And this is January the 22nd, 1954, first morning lecture. Continuing some of this material on "Livingness Processing,” which is more or less the spontaneous name people are giving it.

You must understand that this type of processing does not invalidate that which you already know, nor does it invalidate emergency-type processing. But it does lay open to view the cause for slow recovery on the part of some cases. These cases are busily validating the vicious and the wicked and they keep on bringing it to life. All right. Sounds awfully metaphysical, doesn’t it? But it’s what you charge up with energy.

So, we’ve got real low-toned stuff: We’ve got-oh, something like-oh, I don’t know, Brahms, on the first record. (You can’t get much further south from death than that.)

And on the next platter we’ve got some Sibelius, next machine.

Next machine up from there, why, we have some Dvorak and the next machine up from there, we have some hot jive and the next machine up from there, we got some circus music. In other words, we’re getting into a good band.

We’ve got these five machines, they’re all laid out there. All right, we’ve got one energy unit-energy production unit-we’ve got one generator. And this generator can plug into anything. So, we take-it’s got one line and let’s say that we take this line and we plug it into machine number one and we get some Brahms. There we are.

So, we decide we don’t like Brahms, so we plug the machine in tighter into Brahms. So we decide that Brahms is just horrible! So we solder it in. So we decide that Brahms is utterly intolerable, so we put up some additional lines from our generator-having no more current than we have, you see-some additional lines from the generator to be sure and carry it over to plug it into Brahms. Let me tell you that at no time along the line will you get into Dvorak-much less any circus music. And the more you play that record, of course, why, the more tendency it has to wear out or break down or something of the sort if it’s built out of MEST—but supposing it’s built out of something that’s indestructible?

Well, you can play this until the preclear, listening to it, finally decides it’s not very important, you know, he decides he can live, although Brahms is playing. And then, after awhile, he decides that-he decides he might as well be able to tune out Brahms. Leaves him with no music.Interesting, isn’t it? That, in effect, is the erasure of engrams and what it does. Just as an analogy. This doesn’t say, however that in terms of an emergency, this thing called the body, which will only stand so much stress and strain, after all, cannot have Brahms played with great speed so as to get the Brahms out of it in a hurry before it collapses. And if what’s wrong with this body happens to be Brahms, believe me, you’d better play some Brahms, in an emergency. But remember as you go forward, that if you just play Brahms, you get Brahms. I hope he hasn’t turned over more than four times in his grave right at the moment. Beautiful sadness. Let’s all be buried.

I see this goes counter to some of your musical tastes. So we won’t take Brahms and pick on Brahms, we’ll pick on Mozart. About the same speed. Now, as we go up the line into other lower-toned levels of music . .. [laughter]

Male voice: How about Bach?

I am chipping away at altars and shrines.

But as we go up the line, and still below 2.0, we run into Wagner, for instance. Wagner is exactly at 1.5-no place else. Much higher toned than most music.

We get into, again, a plugged-in, soldered-in problem. Wherever we plug in this dynamo, we’re going to get music-it’s certain. But the funny part of it is, that so long as the individual works below the level of hot jive or circus music, he is incapable of accomplishment, for himself or anybody else. He doesn’t exteriorize well.

As a comment on this music thing, by the way, many music lovers-you know, that’s like bird lovers or something of the sort-Boy Bird Watchers. Anyway... Shades of Pogo.

As we examine this picture and preclears, I have-not with ever hitting music-broken more preclears of classical music. They drag in, you know, and they’ve got this enormous library of records and they’re playing all this “beautiful sadness” and having a fine time and they’re real low-toned. They’re not getting anything accomplished, they’re having a horrible time in life and so forth. Arid the next thing you know, they’ve thrown the whole thing out or offered the collection to whoever conies by and they’re playing circus music or jive or early Dixieland jazz band or something of the sort that completely changes their musical taste. So, I’m rather on solid ground when I talk about this, because I haven’t yet had anybody remain in the classical band after having been processed up into motion.

One case on that is very noteworthy. A girl that, at eighteen, was one of the most interesting music lovers I’ve run into for some time-it was all apathy, apathy, apathy, apathy, apathy, you know, round and round the disc. Strictly classical. Couldn’t tolerate anything that was smoky or had any speed to it and couldn’t even tolerate fast classical, like Bach. Wouldn’t even tolerate that.

And this case was in real bad shape. No responsibility and terrific domestic problems and so forth. And only processed her for two hours and she threw away the library. She literally did that. And after that, why, she came up the line, and you could mark her increase in interest in livingness by her brand-new taste in music. And this brand-new taste in music was happening every few days. Went up through Burl Ives and then started to get a little faster.

We won’t slander music anymore, but it is a direct index.

People who talk about musical processing, actually, are taking a very, very, old, old, old, old technique which was used by psychiatry an awfully long time ago. Because they found that insane people would respond to classical music and they tried to play it out of them.

Well, now instead of going off into music, let’s go off into these machines. And we find out that that machine which is plugged in plays. You, as an energy production unit, can plug in any machine you’ve got, into anything-anything. And when you plug in Brahms, you’re going to get Brahms.

Now, you could plug in Brahms long enough to where you wear the groove a bit out and get the preclear to a point where he’s in pretty good condition (that is to say, as far as Brahms is concerned) and he’s out of the Brahms bracket. Now, if he no longer compulsively has to listen to Brahms, of course, there is always this accidental factor which you’ve always been waiting to key-in. This keys-in accidentally and it’s about time it stopped keying-in accidentally.

Something comes along which gives the preclear a renewed interest, because his ability to perceive is now better for not being totally fixated. What you’ve done is restore more attention. He can also listen to Brahms and see something else or hear something else. You see that? And then you wait for something to pick up his interest in life.

Now, as he has more attention, something is going to come along and pick up his interest in life. That’s certain, because he can perceive better. It’s not that his tone is so much better-perception and tone, you know, are not quite the same parallel lines.

A fellow sometimes that’s in pretty good shape may have his perception off on a certain band and so forth. I mean, it’s a spotty problem; it’s not One of these smooth problems, perception is. Well, what factor was this? It was the renewed interest factor-let’s call it that-renewed interest in living. Well, why must we have that one key-in accidentally?

Let’s put it in on purpose.

Well, then how would we put it in on purpose? We might find we had to play some Brahms, but then, by golly, let’s unplug Brahms and let’s plug it in the next machine. And let’s unplug it there and plug it in in the next machine. And then unplug it there and plug it in on the next machine and then let’s plug it into the circus music.

Well, how would we go about doing this? Acceptance Level Processing gives us an enormous clue. If you have experimented at all with Acceptance Level Processing, you have discovered this: that if you get far enough south with an individual, he has an acceptability on some subject.

Let’s take the matter of money. This individual can’t accept five cents. You know, he mocks-up five cents, but it’s not quite real. He can’t move it in on himself. He mocks-up a five-cent piece and can’t move it in on himself. Do you know that there is a five-cent piece that will move in on him? A counterfeit. A counterfeit five-cent piece. Sometimes that won’t move in on him. A counterfeit five-cent piece that’s covered with germs. That may move in on him. A counterfeit five-cent piece that’s covered with germs that he has stolen and is about to be arrested for will move in on him.

How far south are we going, you see? So at some point, here, money is going to start moving in on him. It’s what kind of money will he accept and what kind of money is acceptable to others.

Now, Acceptance Level Processing is done in brackets and is a substitute for wasting, in brackets, any commodity. Now, instead of wasting the good commodity until the fellow can accept it, we waste it, you might say, in another fashion by deteriorating its value or substance.

This person cannot have a sexual sensation, so we have this person waste sexual sensation in brackets. Have him waste some. Then somebody else waste some for himself. And then somebody waste some for somebody else. And then somebody waste some for him. And then have him waste some for somebody else. And we get this run round and round enough, we finally bring it up to a point where a fellow can have sexual sensation.

Well, there’s another way of doing it. We take sexual sensation and then deteriorate its condition and it just gets worse and worse. And you can get sexual sensation bad enough, you know, poor enough-a promiscuous sexual sensation that carries with it the probability of disease that can’t be felt very well and that is entirely illegal. And we get down to that level and all of a sudden the fellow starts mocking something up like that and, my God, he’s turned on a fire hose of acceptance.

Actually where he’s mocking it up-the point where he’s mocking it up-it’s been nice and stable as long as it was just sexual sensation. He couldn’t feel it or anything, but you know, it was nice and stable. And the next thing you know, as you go downhill and start adding deteriorative factors to this sexual sensation, suddenly the sexual sensation, now beautifully deteriorated, begins to pour at him as though it’s shot from a fire hose. I mean, he gets this-this enormous flow starts up. And then he has somebody else and then you change the sexual sensation around until it’s acceptable to this other person in the bracket and so on.

You get two people and you get the sexual sensation that one of them finds acceptable from the other. And you just deteriorate that until-you know, mock it up differently and differently and differently and, all of a sudden, it’ll pour in on this other person. There is an automaticity here, you see.

Cute, isn’t it? Cute automaticity that will set a fellow up to have nothing but promiscuous, disease-ridden sexual relationships. That’s a cute automaticity, isn’t it?

Well, this will work with anything. It isn’t that this is a terribly valuable technique, 7 because it’s a slow technique. But it certainly is educative. It tells you that Brahms, being the acceptance level of the individual, will pour in on the bank like mad, but that circus music won’t. Can’t have circus music. You mock-up circus music and it just doesn’t go anyplace.

But you mock-up Brahms and Brahms will come in on the bank. You see that? So, there is an acceptance level.

Well, what the devil kind of an automaticity is this that the fellow mocks-up something bad enough-not that Brahms is terribly bad; he probably meant well and he’s probably amused an awful lot of psychos. Anyway... When we get the music downscale enough, it turns in to the individual and actually flows in. Well, doggone it, you know about automatic machinery. What is this thing? What’s this thing that’s doing the “selective havingness” of the preclear?

Well, hold your hat. It’s your machinery. How you loved this machinery once. It’s a machine that gives you and gives them what they want. That’s a sort of a prostitute type of machine, isn’t it? A machine that gives you what you want.

Now, here we have the fairy godmother. She was the character who gave you what you want. Here we have the fairy who came along and gave you three wishes-anything you wanted. Man has always known there was something a little bit wrong with this fairy godmother’s three wishes, because he writes up such stories as “The Monkey’s Paw.” You ever read that story? Oh, that’s a very interesting story. Very fine story. Don’t eat it on a full stomach if you enjoyed your dinner. [laughs]

The first two wishes are generally used foolishly and the third is used to cancel the first two. By the way, there are several stories called “The Monkey’s Paw,” but the one I had reference to is the fellow who . .. The boy dies and the Mother wishes that he’s back-wishes that he’s happy or something of the sort and I think that kills him if I remember rightly. And then wishes him back and, of course, they hear the scratching on the door and this body, buried for some time in a grave, is just about to walk into the room when they wish, hurriedly, that he goes back to the grave and it’s all cancelled out. And of course it is, so none of the three wishes given by the monkey’s paw come true.

But that is Man’s contest: trying to keep his wishes from coming true, because they’re such lousy wishes. We ought to run a course in wishing. If we had a nice course in wishing, why, things like “The Monkey’s Paw” wouldn’t happen, you see?

You can well remember (quote) “wishing” (unquote) with great violence, something real bad on yourself. Can you remember that? Hm?

Audience: Mm-hm. Yeah.

I knew a bus driver one time who became so angry with the management that he just went into a rage. And if I’ve ever heard a horrible curse in my life, it certainly was that one. And he simply said, “All right. I’ll show you about driving this bus. I’ll show you I’m careless about driving this bus. I’ll run it across the next embankment that I come to and kill everybody in it-including me.” And he did. Just like that.

Well, now postulates that lead to these accidents don’t start out as violently as that. You’d start tracing down a postulate on an individual and you find out that, for instance, he sort of said, “You know,” he said, “I-I shouldn’t be doing this because it’ll be-I’ll wreck my hand.” And three hours later, we find him having wrecked his hand. You know, he sort of slid in sideways.

Well, what sort of an automaticity makes it come true? What is this that selects out an individual’s bad postulates and brings them true and takes his good ones and throws them away? What kind of an automaticity is this that gives him Brahms when sometimes he’d love circus music? But he can’t have circus music. He can’t listen to it, it makes him nervous.

He’s hung himself, or something’s hung him, with having to have Brahms. Just as something hangs you, Occasionally in auditing, with having to have only an entheta line of auditing or an entheta line of communication from the preclear. Well, somewhere in the midst of all these processes, we can stop this accidental factor of the automaticity and the accidental factor of waiting for the preclear to get a renewed interest in life. We’ll give him a new interest in life. We’ll let him reach for it and give him new dreams and goals.

Told you some time ago about looking into the mirror and seeing the ideal person. I planted that with you, malice aforethought, because I believe most of you saw a human being. Did anybody suffer any ill effects from that little process? Has anybody continued to do it?

Female voice: Yes.

Mm-hm. But you’re seeing a human being, aren’t you?

Well, there’s one thing that keys-in Brahms.

What did you say?

Male voice: I didn’t see anyone.

Oh, you couldn’t put one there.

Male voice: No. I could, but I didn’t. It wasn’t very ideal.

Hm?

Male voice: I put one there, but it wasn’t human.

Female voice: I put qualities.

You put qualities in this human being. Well, I seriously doubt if anybody put a thetan there who had great freedom. But if you did, fine. You’d have to put him there quite a bit.

But there is this bar: Is that freedom and that thetan acceptable to you? And here we get Acceptance Level Processing keying us in. Well, what is determining what is acceptable to you, for pity sakes? Some kind of a machine, certainly, that gives you whatever you want-gives you anything you want. Of course, that’s a nice machine. A child will set up this kind of a machine. He can’t have very many things, so it gives him anything he wants and anything they want.

Let’s take somebody who has been commercially painting for a little while. He has keyed-in this machine beautifully. He’s giving them junk. He’s giving them what they want. It’s quite interesting, isn’t it, that it would go into the field of the arts and so forth. He gives them what they want. Well, that is the immediate reaction to this machine that gives them what they want.

Now, to tell you very carelessly with a wave of the hand and a nonchalant brush-off of the whole problem, that all you do is simply handle this machine just like you handle any other automaticity and now let’s go on to something else important, would all but ruin you. Because, basically, all automatic machinery is designed to give you or them what you or they want. And here is what automatic machinery is for. Cute, isn’t it? So, when we get to such things as ulcers of the stomach and other such conditions, why, can it be then we’re dealing with an automatic machine which gives them what they want or gives you what you want? Well, I’m afraid you are dealing with just that machine. So if you started to handle this machine as you would handle any other machine, you would be handling every automatic machine in the bank at once, wouldn’t you?

There would be one other kind of automatic machine: That which destroyed what they don’t want. Well, let’s look at that vicious little character. You find out they don’t want good literature-you’re a writer. You find out they don’t want a pretty girl-you’re a girl, a pretty girl.

What’s this machine do? It, perforce, has to turn around and destroy you. Because that’s not what they want, obviously. You’re not what they want. So somehow or other you must bring about a change by destroying yourself. They obviously want something much worse. So your machinery coasts on downhill, Do you see there’s two kinds of automatic machinery: one kind mocks-up and the other kind unmocks? That is to say, one kind creates and the other destroys. There is no machine which is a survival machine. All machines are survival machines whether they create or destroy. When a creation machine and a destruction machine are working counteropposed to each other, you get a persistence of a condition, which is to say, a "maybe.”

All right. So, an individual’s destruction machinery comes to this: His machinery starts Ю destroying anything that is considered high-toned, valuable, beautiful, efficient. And his creative machinery begins to create things which are ugly, diseased, broken, painful, sorrowful and doomed to no good end. Now, this is a very sad thing, isn’t it? That one could set up this machinery to run forever and never to be qualified again and then the machinery would get into this condition. Well, you’re examining, right here, the symptom of the dwindling spiral.

The dwindling spiral would be that the destructive machinery would eventually become paramount in destroying things which you, analytically, would consider desirable. And the creative machinery begins to create those things which you analytically would consider undesirable. And so your analytical acceptance level is no longer consulted. You made all this machinery into your randomity by turning it into an automaticity. And it becomes your randomity, believe me. It becomes unpredictable because it is automatic and, therefore, adds so many unpredictable factors to the individual’s environment that he cannot possibly keep pace with it.

Any person who is sick, any person who is unable to exteriorize, has his machinery in this kind of condition, to some extent. That machinery which creates has dwindled down to the creation of undesirable things, analytically. And that machinery which destroys, destroys only the beautiful. That’s a very sad outlook, isn’t it?

But here we’re dealing with all machinery. I don’t care what this machinery was set up to do, it only had two purposes: one was to destroy the undesirable and the other was to create the desirable. And with the greatest innocence in the world a person sets forth and he gets these two classes of machinery: the class which will materialize things which he thinks are acceptable and which will dematerialize those things which he believes are unacceptable. That’s why he set up the machinery. He said, “Acceptable” because he wants to stay in agreement with his fellows; otherwise he won’t have any universe. And as he says, “Acceptable,” he, of course, doesn’t ever stop to think what is really acceptable.

Now, we talked yesterday about the two levels of acceptance. There’s that level of acceptance which the individual touts and carries on the billboard up and down the street and says, “This is acceptable to me: new cars, bright clothes, shined shoes.” He says, “This is acceptable to me.” And then there’s a billboard under it.

What’s really acceptable to him? Bare feet, poverty and Model T Fords in a bad state of repair. What brings about a deteriorating condition? It is the enforcement of the society on a high acceptance level. Everybody working hard to enforce a high acceptance level creates a scarcity and starvation for pain, for poverty, for disease.

And this scarcity is, of course, remedied. Now, here we have our problem lying out in front of us. We have a mechanical problem of abundance and scarcity. Those things which are made scarce, by definition, become difficult to obtain. Those things which are difficult to obtain become valuable, by definition.

A diamond is valuable only because there aren’t many diamonds. Today, they are manufacturing a stone which has more glitter than a diamond. It’s a little bit smoky and is not quite as brilliantly clear, but it reflects more light; it is flashier than a diamond. But if diamonds were as common as glass, you would not feel proud, particularly, of owning a diamond. But if diamonds continue to be scarce, you are proud to own a diamond.

There is the thing which gets the individual into the “only one” computation. He tries 12 to make himself sufficiently scarce so as to be valuable. He has only decided that he had to be valuable at the time he decided that he needed help. The first time he decided he needed help was the first time he decided that he had to be acceptable to his fellow man.

And so his first premise of acceptability is “a condition which needs help.”

So his machinery, thereafter, bends and warps in the direction of making it possible for him to get help and for those things upon which he is dependent, to help him.

Ugly outlook, isn’t it? This is about the saddest thing I ever had to talk about. Miserable sort of a picture. But it’s better to know the anatomy of something than to just kind of “ride it blind” from there on. The thetan has been “riding it blind” too long. All right.

When he needed help the first time, he was in poor condition, wasn’t he? So his first really intimate interpersonal contact-up to that time he could have had acquaintances, you see, he could have had bowing or hat-tipping acquaintances with an awful lot of people. He could have been (quote) “friends” (unquote) with an awful lot of people without giving a damn whether or not they were his friends or otherwise. But he would go along, he’d be perfectly cheerful.Now, we find out his first intimate contact in interpersonal relations, then, is based on a condition of disability on his part. You can find on the track that point in any preclear. It’s generally at the time of some very bad accident. And all those incidents are liable to be lying there in a group-badly grouped. Because they themselves are the things which are on top of the machinery he has constructed at such low points to (quote) “help him along” (unquote).

It’s quite interesting, if you have ever had any experience with wounded, that there is nothing more cheerful, sort of an enforced sort of a way, than wounded men. They are very cheerful, they are very obliging, they are very pleasant. It’s an interesting thing. Because nobody will take care of one that is surly; they leave him alone. So they have to step into that band in order to save themselves.

This doesn’t say that these emotions only go with sickness. But these emotions don’t belong with the emotion of sickness; they belong way upscale. And here we have them enforced in a moment of sickness. We have them plugged in tight. Soldered in.

You’ve just dressed and stitched up a wound and you ask the fellow if it hurt and he gives you-tries to give you a smile and says, “No, it didn’t.” He’s trying to be obliging, because his body depends upon it. His life (which is to say, his body) depends upon that emotion.

And so we have made a slave and have tied to illness and pain the one thing which an individual actually desires to have: cheerfulness, good fellowship, so forth. He had it once, way up Tone Scale, and then he had to join it way down Tone Scale. In such a way, the machinery itself becomes scrambled. He becomes very dependent upon eating. So he has to give them what they want in order to get back from them the substance with which to eat. And that in itself is a statement of economics. One gives them what they want in order to get back from them the substance by which to eat.

This would be an incredible picture if one did not know this about a thetan: a thetan does not particularly mind pain. What a thetan minds is an absence of drama, an absence of action, an absence of incident. This he minds. But at length, he will become disabused of the purity of this and so will have to bury its fundamentals and things become good and things become bad. And in such a way he is very scrambled and he gets to a confused level of what is good and what is bad and everything goes sort of topsy-turvy and his machinery, at that time, turns over on him.

And we get into this condition whereby all his good conditions are unmocked and all his bad conditions are mocked-up. He just starts going in reverse.

He does this so that he does get value and drama. Well, he doesn’t quite know what he’s doing, but actually what he’s doing makes very good sense. He’s at least in action. At least there’s something happening. He isn’t sitting on cloud 89, which is a rather dull cloud. He isn’t just passed by.

The beggar who comes to you on the street with an ulcerated sore, stricken with poverty, emaciated, obviously in pain and in want, is, according to a thetan, in better condition than a thetan sitting without any great ability on cloud 89. Until the thetan can recover his ability to make his own glory, he has no other choice but to continue to depend on the whole society and on all of the societies of livingness, for his action.

And in order to get attention, he resorts to some of the most peculiar shifts. And these peculiar shifts to gain attention are themselves the woof and warp of the drama of life. And when he becomes dedicated to getting attention, he knows no stopping and he will reverse his machinery to the level which I said.

He finds out that he does not get attention by being beautiful, that he gets attention by being ugly. And so we get him uglier and uglier. He finds that the young get no real attention or respect and so he decides to be old. And too late he discovers-unable to reverse the current of the body-he discovers much too late that the old don’t get any attention either. But he’s discovered this too late.

Now, if he could just patch up the body again or materialize a body which was the optimum or ideal body, he would, of course, discard all this sort of thing.

Well, a thetan gets into the condition of having plugged in Brahms and then going persistently along the level with Brahms plugged in and you as an auditor come along and you keep Brahms plugged in. You run this one on him: you play Brahms at him till it begins to look a little silly to him. So he’ll stop, to some degree, listening to Brahms. You’ve busted no records. That’s about what you’ve done, if you continue with, you might say, entheta processes-those which validate entheta. At the same time, if you suddenly plugged in the circus music on him, you wouldn’t get anyplace either. He can’t accept circus music.

So we have the conditions that we combat and which we are remedying. And those conditions are: an individual, who, if he is alive in this society, has his mock-up machinery usually in a condition to create the ugly, the inefficient, the cowardly, the dastardly and his unmocking machinery set up to unmock everything beautiful, brave, noble and decent. Cute, huh?

Well, it has to be that way, he thinks, because if he were really able, he’d get no attention whatsoever. Well, how do we reverse this current? We could take over automatic machinery. We could ask him to be various kinds of automatic machinery. But beware: Just as Change of Space Processing can make a V (SOP 8, V) very ill-remember that it can-switching him from his right to the left of his body, repeatedly, will finally wind him up a day or two later quite sick. Asking him to be the past, the present and the future is, again, likely to make him quite sick. Our actions, then, are monitored by the tolerance of the individual for the process. Again, we are forced to give them what they want.

But let’s not just go on giving them what they want. That would be just sort of running a case “hands off”-riding the bicycle down the street without any hands on the handlebars-just letting it roll. Not good auditing.

What you’re trying to do, in essence, is to plug out Brahms and plug in the next machine. And when he’s got the barest tolerance for that next machine, plug it out and get the third machine on. And when he has the barest tolerance for that machine, get the fourth one on. And then plug in the fifth one.

Well, how is that best done? A whole ocean of processes greets your view the moment you study this problem. The point is, is which are the most effective of these processes? Because all of them are monitored by this unfortunate arbitrary: that which you validate lives. You, after all, plugging in second machine. It’s a low-tone machine.

Well, how do we solve this? Well, there is a method of solution which is more apparent than others and which is a very curious sort of a solution. On Creative Level Processing we would take our very resistive cases and so forth and we would process them more or less as we’ve been processing them.

We’d just try to get in the second machine up the line plugged in as soon as possible. But there is a level of case-maybe it’s the level of being able to exteriorize with a very bad certainty, maybe that level. And we could simply go on with this: we would have him mock-up himself as an ideal thetan. And we would go on having him mock it up as what he considered an ideal condition. You’d find out that this condition would better steadily.

What he considers an ideal condition would have less and less reservation to it, since you aren’t asking him to pay any attention to the reservations which turn up. You’re not asking him to evaluate them because a lot of things will turn up.

Supposing we had him mock himself up as a dot of light out in space someplace. As perfect a being as possible. You’ll be surprised what would start going on in his mind.

Well, I’ll give you this process, here, for the next minute or so, and you’ll see what I mean.

Now, mock-up, as ideal as possible, a dot of light which would be you if you were Theta Cleared.

Mock it up.

Now, throw it away and mock it up again.

Throw it away. Mock it up again.

You, as ideally as possible, and if you were Cleared.

Throw it away and mock it up again.

Throw it away and mock it up again.

Throw it away and mock it up again.

And again.

Now, just continue to throw that thing up there.

Throw it up there as good as you possibly can.

Now, let’s go on with what you would do and what your potentialities would be and so forth.

Mock it up, up there.

Make it as good as you can.

I don’t care how muddy it is, its radiance doesn’t have anything to do with it. Let’s make it as radiant as we can or as good as we can. Make it radiant if that seems ideal.

And get what it would do, then, for interest.

Just keep putting it up there.

Throw it up there some more.

Try and find something good about it, now, as you throw it up there.

Keep throwing it away or unmocking it and put it up there again.

Now say, “Now, I’m going to put it up there.” And put it up there. And say, “Now, I’m going to dispose of it.” And now dispose of it.

Go through a postulated routine, now.

Okay. Let’s throw it away now.

All right. Let’s grab the two back anchor points of the room for a moment.

Okay.

What did you find out?

Female voice: Exteriorized quickly.

Mm-hm. Speeded up exteriorization?

What’d you find out?

Male voice: I find out the lights are like some low brand of angel

Mm-hm. Well, did that increase or change in any way?

Male voice: Yeah, it went from a little dot of light into a kind ofa nothing

Some kind of a nothingness.

Male voice: Yeah, a little-nothing.

Audience: Yeah.

Did it get disappointed?

Audience: No.

This is all right, huh?

Audience: Yeah, [various responses]

Uh-huh.

Male voice: It's like a shapeless space.

Uh-huh.

Female voice: I was able to run a couple of bodies-one the other side of the room and one this side, quite simultaneously, and watch other people running them and do all sorts of things.

All right. Do you think you’ve advanced your understanding any by doing this?

Audience: Yes.

I wonder if you’ve advanced your case any by doing this-understanding and case being slightly different.

You advanced your case any by doing this?

Audience: Yes.

Think so?

Audience: Yes.

Did anybody find a lot of undesirable conditions flicking off?

Female voice: No.

Undesirable conditions suddenly cutting in and flicking off?

Male voice: Yeah, boredom.

Sure, boredom and other things.

Female voice: Mine flicked in, but it didn’t cut off.

They flicked in, but they didn’t go off?

Female voice: Yeah, it’s still here.

It’s still there. We’ll run it some more.

All right. There would be a relatively simple direct process, wouldn’t it? Well, the process is workable. You throw up the dot of light and you grant it beingness or goodness or playfulness or whatever you can grant it and you just keep doing this. And the funny part of it is that even a Resistive V can mock-up his body, oddly enough. He can mock-up his body over a long period of time until he gets a beautifully clear mock-up of his body. He can mock-up a dot of light often enough and long enough until he gets a dot of light. In other words, he can get a specific mock-up if he works at it enough times, being careful to unmock it each time and being careful to postulate, rather than automatically run it. In this wise you would take over all the automatic machinery in the bank that applied to you as a thetan and you would at the same time, validate the entire problem.

Well, the workability of such a process is not particularly limited. But, it should be-such a process should be interspersed with Six Ways to Nothingness, Holding the Back Corners of the Room and any other type of process which was completely nonsignificant.

Because what you’re trying to do is strip away the significance from the preclear which keeps him nailed down into a body which is dependent upon every whim and zephyr of the universe.

The prime automaticity, of course, is the body itself. And the machinery which one is in contest with, quite normally, is the body machinery not his own, which makes it rather incomprehensible to him that this machinery would go into action. But don’t discount the fact that the thetan, too, can play a strange trick upon himself.

For instance, there’s a case that’s been hanging around here, has been coughing. Exteriorized him very neatly, got him out, had him cough outside. He found out the automatic coughing machinery was his own machinery. He started coughing and he kept on coughing-as a thetan. After he’d tell himself to stop coughing, something would go on coughing, way out where he was, way out in space. The body wasn’t coughing-he was.

Well, this doesn’t invalidate all you know by a long way, but it is merely another facet of this problem of “that which we materialize, we have.” Which is, of course, our primary stumbling block in all auditing. You will see other processes and other refinements which take care of this problem.

Okay?