View source for Competence of Prediction, Demonstration (cont.) (3ACC 540113)

'''Series:''' 3rd Advanced Clinical Course (3ACC)

'''Date:''' 13 January 1954

'''Speaker:''' L. Ron Hubbard

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A lecture and demonstration given by L. Ron Hubbard on the 13 January 1954

Now let's grab on as anchor points the top of the Westward Ho Hotel and any mountain that you happen to see around.

Just hold on to them and don't think.

Okay, now put out in front of you – wherever you are, exteriorized or interiorized – put out in front of you four times "deep unconcern," no flinch.

Let go of it.

Put it out there again "deep unconcern," no flinch. And let go of it.

And again "deep unconcern," no flinch, steady control. Let go of it.

Put out there again four times "deep unconcern," no flinch, steady control.

Now let go of that and put out in front of you "all knowingness, great certainty" four times.

Let go of it and duplicate it. And continue to duplicate that.

All right. Let go of that and put "reassure them that they do know" out in front of you four times.

Let go of it.

Duplicate it and continue to duplicate it.

Now let go of that and put out in front of you this, as a sort of a curve, "all knowing down to no knowing."

And throw it away and put it there again and continue to put it there. Then let go. "All knowing down to no knowing."

Now let go of that and let's get another curve, run in reverse, from "no knowingness up to all knowingness."

And duplicate that, letting it go each time.

Now put that curve up there twice, each time, and duplicate that – no knowingness to all knowingness.

Continue to duplicate it.

Let that go and put "no prediction" to "predicting everything" out there in front of you twice – two no-predictions and then run it up to all predicting, predicting everything. Continue to duplicate and let go of that one.

All right. Let go of what you've got there and grab ahold of the two back anchor points of the room.

All right. Now have the front wall say to you, "something wrong with you." Tell the front wall to tell you there's something wrong with you.

And the back wall tell you there's something wrong with you. Make it be very specific now, have the back wall tell you there's something wrong with you.

And the right wall tell you there's something wrong with you.

And the left wall tell you there's something wrong with you.

Then the ceiling.

The floor.

The space in front of the building, tell you there's something wrong with you. Space to the rear of the building. Space to the right of the building.

And the space to the left of the building. And the space above the building. And the space below the building.

All right. Repeat any automaticities in your effort to control them, one right after the other, each one about five times, that have occurred while you were doing this.

Okay. Be the space of the room. The space around the building. The space of your body. The space around the building. The space of your body. The space around the building. The space of your body. The space around the building. The space of your body. The space around the building. The space of the room.

[At this point there is a gap in the original recording.]

Now be the tension in you. And make the body tense. Be the body and be made tense. Now be the tension and make the body tense. Be the body and be made tense.

Female voice: [in grief]

Be the tension and make the body tense.

Be the counter-emotion and make the body upset.

Be the body and be made upset.

Be the counter-emotion and make the body upset.

Be the body and be made upset.

Be the counter-emotion and upset the body.

Be the body and be made upset.

Be you, a thetan, and observe counter-emotion making the body upset.

Be you, a thetan, and observe the body being made upset by counter-emotion.

Now you be upset.

Now you upset the counter-emotion,

Now you upset the body.

Now be the space of the body. Be the space of the room. Be the space just back of the body. Be the space just in front of the body. Be the space just back of the body. Be the space of the body. Be the space just back of the body. Be the space of the body. Be yourself.

And mock-up or repeat any automaticity, emotion or a strange mock-up or a thought that has occurred to you during this part of the session. Repeat it and then duplicate it.

And continue to duplicate it, one after the other.

Female voice: [sigh]

Duplicate it.

Duplicate it again.

Continue to duplicate it.

Duplicate any upsetting that this process has done to you.

And again. And again. And again.

Now duplicate any not-result that has occurred. And continue to duplicate that not-result.

Female voice: [sigh]

And grab the two back anchor points of the room. And sit there and don't think.

Hold on to the two back anchor points of the room and sit there and don't think.

Two back anchor points of the room, sit there and don't think.

If you're not arriving at them adequately, grab them from outside in.

Sit there, don't think.

Now duplicate your not-thinkingness.

Duplicate it again.

Duplicate it again.

And put unwanted voices in the front wall. Unwanted voices in the back wall.

Unwanted voices in the ceiling. In the floor.

Unwanted voices in the space in front of the building.

Unwanted voices in the space to the right of the building.

To the left of the building.

Behind the building.

Above the building.

Below the building.

Now let go everything you've been holding on to.

Now grab on to everything that's real tense and make yourself very tense. Now let go of it.

Now be this tenseness and hold on to the body and you. Hold on hard!

Now be the body and be held onto by it.

Now be the tenseness and let go of the body.

Be the body and let go of the tenseness.

Now put unwanted thinking in the back wall.

Unwanted thinking in the front wall.

In the right wall. In the left wall. In the ceiling. In the floor.

In the space above Earth.

In the space below Earth.

In the space around the Moon.

In the space of your body.

Put unwanted emotion in the front wall.

In the back wall.

In the right wall.

In the left wall.

In the ceiling.

In the floor.

In the space in front of the building. In the space back of the building. The space above the building.

To the right of the building. To the left of the building. Under the building.

Put "must perfect myself" in the front wall.

In the back wall.

In the right wall.

In the left wall.

In the ceiling.

In the floor.

Put "must prepare myself" in the space in front of the building.

In the space back of the building.

The space to the right of the building.

The space to the left of the building.

In the space above the building.

The space below the building.

All right. Put "you must be prepared" in the front wall. In the right wall.

In the left wall. In the back wall. In the ceiling. In the floor.

Put "there is something wrong with you" in the front wall. In the back wall. In the ceiling. In the floor.

In the space to the right of the building. In the space to the left of the building. Be a thousand miles back of your chair. Be one foot back of your chair. Be a thousand miles back of your chair. Be one foot back of your chair. Fix a duplicate of you in your head. Be a thousand miles back of you. Be a foot back of you.

Put the duplicate of you a foot back of you.

Throw away – let go of any odds and ends.

And dismiss a thought, get a thought and then dismiss it.

Have somebody else get a thought and you dismiss that thought.

You get another thought and dismiss it.

Think of something in the MEST universe you could do without and reject it.

Grab ahold of the two back anchor points of the room.

Find a fact of which you are absolutely certain.

Now let's recall something that's really real to you.

A time when you were in good communication with someone.

A time when you really felt some affinity for something.

A time when something was really real to somebody else.

When somebody was in good communication with you.

And when somebody felt some affinity for you.

Now mock-up yourself as obliterated, you as a thetan, obliterated because of this processing.

And let go of that.

And mock yourself up again, obliterated because of this processing.

And let go of that.

And mock-up yourself as having lost everything because of this processing. And let go of that.

And mock yourself up as being completely spoiled to the end of time because of processing.

And let go of that.

And mock-up your preclear as completely ruined because you processed him. And then you completely ruined because you processed him. Female voice: [in grief)

And then mock yourself up as entirely and completely restricted.

And entirely and completely free.

Female voice: [in grief]

And completely restricted.

Female voice: [sigh]

And let go of that and mock yourself up as entirely free.

Female voice: [sigh]

Now mock-up any automaticity that's occurred during processing which you haven't already handled.

And duplicate it. And duplicate it. And duplicate it. And duplicate it.

And throw those away and mock yourself up as entirely degraded and lost.

Female voice: [crying and laughing]

Now mock-up yourself as having been ruined because of the disturbances of the MEST universe.

And now mock it up as impossible to communicate. And get that certainty of an impossibility to communicate. And duplicate it.

And duplicate it. Real certainty now of impossible communication, impossibility to communicate.

And duplicate it.

And duplicate it.

Now mock-up somebody else completely certain of impossibility to communicate. And duplicate it.

And duplicate it. And duplicate it.

And have somebody else being completely certain that it's impossible to communicate to somebody else.

And duplicate it.

And duplicate it.

And duplicate it.

Let go of all that and get somebody else being completely certain it's impossible to communicate to you.

And duplicate it.

And duplicate it.

And duplicate it.

Get the certainty on that now, utter rock-bottom. And duplicate it. And duplicate it. And duplicate it.

And let go of all that and get you being completely certain that it's impossible to communicate with the MEST universe.

Get complete certainty on this now. And duplicate it. And duplicate it. And duplicate it.

And let go of all that. And get the MEST universe being completely certain that it can communicate with you any time it wants.

And duplicate it.

And duplicate it.

And duplicate it.

And duplicate it.

And duplicate it.

And duplicate it.

And duplicate it.

And let go of all that and mock yourself up as "damned if it will." And duplicate it. And duplicate it. Duplicate it.

And let go of all that and mock yourself up as having discovered at last that it is completely impossible to be happy.

And duplicate it. And duplicate it. And duplicate it. And duplicate it.

Now mock-up any automaticity which has occurred during this processing. And duplicate it. And duplicate it. Continue to duplicate it.

Any other automaticity that's occurred during this processing.

And duplicate it.

And duplicate it.

And duplicate it.

And duplicate it.

And let all that go and look through it and throw it away and otherwise dispose of any of it.

And let go of everything and hold on to the two back anchor points of the room. Don't think. Hold on to the two back anchor points of the room and don't think. Okay. Let go.

Find the feet under your floor.

Audience: [various responses]

Anybody ruined? You?

Female voice: Oh, I think not.

Did you duplicate that automaticity of feeling that way? Did you handle that as an automaticity?

Female voice: [laughs]

Hm?

Female voice: Well, I did it as best I could.

You did, huh?

Okay. Anything strange, odd, spectacular, occur to anybody?

Female voice: Mm-hm, highly unusual. Good.

Male voice: I started to see my leg once until I flinched,

Look at it again and flinch.

Do it again.

Do it again.

Do it again.

Do it again.

Do it again. Okay.

Male voice: It's got curves.

All right. Did we get another exteriorization here, first time? Didn't get a new exteriorization? Okay.

The processes you use can now include not-knowingness, only beware of using too much Matched Terminals. And I was giving you, which you might hand out as just a standard session to a preclear, if you wanted to, simply combining the various things we know. And what I was doing this for, completely aside from bringing you up the line, was also to give you some insight into what would happen if you simply turned loose with a preclear on just about exactly what I did, with this slight exception: you would be monitoring him directly and watching for the automaticities and making them occur when they happened or ignoring them, as the case may be.

All right. The subject of not-knowingness is easily the most important subject in processing, but you can plunge your preclear into the depths with it occasionally, because remember that not-knowingness and forgettingness are the same thing. The first mechanism of not-knowingness is forgettingness. You want to improve somebody's memory, run not-knowingness rather than run rememberingness.

Rememberingness is not necessarily knowingness, but not-knowingness is certainly forgettingness. You got that?

Remembering is an artificial system, ordinarily, to supplant knowingness.

Remembering and forgetting have been ignored to a large extent in auditing, simply because they're not a dichotomy – they appear to be, you see, but they're not.

Remembering is actually pulling things into you and forgetting them is pushing them away – but that isn't apt either – it only carries out a certain time and then breaks down. And remembering is not the opposite of forgetting, remembering is the substitution of an artificial system for knowingness. Got that?

And remember that control – we haven't gone into this too much yet – but control is simply the process of start, stop and change. And anything which happens accidentally is something which Is not under control. And anything that occurs can be started, stopped and changed or duplicated by the preclear and it will come under control.

Let's say the preclear started to cry – actually he can start it, stop it and duplicate it and he will bring cryingness under control. And what do you know, when he's done this thoroughly, he'll be able to cry out the bank at will or simply blow up the crying machine.

Interesting, isn't it?

Tears come from that little thing in What to Audit evidently, the Grim Weeper. It's a method of material rejection of a mis-emotion, tears are. You can materially, obviously, reject something, you see? You'll find out that preclears also head for the bathroom. You'll find out that they also try to cough out their aberrations. They're trying to reject in various forms.

Now, let me repeat, just as we went into yesterday morning, that rejection is the keynote of what we call psychotherapy. So where your processes come along and you can suddenly have the preclear reject something, have him do so.

I, by the way, ran a session on one of the famous tough cases last night for a couple of hours and exteriorized him with complete perception from utter blackness. I didn't use on him very much different than what I used on you this morning, actually.

Get a mock-up right now.

And let go of it.

Did you get a better mock-up? You mock-up better, worse, how?

Female voice: Slightly worse.

Slightly worse, well.

Mock-ups a little worse? Good.

Huh?

Female voice: I couldn't get rid of mine.

Couldn't get rid of yours. Well, you had a change.

Put it there, five times more, to stay.

Female voice: Hm! I made it.

Let go of it.

How did it go?

Female voice: The third disintegrated.

Good.

Okay. Well, did you get a perception change this morning?

Audience: [various responses]

That's all you're batting for.

There's another funny technique that has to do with making the preclear feed out energy lines from himself to all kinds of machinery all around the place. It's a terribly interesting process. All you do is concentrate on his feeding energy lines out to things from himself so that he won't know it. Each time, "I'm going to feed this energy line out to this machine so I won't know it," And then you hook one in. Then you do that five more times for that particular operation and then you just skip it. And then you get five more energy lines Jet out to the machine "so I won't know it." You just make him do this.

A machine? Well, he hasn't got any machine, he tells you.

Okay. Put one out there and lead it to him – all of a sudden the damnedest things will fly into his face or something. Because, of course, he's energizing all this machinery on surreptitious communications systems.

All you're working with is a not-knowingness about "the communications system I go through to have things happen automatically and produce randomity." Basic mechanisms of communication are just that – C, E. The fellow, in order to make himself an effect, has to go to an awful lot of trouble. And then he forgets he's gone to this trouble and then, after a while, he's terribly amazed at the things that happen to him in life.

Now, let's get in there and pitch on some of these pcs. You'll find them flying off on certain of these processes. Believe me, an individual who steps sideways and jumps like he's shot from one of these processes probably ought to be shot. But what you've got

here is you've got a dodge at work, one way or the other. These processes don't – do you realize they can be kind of tough?

Audience: Mm-hm. Yes.

Well, you'd be amazed – of course your basic process is that your preclear is resisting all direction. Now, if he resists all the directions that there are to resist, of course he has turned his whole bank into a randomity. Every minute of a clock as it ticks by, every minute once having ticked by, becomes his randomity – in other words, becomes an enemy. The past itself starts to swamp him, he starts to resist it. All of his automatic machinery starts going into operation. Why? Because he's resisting a direction. He set the machinery up to direct him and now he's resisting direction, because the machinery has played him false. Well, he's played himself false.

The way you get over this hump is exterior direction. And you know that you can take some pcs and be so arbitrarily foolish, in their eyes, about the exterior direction – you know, just be completely silly about the things you're directing the pc to do – direct him to do them monotonously, very silly. Claim there's great therapeutic value in his reading the letters on a pencil backwards. You'd think at first that it'd reduce him into a sort of an hypnotic state. Well, it doesn't. The funny part of it is, it doesn't do that. It picks him out of an hypnotic state because he finds he can accept this direction. And your mission is to show him that he can accept this direction without its killing him.

And his mission, where direction is concerned, is to demonstrate to you, an auditor, as clearly as possible, that the direction is killing him. See that? That's your kickback from preclears and so forth. They've got to show you that the direction is killing them and you've got to show them it isn't killing them. So that's the argument.

You're not trying to produce any major agreement or any sudden, big shift, particularly, with direction. It's one of those things that adds up kind of slowly.

If you had a fellow walk down a path, directing where he should set his feet, you know, just deciding each time he should set a foot there and then deciding each time before he let a piece of ground go – see, the one thing he has never done is decide to let something go. He just gets into an apathetic state of letting it be taken away. He gets automatic machinery that will tell him when to let go, like the heat in a stove.

See, the heat in a stove tells him when to let go and the MEST universe tells him when to let go and other things tell him when not to touch them and so forth. And all this is set up automatically, so "let go" and "not touch" get very automatic – that becomes his randomity. After a while, he can't touch anything. You ask him to remember something, he can't remember it. Why? Because he can't touch the objects involved. And then you get a fellow completely blanked out.

The end product of this is "no distance between me and every enemy I have." See that? All right. So you've got lo make it so an individual can accept direction and then gradually direct himself in the most minute and peculiar and upsetting sort of ways.

I had a pc walking one time, just directing his feet. I got him down to where he was directing the position of each toe, painstakingly, aloud, as he walked. And it was taking him anywheres up to two or three minutes to take a step, because we had to direct the position of every bone in the foot.

I saw this fellow a couple of days after we'd gone through this process (and he wouldn't have admitted it if it had killed him), but the fact of the matter is, he was walking briskly. He had hitherto been walking like an old man. An old man is a complete automaticity of shuffles – he thinks it's walking. And this fellow who had been walking that way was walking briskly and alertly and so on.

You would be surprised that age mirrors itself in a person's motions. You see that? And everybody has got such a set idea about sitting still and the big goal of sitting still – "If I sit still enough, they won't bother me" or something like that – that they forget that what communicates is motion. And where there is no motion, there's no communication. And so, age is communicated by action. And if you want to appear young, move young.

Well, how do you do that? Well, you take over the automaticity of all of your motions. Don't move automatically anymore. Move self-consciously, if you please. The one thing you're not supposed to do is to move self-consciously, you know? Well, that's the one way out, and of course it's booby-trapped.

Okay? Anything else I can do for you? All right. Let's crack some cases today. Let's stop fooling around with this.

Now, on the method of instructions which you are getting, you'll understand something – it should have dawned on you before this – that you can't instruct anybody unless you're willing to direct people. And you can't be willing to direct people unless you're willing to be directed. The curse of direction must be deleted before you make a good Instructor. And so, let's just beat this out completely and be perfectly willing to direct people and get so you're perfectly willing to be directed and your ability to predict this MEST universe will come way up.

Let me call your attention now to "where you are not; where you were not" and "where you will not be." That is a method of prediction of great value to you. It is, at first glance, a long process only because it has a long goal. The goal is to know where you will be tomorrow at 2:02. You will know, too!

But your preclear just comes on this gradually while you're making him take over the automatic machinery which tells him where to go. A preclear is as bad off as he has automatic machinery which tells him where to go or what to move. And boy, that's real good.

You could go out here and take an index of a number of guys – all right, let's take the next ten automobiles that go by in the street out here and let's find out how much machinery each one of those boys has got, on an E-Meter. And you'll find the bottom two have had a number of serious accidents. The bottom two, who have the most machinery – that is to say, were told where to go by their machinery – have had the most accidents. The "devil-may-care," "go to hell" sort of an attitude that many a guy has is usually coupled with – incomprehensibly to the rest of the world – a tremendous lack of accident, it's incomprehensible. Well, he can direct particles, so he can afford to be devil-may-care.

All right. What are you working on these pcs normally right now? You departing way off of SOP 8-C or are you staying with it pretty close?

Female voice: I'm staying with it.

All right. Let's extend it to all steps now. Let's not fool around with the other. And let's get somebody exteriorized, huh?

How do you exteriorize somebody that isn't exteriorized? Well, some fellows are worse off this way than another way. Just add up the blackness this way: the blackness is a flinch, a permanent flinch. And it's a permanent flinch on the part of other things.

You see, loss is actually – supposing somebody loses a fountain pen. Let's put this crudely: let's say the fountain pen flinched from him. You see? So it's a two-way flinch.

Now when he loses something, the blackness comes on. Did you realize that? Well, it's a re-dramatization of this flinch, which is an unwillingness to receive particles.

So, let's run "don't know" and "flinch" on these black cases and then try to exteriorize them. And then run it on them some more and then try to exteriorize them. And run it on them some more and try to exteriorize them, remembering to get the unlimited techniques such as "Hold the Two Back Corners of the Room" and "Remember Something Real" and other things like that in the interim, because you can get them pretty fogged up on "don't know." The first thing you know, of course, they don't know. After you've run "don't know" and "flinch" on a black case for a while, boy, he has the feeling like he really doesn't know a damn thing. That's because you're sort of pulling him through the abyss. You're hoisting him up by his heels one inch at a time and he goes into the abyss deeper before he comes out of it.

Well, okay – Let's take a brief break, knock off the seminar for the First Unit and then get onto your auditing.

Note: The recording starts with the demonstration already in progress.

COMPETENCE OF PREDICTION, PAGE 2 3ACC-19 - 13.01.54

DEMONSTRATION (CONT.)

[[Category:Lectures 3ACC]]