today in France. The United States is playing so firmly "France is the sole proprietor of France" that it thinks somebody owns France right now. And here's this big, wide plain that goes from Flanders on down south to the Alps unowned. Nobody owns it. Germans tried to take it with such ferocity that they - all they did, however, was manage to convince the French that the French didn't own it. And ifs very silly seeing American supply depots and things like that around and see an occasional American truck or something. These boys are, by orders, acting as though they were - they were from a foreign country; see, they're from America, and America is another place.

The fellow, if he's doing a comfortable business of it, has ruined himself. If you just add a few bill collectors, believe me, you'll pick up his originality. You've changed his space by giving him another type of anchor point that can't be determined by himself.

America is playing sole proprietor to such a degree on this that they also think other people are playing sole proprietor, too, and the other people aren't.

But he'll get - merely get hectic on it. Will he get better? No, he won't get better, that's right.

Now, you get into this in case computation: "I am the only one." Well, that's just before the guy is nowhere. If you were to run him down the scale through an engram or a scan or something of this sort, you would pick up the moment when he decided he was the only one. It's actually an effort to throw out a tremendous amount of force and people get stuck in that moment. And then that's a very insecure moment, believe me. Because immediately after it it's succeeded by, "Huh, naturally I can't be the only one; look at all these people and they're more real than me, because I can see - they can see me and I can't see me, because I'm inside of me and I'm not looking at me, and therefore I'm - I don't exist as much as they exist, and their certainty is greater than my certainty because they all sound that way, and yet I'm still the only one." Well, this is very confusing.

But if we were to suddenly ship him out to that famous town called Keokuk to the Bide-a-Wee Saloon, let him spend a few nights there as the bouncer, we could probably put him back in the same desk in the same publications and they wouldn't have the same kind of a story from there on out. What have we done? We've just given him some swiftly changing anchor points which, in their change, make a pattern. And the Bide-a-Wee Saloon, believe it or not, can be to a writer an aesthetic.

All it boils down to is just simply location in space.

All right. Now let's take a vaudeville actor that's been doing two a day. And he's been doing two a day and two a day and two a day and two a day. Now one day we walk up and ask him to do another act. Actually, he'll want to practice this new act for some months before he puts it on, you see.

Now, when we take up - when we take up location of space then we've taken up certainty. An impact is an other-determinism location with certainty. "Well, they said I'm here, so I guess I'm here." It could get as bad as, "They said I am here and I know I am here, then. They said so, I'm here."

But we walk up to a fellow who goes on on TV. It's all different. It's got to be different, got to be different, got to be different. The second we walk in on this fellow and we give him a new act, this is routine. Why? It's just the fact that newness is routine. He expects his anchor points to shift.

And you'll find good soldiers, for instance, who have been put on a sentry post by a sergeant - by a good sergeant; they're there. Why are they there? Well, the sergeant put them there. "Yeah, but why are you here?"

It isn't that one of these people is more happy than the other person. But vaudeville, by God, they had to shift these boys around from theater to theater. And they had them on tour all over the country and they had one act on tour all over the country. Why? Because the audience wasn't going to sit there and look at this one act going on.

"Oh, that's something else; that has to do with something else."

Now, people that are very calm and are very good in the effort band will actually sit with a great deal of entertainment and watch the same act happen over and over and over again without, really, enough change in the act to bother with. They will. They'll watch this same act. That is - all due respect to them, God bless them - the English and a joke. They are a very calm people, really, and they'll listen to this joke from the stage and it has a sort of a nostalgia to them. And you can tell this joke over and over and over. In other words, they're not so anxious about changing space. The perimeter of England is relatively fixed. And it's - the classes are relatively fixed.

Point is they're there and they'll be there until a certain amount of time goes by - assignment of space.

Now, when you get strata which are occupiable strata and a fellow has a freedom within a strata, it is a superior condition to having a freedom amongst a certain fixed set of anchor points to having a completely random set of anchor points none of which you can determine.

So how do we crack this off of a case? What is the easiest way? Really, when I told you certainty of an anchor point, you've got one route; actually, you've got lots of routes to do this - to recapture certainty.

So we get the determination of anchor points coming about as becoming accustomed to anchor points. One will substitute becoming accustomed to anchor points for being able to self-determine the existence of the anchor points. You see?

The wrong way to do it is other-determinism - to give the fellow enough other-determinism so he knows where he is. He'll know where he is all right, but he won't be much good unless the other-determinism continues to operate. And this, then, makes him afraid of all the randomity - well, it makes him afraid of all the automaticity which he has set up. He's immediately the victim of all the automaticity. If other-determination was locating him, then other automaticity can locate him: and if this is the case, then the way to really get lost is to be located automatically by something.

Now, this is a child being born in a town. It's a new town, brand-new town. But there's the town hall and the graveyard and the church, and as he goes along he merely becomes accustomed to these anchor points. And he becomes accustomed to them because they keep on staying there. And as long as he changes and they change only as the seasons and corrosion and erosion and new graves and a new steeple and so forth occur, why, it's all right. Perfectly calm, peaceful.

The Loran navigational system in the north Pacific which was established up there was very handy, I'm sure. Funny part of it is, I - it lost more people than it ever found. The ships didn't have to have good navigators now, you see, because they had Loran and you turned a little switch and that gave you the latitude and longitude of your position.

But now, if you get erratic changes; if he gets up one morning and the damn church is on the other side of town. Oh! Or it's gone! Well, the gloom settles over everything. Here's an accustomed anchor point.

Well, the handiest and niftiest part of navigation doesn't happen to have anything to do with latitude and longitude. It has to do with looking. And you get college boys and make navigators out of them and we might as well get moles and try to make navigators out of them. They'll just do fine; they can figure up all their sights, they can figure up all the shots, they can figure it all and figure it all and figure it all and figure it all; they can't look.

People will use a consistency amongst a great deal of randomity to peg down and pin down a piece of space which is unalterable. And they go around and look for an unalterable, apparently unalterable, piece of space in order to judge the motion of other pieces of space. So an actual anchor point in its most absolute sense would be an unalterable point against which you could join all or figure out all other pieces of space.

Put a sextant in their hands and they toss it up to their eye and take a sight and it's only ten minutes in error and that's all right. And then they can figure from there. They will never consider that taking a shot with a sextant is the most important operation of a navigator.

Remember the first part of anybody's life, he normally has such an anchor point - his home town or something of the sort.

Similarly your Loran - the establishment of Loran at vast cost, was probably just fine in an area where nobody could look anyway, but you try to establish Loran anyplace else and it'll wreck more ships than it'll save. Man, that's obvious that it'll do this because it's an automaticity. There isn't anybody in the ship who knows for sure; the knowingness is external to the ship and it's an electronic machine sitting on a couple of islands someplace or another, and they're just saying where they are. So it's other-determinism entirely and people will get a lost feeling on the ship.

But where you moved a kid around an awful lot in his early years, he loses his fixed anchor point. And he starts to get "all anchor points is random," And you've got to give him something to pin and judge other. anchor points by: Well, he's noticed the mobility of his own body and so he accepts mobility of everything, but the mobility of a body as less so.

Radar is a form of looking and that's very good. A fellow who can navigate with radar is way ahead of the fellow who's navigating with Loran (long range navigation), other-determined navigation.

Space opera is terribly aberrative. Nobody knows where the hell he is. There is no fixed anchor point. He goes charging around one end of the galaxy or the other end of the galaxy and so forth. He might get some sentimental attachment to a star. But the darn thing would go out on him the second he gets up toward the speed of light. They change color, they go out, they disappear. He's out of that system. He's into another system. He's around and about. Very, very aberrative. Space Opera you'll find hung up on anybody who pings on an E-Meter about space opera. He's hung up; he's in suspension.

Now, the most important part of navigation is looking and a fellow who knows how to look knows where he is. He's just willing to look. A navigator will go out and take a look; doesn't look right to him. What doesn't look right? Oh, I don't know, position of the stars, something like that. "Doesn't look right. Let's see." And so-and-so and so-and-so. A good navigator can tell you whether or not he's ten miles off course or not just with a glance at the stars. Not because the stars are saying anything significant or adding anything up. He knows where they're supposed to be and so you've got another type - you've extended, actually, other-determinism on his position.

I tell you that the nose of a ship and the tail of a ship, which ship is relatively destructible and often is, are darn poor anchor points. And guys who go ashore on a planet, or go into a planet and so forth, very often come back to the ship in a remarkably altered condition if they return at all.

But in view of the fact that impact can occur, MEST against MEST, then one pays attention to other objects for determining his position.

So you've got constantly shifting friends - which are other anchor points, if mobile - constantly shifting this and constantly shifting that.. When we get friends down to a point, we find that friends are mobile and we find out that somebody can have a concept of having friends as long as he can have a concept of being able to have an anchor point which is not movable.

A high level of knowingness would merely consist of knowing where you were. Anchor points? No. Nothing - he just knows where he is. Where is he? Noplace, of course, that's - he knows he is. So the right to be nowhere is quite a right to have, isn't it? You can run that as a concept. "I have a right to be nowhere." The most hectic feelings will start to come off the fellow. All of a sudden, "All right, I can be nowhere."

Soon as all of his anchor points become mobile, undependable, he's moved around and shifted around... It - this is just visio we're talking about. It isn't entering a bunch of symbols into his head or anything, you see. I mean, we're just looking at an anchor point.

Now, you as an auditor are trying to make this fellow be somewhere. And boy, he's going to start resisting you like mad.

He's got an anchor point. This anchor point's a small mountain to the south of town. Once in a while when he wants to feel real calm, he's liable to find himself taking a walk down there and sitting down on it. That's right. When he wants to feel real calm about life or wants to go for a walk or think something over, he'll go to the other - sit down on that small mountain.

So you better be covert about it and give him the right to be nowhere; you can just run that. Run it in Matched Terminals and masses like Viewpoint Processing, just vast numbers of things, giving him the right to be nowhere, and he can give him - things the right to be nowhere in brackets and so forth. Everybody's got a right to be noplace. And he'll find he doesn't like this and he's determined that he needs something else for stimulus and sensation and so forth. Well, it doesn't have the right to be nowhere, he does, but it doesn't have! Now, that's what he comes up with. He's trying to enforce the fact on everything else that it must be somewhere at all times, which is to say, it must be attainable. And he himself must have the right to be nowhere at all times but able to attain the other locations. And this, of course, becomes the maybe.

Now, because anchor points get so mobile and because he loses anchor points so suddenly and inexplicably - if Papa dies, bang, there goes an anchor point, believe me. He's even lost an anchor point which was a mobile anchor point. Well, that's real bad. Why, everything sort of starts caving in on him from that point on. And so an uncertainty about anything is an uncertainty of an anchor point.

Everybody wants to be nowhere and wants everything to be somewhere, so you get every - nowhere-somewhere and nothing-something. And actually somewhere-nowhere is a better maybe than nothing-something. All right.

Well, if you tie - as we go back to the early part of this lecture - if you tie - if you see knowledge and workability in a certain set of anchor points, let's say a book - Dianetics: Modern Science of Mental Health - and you say, "There is something - there at least is an anchor point." You say, "This has got a lot of - lot of rationalization about anchor points and what happens and I can see some truth in this thing. In other words, I can get some certainty out of this." And you say "There is that anchor point, even though it floats around and keeps appearing, and so forth, this is an interesting anchor point," see? If other people keep hammering and pounding on you hard enough about that anchor point not being an anchor point and it being uncertain and "Well, they don't know," and so forth, of course that anchor point goes by the boards. One of the meanest tricks that thetans do to thetans is take away the stability of the anchor point. Do you see any difference between invalidating a subject and stealing an anchor point? Or moving an anchor point around and painting it a different color?

What's time? Just the effort to withdraw. Is - when the effort to withdraw is restimulated in a person and he finds he can't withdraw and he fails, he starts to have trouble with time. This stuff is withdrawing all the time; it's reaching, withdrawing, reaching, withdrawing, reaching, withdrawing. But that doesn't interpolate well on a case, reaching and withdrawing, as an action. So let's just take the stuff as it's there and it's not there. It's there and it's not there, and it's there and it's not there; it's got to be someplace else. It's saying all the time "I can't be here; I have to be someplace else. I can't be here; I have to be someplace else." That's what MEST is saying continually, so you're getting shifting forms of space. Time is shifting forms of space.

Now, you know there was a terrible howl went up in a small town I know about. There was a beautiful copper dome they had on the state capitol. And the state capitol sat up above the plain. And it was a very beautiful copper dome. Well, it had been there for many years and had gotten rather green, but that was quite the way it should be, patina. And one. day they hired a new janitor for the state capitol. And this guy breaks out a pot of aluminum paint and goes up there on the scaffolding and aluminum-paints the state capitol dome. Honest to Pete, if he'd taken the town's leading citizen and shot him down in his tracks, he probably would have - would have had a little notoriety out of it, anyway. They would have put him in jail. They probably under that guise, because this town is out West, they might have even have given him a medal or been interested or thought the good old days had come back or - there'd been - have been opinion on him - diversified opinion. People would have said, "Well, that number one citizen was a dog in a lot of respects anyway," and they would have argued about it. But boy, as one person, that town said, "He must go."

Now, a fellow who can't get consecutive pieces of space, consecutive shifts of space, is having a rough time, so we get into another technique immediately: Have people shift anchor points around so as to make consecutive shifts of space. And that, in itself, is logic.

There were volunteer crews going up there to the to the capitol immediately with brushes and all sorts of ideas as to how you removed aluminum paint.

Choreography is simply the matter of consecutively shifting space with a body. See. If they use the anchor point - the body and anchor points - and you consecutively shift those anchor points. And if that is done with sufficient smoothness so that it's almost undetectable, one place to another, you have aesthetics. It continues to happen and is practically undetectable, why, it gives people a very delicious feeling and that's aesthetics. Now you've tied aesthetics immediately into time when you've done that.

Well, that man probably hasn't been in that state since. He probably just kept going. Now, there's - thetans will pull this trick. They will often destroy an anchor point so that they can set up as an anchor point. And you will see the evolution of subjects, the evolution of governments and so forth, much more plainly if you see it in that light.

Control is this. If this person is worried about control - and anybody who's having trouble and can't see his body is worried about control of his body, then his exercises indicated are consecutive patterns of space. But you're not going to get him to get consecutive patterns of space with any certainty unless you discover for him that he can have at least one anchor point.

Hitler comes along and bombs some of the main areas in Europe. And then he sets himself - in the form of symbols of soldiers - up as a different anchor point. It's almost workable. But the trouble is, he never set up anchor points bigger than the anchor points he destroyed.

Now, you find out he can't easily have one anchor point; what do you do for him then? Let's get where he isn't. Now, let's just knock out every place under the sun, moon and stars where he isn't; and let's just keep this up as a drill until he is ready to perish from boredom.

You know, all he would have had to have done, actually - this really isn't much of a trick - if he blew down a cathedral, why, he should have been in there with a bigger cathedral. And although people would have hated the guts out of that new cathedral, he should have made it good enough and big enough so that nobody could have knocked it over easily.

All right? It's all right to say to the fellow, "Where are you?" Well, he doesn't want to be located because if he's located, he can be impacted. The game he's playing is he must be nowhere and everything else must be located.

And they would have tried to have knocked it over or bombed it over or done something to that big cathedral but they wouldn't have been able to do it. And at the moment they weren't able to do that, they would have - accepted German rule throughout Europe - if that had happened here and there throughout Europe. German rule would have been accepted.

Now, if you ask, "Where are you? Now, let's establish where you are directly," he's not going to buy this if he's leery. If he's in pretty good shape, he'll buy this, but if he's not in very good shape, he isn't going to buy this at all. He won't even buy it to the point of locating so he'll know, because somebody might read his mind.

But he never put back anything but somebody walking around in a pair of tight pants and a tunic. People didn't appreciate these fellows. They shot them wholesale. See? He took out anchor points.

So let's just get the places where he isn't. And he'll play this game for a long time. He'll also - there's a little bit of terror on playing this game.

If I were going to do anything to a country, to take over a country, or if I were actually terribly serious about overthrowing a regime, even in the field of psychotherapy, believe me, I would never putter around the edges and merely try to teach people the truth of the matter. I'd just simply use this very formula. I'd put in the biggest goddamn sanitarium you ever saw sitting in the middle of everything, see? Oh, big, huge anchor point sitting down and then I would claim that that anchor point was all of psychotherapy and had been put up by psychotherapy, see?

And where do we find he isn't? "Well, let's get a place where you re sure you're not."

People way off in the far distance could have been saying, "But-but-but-but-ooh-uh, there's nobody there!" (This is a psychiatrist.) “We're the psychiatrists, out here - I mean, and we have this sanitarium and that sanitarium and we have a big association." Nobody would have believed them. And if you actually had gone in to - for a kill on the subject of that, you really would have - preferably something with tall towers, you know, so it's got altitude and something that looked awfully solid. Tall towers that nothing could have disturbed. You could have run into them with an atom bomb and they still would have been there. See?

"I don't know" he'll say.

I've forgotten who it was, I think it was Praxiteles, no less, that offered - but I may be wrong about this but I read it in a book one time which was not of very good repute. But I've since heard an echo of it in - read an echo in other hooks on history - but somebody offered for some fantastic. sum like 10,000 talents, to cut a statue of Alexander the Great out of a mountain in Macedonia. Ten thousand talents, and a talent is about a million dollars or something on that order. I don't know what a talent was, it was somewhere in there. And this huge memorial, tremendous memorial. And everybody thought that was too conceited and Alexander shouldn't do that and he didn't. And as a matter of fact, for almost a thousand, fifteen hundred years it was firmly considered in Europe that Alexander was only a myth. Yet the man left a town called Alexandria. Why that town wasn't big enough - Caesar burned down his library and the anchor points. But, you know, the Pharo - the Pharos, in the harbor there - the big lighthouse - well, believe me, in most languages in the world a lighthouse is one of those things. People really know that anchor point.

"Well now, let's get a place where you re sure you're not."

You get - most books concern themselves with the Seven Wonders of the World. These were anchor points. If you understand them as anchor points, you can see the thirst for an anchor point. And this is the thirst for solidity. And the second a fellow gets himself confused with being an anchor point, he gets himself confused with having to be solid and tries, immediately, to start throwing out all space in order to achieve enough solidity so that he will be an anchor point for a lot of viewpoints.

"Oh, I'm not..."

Well, how does this come about? How does he go into this starting to be an anchor point? Very easily. All anchor points become unstable for him. He loses his stable anchor points so that he only has one anchor point left - his body.

"Well, are you in the middle of the sun?"

Then he'll try to make that body solid because he hasn't got any anchor points. Savvy? You can see people doing this.

"Oh. Huh. No! No!" He's not there. So how do you really get him to make certainties on where he's not? Dangerous places; and you reverse Step I. The fellow is inverted, so let's just reverse Step I, and let's take dangerous and unpleasant places, one after the other, and he's going to be sure every time he's not there. Let him choose them, but every once in a while throw one in.

Well, he can't look at that body because he's setting it up to be looked at. And so we get the thirst for people in yanking in facsimiles for solidity, for all of this. It's an actual thirst; it's a craving to be solid. And you come along as an auditor and start to run space on this fellow. What's he trying to do? He's trying to be solid. Why? He hasn't got any anchor points. Where's his certainty? Gone. Where is he? How the hell does he know? He can't see his body and he has no fixed anchor points.

You say, "All right, now that's where you are. All right. Are you in the Camden sewer system?"

Now, if you were to go into a local area, a small town - a small town of Bimburg - and you were to find some of the older citizens of Bimburg, you would find out that they would step out of their heads - bang! Why? Well, there's a mountain on the north side of town and there's a couple of silos on the south side of town that have been there since hell froze over. And it's all real ancient. Nobody has done anything to the graveyard there. In other words, it's literally sprinkled with old, solid anchor points.

"No!" No, he's not in the Camden sewer system.

Now, it doesn't matter how many new anchor points got put in the area as long as they don't completely overawe the old anchor points. That is, are they - they must be bigger or more solid. So in Bimburg they theta clear easily.

"Are you - are you in a bottle of sulfuric acid in there sitting on the shelf?"

But let's take the plains town - just take the plains town of Wichita. Very changing, industrialism hit it recently, boosts on this fact is - it's the biggest growing town. Ha-ha. There isn't an anchor point anywhere around there.

"No!"

The river that goes through there customarily and continually flops out of its banks - it won't even stay put as an anchor point. It's mobile. Everything's mobile. Bridges, they're mobile - poom. They go out in floods. The buildings that are there; there are some old buildings in town but they've been completely dwarfed by new buildings.

See, you can get very abrupt certainties on the thing. As a matter of fact, you get a withdrawal when you do that; he'll actually pull back from being it.

No old settler can go around and put his finger on anything in Wichita to amount to anything. Why? It's on a flat plain and the only thing there that's remarkable is that river And it, as I say, is not a stable point.

And if you were to merely say, "Well now, are you down in the street?"

Well, you're not going to do much - do much easy clearing in Wichita. They're stuck. Everybody is trying to get as solid as possible and the town is trying to pull in as many inhabitants as possible and get as solid as possible, and everything is trying to get as solid as possible from all directions. Sure, they'll acquire anything new so they can be more solid. Now, you're going to theta clear somebody or you're going to do something easily in Wichita - that doesn't have any anchor points? Oh no, you're not.

"I - I don't think I am."

You want to really clear somebody, you go on out to -oh, I'll tell you where they clear pretty easily is Phoenix. The people around Phoenix clear pretty easily. They've got the Camelback. Boy, that's a big anchor point. But there's one thing wrong with Phoenix. It's all new settlers. See, I mean, people come in there who've already lost their anchor points and now they're trying to put down new anchor points. But it's a good place to because there are several big bumps on the plain around there and there are several things that are apparently unalterable.

"Are you on Saturn?"

I learned this, by the way - an actual test in Europe, on the plains of France where anchor points have just been knocked to glory, and so on. You have a confused condition. People are confused.

"No, not Saturn. Well, maybe I was on Saturn once. I don't think I am now."

And up in the mountains of Spain, although they're kind of hostile and kind of suspicious and awful damned independent, nobody's moved those mountains around and nobody's moved the population around for the longest time. And you say, "Be three feet in back of your head." The fellow says, "Okay." He's eighty years old, he says, "Okay."

You'll actually get this reaction from very, very good functional guys. Because - and then you start pinning him down and you can just halve up or quarter up the universe. "Are you in that quarter of the universe? Are you in that quarter? In that quarter? In that quarter?" He'll tell you, if he's on an inverted 8, that he's all through the universe, unless you go on a reverse problem - dangerous places, unpleasant places, unthinkably bad places.

"Why don't you fix up the body?"

"Now, are you where your father is?"

"Why?"

"No! No, I'm not there."

"Well, don't you have any aches and pains from it?"

Now, don't play this game on unpleasant places too long, merely because you'll restimulate him all over the track. So let's play it alternately: where he is, where he isn't. I mean, let's don't - not keep suggesting places to him, let's find - let him find as much as possible where he isn't. And if he's fogging up and getting too doubtful and so forth, well, just suggest a little place where he wouldn't dare be and he'll snap in. But do that seldom - you get the idea that that is not a good practice. It just starts it going.

"Yeah, once in a while."

Well, after he's found that he isn't in a lot of places he'll start to localize and then he'll centralize and he will at least admit to himself he is someplace. Probably, on this type of run, he won't tell you where he is. This is - that's hide. That's how you solve an inverted dynamic. Okay?

"Well, fix them up."

All right, there are other ways to handle the material I have just given you.

"Why?"

Now, the way to get control reestablished with an individual is to get him certain of some anchor points and then get him to shift patterns of anchor points. Of course, you kind of rattle him if you give him solid geometry names for every new pattern you have. So let's not go off into solid geometry. Let's go into the shapes of familiar things.

"Well, go ahead. Fix them up."

"Now, let's get it in the shape of a clock, in the shape of a ball, in the shape of a bat, in the shape of a ball, in the shape of a bat."

"Well, all right. Yeah, I can see better." Completely unconcerned.

Now, you say, "Are you using the same anchor points to do this with?" No. No, he isn't.

But if you were to walk in there with a big bulldozer and say you were going to take down one of those mountains, "Ahhh, no, no, no you won't. Uh-uh."

"All right. Let's take a triangle made with three anchor points. Now let's make it into a piece of space with four anchor points. Now into a triangle, Now into that piece of space. To a triangle. That piece of space. To a triangle. That piece of space. To a triangle. That piece of space. Now make it into a pyramid. Now make it into a cube. Now make it into a sphere."

Those MEST anchor points are much more important to these people than they are as bodies important.

This exercise is the exercise of control: position of anchor points to make new consecutive spaces - logic. Logic - that very much cherished thing - is simply the ability to handle consecutive shifts of anchor points. But logic shifts them so slightly, so minutely, one to another, that one can very easily get confused with this universe and think that all of his logic is dependent upon this universe.

Mountain people have a tendency to be lanky, thin. Plains people have a tendency to be fat. It's a difference between pulling in the anchor point. It's how many anchor points has this fellow had and how much have they been disturbed.

So here we go with a problem: Is the preclear in the MEST universe? If it all belongs to him - yep; if it doesn't belong to him - no.

Now, so you'd better clear up the situation about anchor points with the preclear so that you can find where he is. You'll find out that most of the preclears you ask won't know where they're not, much less where they are.

He is doing the trick - his best location is with his own anchor points, so give him anchor points of his own, and then he can take possession of MEST anchor points. Not being able to have something is not being able to have anchor points, which is not being able to have space, and that's not being able to be in it. So you want him to be something, he'll have to have an anchor point.

All right. The gradient scale of certainty is any place You can find him certain of anything, of course. Survive, the dynamics, thought, emotion, effort. And you can start in on some of the most idiotic certainties in order to get a high-grade certainty.

Now, most people are dependent upon two kinds of anchor points in this society: one is a body and the other is a piece of money. Money is the mutual exchanging, turning, shifting anchor point in this society. And you'll find, you always get a - by running Step IV on the subject of money and on the subject of work and on the subject of pain and on the subject of healthy bodies, you'll always get some kind of a lift from your preclear.

You can say, "Move that desk." Fellow does. You say, "Did you apply any effort to move it?"

Now, if your pre clear hangs up on the track as you're coming forward, by the way, remember that he's probably hung up in motion. Getting able to get sexual sensation out of things, putting sexual sensation into things, getting them out of things, and so forth, is very good.

"I sure did."

But being able to feel affection is one of his greatest difficulties. To receive and give affection is a lost art. And that's a very interesting thing what happens on some preclear that you have him exteriorized and then they continue to go along on a sort of a plane. Their lookingness is jammed up on affection. Little babies - they sure don't like what grown-ups call affection, so forth - fellow's denial of affection, which is very bad. Which means what? Which winds up in, eventually, his inability to accept with others the same anchor points.

He's certain he has effort.

In other words, me and Joe and Bill and Pete can't own this rifle. Me and Joe and Bill and Pete can't own the city hall. I own the city hall, and Bill and Joe and Pete don't own the city hall is what it amounts to. Why? Affection.

"All right, now, let's feel the end of your nose with your hand. Feel that?"

Affinity is a line; it's made up out of particles, admiration particles, and these are expressed to the preclear as affection. So he has to have lines to communicate and centralize and locate, and he's afraid to let go of things because he's liable to lose his anchor points forever and he's not able to have this space anymore and so on. Sort of gets to be an interesting fact.

These are funny things. Nobody ever asked him to do this sort of thing before.

But is his space - the space of his own - is it coincident with the MEST universe? No. Agreement with the MEST universe is only bad where it leads the person to believe that his own space is coincident with the MEST universe space. That's why agreeing with the MEST universe is bad, you might say, aberrative. Agreeing with its processes is bad, and processing which suddenly just turns the disagreement around - you have gravity being disobeyed. And things which defy the MEST universe and can't he built on the laws of the MEST universe are very good - these processes.

"Now," you say, "now look at something."

Did you ever finally get somebody to make a ball fall upward and all of a sudden they feel better? Make them get water run uphill? And they feel better. Get them to have two burned out matches light? That just doesn't happen, you see, in the MEST universe and so it makes them feel good, makes them feel smart; they're able to control things.

Well, of course, if he's looking through the body at something, his level of certainty on it is the same as the body's level of certainty on it. Maybe a little less so. But if you just say, "Look out of your head, now, and see if you can locate any parts of the room," very often the fellow will do so without any business or monkey business about being back of his head or anything else. You just say, "Take a - close your eyes and take a look at the room." A lot of guys just will. There isn't any reason why he couldn't see his room,

In other words, their patterns - the patterns in which they're fixing spaces - with which they're fixing spaces are being determined by themselves, not being determined by the MEST universe.

All right. So we - we've got then another band that you've been neglecting to some degree. He can be certain of what he feels when he can't see. Well, let's make a test of that.

When the MEST universe determines one's anchor points, the allowable patterns and all the rest of it, a person gets into bad condition, because that's other-determinism; his self-determinism goes down. In order to rehabilitate him, turn him around. Let him establish patterns.

From inside your head, look at the end of your nose. Can you see it? Well, let's feel it. Can you feel it? There you are.

Now, you can take a number of cubes or dice or marbles or something of the sort and make different patterns in front of a fellow; you could just - he could just change these things into different consecutive patterns; find out how gradually he could change these patterns. That's therapeutic, oddly enough. Most terribly elementary therapy, but it would be about the most elementary therapy you could get.

Give you any idea of certainty that it's there?

One of the most elementary therapies you can have the preclear do is "Take this ashtray. All right, now move it over to the center of the desk - center back of the desk. Now move it into the middle of the desk. Now move it over to this side of the desk."

Male voice: I already knew.

And after he's done that for a while, ask him who's changing the place of the ashtray and he'll say - possibly he may say, "You are." So you just say, "All right, now why don't you determine some new places into which you should place the ashtray?"

Huh?

And you know on a person who's real bad oft they'll think about this and they'll think about it and think about it and think about it and almost crack their brains trying to shake loose and be self-determined about an ashtray. Then they'll say, "Well, if it's right here I can put my ashes in it easily."

Male voice: I already knew it was there.

This is a question of how far south do you have to go. Well, it's how much reason does a person have to have to ask. That is, how much is he - does he have significance. There is no significance; there is no reason; the thing is the thing; that's all there is to it.

Yeah, sure, you already knew it was there. Well, let's just find out something else. What don't you know in your body is there?

All right, I'm going to recommend to you, today, the game of "Where aren't you?" and let you play it to death till all of you, and I mean all of you, are absolutely sure that there's at least one place in the universe where you aren't.

Male voice: Mm...

Have you got that now? I'm serious about that because there's a lot of people sailing around and trying to be agreeable about where they are and they'll give you a very sudden funny look if you suddenly ask them, "Where aren't you?" Now, try and play the game, then, more or less as we were processing yesterday on certainty.

Well, let's assess your body.

There's an extensional drill from that - is "Where don't you have an anchor point?" That's another part of the same drill: "Where don't you have an anchor point?" And you ask the fellow to be sure of that and he really starts to wobble, because he has left anchor points all over the universe and he's sure they're still there because he said - told them to be there every time he said so and he never unmade the postulate.

Male voice: Some internal gland maybe.

Male voice: Well, does he not put one at any point where - it's - you ask him where does he not have an anchor point and he says, "Okay, I don't have one in Nome, Alaska"; doesn't he put one in Nome, Alaska as he says it?

What internal gland don't you think is there?

If he's - if he's undetermined about anchor points, he does. So you see, it's a very good drill. I'll let you solve exactly how you do that one.

Male voice: Well, I expect it is but I can't say with certainty.

Certainty of location is, then, a consideration of where one is on the basis that he's certain where a viewpoint is. If he's certain where a viewpoint is, he's certain where he can view from, and we've got a consideration of "I can view from." So, positiveness in being able to consider is, again, a very interesting level of certainty and is the level of certainty, which is consideration. To be able to consider something positively, in other words, to look at something positively. See? Look at something positive, consider something positively, you've got your significance and your no-significance.

And which is it?

All right, let's take a look then at Change of Space Processing and we find out that those cases which have advanced markedly on Change of Space Processing (being in this space and that space), are those people who have made sure and who are certain they are in a new space.

Male voice: Oh, I'd say the liver.

Now, it could be done many ways to increase that certainty; but if you were to increase that certainty one way or the other, one of the ways to do it is simply to do Change of Space Processing, and their certainty gets greater and greater and greater.

The liver.

Now, you get a gradient scale of certainty, then. So it isn't that you have to suddenly knock the guy over with a club and say, "You have to be certain and then we can process you so that you can be certain." He'll see this as an endless chain. What you want to do is have him change space until he's certain he's in present time in a new space.

Male voice: Yeah.

Well, one of the ways of doing this is to get him to look all around himself, but he's liable to collapse God knows how many automatic machines and so forth on himself if you ask him to look around unless he's pretty up - high tone. But you can hint to him once in a while, "Well, look a little bit further."

You can't be sure the liver is there? Let's feel the liver. Where is it?

When he's doing it too fast and you know he's not certain yet, you say, "Look a little bit further in that area." See, a little tip-off. "Just spread your vision a little bit in that area until you get a 360-degree sphere of vision in the area."

Male voice: Supposed to be right around in here somewhere.

Actually, the area is only clear when you're getting a 360-degree sphere of vision. But you could go on just a gradient scale of "Be here. Be there. Be there."

Well, it's supposed to be. Where isn't it?

By the way, there's another little point I'd like to make, is this business about, he's - doesn't know he's there because he can't see himself As I said yesterday - he can't take a look at his body, so he's less certain of how he's mocking up his body, you see, than other people are certain. This makes other people far more certain than he is because they can see his body and he can't.

Male voice: Well, it isn't where it isn't.

Well, a fellow is surrounded by mirrors and bric-a-brac and junk and you can actually tell a preclear, "All right, take that," just tell him, "just take that mirror out in front of you. Now, take a look at yourself" And he looks around the room, he doesn't see any mirror, and you say, "Well, just take the mirror that you've got out there in front of you."

All right. Where isn't it?

"How did you know I have that?"

Male voice: Well, it's not in the chest.

"And then just look at yourself in that. Now look over to the side and see if you've got some mirrors over there and you can see yourself in those," and so on.

All right. Where else isn't it?

And he'll get all sorts of topsy-turvy views of his body. And if you keep this up, he does get a view of his body. The reason he mainly - the reason he isn't anyplace when he's in a body is merely because he doesn't see the exterior of the body and he won't look at the interior. Guts and brains and so forth are pretty nasty to look at if you've ever seen them spattered over a fence.

Male voice: Stomach.

Where else?

Male voice: Head, shoulders, feet, hands.

You know that?

Male voice: Can eliminate all that.

All right. Let's eliminate it. All right, where else isn't it?

Male voice: About all there is left is where it's supposed to be.

No kidding? Well let's be above it. Let's feel around above it.

Male voice: I haven't got any facsimiles to compare it with.

Huh?

Male voice: I said I haven't got any facsimiles to compare it.

Compare it with the ashtray out there and from inside your head reach out and feel the ashtray.

Now feel where your liver's supposed to be.

Now feel the ashtray.

Now feel where your nose is.

Now feel the ashtray.

Feel where your nose is.

Feel the ashtray.

Feel where your nose is.

Feel your knee.

Feel where your nose is.

Feel your knee.

Feel your nose.

Feel your knee.

Feel the ashtray.

Feel your nose.

Feel the seat of your pants.

Feel your knee.

Feel the ashtray.

Feel your nose.

Feel the two back corners of the room.

I didn't say look at them, now. I said feel them.

Male voice: I heard you.

Feel your nose. Feel the two back corners of the room. Feel your nose. Feel your nose?

Male voice: Sure.

Tell me when you do.

Feel the two back corners of the room. You...

Male voice: Feel at them.

Feel at them. Okay. Feel your nose.

Male voice: Yeah.

Feel the rim, back rim of your chair where it isn't touching your body.

Feel your nose.

Feel the back rim of the chair just back of your body.

Feel your nose.

Feel the ashtray.

Feel the back rim of the chair.

The two back corners of the room.

Feel your nose.

Feel your kneecap. What are you getting?

Male voice: Feel the nose and the kneecap, that's easy.

Let's feel that ashtray.

Let's feel the back of the chair.

Feel the two back corners of the room.

Feel the ashtray.

Feel the two back corners of the room.

Feel the ashtray.

Feel the two back corners of the room

Feel the ashtray.

Anybody around here that isn't - that can exteriorize, well exteriorize and do this exercise.

Feel the two back corners of the room.

Feel this microphone up here.

Feel the two back corners of the room.

Feel the microphone.

Feel the two back corners of the room.

Feel your kneecap.

Feel the two back corners of the room.

Feel your kneecap.

Feel the ashtray.

Feel your kneecap.

Feel the ashtray.

Feel your kneecap.

Feel the ashtray.

Feel your kneecap.

Feel the two back corners of the room.

Feel the end of your nose.

Feel your ears.

Feel the two back corners of the room.

Feel your ears.

Two back corners of the room.

Feel your ears.

Two back corners of the room.

Feel your ears.

What's happening? You getting a better or worse impression of the two back corners of the room?

Male voice: A little better. No worse.

All right.

Male voice: I don't trust myself anyway.

That's correct. All right. Now, where aren't you in the world?

Male voice: Lots of places.

Where?

Male voice: I'm not in Salt Lake City.

You're not in Salt Lake City?

Male voice: Or in Mexico City.

Well, good. Where aren't you in the past?

Male voice: Where am I not?

Yes, remember this question, class. Where is he not in the past.

Male voice: Well, let's see. I'm not in the islands.

What islands?

Male voice: Mariana.

Which one?

Male voice: Guam.

What part of Guam?

Male voice: Agana harbor northwest Piti. Neither place.

Agana?

Male voice: Mm-hm.

Piti?

Male voice: Mm?

Are you in a warehouse in Piti?

Male voice: Mm-mm.

Agana?

Male voice: Mm-mm.

Government house?

Male voice: Mm-mm.

Sumay?

Male voice: No.

Umatac?

Male voice: No. I'm not in Talofofo either.

Talofofo. You're not any of those places in the past?

Male voice: No. Isn't that I was there once in the past.

Well, are you there in the past now?

Male voice: You're saying...

Are you there in the past now?

Male voice: No.

No. Are you in the past anywhere?

Male voice: Beats me.

Beats you. Are you here in the past?

Male voice: Yeah, a little bit.

Oh, I see. You're here in the past a little bit. All right. Are you in the city hall in Camden in the past?

Male voice: No. No.

Are you in Philadelphia in the past?

Male voice: No. Right here.

Are you here in the past? Where?

Male voice: Right here in this chair!

This chair.

Male voice: Right.

All right. Philadelphia? In the past?

Male voice: No.

Are you here in this chair in the past?

Male voice: Yeah.

Philadelphia in the past?

Male voice: No.

No? How about your home town in the past? Are you there?

Male voice: No.

You're certain of that?

Male voice: Yeah.

Are you certain you're here in the past?

Male voice: Yeah.

You're certain you're here in the past?

Male voice: Yeah.

Well, we've got a new certainty.

All right, are you in your head?

Male voice: Mm-hm.

Are you back of your head?

Male voice: No.

Are you in front of your face?

Male voice: No.

To your right of your body?

Male voice: No.

To the left of your body?

Male voice: No.

Are you below your body?

Male voice: No.

Are you under your chair?

Male voice: No.

Are you in front of your legs?

Male voice: No.

Are you in your shoes? Are you in your Shoes?

Male voice: No

Are you in the past in your body?

Male voice: A little.

Are you in your head in the past?

Male voice: Suppose so.

Well, come on. Are you or aren't you?

Male voice: I don't know!

Are you in the street in the past?

Male voice: No.

Are you in the - this room in the past?

Male voice: Yes.

Are you in your head in the past?

Male voice: I don't know.

Where's the past?

Male voice: The last look I had.

The last look. Where was - where'd you take this last look?

Male voice: At Monaco.

Where are you?

Male voice: Where am I?

You're in the last look you had.

Male voice: That's right. Part of the scene.

Okay. You're in the last look you had. Okay. Now let's take the last look you have and tailor it up as two much fancier anchor points than you have there. Get it much fancier.

Male voice: Two fancier ones.

Well, duplicate it.

Male voice: The room?

Duplicate the last look you had.

Male voice: All right.

Duplicate it again.

Male voice: All right.

Duplicate it again.

Male voice: All right.

Duplicate it again.

Male voice: All right.

Blow up the last duplicate.

Male voice: Yeah.

Blow up the next to the last duplicate.

Male voice: Yeah.

Duplicate it again.

Male voice: Yeah.

Duplicate it again.

Male voice: Mm-hm.

Duplicate it again.

Male voice: Mm-hm.

Duplicate it again.

Male voice: Yeah.

Blow up the last duplicate.

Male voice: Yeah.

Blow up the rest of the duplicates.

Male voice: Yeah.

Blow up the look.

Male voice: Yeah.

Let's get your nose and your kneecaps as a couple of anchor points.

Male voice: Yeah, they're later.

Huh?

Male voice: They're later.

They're later, huh? Okay. Now, you in the past here?

Male voice: No.

Are you or aren't you?

Male voice: No!

You're not in the past here. Well, that's real interesting.

Male voice: I could get into present time like this.

Huh?

Male voice: I could get into present time by feeling my nose any instant.

Oh, you can do that. Do you have to feel it with your finger?

Male voice: No.

All right. Feel it with your finger. Now feel it from inside your head.

Male voice: Sure.

Feel it with your finger. Feel it from inside your head.

Male voice: Mm-hm.

Feel it with your finger. Now feel it from inside your head.

Male voice: Mm-hm.

Now have your nose feel your finger.

Male voice: Yeah.

Now have the nose feel you from inside your head.

Male voice: No.

Well, we found where the limiter is.

Male voice: I can tell you what the limiter is.

What it is?

Male voice: Well, if I feel my toe or any part of my body, well, it - it will receive sensation from here. I can receive sensation from it, but I can't receive it in from those corners without looking at them or reaching out with my hand and touching them.

Oh, I see. Well, put some sensation in them and get some sensation back.

Male voice: That's pretty thin.

Thin though, huh?

Male voice: You ain't kidding it's thin!

All right. Put some more sensation in it and get some sensation back.

Put some sensation now in your nose and get the sensation back.

Male voice: Mm-hm.

Now have your nose be angry at you and get the sensation of your nose being angry at you.

Male voice: Yeah.

Now just simply feel your nose.

Male voice: Yeah.

Get some sensation in the back corners of the room and feel it back again. Got it?

Male voice: Well, I don't get anything back trying to do various sensations.

Okay. Well, let's out-create it a little bit. But look-a-here. Let - let's get this now. Get the - close your eyes. Now feel the end of your nose.

Male voice: Yeah.

Back of your chair

Male voice: Well, where I'm leaning on it, yeah.

Well, feel it where you're not leaning on it.

Male voice: Well, I just know it's there.

Well, how do you know it's there?

Male voice: Well, it was there the last time I looked and nobody's taken it away.

Oh, you think this is it?

Male voice: It's still there.

All right. Now let's think at the back of the chair.

Male voice: Mm-hm.

All right. Think where you are.

Male voice: Mm-hm.

Think at the back of the chair.

Male voice: Yeah.

Is it there?

Male voice: Sure.

Get the back of the chair thinking at you.

Male voice: About what?

Where aren't you thinking at something in the universe?

Male voice: Well, Christ. There must be a million places.

Well, where particularly?

Male voice: Well, as fast as I think of someplace then I'm thinking of it.

Oh? Where aren't you thinking of in the universe? Where aren't you thinking in the universe? I said that now: Where aren't you thinking in the universe?

Male voice: Hell. I'm not thinking anywhere in the universe.

Oh, you're not?

Male voice: Not as far as thinking in something's concerned. I mean, it could be my head.

Yeah. Well, name one place where you aren't thinking.

Male voice: All right. I'm not thinking out on the sidewalks.

Whereabouts on the sidewalk?

Male voice: Any part of it. I'm thinking of it.

Your thinking of it is different than thinking there?

Male voice: Yeah.

All right. Now how about thinking on the sidewalk?

Male voice: I can get an idea of it.

How about thinking here?

Male voice: Yeah.

All right. Let's think at the sidewalk.

Male voice: Think at it?

Mm-hm.

Male voice: Mm-hm.

Now let's think at the chair.

Male voice: Mm-hm.

How do you know the chair is there?

Male voice: This body's sitting in it. I can feel the body.

You can feel the body and the body can feel the chair. Is that right?

Male voice: That's right.

All right, why don't you just directly feel the chair. Now feel the end of your nose.

Male voice: Mm-hm.

Now feel the tip of your chin.

Male voice: Mm-hm..

Now feel your forehead.

Male voice: Mm-hm.

Feel the top of your head.

Male voice: Mm-hm.

Feel underneath your chin.

Male voice: Mm-hm.

Feel the back of your head.

Male voice: Mm-hm.

Feel the front of your head.

Male voice: Mm-hm.

Back of your head.

Male voice: Mm-hm.

Back of your shoulders.

Top of your head.

Back of your shoulders.

Feel the back of your head in front of you.

Feel the front of your face in front of you.

Back of your head in front of you.

Front of your face in front of you.

Back of your head in front of you.

All right. Now let's think in the body.

Now let's think from in back of the head.

Think from in the body.

Think in the back of the head.

Think inside the body.

Think from back of the head.

Think from inside the body.

Think from back of the head.

Think inside the body.

Think in back of the head.

Think inside the body.

Think in back of the head.

Think inside the body.

What are you doing?

Male voice: I'm trying to think in back of the head and I am thinking inside of it.

Mm-hm. You're certain of that, huh?

Male voice: Mm-hm.

Now, let's feel the back of the head in front of you.

Male voice: Now I'd say yes but I don't.

All right. Feel the two upper corners of the room - forward. Feel the two forward corners of the room.

Male voice: I feel that.

Feel your nose.

Male voice: Mm-hm.

Two forward corners

Male voice: I feel that one,

Feel your nose,

Male voice: Mm-hm,

Feel the two forward corners.

Male voice: Same story.

Feel your nose.

Feel the two forward corners.

Feel your nose.

Feel the outside sleeve of your jacket.

Feel your nose.

Feel the outside of your jacket bleeve.

Feel your nose.

The outside of your jacket sleeve.

Feel your nose.

The outside of your jacket sleeve.

Feel your nose.

Outside of your jacket sleeve.

Feel your nose.

Do that?

Male voice: Nope. I know what it feels like.

Get any impression on it?

Male voice: No.

Hm?

Male voice: No. I know what it feels like.

Mm-hm.

[To audience:] Well, it's just this kind of process now we're trying...

[To pc:] That's all.

[To audience:] It's just this kind of processing that we're doing. What are we doing? We're doing extroversion-introversion on thinking, extroversion-introversion on effort, extroversion-introversion on feeling, extroversion-introversion on looking.

And cases, as you pick them up, are somewhere in that band. One way or the other we're getting feeling here pretty good. Now you just keep going on feeling. What's he certain he can feel? That's all.

Well, if he can't be certain he's feeling anything let's get certain he's not feeling something.

[To pc:] Now, what don't you feel right from where you are?

Male voice: Well, there's anesthesed area on my body that I don't feel.

Where's that?

Male voice: On my legs.

Where else aren't you feeling?

Male voice: Oh, the rest of this place.

Rest of what?

Male voice: The universe.

Well, let's not get so general. Let's take out some space in it.

Male voice: All right. The lamp!

You're not feeling the lamp?

Male voice: No.

Good. What is feeling? What is feeling?

Male voice: What is feeling?

Mm-hm.

Male voice: Well, the way I'm taking it right now is to touch something and you get the sensation of touching.

Mm-hm. All right. What's thinkingness?

Male voice: Oh, that's just grinding stuff up.

Thinkingness is grinding stuff up, huh?

Male voice: Yeah, more or less; that's about all the definition I need of it.

Well, are you where you are - think you are?

Male voice: Yeah.

And where do you think you are?

Male voice: Right here.

Uh-huh. Where's the lamp?

Male voice: Right over there.

Think you're in the lamp.

Male voice: But I'm not.

Okay. Well, think you are. Can't you get the thought? I mean...

Male voice: Yeah, I can think I'm in the lamp.

Well, all right. Let's think you're in the lamp.

Male voice: All right.

We're not asking you to see the lamp.

Male voice: Oh, no, I know!

Yeah, well, you don't know.

Male voice: Yes.

We don't want you to think you feel the lamp, we don't want to get any feeling on the lamp, we don't want you to get any emotion on the lamp, we don't - you - want you to get any effort on it, we just want you to think you're in the lamp. Got thinking you're in the lamp?

Male voice: Yes.

All right. Now think you're in the lamp.

Male voice: Yeah.

Think you're in your head.

Male voice: I am.

Okay. Think you're in the lamp.

Male voice: Yeah.

Think you're out on the sidewalk.

Male voice: Yeah.

Think you're in your head.

Male voice: I am.

Think you're over the sidewalk.

Male voice: Mm-hm.

Think you're in your head.

Male voice: I am.

Think you're over your head - sidewalk. What's happening?

Male voice: Hoo-hoo, I almost slipped! I almost said, "I am.."

Uh-huh. Well, let's let it go at the moment - because this tape's almost gone.

All right. Here we have your - your feeling is condensed looking, effort is condensed feeling and thinking is condensed effort. And if you've got somebody who is so scared of effort smiting him, if he lets go, the first thing you can do is disabuse him of being somewhere else in the universe than where he is and just get him absolutely sure that he is someplace. And then having gotten him sure that he isn't someplace else and at least has a good idea of where he is - he's got certainty on this, you see - you just turn around then, and start up the band.

Now, this'll invert several times. See, because you don't quite know where the preclear is on the Tone Scale. But somewhere he can look.

Now, let me make a couple of brief remarks about a case that should be dead, it's - only I've been processing in the morning for a short time every morning here for two or three mornings, and I'll mention another case, too, before I'm through.

This case was terribly antagonistic. Probably will remain so; probably will have no good word to say for anybody in Scientology. But the point is that I gave her a drill which went like this: "Where aren't you?"

"Stuck!"

"All right, where aren't you in the past?"

"Home!"

"Certain of that. Now where else aren't you in the past?" - two or three other places. Certainty, see? "All right, where else aren't you?" And she finally narrowed it down and found out she wasn't in the corners of the room. And then she found out - but first she thought she was sure she was in Europe and here, too, and in South America and here, too; she was all over. Just - this was fifty years worth of mysticism had managed to butter her all over the universe. She wasn't sure at all if she was - wasn't all of these places.

So as we went along the line, we got sure she wasn't in all these places; and then she was sure she wasn't in more and more local places; and then, by golly, all of a sudden triumphantly, she says, "You know, I'm not under my chair!"

And after I'd done that for a short time I gave her a drill. And the drill just had to do with feeling the front two arms of the chair and then feeling the back two sides of the chair, and the front two arms and the back two sides, with her hands, see, just feeling that, and then feeling her eyeballs with her fingers and then feeling them from inside of her head; and then the front two arms of the chair and the back two arms - or the back two sides - two sides of the back of the chair with her hands; and then feeling the two back corners of the room, the two back lower corners of the room, the two front corners of the room; feeling these, see, and the two front lower corners of the room. And we just went around and around on this drill. And she was three feet back of her head the next time I asked her to be.

I got her there by merely asking her to feel the back of her head in front of her. She did immediately. She had finally stabilized - finally gotten her certain that she was in her head. Being certain she was in her head, she could then be back of her head.

Now, from in back of her head she was asked to perform this same exercise of making the hands feel the two front arms of the chair, the back two points of the chair and then the four corners above and the four corners below on the room.

She got terrific impressions of plaster. She didn't see a thing; she got all this impression, impression, impression. She was cheered up, she was getting more and more certain, so forth. Because remember, thinkingness and feelingness are still two points of certainty. But we were adding effort in there by getting her to press her hands against the chair - by asking her to feel it with her hands and we were squeezing effort in without noticing it.

All right. We went round and round on this and all of a sudden her vision picked up and she came out of a blur with her MEST eyes - came out of the blur; then it flicked off again, then it flicked on again, then it flicked off and flicked on. Time she was leave - when she left she was still flicking on and off.

By the way, another girl who was about to get a prefrontal lobotomy and showed up here a few days ago - I meant to tell you about this. Husband was insisting she get a prefrontal lobotomy and everybody was insisting she get at least electric shocks, and so forth, because she was very confused inside of her head. She was a Step I, exteriorized her - she operated just beautifully outside of her head - a relatively short session - just gorgeously, and then I ran confusion drills just like I gave you as a demonstration earlier in the class. Having people disappear and then having explosions appear, and distract her attention, and so forth. And her attention was getting better and better.

But when I was running these subjective techniques her tone, which had picked up while I was just drilling her in Change of Space Processing and certainty on being there - her tone dropped; and she dropped back into a bit of confusion. So I had to give her more drills to stabilize her externally.

When she was about to go she came back into her head again and an overwhelming confusion hit her. I asked her to be back of her head and adjust her balance mechanisms in the skull. They were all out of gear. She'd been struck several times recently with fists. And then knocked her balance mechanisms out of - on the ears. She adjusted the energy which controlled them and ran them, and so forth, and this dizziness passed.

This person was more sane than an awful lot of people I've seen lately and yet the psychiatrist had bullied and screamed at her to a point where he had her completely convinced, her husband had her completely convinced, she ought to immediately go have a prefrontal lobotomy. She was a Step I - total session, half an hour or something like that. Fantastic, huh?

That shows you that they don't even care whether they're sane or not, or whether they're crazy or not. You know, we got to get a hole in that skull; that's the motto today. We can't burn one in with electricity, we can drill one in with a brace and bit.

I meant to tell you about that case; it was quite notable. The girl came here; she was calm - external look of her was calm. But the second she began to communicate, her voice was about that loud and she was disassociated kind of badly. She knew enough to come down here, that's about all she knew. And she stumbled around, and so forth, but in processing snapped right out. The second she was outside, the balance mechanisms were then not influencing her areas of beingness, you know, so she could drill all over the place and then she got very good tone. Then we adjusted those balance mechanisms - she felt a lot better. Told her to call me the next day if she didn't feel well, and I haven't heard from her. But if anybody gave her an electric shock or prefrontal lobotomy, it would be under the heading of assault. I mean, because there's no - absolutely nothing there in this case to indicate insanity. She wasn't insane, not even vaguely.

Makes you wonder once in a while - isn't it? I wonder what the name of the girlfriend was hubby wanted. Hubby had merely kept after her, week after week, telling her she was crazy and ought to have something done to her, that was all that was wrong with her. Somebody had been telling her she was crazy and he got her to go to a psychiatrist, and he roared and screamed across the desk and I suppose he had a couple of hundred bucks in his pocket, too.

I wouldn't say the thing smelled or was crooked. I wouldn't say it was a put-up job. I wouldn't say that out loud, merely because it's not polite, not because it's not true.

But here is exteriorization. If we'd treated her on running engrams and inside the body, and so on, it would have been a long, hard slug because she was already convinced that she was crazy. But immediately on exteriorization orienting her where she could find herself; straighten herself out, get anchor points, add up what the score was; immediately she knew, too, she wasn't crazy. Complete certainty. See?

Okay. There any questions on this process? You can have a fellow - fellow can think he's someplace, if he's the one determining the thinking. But if he thinks he's someplace when somebody else is determining the thinking, he's liable to be all over the whole flam-damn universe. So you have to get him over somebody else getting him to think he's someplace.

Now, delusion is simply seeing some other place, that's all. Seeing a mock-up of space or something like that - that's delusion. So you get him over thinking that he's looking at something else than what he's looking at, just by asking him where he isn't.

And you whittle this down to a point where he knows he's in the body. Well, you've already knocked into thinkingness and knowingness, into that level. Now let's get him on thinkingness and drill himself around, and on feelingness to get acquainted - you see, after we've got him in the body - then with feelingness let's orient him somewhat in the body. You'll find out this will turn on better and better and better.

And then we'll get him by thinkingness to be a few places; just think he's someplace. Boy, he sure gets sure after a while that he thinks he's someplace else, see?

And then we go on up into feeling and we go on up into looking. And with such a case we minimize this business about looking.

Male voice: How about a bracket on thinking where one is: having other people thinking you're somewhere, and you thinking other people...

No, I'm sure that would be quite workable. You ought to experiment with it a little bit. Actually, it isn't that complex a problem; you'll find that's not that complicated a problem. It's a very simple problem of - he - you get him to where doesn't he think he is. Well, he's liable to think he's everyplace. But you'll be surprised in two or three questions how he doesn't think he's anyplace but where he is.

Now, in this process you're going to invert and invert and invert. In other words, he'll get sure, and then you'll find out how much surer he can get than sure. And he'll get as sure as he can put out a lightning bolt in his own manufactured space that will blow down somebody else's anchor point. A good test on this would be the Pentagon building.

Okay. That's all set.