Subject: FZ Bible - PDC Final 16 Lectures 10/18
Date: 3 Feb 2000 10:52:18 -0000
From: Anonymous-Remailer@See.Comment.Header (FZBA Scandinavia)
Organization: FreeZone Bible Association of Scandinavia
Newsgroups: alt.religion.scientology,alt.clearing.technology

PHILADELPHIA DOCTORATE COURSE, FINAL 16 LECTURES
- PART 10 OF 18

Brought to you by:
FreeZone Bible Association of Scandinavia

*Please see Part 00 for the Introduction & Contents

===================================================

STATEMENT OF PURPOSE

Our purpose is to promote religious freedom and the Scientology
Religion by spreading the Scientology Tech across the internet.

The Cof$ abusively suppresses the practice and use of
Scientology Tech by FreeZone Scientologists.  It misuses the
copyright laws as part of its suppression of religious freedom.

They think that all freezoners are "squirrels" who should be
stamped out as heretics.  By their standards, all Christians,
Moslems, Mormons, and even non-Hassidic Jews would be considered
to be squirrels of the Jewish Religion.

The writings of LRH form our Old Testament just as the writings
of Judaism form the Old Testament of Christianity.

We might not be good and obedient Scientologists according
to the definitions of the Cof$ whom we are in protest against.

But even though the Christians are not good and obedient Jews,
the rules of religious freedom allow them to have their old
testament regardless of any Jewish opinion.

We ask for the same rights, namely to practice our religion
as we see fit and to have access to our holy scriptures
without fear of the Cof$ copyright terrorists.

We ask for others to help in our fight.  Even if you do
not believe in Scientology or the Scientology Tech, we hope
that you do believe in religious freedom and will choose
to aid us for that reason.

Thank You,

The FZ Bible Association

===================================================

SUP 5
SOP 5 LONG FORM STEP III - DIFFERENTIATION ON THETA CLEARING

Philadelphia Doctorate Course
19 January 1953

[Start of Lecture]

This is January 19, evening lecture, London. And this lecture
goes consecutive to the second hour of the January 16 evening
lecture. This is in consecutive line to the Standard Operating
Procedure Issue 5 lectures.

Now, just a little bit earlier in these London talks, I gave you
material which dubbed in earlier into the Philadelphia Series.
That material is not -- possibly if one were merely listening to
it straight out, he would find it a little complex for him,
because we jump into Step I and Step II before the Philadelphia
Series starts to talk about Standard Operating Procedure. And
then he comes along and he finds Standard Operating Procedure
delineated as something very, very specific and so on, and not
quite as broad.

Now, this talk is coming consecutive to the concise form or Short
Form of Standard Operating Procedure Number 5. Instead of calling
it Standard Operating Procedure 6 or 10 or something of this
sort, we're going to call these things two things. We're going to
have Standard Operating Procedure Short Form and Standard
Operating Procedure Long Form. This is possible along this line:
You will very often use Standard Operating Procedure Short Form
solely and only, and it will produce the results necessary. And
that just merely consists of the number of steps that you take to
spring somebody and to get the thetan oriented property.

Now, every one of the steps in Standard Operating Procedure
Number 5 is actually a broad subject in itself. And with this
London Series, I am amplifying this into the longer form, showing
where Creative Processing fits with each one and showing you
specifically what it covers with each one. Actually, Standard
Operating Procedure had a bigger design than was given in
Philadelphia. Creative Processing, for instance matches up with
every one of these steps.

The short form simply goes: You tell somebody to be back of his
head; he's not back of his head. You try to get him out with
beams and Orientation; he doesn't do that. You immediately go
into Spacation; he can't hold a small ball still before him. You
immediately then go into trying to mock up the old home, and you
go in from that into Black and White Control Processing. And you
merely do these steps until you find the one he can do. You find
that and you finish it off in its short form, and then you go off
and finish the rest of the five off, all in their short form. You
will have that also in a little text which gives this in a short
form. Now we're giving it in a longer form.

Each one of these steps -- each one of these steps has a specific
purpose. And all seven of the steps give you a complete technique
which applies to a certain level of case.

You could, then, take Standard Operating Procedure Number 5 in
its long form and take that step which applies to any individual
and do that step completely and utterly, and you would do such
things as knocking out chronic somatics or aberrations. You would
resolve what is wrong with this case, in other words.

So it gives you an office technique that doesn't have anything to
do with Theta Clearing. We look up at the top and we find Step I:
"Be two feet back of your head." That's Theta Clearing.

Now, every one of these steps can be done by the thetan outside
the body or the thetan inside the body, except I: "Be two feet
back of your head." He, of course, is outside the body. And
that's the only place where it specifies "Get outside."

In Step II it does mock-ups of being outside. That's preparatory
to Step I. When we get to Step III, we don't have very much said
about being outside; in fact, we don't have anything said about
being outside. And we can just do Step III. Step III is
Spacation. We can do Step IV, V, VI and VII without even
mentioning being outside the body.

It's quite interesting because it gives you then, you might say,
a short -- how would you run an intensive on somebody you weren't
trying to theta-clear? Well, they could do III, IV or V. If you
were running a psychotic, you could do VI or VII. And each one is
a specific thing, applies to a specific level of case, and --
what do you know? -- addresses a primary factor in processing,
and addresses it exhaustively.

You'll notice that Step I has to do with a division between the
thetan and the body, and getting the thetan well exteriorized and
stable outside. All right.

Step II is devoted to the handling and uses of energy by a
thetan, and curing him of doing it. So if you say, "We want to
cure this person of handling energy," what do you do? You use
Step II and everything that Step II does.

Now, what's Step III? That's space. Any trouble your preclear is
having about space is remedied by Step III. It is very simple.
Any trouble he's having about space.

Now, you've heard such things as claustrophobia and thisaphobia
and thataphobia and cataphobia and psychoanalyticaphobia and
Freudophobia and all of these terrible diseases that have
afflicted this society. Well, I won't go so far as to say that
investigators in the past were a flock of punks; there just
weren't investigators in the past. Because if they'd looked
cross-eyed at the human mind, they would have found that the
human mind is completely disoriented in terms of space.

I mean, just -- let's be -- let's be very factual about this.
They talked about claustrophobia, and then they talked about some
other brand where things were -- they were afraid of big spaces
and they were afraid of small spaces. So what?

I mean, why didn't somebody knock a couple of brain cells
together, if they had any, and find out what was the
disorientation with regard to space? Are people disoriented with
regard to space? Now, let's just take a took at a human being.
That itself would be so original, you wouldn't have ever expected
anybody to have done it.

Let's take a look at a human being and the subject of space, and
we find the most fantastic things! Two ways? Space is too big and
space is too small? Let's all go back to our primers and spell
cat. Actually that is about the level of space too big and space
too small on the subject of space.

Boy, when you enter the subject of space, you pick up an awfully
big book when it comes to the human mind. It can be so
confoundedly disoriented, upset, backwards on the subject of
space, that it will stun you as an auditor to look at the variety
of aberration connected with space.

Why is this? Space is at 40.0. Nobody's up that high, so anybody
that's below 20.0 has a disorientation with regard to space. I
mean that's the end of it. I mean, we can then expect countless
manifestations.

We can have people who see linear time. Now, that's one of the
first ones: Space is time. Oh, no! At no time could space ever be
time. Yet 50, 60, 70, maybe even 80 percent of the preclears that
you get your hands on is seeing time in terms of space. Time is
linear.

You ask him, "What are you doing with your mock-up when you put
it in yesterday?"

"Oh," he'll say, "I'm putting it over to the right, of course."
Or "I'm putting it over to the left." (That's the commonest one.)

Well, where is the past?

There's an American cartoon that's named "Pogo." They had a good
time in the American cartoon there for a little while; they were
asking each other which direction are various things. "Well,
where is last week?"

"Well, it's way, way over behind that bush."

And "Where's Tuesday?"

"Well, Tuesday is right in front of your face."

There, of course, isn't any proposition about time in space,
beyond this: Time is an energy and an object, and it hasn't any
direction. So there's your first big upset.

Now, you'll have in the Philadelphia Series, the series contains
this lecture about the energy required to think. And what do you
find out? You'll find out that a large percentage of your
preclears are looking over here to the right and forward to find
the future, and are looking over here to the left and back to
find the past. There are actual energy deposits in that area.
There are vacuums in front of their face and so forth, and time
moves from over here to the right and goes on past their face and
back there. And therefore they think they have to have energy to
think.

Well, these are actually suspended energy deposits of the (quote)
"energy used to think." And they're there, and they are a
deposit. Well, that's daffy. That's utterly daffy. In fact, that
could be said to be, in the standpoint of space and energy, the
primary psychosis. It's not just a little, tiny, mild,
thingamabob neurosis. It's a psychosis. It's horrible! And you
start clicking that in on a preclear and knocking it out, and you
will see some fantastic changes in a preclear. And maybe he won't
change until you get that one out of the road.

So when we talk about Step III, we're talking about space. And
we're talking about all there is to know about space. And if we
ever learn anything else about space, it'll come under the
heading of Step III. Mud from there on down.

Now, I'm being kind of loud and bombastic on the subject of this
business about space and the knuckleheaded idea that somebody was
investigating the mind. Because they had the fact that the mind
didn't exist in space, and then they never asked anybody if he
was thinking in space.

You know, this whole problem could have been cracked centuries
and centuries and centuries ago, if somebody had just knocked
those two facts together. He wouldn't have had to have any of the
rest of the material at all.

They should have said, "What's space?" Do you know there is no
definition for space? There isn't a definition in your physics
textbook or anything else, and it's the commonest thing we've got
around here -- space. There's space all over the place.

And they say, "What's space?"

"Well, space is an enclosed area," or something. Or "Space is a
cubic humahilatude that goes by the square root of the abstract,"
or something. It's nothing sensible.

Space is a viewpoint of dimension, and that's all it is. Is there
any space? No, there isn't any space. Well, why do you see space?
Because you've got to see space, because if you're going to have
objects you've got to have some space to have them in.

Well, if it isn't there it can be very easily aberrated, can't
it, if everybody's going under a forced draft that it exists?
Well, the only way you can keep away from anybody or have any
identification of yourself and an identification of somebody else
is to put some
space between.

Are you different than anybody else? I don't think so. There's
just too doggone much life in existence. There aren't that many
thetans; there just can't be. And this is one of those things
that assaults one actuarially.

Everything we've got around has been a thetan. Oh no, I mean this
is too many beings. How many? Ten to the twenty-first binary
digits of thetans in your nervous system only. Every one of these
cells is obeying all the laws that a thetan obeys. Well, isn't
that interesting?

Maybe self-determinism and that sort of thing is a lower level
than what we're actually looking at. Maybe there are two minds
way up at the top, maybe there are six, maybe there are eight.

Well, how do those things feel up there then? I mean, if you go
on up scale, how does something feel up there at 40, 50, 60, 80,
1000 on the tone scale? Where do they meet?

Well, I can't tell you that. But I can tell you that the further
a person goes up the tone scale, the more he feels like an
individual and the more he pervades. He gets way up the tone
scale, and there's a cat walks in the door. And he thinks Bark,
and the cat would probably say, "Woof-woof." He pervades.

Way down the tone scale, he looks at the cat and he -- two things
happen. Fairly high on the tone scale he says, "I'm not a cat." A
little lower on the tone scale the fellow sits there and if the
cat hangs around too long and the cat looks dangerous, why, the
person will say meow. That's right. He becomes whatever he sees.
That's the mockery at the bottom of the scale: one becomes what
one sees.

When you get an auditor going into the valence of a preclear, two
things are messed up: His beingness. He's seeking an identity,
seeking it furiously, because he hasn't got one. So he shifts into
every identity that turns up. Well, that's an interesting thing,
isn't it?
And the other thing is, he's got to put space between things, and
lots of space between things, because things are dangerous near
things. And of course, this is -- you just look at this case and
you won't find -- you'll find, in any insane asylum you go into,
patients being bedposts and patients being this and patients
being almost anything you can think of. Well, that means that
something must be wrong about space, huh? He's occupying the
wrong space.

Now you take any human being that you want to pick up anywhere on
the street and snap your fingers at him with this question: "How
old are you? " Snap!

Well, he doesn't even have to be neurotic to say, "Six. No, well,
I'm not six," and so on. He's stuck on the time track.

How can he be stuck on a time track? The only way he could be
stuck on the time track would be to have an aberration about
space.

Well now, Step IV goes a little bit further and tears up anchor
points and objects -- anchor points as objects, but therefore is
a lower-level step than III. It's addressed to energy and space,
which form up into objects. But Step III is simply addressed to
space, and that's all it's addressed to.

Now I won't bother to give you the elementary procedure, the
short form of Step III. It's simply getting a preclear to hold
something steady as a point and then build space. Very simple.
But we'll go into the long form, and that has to do with
straighten up and square around any aberration he has about
space.

How do you do this? You do this with mock-ups. And how do you do
this in particular? (Boy, this is -- this is one -- this is one
we should have had a long time ago.)

There isn't any space, but there's a concept of space; and space
is used in various ways by people, and space can be manufactured
by a thetan. But just as there can be a scarcity of food (as
taken up very definitely in Step IV) there can be a scarcity of
space.

How can there be a scarcity of space? Well, there is. There is.

The fellow gets sold on the idea of a scarcity of space, and he
gets sold two ways. Q 1 tells us the location of energy and
matter in space, doesn't it? That's a mission of the thetan. So a
lot of the thetan's time is taken up in the rather aberrated
clawing around of trying to find something in space.

The reason Creative Processing works so hot sometimes is he's
putting something in space. He stops trying to find something in
space, and he's putting something in space. Because there isn't
anything in space, because there isn't any space there. So how
can there be anybody finding anything in space?

So we've gotten up now with this talk tonight to a higher level
of aberration than we've ever had before. It is utterly haywire
that a thetan should locate something in space.

What is an occluded case trying to do? The toughest space to
locate anything in is black space. So he's holding on to black
space because that's dangerous space, and looking and seeing if
anything is in it. And he's searching all the way through it
trying to find something in it, and of course there isn't
anything in it because it's not there.

This is the spookiest, dullest game that was invented and
possibly is the first rule of trickery in the MEST universe:
"There is some space; now find something in it."

Now, that's fascinating. The fellow will keep holding on to space
and holding on to space and holding on to space and holding on to
space, and what's he holding on to it for? He wants to look in it
and make sure there's nothing there. Well, phooey.

Now, it gets very silly. Location of something in space.

Did you ever watch anybody get frantic because he's lost a
pencil, or he's lost his hat, or he's lost something or other?
Well, why is he looking? Well, that's the surest way in the world
to keep one from pervading.

How do you prevent somebody from pervading? You get him to
locating. Dangerous to have people pervade. They'd know
everything that was going on and where everything was, and do a
lot of interesting things.

So in order -- in order to have good, honest, hardworking slaves,
you'd have to stop people from pervading.

And how would you stop people from pervading? You would simply
stop them by making them locate. Make him think they had to see
and find. That is a trick. It is a trick to see and find, and
it's no trick at all to pervade.

You come up tone scale a bit, try this trick. You suddenly
realize you've lost something; you can't remember where it is.
Instead of going and looking for it, just sit right where you are
and look in a 360-degree sphere until you encounter it. And then
go pick it up. Very simple. You'll find you won't trust yourself.
Why won't you trust yourself? Well, you'll do it as well as you
trust yourself.

So you don't know where that letter is from Uncle Zero. That
letter's gone and so forth, and you say, "Well, I guess I put it
in a drawer downstairs and so on. I'll go look downstairs. Now
I'll go look someplace else. Now I'll go took someplace else. Now
I'll go look someplace else."

Now the -- one of the proofs of this thing is as a person starts
to search, his activity and behavior follows the same course as a
dramatization. The more a person dramatizes something, the worse
it gets. Have you noticed that?

A person dramatizes an engram, and then his dramatization will
get worse, and his dramatization will get worse and it'll get
worse, because the engram is controlling him. All right. As a
person starts to search, he searches more and more frantically,
and more and more earnestly.

And as was mentioned to me, a little girl who had lost a penny
eraser -- who had lots of pennies, who lost a penny eraser in a
vacant lot, had her little brother and her little sister looking
endlessly through this lot and just getting completely black
(because the lot had been burned over), to find that penny
eraser. Just hours looking for an eraser. And any moment -- she
had money -- all she had to do was go across the road and buy a
penny eraser. Interesting, isn't it?

Demonstrates -- seems to demonstrate, then, that as a person
starts locating, trying to find, why, he gets more and more into
the same state that a person gets into when he starts
dramatizing. And this is a clue to the fact that it's an implant
and that a dramatization of that implant is very aberrative, and
that the implant itself is pretty aberrative.

So we go back and we look at Q 1, and we find out Q 1 -- location
of something in time and space -- and we find out the thetan goes
up above that level. Creation and destruction of things in time
and space is a little higher level than Q 1. And that location of
things, which observable -- it's observable to us that you can
locate things and that a thetan is doing that, and that it
actually picks up his morale to locate things and that sort of
thing -- that can be put down as a little bit lower-level Q and
can be put down now into the aberration instead of the truth
level. See, we're looking for a highest possible truth.

So the creation of things in time and space, the creation of
space and the creation of energy are then things which the thetan
can do and are considered at this time not in an aberrative
strand, but location of things in time and space is an implanted
aberration.

Now, how does this modify processing? It doesn't matter. You can
go ahead and use all the processes we have had to date. You can
go ahead, and the person can go on and locate things. And all of
a sudden he finds out he can locate things in time and space, and
so he feels rather happy about it and he'll go on up tone. But
you won't get him up tone as high as if you realize that he
doesn't have to locate anything in time and space. It's much
easier for him to create and destroy things in time and space.
And if he does that he comes way up tone fast, and the other one
he comes up tone slowly and lowly. Okay?

I want to make that very clear then, that as far as space is
concerned -- the location of something in space was a technique.
It was. Good old straightwire and that sort of thing.

Still highly beneficial on a psychotic and so forth. This
psychotic is evidently demonstrating an aberration about space.
So, you demonstrate to him that he can locate something in terms
of incident, and he in turn considers this as locating something
in space. And so he feels better. He's reassured. "It isn't all
lost," he says to himself. And so he feels better, and his
psychosis will crack.

In other words, "Remember a time that's absolutely real to you."
Recall a time this, recall a time that -- actual incidents --
recall one way, the other way, whatever it is. And we get what?
We get an improved condition on the part of the psychotic. But
we're still permitting him, evidently, to dramatize an implant.

Much more important than locating something in time and space is
creating and destroying things in time and space. Oh so much more
important, they don't even make a dichotomy. That's why Creative
Processing works. I can tell you that with some -- well, a little
bit of triumph. I've been trying to fish out this fact here for
some time.

Why is it that Creative Processing works with such fantastic
superiority? It's just way up there. And location of things in
time and space doesn't work so well. At this point, with this
talk, we part company -- without tipping our hats -- from
psychotherapy in any way, shape or form that it has ever been
practiced or existed.

And all those auditors, you're all supposed to act like ladies
and gentlemen. You can pop anybody in the nose now that says
these things are connected. Because that is the primary motive of
psychotherapy and is the one thing that we took from Sigmund
Freud in the early part of Dianetics, was locating things in
time, particularly the past. And we were busy doing that, and it
does produce a limited result. But the limitedness of that result
depends upon the fact that it is a dramatization of an aberration
and accounts for the fact why people under psychotherapy very
often (to be technical) flip their lids. It's a dramatization.

All right then, we've moved up. Creation, change, destruction of
space, energy, objects is above, now, Q 1. And we spot location
of energy and objects in time and space as an aberration. But if
permitted to dramatize it, a person will quite often recover
slightly. Because he's gotten so frantic -- it is a capability,
you see; I mean, a person can locate things in time and space.
But if you go too far with this you get minimal returns, and your
returns get less and less and less.

Maybe you understand now, perhaps a little better, why Creative
Processing works as it does and why something like -- with as
much randomity as Self Analysis will produce over a long period
of use such a fantastically higher result than Dianetics: The
Modern Science of Mental Health and its techniques. Because it
was locating things in time and space, and it was wearing away
energy -- Dianetics: The Modern Science of Mental Health. Well,
let's pass up above that then; create, change and destroy things
in time and space.

Cycles of action. Cycles of action as they relate to space,
energy and objects. That's what's important. All right.

Another, by the way, just -- I'll throw this in on occlusion.
Very interesting thing about occlusion. Occlusion is most common
-- I'm awfully sorry to have to keep bringing up space opera. I
feel somewhat in the way of somebody who is -- well, perhaps, a
liveryman would feel if he knew there was -- very well there was
a hitching post outside of the door, and he always tied the
horses up to it. But everybody else who came along -- the horses
knew it and he knew it, you see, and a few others knew it --
every body else that came along said, "Aren't those nice horses
standing there without being tied? There's no hitching post
there."

And it seems sort of daffy to me but people have a terrible
allergy, some of them, to space opera. Well, this allergy, by the
way -- if you get a very occluded case, this allergy is curable
on a person.

This person says, "Well, I never had anything to do. I never
lived before," and so forth. "And I just got born, and there
isn't any such thing as that sort of thing. And I read Time
magazine all the time and I read the Herald Express and other
papers, huhuh, and I'm perfectly sane, huhuh," and so on.

In other words, a Homo sapiens gets into this groove. Pick him up
if he's occluded and ask him to do this horrible thing:

You say, "You can't see anything when you have your eyes closed?
Oh, you don't see anything, huh? Mm-hm. Mm-hm. All right. Now,
try to keep from seeing something coming in on you."

He'll say, "How's that?"

You say, "Just get the -- get the feeling like you're trying to
see something which is coming in on you, but avoid it at the same
time."

He'll be standing on the bridge of a spaceship as a lookout. Oh,
it's just wonderful.

LRH: What's the matter, Dennis, didn't you like that? You don't
like that?

Well, look a little harder. Go ahead, look a little harder.

Voice: Oh, this is terrible!

LRH: Oh, you don't like that at all! All right. Anybody else
around here that has one of these deep, dark, dyed occlusions?

All right. Let's just stand there and try not to see something
coming in, in black space.

Voice: Christ, it does now!

LRH: Right. What do you get?

Voice: Well...

LRH: You don't like that?

Voice: No, I don't.

LRH: Oh, I'm sorry. Look, all right, I tell you what. Mock up a
spaceship out here -- you too, Dennis. Just get it conceptually
if you have to. Mock up a spaceship out here. Mock up a nice
spaceship sailing along. You got that? Make it beautiful summer
sun, you know, nice spaceship, all quiet and everything happy
aboard it.

Now take a hammer and hit it on the bow. Can you hit it on the
bow?

All right. Take a little swizzle stick -- one of these little
sticks that they stir drinks with -- and just tap it very, very
tiny little tap on the bow.

Voice: It'll blow up if I do.

LRH: Well, just touch it. Just touch it. Can you get it? Just
touch it on the nose, hm? You get it, Dennis?

Okay. Now, just hook that thing to the nose and just lead it
around inside a brightly lighted room. Just lead it around with
that little stick touched to the nose on it. Just pull it around
until you feel very happy about it. Did you get that? Did you get
that, Dennis? Did you get it going around?

Voice: I'm getting it.

LRH: Good. Good.

Well, I'll go on talking. You just make sure that that's in a
brightly lighted room. Now if you just see that brightly lighted
and perfectly motionless, and now have it land on a space port
and sit there quietly, like Ferdinand quietly smelling the
flowers. That much better? Have it sit there on the space port.

You see, there's nothing to space opera. And, of course, what the
fellow is doing, he's sitting there, and he's probably going at
two or three light-years, or maybe way up from that in terms of
speed, because Einstein evidently hasn't got enough space opera
on the track to know that you can exceed the speed of light. (The
-- I'll have to give him a pass on one of the Martian transport
lines.)

Anyway, what we -- what we get -- what we get with this poor guy
is he's traveling at that speed and any kind of space bric-a-brac
might be ahead, and the chances of his seeing it and -- hitting
him before he sees it are so good that he has to be just most
fantastically alert to get any space dust coming in.

Any little space dust, a piece of rock a couple of feet by a
couple of feet, coming through the bow of a ship or across the
bridge and so forth would practically wipe the thing out.

So he's traveling at this fantastic speed and having to be that
alert. That's very interesting, isn't it? Of course, he can't see
it before he gets to it. That's what's hideous about it.

Voice: I know when this keyed in.

LRH: You know? When?

Voice: During the war.

LRH: During the war. That's right.

Voice: On a merchant ship.

LRH: Uh-huh.

Voice: Doing lookout.

LRH: Uh-huh.

Voice: Looking for mines.

LRH: Uh-huh.

Voice: That was pathetic. You know when -- we used to call it
hitting a monster. You know, when the seas bounce...

LRH: Yeah.

Voice: ...big thoonk.

LRH: Yeah.

Voice: Horrible!

LRH: Sure.

I was running one of these one time on a guy. And he was lying in
his bunk, and a whole shower of this stuff went right straight
through the ship. Of course, there was nothing left of the ship
at all. But one of them -- they missed him above and below and
around, and there was a Petty girt calendar (Only it wasn't a
Petty girl, you understand. This is several million years back.)
-- and it was a pretty girl calendar up above the bunk and his
still visio was a flash of this girl. And he had piled halfway
out of the bunk and reached for a helmet, and the rest of the
things took him and they chopped him in half.

And of course, there was nothing but a vacuum in the ship there
almost instantly as the air rushed out of it, and he exploded,
you might say, in space. Leaving him with what? An almost
completely untraceable engram, with a terrible allergy to
anything that looked like a Petty girt calendar or a Petty girl.

Wasn't that silly? I mean the thing -- the thing you'd think
would have to have far better connection than that. But that was
such a shock to him, that every time he was awakened during the
last war it keyed in. And what do you think his fellow officer
had above his bunk? A Petty girl.

Well, you don't have to pay any attention to this as far as a
process is concerned; I'm just talking about space. So there was
lots of space out there. It's always somebody else's space and it
goes at very high velocity, so you very often will find somebody
that is so spooky about space and is so certain they can't locate
anything in space that they've gone over to the other side of it
and want to sit still and not be located themselves in space.
See, it's just done a reversal.

So quite often your occluded preclear is not sitting in his head,
he's sitting halfway between here and the moon or something. He's
out in space. He really is out in black space.

And you say look at something, and he'll look around. Sometimes
you'll tell one of these characters, "Well now, look behind your
back." And his occlusion will receive a terrible shock, because
he's sitting there with his back to earth and earth is sitting
there with horrible three-dimensional luminosity. He just never
dares look in that direction. But he's sitting there in black
space. He can't be located.

So this location in space gives us hide. What's the worst thing
that could happen then? That something could be hidden from you
in space. So you'll find preclears ransacking their tracks, which
exist in space, I assure you. (Like the devil they do! You see,
that track doesn't exist in space.) But he's ransacking space all
over the place because something is hidden from him. Or he's
protecting something from something in the space in his vicinity.

So you've got space, space, space, space. And the hideous joke
is, the best thing he can do is create it. You've never seen a
mock-up like the mock-up you'll get after you've done a
Spacation. In other words, you've created the space and then
you've created the mock-up.

You have carefully created and stabilized the space, and then you
create the mock-up. And boy, that's a mock-up. And you say, "For
heaven's sakes, what I've been getting before this I thought were
mockups. And here's this crystal-clear, three-dimensional mock-
up, like you could lean over and say, 'How are you Joe?'" Sure,
your space.

Well, that's very interesting just as little side comments here,
and I'm just throwing in some notes on the thing. But space, you
will find people living in two-dimensional space. You will find
people completely convinced that there can be beings in two-
dimensional space. Well, why can't there be?

There is no space. You sit right there and look at me across an
intervening gap of space, and I tell you there is no space.

Well, you see, that's very -- a very handy crutch for you. If you
didn't have this intervening concept of dimension and unless you
had agreed upon it utterly, you would be here or I would be
there. And you would feel that you would have a hard time
disentangling personalities.

No, you wouldn't have any hard time. If you were up scale high
enough where you could create or destroy this space at will, you
wouldn't have any difficulty with personalities.

Now a person gets his anchor points driven in. In other words, he
gets all these anchor points driven in when he has had them led
out into somebody else's space.

Now if you get -- if you get somebody: He has a terrible
occlusion on somebody or other in the past. He just can't see
Aunt Isabel, and Aunt Isabel and he are not on visio terms at
all. And this is very peculiar because he can get Uncle Bosco and
he can get Great-grandpappy Snooks, and all the personnel of the
past seem to be there but Isabel.

Well, you can just make up your mind without questioning him
further -- you could probably startle him and put yourself on the
same level as a fortuneteller. (Such as Derricke Ridgway has Self
Analysis and Dianetics in his literature. We're going to have to
do something about that book. Anyway, if he hears this tape, why,
I have no apology to make.)

Anyway where we have -- where we have a conceptual distance
instead of an actual distance, that distance is subject to
enormous variation from person to person. And this person that
we're talking about can't see Aunt Isabel because he conceives
Aunt Isabel to be right there, right up on his nose.

Well, why? Because Aunt Isabel was always shortening the distance
from her to him. Always shortening it by doing what? Bad news,
bad news, bad news, and leading him out to good things, or
leading him out to noble things, or leading him out to pure
things that he ought to be looking at and he ought to be doing
and he shouldn't be doing something else. And the second that
she's got his attention out there on these noble, pure or good
things, she shows him how ugly it all is, in some fashion, so
that he's going through a continual level like this.

She reaches over and gets him to put his concentration on an
anchor point, like "Now, you want to be a good boy, don't you?"
This is sort of -- he's got all mixed up with energy; thought and
energy are all mixed up with him. So, "You want to be a good boy,
don't you?"

Now, he takes "You want to be a good boy, don't you?" -- "Like
little Johnny Jones who lives down the street!" And he'll start
to put out this anchor point and, boy, will he snap it back. This
kid's a sissy! He'll get unhappy about this.

And now the other trick that is pulled is "God is everywhere and
is looking at you all the time" sort of a thing that they pull on
kids. And the way they start it out is this way: "Beautiful,
lovely, angels, thoughts, lovely, beautiful. And God's everywhere
and he's really going to get you. Heh-heh! " See, out and smack!
Out and smack!

You're getting the same thing as you would get if you were
standing on the bridge of a space vessel going very, very fast.
You see ahead of you somewhere a spot of light or something. This
is stuff that was coming off a star, Lord knows how long ago, and
you're following up a photon track, so you know that there is a
star there or there was one there and you hope it hasn't changed
position. You're going faster than it can shine at you. And
there's that star out there, and what would happen? You're
looking at a spot of light out there and all of a sudden you hit
some space dust or something of the sort: You're dead. Obviously
the anchor point came in. In the last split second you saw it
coming in.

Then there's this one that -- called the Empire Builder. Fellow
keeps mounding up a pile of rocks out in space. All various
reasons and so forth -- a very wise, smart thing to do, to rack
up a pile of rocks. I'm not quite sure of the fascination in
having a pile of rocks. But you get a pile of radioactive rocks,
you get a very fascinating engram. Your preclear is standing
right there, and he's been there for a long time. Running what?
Radioactive rocks.

All right. Now a new rock comes in from over here on the -- on
his starboard quarter and comes flying in and goes by and sails
on down the line a mile or so until its speed is checked utterly
by the gravity of this pile of rocks which he has hold of. Then
it turns around and comes back and flies into the pile of rocks.

What do we get? And this is applicable in Step IV, which is GITA.
You'll find this condition. What do we get? We get "Every time
something goes out, it comes in."

He can only get a girl out there twenty-five yards. He can get
her twenty-five yards and if he gets her to twenty-five yards,
she all of a sudden turns around and comes back in -- smash! Now
he tries to overcome this, so you'll get some kind of a silly
proposition of the further he puts something away, the bigger it
gets. He's just reversed it, you see?

The reason he's done this is because he's telling himself that
he's putting it further away. Actually he's hit this proposition
that everything that goes away from him and goes out there comes
back again. And, of course, when it comes back it gets bigger. So
very often in the past he has looked at something pass him, and
then has seen it come back so fast that it apparently was getting
bigger as it went on away. You get this idea?

Because it's -- this is very easy to get aberrated, because it's
just an illusion that things get smaller the further they go.
There really isn't any reason why they shouldn't get bigger,
except we just agreed they better get smaller. Otherwise the
space out thataway would get too full.

Now, you can -- you can get this driven-in anchor point
proposition in, then, on the whole track in numberless ways. All
kinds of things can happen to cause a fellow to think that
everything that goes out comes back, or anything that comes in at
him will stick, or everything that leaves him will keep on going
forever and he'll never be able to get it back; and all of these
various conditions which you will run into in doing GITA are
counted here on aberrations with regard to space.

Because the first and foremost thing he's got to believe is that
there is a scarcity of space. Before he can believe anything that
happens in IV, he's got to believe that space is space and that's
all the space there is. So if you cure that, you will to some
degree cure GITA. And GITA will to some degree cure Spacation,
difficulties with. So we have here this step is -- III is devoted
to space; IV is devoted to collecting and getting rid of objects.

Well now, all this is very interesting. I tell you there are all
these various and weird things about space. You had better check
up and find out how far the lamppost is from your preclear.
That's my advice. Just in general. Let's just find out how far
the lamppost is; and how far is it with his eyes open, how far is
it with his eyes shut?

You'll find two different distances. Interesting, isn't it? And
you'll find out that the room is this size as long as he's got
his eyes open. The second he shuts his eyes, why, the room is the
size of an inch cube. He's way out someplace looking at it.

Here you've got a boy who is sitting in space, by the way. He
isn't here in this room at all. He's operating on what he
considers to be a remote-control mechanism. He knows it's not
safe to be in that body. He knows. So he's as far from it as he
can get.

All right. We figure -- you'll find out somebody else, the ends
of the room to the left and the right are infinitely far away.
They're blocks away. But the room wall in front of him and the
room wall behind him are within one foot of the back of his head
and one foot of the front of his face: one foot and one foot. And
he opens his eyes and the room's square.

One of the first symptoms of delirium, by the way, is an
aberration of space. A fellow starts thinking space is going
haywire. You'll recognize this if you ever practice on a
psychotic. Don't look for his grandmother's kittens or some
goddamn Freudian thing; look for space and get his space stable.
You'll find out that you can do this rather readily and rather
easily by mock-ups or that sort of thing. Or you get his eyes
wide open and let him find one wall. And get him to hold on to
that wall till he knows it's there. He'll say (sigh), and he
won't want to close his eyes either.

Now, you've got that one wall located, holding on to it very
gingerly, have him locate another wall. And when he gets these
walls stabilized, he gets accustomed to a stability of those
walls, he'll feel much better. But when he closes his eyes and
they insist on shutting out all the lights in the ward or
something like that, and he's no longer got a hold of those
walls, he'll spin like mad again because he needs something to
help him stabilize himself in space.

You'll find out your little kid that is crying in his room is
doing the same thing. The lights have been turned out on him, and
he can't find anchor points. Of course, he's in a sad state that
he can't make anchor points. If he knew how to make some anchor
points, he wouldn't worry about finding any, because it's much
more comfortable to make them. It's much better to make anchor
points than it is to locate them. Of course, that follows from
our reinterpretation of Q 1. Much better to create something than
it is to locate something.

All right. Your little kid, the second the lights go out, nrrrr!
down comes the room on him. Down come the walls. He can't locate
himself. He's out of orientation. So give him a light, for
heaven's sakes. Give him a light and let him find it. Or do a
Spacation on him. Then he can always find his space. He can make
some space and be in it.

There's nothing more happy or -- happier or more cheerful,
really, than having some space you've just made and being in it.
That's really cheerful. Of course, the first few seconds after
you do it, you say, "My God, now I am going to get my head
knocked off," or something of the sort. You're going to feel like
you're about to explode or something is going to happen. That's
all right. Hold on to it. I've done this on quite a few people
and nobody's exploded yet. There's always a chance, but nobody
has yet. Besides, it'd be a good way to blow yourself out of your
head. Just blow your head off.

Now, therefore, any and all of the processes that would have to
do with making cubes and making them bigger and putting them
behind the floor and above and below, those processes as part of
Creative Processing would actually come under the broad form, the
long form, of Operating Procedure Number 5 Step III.

And there are a lot of processes that orient space, and the first
one is to handle a single light spot. Just take a spot, one dot.
And any mock-ups that you would go on and do with one dot, or
with geometric patterns, would be processes addressed to
orientation in space.

And you'll find out that people get awfully erratic. They'll have
one spot out there and it'll get further and closer, and it comes
in and hits them, disappears and jumps down on the floor and goes
up on the ceiling and goes out the door, it's out in the hall,
now it's out in the -- now it comes back, and now it's... eeh!

Well, what do you do with this as an auditor? Do you just say,
"Well, we'll go on to something else?" No, not if you're doing
the long form. You're going to do all of this. You'll find this
is the first condition. How do we remedy or how do we start a
Spacation? We get one spot under control. And how do you get that
under control? You increase its erraticity. You increase it. You
make it more random and occasionally throw in a controlled
motion. It's bouncing here and it's bouncing there and so forth,
and you say, "Well, the next time it goes by that wall make it
bounce twice." He does. And you do this a few times. "Now make it
bounce three times. Now make it go here and go there," and the
first thing you know he's got that spot under control and he
brings it back in front of him.

At first he's liable to be into this circumstance: he's liable to
have to put a bird cage or something around the thing or get a
catcher's mitt and hold it down on the floor or something, with a
lot of force and pressure, and it's liable to get away from him
somehow or another. He's liable to be quite concerned about this
thing. But that's all right. If he's still terribly concerned
about this, there's more erraticity left in it. So just make it
work out its erraticity, that's all. Let it fly around and fly
around and get it in a little more control, a little more
control, a little more control.

Run a cycle of action on it. It starts flying around, make it fly
around more. Then make it fly around more. Now, decrease its
flying around simply by controlling one of its motions from time
to time and inhibiting it from doing something from time to time,
and then bring it down to a point where it is finally very slow.
Don't try to get him to stop it, because he can't.

Now start it up again. Now make it go faster and faster, faster
and faster, more and more random. Now add a few controlled
motions to it, make it go a little bit slower and a little bit
slower. All right. Now make it go faster and -- you see, no time
bring it to a fast stop. He can't bring it to a fast stop.

And you just keep this up until he's so sick of it that it will
just lie there in front of him. And he can put it out five feet
and he can bring it back five feet. He can put it out ten feet
and he can bring it back ten feet. And he can have it five feet
off the floor and five feet in front of his face or five feet
behind him, and he can finally control that.

Now, it may take you longer than you think to make one point
under control. Might take you longer than you think, with a
preclear. Give him as many wins as you can on it, and get the
thing under control.

I would say offhand that in the broad form of odds and ends of
techniques, one of the most beneficial things you could do with a
preclear is to bring one point under control. Maybe it's a little
gold ball, maybe it's a spot of light -- anything -- under
control.

Now we have a black and white spot down at Step V is some of
this. But it actually is easier to bring under control and to see
and so on than one of these little dots that can fly around in
three dimensions.

All right then, we have -- we have a number of things, then,
turning up as part of Step III and they would be all those things
summed together which would have anything to do with space.

Now I will give you a technique that I gave you the other -- a
little -- couple, three lectures ago. Make somebody drive in the
anchor points. Just get a concept of Aunt Isabel out there with a
cricket bat or something, knocking in the anchor points and
knocking them in and knocking them in and knocking them in. And
leading them out and leading them out, and knocking them in and
knocking them in, and leading them out and leading them out, and
knocking them in and knocking them in. And going around and
around and doing this and doing that. And he'd finally say, "To
hell with this."

Now you mock up Aunt Isabel. He's never been able to get her
before, and you mock her up and bash her head in. And your
preclear's in good shape. Okay. That's one of the methods of
ending occlusion. Now that's very handy, by the way: very handy
indeed.

Now we have, in addition to these other remarks about space, we
have the simple matter of resolving this ways to think -- the
number of ways to think. That's covered in an earlier
Philadelphia Lecture. And over here to the right's the future.

So do a cycle of action from right to left and from left to right
on a body. All kinds of things happening to it. It starts out,
everything's fresh and it's growing, it's beautiful, then it
finally runs into something, it wastes away and finally dies.
Boom! Usually what you'll get over here on the right is a
tombstone or a grave or something like that.

You just do cycles of action. Then bring them around from behind
the left shoulder and bring them around across the fellow's face
and up into the, you might say, the right front quadrant of his
body. And just keep that cycle of action going. Drift it back and
forth.

Now start them. Get conception up here in the right front
quadrant and run it backwards until you get a grave over on this
side. That's really getting things royally backwards. He'll find
himself quite confused about this.

Now another thing is, for God's sakes don't, don't, don't pass
this one up, don't miss this one. If your preclear is making the
past down or to the left or up or some such fashion, if the past
has a linear distance or a dimension or a direction, for heaven's
sakes make that your first primary mission. Cure it!

Now, you can just sometimes snap this out by saying to the
fellow, "All right. Put it in the past."

And he says, "All right, I did."

And I say, "How do you know it's in the past?

"Well, I put it down below and back."

"Well, do you -- how do you know it's in the past?"

"Oh, I can still see it there."

You say, "Now look, all we want that thing to do is disappear in
the present and you know it was in the past," and a lot of your
preclears -- most of them -- will just straighten right up on
this. And out will go linear concept of dimension in time.

Time has no dimension. That crackpot that was dealing with "time
has dimension" or "time is the fourth dimension" had this
aberration. He had this aberration. There's nothing else
substantiates time being a fourth dimension. Time isn't a fourth
dimension.

Now, how do you cure it up on somebody who can't make a mock-up
disappear?

He'd say, "Well, that's the only way I can make it disappear. I
put it out there in front of me and I say, 'All right, now it's
Tuesday,' and it's still there, and if I don't put it straight
down, it's still there. I got to put it down in order to send..."

Strip the mock-up to make it disappear: make it disappear on a
gradient scale. Make some tiny portion of it disappear and
another tiny portion of it disappear and a little more disappear
and a little more disappear, until all of a sudden it is gone.
And you've done that a few times, all of a sudden he can make
mock-ups disappear.

Your primary upset in the past has been this business of time
being in space. But let's get the idea of really high-class
aberration is locating things in black space. Black space is
something you can't see and you don't know what's in it.

Here's a very neat one. Getting a preclear to get an area of
black space, and now get him to go on seeing it as black space
and say it's red. Don't let any red spots occur in it, just have
it go on being black space; you say, "It's now red space." That's
different because he's -- when he turns his black space red he
generally gets a different piece of space. He's getting another
piece of space. He's not convinced that he's got the black space.
He hasn't turned the black space red; he's just put it aside, and
he's got a red space now.

So this time let's make him make a complete liar out of his visio
and everything else and have this black space and know that it's
red space and still look at it as black space. Very interesting
things occur to a preclear when you do that.

Now, mock-ups that have to do with space and the cure of space,
as is given elsewhere in the Philadelphia Lectures, is terribly
important because your preclear can be negatively there.

Now in the next hour immediately after this I'm going to give you
a talk on the subject of scarcity in general, and we will take up
scarcity of space and scarcity of you. And by taking up scarcity
of space and scarcity of you we're going to cure this business of
being stuck on the time track from now on and forevermore, and
lay its ghost forever and aye. Let's take a break.

[End of Lecture]
