All right, Let's go in now into the fifth lecture, "The Processing of Groups by Creative Processing."

A Group Auditor is one who audits groups. There's much to know, by the way, about Group Auditing, which is not in this course and which is not terribly germane.

There is such a thing as running a group as a group just to run the engrams out of it. You have a club; the club isn't getting along well. Well, you could actually find out why it wasn't getting along well and process it as an organism. And you'd find that it had some reactive computation about somebody or something in a club, and you would run this out and everybody would he in good shape. Now, that's actually very interesting as a subject.

There is such a thing as communication lines. A Group Auditor - there s a book on this and a lot of data on this: communication lines in an organization, what they do to aberrate it and not aberrate it. A Group Auditor should know something about that.

He can find out all this, really, though. He can figure this out from Self, Self Analysis and the scales there, because all of those problems resolve by Creative Processing of groups as groups. If you just get the group there and you give them Creative Processing out of Self Analysis or special lists, and that group is going to come back to battery, and whatever is wrong with that group is going to right. That's simple, then, see!

So the Group Auditor - the Group Auditor doesn't have to have a terrific amount of technology at his fingertips beyond the basic knowledge of Dianetics and the theory and delivery of Creative Processing.

You take a group, a club, it isn't getting along well, it has a big engram, it's stuck on that engram. Now, you could go in and run out that engram, really, actually could find it, run it out, so forth. But it would take you much longer than to simply go in and give them a half an hour of Self Analysis. Because you're giving them a flock of new terminals, and they're all doing the same thing, and therefore they feel a unity amongst themselves and they'll forget about that engram. That engram will run itself out, more or less.

The action of the Group Auditor is to appoint and supervise, one after the other, people to deliver mock-ups, Creative Processing to a whole group, or to do it himself. Now, that's his action.

Now, his action is also to take the group apart into its sections, if necessary, and occasionally, very occasionally, pick up one of his people in the group, or two or six in one of the specialer - more special groups, and just bring them up to parity so they can be poured in with the main group.

So he does have to do some individual processing, but that individual processing is contained exactly in the pages of Self Analysis and consists of just individualized delivery of the same thing. So we don't change this. It's just the fact that we've got to deliver it vis-a-vis. And the individual to whom it's being delivered is - something wrong that he isn't getting any benefit from the general processing. Something on that order. Now, you could carry that to too much of an extreme, as I will cover in a moment.

Now, the selection of mock-ups from these processing lists have to be adapted to his group. You take Self Analysis and without any judgment at all simply read off everything on every list to a group of children of six, and you're going to start missing. You'll miss badly.

So while they're getting the last mock-up, you just look down the list and pick up the next one that a child could get. That's a simple thing. Or you use a special list for children. But just use your selection on this. And the people you have reading those lists, advise them the same thing. They've got to select their mock-up. In other words, it requires some judgment on his case.

Now, the next thing that he must judge, of course, is the speed of mock-up, the speed of delivery. How fast does he hand them out? Does he hand them out at a rate which includes the last and slowest? No, he hands them out at a fairly average rate that hits the middle. It is the average of the group he's after, he isn't after the slowest member. And that's important. That's tough; it's just tough if somebody is so slow that they can't get this, that they can't get these mock-ups before he gets the next one. He can make some sort of a special arrangement. He can say, "Well, you get every other one" or something like that to this person. He shouldn't slow down the whole group to its slowest member. Man has been doing that for too long.

Now his reading, then, can be varied by giving the actual perceptions at the bottom of the page on these lists in Self Analysis, or by simply saying, "All right, now admire your mock-up. Now get the mock-up admiring you once in a while. Now get others admiring the mock-up."

Now remember that then there are three possibles here. And that's he admiring his own mock-up, the mock-up admiring him - four possibles - others admiring his mock-up (he just mocks up some more admiring his mock-up) and the mock-up admiring others, just get that feeling like the mock-up is admiring others. There's four possibilities there. You can use those then on a list. The most important ones are his admiring the mock-up, the mock-up admiring him. There's your two-terminal flow.

You'll find out that he'll get upset if you have others admiring his mock-up because too many times in the past, way back when and so forth, he sort of has the feeling like once upon a time he'd made mock-ups and people would steal them, or somebody is liable to get this mock-up, somebody is liable to grab it, And you'll throw all that into restimulation if you have too many others admiring the mock-up.

And when the mock-up admires others, look out. Because that is Mama only paying attention to Papa when junior is present. And he can't get on that communication line at all. And you'll get the mock-up looking sideways then, and all of a sudden, you'll have a child or a veteran or a hospitalized case will be breaking down and crying or having bad somatics or something of this sort. And so you'll just use the obvious ones most of the time. And the obvious ones are simply his admiring the mock-up, the mock-up admiring him.

Now, the horrible part of being a Group Auditor, if he is doing all of the auditing himself, is the fact that he's acting as an outflow terminal and he's trying to sort of - if he's auditing children, he's trying to hold them down. He's trying to sit on them long enough to get them to make something mocked up and keep them from disturbing others and so forth.

And he's right there reading away: "All right. Now, create a scene of Mickey Mouse." Here's little Oswald over there jumping up and down, you know, and going back and forth and making noise. And he knows that Bertram over on this other side is terribly disturbed by all this, and so he has a tendency to put a screen between Oswald and Bertram, you see, and hold Oswald down! Now, he's actually doing this with beams.

The Group Auditor doesn't realize this till it's called to his attention. But he's actually mocking up particles and putting them on these people and holding them down and putting up actual screens, and he's doing all sorts of things. And one of these days when you start processing him, you're going to wonder what these great big, solid masses are that he's running into, Now, his action of monitoring that whole room and all this random motion would be very difficult to process piece by piece, so we just have a single gunshot process that takes care of the whole thing. He, just himself, mocks up this whole room full of tigers and gets them all admiring him. He just goes on having the tigers admire him, that's all. And then he mocks up this whole room full of clowns and admires them. And then he mocks up all of these airplanes.

And that, by the way, is not a bad one, because if he's processing children he'll say, "Now, all right. Now, get a - create an airplane." Down here, this side, he'll get an airplane, "Brrruuhh. Brroomm Brroomm! Brroomm! Brroomm! Bmrroooommmm!" The roof kind of starts bulging.

Children are not quiet. And he'll say - he'll get these airplanes and they admire him and, then, he mocks up something else and he admires it. And he just goes on in this fashion.

The truth of the matter is that if he wants to brighten himself up or freshen himself up at the end of the day, all he's got to do is read some Self Analysis and get mock-ups and admire the mock-ups and have the mock-ups admire him. That's all. It'll freshen him up. It'll run out what he has been doing during the day and leave him very fresh. Regardless of whether he's been processing anybody during the day or not, that will work.

What happens during the day is a man has a flow, usually a one-way flow If he's sitting on a clerk's desk or something like that, the flow is in at him. And if he's sitting on a manager's desk, it's going out from him, except for those horrible reports, such as "Number three tank has just blown a sky-piece," and these are jolts that come in. And he gets then - he's just got a one-way flow, one-way flow, one-way flow. It's very amusing what happens to an individual on this - one-way flow will stick.

He goes home, the wife is all set - wants to go to a movie. He's too tired; he can't go to a movie, he's too tired. Well, let's just reverse the flow. He flowed out, flowed out, flowed out, let's get something flowing in.

Let's have him stand under Niagara Falls looking up at it Just do that for just a few minutes and he'll feel very fresh. Don't do this just before you go to sleep at night while lying in bed, though. You won't get any sleep. You'll simply wake up because that's the only reason you're tired. Tiredness is something - is an incipient boil-off. A boil-off is a fascinating thing. We're going to cover that.

Now, the only difference between a group of children and a group of adults is that the children are very demonstrative, they're noisy, they move more and their mock-ups are better, much better. And the adults are quieter and they're not getting as much done. And otherwise, there's no difference in rules here, no difference in function. And it doesn't matter, then, whether we're processing a group of children or a group of adults.

You say, "Well, a person who handles children has to be very understanding," and that sort of thing. No, he's just got to have nerves of solid steel cables. That's all. His nerves got to be better.

He'll have to be a little more agile with his mock-ups, too. If he's just pulling one out of the hat every once in a while, he'll find out the group will get bored on him. And then he'll get one that's too interesting, then they won't come out of it. They'll go flying off to Mars or something of the sort.

Now, the inequalities in cases can be categorized or cataloged for your benefit as the slow, the fast and the can't. The person can't get - let's put that in another line here and say it's the can't: he just can't get mock-ups, that's all. And the next one is the slow, and they just take forever to get a mock-up. And the next one is fast - and that varies from optimum, but optimum lies between slow and what we're calling very fast here. This very fast one, your - "All right. Get a mock-up of the barn. Get a mock-up of a church. Get a mock-up of a cow Get a mock-up of a horse. Get a mock-up of a cart." You wouldn't be going fast enough for him.

Is he getting mock-ups? Yep, Are they doing him any good? No. He's got a circuit. He just goes "Brmrrrrrur! Well, come on, you'll have to give them to me faster." He's bored. He's just - blah-deh-blah-wah.

Silly, but he doesn't happen to have any level of persistence. He can get that mock-up and he (snap) wants the next one right away, (snap) because he knows that last one couldn't persist, see? So he's got to have this next one, bing. (snap) He's got to have the next one, bing. (snap) He's got to have the next one, bing. (snap) That's to keep himself from being informed that they pheww! They just disappear on him, that's all.

He'll get a brilliant mock-up, and he can hold it for a split instant and it's gone. Well, he gets upset then, and he has to have a new terminal because these terminals keep disappearing.

What's wrong with this person? This person is getting mock-ups on The p a circuit. That is to say, he's got some cells or currents over here, and they sort of put mock-ups out there when he calls for them. They put them out there very fast and they don't last very long, and he hasn't any control over them. They're very erratic, they're very random.

If you stop this person and say, "Put a man out there with a hat on." And he will say, "All right," And you say, "All right. What kind of a hat did he have on?" "Oh well. Let's see, the last one was a fla - … No, that's a bowler, that's a straw…" You say, "Now, wait a minute. How many hats has he had on?" "Well, while you've been talking here, about thirty." So there's quite some differences in these cases.

Now, the one who can't get a mock-up, there isn't any reason to have him sitting there unless you can convince him individually, if he complains about this, just - that he just gets a concept that he's got a mock-up. If he can get that, then you're all right, then go on with this. If you can't, you'll have to give him a little bit of individualized work until he becomes convinced of this. He gets the idea he's got a mock-up.

"Can you get the idea you've got a mock-up?"

"Yes."

"Well, have you got one, can you see it?"

"No."

"Well, all right. Do you know that there's one there?"

"Yeah, sure, I can get an idea there's one there."

"Well, that's what you do from here on."

And the case will resolve.

And the next one is the slow one. He'll just poke around and poke around on this. Too bad, but you can't wait for him because he isn't the average in the class. So what do you do with this one? You could give him some individualized work or you simply tell him, "Get every other one." Get every other one that you call.

That might disturb him, but it will be better for him than to be shocked in the middle of every one of them and just have to ditch them and get another one and ditch another one before he got there and ditch another one. And he finally gets the idea he hasn't got any terminals at all and he'll go way down Tone Scale.

Now, the very active, dramatizing child or adult, oh dear! They're all over the place, And the child, when you tell him to be an airplane, will fly down the aisle. He'll just come right out of the seat and fly down the aisle sometime.

Well, actually, that is what you call dramatizing psychosis when it's that bad. The child gets himself completely identified with an object and when anything and anybody completely identifies himself with an object and is that object 100 percent of the time and couldn't be otherwise or shift himself or have any criterion on it - has got to make his body into that object, he's in a bad way.

Knew a psychiatrist one time, poor fellow. He used to tell me all about his patients - all over his office! Had the patient lay down on the couch; (snap) he's lying down on the couch, see? And the patient came over to the desk; (snap) he's over to the desk. And he made a face like this, and he made a face like this. That's the way. And the fellow just throwing himself all over the room in order to describe patients! It was worse than any child you ever saw. Because the thought would go into action without his judgment intervening. And you will find that is characteristic in the common behavior of this child that dramatizes madly on these mock-ups. Their thought goes into action without the judgment - without judgment. That's the difference there.

Doesn't matter how many kids throw their arms around, particularly, if you find one that when he thinks of a bear, he is a bear. Well, you'll find out this is a tendency with children, tendency. But if it always happens, and it happens noisily, it'll start happening compulsively, you've got a case on your hands. So don't recognize this as just an amusing case. This is a case which has very little judgment.

The nervous child or adult is disturbed by the noise or activities or the shifts around of the others. And they just sit there in apathy. They just, bang - somebody says something, something drops, something of the sort. This child will just sink into apathy. Ah, that's nothing very horrible. So what. Patch him up, put him in a special group. Now, the nervous one of course has to be put in a class, a group by themselves if you want to really deal with this, and be given a little bit of this. And their nervousness goes away fairly rapidly so they can be put back with the others.

Now, future averaging, by which we mean running them into the same group, takes care of this. They average out - have a tendency to do so.

Now, the - you have three groups, then, and only three groups that you're interested in: one, really, are the can'ts; the slows and nervous, you put them together; and the fasts. And these groups will operate as units. And after you've worked with them for a relatively short time, you could put them all back together again and you're all right.

Now, there's one thing you mustn't do with children or adults on a low IQ level. You mustn't give them individualized attention to too much of a degree. And the reason you shouldn't is because then the rest of them can't, until they've got individual attention, too.

One little boy, "Can you get a mock-up?"

"No, I can't get a mock-up."

"All right. Come up here and I'll give you a mock-up,"

All right. He's up here. We give him a mock-up; the rest of the children can't get mock-ups. Why? They've got to have an individual one, too.

Individualized attention then will hold up the whole class. So minimize it. Split the children up into groups or the adults up into these three groups and thereafter process them again in chunks, and try to keep this individualized attention to an absolute minimum.

Don't try to patch up a case in front of the rest of the class or in front of the rest of the group. Because if you do, the rest of them are going to slow down to want that attention. So you just mark the fact and split the groups up accordingly.