Okay.

Now, there are actually two new ways of running things. One of those is Technique 80 and the other is Technique 88.

Now, many people down through the ages have adventured upon a technique which is known in psychiatry as having been authored by a fellow by the name of – well, he calls himself Krishnamurti. This Krishnamurti is out in Los Angeles or someplace, and he has a technique which he calls "awareness through action," some such thing. "Awareness of the present through action" or "the present through action" or some such thing.

Technique 88 probably will not be covered until the release of these publications, which I am writing because of Technique 88.

And the idea has been around for an awfully long time that all a fellow had to do was pay attention to present time and he was all set! This was an inarticulated, unexplained effort to get into present time.

The difference is type of incident, between the two techniques, more than principle, although there is a distinct difference in the way you run an incident with either one.

You know, you walk into a mental institution, by the way, and you just walk up to a certain number of patients and you say to each one in turn – you say, "Come up to present time." And you go over to the next patient and you say, "Come up to present time." And out of every five or ten or something like that, some fellow who has been crazy as a bedbug up to that moment will say, "Gngh! What am I doing here?" He's in present time.

Now, actually, if you were rather high on tone scale, you would use Technique 80, not 88, to blow the bank, because these techniques — both of them — are aimed at getting up as high as possible on the scale of beingness, getting up from zero to the highest possible attainment toward infinity. They have different ends: Technique 80 gets you there in this body, and Technique 88 takes the body away. So there are two different end products there. One takes you up as high as possible in a body, you see, and the other takes you up without a body.

One notable example of this was a young lady in an institution. I think it was up in Michigan. A Dianeticist went through the institution and was talking to the psychiatrists and so forth and said, "Well, you see, it works like this." And turned around to a young girl and he said, "Well" (she was drooling and hadn't talked and didn't talk to anybody and way out of communication) – he suddenly said to her, "Come up to present time!" She shook her head, swallowed a couple of times and said, "All right," and that night gave a speech at a party saying how glad she was to be there. She had simply come up to present time. She had a terrific case of acne and it went away in three days, and she stayed in present time and she was perfectly sane afterwards.

I know that sounds very outrageous to you, the idea of going around without a body. As a matter of fact, if you stop and think of the number of mechanisms which have been installed in this society concerning the declasse sort of a thing of not having a body, it’s not done. “They are gauche, you know, and they’re frightening. And these poor shades that have to roam the worlds. Yes, that’s bad! That’s bad.”

So just the suggestion to some people that there is a present time they can come to, or a present time does exist, occasionally seems quite sufficient to bring them into a state of at least neurosis.

As a matter of fact, everywhere you look you find some injunction about not getting rid of your body, and some propaganda — pure and simple propaganda — about the horrors of not having one. So if you just look at these two factors in the society in which Homo Sapiens lives, that the body is valuable. You must take care of it. Yap, yap, yap, yap, yap. You look at that one all by itself, you’ll say, “Whaaah, there’s something wrong here!“

Now, don't for a moment, however, be deluded into believing that the technique of getting into present time or being aware of present time is any very high-level technique nor any very high ambition.

Because as it evolves in processing and as one begins to study techniques, he finds out that to free a person it is necessary to process out all the control factors over the person. That’s a principle. Let’s process out the super controls with which a person is kept (quote) “in the groove”: a good boy, a nice girl, a this, a that, grind, grind, grind, grind. And if you can just find all of the things that have been installed to create that end and relieve them, you get a sane person.

The psychotic lives in and is aware of the past.

Now, that is an empirical observation; it is just observed that this takes place. You get off the super control of Mama and Papa off of a preclear. And as soon as you get that off, wham! they’re in better shape. So just extrapolate from there and then examine it a little further. And you find out you take off the super control of this and the super control of that and the control of this and the control of that, and they get saner and they get more able.

The neurotic lives in and is aware of the present.

You say, “Hey, what’s this?” So you go and get the best control books you can get: How to Control Your Child, a publication of the American Medical Association.

And the very sane lives almost exclusively in the future. He has to, of course, live in the future because he keeps catching up with himself so fast! You know – Rrrrr! He's got to be in the next moment all the time, otherwise he's not anyplace! And it's just a headlong javelin throw down the time track when a fellow is in good shape.

That’s its proper name, American Medical Association; it’s an organization, up somewhere or other, having a lot of trouble with the chiropractors. Chiropractors are trying to put them out of business, and they’re fighting it, however. (If you haven’t heard of the organization, why, just take my word for it.)

Now, therefore, let's take this old, moth-eaten idea, awareness of the present. Now let's make it workable for the first time. Let's not say, "Well, the way to awareness of the present is to every morning get up, and you take two dumbbells and you knock them together – bop, bop, bop, bop, bop, bop, bop – and you hear their noise, you see? Then you put them down again and you're in present time." Well, it makes money but it's not a good technique. You can tell somebody that "Well, the way to really get sane is to go out and mow the lawn. Yeah, go through all this physical motion. That's the thing to do." "What you need are sports. Go out and play tennis every day. Action, action, action!" Or, "Work hard."

Anyway, this organization puts out this book, the control of a child. Now, if you reverse the vectors and you process everything they say to do, your child gets healthy. You can practically take anything that is published by Homo Sapiens before May 15th, 1950 — just take anything — and look it over and then process it out of your preclear and he’ll get better.

These are all rather – rather control-mechanism therapies, by the way. You tell somebody that if he exercises his arm long enough like this, he will eventually get big muscles and this is good and he will be healthy – of course, he'll get an oversized heart, but his muscles will get bulgy.

Let’s take various things. College examinations: If you processed all the college examinations out of a college student, he would be more able and he’d be happier. Examinations install an anxiety state and so forth; they do various things. They’re very upsetting. Just process out that and he’ll be in better shape.

Well, naturally, if you create enough facsimiles of terrific effort you're going to get a bulge, because you're going to turn the facsimiles into such heavy effort, you see, that they turn into MEST itself! And gradually you bulge all over, but you can't do anything. Ha! That's the truth of the matter. That's muscles! Muscles! Very good thing, muscles. I'm not sure what's good about them but they're very good.

If your preclear can’t use any of his schooling (and I don’t know any preclear who can), all you have to do is just process out all of his schooling and he learns something; he knows something then. That’s very weird, but horribly true. They say, “You know, he’s a successful man even though he only went to the third grade.” That’s sure a backwards statement.

Now, production of awareness of the present by creation of heavy MEST facsimiles is not a good technique, but let's develop awareness of the present so that we can develop awareness of the future, so that we can then go far enough ahead so we don't have to be aware of the present. That's really good.

I know. I’ve suffered in classrooms long enough. I went to school once. Processed it out about a year or so ago, managed to get rid of the last of it.

By the way, you can go around and see the present and compute on the present and have a good time with the present and everything else, recombining it continually so that you will have a better future.

Anyway, you go around and you take rules and regulations about this or about that or something of the sort. You find out that one of the reasons people have bad teeth in this society is they’ve been enjoined all the time about the care of the teeth: “Got to take care of your teeth, you got to take care of your teeth, you got to take care of your teeth.” If you process out all these times they’ve been made to take care of their teeth, their teeth will get better. Weird, isn’t it?

Actually, the business of action is the business of recombining the elements in the present or putting new elements into the present so that you've got a future.

As a matter of fact, if you turn around and process out everything that made him take care of his body, he’d suddenly start taking care of it. Process out all the times that he was forced to bathe and he’ll start bathing. Wonderful!

You ever run into anybody when they walk in an old, knocked – down dilapidated house, they don't see the cracks in the walls or the scratches in the floor or anything else? They see this beautifully modernistically furnished apartment. They say, "That's very nice. That's very nice.

So, you just work on that basis of everything that is a force control mechanism on an individual is bad, you can therefore count on putting together a technique — a processing technique — of knocking out any of these out of your preclear. It gives you thousands of new techniques, just that sentence. You just reach out in any direction.

You say, "What's very nice about it? Look at the cockroaches and so forth."

All right, let’s take traffic regulations. There we go, traffic regulations. You see, there’s only — start, stop and change are the only three possible actions in the MEST universe. Start, stop and change. Traffic regulations. Traffic lights. Here’s the guy, he’s going down to the office, he’s all excited, he wants to get down there, he wants to go to work, he’s got a new secretary and everything. And he gets out in the car and he starts tearing down the road and all of a sudden, why, there’s this “Brring, bop!” red light, so he stops. He didn’t decide to stop, so it interrupts his self-determinism. So there he sits, stopped. He waits for the light to change, and he waits for it to change, and he waits for it to change, and then finally it changes and it says he can go. So he starts to roar across the intersection and so forth, and he goes halfway through the next block: A sign there says Children: 15 Miles per Hour. Nnnrrh — slow. He says — ”Now,” he says, “I’ll drive up the block here and get to the office quicker,” but it says Detour.

Well, when you say that, of course, you're in the present. But this happy, cheerful person that's with you says, "Well, these, these purple and green drapes, and so forth, and we put the chow bench there and-very beautiful place. Fine. Swell."

Now, there’s everything you can think of, and if he goes over a certain speed . . . You see, police don’t like motion. Police are at 1.5 and they got to stop things. And you can count on this fact (it doesn’t have to be rational): If it’s motion, it should be stopped. I mean, it’s a good, sound — that is to say, at least a completely consistent philosophy. Thereto nothing inconsistent about it; it’s the most consistent thing I know of. If there is motion, stop it.

And by the way, the ultimate of that is for this person to walk in and take a look at this, and all the cracks go pop! the floor polishes, the drapes go wheww! And somebody else walks in and they say, "My God!" You create an illusion so solid that it comes into being!

It so happens, you know, that the fast drivers are the ones who don’t have accidents. The slow drivers, the careful drivers, are the ones who have accidents. You start adding it up in the accident records and you’ll find the careful drivers.

Don't think there is any trick, though, to creating illusion that comes into being. Any one of you continually creates illusions which become being – any one of you does this.

One of the carefulest drivers I ever met was a lady who always kept her left wheels on the white line, squarely on the white line, so that she wouldn’t go over the edge. She caused several accidents, but never at any one time were the accidents happening to her. She was a roadblock all by herself. But she was legal. Nobody ever arrested her. She was legal. She was agreeing with the fact that motion should be very slow, if at all.

You say, "Now, let's see. I think I'll wash my car." Why do you want to wash the car? Well, you want the – you've got already the illusion of a clean car. You see? You say, "Illusion-clean car." Now we'll take some MEST action in the physical universe and. . . clean car. Of course, that took physical labor. It doesn't matter whether you took physical labor or you suddenly went out and you said, "I want a nice clean car. Isn't that pretty?" Glitter, and it's all clean. That's that. Really no reason why you couldn't do that, but that's the reductio ad absurdum of this.

So we have stopped motion all through these traffic regulations, and actually, a person who is living ill a city, you’ve got a whole technique with traffic regulations. You just start processing out traffic. Just process it out, that’s all. You could work on it for maybe twenty, thirty hours just on that technique, and when you get through you’ll probably have a well preclear His arthritis will probably go away, everything. Because what is it? It’s just continual stopped motion, one right after the other: stopped motion, stop, stop, stop, stop. Or change existing motion, and if he starts, stop him again; if he stops, starting him again. That’s particularly true.

Most people take it out by being very efficient with their motion so that they create an illusion and make an actuality out of illusion.

By the way, go to any town and stand on the corner for twenty minutes — just stand there. The chances are very good that a cop will come along and tap you on the shoulder and say, “Move along, bud.” You see, in this case you are stopped. The cops do operate not so much in stop but in change, in that respect. But they’re not anywhere near as insistent about starting as they are about stopping.

Take Hollywood, for instance. Hollywood films a play called "Streetcar Named Desire", and it has all of these tenements on New Orleans, and the fine ironwork, and it has the various styles that are in use, and it has all these various things and so on. The next thing you know, why, somebody is building something someplace out in Keokuk and it has some ironwork on it. And somebody designs a new dress someplace, and it's the dress that they saw in "A Streetcar Named Desire".

Now, this is an interesting manifestation that almost anything that has been prohibited must have a beingness value. It’s a totally outrageous sort of a guess to make. I mean, you say just automatically that anything which is prohibited probably has a beingness value. And you look it over for a while and you’ll find out that’s more or less true. And so we get back to ghosts. Ghosts are bad; they frighten people, they do this, they do that.

What was that movie? "Forever Amber". Here is Amber. All right, Hollywood turns the crank on the illusion they have created. Actually they had to build the illusion before they could turn the crank on it, but it comes out as an illusion. And the next thing you know, you look in all the store windows and so forth and you see Forever Amber's hat. The illusion is produced and then people accept the illusion, and it becomes a reality the moment they agree upon it. You see?

What would happen to you if you didn’t have a body? Well, that would be pretty bad. Supposing you had full, 100 percent awareness — you don’t have that now — but supposing you had the full awareness of beingness to yourself and so forth, and you didn’t have a body.

So future is the creation of a future illusion and the working toward that illusion to make it a reality.

Economic system: That hasn’t got any haul on you; you don’t have to make any money. Food: You don’t have to procure any food.

Some people drop off so that they just create future illusions. And by the way, this must be very good, because everybody is so down on it. They say, "Don't daydream. Don't daydream! That's bad! What you want to do is work. That's good. Muscles and so forth. Don't daydream."

Work: You wouldn’t have to work. Look at all the labor involved in keeping yourself. Well, you wouldn’t have any of that.

But some people get hopeless about making the illusion into a reality, and so all they do is dream the illusion. But believe me, that is far in advance of never having an illusion.

And if you have added to it the fact that you could produce an illusion of any kind that you want to, you can walk around looking any way you want to look. You could even look very solid.

That person who only has present time – God help him! Look at him. You can look at this place here or look at some similar place and you say, "Well, it has this factor and that factor and this factor and that factor." Most of the people putting this place together right now aren't looking at it. They don't see this place this way. They've got it all built!

Think of it: If you walk into this bridge party and this fellow is there telling you all about his business: “I was down in the stock market today and I made — I made twenty-five thousand bucks. But Joe was down there too, and he didn’t make twenty-five thousand bucks. But I made twenty-five thousand bucks, and I said, ‘Well, Joe, it’s too bad you didn’t make twenty- five thousand bucks.’ And he said, ‘Well, I guess I didn’t. You’re just lucky, Bo.’ “ You know, I mean, it goes on like that and that’s the same conversation you hear for about two hours, and you’re sitting there . . . You just wouldn’t be sitting there anymore. You wouldn’t have to get up and say, “I am sorry but I have to go home now because I left a baby-sitter with little Junior.” You don’t have Junior and you don’t have a baby-sitter, but you make this excuse just so you can get out of there. You wouldn’t have to do that. You’d just go . . . You just wouldn’t be there.

You'd be surprised, but where you're sitting right now – probably there's a building there.

But look at what this does to the police! They haven’t got a body they can lay their hands on. And that’s bad, that’s very bad! It’s difficult! A body is very valuable for other people, very valuable. They can come in and tap it on the shoulder and put leg irons on it and do other things to it, put it in electric chairs and do all sorts of things with it — amuse themselves with it, in other words.

Thought becomes matter, and matter can come out of thought. And when your thought gets into bad shape and you're not directing it well at all, it'll turn into matter eventually, but the wrong way! So that when you try to go in through MEST energy and action into the real universe just as such – MEST action only, with no aesthetic, no art, no dream, none of these things – you're just going to go into the present, and that's not good enough. It's good enough for a raving psychotic to be in present, but it's not good enough for you.

Now, as far as emotions are concerned, the whole emotional range is very, very free without body, but it’s very frozen with a body. The body starts to hurt here. What’s your emotional range? It’s set by the body.

Now, when you take the will to do action, and to that you add aesthetics, shape, form, dreams, illusion, now you're moving up into the real band of sanity. That is the real band.

So you see, it’s not necessarily an asset — not necessarily. In fact, quite the contrary, is a distinct liability. l don’t know of any advantage for you; I know a lot of advantages, though, for other people.

There's an old, old poem that says, "And the best of a man is gone when the best of his dreams is dead." And it finishes up to the effect that when the last of his dreams is dead, he's dead too. And that's very true. But actually, when the last of his dreams is dead, he's just moved into present time only. That's a hideous place to be! So I just give you the difference of goals.

In the first place, evidently, a human being can look at an object and move it if he is high on the tone scale. He can look at an object and move it. Poltergeist, you call it. All you do is put a few more ergs of energy on one side of it than you put on the other side of it and it’ll move. Like an airfoil, it goes up, because it has got less air on the top than the bottom. That’s the way you move things when you don’t have a body.

The Krishnamurti goal, and so forth, would be the goal of now – if he could just get people into a neurotic state he'd be happy. We want people up here – whssh! – way up! And the way you get way up is to be you, and then be! be! be! all the way along the line.

Of course, there’s one horrible thing about not having a body. There would be one horrible thing about not having a body — utterly grim — and that is the fact that you could probably take over and use any body around. So, naturally, this is very illegal, and this is something you mustn’t do. And in order to have a well-controlled society we mustn’t do that, because you can’t put your hands on the people after they go up on 88.

So, let's examine, then, and find out what "be" is. It has three component parts: affinity, reality and communication. These three things together, by the way, can be demonstrated to be mathematics.

On 80, that’s different; 80, the person has still got a body, still inhabiting a body, he’s still a body, and so forth, but he can extend his attention and beingness over into the other dynamics and be them too.

Mathematics itself is based upon the interaction of affinity, reality and communication. I won't bother to go into that. But it actually is very simple.

So you see the two orders of the techniques: One, you are your body, in your body and merely extending your attention and beingness into other dynamics. And 88 is you have or haven’t got one, and if you haven’t you can actually be the other dynamics anywhere you want them.

For instance, you're trying to get figures and symbols to agree, and you're trying to get a communication by the whole operation between your mind and somebody else's. And you are examining similarities and identities – in other words, affinities. And you can interact with affinity, reality and communication and you get mathematics. You also get understanding; understanding consists of this. And you also get, of course, higher-up beingness – be.

Don’t suppose that I am trying to sell you out of having a body. I’m not. You want a body, that’s your business. I wouldn’t upset your — I couldn’t call it self-determinism. You’ve been sold for a long time on the value of a body. I’m not even advising you to do this.

The gradient scale of be, then, is the gradient scale of ARC. And a low, low level of ARC is survive, and a higher level is beingness.

But let me point out this strange fact: Your body is composed of facsimiles, composed of thoughts: effort, counter-effort; emotion, counter-emotion; thought and counter-thought.

What do we mean then by ARC?

And if you’ve ever run a real, heavy engram, you know how much like matter it was. Well, that’s your body. Only trouble with this body you got here is somebody else thought it up, so you’re reducing somebody else’s Gram. So that’s 88: 80 has to do mainly with reducing your facsimiles.

Affinity. Affinity could be defined as love, but that would be a very poor definition for it. It means the tendency to adhese or cohese to something else, or not to cohese to something else. In other words, affinity doesn't mean love. It means love, hate, apathy; it means anything along the line that would have to do with describing an emotion. But it's not quite the emotion either.

When you reduce a heavy experience, a painful experience, or an experience where — some light experience where a truck has fallen on you or something like that — you will notice that getting it up is sort of like actually throwing matter away. I mean, it’s that heavy. And the odd part of it is that an electropsychometer measures just this: How dense are you? As it takes a dive on the falling side . . . You know, you ask somebody a question, “Were you out with a girl last night?” and it dives. He says, “No.” He was, and it dives. What has happened there is the facsimile of the experience called for has moved into beingness in him and so it impedes the current which is running through him and makes him more dense. And that’s the way a psychometer works, and that’s all it does; it measures the relative density of the body. There’s a little trickle of electricity, goes through the body, and it’s hooked up to a meter. And this little trickle of electricity, of course, runs into heavy facsimiles or light facsimiles or no facsimiles. And that’s what it’s saying; that’s what it tells you to do.

We have, then, a molecule in this piece of iron here, or brass, and that molecule has a tendency to stay near another molecule. What's that tendency to stay near? Well, it comes under the heading of one has an affinity for the other. And affinity runs down the tone scale till we'll find two objects which won't stay together – they will move away from each other. There are certain chemicals that do this. They have a low affinity for each other, until the affinity reaches zero. In other words, affinity can be repulsive as well as attractive.

And as your tone goes up, you are less and less and less and less dense. And the way you get people’s tone up is to run facsimiles, erase facsimiles; makes them less and less dense.

So, affinity is the relative identification or similarity or differentiation amongst whatever you want to say it's amongst. That's affinity.

The denser they are, the worse they feel; and the less dense they are, the better they feel. It just follows, then, that the extrapolation all the way out to reductio ad absurdum, or something of the sort, would be “no body equals wonderful.”

You say, "One person has affinity for another." It would be a specialized use of the word.

But, of course, the number of implantation’s which coax you to possess a body are so many and so hard and so furious and so violent that when you do ease out of a body, part of those implants is that you go into amnesia, so you don’t remember getting out. You don’t remember the times after you died.

This word is taken, by the way, from the vocabulary of the magician, about 900 A.D. He had no way to sum up love and love. And he bridged it by saying "relative affinity." Because there is the love of an individual for an object, of a person – a man, for instance – for a man, which merely means affection. There's the love of people, one for another. And then there happens to be a second dynamic connotation of the word, "love." And "love," of course, is what they sing about down on Tin Pan Alley: moon, June, croon, soon and love. Love. So, you don't get a plain look at it. Actually, either love is a part of affinity, so it's relative affinity.

Of course, the most horrible trick that was ever played on anybody was to convince him that he only lived one lifetime. Oh, think of the apathy of it: “You will never be able to do it again.” “You will never be young again.” “You will never have a chance to be married again.” “You will never be young and lovely or in love or anything again ever, anymore.” “It’s serious, it’s awfully serious. Life is terribly serious. If you flunk this course, you’ll never be able to take it again.” “You’re just done for, fellow; you only live once. And when they bury you, you’re dead and you’re dead for a long time. In fact, fellow, you really aren’t you at all; you’re some flesh. And you’ve seen flesh rot and so you know that you are perishable. But of course, for a small consideration we’re going to sell you the slight possibility of going to heaven!” (Oh, I beg your pardon. That’s another line. I got off of there just for a minute.)

Affinity is a relative thing. It runs all the way up from actually being so close an affinity to something that you are the thing, down to not being anything, much less being in affinity with something. And it passes through the stages of being repelled, hating, so forth. Those are all relative affinities.

Never at any one moment would I ever upset anybody else’s magic, nobody else’s illusions. I wouldn’t want to upset or bust through the various cordons of barriers which have been put up before you. I wouldn’t want to tear these things down and throw them away, because it might hurt somebody and I need their approval so I can survive!

All right, let's take communication. You think that communication perhaps consists of somebody saying yap, yap, yap, yap, yap, yap, yap, or somebody writing down on a Western Union telegraph blank. Oh, no. The most intimate communication which you have is right now probably your tactile sense. You touch something, that's communication. Another sense of communication is sight, another one is hearing. These are communications. The use of sound and words are highly specialized communications. ALL perception is communication.

In other words, when you do have an immortality, it’s something you won’t know about and somebody else has a control over it. When you are bad in your body, they can get you forever by letting you burn forever, which is sort of a dull thing if you come to think about it.

Now, there are various gradient scales of communication. Communication starts in at the bottom of the tone scale with no communication, goes up through perverted communications, comes up to real communication or real sight, comes on up the tone scale – we're all this way, by the way, going through the MEST universe. You know, you send a sound wave out and it hits somebody's ear. Here is "I" and here is "I" and you go through the MEST universe and you get from "I" to "I" by perception, you see?

Now, all of this adds up to the fact, there have been a lot of operations back on the track, been a lot of engrams, a lot of stunts done to convince you that you are what you are instead of what you want to be. And as a net result, it’s pretty hard to get up to the first dynamic.

Here's a person, here's a person. They hear each other, they see each other. You're going through the MEST universe. You're using energy waves, sound waves, all that sort of thing. And it goes up through the tone scale up to there and suddenly starts to bridge, and goes from person to person without the MEST universe being in there.

Now, getting rid of a body is not Technique 80. And I merely threw this other one in to show you one thing: The lower you are on the tone scale, the more concerned you become about a body. If you’ve ever seen anybody very low on the tone scale, they get the slightest cut and it just worries them. And as a matter of fact, as they go down on the tone scale, things hurt more and more and more and more, until some little tiny incident, some pebble in the path of life, trips them and they fall headlong. They just can’t stand this; it’s too painful. It’s gotten to a point where the thoughts themselves seem to be as heavy as material objects. And if you’ve ever processed anybody who is very low on the tone scale, you know that words are things to them, thoughts are things.

And its first method of doing that is by emotion. You get an emotional interchange of waves. Now, you've experienced that. If you want to run back on the tone scale, by the way – pardon me, run the tone scale down along the level and just see if you can experience any time you've ever had anybody's counter – emotion, you will find that the person who hated you the most is a person who was just stuck right on the track right there. An emotional wave was proceeding from that person, and that emotional wave was aided and abetted by the fact that you were resisting that person, so it has actually gone up above what we normally consider to be matter and energy and space and time and has gotten into the band of an emotional wave. It really is a wavelength. It's a pretty crude wavelength.

You can see a psychotic, practically, when he’s “thinking” (quote, unquote); he takes this piece of matter out and he looks at it, and he puts it buck in very carefully. They have tapes that they read off of, because thoughts aren’t volatile. They do all sort of things. But the lower they are on the tone scale, the more they have to do with material objects.

But you can feel that. If you think of somebody who hated you, you'll find out that their hate's bunched up on you someplace. You're actually getting a communication line direct without intervention of sight, sound or anything else. It's an emotional wave. It's still a wave action, however.

Now, this just demonstrates to you, then, that to get up the tone scale it’s necessary to get out of materialism, get out of the range of materialism. What’s materialism? Materialism is concern with m-e-s-t. Concern with MEST, that’s all; that’s materialism.

Now you go up the line a little higher and you get into the band of enthusiasm. You ever felt somebody else's enthusiasm? You ever felt the contagion of enthusiasm? All right, there is that. It is a communication. It is a wave motion that people in pretty good shape feel easily. People who are down though – they are low on the tone scale, of course – never could tune in on enthusiasm; it's just a little bit too high up. The wave is different.

In India’s sunny clime when I was in my prime, I used to talk to some of these boys. They’re good lads. They’re all sick, but they’re good lads. They are very wise, they are so wise that they know not what they know. They have gotten up to a point of observation, not action, and they sit endlessly and observe — very remarkable.

And then we go way on up the tone scale to a figure that looks like a point – that many zeros out, and we get the wavelength of aesthetics – very, very high! [See Ron's handwritten notes on the wavelengths of the tone scale in the Appendix.] And yet not so high that we couldn't duplicate it today with our electronics. But it's way up there! That's aesthetics.

The number of things which they can do are quite interesting, but they don’t compare with the number of things that a human being fully cleared up the line could do. It is nothing! It’s just nothing to take a few matches in a bowl of water and make them run this way and that way with poltergeist just by looking at them. It’s really nothing to be able to take a television screen, turn it off so that you got the afterglow on the thing and then stop it from glowing at will — whh! whh! whh! Just block it out and then let it turn on again; block it out just by looking at it and so on.

And you get a person as he drops down the tone scale, he becomes less and less able to do aesthetics or appreciate aesthetics. One of the most aberrative incidents you had in your – in this lifetime, by the way, was running up to one of your parents and saying "It's pretty," and they say, Well, Junior, wash your hands for dinner." In other words, they said, "Aesthetics – phhh! Aesthetics – nah. What you want to be is practical!" The use of "practicality" is very poor.

You can control the material universe, but you can control it a lot more than that. And I’m not now talking about mysticism. Mysticism is the hidden, the secret, so forth.

But do you know that the aesthetic wavelength and that band immediately below it and above it and around the mid-band of aesthetics – is practically a disintegrator wave; it just thaws through all thought of a lower tone.

I happen to be talking much more closely in the realm of physics — much more closely.

You can produce a piece of beauty or, if you please, an aesthetic ugliness of such a magnitude that you just stop people in their tracks! You can blow away and erase their anger, hate, discomfort or anything else with an aesthetic.

Now, these chaps in India are doing the exact reverse of Technique 80. And if you want a good, broad description of Technique 80, Technique 80 is best described by being the exact opposite of everything everybody in India is doing in order to become holy and to take off for nirvana. Now, if you just look all that up and find out what all that is and then reverse it all, you’ve got Technique 80. Because you can’t arrive by going out the top; by trying to go out the top you go out the bottom.

But when you can generate an aesthetic that high, you are so high up the tone scale that you practically own them. And they realize it, and they say "Hmm! Ohhh!"

Because what are they trying to do? They’re trying to say “Oh, the material universe is no good!” They’re trying to say “The body is no good.” They’re trying to say “I won’t have anything to do with it. I detest it. I am not going to touch it. I’m going to abstain from everything material. I am not going to kill anything. I won’t even kill a cockroach if it runs across my slipper. We are short of meat but we’re going to let a dozen cows walk through the temple courtyard.” Anything, in short, of these practices is a detestation of life, of living, of the material universe. It’s saying, “I don’t want any part of it.”

The way you really fix up a society is to kill all its artists, like they do in the United States. They don't let an artist exist in this country. One of the things they do is they try to teach him in the university. You can't teach the guy aesthetics; he has to come clear down here on the band of the tone scale to get into MEST communication level with somebody who is going to teach him about something which is – whssht! – way up here! Can't do it. An artist is an artist. And any one of you is an artist if you are up in that band, if you can emanate that band. Nothing under the sun will mold up faster than that band. It'll go into anything.

And sure enough, you can go up that line and become quite interesting. You can become quite interesting, but you sure don’t become Clear! It is the surest, fastest way to get sick that I know of ! The Ibis: You learn to stand that way for eight hours. The something-or- otherness: You cross your legs and let the flanks lie down flat, and eventually you can get to a point where you could lie spraddle like that, and the total achievement when you’ve finished that is to have your legs able to lie down flat.

A story somebody mentioned to me the other night: a crowd became very angry at an artist in some ancient civilization; it became furious with this artist because he had taken a slave and had made the slave pose so long and so arduously that the slave had sickened and died. And the artist had used him as a model, and the crowd grew very, very angry and they were storming his doors and about to tear the house down, when the artist simply walked out and held up the picture he had made of that slave. And the crowd stopped, and that stopped all the motion as far as they were concerned and they went home. That was the answer.

You can make a person sit still long enough and he will get the counter-effort of every effort he ever received. That is to say, you make a person just sit still, make him sit real still, make him concentrate on sitting still, and all of a sudden he’ll get help! He’ll feel one of these old half-suspended counter-efforts suddenly drill him. Maybe it’s way back down the track. It’s very amusing. Concentrate on sitting still — that’s yogi [yoga].

It's very hard to see this today, because they turn art immediately into a commercial channel, quickly. Kill it! Bring it down the line.

You know what I would do if I really wanted somebody to be completely blind on how you got out of this universe? I’d teach him yoga, if I really wanted to blind him. If I really wanted to wipe out his knowingness and his beingness, I would teach him these techniques with care, with great care; tell him how he had to practice and how careful he had to be.

Do you know that it was against the law to do any artwork in this country 175 years ago? That you could be whipped, stoned? People like Paul Revere had to take it out by saying "It's practical." And so they made silverware and ironware and things of that character because it was against the law for them to do anything else. Bluntly against the law! We've gotten a little bit better, so we must be coming up the tone scale a little bit in some respects. All right.

There is only one way, really, to get into a state of living, and that’s live! There is no substitute for an all-out, over-the-ramparts, howling charge against life. That’s living. Living does not consist of sitting in a temple in the shadows and getting rheumatism from the cold stones. Living is hot, its fast, it’s often brutal! It has a terrific gamut of emotional reactions.

When you examine this band, this is a band of communication. And there isn't anything very mystic about it; it's about as mystic as sitting down and reading an oscilloscope. There it is, and there are the wavelengths, and that's that.

If you are really willing to live, you first have to be willing to do anything that consists of living. Weird. But it’s one of those awfully true things that you wonder why one has to say it. And yet it has to be said. Because people who are trying to become holy, trying to go to nirvana, trying to go to heaven, trying to become the eighth dynamic, trying to become very savvy on the seventh dynamic, trying to be able to do poltergeist and these other phenomena, are backing up from doing all of them by getting stiller and stiller and less and less, until finally they hit zero.

You can commit aesthetic waves in combinations so that they will re-emanate on an aesthetic band. That's quite a trick. It's done instinctively; it's not done much by rules and laws. But if you wanted to get down to it, you could write up all the laws that had to do with aesthetics.

Well, you can say that zero is in nirvana too. But I like to have guys in zero if they’re fighting me; they won’t fight me if they go down to zero.

Now, there's communication. And the highest level of communication there is, is art, and the lowest level there is, is a whip. And you can take your choice in a society of whether or not it's going to be an aesthetic or a whip.

How do you vanquish an opponent? You hit him so hard and so fast, so suddenly, that you drive him into apathy quickly. He won’t recover; he’s close to zero.

And all the past generations that we are in intimate contact with took the whip! But they're still communication lines.

How do you not discover a secret of existence? Well, the best way not to discover it is to back up from it and sit still. If you are going up toward infinity, for heaven’s sakes, examine infinity. Infinity would consist of everything, wouldn’t it, just at first glance and first analysis. And so that would mean sweeping action, it would mean sweeping decision, it would be “to be.” But in order to be you have to have willingness to be, and _s you go up the line — all angels have two faces: one white, one black — you have to bus well as willing to create. “To be” is everything, and therefore as you go up the line, you have to be willing to risk, to dare.

Reality is another thing, and rather frightening to realize that the only reality, the only reality you know in common with other people is that reality on which you and they have agreed. This is an old one in Dianetics, very old one.

There is nothing to be gained by backing up from life. That isn’t the way out, except through the bottom. If you want to become MEST, back up from life and say “The material is no good. We must now codify our behavior so that we have to take eighteen sacred glances at the whopajug every day, whistle ‘Yankee Doodle’ backwards six times and go through the sacred ceremonies of turning off TV. And then we will become holy and part of all and godly.”

We're all sitting here and all of a sudden this cat walks in. We all saw a cat. We agree that thing is a cat. Fellow walks up and he says, "That wasn't a cat, that was a Cadillac."

That was the biggest control operation that anybody ever put across in the course of this human race! That’s really a wonderful control operation, because it takes any one of you who wants to be, who wants to get into action, who wants to control life, who wants to assume an allness and an intimacy with all of creation, and it says gladly and happily, “Here’s the route, fellow. Here it is. Here it is. You sit down with your flanks of your legs flopped out for eight hours a day and you do the Ibis. And you stand up and bow down before this altar sixteen times, and you count your mouth organs or something and say ‘Om mani padme om, om mani padme om, om mani padme om,’ and you’ll get there.”

You say, "It wasn't. It was a cat."

It’s a dirty trick! It’s as dirty a trick as taking some lisle kid, and he’s walking down the street and he’s all happy and cheerful and he wants to go to the movies. He wants to go to the movies. And you know that off on this other street down here they’re fumigating — they’re fumigating a house — and it’s a dirty, narrow alley. And this little kid can’t read, and there’s a big sign there, says Danger, Stay Out of This Area. So you carefully tell the little kid, very gently — you say, “Well, sonny, I tell you how you go to the movies. You go down this alley and there’s a red and white sign down at the end of alley. And you can’t read, but that sign really says Movies This Direction. And you go down to the other end of the alley and you stand there for fifteen minutes, and they’ll open the door and you’ll get in the back of the theater for nothing.” And then you smile very happily and sweetly to yourself — little Audrey just laughed and laughed. And you go down a little bit later and stir the body up with your toe and say “Ha! Ha! Ha! What a big joke!”

Well, it's a rather a pointless argument, because all reality is established by is the majority opinion. One for you to think about. All the reality there is, really, is a majority opinion.

Well, that is about as big a joke as has been put across on the human race. They tell you to go down that alley through the phosgene gas, and that’s the way to live. Well, it isn’t. The way to live is to go to the movies — the other route.

So you get into a minority on reality, and people start really fighting you. They say, "He must be crazy. He doesn't agree with us." Well, their reality might be entirely a psychotic reality in that it was not good for their beingness. They've all decided not to be, you see? They say, "Well, we'll just – what's real here is not-beingness. Nothing exists; that's real. We have all agreed that nothing exists."

Now, here was a crossroads for man. Here was his chance to get up again, to be, to be constructive, to exist in groups, to cooperate with his fellows, to be above the need of law and order, to assume an ethical level which was so natural and so well understood that at no time would you need to moderate it — there’s a natural ethic — and because somebody wanted a body to control, they turned them down the other street and they said, “Be quiet.”

The United States right now is on the very astonishing basis of "We have all agreed the atom bomb does not exist." Ha! Well, it doesn't exist! There's only one unfortunate thing about that, is they are not joined in that agreement with Russia. The atom bomb would practically cease to exist if everybody in the United States and everybody in Russia, or even the majorities in both places, were in perfect agreement that the atom bomb didn't exist. Or if they were even in agreement that it was not a threat, it would cease to be a threat. That would be a real thing, then, wouldn't it?

And therefore Technique 80 can be summed up very quickly. Technique 80 is summed up simply by practicing beingness successively through all the dynamics on up the line, and of carefully taking each rampart of beingness as each dynamic approaches.

Well, enough people agreed hard enough one time about the MEST universe to make various things in the MEST universe. And that's the long and short of it, and that's why you got a MEST universe. That's reality!

The dynamics are eight. Before you hit two, be one — really be one. And before you hit three, for heaven’s sakes, be two. And before you hit four, you sure should be able to be a group, to be a part of a group or all of a group at will, and so on up the line.

But if you go around searching for what people say you must face and call reality, in other words, if you go around obeying this thing "Well, the only thing that's wrong with you can be healed and so forth if you just face reality. Now, if you will just pay me twenty-five dollars an hour and face reality, we'll all be nuts." Excuse me, I mean, we'll all be rich. That's wrong too, because the patient would be poor. That is your standard therapeutic advice, however. Face reality! In other words, agree with everybody!

This includes, for instance, number five. Now, it seems rather strange to you to say that you could suddenly be a cat. Well, there’s a cat over there and all of a sudden, how does that cat feel and think? Now, how does that cat feel? What’s that cat all about? See, we’re not talking now about not having any body; we’re talking about you’ve got a body, just like you are now, and you suddenly say to yourself, “Well . . . Ha, it’s very amusing to be a cat, thinking about mice. Well! well! Hm-hm. Slpp! Good mice. Yeah.” Of course, you sit right now and you think of biting a mouse. You think “Mice have mites, you know, and lice.” And they’re not very cleanly gutted down at the slaughterhouse, and not laid out in a butcher’s shelf with artificial red coloring on them and so forth or anything.

Well, I don't know how sick you can get reading Dale Carnegie, but it's not well. Because to some slight degree you become that with which you agree. If you agree that the desert is a dirty place, you will become dirty. Blunt as that! You become to some degree that with which you agree. And the only way you can escape it is to go up – high enough up the tone scale so that you are creating an illusion for yourself.

And if you could face being a cat and enjoying biting a mouse, you’ve learned how to be on the fifth. But don’t think you can be on the fifth or even begin to approach infinity unless you can do such things. And it’s very easy to do, very easy to do.

I saw a cartoon one day, a wonderful cartoon, a wonderful cartoon. It said, "Doctor, I just go on day after day facing the same grim reality." He had learned to face reality 100 percent and he was a sick man.

Now, supposing you started to do this, supposing you started to be on the fifth dynamic — which is the dynamic of life, includes all species — and you hadn’t bothered, ever, to be your right hand. Just like that — you never could be your right hand, but you go over here madly and you say “I’ll be the fifth.” Your right hand will say to you “(whistle) — me.” You’ll be very aware of that right hand.

What you've got to teach a man to learn, if you are going to teach him to learn anything, is you've got to teach him to face his own illusions. To hell with his reality – everybody has got reality. Throw it overboard.

Try it just for a moment. Try it just for a moment: Be that car for a minute. What pulls you back from being that car?

You start agreeing with every reality that you run into and you will have a good time!

Female voice: Well, because the car is very depressed.

Now, in Dianetics you go out in the society and you wonder why you have gone out of communication just a little bit. It's because you don't any longer agree with their reality. You've said their reality is too MEST! Because, you see, reality is on this gradient scale too.

The car is depressed? But do you get any feeling that you are too aware of being where you are to be anywhere else? Do you get that feeling? You are very aware of being here in your body. Why are you aware of being in your body? Well, it’s because you’ve never become aware.

And you've seen a society which is perfectly willing to be in chaos. What's this? This thing is in chaos; it's a solid chaos. It's going in all directions this way and so on, and it's going all so furiously and so fast and with so much force that it became solid, and so there it is, a solid chaos.

Boy, you’re low on the tone scale if you’re aware of being your body. To work for awareness, just awareness all by itself, would be practically nothing.

And you get the society: as it goes down the tone scale it approaches that chaos. And when you get a living culture which has gone down the line to where it doesn't care about this and it doesn't care about that and it says this is that and so on, and so on and so on, it's getting too close to being a dead culture. And you, being a little higher up the tone scale, say, "Hey. I don't want to be that dead." That second, you've gone out of agreement with it! So your reality goes out of it and you go out of communication with it.

You could be aware of the body. What you want to be on the first dynamic is to be so aware of the body that you then rise up, pass through that and become never aware of the body.

Did you ever see a Republican and a Democrat communicating? No, you've seen them talking, not communicating.

Did you ever see a ballet dancer who was aware of his feet? No, not a good one. Nor have you ever seen a tennis player who was aware of his racket.

One of them says, "And you take that FDR you had! He ought to have been taken out and shot!"

You know how to win a game of tennis over any opponent? Just before the game you say, “How do you hold your racket, George?” A wonderful technique. “Teach me that backstroke” — great, nothing like it. It’s not sportsmanlike. but in the whole business of beingness you have to learn to be not sportsmanlike tog. All right.

And the other fellow says, "And Eisenhower -- yap, yap, yap."

You get, then, roughly what we’re tackling when we tackle beingness, and you get a fair idea of what Technique 80 is. Technique 80 is the practice of beingness on each dynamic successively, and the practice of beingness on a dynamic until you can be that whole dynamic. Technique 80 doesn’t have very much to do with facsimiles or their erasure or running on a time track or anything else.

They're just talking – yap, yap, yap – no communication. Why? But it's too broad a thing to say no communication, because actually it is a point on the communication tone scale: It's hate-opposed. And so you've got this, and there's just no line hooked up through, because at this same point there's no agreement. And, believe me, there's no affinity; they don't like each other.

Technique 80 uses the principle that you are a built-in disintegrator. You have one, you are one, and there’s actually a way of agitating an area with your thoughts: going brrrrr over something that just fries it down.

And you can say, just bluntly, that there will be as much communication as there is affinity; there will be as much agreement as there is communication; there will be as much affinity as there is communication. They just interact, interact – any of the three points.

You know these Buck Rogers ray pistols, all this stuff in space opera, and so forth? The original ray gun, you see, is you. You ever walk into a room and know that people were talking about you? Just been talking about you just a moment ago. You know that. You know, you say — feel that? All right. Very simple.

So, you've got this whole band. if you want to go up tone scale, you'll finally arrive at the beingness which is an aesthetic beingness, and there alone is enough horsepower to come right around and actually create or disintegrate matter. I snuck up on you with that one, but that's what you do.

There is actually an output, and it is an energy output. And if you had a sufficiently sensitive oscilloscope, you could measure it — not only that but you could get its wavelength.

Somebody thought this universe up, and I do mean "thought it up." That's why you can erase an engram. That's why a fellow who has too many engrams eventually dies; he just gets to be matter.

During this series I am going to tell you the wavelengths of these various things. They are rather fabulous wavelengths. You will really blink when you think of wavelengths of this character, but these things have wavelengths — people have wavelengths, in other words. Not much to it. Emotion has wavelengths.

How dead can you get? Matter.

You can take a person and shoot him with a certain wavelength and he will experience that emotion and so on.

All matter, you could say, is dead thought.

In other words, your beingness extends from a zero or an infinity, which is the basic “youness,” and that is the static called theta — theta as a static. But as we proceed from that static, we go immediately into energy, wavelength. And the wavelength becomes more and more gross, more and more gross, more and more gross. It enters into the top band of radio, it goes into all the bands of electronic flow, and finally congeals into the band of matter. And the matter gets denser and denser and denser until you get to plutonium. And the second you get to plutonium you get to zero, because the second it comes into being it blows up. Okay? You go from zero to zero.

Now, we're not trying to produce on you here "all is illusion" and "God is sex" or whatever that creed was. All we're trying to introduce here is just this simple fact that here's a band, and from the top to the bottom of this band, you actually have one thing: motion. It goes from no motion, which is the static – the extreme static of thought – to the frozen motion of matter. There is your band: motion which is more and more solid, more and more in close proximity, till you get clear to the bottom.

There’s one or two beyond plutonium that the boys haven’t discovered yet, and I have a little joss stick burning to the effect that they will be struck dead in this life or something before they invent those. Because we’ve got a certain use for a very short time of the physical universe here, and I hate to see people fool with it.

And way up here at the top we call this theta, just for a term. We come a certain ways down the band, as long as it will tolerate sanity and thought – and we say from the top down here to the bottom level of sanity and thought "This is theta."

And this disintegrator technique of which I speak actually only treats engrams.

Now, from the point where it will no longer tolerate sanity, but life is in support and so forth, from there on down we call it enturbulated theta, or entheta. And from this point, from the bottom of entheta which is about death – from there on down (but these are overlapped slightly here and there) – you have material universe. That's MEST. And this has been sitting on a tone scale looking at you for a long time. But there it is, it's a gradient scale.

I’m really not joking when I tell you about a Buck Rogers disintegrator pistol. What’s a disintegrator pistol? That’s you!

You can stop kidding yourself anymore about "getting away from reality," by which you would mean "getting away from the material universe" or doing this or doing that.

Why do you think a facsimile reduces — an engram, a thought reduces — when you go over it a few times? Just think of that. It’s not because you are rubbing it against anything or something like that. You’re actually going thrrrrrrr, thrrrrrrr. Why do it slow? Why not do it pyeww! Same process.

If you want to get rid of the material universe, you'll have to erase it.

Really, it’s not the same process. Because you take a person who is very low on the tone scale and he isn’t putting out much in the way of disintegration. He’s putting out practically nothing. So you run this engram and you run this engram and you run it — nothing happens. He’s getting worse. So you take a light lock — that is to say, a little experience: he went out and he found out he’d left his car keys in the house. You know? This to some people would be a terrible experience. They practically couldn’t recover from this. And you take that experience, and you can take him back on the track and actually run through that experience with him, and you run through it maybe fifteen or twenty times and it finally reduces a little. This guy is practically MEST; he’s in bad shape. And by the way, he’ll look that way to you.

Best way I can think of to erase it – if we all sat down and looked at a stone long enough it'd disappear. We're not that high up the tone scale. The best way to make a stone disappear is to hit it on the aesthetic band. If you were way up, that you could probably do. But that's an extreme.

Now, when a person is well up the tone scale, he thinks of a whole chain of locks and they go pyew! He says, “Well, worried me for a long time. Well, its . . .”

And all we are trying to do with Technique 80 is hook in affinity, reality and communication. First, find the point from which you are emanating; that's quite a trick. Next, at least take complete possession of your own body, and do it in the present and future, not the present and past. And then take possession of the dynamics as they go out from you, and be able to get into full, high-level ARC on those dynamics.

And you get a person high enough up the tone scale, working him like this, the next thing you know, he looks at a physical-pain engram, a facsimile, a thought — that is to say, it’s a recording, recording of an actual pressure and injury — and he takes a look at this thing and it reduces right now. He just looks at it and it goes whshooh! “Well, well, so that was why my arm was hurting. Let’s go on to something else.”

But this doesn't mean, doesn't mean, that you would suffer by going into ARC with something that was low on the tone scale. By building yourself up and by having a jumping-off point of you finding out who you are and then taking possession of your body and going on from there – you can't be enturbulated afterwards on the line, but you are volatile enough to be, at will, any point on the tone scale you have to be, to be. And at the same time you could soar up and be, at will, high enough on the tone scale to influence the beingness of any other dynamic. And that is the goal.

What’s the difference here? As you come up the tone scale you get to be a better disintegrator pistol, that’s all; that’s really all there is to it.

And the way you do this is with affinity, reality and communication alternately. And you'll find out that as you practice these, taking it in the smallest sphere you've got .. And by the way, the sphere you'll start with on an awful lot of people will be a tiny pinpoint of self that they will eventually find is probably resident well to the back of the head or in the nose or just behind the left eye. And this tiny little thing, all of a sudden, is them. And they say, "For heaven's sakes! I finally found me! I'm not very big!" And you get them expanding out from there until they've conquered their nose, and then get them to a point where they've conquered their left ear and their right ear and so on – conquest! And keep stringing the wire, and eventually you will have them conquering themselves.

Now, we can demonstrate to you very adequately that by going over and over an incident of any kind it will eventually reduce. The speed of its reduction and how fast a preclear can reduce it depends utterly and completely on how high he is up the tone scale, because this determines how fast his own thought can disintegrate and degenerate other thought.

You don't pay any attention to engrams, not in this technique, because you are dealing with present and future. That's different, you see? That's different.

Now, you know people when they come around and invalidate you: they say, “Oh, well, it wasn’t so-and-so and so-and-so.” You know people that you don’t pay any attention at all. They can come around and they can tell you “Well, you’re flatfooted and you’re this and you’re that” and so forth, and yap, yap, yap, yap, and “Your ideas are no good and you just didn’t have anything to do with school” and so on — yap, yap — and it wouldn’t have any effect on you at all. You’d say, “Ah, so what?” You know such people. Their disintegrator mechanism isn’t good.

You ever hear of anybody erasing a future engram? Well, you actually can! Because an individual could postulate a thorough upset in the future for himself. He's been so afraid of the future, he's been so afraid if something happened to him, that he makes a facsimile of it. It's a solid facsimile; it'll have thought, emotion, effort and everything else in it. And you send him up and he'll erase it. He will also live up to it.

But you take a person up the tone scale and he says, “You know, that idea you had about a book. Well, I was thinking, in chapter two . . .” What happens? Your whole idea about the book goes wsheeww! And you say, “Where’s my book?” In other words, this person at one glance actually is capable of destroying your illusion.

Your fortune teller who sits over the crystal ball and says, "In your future, I see a ...." (and they look at you closely) "a dark. ... a dark" – you don't like that, so they say – "a light .... a light .... a man – woman, yes!"

Illusions are way up the tone scale; they are very easy to destroy, you see? So your erasing an incident in yourself is merely a disintegration of an accumulation of effort, counter-effort, emotion, counter-emotion, thought and counter thought. You’re disintegrating a unit: the facsimile of this unit is what you’re disintegrating.

And you look astonished.

Now, you as an auditor are working on a preclear who is lying on a couch: you’re disintegrating his engrams just as much as he is. And if you’re really up the tone scale, you can do faith healing. He walks in the room, you say, “Go thou and do likewise,” or something, and he immediately loses both legs.

And so they say, "Yes, a light-complected woman, who has light brown, light uh ... light uh ... corn-silk ... No ... light red hair! That's right." You say, "And it's very bad." Huh. The way you tell a fortune, you know? You just gauge, gauge.

By the way, that’s too high up the tone scale — I beg your pardon — too high up. He just loses an engram.

Of course, anybody who is telling a fortune on that level shouldn't be telling a fortune anyhow. Really, the way you tell a fortune is move over into the guy's head, see? And you go .. whoosh, whoosh, whoosh .. and you say, "Gee whiz, he did!" And you say, I see that there was a very bad incident when you were twelve." You move into him and make your body talk; it's very simple. He is flabbergasted too; he can be counted on being flabbergasted.

This principle — you see it as I talk to you here; you see what it amounts to. You see, there was a little secret on the line and it said, “Well, you run an engram over and over and over and it reduces and goes away. You run effort and counter-effort, and emotion and counter- effort [counter-emotion] and you reexperience it, and the reexperience of it is sufficient.” And you considered that an explanation. It’s not an explanation at all. It tells you an application. An explanation of the application is that you actually disintegrate these things. And the speed of disintegration depends on the height on the tone scale. In other words, what is your ability to disintegrate?

The point I am making is that as your gradient scale comes up, you are more and more able to reach and be where you choose to be from any emanation point, because you'll find the point that is you finally becomes you, and you'll finally find that your action is so free that you are free to act in any environment merely by wishing to act, wishing to be.

Now, an auditor works for a while, and he’s rather — gets rather dull on blowing things to pieces. Because he’s unable to blow to pieces at a glance the preclear’s engrams, he gets the idea he can’t blow his own. And after a while he will be running on the bank and he’ll find out he can’t blow a lock. And this is very silly.

And on your future time track you are not laying down engrams of disaster; you are laying down engrams, if you want to call them so, or solid structures of high-level beingness. And you can put them in or knock them out at will.

Now, the best state for you to be in is to blow every facsimile you have at any time you want to blow all of these facsimiles — and I mean all your facsimiles.

Did you ever see a fellow dream a dream and then never let go of it? You know, he says, "Rurhhh!" He's got it, he'll never change any part of it. He just can't change it; it's stuck. He's too consistent. He's going to have a bad time; he's going to have a bad time.

And so, your disintegration of a facsimile — one facsimile, you see — could be understood if you disintegrated every facsimile you had. Supposing you could disintegrate them all at will.

Other people come around sometimes and stick him with his own dreams; that's a little bit different. It makes him – necessary for him not to only erase parts of his own dream, but to turn around and erase them too.

And by the way, you don’t need experience. That’s another operation. There is no sense at all in your having to remember having been taught how to do something or other. There is no sense in that. You should be able just to suddenly be the thing, and therefore you can do it.

So you see what this technique consists of: ARC on all the dynamics to achieve ultimate beingness. Not to just be in agreement so that you can sell somebody something, but to volatilely be somebody else so thoroughly, if you want to be somebody else so thoroughly, that you change them on the tone scale.

To be is to know.

In other words, you decide to be George, not the tone level of George. You get the difference?

You should be able, by the way, not ever to have to remember an engineering formula or anything like this. You don’t go back down the time track to look at the book in a facsimile. That is a secondary operation and not an optimum one! What you do is go to the library and look at it and go so fast and come back so fast that you don’t even know you’ve gone!

Now, this society and all its salesmanship schools and everything teach people how to be the tone level of! You see? They confuse beingness with point or gradient scale of beingness.

Somebody walks up to you and says, “What is the wavelength of sputterguffs?” And you say, “Well, it’s 8216 to the minus umpf.”

So they say, "Well, the way you sell tractors to this fellow is you just agree with everything he says." The salesman that does this is sick. All right. He will get sick after a while, too.

And they say, “Well, how did you know that? My, that was bright! How did you know that?” “Well, I just knew it.”

No, the thing to do is if you want to be that other person, you just sort of – you know that other person, and you be that other person. But you could be him on your tone scale. All of a sudden the guy picks up and becomes very cheerful.

And if you check this over very often, you’ll pick up your knowledge in your environment, in your immediate environment. You see, that’s another operation. Because you’ve been taught that you had to learn all the time, well, you just didn’t have a chance.

You could theoretically sit at a table and look around the table at a lot of men, and each one in turn, pick each one up the tone scale – wsht, wsht, wsht, wsht, wsht. Make the experiment some time. Get a little processing on 80 and make the experiment; it's very interesting. Old men – their wrinkles smooth out of their face. They all of a sudden will relax; they look comfortable.

Now, theoretically, then, you should be able to blow every facsimile you’ve got, just disintegrate them — wshew!

Faith healing is actually this technique; it's actually this technique. But in faith healing they give you the terrible lot of arbitraries. The way faith healing is practiced, they say, "Well, now, you take the pain away from the person, you experience the pain yourself and then you ..." and so on, see?

Technique 80 is the cultivation of disintegration of engrams. And you’ve got this picture that just keeps hanging in front of your face and you’re not sure why. Well, instead of going over it and over it and over it this way, you just simply go rrrrr! and it’s gone! It’s a development of that facility. It’s a very interesting facility.

Nah! If you can experience somebody else's pain, you have no business doing faith healing! You've got to be hot enough – you've got to be a hot rod on this basis, you know? And you've got to be able to move in and be so much in motion yourself that the moment you move in, that any pain they've got goes pyeww!

You could actually look at a facsimile and have it go whooh. Now, maybe that sounds pretty high up on the tone scale to you, but it is.

Pain can't hit you if you are up the tone scale; it can't. You're up above the counter-effort band as far as pain is concerned. Neither can you get confused or ridden over in any way.

How do you get there? How do you get there so that you can do this? Some of you all of a sudden have been carrying this picture around of Agnes’ face or something of the sort, and you got annoyed looking at it all the time like that, so on.

So, you find ARC. But what kind of ARC?

The way to live is live; the way to be is be. So be where you are! In order to be where you are, of course, you have to get rid of this facsimile, So the way to handle Agnes’ face and this picture thereof is just go whssh. You’re just perfectly willing to be in the spot where she was in. Because if you’re backing up from Agnes, you’re not willing to be in the spot she’s in. You see? You’re saying “There’s poor Agnes’ face.” You see, “I have done something — overt act; I wasn’t willing to do this, and I distinctly remember all the horrible things about Agnes,” and yap, yap, “and so therefore I can’t get rid of her” — big computation going on about this all the time, so there’s her face.

You will find out, oddly enough, that as you get ARC on your own body, there will be times when you are unable to go into ARC with your right foot, with an ARC 16.0, because your right foot, to be pulled up the tone scale, has to be hit with a 0.5. And you say, "All right, at 0.5 and so forth. Let's see, what's my right foot feel? It's dead! All right, it's dead." So you hook up a dead communication line, you understand? It's a communication line of death. That's a hook-up. That's also an agreement; that also says, "Well, I am awful sorry for you, foot." And the foot says, "I've been sitting down here all this time and nobody paying attention to me or anything." And you say, "Yeah, that's too bad."

Well, if you’re willing to be and to have done everything that happened, anyhow, and so forth, you get an automatic disintegration — pshewww — and the picture is gone. That’s the way you ought to be able to run an engram. That’s also the way you ought to be able to run your arthritis. Arthritis — whooh.

Of course, you really don't give a darn about the level; you're just trying to bring it up the line. And so you come up the tone scale with the foot. See? Then all of a sudden you've got the foot alive, and there it is; you don't just try to go bluntly into the line.

How do you do it? Not mystically. It’s actually by a facility which you have which you speed up, so if you learn to speed up this facility you will be able to do that. I am not asking any of you to do this, because that is an ultimate on Technique 80.

But somehow or other, if you have to, smash a communication line through to it, any way you can get through to it.

There is the low-level part of the technique, which consists of ARC on each dynamic. And you can carefully plot up and pick up ARC on each part of every dynamic and go over that carefully through the line, till you will key out or partly disintegrate out each and every bar there is to your state of beingness.

But you'll find out that in running a preclear, this nice little technique by which you say, "Now, there are various points on the tone scale, emotionally, and those points are so-and-so and so-and-so on emotion. All right, what is the emotion of your right ear?"

But this is done as a present-time technique. And Technique 80 is 100 percent a present-time technique. Its capability is to bring you up to a level where — while still in a body — you are capable of being, and experiencing with, every part of the universe while you’re still in that body. That’s 80.

And the guy thinks for a moment. "Apathy," he'll say. "My gosh, yes, it's apathy."

Now, in order to achieve this, it’s only necessary that you know A, R. C, in all their ramifications — the component parts and how you apply them.

"All right. Feel apathy with your right ear."

Many months ago we had a technique of getting into communication with various parts of the body. Well, it’s not a solid technique because it doesn’t have too much behind it. And you notice that as you try to do this — try to get into communication with this part and that part and so forth, a cross-communication — -that sometimes it’d only last for a few hours, or maybe only fast for a day, and then there would be the fellow right back again out of communication with that part of his body.

"Okay, I did."

Well, there is a special way of getting into communication. And just in passing, you don’t have a telephone lineman monkeying around when he’s going to string a telephone line. He strings it! He takes the truck and he takes the wire and the reel and cuts through the brush and knocks down the trees and chews up the ground and puts up the posts and nails the wire in place — bang! Good, solid, ornery sort of an operation. You see? Determination that this is going to happen.

"All right. Now what do you feel with your right ear?"

Well, you can get into communication on a determination angle with any part of your body. You can suddenly determine to get in communication with your big toe and instead of fishing around for it and monkeying around with it and so forth, just knock it through the line. That’s all. Just hook it all up and there you are.

"I don't know. I don't know – sort of scared or something."

And there’s two other parts of it, you see? And you have to rehabilitate these two other parts and then you find out you can rehabilitate the C. And then you rehabilitate the two other parts and then you’d rehabilitate the C again, by which I mean communications. And you rehabilitate the two other parts and then communications again. So it’s a gradient, step-by- step procedure.

"All right. Feel afraid for your right ear."

And the two other steps I mentioned, of course, are affinity and reality.

"Okay. Okay. Yeah. You know, it – it feels resentful now."

So, the way you get in communication with any part of the body is first just slam a line through, any way you can, and then pick it up on the A, then pick it up on the R. Then get the line through better; then pick it up on the affinity, reality. The line through better; affinity, reality. And eventually, doing that step by step, you don’t just simply hook up a communication line and there it is. No, it gets better than that. You start up here and by the time you’ve run the first ARC, you’ve brought your level up a little bit with regard to that part of the body; then a little bit more and a little bit more, a little bit more, a little bit more, a little bit more, until, oddly enough, you are no longer in communication, particularly, with that part of the body: you are it. You become completely unaware of it. It just vanishes as far as you’re concerned. It’s in perfect condition — perfect. You practically couldn’t hurt it, by the way, after you do that.

"Okay. Okay. Be resentful with your right ear.

And your extension of ARC goes on out into the environment. Therefore, what 80 does is hook — in a gradient scale — ARC up with every part of you and beingness of you until you don’t even know you’re you. And you’re so at ease, as far as being your body is concerned, you can do anything with it.

"Resent, resent, resent." Yeah. I don't know. It's bored with the whole thing."

Now, your next step, of course, is to go on up the rest; of the dynamics the same way. But there’s a very very basic step you must not overlook. Find out who you are first. A lot of people have a lot of trouble with this.

"All right. Feel bored with it. All right, let's feel enthusiastic with the right ear now."

But before I talk about it very much lets take a little breather, and I’ll talk to you a little longer if you want me to.

"Yeah," the guy says, "yeah, yeah, yeah, I can do that. You know that ear is alive? It's been dead for the longest time."

The next point on the line, of course, is, "What affinity does your right ear feel?" You just come up the emotional scale again on the level.

"What is the quality of communication with your ear?"

Now, let's not worry about the communication line, let's just worry about being in communication with it. And at no time – and this is an essence of the thing – at no time try to pick up an understanding: "What does your right ear think about life?"

"Well, it thinks mathematics is too hard."

Oh, you can get some wonderful ones: "It has the feeling that it's about to be cut off."

Don't say "All right. Run the feeling that it's about to be cut off."

You know what you'll do? You'll just throw the guy into an engram. You're running past and present when you do that!

And I'll show you another trick about this, because as soon as you start up from 4.0, you move into the future. So as soon as you get the right ear to be enthusiastic, your next step up the line is "How does it want to be?"

And you'll find it'll sag a little bit. Now pick it up for him, emotionally. ARC, ARC, ARC. "What's it in agreement with? What would you have to do to agree with it?" etc., etc., etc.

There's a plotted line which I will give you in more detail tomorrow night.

But it's stringing wire with ARC to every part of the body, and then stringing wire on the next dynamic and then on the next dynamic and then on the next dynamic and the next dynamic, until you have strung wire in the present and the future along all the dynamics.

By that time you probably won't be nine feet tall, you will probably be anywhere up to 186,000 miles per second long or something like that. I'm not quite sure what you will be, but it'll be interesting.

The Theta Clear has been in process now, as a developmental process, since about, as such, the first of January 1951. The experiments were started on it in Palm Springs. I kept the lid on it; it's such a habit with me to keep the lid on it that I feel strange about taking any part of the lid off. But it has gone along all that time until now. I know what it can do.

Technique 80 is a little more experimental. You will have some odd experiences in running it. And as far as I know now, the best stunt that you can use in running this technique is lay off of understanding. Don't worry about the fellow running concepts of thought. Let's just hook up ARC with that particular point, and then let him practice. Then you have to get him to practice this way: hook it up with the right ear and the left ear, and then hook it up with both at once and then alternately, and then both at once, then with the skull and with the eyes, then with the mouth, the ears, the eyes, the skull – combinations. See, he can be any combination he wants to, till all of a sudden he's just up speed. His speed has come up to a point where you say, "Well, be aware of your hands."

And "Yeah! I got hands. What!"

It's interesting that unawareness of the present-time body is itself grace and aesthetics, good health, sanity and happiness.

It's very odd. So let's not struggle so hard for awareness. Let's struggle for the awareness level which will have to be bridged to get us into a good state.

Tomorrow night I will take up this technique in a little more detail, take up ARC in a little more detail, as they apply to this particular thing – the treatment of the body and all along the dynamics.

And until that time, I bid you all good night.

Thank you.