Subject: SHSBC 37
Date: 21 Mar 2000 21:08:20 -0000
From: Anonymous-Remailer@See.Comment.Header (fzba)
Organization: mail2news@nym.alias.net
Newsgroups: alt.clearing.technology,alt.religion.scientology

CREATION AND GOALS

A lecture given on 3 August 1961

Well, I will say that in ten days you look less human! Good to see ya! What
is this, 3rd of August? Nineteen hundred and AD 11.
Thought you might be interested in where I've been. Isn't that fairly
marvelous? Pretty wild, isn't it? Well, that's just about how wild that
country is. Well, fortunately nobody has ever been able to civilize Spain.
Henry the VIII, I think it was or some such Henry a long time ago, used to
have standing orders to all British merchant ships. And when they got
anywhere north of Cape Finisterre - any foreign ship got north of Cape
Finisterre - a British vessel in sighting one - . Cape Finisterre you know.
That's down there. That's way down there at the top of Spain.
Well, the standing orders were that any British merchant vessel or war
vessel, that any foreign vessel found in those waters, must at once dip his
flag in recognition of the sovereignty of the seas of the English; and if
he failed to do so, he must be compelled by whatever necessary force.
Well, we don't get down into those waters much anymore and they don't come
up here much, but it's certainly an interesting area. You know, that's only
650 miles away. Yeah. Very beautiful, very beautiful.
Found a very beautiful ship down there, too. The Espanoles had been at her,
which is a kind of dry rot, which is maúana. It's a fever which has maúana
as its primary bugs, you see?
So I've been across all of these wild guarded waters where English vessels
are supposed to coerce the firing of salutes and shots. And they - when
they got this English vessel down to Spain, they took revenge for this
order on a comm lag of about five hundred years or something like that, or
three hundred years or something and so they just kept her there and kept
working on her and they finally wore out the patience and pocketbook of her
past owner. And they kept putting things in her like more mahogany, you
see? That was just exactly what she needed was more mahogany; she didn't
have any main engines, but what she needed was more mahogany. Most gorgeous
interior you ever saw on a ship. Don't open the engine room because nothing
there.
And the Espaúoles and the owner - who was not a sailor of this particular
vessel - had gotten to a point where they had made sufficient number of
problems to suit them all and they couldn't solve any of them. They just
couldn't solve any of them! And so everybody threw up his hands and they
decided they'd better sell the ship in a hurry and I've been waiting around
since February for somebody to decide this about a good ship. And so we
have bought her for buttons.
But she's a 106 feet long and 18 foot beam and she sleeps about twenty-two
people. And for an additional - see, I sold some yachts over in the States
and I've been kind of hiding the money since, you know? And I'm able to
cover this one as a result. So I've been letting the money ebb and flow and
disappear this way and that way, but I finally got it all collected back
together again here.
And for only about thirty-eight hundred pounds of additional odds rind
ends, why, she all of a sudden becomes a vessel worth at least twenty-five
thousand quid on the market. As a matter of fact, I could haul her up here
with a tug right now and sell her for fifteen thousand pounds. Just nobody
knew how to straighten her out, you know? She's all beautiful mahogany and
varnish and everything is marvelous and she just glitters in all
directions, but nobody could straighten out such things as how do you get
her anchors up and down?
Her current consumption throughout the whole ship - she's got air
conditioning and hot water and everything - and her current consumption
throughout the ship is about 30 kilowatts, or in excess of the consumption
of Saint Hill, which is plenty of kilowatts! Look at our light bill
sometime.
Anyway, the - with this tremendous, fantastic current consumption, they put
in two Salle diesels built in Spain and two little tiny generators and the
diesels make so much noise that when a mechanic started them day before
yesterday, he leaped convulsively out of the engine room! And the whole
ship started shaking from bow to stern, you know. So she has this 30 kw,
you see, of potential power consumption and she's got about one watt to
supply it and nobody could figure out how to get any power into her, you
know? They couldn't figure out how to furnish all this. And she's had Grey
diesel engines - very nice Greys, they were sometime in their career. They
still run. But they kept wearing out their rings and they kept filling up
their crank-cases full of oil - fuel oil. You're not supposed to have fuel
oil in a crankcase, you know? And they just kept getting all gummed up with
sludge and there just wasn't anything they could do about them and they
wouldn't run and they wouldn't push the boat and so on. So everybody kind
of threw up his hands in horror.
So when they hauled the vessel - I'm late getting back here, by the way,
because the vessel wasn't hauled till Monday. More maúana. And when they -
they hauled it, I sent somebody else down into amongst the brish-brash of
the muck of the drydock, and got him to brush those propeller hubs off
because there's something wrong with his screws, you see. Kept polishing up
engines and repairing engines and the engines keep falling out of her. So,
obviously, it isn't the engines. So when we got the hubs of the propellers
brushed off, we find out that she is fitted with propellers which would
make her do sixteen knots, but a Grey - a pair of Greys - at the wildest
imagination would only ever drive her at ten. So what the propeller has
done is prevented the engines from running, because a Grey doesn't develop
its horsepower until it runs at 2100 RPM and this has been very amazing to
them all, because the engines ran very cool and there couldn't be anything
wrong with the engines because they ran so cool. And everybody kept
assuring me that the engines ran cool.
Well, a Grey - I finally let them in on the facts of life - has to be at a
185 degrees Fahrenheit or it doesn't achieve combustion! And if you don't
run it at that temperature, its crankcase fills up full of fuel oil. Some
of the little facts of life, you know? Interesting state of beingness.
Anyway, I've had about ten days of wrastling around with my old love, the
sea, and finding out how many things people can do, who know nothing about
the sea, to a boat to make it inoperative. But we're just lucky, man. We're
just lucky that it got that inoperative and they made that many mistakes,
because they're nothing. I got a pair of Paxman 600 horsepower V-12s
located up here - diesels that run on fuel oil of the very low quality -
and I got a couple of light plants that are excellent and they will just
take care of her lights marvelously and it's just a matter of yanking
what's in her engine room out and putting in something new. And as far as
her water is concerned, she's all fixed up to consume water at the rate of
about five or six hundred gallons a day. She's got bathrooms, you see, and
wash basins every place, you see? You can't turn a corner without having
full facilities to take a bath and wash your hands, you know. So there's no
water supply! Small omission, see. And they didn't know how to figure that
out, because of course her bilge is all full of ballast and you can't get
any more water tanks into her bilge. So they put a water tank up in the top
of the pilot house. A couple of tons is just what you need up in the top of
a pilot house. That's - it sloshes, you know, and makes the ship stagger
and so forth.
It's a beautiful water tank. It has huge manholes, you know. And they
couldn't solve that problem, so... Actually, what they don't know is that
you can get war surplus water evaporators that run on electrical current
that have a tray in them. You change the tray a couple of times a day and
one of them will make enough water for fifty men a day. So you don't carry
a water supply, you carry a water evaporator aboard her. That's very easy
to put in.
These problems are all relatively simple. But this owner and the Espaúoles
ran into them head-on and threw their hands up in horror. Yep, had a lot of
fuel consumption, a lot of water consumption, a lot of electrical
consumption and no fuel, no water and no electricity. And then she could go
anyplace, but no engines could take her. And boy, her mahogany is
beautiful!
Come to find out she's classed: She's a classed vessel with Lloyd's, which
is quite amazing. Almost never do you find an ex-Admiralty craft, like a
Fairmile B, that's still classified by Lloyd's and she's all in perfect
condition, nothing wrong with her.
But due to our ability to confront problems and their inability to confront
problems, why, ship falls in our lap. You see. See the advantages of
Scientology?
The British Vice-Consul made a funny remark. He took me out to the airport
when I left Santiago and of course this was just Spanish courtesy,
possibly. You know, he didn't buy that "being in the locale." But he says,
"I have learned more about ships in the last ten days since you have been
here than I've learned before in my life!" He says, "I didn't know there
was that much to know." I didn't even know I was wearing a hat, you know? I
didn't. But I didn't also know how little they know about them and yet he's
the Lloyd's representative for the area.
No, they threw up their hands in horror. I did too, actually, in the first
twenty-four hours. I just said, "How could a group of people make this many
problems?" That's impossible, see, unless they're a government. How could
they? How could they make this many problems? And yet they sure had and I
said, "Well, there's nothing at all can be done with this ship. She's
beautiful, she sits here, she's got gorgeous lines, her hull is good, no
dry rot in her, her decks are good, everything's fine, she's beautiful, but
nobody can do a thing with her."
They have just run her out to the far rim of total confusion, you know - no
power, no water, no engines, no winches, can't handle, can't anchor, can't
move her. And they'd fastened all the mahogany ply in her with iron
fastenings instead of copper and of course they'll go to pieces in a hurry.
Ah, man. It was just too much!
And after about thirty-six hours or something like that, all of a sudden I
came out of my stupor and began to confront the problems of the ship and
found out they were all just - they were nothing. Weller, here, who is an
expert on that sort of thing, all he's got to do is go down there and start
pulling nails and hammering brass back in the same spot - nothing to that.
We've got companies up here that'll drop a pair of engines into her just as
quick as you can send them a telegram, you know? And just right in the next
room in there, there's enough electrical fittings to rewire her from one
end to the other. There's really no problems to her.
But, of course, it is dismaying that people would put a ship together, you
see, that can't run, can't anchor, you see; has enormous electrical
consumption and no electricity, has enormous water consumption and no
water, has enormous fuel consumption and no fuel. They forgot one area
where they could have put tanks. Guess where that was? Between the engines,
of course! Right where you would expect to find it. And there's enough for
an additional five hundred gallons of fuel between her engine beds. And
they've got fifteen tons too much ballast in her which, of course, fills up
the remaining space you could put tanks.
You see, if you put the ballast in a ship - your ship's got to have
ballast, you know - that's in a book someplace, you know - particularly
ships which are planing vessels, which are made to plane when they run, you
see? And if you gonna get a vessel that stays up on top of the water and
you know, runs like a skipped rock, of course you want to ballast her,
don't you? Let's put lots of ballast in her and fix her up so she won't run
on top of the water. Let's make her run deep, see? And then because she
needs lots of fuel in order to run high, you see, well, you occupy the
whole space with the ballast so you can't put any fuel in it. You get the
nonsense?
It's marvelous! I watched 1.1 problem creation here. And actually these
problems have not just been for lack of knowledge or lack of solution. A
lot of these problems are just overt - overt creations. Nobody'd be that
dumb! They wouldn't live to the age of five! Isn't it marvelous?
Name of the ship's the Eimor; her name will probably become The Hurrying
Angel. For some reason or other that name is blank at the Register of
Shipping and Seamen. For some reason or other that name has not been used.
And that's John Masefield's famous novel and you'd think the country of
John Masefield's nativity certainly would - you know, I have submitted
about three pages of names to the Register of Shipping, without finding
more than about five names vacant? I've thought of every name I could
possibly think of for a vessel and every one of them, but just this little
handful, has been occupied. They've already got - you see, you can't name
them twice because you might get charged for somebody else's bills. You
know? And weirdly enough The Hurrying Angel was one of the names that's
vacant. So there it is.
I've had that all ready to put on nameplate. I've got her barometer and her
clock. They're a beautiful set - clock and barometer. They sit on the file
cabinet in my office in Washington and years ago - years ago - I was trying
to find somebody to cut the nameplate of the ship for that clock and
barometer. Didn't have the ship but I had the clock and barometer. See? And
I was going to cut a brass plate there for the The Hurrying Angel. And so
at last I've got a ship to go with that clock and barometer!
Well, anyway, this is all part of an operation here which is going on.
We'll be going down about October into southern waters for a winter of
instruction and all that sort of thing. So maybe some of you will have a
ride someday on The Hurrying Angel. And you'll say, "I'm very, very happy -
" when you have had a ride you'll say, " - I'm very, very happy that Ron
audits more smoothly than he drives a ship." Because I drive hell out of a
ship! Okay. Well, you're invited anyway!
Audience:       Thank you.
Okay. Well, now let's get back to where we were and where you have now
reached. I notice we have some new faces. I welcome you and I notice,
additionally, some new faces which have been acquired or have been
uncovered, so on.
Now, something very funny is going on. People elsewhere are getting a
spattering of Clears. And we're slugging at it here and we're slugging at
it very, very hard. You'll notice there's a difference here. All of a
sudden they make four or five down in Johannesburg. They've made more,
since. They're making Clears all over the place and meanwhile some of you
have flattened problems, confusions and emotion of various kinds.
Now, I guess it's just a question of how thoroughly can you make a Clear?
And that's the whole question. It's just answered in that. I think that's
about the way it is. How thoroughly can you go about this? How many brands
of Clear are they? I couldn't answer this question. Because you can get
people up to a perfectly good Clear read on a meter and it will stay there,
and they'll go along just fine.
But how many zones are there above this state? And how thoroughly do you
have to prepare the ground to attain one of those zones? And those are the
questions.
Those are not necessarily well-answered questions at this time because
Scientology, after all, is - well, I've been making Clears of one kind or
another, stable or unstable, for a long time. Those that I made originally,
way back when, the bulk of those remained stable. And the secret of those
Clears was just that they had been able to - and I couldn't have stated at
the time this succinctly - they had been made capable of confronting any
type of mental image picture. That made a Clear.
And if you will read Book One and the chapter on it, it wasn't somebody who
didn't have any pictures. This is some new interpretation. It was somebody
who could control his pictures or who had a bank or whose bank wasn't
victimizing him.
All right, taking off on this line, let's go back now - from ships to less
mundane things - to the earliest unanswered problem in Dianetics and
Scientology, circa 1948. The question: Why does a thetan mock up bad
pictures? Now, that is the un - was the unanswered question and that
question has remained unanswered all these years. You can see at once that
that is a very, very interesting question. After all, he is doing it. Well,
why is he mocking up accidents and collisions and burns and cripplings and
so forth? Well look, there's all kinds of things to mock up. You could mock
up this scarf! You don't have to mock up an automobile accident. But they
do mock up an automobile accident. They also occasionally mock up scarves.
But you'll almost never find anybody with a fixed pleasure moment.
You start running pleasure moments on a preclear, and they go into grief
charges and they break down and life is horrible. Old Validation
Processing, as Mary Sue was remarking last night, was the most productive
of grief charges that anybody ever tried to run. You talk about agony and
sudden death! All you had to do was ask a preclear to "Recall a pleasure
moment. Thank you. Recall a pleasure moment. Thank you. Recall a pleasure
moment. Thank you," and Niagara Falls would ensue!
And I remember one girl vividly back in Wichita, about 1951, she was being
audited, and the auditor asked her to recall a pleasure moment, and she
recalled winning a cup at a horse show, which seemed innocuous enough. And
the auditor just opened his mouth ready to audit the next auditing command
and the pc said, no, that wasn't a pleasure moment. And she really
shouldn't have done - think of the other people she defeated to do that and
she really didn't deserve the cup anyway and she went on down the toboggan.
And the next thing you know it - apparently, the most horrible thing that
could ever have happened to her was winning this cup at a horse show! And
that's the way it goes when you ask a thetan about pleasure moments.
Now, what is this fixation on death, disaster, collision and whatnot? What
is this? And let's get back to this original question: Why does a thetan
mock up bad pictures? Why? Why?
Well now, theoretically, many things could be said about this and one of
those things could be that he's getting even. He's been made to produce and
made to produce and made to produce and made to produce, so now he mocks up
a bad production. Got the idea? I mean that could be, basically. Now, we
can look at the mechanics of it and we say, "Well obviously, the thing has
not been as-ised, he has not looked at it so therefore, not having looked
at it, it is still there. But remember, that is a mechanic and remember
that this thetan is party to the original agreement that creates those
mechanics. Why did he want to agree to these original agreements that then
would make it impossible for him to ever as-is anything unpleasant? You
see? Let's get terribly fundamental, here. And we find out that it must
come down to the fact that - you can't say he wants to, but you can
certainly say that he does mock up in preponderance; death, disaster,
collision and what-not and you could say, then, that having made some kind
of an original agreement he then caps it with some other revolt against the
original agreement of some kind. Well, what is this revolt? Well, you could
say that this revolt consisted of - he's made to mock up, produce, produce,
produce, produce, produce good things. So he eventually invents a mechanic,
you see - a mechanical aspect - that when called upon to mock up something
good, he promptly mocks up something bad.
Well, the direct thing, the proof of this is that you ask somebody to run a
pleasure moment and he mocks up something bad. He doesn't mock up something
good. You tell him to mock up something good and he mocks up something bad.
Now, we take some Espaúoles and we turn them loose on a ship and we tell
them mock up something good, you see? Well, they almost do it. You see,
they just come right, right close to doing this, but somehow or another -
don't lift the corner of the paint, see? See, there is going to be
something bad about this.
You get maintenance men around sometimes in organizations and wow! You
know? Just wow! How can they do these things, you know? You're saying,
"Well, now straighten up the hall," you see. And you go back out and
there's old machinery lying all over it that doesn't even belong to the
organization. You say, "Where does this come from?"
"Well, it was here...
We've never seen it before in our lives. Well, yes, it's here. You know?
You say, "Well, why don't you sweep out the lecture hall? There'll be a
lecture tonight." And you go in, and they've dumped all the waste baskets
in the place in the lecture hall. Well, that would be a direct revolt,
don't you see? You tell them, "Clean up the lecture hall, because we're
going to have a public lecture tonight and we want people to think well of
Scientology." See, bang. The direct revolt response would be to go and get
every waste basket in the place, go get the incinerator and so on, get
every scrap piece of paper you could get out of the files and then get all
the oddments of furniture in the joint and throw all these things in the
lecture hall and then mix them. That would be a direct revolt. Then you
would know this fellow was in a revolt and you would stand there with a
machine gun with your hand pressed on the trigger and you wouldn't let it
up. That would be a direct revolt, wouldn't it?
Well, so let's get an in - the - assuming that this fellow is in revolt -
now this is going down scale from this. You see, that's a fairly high
manifestation. All right, let's push it down now - this fellow has gotten
down to about 1.1 - and you say, "Clean up the lecture halls," you see? So
he - his revolt consists of sweeping the aisles only and sweeping the stuff
in the aisles kind of back under the chairs and not having the chairs quite
straight - they're not quite straight and the things the lecturer needs
will not quite be there. Well, you can't censure him for that. Because he
can always say, "Well, I have too many things to do." He can always have a
lot of excuses, don't you see? And so he gets out of trouble this way, but
he still makes his point: that he's damned if he's going to produce a
good-looking lecture hall. You see the idea?
All right. Well, the highest harmonic would be "Well, to hell with you, I'm
not going to touch the lecture hall." But there's a lower harmonic of this
same thing which is you tell him to do it and he forgets. That's simple,
isn't it?
I've even heard a court case was being tried. I was actually on the witness
stand. I was asked some burningly intricate twisted question, you know,
that looked like a Scotch still gone mad, you know, and - by the
prosecuting defense attorney, or whatever he was - and I looked at the man.
I said, "Well, I've forgotten." It was some burning question that very much
applied to the whole case. I just didn't care to be implicated. So I said,
"Well, I've forgotten."
And this defense prosecutor went up, just - he was like a rocketry, you
know, and "My God, how can you forget such a thing?" You know? "How could
you possibly forget such a thing?" and he's raving. And the judge said to
him in a very cold, bored voice - he says, "The witness says he's
forgotten." That was it.
That's amazing, you know? It took me by storm at the time! I didn't even
think I'd vaguely get away with this one because it's pure corn. It's
straight from Iowa. "I've forgotten." Wasn't even challenged; couldn't be
challenged. So you - lecture hall was messed up and you've got a comparable
level in occlusion.
And you see, the fellow, well, he can't remember all his past overts or
anything like that so how could he be responsible for them? And we let
everybody get away with it. Do you realize the degree that we let everybody
get away with it? Where's the bird for instance that started the last war?
Hm? He's around someplace. He's around someplace. He's probably gibbering
in some Russian school about this time learning to say "Verdammt, gottdammt
Hitler!" But there he is and they're letting him get away with it. Because
what's he saying? He's said "I've forgotten." Simple mechanism.
So you get these various mechanisms that you can see out in life of
forgetting and bad pictures and accidents and sudden death being mocked up
in the bank and so on, as basically a covert response when you see them and
that would then apply to most everybody. There must be a covert response of
some character or another to an "I won't." You see? Instead of saying "I
won't," they say "I can't" or "This is just the way it is," you see? "Yes,
here are all these horrible pictures and I can't do a thing about it."
Now, the oddity is that the mechanism, apparently, is so submerged and is
so lost that it itself has become a modus operandi. And that becomes the
way of life and the fellow now isn't actually in active revolt at all. He
just mocks up bad pictures and forgets. He doesn't know how; he doesn't
know why or anything like that.
Well, there have been some civilizations on the track which were corkers.
Man, they were marvelous! You talk about production-crazy. These boys were
really production-crazy - Arslycus.
If you ever want to see tiredness overwhelm the pc, run him into the area
of the whole track called Arslycus. And, there, thetans were actively
producing matter, you see. And they were hanging off walls, making walls
and making tilework and mocking everything up, you see - actively mocking
it up and smoothing it out and you couldn't get away. They had various
mechanisms where they kept a piece of you in a big boiling pot or something
of this sort and if you got away, why, then they put this piece into the
boiling water and it caused you a lot of pain so you had to come back.
There are all kinds of weird mechanisms here of entrapment involved and
everybody had to produce, had to produce, had to produce, had to produce,
had to produce, see? And it's no wonder that production got a bad name,
because they were producing against their wish to produce.
Therefore, production against power of choice of production is revolted
against. Creation against wish to create is revolted against and you get
that dramatized by the bank. The fellow doesn't want to mock up the bank so
he mocks up the bank. You see how that is? He's creating something against
a wish to create. Well, evidentially his will to create has been badly
overwhelmed. Both because he has overwhelmed other peoples' and because his
has been overwhelmed. Do you see how this would work, both ways?
How about the fellow who ran Arslycus? How about the overt, man? Look at
that level of overt. Thetans by the ton, all around, working like mad to
build walls and build this and build that and finally, through some
mysterious circumstance that nobody has ever been able to trace, Arslycus
fell apart and everybody fell and fell and fell. It, by the way, wasn't on
a planet. It was, of course, just a construction out in space as itself -
nobody had invented planets yet and planets undoubtedly were invented to
cure things happening that happened at Arslycus because they had walls and
roads and courts and houses and towering buildings and everything. And of
course they just ran without foundation - uninfluenced with gravity or
anything else. And one fine day it all fell apart.
Well, which one of those workers invented disintegration? See, that's what
had to be invented - not disintegration by explosion, disintegration
because of gravity or anything of this sort, but just who invented
disintegration? Who invented the idea that these things could fall apart?
Somebody had to and, of course, it was the workers of Arslycus. This was
their only possible response, was to out-create with some new idea -
something worse than was happening to them.
Well, when you get the crisscross of production and creation going - and
creation, compulsive creation, creation against one's will, and so on -
creation itself begins to have a bad name.
But now let's take the reverse side of the picture. I was never as unhappy
as when I didn't have any stories to write for anybody. Well, that's an
interesting state, isn't it? You say, "Well, it's very tough sitting there
grinding out stories and all that sort of thing." But nobody needed any
stories - all the markets were full. I was good at that. I'd not only
filled my own markets but several other writers' and these boys would be
unhappy about it and I've really been condemned for creating like mad in
the field of the arts - here, there and every place on the track - because
I get interested, you know? And I decide, "Well, let's really mock one up!"
You know? "Let's get some volume out here. Let's make it shapely." And the
next thing you know, why, everybody around that would consider this, if
this was the new standard - this is the trouble you get into - they'd be
licked. You see, it's an out-create proposition. So you decide you're
trying to out-create them, which you aren't doing at all. All you're trying
to do is put something up, see?
So they decide they - you've out-created. So they say, "Well, this creation
is bad," and so forth. Well, that actually doesn't affect you,
particularly. What does affect you is not having any - any market for your
creation or not having any observers for your creation or not having your
creation wanted in any way. That's what's upsetting. It isn't creating;
it's not having it wanted.
Well anyway, we look over this scene and we disentangle a few more facts
here. Here - here's another case history that parallels it. Mr. Weller here
is one of the most terrific carpenters you ever wanted to have anything to
do with. And he runs maintenance here at Saint Hill. He can't miss walking
down this passageway - particular passageway - and there's a spring broken
on the swinging doors and it's broken today and it's broken tomorrow and
it's still broken. The swinging doors won't swing. The days go by. Mr.
Weller walks right back and forth past those swinging doors and he doesn't
do a thing about it till I finally look down my nose and I say, "Mr.
Weller, repair the swinging doors." At which moment he repairs them with
the excuse that he can't get the proper spring to do it with, so it's
liable to break again anytime.
Well this, you say, would tab the boy. Well, it doesn't, at all. Because I
asked Mr. Weller to fix me up something that is rather incredible, you
know, like a file box out of mahogany with a swinging top or something of
this sort - something that's very difficult and involved and can't be done
in the realm of finite human carpentry - and he brightens right up and
nobody can get him to tend the furnaces or anything else. He's right out
there, right now, knocking together a mahogany box, figuring it all out,
straightening it all out.
I just saw him a few minutes ago, having come back. Right away, why, he had
set up a bookcase for me, upstairs. I get flooded with books. People keep
sending me books and I'm always happy to receive books - don't get that
idea. Books are just fine. I'm always happy to have books. But it was
getting to a situation where all anybody had to do was send me about four
more dispatches and two more books and nobody would ever have seen me
again! I just would have disappeared!
So to solve this situation, I wanted some file trays for my papers and some
bookcases and so forth and Weller, boy! By the time I came back - he's
obviously been racing flat out. He's got one of these bookcases all built,
apologizing for not having the other one all built. He's only built it
three times as fast as factories - which build furniture untouched by human
hands - would build them. It's too slow and he's got these file cases now.
He's got only five of them done. There's two more to go and they're all
laid out with their varnish drying and he's just proud as punch, see? He
hasn't got anything against creating something rather fantastic and rather
beautiful. He's got nothing against creating it at all. But he will walk
past oddities that nobody will appreciate or he doesn't think they'll
appreciate.
I imagine the staff here started making rather crude cracks at him after a
while about this particular door, because the staff was walking through it
several dozen times a day, you see, and there it was gaping open, ready to
black peoples' eyes and so on and they probably snarled at him one way or
the other about it.
And I've noticed there are people around who have asked him to put up - oh,
I don't know - put serrated edges on the garbage cans or something of this
sort, don't you see? And people have asked Jenner out here, the bricklayer,
to do various things of this character. But it's not in the field of where
they - (1) they don't think it will be appreciated; (2) they don't think
it's probably the right thing to do; and (3) they don't think it's
aesthetic, which all adds up to (4) they don't want to do it. Which brings
us to (5) if they do do it, why, the serrations are going to fall off or
into the garbage cans, don't you see? It's a revolt against creation.
All right, now there isn't a person in this room that can't paint with
perhaps an exception or two. Put a canvas in front of you and a brush in
your hand and a nice big palette with numerous colors of this and that in
your paws and just say, "Have at it, now. Let's - let's get something here.
This fellow da Vinci has been getting away with it too long. Let's - let's
get cracking here." And you would all turn around to me and you'd say you
can't, or "I've forgotten how," or you have a whole bunch of things like
this.
Well, that must be borne out of a conviction that a good creation in a
certain field will bring one into a state of victimization, or will bring
one into some unpleasant consequence. That's the conviction. And that
conviction causes one to take a vast retreat and to back up like mad full
speed astern and say, "I can't" or "I've forgotten how" or "I don't know
how to do that."
You get two excuses out in the broad world. They say, "Well, I haven't got
any talent" or "I haven't been educated." These are the two things which
you hear consistently.
They used to bore me like mad when I myself was very deeply involved with
the arts. I would turn out something that was bingety-bang, splash-bong,
and then have somebody come along and tell me that he wasn't doing it
because he had never been educated to. Now, there's a - secret of the thing
is, if I'd ever listened to anybody's education with regard to this thing,
it never would have gotten created, don't you see? Get the idea? Creating
by the rules, as far as a painting is concerned, of course, immediately
denies its self-expression.
So we look at these various aspects of creation and we begin to understand
something more about this thing called a bank, and we begin to answer up
this problem that has been around since 1948. And the problem is, with
everything else he can do, why does a thetan mock up these things?
Now, I had an answer - I had an answer one time in 48 which was on the idea
of harmonics. And I said, "Well, the guy's general tone brings about what
he mocks up. And he mocks up something with resonance between himself and
tone - you see, his own tone - and what he creates in the bank and that
must be about the way he goes about this." 1948.
"The guy is at such-and-such a tone level." Well, that was a bit of a
breakthrough. You could change a guy's tone level and he'd mock up
something else and it's true. He will, too. But that doesn't give us the
full story. And the full story is that an individual mocks up or doesn't
mock up in an effort to prevent his will from being overthrown on the
subject of creating. He's "protecting his self-determinism" is a very good
way to state it; protecting his self-determinism with regard to creation.
If he could determine to create it, he would. But if he's being forced to
create it under vast duress, he won't. And he therefore acquires mechanisms
to inhibit his creativeness; and these mechanisms to inhibit creativeness
are what we run into in processing. That's why old Creative Processing
works, but why eventually they finally dreamed up - some preclears did -
that the bank got solid if you made them mock up. Now, get that just as a
mechanism to prevent creation.
See, "We can't do this," you see, "because the bank gets solid." There's
another answer, you know.
Well, it's a very funny thing. I'm looking at one or two or three people
here who've been around for a long time and used Creative Processing for a
long time before any banks started to get solid. Banks didn't disbehave for
a long time. We never heard about this and then we got this new mechanism.
Maybe some old banks did get solid but nobody ever objected. I never saw it
happen - not until I started running some tests on the thing and paying
attention to it, very generally, and this other series of mechanisms fell
out of the hamper. Well, they'd already existed. It wasn't just people in
Scientology inventing the thing, but the mechanism had already been
established. This was a new method of not creating.
So methods of not-creating or methods of denying creation, methods of
denying ability and so forth, are basically what you're involved with when
you are processing people. That's the most fundamental fundamental.
Now, this is so boobytrapped as the basic road to Clear that it's something
like driving through a - an antitank mined zone in an enemy sector on a
bicycle. And you go round and round and up the roads and down the roads and
of course everywhere you see there are nothing but mines, barriers,
pillboxes and chattering machine guns, you see? It's just not ar - it's not
a driveable area.
So we have to figure out what the guy is afraid of on this subject of
creation and disarm it from that angle. Now, what's he afraid of? Well,
he's obviously afraid of being made to do. Creativeness, doingness. You
don't say "creating," you say "doing." You see, this gets us a little
closer to a driveable road, a little further from those minefields. You
don't say "creating," you say "doing." Now that substitute actually is
quite workable.
Now the next thing you get him over it - something there, some fundamental,
has brought him into a state of mind whereby he believes that there are
enormous consequences involved in his doing some of these things;
otherwise, he wouldn't be so fantastically afraid to do them. You know, he
wouldn't be inventing all kinds of mechanisms that, "If I mock up a good
picture, it'll turn into a bad picture" and "If you force me to create
something, then this way, that."
The most basic mechanism is why does the fellow mock up an automobile
accident? Well, he's got an old mechanism around which goes like this: In
order to get things created you have to hit somebody. That's the best way
to get anything created. You have to hit a thetan and that makes him create
and that's one of the most basic fundamentals you ever heard of. You have
to hit him to get him to create... Way back when.
So, therefore, when a person is beaten or defeated he's liable to start
creating. Therefore, you get the birthrate of the (quote) lower classes
(unquote). Birth rate of the upper classes isn't high because they aren't
beaten. If you'd beat a few more women in the upper classes, you'd have a
higher birthrate, but I don't advocate this! But this is about the way it
is, don't you see?
You get this beatingness and creation or punishment and creation or the way
you respond to a blow is to create. How do you create? You respond to a
blow. That's the best way to do it. If you don't believe it, get somebody
to hit you sometime and you find out that you'll have a picture of it.
Well, you didn't have a picture before. See, you didn't have a picture even
of the scenery before. You were just skipping it and get somebody to hit
you and see if you got a picture of it. You'll have one. Well, what are you
doing? Well, you're responding with a creation to a blow. So a fellow gets
in an automobile accident. Whir, crash, bang! He's hit! So he mocks it up.
Now, this explains to everybody, too, that he's a victim. He's been made to
create this thing. These would be the basic mechanisms back of this. He's
been made to create it. He has responded, however, and followed the law
which is: The best way to keep from being hurt is to create. Since, if
one's being beaten so as to make him create, then of course the best way to
keep from being beaten is to create and if one creates the picture, then
the rest of the automobiles won't hit him.
Now, I suppose where you get the most involved point in an engram is when
the fellow has already mocked up the engram in full, he thinks. Oh, he's
hit - he's hit by a car on the highway, so he mocks up the engram and this,
obviously, will keep him from being hit by any more cars, you see? And
having mocked up the engram of being hit in full and now having it in full
restim with all the mechanisms involved with it, he is now hit by a tank
truck, so he mocks that up too, you see? So that will keep him from -
anything else from happening, don't you see? And then the tank truck
catches on fire.
Well, this defeats him. You see, his best answer to a blow was to create
and that always got him off the hook way back there in Arslycus and other
places, a trained mechanism always got him off the hook. He always fell for
it when other people did it to him. He wanted them to create and he hit
them and they created and so on.
And so you'll have three phases here. You'll have engram one, engram two,
and then a total not-is of engrams which is an utter defeat and the
disappearance of engrams one and two and you'll find these things all
present in a serious accident. The fellow is hit, so he mocks it all up and
he thinks that's the end, but it's not. So he mocks all this up again and
the additional, you see? And then something so catastrophic happens that he
buries the lot, because he can't mock up. Obviously the mechanism is not
working and people with invisible fields have simply gotten into a chronic
state of where they believe utterly that it won't do any good to create.
This mechanism no longer works, don't you see? Black field is the same
thing. They've not-ised the mechanism. The mechanism has gone out.
Now, these are the various mechanisms involved with people mocking up
painful pictures. They mock them up and there's nothing they can do about
them, except mock them up.
Now it's a defeatist sort of a thing. A person is not really playing much
of a game, because the pictures really have ceased to be visible to other
people. That again is a protest against being made to create.
So you'd sum all this up to the responses to the summation of all
overwhelmed choices. The responses to the summation of all overwhelmed
choices. In other words, the person's choice is overwhelmed so he responds
in some way, still trying to make his postulates stick, down scale, but
still trying to make it stick.
Now, the basic assumption of a thetan and the first thing that he wants to
have happen, of course, is the communication formula. That's his game.
That's his most fundamental game - right there in the Axioms.
If we modify the statement by saying it is the most fundamental game in the
interrelationship of thetans - in other words, it's - he can have a game
sort of all by himself just creating things. He's above Axiom 10, don't you
see? He can have a game above that. But when he gets into an
interrelationship and a real games condition, the first entrance point is
that Axiom, and from there on all he wants to do is just make his
postulates stick and make his power of choice felt - creation of an effect,
in other words. He's got to create the effects and create the effects and
create the effects.
Now, when he doesn't create the effects, he'll still try to create the
effect. He'll still try to create the effect and even though he is unable
to do so, he'll still try.
And of course, now we get down to Routine 3. Why is Routine 3 so effective?
It is very effective. You're not pushing it as hard as you could in this
unit, but it's terribly effective. It's because you're looking over all of
the powers of choice he has hoped to effect, most of which have failed, and
you're running out his failed powers of choice when you're asking him for
goals. You're asking him, in essence, "What postulate and - have you tried
to make stick." You say, "What do you want to do in life," you see?
Now, we're getting a little further from these minefields when we say "What
goals do you have?" We say, "What postulates - make stick?" This is beyond
him. Coo! The last postulate which he made to stick - if you just said it
just like that - the last postulate. We could - "Let me see, I think that
was somewhere about five minutes after the start of this universe!" It's
all that time ago, don't you see? So here we are, all this long, long time
ago, that was it and, of course, he's not going to process on that.
But now he has goals and these goals are in essence what postulate he hopes
to make stick, re-formed and substituted into what conditions would he like
to bring about. So the conditions he would like to bring about dropped back
instantly and at once to what postulates he would like to make stick, which
drops back to what postulates he could make stick, which drops back to
power of choice over his own actions and postulates. Do you see that?
And everything we call a reactive bank is the odds and ends and bric-a-brac
and mechanisms of one kind or another which tend to defend his assertion of
self. And those mechanisms that are making a ruddy mess out of him - these
very mechanisms - are basically intended as prevention of his postulates
disintegrating and not sticking. So you see, the disintegration of these
postulates is what's wrong with him and, of course, his cure is so much
more violent.
You know, you wouldn't think a fellow would react this hard. So he looks
out there and he says, "Oak tree, oak tree, split apart. You damned oak
tree!" It doesn't do it and he goes and he looks around at it to find out
what's wrong with it and decides there's something else wrong with it and
he goes and gets an axe. And he takes this axe and he aims a terrific blow
at the base of the oak tree, you see? And the shaft quivers and the head
flies off. So he goes and he puts the head back on the axe and he pounds it
in with wedges so it couldn't possibly ever fly off again. He gets back
there and he spits on his hands and he braces his feet and he hauls off and
he takes a terrific blow at the base of the oak tree and shatters the
handle of the axe!
So he says, "Well, let me see now. Let me see now. Hm-hm! Let me see now."
And he goes back and he prowls and he snarls and so forth and invents a
saw. And then he finds out the oak tree is on somebody else's property, by
this time, you see? And it's not permitted to do anything to the oak tree.
And next thing you know he's telling you how wonderful oak trees are and
how one should preserve oak trees, and actually, probably, has joined or
formed several societies, you see, to defend and preserve oak trees and to
punish malefactors who go stand off and make postulates at oak trees and
tell them to split apart. Don't you see?
But, functionally, what he's done there is trying to make his postulates
stick - the original. See? He's trying to push it through. He's trying to
push it through. And it isn't the postulate; it's the effect. He's still
trying to have an effect on oak trees.
And the effect of making an oak tree survive is still an effect on an oak
tree. He actually hasn't even changed his mind at all. He's simply modified
it and the basic of this chain is the basic overt, which is why overts work
so well. And the basic is that he has stood off and said, "Oak tree, oak
tree, split apart. You damned oak tree!" and that will be the basic on this
chain.
You find anybody who is part of the Peskadora Audubon Society for the
Accumulation of Colored Paintings of Robins' Feathers and who devotes his
entire existence to getting out papers on the subject of this; you, of
course, quite rightly assume this bird has had an awful lot of anti-bird
action! You assume this must have been the case and that it really has
deteriorated like mad, because he's on an apparent "preserve birds" to such
a marked degree that it is in itself an overwhelming situation.
Well, let's look just a little bit wilder and further on this thing, and
we'll find out that this guy is not as dumb as we have thought he is. He is
still trying to make his basic postulate on the subject of robins stick.
See, he's still trying to do it.
Well, that's pretty good. He ought to at least get a medal for persistence.
You uncover any of those states of mind and you go back to this.
Now let's drop back just a little bit further. Then why does he make this
postulate of "Split apart, split apart. You damned oak tree"? Now, why is
he doing that? Well, I don't know, somebody else created the oak tree. He's
gotten into some kind of a games condition on creating, you see? He was
mocking up oak trees and somebody else mocked up this oak tree. And they
were making nothing out of his oak trees and he didn't mind this
particularly but all of a sudden somebody boobytrapped it. And he somehow
or another couldn't make nothing out of the oak tree that somebody put up
there - he figures. There's something wild goes on around this.
And you'll find very early on the track thetans specialized in these
fantastic mechanisms, you know? They said, "Now, if you'll just go in that
hole there, in space, and throw out what you find in that hole.. ." You
know, goofy games of this character. And the guy'd go in and he'd fool the
other thetan, you see, and he'd mock up some things in there and start
throwing them out, you see? This would surprise the other thetan terribly,
you know? All kinds of wild, crisscross gags of one character or another.
And the oak tree probably got mocked up basically and fundamentally on
something on this sort of a basis; it was a substitute oak tree, don't you
see? Somebody substituted the oak tree in the field for another oak tree in
another field and the fellow couldn't as-is it because he'd had purposely
lost for him the right oak tree that he could as-is, and he's trying to
as-is the wrong oak tree, don't you see? And it's probably one of his own
oak trees, you see, and it's got a postulate in it that "You must survive,"
don't you see? Now, he's going against his own postulate and it won't
disappear and he still, two hundred trillion years later, is very likely
trying to still have an effect on that.
Well, there's evidently something wrong, then, fundamentally with getting
the wrong postulates, or something goes wrong in the whole field of
postulates. So you say, "Well, what postulate - ." Now this is theoretical,
this is not practical. You say, "What postulate could you make stick?" or
"What effect could you actually create?"
Now, that would lay us out a process pattern which would be a very nice
process, and it's theoretically very good. And it's been run with singular
lack of success in all directions.
Well, why? It's going straight through the minefield, don't you see? Boy,
there's antitank mines all over the place and pillboxes and trees fallen
across the road and explosions and signs are all backwards and you're
trying to shove the preclear through too hard. So what's he tell you? He
tells you, "It's unreal to me. I can't do it," and so on. Well, as a matter
of fact he's dead right. He can't because it's too direct.
Now, here and there you'd find a preclear could run this on a modified
basis. I'll tell you a process that a preclear can run that is very close
to it: "What decision would it be all right for you to make?" That's a very
good process. That'll unconfuse somebody rather decently, because he's in a
state about decision.
Now, a thetan must - as - to gets along, he must have some feeling that are
confusions and things which he cannot tolerate. There are motions and
confusions that he cannot tolerate. So he must avoid these motions and
confusions and he avoids them with various mechanisms of creation. These
things do cross one against the other.
So if a person's tolerance of motion and randomity is raised, then his fear
of the consequences of his power of choice being overthrown are reduced.
You see how this could be?
But nevertheless and most fundamentally obtaining a tolerance of motion, a
tolerance of catastrophe and that sort of thing would wash away, on a
rather grand scale, fear of failure. You go out and ask a businessman,
"What's - what would be the result of you keeping on selling dishpans" -
take something rather esoteric - "and what would be the result of you going
on selling dishpans and not recording them and not reporting the sales tax
to the government?"
And he - he'd tell you, man. They'd fix him up, man. They'd fix him up
good. They - they'd really - really fix him up. They'd send him up to the
hoosegow for a couple of years for fraud, and he'd lose his right to be a
director or something and have to pay all the money back to the government
and have to be - I suppose the worst of the penalties - he'd have to be
polite to Inland Revenue or whoever does the collections or something like
this. It'd be consequence after consequence that he can face, you see, by
merely telling you about them. Yes, he can tell you about these things and
if he omitted doing this, why, he'd be avoiding the rules of the game and
he'd have rather terrific consequences. So the guy sits up all night and he
creates these slips of paper which the government requires.
I don't know why governments require slips of paper, frankly, but they do.
It's just a peculiarity like a lot of other banks. They sure love their
slips of paper! You know, there isn't anybody ever reads them, did you know
that? And fifty thousand monkeys equipped with fifty thousand pairs of
spectacles wouldn't be able to peruse all the pieces of paper that get
accumulated for government in one day, you realize that? I have the
statistic actuarial proof of the matter, although it's been rather costly
accumulating that many monkeys.
The point I'm making here is that the fellow has got to create this much
administration to stay in business and stay out of jail. That's a what?
That's an unwilling creation, isn't it?
So how's he do it? He does it wrong. That's the best way to get around it.
Don't do it quite right. Fog it up a little bit at the edges, don't you
see? And then get so crazy as to vote for the kind of person, you see, that
would make it necessary to keep this kind of a government system where the
government isn't doing any governing, you see; the government is sorting
paper. It's gotten so the armies and navies and governments of the world
and so forth, actually no longer travel on subways, roadways, passageways;
they no longer sit in chairs. The navies float on paper and the armies fire
paper, you know, and the government rides home to work on paper and so
forth. Well, everybody is creating paper like mad.
Well boy, if you ever want to see corny arithmetic, you should look at some
income tax reports. That can get pretty wild. Particularly in the United
States where everybody does them himself. This can get pretty wild. Boy,
they can add up 2 and 2, and sometimes oddly enough it isn't even in their
own favor, you see? I've seen fellows pay seven hundred, a thousand dollars
too much tax just on some kind of arithmetical error. The thing is of the
silly nature of adding up 6 and 6, you know, and getting 180! They manage
it! Unwilling creation, don't you see?
And eventually, under this duress, they begin to mock up no income tax
reports at all - like Suzie even. You see, because it's just too much. See,
it's just all too much, you know, and the penalties are too much and it's
nothing can be this serious, don't you see? So the best thing to do is just
forget the whole thing. Just skip it all. Let it all slide. So those are
the responses to creatingness, don't you see?
But it's going to produce - even that forgetfullness is going to produce an
effect on the government, let me tell you, man! They're going to be a
missing slot.
I remember the old writer, Paul Ernst, one time. He was discussing a story
with me and he was just about to write this story, and I don't know if he
ever did or not. But it was a story to be called He Didn't Like Soup. It's
one of my favorite unwritten stories. And this guy from the twentieth
century gets in the twenty-fifth century, and it's all mechanized and it's
all laid out and it's all taped and they've got this big endless belt, you
see? And they - his friends that he's now met in the twenty-fifth century
take him down and they show him this endless belt. And it's lunchtime, you
know, and they're all standing there and he - they say, "Well, take your
plate of soup off now: take your plate of soup off the belt and then you
turn around one and one-half paces to the table. And there you eat your
soup, you see? And then you push the belt eighteen degrees to the left and
it - it goes down a little chute and it gets washed and so forth."
And then this guy from the twentieth century, he stands there alongside of
the table, you know, this - with this big endless belt going by and he
doesn't take his plate off. And this one plate of soup then goes traveling
along this thing, you see, and it tips over the edge of the endless belt
and goes into the machinery and the machinery stops. This blows out the
fuses in the main powerhouse. The main powerhouse at once is reprimanded
left and right from all directions; calls pour in; the switchboards blow
up. Here it goes!
And Ernst had it all traced out, the total failure of this entire,
precision civilization and they asked the guy afterwards, as they're
sitting in the smoking ruins of it all - they ask him aft - "Why - why -
why didn't you take the correct action?" and the fellow says, "But I don't
like soup!"
I can assure you it will never happen in England! But there it goes! There
it goes.
Now, there's your introduction of your various errors and the
concatenations as they move on through, everything getting all complicated
and so on.
So this fellow not doing his income tax return hopes to leave this plate of
soup on the table or hopes that somehow or another that file cabinet will
have the missing consecutive number in it and somehow or another in some
part of the vast government structure there will be a breakdown, which will
then cause the machinery to go off, you see, and the power lines to blow
and the telephone switchboards to explode. He's hoping - he's still hoping.
Got the idea?
So the creation of a confusion is the last echelon of a postulate and the
last echelon of the confusion is the creation of a confusion by omission -
not commission anymore; it's omission and therefore we're on a very safe
road in processing of pcs if we give them bountiful exercise on the subject
of the creation of confusions. You see where we are?
Now, if you could devise an auditing command which stressed the creation of
confusions by omission, why, we would even go a step further down, you see?
"If you just sat still, what confusion would occur?" or "If you said
nothing, what confusion would occur?" or "What not-knowingness would create
a confusion?" or "What not-doingness would create a confusion?" And all of
a sudden, why, you'd see a kind of all-is-revealed sort of a - of an
atmosphere coming into view. "Oh, is that why I never go out of the house?"
You know, that sort of thing.
Now, those are the roughest cases to get anything done with - are those
cases which don't move, don't go and so on. This actually goes on down to
catatonia. You should recognize in catatonia, the last possible despairing
effort of a thetan to make a postulate stick somewhere. It isn't a
notdoingness.
There is probably no such thing as a thetan who is not trying to do
something. He can be trying to do something by not doing, which is what
gets confused. But there would be no such thing as a thetan, anywhere, who
is actually - could be said in an absolute sense to be doing nothing. All
thetans are busy, even with omission. They're all busy, even with omission.
So your Goals Assessment is basically targeted at recovering postulates he
hoped would stick, which actually is basically knocking-him-on-the-head
failures. You're getting his postulate-stick squared around, in other
words, and you get a lot of these failures off and so forth. So that you
would actually make a dreadful error if you never asked him for failed
goals or secret goals or withheld goals. You'd have an awful mess on your
hands if you never ask him for these other categories of goals.
If you just asked him for goals:
"Well, when I was a little boy I wanted to be a soldier."
"Well that's good. Do you have any other goals?"
"Well, just that one. Just when I was a little boy, I wanted to be a
soldier and that's it."
And you wind up with a list of one. Probably, if your list was that
limited, you could make a bet on the thing that the reaction you're getting
on the E-Meter is the fact that that goal happens to be a lie. He never did
want to be a soldier. The only basic goal he has is the defeat of an
auditor. That's one to think about.
Now, very often a pc will become so confused on this blow-create
proposition that because an auditor says something to him, then he has to
create something. It's quite interesting. He's so confused about it that
just being talked to causes him to mock something up. In other words, the
blow doesn't have to be a blow. It's just a mere slightest drift of zephyr
of air, and he instantly mocks something up, you see? "Well, now it's my
signal!" Or, conversely, if he goes down a little bit more, just this mere
waft of air causes him to obsessively mock nothing up. So he got out of
session; he gets all sorts of ideas and so forth.
I knew this one so well that I used to have a modus operandi, which was
just a straight modus operandi. I used to start a session - this is the
original short sessioning. Short sessioning has another purpose these days,
but this was its original version. I'd start a session on a pc and I'd get
him all set and I'd run a little bit through a lock and so forth - and
about ten minutes, you know? And I'd say, "Well, how do you feel now?" and
bring him up to present time, everything is fine; end the session. Then
just sit there for a moment and then he'd hand me a case - now it was safe.
You note it sometime - note it as a mechanism. A pc that you're having an
awfully hard time with and so forth, why, just give him a little short
session and he'll hand you his case. That's the phenomenon that I'm
pointing out, not the fact that he's influenced by short sessioning.
You say, "Well, do you have any present time problems? Or anything like
that you could, now - you know? Is there anything you're worried about in
life? Do you have any ARC breaks with anybody?" and so on. "Good. Good. All
right. Well, now that we've checked this thing over, is it all right with
you if I end this session now?"
"Oh, yes, yes. Fine."
"All right. End of session.
Now, he's fool enough to crow, see? And he says, "Well, a couple things I
didn't tell you. Ha-ha! As far as present time problems, I'm being shot
tomorrow morning by Castro," and so forth and he gives you the lot, see,
because it's safe now. You're not demanding that he create anything, so
he'll create. Marvelous! I mean, watch it happen sometime.
And after he's given you all the dope, why, wind up on him and say, "All
right. Is it all right with you if I begin this session now?" Now you've
got all the gen, carry on.
He's on a total reverse. He creates when he's not supposed to and when he's
supposed to he doesn't. He's got it all locked up backwards and as far as
occlusion is concerned, you could assign occlusion to many things. But
basically occlusion is a thetan's last answer. It's the last answer of
omission. It's overt act by omissions. It's his last effort. He just hopes
something will happen to the oak tree if he forgets it. What might happen?
It's leaves might go all haywire, and worms might eat it up and almost
anything might happen to the oak tree if he forgets it. But that's his last
answer.
Some process such as "What confusion wouldn't occur if you forgot?"
Probably would make no sense to you at the present moment, but I'll
guarantee you can find pcs around that'd be the most sensible sentence
you'd ever uttered in your life. That would be marvelous. Come up with a
total roaring automaticity of answers to this thing. All kinds of things
wouldn't happen, because he's on a failed forget. It's how far can you go.
Well, now you're attacking the same targets. Naturally, a tolerance of
confusions, a tolerance of problems, a tolerance of motions winds up fine.
But remember failed postulates is what you're after, and that's closest
attack level is goals, which is failed postulates.
Now, trying to get some version of something that runs a failed postulate
was very difficult to do, but we eventually achieved this and I was able to
get around to goals. You'll notice that failed postulates first showed up
at the 1st Saint Hill and then goals all of a sudden showed up down in the
South African ACC. They're sequitur in actual fact - getting a pc's goal,
see? Very good.
Now, trying to find out exactly what a pc hopes will happen if he does
exactly what he's doing would be another version of running Goals
Assessment. You'd say, "Well, now, what do you hope will happen if you keep
on exactly as you are?" If he can't answer this, you can undercut it. "If
you keep on exactly as you are, what won't happen?" Now you're asking him
for the failure.
"Oh, well, I won't get run over by cars," and he'll give you all sorts of
things. If he keeps on just as he is, lots of things won't happen and this
expresses itself as caution. And this is laudatory, you see? This is
commendable caution. And all of a sudden, why, this sneaky idea starts
rising in the back of his mind that there might be some other side to this
coin. It even starts occurring to him that if he keeps on exactly as he's
going, something is going to happen someplace! See, you've run the not-is
off the front of the - of the shell.
And, "Well, if I keep on going sak-tha-rah-thu."
You could also run an intentional series of overts off a pc simply by
saying to him, "Well, now what won't be damaged if you forget it?" or "What
could be damaged by forgetting it?" and maybe the both questions would
produce some rather fantastic reactions. They're both practically the same
thing. He's still trying to create an effect; he is still riding out Axiom
10. Well, if he is still riding out Axiom 10, then for sure, man, whatever
he is doing has an intentional effect connected with it somewhere.
And if this has gone into forgettingness, then part of the forgettingness
is to not-is the intentional effect. But it's almost integrated; it's
almost intelligible; it's almost on the top of his mind.
Another way of expressing this: "Who would be sorry if you didn't get
better?" Now, that sounds like a different type of question. It's more
socially acceptable. But actually you haven't asked him, really, that
question, or what he thinks you asked him at all. You're just asking him,
"If you went on knuckle-heading along, here, in a total occlusion, who'd
get hurt?" That's what you've asked him, not "Who would be sorry?" But
that's more socially acceptable, you see? Little kids are always telling
you this.
"What damage would forgettingness cause?" Another type of question along
this line. And you're running O/W now, crossed with unstuck postulates,
crossed with forgettingness, crossed with this and that and on the whole
subject of creation of an effect, or creativeness, you're right on down to
rock-bottom. Well, that might be a pretty high level of theory, and it
might or might not have any degree of workability and actual application to
the preclear, because as I say, it's through fields full of mines and this
would be a pretty rough passage, in many cases.
But that is the road you are paralleling. And if you haven't got a map of
the other road, because the devil himself couldn't draw one and you at
least know what more or less is on it and I hope that helps you out.
Okay? All right.
There'll be a lecture tomorrow to make up for some of the lectures I've
missed, if that's all right with you?
Audience:       Yes.
And right now, I will say, good night.
