This is the second period this afternoon. This afternoon, I'm going to give you the integration of these two things: geographical location and positioning — positive and negative positioning — in auditing terms.

Now, every time you try to position somebody, you run into the fact they may start thinking or start being where they are — they might start being where they think they are. You get that?

You ask somebody, "Now, are you in Paris?"

And he says, "Yup."

You say, "Hm. Are you in South America?"

And he'll say, "Yup."

"Hm. Are you at the North Pole?"

"Well, yup."

Now, right there, without going into the impossible and the incredible and the dangerous methods of relocating him, unless the case is very far down . . .

When a case is real far down you've got to go much further than this. I mean, you've got to go into the impossible and the incredible and the dangerous — just shake them loose. Because they're not in shape where they can run anything like, or understand what you're talking about.

But this is merely the case that doesn't understand what the devil you're talking about, and is pretty foggy and gropes around, and so forth.

Any case present here, you would follow into this kind of a position: You would say, "Now, let's waste a machine that sends you someplace." That's actually, you think, maybe Step IV. No, it's not. That's Step II. This guy is not going to exteriorize well until he can be located well.

Exteriorization, inability to, has immediately under it this heading: "Not located." That's all the reason there is to why a person can't exteriorize, actually — they're not located. Their abilities are somewhere else, see? Simple. Everything they know or can do or can feel — all these things are elsewhere. And every time you ask these people to get into locations of this or that or "where are they not," they either get occluded or the mock-up disappears or they disappear or the body unmocks or everything gets very solid or they suddenly fix.

I had one case here, I asked him to disappear and he probably never, at any moment, felt more solid than just at that instant when I asked him to be three feet back of his head. And he all of a sudden fixed.

All of this comes under the heading of, and we use — just use the word machinery in lieu of postulates and facsimiles, see? We use the word machinery. Because they very happily mock all this up in terms of a machine. But their mothers show up and their fathers show up and so forth, because these are machines, too. They're facsimile machines. They're biological machines. And they're all basically postulate machines. That's the most basic machine there is, you see, is a postulate machine.

But you just don't walk into a case and say, "All right. Clip out all the postulates now which make you forget about all your automatic machinery. Now clip out all the postulates that hide all your automatic machinery. Now clip out all the postulates to protect all your automatic machinery. Now clip out all the postulates that keep your automatic machinery from appearing. Now clip out all the postulates that made your automatic machinery in the first place." And say, "All right, you're Clear. Five dollars. Next case." Don't do that. People like to drag it out longer. (audience laughter)

You want to know what this stuff is up here in the wall — this MEST is up here in the wall — it's a postulate. That's no reason it isn't real, though. The realest thing there is, is a postulate.

Don't go into reverse on this and say, "Well, the most unreal thing there is about it — it can't be real because I just thought so," you see? He keeps saying that every once in a while, "Well, I just think so, so therefore it isn't real." Waaa! Boy, that person is an inverted one, see? Because he thinks so, it isn't so. The only reason anything ever got so is because he thought so. See what great simplicity we have here. All right.

Let's take this thing very logically — illogical basis — which is, is. It's merely a geographical location. Now, a geographical location depends upon the fact that we have to assume that there are barriers. So any machine that makes barriers is the most senior machine there is. Because that has to precede the machine which unmakes barriers. So you have machines that mock up barriers and machines that unmock barriers as your two fundamental machines.

Now, there are various other machines which stem from these. There are machines that make barriers disappear by covering them with blackness. And there are machines which fight other barriers by covering other barriers with blackness. And that cancel other barriers by — make them intolerably full of effort. Now, these machines are just basically these two machines: one, the machine that makes barriers and the machine that unmakes barriers.

See, viewpoint of dimension — the second you put out eight anchor points, you put out actually, in essence, eight barriers. And you've got space if you've put out eight barriers. You haven't got any space till you put out eight barriers. Space doesn't exist till you do. No reason to be tangled up about this, it's just — it doesn't exist, that's all.

So don't think that you can go on agreeing with the mest universe forever and have an excellent case. The reason why you can't do this is because the MEST universe is composed entirely of barriers. You've just asked the fellow to go on agreeing with barriers forever. And it's an automatic machine that you're validating.

So you keep punching this machine and punching it and punching it and punching it, and all of a sudden the barriers get thin and they shiver and the rooms start going out of plumb. And the Walt Whitman Hotel (which is one of the favorite things they were using up in 726) — boy, it took a beating during the last six weeks. (audience laughter) It all of a sudden is out of plumb. It grows in height. Well, these things — that isn't — nothing's supposed to happen that way.

You ask a guy to hold on to the back corners of the room and not think, that's real good. If you ask him to hold on to the back corners of the room and think, that's real bad.

What's the difference between these two? You ask him, 'Well, just hold on to the back corners of the room and just relax." In other words, let the machine called George do it. He's out of contact with that machine anyhow, and if he doesn't think, it's all right.

But now if he holds on to the two back corners of the room and thinks, he starts energizing all kinds of machinery. And so this machinery goes into action on the machinery which he's using to mock up the MEST universe.

And it's very funny about these machines. One day — one day not too long ago, I ate a smelt that probably did, a little bit, when it came from the butcher. And it made me a little bit sick at my stomach, just for a little while, until I went out walking around — walking around. And I located the machine that makes smelts, very simple, and kicked hell out of it. And the smelt disappeared. It's very simple. Wasn't anything to this.

But, of course, the most direct thing to do was simply to unmock the smelt. And the next most simple thing to do is, of course, to not eat smelt. And the next most simple thing to do before that, is to not have a stomach or a body which needs anything like energy to motivate it. Simple, isn't it? All right. Now you get no randomity, see? Simple! Okay.

So let's look over the problem of automaticity and geographical locale, and we find out there's no geographical locale unless some automaticity's been set up in the first place. As long as a fellow simply knows he is, he also knows where he is. If he just knows he is, then he knows where he is. But boy, a lot of people have come down the line on validation of automaticity to a point where they don't know where they are. See, they don't know where they are. And the reason they don't know is very simple: is because the machinery is superior to them. And the machinery tells them they have to have a location. So if the machinery tells them they have to have a location, then where they are has to be located for them by things which they create. But that's on automatic . . .

You know, one of the weird double-terminal buttons that you can run is — the least admired thing I know of in the whole universe is just this one, that's why it's so persistent — is "setting up something so it will continue to run with no attention." And you mock up yourself doing that in four positions and you'll find out it gets mighty hectic and erratic because you've walked into the center of automaticity. Real erratic, such mock-ups get very often. All right.

What's the process then? Well, you play Step I against Step II. And you could actually just keep doing this Step I against Step II until a person gets cleared. Step I is "Where are you with relationship to the barriers?" And when we get to II, he didn't exteriorize easily and well on I, so when we got to II we merely assume — and we — remember, we'd do all these things with the person exteriorized too; it isn't just to get him out, that isn't our emphasis. When we get to Step II, we find out that we have located him by things which he had a hand in creating. See that?

We locate him, he just feels fine about it, and then we're immediately into the echelon that he has exited and is located in — he's now located in space which he has a hand in creating. The essence of simplicity.

So at Step I we find out that he is not located in the space which he has created. In Step II, why, we start to make it unnecessary to be so dependent upon this space which he himself created and now thinks that somebody else is creating, see? So that's Step I and Step II, the values of.

Actually, II is a much higher echelon step than I. But while a person is still inside, you find you have to go all the way down these steps to find someplace to start unmocking this maze — this mirror maze — which he's got fixed up and which he's lost control of.

Now, lost control would be the one thing that you can say is in general and in common with all automaticity. He hasn't any control. It's where he doesn't have control that something is automatic.

And for instance, pc this morning did a couple of shivers, and — threw it a little bit to make her make a machine which would knock her out of control. Well, of course that's fun too. So somewhere back on the track they have a machine that knocks somebody out of control. That's the basic machine. But later on, a pc — earlier lives and that sort of thing — starts getting hit by freight engines and running through The Perils of Pauline in general, and this earlier machinery gets a lot of facsimiles piled up on it. And these are all barriers.

Now, you understand that running a facsimile is validation of a barrier. People start validating the barrier called the facsimile to a point where that energy becomes, if anything, more real than mest energy. And that's why after, at the most, a few hundred hours of auditing, Dianetic processing starts to cave in. You see why that is? It's very simple. It's just that you validate the barrier of the engram.

If you validate barriers which contain unconsciousness, only — you can only do this for a few hundred hours and then all of a sudden this starts to become a new reality. Because you've set up an auditing machine which is — has as its prime purpose the correction of barriers. And the correction of barriers, of course, can only take place when you say, "I've got barriers." And this can only take place when you say, "I have no responsibility for the barriers," which is to say, "I didn't make them."

When you take complete full responsibility, it is the willingness to mock or unmock barriers at will. Any barrier, no matter what it is.

Now, people go around all the time with mental blocks. They can't think of this, they can't think of that, they can't remember this and they can't do this. And they wouldn't dare get on a stage and do something because — and et cetera, et cetera, et cetera, et cetera.

All politeness, manners, social culture, is based upon validating series of invisible blocks. So these invisible barriers — these blocks, barriers, same thing — these invisible barriers themselves becoming validated, get more and more real, more and more real, and start to supplant the reality of the situation.

You get somebody being very polite while the house is burning down. You see, he's rushed in to pick up the baby, and he brushed by somebody suddenly on the stairs and knocked them a little bit, you see. And he stops to apologize and excuse himself before he goes on and rescues the baby! Oh yes, that's more important than rescuing the baby! And so things go out of balance.

And by the way, as I talk about this sort of thing, I'm kidding it merely because it doesn't deserve anything more than a little smile or a joke or a laugh. But I'm not trying to tell you that all this is real bad. As a matter of fact, it's a wonderful way to get randomity. It's real good. But you carry it too far and then say, "I've forgotten how I'm doing it," and then you've got other people around with whom you're in constant communication who think it's just wonderful that you started doing that out, that way, because he knows the only chains you can put on yourself you put there yourself. All I'm trying to do is tell you: "Now, look, if you throw away a few hundred pounds of these chains, why, you'll be lighter." That's all. It's a supersimplicity.

Now, a failure to exteriorize is a validation of a barrier called a body. You know, you've said, "It's there, it's there, it's there." After a person passes a certain point in this, all of a sudden it's not there anymore, see? The — that's automaticity for you. As soon as you've completely decided, and as soon as you're completely assured that the automaticity which you've set up is itself utterly dependable, from that moment on it deteriorates in dependability. So you set this body up and you get it beautifully trained and it's just like getting all dressed — training is something like getting all dressed for the show, with no show. You get to a point of where it's all automatic, and after that you don't put on a performance. That's quite a button, by the way — quite a button to run.

As a little kid you were always doing this. You'd say, "Well, gee, I could be Buck Rogers dead easy if I just had a space helmet and a space gun and . . ." You needed the equipment. In other words, "havingness before movingness." That's just reversing it. You've got to have movingness and out of movingness comes havingness. And if you haven't got enough sense . . .

Alexander had enough sense. One part of his campaigns way back there in the fourth century before Christ — he made his troops burn their baggage. And then he didn't have much sense after that, and he forgot to. And he got less and less motion. Believe me, he got less and less motion till they finally all said, "We want to go home." And they went home. And there went the end of the world conquest. Why? Well, when havingness has to come before doingness in each and every case, you get less and less havingness, really. Really. Because what comes before havingness is doingness. The postulate of motion exists before the particle is moving.

And so, you've gotten all dressed up with a body and you have a recognized identity, and everything is swell, but no play! This is silly, see?

And now if a fellow's buried this fact away from himself, he's saying, "I'm having no fun." Of course he's having no fun, because he forgot what show he was supposed to be in! Very simple. He finds himself going to the office every morning and sitting down at the office, or going through the same motions every day. And because he no longer — he found it was — well, it was dull to just flip from place to place and be in this place and be in that place and look at this and look at that. He finally conceived it was dull or he let himself be talked into the fact that he conceived it was dull or something of the sort. And as he did this, he said, "Now, the best thing to do is give myself some limitation of motion. And the best way to limit motion is to be carried various places by something which is itself destructible."

Now, he forgets this and he starts walking up and down the street with a body. And you see, he takes the body here and he takes the body there, and then after a while the body's taking him there, and the body's taking him elsewhere. And you ask him to be three feet back of it, and he sits there waiting for the body to move him out of the back of his head. You actually can exteriorize somebody once in a while by saying, "All right, now have the body put you out back of your head."

I was exteriorizing a case like this not too long ago .. . (You mind if I tell this?) And — exteriorizing a case not too long ago, and was getting along fine and used that technique: "Now have the body put you behind the head. Now put you back in your head." "Now put you behind your head," and so forth. A lot of effort on this case.

And all of a sudden, he said to me, he says, "My body isn't doing it!" See, he was real, real determined about this. And the determination, it was a great certainty. No, his body wasn't doing it. And after that, why, with a little more work with effort and so forth, why, he exteriorized.

But after — I shouldn't tell this! This is the darnedest thing that ever happened. After he was well exteriorized and so forth, why, he was sitting back of his head very nicely, and he was fine. He reached up like this with his hand and all of a sudden goes, crunch! He tried to catch himself with his own hand, and he saw his hand closing on him, as a thetan! (audience laughter)

Now, that gives you some idea about the validation of the body to a point where the piece of machinery, you see — it's supposed to work on an automatic basis and it goes on a different circuit. But that is only a very humorous part of the same thing.

This happens quite ordinarily in Theta Clearing. The body has done so much for somebody, and it is so much a piece of automaticity, that he has this problem of, it must move him out. And then when it can no longer do anything for him, then the auditor somehow or other must move him out.

There isn't any reason why he really just can't be out, beyond this: he's set up this machinery. Well, it's set up to run that way, and so it's got to be undone the same way it's done. You undo magic by running, vaguely — but not in a time sense — but you've got to run somewhere close to a parallel of how it was done. And you just undo it, just backwards. So now he's got to have somebody else move him around or something else move him around, which is characteristic of an automatic society. He has an auditor, and the auditor's moving him around. Because when a fellow sets himself up as an auditing machine, that is really something.

And if you want to get some line charges out of some of these people present, just have them run, on the second step, "auditing machines." And if somebody's been self-auditing a lot, have him run "a self-auditing machine." Believe me, he's got one — it's his body. And you wonder why he doesn't get out of it. Well, he's automatically auditing himself.

Well now, here's this darn machine that moves him into various places. He wants to be told to go. So he, long ago, has set up a machine which will send him to places where he thinks of. You know? He thinks of Paris, and the machine sends him to Paris. In other words, he sets up a relay that puts him in Paris when he thinks of Paris. Because he has the idea of having to be moved. There's no reason why he can't just say, "Paris." He knows if he wants to be in Paris, and he's in Paris. That's all there is to that. So you just clip out the machine. Otherwise it'll continue to baffle you on Step I — "Where do you think you're not?" You get that now?

"Where do you think you're not?"

And the fellow says, "Well let's see, Paris? Yes."

Well, this starts to get very mysterious to him, too. See, it gets peculiar to him after a while. He doesn't realize the machine's in action.

Now, you're going to tell some preclear to unmock something and it'll promptly disappear. And nobody will be more surprised than the preclear. The thought to make something disappear, on his part, when given to him by the auditor and translated into his energy, triggers his machine and away it goes!

Now, one of the reasons a person wants to be so darn secret about his machinery and his equipment and what he's really doing, and why he's hiding even from himself and from a body and from everything else, is because you could actually walk around and trigger people's automaticities.

And you wanted to look hard enough and search hard enough and tune your wave bands up delicately enough, and if you were good enough, you'd simply be able to trigger their automaticities. They run like a bunch of puppets on a string when you do this. You can walk down the street (pardon me, walk down the street — you sail down the street and — just above people's heads or something like that) and every once in a while shift your beam around till you find it, bong, you see? And set somebody's automaticity up that tips their hat. And they, right out in the empty air, will tip their hat. Most surprised preclear …

When I was first researching this — I should give you a little research case that happened on that. I found out that they were using ridges — instead of moving their arms, people were using ridges to move their arms. People have two or three different kinds of systems to handle the body. And one of these cases of handling ridges, I told this person to simply put a beam — they were outside and in front of themselves, so I said well now … That's, by the way, a difficult position to get most preclears in. When they're real good off, why, they go into it easily, but a lot of them have the Assumption in restimulation. They've got an old theta body right in front of their face and it has a vacuum in it. And other people occupy this space all the time out in front of you, you see, so you begin to think of it as other people's space.

Well, anyway, this girl beamed this thing on her shoulder and almost dislocated her right arm. "Well," I said, "with a little more caution, put some energy into the little ridge which is on the left shoulder." And she put some energy into it and the arm flew up again. So I said, "Now selectively start beaming these various ridges on these arms." And, of course, the motion was very random and very hectic for a short time, but she was able to sort out the exact ridges which she energized in order to lift teacups, in order to do this, in order to do that.

And this preclear got more fascinated — they practically could see them out in front of their body, you know, sitting there saying, "Gee, that's interesting," and punching another ridge. "Gee, that's interesting," and punching another ridge and seeing what happened to the arm, see? Examining their own anatomy — just as though they hadn't set it up.

Of course, after she'd done this for a little while and got back into her body again, she fully expected, having blown up a lot of these ridges, that the body couldn't do this. So she had to concentrate, for a very short time, in order to lift a teacup — a split second.

It's very funny. We found out afterwards this ridge was so darn prominent and so on, that in washing dishes she very often broke cups. Fascinating, wasn't this? She very often broke cups. She had a ridge that lifted a teacup delicately and gently while she conversed elsewise. Blew it up, and she stopped breaking teacups. Okay.

The gain on this is apparently a negative gain, meaning you have less, but actually have more. So these two systems interlock.

And I told you this morning how to run out a machine. One of the first things you have to do is find out what kind of a machine are you looking at. And you tell the person to "Be here" and "Be there" and you all of a sudden find that he's going automatically or that he's just fixed — he's going noplace. He can't get out of his head. Well, that's "attention too dispersed, attention too fixed." It's being done on an automatic principle — what is he doing?

You ask him to put his attention on space and it collapses on the object in the center of the space. Or his attention on the space and it collapses immediately in front of the object, see? What's he doing? Or you ask him to put his attention on the space on either side of an object and all of a sudden the object disappears. What are you basically dealing with, with those three tests?

Now, what are the tests? The test, very simple, is "Now put your attention on the object. Okay. Now put your attention on the spaces on either side of the object. Now put some emotion in those two spaces on either side of the object." That really puts his attention on it.

And he says, "I don't know, every time I try to do that the object becomes brighter," or "the object splits in half," or "the object gets smaller," or "my attention seems to snap in just beyond the object."

This is merely a symptom of how much space he's able to spread his attention over. That's all it's a symptom of. That means he's gotten barriers to the point where he hasn't anything else but barriers. He hasn't got any space between barriers anymore. He's got lots of barriers and nothing between the barriers.

Now, you want to give him something between the barriers. The best way to do that is to make it possible for him to handle barriers. All right. So we put his attention on either side of it, find out what he does. And you will just have to guess what the machine is, that's all. Don't ask him. He won't look at it. That's the one thing he's trained not to do.

He — always with a great surprise — great surprise, his attention snaps together. Just — you see, this is a very simple thing you're doing here. His attention snaps together on the far side of the object, and you say, "Well, now let's run a machine. Let's waste a machine that concentrates for you." And he does that very happily.

But he's very puzzled as to how you possibly guessed this. Concentrates, be damned. You're just looking at a superfixed attention, which is so superfixed it doesn't even hit the object, it sort of squeezes the object in and locks on the other side of it, or locks on the near side of it. "Now let's get a machine . . ."

Now, this other fellow: you say, "Look at the object." He doesn't. Every time he looks at the object his attention flies out on either side of it. What kind of a machine is that? You tell me.

Male voice: No-concentration machine.

That's right. A machine which keeps him from concentrating.

But that's rather condemnatory. "A machine which makes it possible for you not to concentrate" is the polite way to, you know, tell the preclear. And that's it. "A machine that makes it possible for you not to concentrate all the time." Because that's his automaticity. That's real cute, see.

He could run this machine over here, and he doesn't have to look at it. So he gets the machine set up that fixes it up so that some attention will go on to this machine; he doesn't have to look at it and he's got it all rigged up so he doesn't have to look at anything. Whoo! All of a sudden, why, that's what happens. But he tells you, "All right."

You say, "Put your attention on either — on the space on either side of the object." What happens? The object disappears. What's he got? What's he got? Puts his attention on either side of the object and the object disappears. What's he got?

Male voice: I'd say he's got a machine that keeps him from putting his attention on the object.

Well, that's basically true. But what would you say he had?

Second male voice: A machine to make things disappear.

That's right. See, it's simpler than you've said. Much simpler. It's something that unmocks things.

And a person like this feels that he has to look solidly and hard at mest and keep his attention on it very carefully, or it'll disappear. And he's sort of got the feeling like he's got one finger in one corner of the room and one finger in the other corner of the room, and if he suddenly released his fingers the whole mest universe would collapse. It won't.

So he's got this, and mest disappears when he takes his attention off of it. And he wears glasses in order to see MEST or he has corneas so he won't have to see mest. He's trying to handle a machine that is handling something, by handling it with another machine. He's got a machine starting something and another machine stopping something. He always has this. Anything you can say about any machinery, he's always got a machine doing the opposite someplace. It'll show up sooner or later.

So, all right. We have any one of these machines. Now, we tell him to put his attention on the object and he says, "Yes. Yeah, all right."

"Well, does your attention snap in when you put it on either side of the object? Does it snap in on the object?"

"No."

"Well, put it on the object. Does it slide out any?"

"No."

"Does it converge in front of it?"

"No. What are you trying to do?" he'll say.

"Converge behind you?"

"No, it's just the object," so forth.

What's the matter with him?

Male voice: He's got a mock-up machine.

No. He's just real satisfied with that mest universe machine he's got. He wouldn't disturb it for worlds. You know? He's all very complacent about the whole thing. Of course he doesn't have much motion or action, see? In other words, he isn't having any trouble with attention — he thinks. All he can see is the mest universe. Remember that.

Now, don't come around saying to somebody after he gets out of his body that it's dull. Of course it's dull. The only set of barriers he has are mest universe barriers. He can't interpose or eradicate barriers at will. And if he can't do that, he can't pick up any randomity anyplace. You see that? He's satisfied with a barrier. In other words, he's got an automaticity in perfect balance. But yet, that would be a real good Homo sap. Kind of bored, but real good Homo sap. And that would be so high above normal or above average in the society that you could hardly reach it with a rocket plane.

Male voice: What had the preclear ought to see?

Hm? What's this?

Male voice: What had the preclear ought to see? What's the right one you ask him to put his attention on then?

There is no right one. Of course.

Second male voice: It'd have to be right.

Male voice: See an improvement.

The next thing you would ask that fellow is say, "All right, now as you sit there, see if you can't — there's a bolt there on the side of that machine — now see if you can see the machine without the bolt being there." Gradient scale, see?

He'll say, "Yep."

"All right. Now see if you can see the machine without the upper part of it there — being there. Just make it go thin. See if you can get that a little bit thin — the upper part of the thing. Now let's see if you can make it thicker. Now make it thinner. Now make it thicker. Now make it thinner. Now make it thicker. Thinner. Thicker. Thinner. Thicker."

And all of a sudden, pang! he has control of the thing. He can say, "It isn't there," and it's not there. And he can say, "It's there" and it's there.

Soon as he's controlled this type of an operation, he can mock and unmock a mest universe barrier at will, at least for himself. And you do this with walls, and you do this with people, and you do this with other things, and then you can do it with his own body.

Or you can start out with his own body first — "Now get your nose not being there. Unmock your own nose." See? You can unmock the whole body and just leave the preclear sitting there two feet above the chair. There's the essence of the situation. Because he's depending on this to locate him so thoroughly, that his whole track is jammed. You see how that is? This person's very satisfied with this — that's just fine — that tells him where he is.

He shouldn't need this to tell him anything about where he is. He should be able to see it or unsee it at will. Right?

Male voice: What's the scoop when your auditor asks you to unmock it and nothing happens, and a split second later you forget that he asked you, and then it unmocks?

I would say this was just difficulty in shifting attention. I — tell you what I did to somebody that had this "lag" happening, very short time ago — this little lag, little lag. He kept remarking on these little lags. "Now get a machine that checks it over and makes sure it's all safe before you do it." Does that hit you?

Male voice: Yeah.

Okay. That's an automatic checking machine — little time lag in it.

Well, now there's a tremendous variety out of these simplicities. But it's just — you just hit it on the button. Or hit it way off the button — waste any kind of a machine.

Now, what ways do you use in doing this? First, is you can make the preclear do it and then not do it, and do it and not do it, until he's thoroughly doing this at will. Got that? That's the first step, always. In other words, you just make him do it instead of the machine do it. The machine will do this, sooner or later.

By the way, he's got a machine that sets this up, this tells you that sooner or later that damn machine is going to stop setting it up for him. You get that? He's very satisfied with the way that sits there. Well, that's just fine. What childish dependency. Sooner or later, why, he's going to start looking around, when he gets to be a few years older or something like that, and he's going to say, "What wall?" He doesn't garnish this in any way — he doesn't — it's just there. This is the practical, matter-of-fact person. And as he goes along in life, the whole universe starts to slide out from underneath him because he's just stopped leaning on it, he's just lying down completely. It tells him what to eat and what to wear and where to go and what to do. It evaluates for him.

Now, evaluation is this — evaluation, the definition of evaluation, is changing position in space. That's basically evaluation, see? If something can change a person's position in space, then, that person — depends on the intention — but that person, of course, can then evaluate for the individual.

You don't get this very much — an auditor — there's Change of Space Processing. An auditor says, "Be here, be there, be someplace else," and so forth. For the first few minutes after the session, if the preclear's been very concentrated on the session, the auditor's word has carried a lot of weight with him. It fades right away because, of course, the intention behind it is simply to return self-determinism, not to interrupt it. So you get — a guy will get another postulate in the road of the natural consequence of this. Well, why do you think Mama evaluates for the body? The body was carried around in a womb all over the place by Mama, then packed all over the place as an infant by Mama, and then Mama finally says, "Well, I remember when you were a little girl, such and such happened and so-and-so happened," (and it didn't happen at all, by the way) "and you were so-and-so, and I was so-and-so and you said so-and-so, and you used to have curls until you were nine."

And the fellow says, "Uh-huh. Uh-huh. Yes, Mama. Yes, Mama. Yes, Mama."

His memory is a thousand times better than his mother. You process some preclear, you run through birth, you find out there was nitrous oxide used in birth and so forth. Preclear goes home. Mama says, "Why, there wasn't any anesthetic used at all in birth. I just lay there and screamed, and they didn't pay any attention to me."

And the preclear comes back to you and says, "Well, you couldn't have run birth. It must have been a delusion as far as I was concerned, you see, because actually, I…"

And you say, "Did you talk to your mother about this?"

He says, "Yes."

Well, you're not in a position to evaluate for him the way Mama can. Because Mama's carried him around all over the shop. You see that?

This stuff is saying, "Here you are, there you are, there you're someplace else, now you're someplace else, now you're someplace else, now you're someplace else," all the time, see — 100 percent evaluation! Boy, after a while this stuff becomes thick, heavy. You don't have to make any effort at all to keep from seeing through it. And as a matter of fact, once in a while you'll be a little tired . . .

The way it ought to be is once in a while you're a little tired, something like that, you have trouble watching a television set. Because you're thoughtless about the whole thing — in other words, you don't have any real intention — just go over and sit on the television stage and watch the actual play rather than look at it coming through the set. Just rack around until you've got the actual television stage, look at it. It's in color, no flicker, no interference. Much better.

And then you go a further stage than that. If you sit there, and you're bound and determined to sit there in your own home and watch a television set, which is the purpose that you're doing, why, you're liable to — if you're a little bit tired and aren't watching quite what you're doing — simply actually watch the television, not the screen. In other words, look at the cathode ray emanation point a foot or two back of the front screen. And you're — you watch this terrifically concentrated tiny scanner. There's a picture back there. I mean, it looks just as good as any other place.

And by the way, you have other troubles with television: if you get too concentrated on the screen itself, you'll start wiping it, if you've got any power. I mean, that is MESTwise.

I mean, you can set up enough vibration in the thing to upset it. Or you can turn the screen on and off, after it's been turned off. That is to say, you can make it glow. Get it in a dark room — you can make it glow and then go faint and glow and go faint — actually glow and go faint. Somebody else comes along, you know, and sees the thing and there's the television set lighting up and going dark again. This is very upsetting to people. Well, it's not much of a trick if you've watched a lot of television, because you're fixed on that wavelength. Easy, huh?

But as long as this stuff is all there is evaluating for you, you of course get completely mest values across the boards. Then you've limited your ability to this limit: that anything you use or believe in has to be constructed by the same methodology that constructed this. And that, in essence, is what's wrong with the engineer. See that?

There's no reason why, for instance, you can't mock up a motorcycle and go down the road at 185 miles an hour on a motorcycle that runs far better than any motorcycle you ever ran into that was built out of this stuff. Might run a lot better. You could probably make out a noisier one too, oddly enough.

Male voice: Wouldn't break any rods either.

That's right. You could probably make a noisier one. Oddly enough you could probably make a far noisier one than people would tolerate in your neighborhood. Of course that's not in the bargain, not in the contract here — I'm going to teach you all how to be noisy ghosts and clank chains. But we can. That's a real trick — you just mock up the sound waves.

How do sound waves mock up? Well, you have to know what they look like. Well, how do you find out what they look like? Well, you look at them, of course.

Now, the motto — the motto in this First Unit was: "Don't think about it, look at it." Second Unit too. "Look, don't think. Look."

You find out every time you make a mistake around, it will be because you didn't look. Every time you've made a mistake with machinery, equipment — busted something, something of the sort, it's because you didn't look at it. You should have looked at it. You know, just get back and say, "I am now looking at it." And then let a machine look at it for you, such as … (audience laughter)

The body, for instance, is an automatic seeing eye dog. And you know how you actually see with a body? You drop a little gold plate over the front of each eye. And you know how you hear with it? You drop a little hearing point over each eardrum. Real cute. And you know how you feel with it? You drop a feeling point over each fingertip and along each nerve course. Then you forget that you dropped them there, and your eyesight deteriorates, and you try to beat up the mest eyes in order to see better. And what's pushed them in is the anchor points which you've got tied in there too tight.

Now, you say to somebody, "Why don't your eyes get better?" all the time. And the fellow goes on trying to adjust his body's eyes. And up to the time when you finally work him on a drill, and where you mock up a couple of eyes, couple of viewpoints, a little disk — or you mock up a couple of viewpoints, and send them here, and then mock up an optic nerve from the viewpoint to where he is and let him look into the end of the optic nerve, and he sees the viewpoint, he says, "What do you know!" And then have him put a couple out here on his nose or a couple on his ears and look with those, simultaneously, down an optic nerve and around the corner, so on, on the other side of a barrier. And he looks down these things and he looks through these and, gee-whiz, he's looking out of each ear, and he's seeing a lot better than he ever saw with mest eyes. Why, he gets sort of — "So what the devil am I doing!"

So at last he will take a look at what he's looking with, and it'll be a couple of these disks. Only they're all twisted around and all upset and all wedged and driven in, in some fashion or another, so that he doesn't see well with them anymore. Because he's not taking any responsibility for them anymore — he's letting them all run automatic.

When perception is done automatically, it deteriorates. When perception has deteriorated, it's been done too long automatically. That isn't, though, letting the body see for you. The body never did see for you. It never will. It's just a system that is utilized, and you know where to place these anchor points because it's made out of mest. So you put your viewpoints on the front of the eyes and go on looking through them. That's funny, isn't it?

Once in a while somebody has — the body puts one on a knee or something of the sort. And a preclear will have an interesting time — he's running around the body looking it over, and all of a sudden he's looking at the room. He's found one of the GE's viewpoints. It's real cute. Real messed up when it comes to straightening out perception without hitting automaticity.

Now, a process I want you to be — pay attention to, is you just diagnose what kind of a machine is interrupting beingness, see? Just interrupting this beingness.

What kind of a machine is it that keeps a person from turning on a sexual sensation in the wall? Simple? Now, you can remedy that simply by running a gradient scale and keying out the machine. You can run it by creating just — or just getting the preclear to do it, you know, gradient scale, until he can do it. Next, creating and destroying such a machine. Next, creating and destroying it in brackets. Next, and probably best for you, wasting, accepting, saving, desiring and being curious about, in brackets — bracket of five — such machines. Pang! Out they go. Boy, they're the easiest destroyed things you ever saw in your life.

Now, wiping out occlusion without treating the machines that make occlusion, makes a rough go for a preclear. I showed you that this morning, morning processing. Put the blackness on things. That's making the preclear do it.

We're bucking right straight into the teeth of all automaticity with this process of putting emotion in mest. Right into the teeth of it.

But it's time now that you put it into mest in brackets. Put emotion and all the things I've given you into mest in brackets. And where somebody is clearly bogged, why, the group involved and so on, should simply get him to waste the proper kind of a machine to square it up. And let's take out these reluctant pieces of machinery, the reluctant dragons, and give them a yo-heave. Got it now?

I want you to do that the rest of this afternoon and this evening. Okay.