Review of Procedure - Starting a Session, Two-way Comm (7ACC 540625)
Series: 7th Advanced Clinical Course (7ACC)
Date: 25 June 1954
Speaker: L. Ron Hubbard
Just as a matter of review here, let's go over, now, the exact process which we are doing. You're going to learn this process.
How do you start a session?
Audience: Two-way Communication.
A two-way communication with the preclear. How do you then continue this two-way communication?
Audience: The present time problem,
The present time problem. That's right. And having done this, then how do you get him into communication with himself a little bit?
Audience: Something real.
Something real. That's a nice, smooth way of going about it, which also gives you a case index right away. Something real—ARC Straightwire. You can go along the line on that. You can say, "Now, can you recall a time that's really real to you?" "A time when you were in good communication with somebody?" "A time when somebody was in good communication with you?" "A time when you agreed with somebody?" "A time when somebody agreed with you?" "A time when somebody refused to communicate with you?" "A time when you refused to communicate with somebody?" (Just thrown in as dunnage. It's not to be carried forward very far—that particular phrase.) "A time when you disagreed with somebody?" "A time when somebody disagreed with you?" And, "Can you recall a time which was really real to you?" And here we go.
But of course, that is the key list of ARC. That is ARC Straightwire: Affinity, Reality, Communication. There are many, many, many offshoots of ARC Straightwire, but there is the thing in its purity.
You occasionally ask somebody just these questions and a moment ago you were sitting there talking to somebody who was neurotic and you are now talking to somebody who feels rather comfortable about life. It can happen fast sometimes, right there. So it's not one that you avoid.
And having done this for a very, very brief space of time—oh, very brief, just to measure his comm lags and so forth—what do you do then?
Audience: Opening Procedure 8-C.
That's right. Opening Procedure 8-C, Part (a). And that is followed by?
Audience: Part (b).
Part (b). That's right. And that is followed by?
Audience: Part (c).
Part (c). That's right.
And the difference between (a) and (c) is just that the individual is walking around, now making up his own mind in (c), when you didn't let him make up his mind about anything in (a). You told him where the object was and where the point was and you told him to walk over to it and you told him to do whatever you told him to do to it and you didn't leave anything to choice.
But with (b) we left something to choice. We let him find the object, didn't we? We let him select it himself. And then next, of course, we let him make up his mind when he was going to touch it and when he was going to let go of it. So we're returning a little more decision to him, step by step.
We're trying, of course, at first to keep him under very exact control. And when we have him under this very exact control then we let up the control and then we let it up a little bit further—(b) lets it up a little bit, (c) lets it up even more.
And having accomplished this, with this particular Unit, what are we doing?
Audience: Opening Procedure.
By Duplication—Opening Procedure by Duplication. Two objects, walking between those objects and asking him to discover certain things about those objects, one after the other, back and forth. To pick up something, to look at it, to discover its color, to discover its temperature, to discover its weight. To put it down in exactly the same place, and to walk over and pick up the other and to look at it and discover its color and its temperature and its weight. And put it exactly down where it was before and walk over to the first object, back and forth.
Now, one seldom uses, "Put it exactly in the same place," but he really calls it to the person's attention when the person does not.
You understand that you could very easily have magic words mixed up with Opening Procedure by Duplication. You could have a magic ritual mixed up with it. Actually, any ritual fits in here which causes the individual to put his attention firmly upon an object. That's what you're trying to do. You're trying to get him to put his attention firmly on the object. And attention is best put on an object by perceiving it. And one perceives various things. And one perceives its shape or form; one perceives its hue, its color; one perceives next the fact that it has temperature and he perceives that it has weight.
He could also perceive that it has an odor. He could also perceive that the thing doesn't have density. He could also perceive that its color was anything he cared to make it and so forth.
And sooner or later some preclear will get smart enough to discover that fact, instead of just being told all the time by the object that it is red, that it weighs so-and-so. He will discover that it varies in its weight and it varies in its color. It varies in its temperature. If he were smelling it each time, he would vary it in its smell.
Now, the reason we're using this particular formula of "Pick it up," "Look at it," "What is its color?" "What is its temperature?" "What is its weight?" is to keep the auditor from running off from duplication and thus fixing up the situation in such a way that the preclear is being confused and is not being permitted to do duplication. Because this is by duplication. To put his attention on something. To take his attention off of it. To put his attention on something else. To take his attention off of it. To put his attention on the first thing. To take his attention off of it.
And there we've got that first duplication. He's done it twice to that object. To put his attention on the second thing thoroughly. To take it off of it. Twice for that one.
To put his attention on the first one, the third time. The second one, the third time. The first one, the fourth time. And now we're getting duplicate, duplicate, duplicate and that in itself is the Formula of Communication. Communication is C Distance E, duplicated at E.
That which is a true communication, a completed communication, has been duplicated at E. Cause, Distance, Effect. A perfect Communication duplicates at Effect what emanated from Cause.
The sense, meaning or message, the significance, the reason why of communication is the impulse or particle which emanates from C— Cause, which is simply Source-point—goes across a distance and arrives at Effect, which is the Effect-point.
And if the duplication is imperfect, then the Effect-point does not receive what the Cause-point has emanated as a particle or impulse.
Here we have significance, here we have reason why and so forth. What is the significance and the reason why? It is simply that which is going from Source-point to Receipt-point. Source-point is called Cause, also communication—beginning-impulse point. Effect, of course, is the Receipt-point. Cause, Distance, Effect—that is the Formula of Communication. And there is the C point of the ARC Triangle.
And then why does this duplication—why does this duplication pick up these perceptions and change them and do strange things? Well, it's very simple. It's because this individual has been very, very leery of being communicated with, as well as communicating to.
And as a result, that which has arrived at the effect-point is not what began at the cause-point. And if something else arrives at the effect-point, he must have altered the impulse or particle in flight. "Why, he couldn't alter the impulse or particle in flight. He is not the source-point." Oh? You mean the particle or impulse that's in flight has only just come so far. He has then stopped it in some fashion and has put a new particle or impulse on the line at that point and is communicating with himself and not with the exterior environment?
Then where are the particles and impulses which have been communicated to him? I'm afraid you have right there the explanation of the ridge. There's where they are. They're hung up all around him in all directions, and he's getting solid. And he wonders why he can't exteriorize well, why he can't move away from this point.
Well, the reason he can't move away from this point is because he's got all the reasons held up so they won't come in to this point. And if he were to shift away from this point, he would discover himself the target of all of the communication particles which he has ever interrupted in 76 trillion years. You wonder why somebody doesn't exteriorize? Now you get what happens there. If something started from the source-point, a particle or impulse started from a source-point on a communication line and it didn't arrive at the effect-point, well, several things might have happened there.
It might have gone right on through what source-point decided should be the effect-point. Well, that's the thetan very early on the track. He just lets them go through and of course they don't go in any direction. And he's not an effect there, either.
And the next thing would be the individual says, "You know, that thing over there that's being cause, I don't know. I... I wonder what he's sending? All right. We'll stop it and find out. Oh, that's what he's sending."
And that could keep up for quite a while and then all of a sudden some vitriol or something comes down the line, you see, and the recipient doesn't like it. The recipient doesn't enjoy it, does not feel that this is the best communication particle. And so the next time—he might have gotten the vitriol the first time, but the next time he'll stop it right out here, see?
And he stops it with this postulate: "I do not want to be the effect of that communication." So there it is. There it is. Not where he is. Well, it's someplace. And in view of the fact that time is simply a co-action of particles and is not in itself in existence, what do you suppose about that communication?
The message advising his court-martial at Rheinpost Umpfdorf when he was a member of the third legion is still sitting in front of your preclear's face—stopped. And every once in a while he gets the feeling he's being court-martialed. But that was two thousand years ago. Not for him, it isn't.
Now here we have, then, communication in essence, and you've got Opening Procedure by Duplication. Can an individual duplicate? Can he? If he can duplicate, then he's closer to the truth of the matter. There isn't anything can hurt him. Might mess up his body, but it can't hurt him.
And so therefore, as he is able to duplicate, so he can be communicated with. If he can't duplicate, he can't be communicated with. And he's out of communication. You'll get communication lags out of him. And the communication lag is a direct and immediate test of whether or not the individual is 2Pilling to receive a communication.
And it is a direct test (the other half of it) of the individual's willingness to send out a communication. Because the individual who sends out communications learns sooner or later that when they go out, they come back. He learns that when he is the cause of something, there quite often is a consequence.
That's stated too fast. When he is the cause of something, why, then he can be expected to be the effect of something. You've got a two-way communication line. So he doesn't want this to occur. So when he puts out a causative impulse he doesn't want anything else then.
"Well, I put out the causative impulse. That's that."
POW! Right in the teeth. And he says, "This is not fair. And therefore the way to go on and live is to put out nothing but causative impulses and never receive any effect whatsoever. Cause, only cause, never effect."
Oh, that's an interesting thing, isn't it? That means that he must be duplicated, but he mustn't duplicate. And his unwillingness to duplicate again is the effect of his having to be cause.
Now, let's go down one step lower and find out the individual who doesn't dare be cause of anything is facing consequences so overpowering that he could not possibly face them. And so he mustn't cause anything.
Because if he does, he will be the instant effect of what he has caused. What is happening here? The distance line is diminishing. He will be instantaneously the cause of whatever he effects. He's been taught this.
This is the sole operating principle of police: to make you the effect of whatever you caused. We get early on the track, people being very overt about this. There's a Code of Hammurabi. And this code is an eye for an eye, a tooth for a tooth, a claw for a claw. You know that code—way up above Rome there—Hammurabi. That is a very primitive, barbaric code.
But it's more primitive than that. As far as I can find out it's about 76 trillion years old. And it's quite a long, old code. What you cause, so you shall be the effect of.
Now, supposing somebody did you the dirty trick—when you were trying to be bad cause as far as they were concerned, you know, and blow them up, something like this—if they simply held up a mirror... You know, you'd get disabused of the idea of sending out those lightning bolts after a while, wouldn't you? Every one of them you send out you get right straight back. That would be a bad, bad thing, obviously. Very bad.
But again, this is an unwillingness to duplicate, because listen: that which an individual causes he should be willing to be the effect of. And the truth of the matter is, is no matter how bad a thing he may cause, he still would not be harmed by becoming the effect of it. He could be the effect of anything he caused.
Now, I imagine if you went out and dug up the pilot—I notice they made a motion picture about him the other day, although I don't know what he did. He drove a Greyhound B-17 over to a certain area and had a lever pulled and came back. They did this picture about—Above and Beyond, I think the name of this horrible piece was. Robert Taylor, the beautiful sadness of, and Ellen Parker, the beautiful sadness of, were combined in this role. And she was the bomb, I think. I've forgotten how she was cast. Maybe she was only half-caste, but anyhow... [laughter] Oh, that was another picture.
I imagine that this boy is having a rough time with his, what is commonly called, "psyche." In the first place, the fellow who really did drop the atom bomb over Hiroshima would have had to have been either a super-well-indoctrinated space opera rocket jockey and we don't have any of those available. We only have some in the valence of some. Or he would have been stricken by his Sunday school training, at least. Because there were seventy thousand men, old men, old women, women and children and babies died at the other end of that bomb.
Do you think this fellow was willing to be the effect of it? Now, let's look at his Third Dynamic. Do you suppose his home—he wanted his hometown to be the effect of it? No, no. I imagine he has dreams which right today probably some Freudian analyst is interpreting. But Cause and Effect. This individual would find himself, then, consistently and continuously under the pressure of an atomic bomb.
If you were to process him, it would be a remarkably stable boy (not the kind you find at the end of a war), it'd be a remarkably stable boy who would not have over his hometown—after having done that one, you see—not have over his hometown an upward pressure to keep something from dropping on it.
And you just get this boy, you process him. You say, "Oh, you did. You were the one that dropped that one over Hiroshima. Okay. Now, get the idea of lifting something off of your hometown."
This would be very mystic to him. Actually, all you're doing is using the Formula of Communication. What he caused he should be willing to be the effect of and, of course, he isn't. And you would find out that he would discover the most enormous pressure over his hometown. He'd say, "You know, I... I just got the feeling I sort have been standing here all this time."
You could count on the fact that to a slight degree or a great degree he would have that as an aberration. He's trying to prevent an effect from taking place on his hometown.
After people have dropped a bomb, they very often stand there, try to pick it up from hitting the target. I know, I've processed some of these boys. After a sniper has shot, he tries to arrest the bullet about halfway to the body of an enemy. And you'll find him with more bullets parked out there, more bullets parked halfway down the shooting range to the enemy. You know, what he did is try to stop every bullet. And he'd make a facsimile of it and to convince himself that he doesn't always lose, he eventually had to make a mock-up of a stopped bullet. See, he must have done it. He must have stopped the bullet. He didn't. He just lies to himself to that degree.
And this is where the anatomy of lying comes in. It's right there. It's an effort to escape the consequences of the Formula of Communication. That is a lie. All right. I said the effort. It's the consideration, summating into effort, to escape the consequences of the Formula of—not anything else but the Formula of Communication, you see. Any time one does that, it's a lie.
When people say to you, "You want to see what is true and what is really there," they mean "be communicated with." Now, your preclear is as bad off or as well off as he can communicate. And this is, then—with what we're doing, this early process—this is what we are beating to pieces: duplication. And a few of the people begin to believe the emphasis is on the "dup" after a while. [laughter]
But duplicate, duplicate, duplicate, duplicate. Now, it's not anywhere near as well done in mock-ups as it is in the physical universe. Because, you see, the mock-up has been used as an excuse for not really communicating.
When you really started out communicating, you threw rocks. When you mocked-up a mock-up that you wanted to communicate with somebody else, you threw a rock. You didn't throw a mock-up, see. You didn't throw up something filmy and flimsy that was composed of this and that. When you mocked something up, you threw it.
Now, you regretted mocking things up that solidly and you'll find out one of the psycho manifestations you'll run into every once in a while is that an individual is mocking-up solidly and they don't like it. You know, they've retained their original capability in mock-up because they haven't wanted it. All right.
Therefore and thereby that is what we're doing. The next step along the line on this is, of course, what?
Female voice: Spotting Spots in Space.
That's right. That was not very spontaneous here.
Spotting Spots in Space where the individual has been audited or psychoanalyzed— of course, spotting a spot in the room and then Remedying Havingness. By the way, if you catch them with Dianetic auditing—a lot of Dianetic auditing—you want to have them remedy their havingness in terms of engrams, huge masses of engrams, particularly engrams which have been completely run and completely erased. That is the best one. Remedy their havingness of engrams which have been completely run and erased.
They very seldom ever had an auditor who would complete running one engram or one secondary before going on to another one. That was what was wrong with Dianetics. An individual wouldn't go over the engram three, four, five or six times, because the second time was a duplication of what he just did. And the reason your preclear wouldn't run the same engram the same time, you know—again through—was because he wouldn't duplicate what he just did.
And the reason the engram erased was nothing mechanical. It's because all of a sudden the individual was willing to duplicate it. You brought him into a condition where he was willing to duplicate. Now, knowing those little laws, do you think you could run engrams? Sure you could and erase them.
But the point of it is, is the auditor wouldn't duplicate and so he left the preclear hung up in half-touched engrams and then the preclear had the engram out there. Why?
Why did he have an engram sitting out here in front of his face? What did we go into right at the beginning of this lecture?
Female voice: Came and Effect.
Yeah, he didn't want to be the effect of it so he had it parked right here.
What's he doing with it there? Of course he'd have it there, he didn't want to be the effect of it. So you found an individual made an energy picture of all those things which he didn't wish to have occur. And this is the facsimile and its anatomy.
An individual made an energy picture of all those things he didn't wish to arrive at destination. A better one to remember. So that if he didn't want a bullet to arrive at himself, he would make a nice picture not only of the bullet but all the surrounding countryside.
If he fired a bullet at somebody, he would make a nice picture trying to arrest the bullet from arriving in the gullet of his enemy and all the surrounding countryside, too. That's a sort of a tractor-beam picture. So you'll find engrams divide into tractor- and pressor-beam facsimiles. Two kinds of facsimiles.
The one where the individual is trying to stop something by pulling toward him. That's one type of facsimile. That is a tractor-beam-facsimile. Tractor. Pulling in toward him.
And the other is the Pressor-beam type of facsimile where the individual is trying to stop things by pressing against them. Pressor beam. He's pressing out against them. Therefore, pressor-beam facsimiles are those facsimiles which are trying to arrest something which is happening to the individual and tractor-beam facsimiles are the overt act phenomena where the individual is trying to keep the incident from occurring to somebody else which he's just caused.
Tractor-beam facsimiles are unwillingness to be cause. Pressor-beam facsimiles are immediate unwillingness to be effect. Of course, they're both unwillingness to be effect, actually.
That's your overt act-motivator phenomena right there in a package—bing! Right together, see? So, of course, your tractor beam is pulling back in toward your pressor beam, you know, and pushing out against something pushes it right out there into the facsimile of the tractor beam. And these two interlock together and you have the overt act-motivator phenomena. And that actually is what's lying in the basic anatomy of a ridge. You would take a ridge all apart, you would find out it was based on an overt act-motivator sequence—one of them tractor, one of them pressor and both of them interlocked.
You don't have to know a thing about that. You don't have to know a thing about that. If you want to know, though, why people got these facsimiles out there, I've just told you. I've told you all there is to know about it too, by the way.
But Spotting Spots in Space and Remedying Havingness—Spotting Spots in Space and Remedying Havingness is your next level. And of course, that in essence lets the individual have the energy which he denied himself when he stopped an effect. And when an individual stops too many effects, after that he says, "I can't have any energy. I can't have any mass." And so he becomes invisible as a thetan and has to borrow a body. But we'll go into that later.
But right now, spotting spots in the auditing rooms or the psychological consultation rooms or the psychoanalytic consultation rooms, and spotting a spot in the room and remedying the havingness, is the next one that you will hit. And you want to get into that one today.
And your immediate—following that, when you've got that nicely cleaned up, in good shape and so forth—the one immediately following that is, for you, Opening Procedure by Duplication, more of.
Okay.
CERTIFICATES OF DIANETICS AND SCIENTOLOGY
REVIEW OF PROCEDURE: PAGE \* MERGEFORMAT 2 7ACC-03A - 25.06.54
STARTING A SESSION, TWO-WAY COMM