This is first afternoon lecture of November the 23rd. We have this afternoon, a very fast review of steps up to III, and we talk about Step IV, and their use. All right.
It's rather difficult to put into a communication system all the things that can be done by an auditor because many, many, many things can be done by an auditor.
However, SOP 8 is a pretty good method of categories of techniques, and SOP 8-C would be what you ordinarily used with which to produce a maximum result with your preclear. However, you must understand that knowing the underlying theory of what you're trying to do, as you will during these next few weeks, you should be able to very adequately utilize any sort of a technique, anytime it comes up. However, we're not going to ask you this early in the course to utilize these things on a virtuoso basis. Let's just use them as they come up.
Now we have Step I. Step I is a locational step. Starts out while he's interiorized. You can start that out simply by asking somebody to be three feet back of his head; and if he's going to be three feet back of his head, he'll be three feet back of his head. But if you ask him and he isn't, you have given him a failure. In view of the fact only about 50 percent of the people you encounter will be three feet back of their head, there is a better method of doing it, which is to say, you exteriorize him by location — "where he is not," past, present and future. And "where other people are not," past, present and future. And "where is he thinking," past, present and future. And "where are other people thinking," past, present and future. And "where is he exerting effort," past, present and future. And "where are other people exerting effort," past, present and future. And "where are other people feeling," past, present and future. And "where is he feeling," past, present and future.
Locational. Locational. Negative location. You got that? That's the pattern of the step.
Now, going right along with that, is asking him to be in pleasant places and unpleasant places. But until you've got him out of the places he is uniformly stuck in, your chances of getting him very thoroughly into a new place, simply on command, are very poor.
Where somebody is unable to be in a place at will and very easily, you can know immediately, looking at the Factors, you've got a proposition of cause and effect.
Cause and effect must carry with it, of course, attention. You see, you've got cause and effect, and "attention" is the mechanical arrangement which comes about because of cause and effect. You can't have a very good effect without somebody — having their attention. You can be at cause without giving any attention, but you can't be an effect without having given something attention. So the difference between cause and effect, actually, is whether or not you gave attention to something, and whether or not you're still giving attention to something. And there you have it.
Now, it's — attention is in two conditions. One, too dispersed and unable to fix, and the other is too fixed and unable to disperse. Those are the two conditions of attention. Follow those? Two conditions of attention. That's all the conditions of attention there are, there are no others. Too fixed or too dispersed as far as attention is concerned. When you speak of neither fixed nor dispersed and no attention, you are not, of course, speaking about attention. Well, there is no other condition of attention than those two conditions.
You could just get an idea of a searchlight pinning down on a pinpoint on a wall so hard that it burns a hole in a wall — that would be too fixed an attention. If you get an idea of a searchlight coning out until it lights everything up, but rather uniformly but dimly, so that you could barely see the wall or not see it at all because of that — well, that would be the idea of an unfixed attention.
Now, people's attention becomes so crowdedly fixed on something that it inverts. We have people looking at something very, very strongly and we find out that they will eventually begin to look in front of it or behind it — first behind it and then in front of it. What — the first condition is to look at all the space around it and the object, rather relaxedly. And then the next condition is to look at the object but not at the space around it. And the next condition is to look at the object so hard that one sees beyond it, or in front of it. In other words, one closes it out entirely.
Now, you see these various conditions of attention. Now, there is the condition of attention which succeeds that, which is, look at it so hard that they only see the space around it and it disappears, which is another in — stage in the inversion.
Now, you ask somebody to look very fixedly at the space on either side of an object, and if they tell you the object has disappeared, you've got one of the later stages of fixed attention. It is so fixed, you see, that they don't see what else is to be seen, too. You say, "Put your attention on the space around this object." They do, and the object disappears. Well, this is unmocking, but gloriously. And that, of course, is an automaticity in unmocking. What is that? They can put their attention on the space and lose the object, or put their attention on the object and lose the space. That's fairly extreme.
As we first enter this problem, the person is able to put his attention on the space around the object and on the object too. And then he is unable to put his space around the object — on the space around the object, he puts his space on the object when told to look at the object. And then his concentration is so great that his attention fixes beyond or before the object. And now as we get this deteriorating — you see this is superfixation, this is fixation on an inversion — we get another condition, whereby you ask him to put his attention on the space around it, the object itself disappears.
Now, here is inverted havingness. They can't have something, they're so compelled to look at space. And this is an automatic unmocker, and actually is the anatomy of automatic unmocking.
Unmocking itself is a very simple proposition; you merely look through something and it unmocks. This is of the essence. I mean, you don't have to do anything very — very strong. Now, that is a very, very crude method of unmocking, by the way. The best method of unmocking — in case you know anybody, any problem to unmock something, they just look through it and it'll disappear.
You don't have to go that crude. That's a crude method, you understand. The other one's to just know it's not there and it's not there. That's a very precision method, and the method which we are trying to achieve because that is the basic and optimum method of mocking and unmocking.
Now, we've got this first step, and in this first step, you'll find immediately that somebody's attention is too fixed on where he is, or too fixed on where he isn't but thinks he is. Or it's so dispersed all over the place that he can't be anywhere. And somewhere on thinkingness, effort, feeling or looking, you will find some place, some thing, some object, where his attention is entirely dispersed and he cannot look at the thing at all. Just the effort to look at the thing is so great that his attention simply disperses — it flies all over the place. You see that? It goes out into the space around the object. This extreme condition, they can't look at the object, their space just. . .
By the way, I didn't end that other. Then after their — the thing disappears, because they look at the space around it, you get the final deteriorated condition … There are two conditions beyond that, as long as we are just going into attention (I hadn't really expected to cover the thing). You tell them to look at the object, and their attention flies into the space around it, and they don't see the object. And the next one is, you tell them to look at the object, their attention flies around it and then comes back on a false object. You see, that's delusion. It comes back and then instead of a microphone they see a spider. You see? That's somebody seeing something.
Well, you shouldn't get confused about this — is the person knows he has to have something there, and in this franticness of trying to have something there, his automatic machinery simply is — he's going full automatic now, and the automatic machinery just isn't working, that's all. It'll put anything there. He's on a complete other-determinism. He isn't even on a mest universe determinism, so he's relied on other people to mock up the MEST universe for him for so long, that he can't tell what's being mocked up! He goes around and sees all sorts of strange, weird things because this automaticity — anything will kick in. See, he has — he's said, "I have no responsibility for mocking up this universe. This universe isn't mine. No part of it's mine." Well, that's the final deteriorated condition of attention.
Seldom you will see anybody like that. It — usually it works like this: Light stages of delusion — if the person sees a nothingness, something will appear in it.
Male voice: Space.
Yes, if he actually sees a nothingness. If you ask him to see a nothingness, he'll get something appearing in it. Well, this is your — his machinery compulsively having to have something. He doesn't dare look at anything. His intention just blears out away from it, and the machine puts something else in, and he looks at that. Everything is something else. Anything is a symbol for anything else. You got the reactive mind at work there, you see? Anything equals everything, and all things have lots of significance, an empty space has lots of significance, and everything has significance, significance, significance — real deteriorated.
But let's not pause on that too long. If you don't understand that, let's just go over it a few times and you . .. Actually you can take a flashlight and focus it and unfocus it and see all these things. It's just a condition of perception lines. There's nothing to this but perception lines. The fellow is looking at one thing and sees something else, that's all. He actually — there is a spider someplace. See, he's just so mislocated that you told him to see something, so he goes and looks at something, but he looks at whatever a machine is putting there for him, you see. Because if he's looking at a wall, he's looking at something a machine is putting there for him. I'm sorry it sounds complex, because it's not complex at all. You'll understand this better.
But let's get on to something very simple. You can understand how a person can be someplace, and not be someplace. You can understand, too, how a person can be someplace without looking, and be someplace with looking, and not be someplace without looking. And also, by the use of extended viewpoints, not be someplace and look.
Now, you're going to run into that one. That's a periscope effect, and so on. You'll find somebody, he — every time he gets out, why, the next thing you know, why, he has a beautiful view of something or other, and it's superimposed on a beautiful view of something or other, but he's not near these two places and knows it. And it's very confusing. He's just being supercareful. He has been hit once too often, and in this desire not to be hit, he isn't there. He puts a viewpoint there instead.
I'll show you how that'd work, is let's mock up a television camera, and we put the television camera over on the top of the Walt Whitman Hotel, and we run a cable over here and the fellow looks at a viewer. Now, in essence, that is the mest universe dramatizing the thetan's ability to put out a viewpoint. Well, of course if anything hits the top of the Walt Whitman Hotel, it won't hit the pc. It won't hit him as a thetan, it'll simply hit a television camera. And he's very happy about this — extremely happy, you see.
So every time you've got somebody using viewpoints, there's two things taking place there. One, he can't look where he is, because there's such a scarcity that he's not there to look, to some degree, you see. But he has to be someplace else to look because he can't be there to look, and he's just confused to that degree. And the other condition is, that he is being terribly careful.
So you have him mock up some viewpoints so as to — very carefully, at a distance from him — and look from them so that when they're hit they won't hit him. And then have them hit, you know, and blow them up and so forth. And then put some viewpoints someplace else to look with. These things are very handy. You put the putting up of viewpoints in his own hands — that's an automaticity of viewpoints.
When somebody's getting this effect you say, "You're right there," and all of a sudden, he's looking at the Walt Whitman Hotel, but he's looking at it from the other side and back toward himself. This is real silly. He — don't be confused about what that is. This guy is just being superdispersed and using viewpoints, so he's being very careful.
Nearly anybody uses viewpoints. If you just waste viewpoints for a while, the condition remedies. This isn't a mysterious perception thing. He just can't be where he looks from. He knows better. Just a tricky little arrangement.
That'll come up in auditing every time you turn around. Somebody will suddenly say, "You know I can't look at — I just — I've got a — yes, I've got a big picture of the corner, but, gee, that's a big corner." Viewpoint, that's all. He isn't in the corner, he's got a viewpoint up in the corner. See how that is? All of a sudden he gets a terribly big, magnified view of a clock. You say, "Look at the clock," and he gets a huge magnification of this huge clock. He knows he's not in front of the clock, but he'll get this big view of it. Here he's got it on a screen, you see.
And you say, "What on earth is wrong with this person? He feels like the universe is caving in on him." Well he ought to. My God, he's got viewpoints all over through the past, present and future, and he's got things scattered up. And every once in a while, some guy will go to sleep and he'll have big dreams about fires and so forth that he's — he's still got a viewpoint kicking around somewhere, but it's parked in front of a facsimile. See, the facsimile might still be out in Iowa or someplace, but he's got a viewpoint parked in front of it. You follow that? That's this silly business of "long lookingness."
Then there's the other silly business of unmocking everything with blackness. That's, of course, real silly. But of course, that's the first antagonist of space, is black space. You know, all space is black unless it has some light in it. And a fellow who's had to come up against space and space has really impressed him, believe me, he'll use that as his pattern of view. And he's got nothing but viewpoints scattered all over black space. If you don't think there isn't a lot of black space, sometime, why, go out on a dark night in Arizona or someplace and really take a look up. And you don't see very many stars, but you sure see an awful lot of space, and all that space is black.
Well now, you're in the edge of a galaxy; it gets a little bit thicker as you go in toward the hub, but not much. Now, let's look in the direction where there isn't any galaxy. Let's look away the opposite direction, 180 degrees of a sphere away from the Milky Way, and you look out that way and you will see a lot of black space. There's no stars out that way. See, it's real blank.
So you run out of this galaxy, and you find an awful lot of black space between here and the next galaxy, believe me. The next galaxy, a collection of stars exactly — is about the same as this. I think it's the galaxy up in Andromeda. You look through the constellation of Andromeda to see this galaxy, and you can almost see it with the naked eye; little tiny blurry patch up there. But you turn a telescope on it, and boy, that's a long way away. But it — there's a lot of black space around. There's very few galaxies in it. And there's much more space without galaxies in them by about ten to the hundredth power, than there is space with galaxies in them. And now you get inside the galaxy and you look around and you don't see much stars there, either — there's just a lot of black nothingness. Well, a fellow of course is terribly impressed by this, and he decides right away the thing for him to do is to pattern that, see? Very simple. All right. So much for his black space.
He gets the idea after a while of — he's lost so many things in space, and he's lost so many mock-ups in space and universes and things and stuff and the suns have gone out on him (he's had a lot of fun!), that at last he gets the idea the way you unmock things is to cover it with blackness. Cute trick, isn't it?
Well, of course, the most unmocking thing you ever ran into is black space — that'll gobble up almost anything. The only thing better than black space is just plain, ordinary, routine nothingness, and that's very superior. Of course, it makes these boys sick because they get it confused with the nothingness of black space and that's a very sickening thing. All right.
That's enough time on just talking about attention and beingness here and there. Well, what's the technique that goes along with Step I? Very simple technique. I'll give you an example — and this may sound very peculiar and obtuse and strange to you, but I'll give you an example of this technique.
Now, is your mother here?
Male voice: No.
Well, where isn't your mother?
Male voice: Every place but where she is.
Every place but where she is. You know that?
Male voice: Yes.
Okay. Where is she thinking?
Male voice: She's thinking where she is.
You sure of that?
Male voice: Yes.
Good, fine. Where are you?
Male voice: I'm here.
Good. You know you're there?
Male voice: Mm-hm.
Well, where aren't you?
Male voice: Well, I'm not anyplace else but here.
You're not anyplace else but here. Are you in your feet?
Male voice: No.
Knees?
Male voice: No.
Either shoulder?
Male voice: No.
Ears?
Male voice: No.
Top of your head?
Male voice: No.
Chin?
Male voice: No.
Throat?
Male voice: No.
Stomach?
Male voice: No.
Are you in your eyeballs?
Male voice: Near there.
You're near there.
Male voice: Yes.
Well, take a look. And shut your eyes and see if you are in your eyeballs.
Male voice: No.
You're not in your eyeballs.
Male voice: No.
Are you in the middle of your head, exactly? Take a look at the middle of your head and see if you're in there exactly.
Male voice: I don't think so.
Well, just take a look at it. Oh, take a look at the back of your forehead — let's do this much more artistically — take a look at the back of your forehead. Are you in it?
Male voice: No.
All right. Take a look at the section between the back of your forehead and the middle of your head and take a look at that. Are you in it?
Male voice: No.
Okay. Let's take a look at the middle of the head there, with your forehead beyond it. Are you in it?
Male voice: I feel something move back. (laughing)
You feel something move back, that's quite unusual.
Male voice: Mm-hm. I think I'm on the backside of the half of the . . .
You think you're on the backside of the half there? Well, take a look at the middle of the head and just make sure you aren't there.
Male voice: There are some — should be somewhere.
All right. Well, now what — take this section between the middle of the head and the back of the head and so forth. Well, if the back of the head were in line with your forehead, and your forehead was furthest away, would you be in the back of your head?
Male voice: Yes, I believe so.
You would, huh? That is, if you were looking at the back of your head — why don't you just try it out? See there if you're in the back of your head — just look at it on the same line that goes towards your forehead.
See, if your back of your head there and your forehead were on a line, and you were looking at the back of your head, with your forehead furthest from you . . .
Male voice: I feel like I'm a lot lower now.
I don't care how you feel like you are, I'm asking you something. (audience laughter)
Male voice: All right.
All right, what is it?
Male voice: I figure.
Huh? Yeah let's figure it all out.
Male voice: No.
Well now, are you . . .
Male voice: What was your question?
. . . are you in front — in your forehead? I'm asking very complicated questions here, all calculated to confuse you.
(If he was going to move out, he would have moved.)
Male voice: I'm just back of my forehead.
Just back of your forehead.
Male voice: Yeah.
Uh-huh. Well are you back of that position?
Male voice: Am I back of that position?
Yeah.
Male voice: No, I'm in that position.
Well, let's take a look back of that position and make sure you're not there. Where are you not behind that position?
Male voice: I'm not way back.
Well, let's take a look way back and see if you are there. (pause) Find that easy to do?
Male voice: No, not too easy yet.
That's not easy to do. Well, it's much easier to look forward, of course, you're fixed on that. So tell me if we've got a ceiling over our heads.
Male voice: Yeah.
We'll just move into Step III on you and that is the way we'd go. No, I'm not going to do anything more here. Are you in your head?
Male voice: Yes I'm in my head.
You're certain of that?
Male voice: Yeah.
All right.
Now remember that before you start shifting somebody around, you better collect him.
Are you more certain at this moment that you're in your head than you were a little while ago? Yes or no?
Male voice: I believe I am.
You believe you are, sure.
Every once in a while, somebody will look at you with a gasp of relief, and say, "I'm in my head!" Just on this kind of an orientation proposition. "Are you in your right foot, are you in your left foot, are you in your right knee, left knee, zum-zum-zum-zum-zum."
And "Oh," the guy will say, "no, I'm in my head."
You say, "Well, what part of your head? Are you in the front part of your head?"
"No."
And after a while — you can keep this up as long as you want. And he'll, after a while, just get ornery as the devil toward you. You just keep asking him if he's in the front part of his head — are you sure he isn't in the back part of his head? And he just keeps looking, see? And right away, he's gone up above symbols.
See, the fact that you keep chattering at him and saying, "Well now, are you sure you're not in your chin?" and so on, your words are rendered nothing because of the certainty of his position. You can ask a fellow, by the way, to keep on kicking a wall and keep on asking him if he's sure the wall is there, and make him kick it again. And he'll get awful mad at you, but he'll sure get awful sure there's a wall there. His perception will come way up.
Well, so much for that. Now, just as I was doing there, I was trying to make him put the back of his head in line with the center of his head, in line with his forehead, with his forehead the furthest away — he would have been back of his head looking at himself, pang! But a lot of people won't do that. So you would immediately then decide, as far as this case is concerned, that you'd just better go into an unmocking proposition.
So let's go into the second step. Now, we've gone into Step II, and the greatest automaticity there is, of course, is the body. And let's see if this fellow is going to shed it, and make it possible for him to shed it right away.
Now, how — why don't you mock up your body sitting in that chair about three feet in front of you. (pause) Do you get it clearly?
Male voice: I didn't get it clearly.
You don't get anything there.
Male voice: Just vague.
Very vague. Well, okay. Why don't you — see, and there goes Step II. Why don't you look straight up and find nothing.
Male voice: All right.
And then sit there for a moment and just stop perceiving there, and sit there and know. (pause) Now let's look straight down and find nothing.
Male voice: All right.
Now sit there for a moment and know. Look straight forward and find nothing. (pause) Got it?
Male voice: Yeah.
What happened?
Male voice: Nothing.
Huh?
Male voice: I was just. . .
What happened?
Male voice: . . . trying to find the blackness on the — um — to get the nothingness.
Uh-huh. Well, why don't you just find nothing there.
Male voice: All right.
Why don't you skip the blackness and everything and just find nothing out there. And then sit there and know for a moment. Now let's look over to the right, and find nothing as far as you can see.
Male voice: Okay.
All right. Just sit there for a moment and know. Now nothing as far left as you can perceive.
Male voice: All right.
Now sit there and know. Now nothing as far back as you can perceive.
Male voice: All right.
Sit there and know for a moment. Now why don't you mock your body up three feet in front of you over there. (pause) Is the perception clearer?
Male voice: No.
No? Nothing happened there in the perception?
Male voice: Don't get anything.
Don't get a thing in front of you? You get no mock-up now.
Male voice: I get no mock-up.
Why, that's real interesting. Why don't you look up, straight up now, and find the ceiling.
Male voice: Mm-hm.
And look through the ceiling and find the roof.
Male voice: Mm-hm.
And look through the roof and find the sky.
Male voice: Okay.
And look through the sky and find nothingness.
Male voice: All right.
All right. Now let's look straight up above you and (we'll just do these steps with variation, and you can vary them any way you want to) — look straight up and find a tile ceiling above you.
Male voice: Okay.
And let's look through the tile ceiling and 150 feet up, find a granite roof.
Male voice: Mm-hm.
And now let's look up above that and find a yellow sky.
Male voice: Okay.
And let's look through that and find nothing all the way up through.
Male voice: All right.
Mm-hm. What happened?
Male voice: I had a hard time getting through that yellow.
You did, huh? Well, that's peculiar. All right, now let's put a mock-up of yourself out in front of you again. You get a better one?
Male voice: It was just a little one.
Hm?
Male voice: Same, about like I did the first time.
Oh you do, huh? Well, all right, now let's look straight down and find a mosaic floor.
Male voice: All right.
And look through the mosaic floor and find a torture chamber.
Male voice: All right.
And look through the torture chamber and find the bottom of a well.
Male voice: All right.
And look through that and find the molten core of the Earth.
Male voice: Okay.
And look through that and find Boston on the other side of the Earth.
Male voice: All right.
And look through Boston and find a green sky.
Male voice: Okay.
Okay. Now let's look through the green sky and find nothing.
Male voice: Okay.
Okay?
Male voice: Uh-huh.
Now, let's get a little mock-up of you sitting there three feet in front of yourself. (pause) Perception better?
Male voice: No. It seems like I'm trying too hard.
Mm-hm. Interesting, isn't it? You're trying too hard.
Well, I'm just playing this one way across the other. We gave him a flock of imaginary barriers — that is to say, mock-up barriers, a flock of MEST universe barriers — and we suddenly find out that we're working with the effort band.
So put an effort out in front of you.
Male voice: All right.
Why don't you put a beam on the effort band, and push yourself out of the back of your head. (And I'm not giving you this as a pattern of auditing at all.) Put a beam on that object and push yourself out the back of your head. Did you push?
Male voice: Yeah.
Mm-hm. Are you outside? (pause) Push yourself right on out.
Male voice: I . . .
Hm?
Male voice: I am pushing hard.
Well, rig the beam up with some machinery so it pushes you out. That work real good? (pause) Hm? (pause) Did that work real good?
Male voice: It made it easier all right.
Are you exteriorized?
Male voice: I think so — I'm not, no.
You lost again? Are you in your right ear?
Male voice: No.
Your left ear?
Male voice: No.
You in the back of your head?
Male voice: No. Right in front of my face, I think.
You're in front of your face?
Male voice: Mm-hm. In my head and in back of my face, rather than the back.
Oh, you moved forward. Is that right?
Male voice: I think so.
Well! Okay.
Now, as interesting as that might be, this is not a particular pattern method of doing it. You know this man is now — this is not labeling you — skip it now, we're all through with that session.
Male voice: Okay.
We know a lot about our pc. If you listened carefully, we know an awful lot about our pc. Terrific amounts we know.
We asked him to move back and he moved forward, see? So he's got some kind of an automatic inversion of some sort. But he did locate himself. He's perfectly sane, we know that. Why? Because he can find himself in his head. Mama isn't present and so forth — so he's perfectly sane. We know he was on the effort band. Well, I've played those three with a great variation, one against the other. Now let's play it with less variation and let's take it just by rote, the way you could be absolutely sure it would happen. See, I mean you do this just by rote now.
[to another student] Are you in your right foot?
Male voice: No.
Your left foot?
Male voice: No.
Stomach?
Male voice: No.
Right shoulder?
Male voice: No.
Left shoulder?
Male voice: No.
End of your nose?
Male voice: No.
In your right eyeball?
Male voice: No.
Left eyeball?
Male voice: No.
In your right ear?
Male voice: No.
Left ear?
Male voice: No.
In the back of your head?
Male voice: Hm-mm.
On the back of your head?
Male voice: Hm-mm.
Is the back of your head three feet in front of you?
Male voice: About six inches.
About six inches, hm? Well, mock your body up just a little bit further ahead of you than that.
Male voice: Okay.
You got that? Okay. Now right from there, tell me where you are not in the room.
Male voice: Mm, not in the corner. Not in any corner.
Mm-hm.
Male voice: Not in any wall.
Okay. Why don't we mock up a whole bunch of sandbag barriers. Instead of the walls of the room, make it a bigger room with a bunch of sandbag barriers.
Male voice: Okay.
That easy to do?
Male voice: Mm-hm.
All right. Now where aren't you amongst these sandbag barriers?
Male voice: Not in any of them.
Okay. Locate you a little better?
Male voice: Mm-hm.
Okay. Let's look through the sandbag barriers and find yourself completely surrounded by temple colonnades.
Male voice: Yeah.
Got them real good?
Male voice: Mm-hm.
All right. Change them blue.
Male voice: Mm-hm.
White.
Male voice: Yeah.
Blue.
Male voice: Mm-hm.
Green.
Male voice: Mm-hm.
Blue.
Male voice: Yeah.
Okay. Blow them up.
Male voice: Uh-huh.
Blow up the sandbags.
Male voice: Yeah.
All right. Can you be right up next to the chandelier up there?
Male voice: Mmm. Yeah, I got one up there.
Well, can you be next to the one that's there? Well, let's mock up about eight chandeliers up there.
Male voice: Okay.
Now blow them all up.
Male voice: All right.
Got that?
Male voice: Mm-hm.
Now you got the chandelier up there located?
Male voice: Mm, yeah.
You got it located?
Male voice: Yeah.
Put eight more chandeliers up there, and blow them up.
Male voice: Yeah.
All right. Now you got that one located?
Male voice: Yeah.
All right. Be next to it.
Male voice: Yeah.
You right there?
Male voice: Mm-hm.
All right, now let's locate the other chandelier.
Male voice: What other chandelier?
Well, let's put eight more up there and look around.
Male voice: All right.
Now blow them up.
Male voice: Mm-hm.
Eight more.
Male voice: Yeah.
Blow them up.
Male voice: Mm-hm.
Eight more.
Male voice: Mm-hm.
Blow them up. Now let's put a lot of pendant chandeliers, about twenty of them, hanging all over the ceiling.
Male voice: Mm, yeah.
Blow them all up.
Male voice: Okay.
All right. Now take a look around, you find a couple of chandeliers up there? Male voice: I have to put one up there. All right, put it there. Male voice: Okay.
All right. Now be in the bottom of it. Male voice: Mm-hm. And now be very close to the lamp. Male voice: Mm-hm.
All right. Now let's feel a little heat from the lamp. Male voice: Yeah.
All right. Let's feel a little less heat. Male voice: All right. A little more heat. Male voice: Yeah. A little less heat. Male voice: Mm-hm. A little more heat. Male voice: Yeah. A little less heat. Male voice: Mm-hm.
Okay. Now let's be on the glass of the lamp. Male voice: Yeah. Pretty warm? Male voice: Yeah, it's hot. All right. Now, let's just slide inside. Male voice: Yeah. That easy? Male voice: Mm-hm.
All right. Now let's be up near the filament. Male voice: Yeah. Interesting?
Male voice: Pretty bright. Pretty bright. All right, make it duller. Male voice: Yeah, it's red. All right. Now make it brighter. Male voice: Yeah. Now make it duller. Male voice: Mm-hm. Make it brighter. Male voice: Mm-hm. Make it duller. Male voice: Yeah. All right. Unmock it. Male voice: Mm-hm. All right. Now put it there again. Male voice: Yeah.
All right. Now let's be right on the filament of the lamp — juice, you know. Let's put a beam across between it. Male voice: Okay. Put a beam across there, see? Male voice: It lit up. Okay. The beam lit up, huh? The beam?
Male voice: Yeah.
All right. Now mock up an asbestos island in the middle of the beam. Male voice: Yeah. Now let's be on the island. Male voice: Mm-hm.
Okay. Now, let's just put another tiny test beam on these two filaments. Male voice: Yeah.
All right. Now let's just connect up with them, just a little bit. Male voice: Yeah. Just let a little less through now. Male voice: Yeah. A little more. Male voice: Yeah. A little less. Male voice: Mm-hm. A little more. Male voice: Yeah. A little less. Male voice: Mm-hm. A little more. Male voice: Mm-hm. A little less. Male voice: Yeah. More.
Male voice: Yeah. More.
Male voice: Yeah. More.
Male voice: Mm, yeah. And less. Male voice: Okay. Less.
Male voice: Mm-hm. Okay. Now let's be up on the roof. Male voice: Yeah.
Find a real dirty place on the roof. Male voice: Yeah. Let's be in it. Male voice: Okay.
Now let's find a real clean, bright place where you've got a good look out across the town.
Male voice: Mm, okay.
Let's be on it.
Male voice: Yeah.
Now let's put a town all with conical roofs.
Male voice: Mm-hm.
Blow it up.
Male voice: Okay.
A town with green roofs.
Male voice: Yeah.
And blow it up.
Male voice: Okay.
A town with pink roofs.
Male voice: Yeah.
And blow it up.
Male voice: Mm-hm.
How does this town look now?
Male voice: This one here?
Mm-hm.
Male voice: It's okay.
Looks real good? Well, change it around so it looks better.
Male voice: Yeah.
It looks much better?
Male voice: Mm-hm.
Good. All right. Now build the whole thing out of gauze, so there's no town there at all, hardly.
Male voice: Okay.
Got that real good?
Now shine some lights through the buildings in such a way that you can see they're not solid.
Male voice: Yeah.
Blow it up.
Male voice: Mm-hm.
Okay. Just get a hole in the ground here.
Male voice: Yeah.
All right. Now let's be — dispense with the hole. And let's be over the — is there anyplace around here — let's be up in the air about a thousand feet above the town.
Male voice: Okay.
Is there any furnace going or anything like that around?
Male voice: Big refinery.
Big refinery. All right, let's go over and be on part of the chimney there at the refinery. Go on, be …
Male voice: Yeah.
Got that?
Male voice: Mm-hm.
Interesting looking place?
Male voice: Yeah.
Yeah. Well, let's kind of flip through the smoke.
Male voice: Yeah, it's kind of — burn.
All right. Now let's make soothing smoke come out of the chimney.
Male voice: Mm, yeah.
Turn it slightly purple.
Male voice: Huh! Yeah.
All right. Now, let's take another look at it again.
Male voice: Yeah.
And flip through it the other way. Easier to do this time?
Male voice: Yeah.
That was real easy.
Male voice: Mm-hm.
All right. Now why don't we just be down outside the furnace door that's feeding this.
Male voice: Mm-hm.
Take a look around the furnace room.
Male voice: Yeah.
Fill it up full of gnomes.
Male voice: (laughing) Yeah.
Give them picks and shovels.
Male voice: Yeah.
Blow them all up.
Male voice: Okay.
Okay. Now, let's look around this room. Put another furnace there.
Male voice: Yeah.
Make it disappear.
Male voice: Okay.
Another furnace.
Male voice: Mm-hm.
Make it disappear.
Male voice: Mm-hm.
Another one.
Male voice: Yeah.
Make it disappear.
Male voice: Mm-hm.
Now is there some fire going in that furnace?
Male voice: Yeah.
Okay, let's be up close to the door and feel some heat.
Male voice: Mm-hm.
All right. Now let's be very close to it and feel less heat.
Male voice: Yeah.
Okay. Now let's just see right straight through the furnace and see the far wall of the building.
Male voice: Mm-hm.
Okay. Now let's shorten up vision until you can see inside the furnace.
Male voice: Yeah.
Got that?
Male voice: Mm-hm.
Where's there a real cool spot inside there?
Male voice: Pretty hot in there.
Pretty hot in there, huh? Well, mock up a match and give yourself a hotfoot with it.
Male voice: Yeah.
Got that?
Male voice: Yeah.
Pretty easy to do?
Male voice: Mm-hm.
All right. Let's get a blowtorch and give yourself a hotfoot with it.
Male voice: Yeah.
All right. Blow that up and let's be over very, very close to the furnace door so that you can see a little fire on the other side of it.
Male voice: Yeah.
Now we're going to do this real quick. When I say go, why, you jump inside and jump out again, okay?
Male voice: Mm-hm.
Go.
Male voice: Yeah.
Hot in there, huh?
Male voice: Yeah.
All right. Let's turn the whole interior of that furnace into an icebox.
Male voice: Yeah.
Now let's be inside and feel how cool it is,
Male voice: Mm-hm. Yeah. It's real cold.
Okay. Now, be outside of it.
Male voice: Mm-hm.
And unmock the icebox and substitute a fire in there.
Male voice: Yeah.
Now let's look at the fire other people believe are in there.
Male voice: Yeah.
All right. And let's be in the fire other people believe are in there. (pause) Now turn the flames around yourself a delicate shade of pink.
Male voice: Mm-hm.
Now be outside the furnace.
Male voice: Yeah.
Now I want you to be inside the furnace at the foot of the chimney.
Male voice: Yeah.
And now I want you to go right straight on up through the smoke, right on out the chimney, out into the air on the other side.
Male voice: Hm. Yeah.
Got it?
Male voice: Mm-hm.
Look around from where you are above the chimney.
Male voice: Mm-hm.
Mock up a couple of vacuum cleaners to mop you up and polish you up.
Male voice: Yeah.
Give yourself a halo now.
Male voice: Mm, okay.
Brightly polished halo.
Okay. Now let's be over the river.
Male voice: Mm-hm.
And let's find an old, dirty barge.
Male voice: Mm-hm.
Got a garbage barge around there anyplace or something like that?
Male voice: There's one down there, I'm sure.
All right. Let's find a real dirty barge.
Male voice: Yeah.
Let's turn it into Cleopatra's pleasure yacht.
Male voice: Yeah.
And be on its deck.
Male voice: Mm.
Got that?
Male voice: Yeah.
All right. Let's change it back into the coal barge or the barge.
Male voice: Mm-hm.
All right. Now let's find a very scrummy, dirty part of the barge.
Male voice: Mm, yeah.
Let's be in that.
Male voice: Mm, okay.
Real good?
Male voice: Mm-hm.
All right. What's the matter?
Male voice: There's a rotten orange right in front of me.
Good. Be in it.
Male voice: Yeah.
Got it?
Male voice: Mm-hm.
Be outside of it.
Male voice: Yeah.
Now mock up in its place a golden pomegranate.
Male voice: Mm-hm.
And blow up the pomegranate.
Male voice: Yeah.
All right. Now let's be way up in the stratosphere where it's real cold.
Male voice: Mm-hm.
Now mock it up as real warm.
Male voice: Mm-hm.
Now be up high enough so that you see the curvature of the Earth.
Male voice: Mm-hm.
Put an orange in its place.
Male voice: Yeah.
Blow up the orange.
Male voice: Yeah.
Let's take a look at the curvature of the Earth.
Male voice: Yeah.
All right. Now let's be out in black space.
Male voice: Mm-hm.
Good, black space.
Male voice: Yeah.
Just nice and cool? Any sensation about it?
Male voice: Mm.
All right. Now let's be up near the Sun.
Male voice: Mm-hm.
All right. Now let's get that corona. Do you see the corona — the flames coming off of the Sun, the fission?
Male voice: Mm-hm.
Looks real savage?
Male voice: Mm. Yeah.
Turn them into silk ribbons.
Male voice: Yeah.
All right. Turn them back into the corona.
Male voice: Mm-hm.
All right. Now let's be in — on the tip of one of these plumes of flame.
Male voice: Yeah.
And be well away from the Sun again.
Male voice: Mm-hm.
Now let's be on the tip of one of these plumes of flame and roily-coast right on into the Sun.
Male voice: It isn't bad.
Good. Now let's be way outside the Sun again.
Male voice: Mm-hm.
Take a look around.
Male voice: Mm-hm.
All right. Now let's be in the center of the Sun.
Male voice: Yeah.
How is that?
Male voice: It's all right.
Mm-hm. Hot?
Male voice: It's kind of warm.
Kind of warm? Well, mock up an icebox there.
Male voice: Yeah.
Is that cold?
Male voice: Yeah.
All right. Blow up the icebox.
Male voice: Mm-hm.
Now be in the center of the Sun.
Male voice: Mm-hm.
Okay. How is it, real good?
Male voice: Yeah.
All right. Now let's be above Earth.
Male voice: Mm-hm.
Now let's jump these planets one after the other: Earth.
Male voice: Mm-hm.
Moon.
Male voice: Mm-hm.
Mercury.
Male voice: Mm-hm.
Find it?
Male voice: Mm-hm.
Good. Mars.
Male voice: Mm-hm.
Jupiter.
Male voice: Mm-hm,
Earth.
Male voice: Mm-hm.
Sun.
Male voice: Mm-hm.
Moon.
Male voice: Mm-hm.
Let's be on the far side of the Moon now.
Male voice: Yeah.
Let's find a meteor coming in.
Male voice: Mm. Yeah, there's one going by.
One going by. Get in front of it.
Male voice: Yeah.
Okay. Now move through it.
Male voice: Yeah.
Okay. All right. Now be back here again.
Male voice; Yeah.
Be three feet back of your head.
Male voice: Yeah.
Now let's take a whisk broom and dust the body off.
Male voice: Yeah.
Got it?
Male voice: Uh-huh.
All right. Now look right straight through it and see the floor on the other side of it.
Male voice: Mm-hm.
Now look through the body.
Male voice: Yeah.
Got that real good? Look through all parts of the body now. Find no body there at all.
Male voice: Yeah.
Now put a body there.
Male voice: Yeah.
How do you feel now?
Male voice: Good.
Okay.
Now, there's actually a very full rendition — although I had to put a couple of other little angles in it, not to amount to anything — but there is actually a full rendition of being someplace: exteriorizing somebody by having him, just gathering him up and be in back of his head, and stabilize him and have him be in some safe places and dangerous places, and change him around.
When a person is not immediately in the vicinity of all of his automatic machinery, it's very simple. He can be any kind of an automaticity, even he — any automaticity ever set up, he can duplicate. And he can do better, much better, than feeding it to some remote machine and having it do it.
Okay. Feel okay?
Male voice: Yeah, I just noticed my leg was asleep and ordinarily it bothers me when I. . .
Oh yeah, just noticed it. Yeah, well, all right.
Now, there is a full run on Step I. Now, I tried to get the first case I did here just to snap on a couple of visios and so forth, and take over real quick. Didn't work out, case needs some work. What kind of work does this case need? This case needs one hell of a lot of III.
Did you have your own room when you were a boy?
Male voice: No.
No. That's about the first certainty that you have. Somebody's out of space. See, any of these things, he's fresh out of space. So you just better invalidate barriers with him, and you would just do III round and round and round and round.
Now, how would we do III with this first case we did — not the second one, but the first one. We would do III with many patterns, there's many patterns. You can run space in brackets of eight, you can — oh, there's just an awful lot of things you can do. The truth of the matter is that if you let him see nothing in six directions and then know after each one, you know, and you just kept that up, you would eventually breed a disrespect for barriers which would permit him to do almost anything he wanted to do. I mean, that's your basic technique as far as space is concerned. Just an invalidation of barriers. But you can come around the other way and do it the other way too.
You can go six ways and just do nothing but find the room, and then know. And then turn around, and find nothing in all directions and know. And then six directions, find the room. And then six directions, find nothingness. You could do it that way.
Or you could do it this next way: Six directions and find nothingness and know after each one, then six directions and find the room each time and then know after each one, and then six directions and find a phony barrier (you know, one that he's putting there consciously) each time and then we would go again and know each time, and just dispense with that.
Then we could go into barriers beyond barriers, which he himself is putting there, you see. And we could vary that to have him going through barriers other people mock up for him and put there, and seeing through them or stopping at them. We could do all these variations. There's just endless variations we could do on that. We could have him be in six ways of space, which is another one. But the one which you were doing this morning includes most of these ways, except the mock-up barrier.
Now, that would be Step IV on SOP 8-C. Machines or things — things which make, cause to persist, or unmake the following list. You've got the list right there, you know, in SOP 8 in Step IV — things or machines which make, or cause to persist, or unmake the following things, see? And what would you do with those machines? Would you cause them to work? No, you wouldn't cause them to work. You just run wasting such a machine, and somebody else wasting such a machine, and somebody else wasting somebody else's equipment that way. Just vary it enough so the patter doesn't get too solid. And you just beat those things to pieces till you get no registry.
You will normally find that semen and money cause the biggest commotion on a meter dial. But he's used bodies for anchor points and so forth. What's this? This is just curing up all kinds and varieties of anchor points, on an automatic basis. So we have to first get a machine which makes admiration, and then we waste that and save it and accept it and desire it and be curious about it in a bracket — see, that's one.
Then we get a machine which causes admiration to persist. And in brackets, each time, we waste it, save it, accept it, desire it and be curious about it. And then in a bracket again, we just go right on around on machines which unmake admiration; things which knock out admiration. We run this in a bracket.
Now, you want to talk about a full automatic psychotherapy — that Step IV done in that fashion, believe me, that sure does it. And all of those are used one way or the other, in one form or another, as anchor points, which again cure space and barriers. Because here's a problem in barriers which a person has in terms of ideas. So you solve the idea of barriers down there at IV.
See, the fellow — well he can't do that, he hasn't got that much money. He can't do something else because it'd make money and somebody'd take it away from him. You get somebody to find out that he can't have any anchor points because he can't have any money, we — and he — eventually get him up in money, and he'll eventually find out he can have a penny. First time in his life he's ever realized this, but he can have a penny.
You wonder what's wrong, why this guy gets frantic about anchor points. Money is the mutual anchor point in this society. See, that's an anchor point that drifts all around. Everybody mocks it up wherever it hits, complete with treasury stamp, which is a neat trick — it's very able to be able to do that.
All right, your Step III, then, would just beat space to pieces. And don't forget this: that you can just tell a preclear … Now for instance, you're about the band where you could — well, possibly you'd have to work some IV on you, but you'd exteriorize somewhere along the line of just holding on to the two back corners of the room. All of a sudden you'll find yourself hanging out in one of the corners looking at the room — or feeling the room, anyway.
Now you get that. That's a very quick rendition I've given you here. I've given you a full review of Step I, and I've given you a mix-up of these steps. That's a real potpourri, too. And given you some kind of an idea of the varieties, and so forth, of running Step III. And by golly, from what you had already and what you've been demonstrated to, you sure should run — be able to run that Step IV. You see, you don't waste these things in 8-C; you waste the thing that makes it.
You'll find many a Step I will bog on you simply because he can't make admiration. Why can't he make admiration? He must have something that's unmocking admiration faster than he can mock it up. So every time he mocks up some admiration, he's got an automatic machine that on the thought and wavelength of admiration, immediately it unmocks it. And then he says, "You know, I can't have any admiration." Well, this is real silly, you see? All he's got is a piece of automaticity that's knocking it out faster than he can put it in. Somebody else says, "I can't have a mock-up." Well, he's got something knocking out mock-ups faster than he can mock them — simplicity itself.
We — first case here, we had a couple of very faint visios. Sometimes those things will do a little flick and I'm always willing to take the chance that after you've made a guy look at something or something that it'll do a flick like that. Well, he couldn't get a mock-up. If he can't get a mock-up of himself sitting out in front of himself, they're very, very vague and so forth, he generally is on barriers of effort and ideas. You know, "It's work," he kept saying. "Well, you have to try," you know, "you have to try."
How are you going to try with some energy to make an idea? Actually caused me for years to be very upset with the human race because I couldn't understand this. And it was something I couldn't wrap my intelligence around, merely because it's just about as false as a Confederate minus 28-cent bill, see? How can you put effort into an idea? An idea brings about effort, but to get a picture and use some effort to put a picture there, immediately tells you about an inversion on the subject of effort.
Well, how do we go about this? Probably he's got automaticity that furnishes effort, but he's counting on the body to work for him, and he's always counted on his body to work for him — is that true? And he's been fresh out of space. So it's just the degree which we're working on.
Case is not difficult case for you to solve. I mean, I could work with this case with what else we know here, and probably have him exteriorized in another five or ten minutes — there's nothing much to that. But you can very easily overshoot this.
Well, I'll give you an idea. Put your hand — not your mest body's hand, but your other hands — put one of those hands on each shoulder. Now just shove yourself back there a little bit. Now pat your body on the head and say, "Poor body, it's worked so hard." Get that easily?
Male voice: I made something.
Why sure. Nothing much to it. Be back inside.
Okay. You see, the guy's got the idea you got — have to work with your hands, and he'll have what he calls a theta body, which is the same shape as his own body. You notice that? It's just another form of idea.
Well, how do you turn up anybody's perception? That's what everybody's going to start squawking about. You know, how do you turn up somebody's perception, that's the main thing.
Well, remember what I told you at the end of this morning's lecture. I'm going to tell you this practically every day, so just make up your minds that there's some validity to it. Look, thinking, on a circuit variety, is condensed effort. Effort — you condense effort enough, and you get thinkingness: the fellow works and plans ahead to do his work — he has to know before he goes and so forth.
And now we have feelingness — see, effort is condensed emotion, and emotion is condensed looking. So we find a guy looking or we find him emoting or we find him effort or we find him thinking, and what we've got is too fixed an attention on all of those factors. You got it? Much too fixed an attention on some part or portion of that band, see that?
So his attention is so fixed on it that you're going to ask him to perceive — well, he can't perceive. Why? He's got this fixed on this part of this band. Well, how did that band get there? Well, that's just a different kind of barrier in each case.
People are the barriers which bring about fixation on emotion, and people get fixed on emotion and stop looking. They've got to have some sensation.
Now, mest barriers bring about effort, and a person who's handling a lot of effort is no longer very emotional. And after he's worked like mad for a long time, he finds out that he'd rather "think about it," see?
Now, how do we stretch these things out? In each case, it's a barrier. When he's down to "thinkingness has barriers," oh boy! See? Now, we'll just cure him of his thinkingness having barriers, and we'll cure him of his effort having barriers, and having barriers of effort. And the next thing you know, we will cure him of doing anything but "know." And then he can turn around the other way, and here we go.
In essence now, on these steps, and the particular step which is III, the goal of that step is to be able to unmock the body and the room to such a degree that the body isn't sitting there, but the individual is. And after that he can be anyplace. See, that's the goal of that step as you carry it on, round and round and round.
And what about perception? Well, the only way you can see is to have something stop your sight. So seeing and stopping is the same thing. Now, in order to see the microphone you have to want this to stop your sight, see? So you want your sight to stop. And by the time you've been looking at barriers for a few trillion years, you eventually get the idea your sight's stopped. Stopped where? Stopped right up close with effortful barriers.
Those people who have trouble getting out of their heads and so forth, get the idea of a huge block of stone in front of you, an enormous block of stone — and give it a little push.
Now get a block of stone big enough to build a pyramid out of it and give it a tiny little push with your little finger. You see?
All right. Blow up the stone or move it away or leave it when you get out. (audience laughter)
But there in essence, you see, that is the idea of a barrier. You actually can have somebody who is on this, he will be able to mock up a black piece of metal or something in front of him like an iron cube or a pyramid or something solid in front of him and give it a shove, and out he comes.
And we got that test on the first case I processed here. I told him to mock up a wall and push on it, and push himself out. And you know, he darn near did — his neck straining and so forth. That's pretty good.
Well, there's nothing wrong with that, but it shows you that his level of work is still in good condition. He can mock up a barrier which is at least solid, so the case is of very little difficulty.
(Recording ends abruptly)