View source for Getting Up Speed, Part I (2ACC 531117)

'''Series:''' 2nd Advanced Clinical Course (2ACC)

'''Date:''' 17 November 1953

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

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Okay. This is the second session, the—afternoon session, November the 17th, the first hour on it.

This morning I gave you some things to do with regard to putting emotion in things. And I found out that many—many were neglecting the "emote" and putting some "shun" in. Ha-ha, joke!

And, it's a very funny thing. I'll tell you a operating—a operating principle, which you should "hoperate" with. And the motto of a case is, and the significance of and the reason why of a case is, is they can't look at it. And if you take any case anywhere, you'd think offhand it's a problem of "they don't know it."

Now, this is not an attainable—an instantly attainable goal for people: they can't just suddenly, pang! for some reason or other, "know it" because they want to carefully let go of the stuff they've got their hands on, see? They want to let go of it very carefully.

Now, for instance, there are a couple of techniques you can run on people which will just stop their clocks, completely. (I should tell you these for the benefit of humanity, some of which has been going on too long already!) But one of these is a button, it's a magnificent button, there's nothing wrong with this button at all except it stops people's hearts. And you could, of course, say that this was a fine button to have around, but watch who you're trying to treat with it. And if you double-terminal "constancy"—just that, just double-terminal "constancy" in a bracket for a while, ha-ha! All of a sudden the guy's ticker goes pocketa-pock, pang-pang, pocketa-pock-pock-pockpocketa-pock-pock, pang, pang-pang. Because he ordinarily is running it on his body, you see? And that's the one thing the heart does: be constant. That's the only order it's got, is "do-don't, do-don't, do-don't, do-don't." Only it says, "do-dup, don't-dup, do-dup, don't-dup." And that's all it does, you see?

Now, I'm not mincing matters with you—tell you that you can simply take the human anatomy to pieces and strew old bones around with what we're doing here. So you can go too far with one of these techniques. There's nothing to be afraid of with the techniques we have, but you can actually go too far with them. And one of them is this button "constancy."

"Persistence" doesn't process that way for some reason or other; the idea of persistence. But "constancy" brings in the second dynamic nostalgia, the genetic line—boy, it just runs on constancy. If you want to turn on beautiful sadness on somebody, just start running constancy. You'll find out that's the one thing that's been demanded of them all their lives—they must be constant. And this, of course, is persistence, and persistence is the one—anything that is not admired, persists.

But let's get back to simplicity—real simplicity. There aren't very many of these buttons, there's just constancy and two or three more—they're relatively unimportant. What you can say is the common denominator of all preclears is: they don't look, they think.

Now, there's a world of difference between thinking and knowing. Thinking is that process in which a person engages by which he hopes he will someday come to know. Now, the funny part of it is that he knows already, and the more he thinks the less he knows.

They used to talk about that noncommunicative owl—you remember in grade school, this noncommunicative owl. He must have been set up by the Fourth Invader Force in this universe. I think they invented the tune, and so forth. It was:

"A wise old owl sat in an oak,

And the more he saw the less he spoke;

And the more he spoke the more he heard;

Why can't we all be an effect?"

And this made him very learningful. We're assured of this—made him very learningful.

And the only trouble is that unless you were talking directly on the line of agreement which brings people into the state they get into finally—where they're more effect than they are cause; unless you're talking on that, boy, there's really darn little excuse for education. But if you're talking on that, you are undoing—you are undoing the agreement.

Now, it's something like a large and complicated watch. And this watch has to be taken apart. It can be taken apart solely and strictly on the same basis of you take apart a—a baby takes apart a watch, you know? He takes it apart with a hammer. Well, anybody can take a watch apart with a hammer. If you want to take a watch apart—meaning you don't want a watch—with a hammer, why, I advise you to go down and find a big electric shock machine or something like that. That takes watches apart with hammers. And that's not the right way to go about it, because after the parts get that strewn around, it's very difficult to take the watch apart in an orderly fashion. And to some degree we are taking a watch apart.

The trouble—only trouble with this watch, however, is that it has four balance wheels, eight mainsprings and no handle to wind it; the handle to wind it has disappeared. And then people run down and we can't wind them up again.

So the thing we do, is actually start taking balance wheels and mainsprings and things—excess mainsprings and other things—out of it and all of a sudden we've got the neatest, best-working watch you ever saw in your life.

But if we take it apart with a hammer we don't get that effect, we just simply get—well, we get psychiatry or we get a lot of things. Atom bombs—that's taking a watch apart with a hammer. "The way to settle the political affairs of Earth is not to solve underproduction and overconsumption, and overproduction on the second dynamic and so forth. These are not the problems to solve. The way to solve that, is you get a formula, see, and it's got a lot of wild figures in it, but it all adds up somehow or other if you put enough figures in it. And then you put this to work on uranium and you get some plutonium, you put that all together and put it in the hands of an idiot and tell him to press the buttons." And the watches come apart. Believe me, they just strew their mainsprings all over the place.

I saw a cartoon, one time, down at Cal Tech—one of these small trade schools on the other coast, they teach carpentry and things there. Anyway, they had a nice cartoon, and this professor is standing in front of a very large class and he's saying, "Gentlemen, I have here the end product of all science. In this capsule is enough explosive to destroy the universe." They haven't been admired for this, obviously, or they wouldn't go on persisting.

Well, it is not a very orderly thing to do, for instance, to solve a society the way somebody solved Arsclycus. If you want to run back on the track and examine facsimiles with "yes" and "no" on an E-Meter, why—it'd be very pleasant for somebody who's in good shape to do this, and very horrible to somebody who's in bad shape to do this, by the way, because they bog in it. You'll find that there are facsimiles floating around you or the GE and someplace, and you can contact them. They have to do with this place known as Arsclycus, which was just built without planets. It's just endless roads going through the sky, you see—they just went in all directions.

And there's where we picked up boredom and monotony on this track. Oh, oh, oh! I mean, you could just run this for a couple of minutes on a pc and he just gets tireder and tireder and tireder. He has no idea why he's getting so tired. But it's the fact that nobody could ever stop working. And a person went about ten thousand lives there, returning back to a body and then using that body and wearing it out. And he—each time he'd come back he would be assigned—and he had a cross mark on him and they had him by the wavelength, you might say. And they had a piece of the body which they'd given him, and when he tried to escape, of course, they'd put pain in that piece, and that would hurt that part of the body so he would come right back. And when his body was worn out, or if he sassed a guard or something like that, they'd just knock off that body and he'd report back again and they'd say, "This is a Tilemaker, Third Class. He's all trained," see? And into the body—next body that's coming out of the vats—pang! out he'd go. Biological society, built in the sky.

Well, when that thing went to pieces because of an overdose of gravity, it really went. It scattered pieces all over the universe. And you sometimes run—get a tumbling sensation in a preclear. We're not going to audit facsimiles—this is just fun just to show you what might have been going on, on the track.

Well, this made a person very insistent about being dead when he was dead. There is basic on being dead when you're dead. You're just not going to run any kind of nonsense about checking back in and being assigned a new number. You're going to have some randomity, see? And when a fellow's dead, he is the most insistent person you ever saw.

I dropped by a funeral parlor one day. I kind of sailed in one afternoon and I—I noticed lilies of the valley, and it was very nauseating all up and down the street and it was getting more and more nauseous. So I decided to pick it out for some randomity (I didn't have anything else to do), and I went in one window and so forth, and the thetan was still in the body—it was a funeral parlor.

They had a guy laid out on the table, and you could bat the body and get back an electronic reaction—pow, pow, see. And he was just absolutely frozen, see? And in a mad rage, "I'm dead, you understand! Dead!" Because they'd kept trying to revive him, evidently, with Pulmotors or something of the sort. The body was all scarred up—he'd been drowning or something and they'd keep trying to revive him and trying to revive him and trying to revive him and working over him and so forth. And that means he wasn't being convincing, you see? And boy, it was the deadest thetan you ever saw. Of course, when they finally embalmed and buried the body and so forth, he finally said, "Well, you're convinced!" Shove off!

He hides this from himself by occlusive screens and so forth. He doesn't let his right foot know what his right frontal lobe is doing. He doesn't get these things into communication with each other. He has to break communication in order not to know. See that? Has to break communication in order not to know. See, he breaks communication with the body, and now he doesn't know anything about the body. And there's the system of breakdown which he uses. Now, he's gone through this system of breakdown constantly and continually.

How does he do this? In order not to know, if he's already perceiving (see he gets into a perceiving band)—in order not to know, it's only necessary not to look. He can think about it and suppose about it.

Most everybody is going around—while they're traveling through life in this direction, their head's over this way. And they're going ninety miles an hour in that direction. Well, they can think about it and they can say, "Well, you know, I think there's a turn up here someplace." But that system comes all the way down the track.

Now, if they didn't look at, feel any emotion about, feel any effort about and finally, didn't even think about something on the Arsclycus band, why, once in a while they figured they might skip a cycle. That was—that's really true. They kept a vat full of stuff and when they gave the guy the body, they took a piece of this body and they kept it alive in a solution. (This is science at work!) They kept it alive in this solution over here, and that was a piece of a body and it matched him, of course, and all they had to do was torture this piece and he hurt.

You can do that, by the way, if somebody is madly Russian-doctoring around sometime—we'll get a nice big laboratory. Be sure and get somebody that builds the Frankenstein equipment for the Frankenstein pictures, you know? The kind of big drums that go bzzz, bap, bzzz, bap—you get some of that in there just to convince the public of what you're doing. You can conduct all sorts of experiments of this character which are fabulous.

You can hypnotize somebody and say, "All right, you are now Malenkov." Just like that, you can say, "You are now Malenkov. And be in the same position there as Malenkov, be in the same space. That's right." This guy is drugged—you know, drug hypnosis. "All right. Now have a terrible headache. You now have a terrible headache." You know that you could actually detach him to the point where he would go on monitoring Malenkov. You'd actually say, "Beat it," and he would leave enough in the body to keep this one tick-tick-tick, and go over and monitor somebody else's body. This is politics earlier on the track. Now, this has gotten to be almost a habit on the track line. All kinds of weirdities come up.

Fortunately, we don't have to have anything to do with these weirdities. I mean, it doesn't matter in our processing today what these things are. I'm just talking about a laboratory lineup. If you really wanted to make a society stand on its ear and become completely fogged about the whole thing, you just start doing things like this and you would get these effects. I mean, Malenkov would have a headache. That's all there is to that.

Mysticism, by the way, is actually an effort to suppress this kind of technology by reversing it. You know, if you deny hard enough and if you resist evil and—that's not truly mysticism, that's Christianity more than anything else. That was the greatest invention of the last two thousand years, by the way—the resistance to evil. And I'll say a little bit more about that.

But let's get back on this "look" thing. All right. As long as this preclear you've got drugged on the table doesn't know where he is, you can convince him he's someplace. You see that? See the principle? Well, the only way he can be convinced that he is someplace, is by not permitting him to look. You see that?

If he doesn't look, if he doesn't see, then he can be told he's anyplace, and he has to believe one. So hypnosis is just simply the matter of confusing a person to where he looks too hard at something, and then you don't let him look at it, and that loses him. There are any number of techniques can be born out of this "fix or unfix attention" hypnotically, you see?

The whole subject that we're studying is actually attention fix-unfix, where viewpoints and space are concerned. But that requires lookingness.

So we can take a person and actually have him be someplace else when he is right there. See, he'll still keep this body, but he'll actually be and operate someplace else. Now, you'll run into this every once in a while with a preclear. We call this inverted dynamics.

What dynamic are they inverted on—they inverted on one, two, three, four, five, six, or seven, eight? Actually there's about ten cycles of inversion. At least ten. They just keep inverting and then reinverting, and then inverting and then reinverting, and each time with less horsepower until you get them just completely run on down the line.

Now, any one of the oddities and the phenomena which you observe, below the level of knowingness itself—just spontaneous knowingness … How would you—what do I mean by that kind of knowingness? It is simply, you'd sit right there, you wouldn't look, and you'd know that there was a telephone number somewhere else. In other words, that is just instantaneous knowingness. Would you know by looking? No. It's a type of pervasion without perception. But boy, don't ever mistake it—a guy who can't see doesn't pervade without perception.

This fellow who can pervade without perception, boy, he's got Superman whipped the way he can look through walls. Oh, that's terrific, you see. And that's way, way up.

Every once in a while you walk into some sad apple—pardon me, some gentleman—who is utterly convinced that he is telepathing all over the shop, see. Oh boy, he telepaths but good, he does. They sit down and they concentrate and they do this to influence other people's minds.

I'll tell you how you influence somebody else's mind. That drill you were doing this morning will do more to influence somebody's mind, because you can transfer thinkingness the same way. And we'll do some drills on that later. You just simply handle and monitor somebody. He thinks what he thinks and so forth. That's all there is to it. That's telepathy. What do you care what he's thinking? Make him think something else.

Anyway, people who go around and practice telepathy so they'll know what other people are thinking tells—that tells you what? It tells you immediately the fellow must be bottom-scale, because he's interested in what somebody else is thinking. Well, boy, when you go around and listen at Homo sap thinking … This is really the most enjoyable thing you can do, is just sort of go down the street and—or drive a car or something of the sort, and pass a lot of people and pick up what they're thinking about. Most of them are thinking kind of a "mental-audio" sort of a"Dum-juh-duh-zu-zow—so you know, if I do so-and-so, and so on." Most non sequitur stuff you ever listened to. I mean, the fellow says, "Well, now, let's see …"

I ran across one, one day while I was driving into town, and I got so entranced with it, I forgot to get out of the car till I'd gone beyond my destination. But my body had turned, but I thought the body in the car was … Strange. But this person was doing the most fascinating job of driving: "Now I step on the throttle." He was driving with all of his mechanical motions and so forth planned, audio, in advance. Oh. this is real fine. And I kept expecting the car to run into something. And I was minus randomity that morning and decided I'd love to see a good wreck. (audience laughter) So I just rode along. Very fascinating.

Now, this sounds wild to you, but people do think like that. They just talkety-talkety-talk, bom-bom-bom-bom.

Now, you listen to people talking and they—boy, they sure sound reasonable. You listen to people—two people talking across the store counter while they're buying something. And you'd—you just merely assume that those two people are being reasonable. The possibility is that you haven't listened to them. If you were to really sit down and listen to these two people talking across the counter, it's—just run-of-the-mill Homo sap today—you would hear some of the most fascinating non sequiturs you ever heard in your life.

Where do these non sequiturs come from? Now you've got "not look" on a symbolic basis. If a person can know everything, he can look at everything. And there's the test between the top and the bottom of the scale: If he's got instantaneous knowingness, boy, he's sure got instantaneous lookingness. He can do such tricks as look up eighteen pages deep in a phone book and read the whole column aloud to somebody else—relay it to a body and read it aloud. That's real high, see. And you can get perfect imagery, while exteriorized, on anything.

You start fooling around with this stuff very much, it keeps saying, 'There's a barrier. There's a barrier. There's a barrier. There's a barrier. There's a barrier." And you have to dim that down and keep it dimmed pretty well, in order to get any randomity or be anyplace.

Now, what's "not looking"—not looking, not feeling, not effort, not think, see? First it's not look, so we feel. Now it's not feel, so we have effort. So it's not effort, so we think. So it's not think, on that band, you see, and it's again some lower order of looking, such as with MEST eyes. Now it's not look, and again a lower order of feeling, such as with a body, see? Well, then it's not feel with the body, so effort with the body. And then it's not effort with the body, so it becomes think with the body. And then it's not think with the body, and we got Homo sap. All right.

Now, a symbolical level takes up on this, you see, and it's just one of these cutting out, one right after the other, on that band. Now, we can just add up—to the side of the Tone Scale, up here—a scale which starts up at the top with "know." Complete certainty on everything and anything, anywhere at any time; that's just complete know. An almost unobtainable height if one stays in an area where, to produce any randomity at all, he has to pretend he doesn't know. Because we immediately cut down from that and go to 20.0 on the band. All right.

Now, our next step, then, that we get interested in, as far as people and beingness is concerned, would be … I mean, the highest step in which we really get interested, is in "look and not look." See, it would be "know and not know" way up at the top there. He'd have to not know on something and this produces a randomity. In other words, he's got to choose something out to fight it; and that gives him action and motion. And he gets into action and motion and he's happy about it.

It isn't true that everybody everywhere in every universe, you know, has action and motion. That's just a peculiarity in this universe. You have to learn all kinds of weird tricks, and these weird tricks are motion. It's real peculiar when you first run into motion; it's quite interesting because it produces emotion, which is quite different than you run into elsewhere.

I had a preclear one time, he would just sit and he wouldn't think or anything of the sort. And what he was doing, I didn't quite know. But I put him on an E-Meter and it didn't wiggle; nothing wiggled. And I started batting him with just random dates. Good old electropsychometry, you just start hitting them with dates—dates, dates, dates—billions of years ago and present time. And all of a sudden present time started to wobble around. I ran into a duality. Some kind of a weird situation of Lord knows where or what; there was someplace where everybody merely sat around and knew. And he was stuck there. So I unstuck him and got him in motion. Probably a terrible disservice.

But the point is that not everywhere do things go into motion. But here in this universe they go into motion. If you could avoid just all motion and get a process that had nothing to do with any kind of motion, you'd be way ahead of yourself. But there is no such process that I know of, because you've got to track the line of agreement somewhat in order to take the watch apart smoothly.

So we've got a problem in taking the watch apart of, in some cases very low, and in some cases a very slight bit of "not look." In other words, "not perceive"—it's just a better phrase. It's the gradient scale of perception in reverse, then, which marks the Tone Scale band in which we're interested from 20.0 down. The gradient scale of nonperception.

The essence of perception is the definition of "what is space?" Space is a viewpoint of dimension. Now, a viewpoint of dimension, then, requires some kind of a perception. Immediately we have space, we have some kind of a perception understood. As soon as this perception is understood, we are able to proceed.

Now, the less perception a person is able to attain, the lower he would fall on this band. But remember, this band inverts and then reinverts and then reinverts and reinverts on each dynamic. So it's not a smooth track down—I mean, it's a complex band. That is to say, for every level on the Tone Scale, you have one, two, three, four, five, six, seven, eight dynamics. And for every band down, they turn over again.

So that you have a fellow who is inverted—you'll see what I'm talking about a little bit later when you do some of this processing. When you invert an eight… We start out with a fellow at eight. What is symbolical of this superknowingness way up at 40.0? Well that's—superknowingness is, of course, what you would call "He's God and knows it." It doesn't necessarily mean he's God of the MEST universe. That's a different thing. But as far as he's concerned he's God and he knows it. The eighth dynamic, sure. Seventh dynamic, he could make spirits, why sure. Sixth dynamic, he could make MEST. And we go on down the line and we fall down again.

And then we get to an inversion. And it goes in—now he slips out of one, so he becomes a particular god. Now, as he reinverted down, he'd probably get into the Olympus sort of a standard, like Athena or, well, Jove—that is a particular god of something, you see? We've particularized. Well, this is an inversion again.

See, we've gone—we've gone—he's turned away from himself to be "the something of something else." And in each case, as you go down, you finally get all the way to the bottom and you'll find fellows in insane asylums insisting madly and wildly, if they're pretty high on the band, that they are God; and pretty low on the band, so forth, why, you'll just have them merely praying to God all the time—just incessantly, incessantly. God is finally other-determinism again.

They take over as they own things—to make this easier to understand—as they own and are things, they then unbecome them. So you've got an inversion of becoming and unbecoming and becoming again and unbecoming, each time in a lessening scale.

See, on the upper band he's God and knows it—this is in the psychotic bands and when we get to where one, two, three, four, five, six, seven, eight—eight inverts again; now we've got somebody who is the effect of God. So we get "become and unbecome." And in each one of these things he's cause—this should explain, by the way, a manic to you. He's cause, and then as it inverts, he becomes the effect now of what he was cause before, see? So he just keeps on going down this way, cause and effect, cause and effect. And as you go down the Tone Scale, he slides to the left, and he goes over to the right, and he slides to the left. He is something which he isn't. And then he unbecomes what he hasn't been—what he thinks he's been, but hasn't been. You get the compounding delusion? He is—you make that very clear—he is. See, he decides he is something.

Well, he isn't anything. I mean, he's himself, that's all he is. That's plenty. If he really were himself, that'd be terrific. But he becomes something else, and then as he is cause in that, he gradually involves himself until he has to unbecome it, and he becomes the effect of it.

The second law of magic is "Do not be hoist by thine own petard." In other words, don't blow yourself up with your own bomb. Don't knock your silly head off with your own wand. Because—cause and effect, cause and effect.

Well, this gives us inverted dynamics. This makes the fellow one, and then we go down a whole row of dynamics and we get to a point of where he's the effect of one. Now, this would start him out as a thetan in good working order and would finish him up on one cycle as a thetan who was being affected by a thetan that he had been. And this is a person's past sneaking up on him. This is people's avidity for studying this past.

But unfortunately the past is nearly always up Tone Scale. A few generations ago, people were moving faster.

So here we have "not look." Now, let's get how we get "not look" out of this "become and unbecome." It's very simple. If a thetan is looking at sixty miles an hour—now, just to be real crude about this, let's say his lookingness is traveling sixty miles an hour, and it meets something coming at him ninety miles an hour, his lookingness is coming back at him now thirty miles an hour. Is that right? It's real simple. If he's looking at an angle, he will simply get his attention brushed off. And the matter of fact, if he looks head-on on anything—he just starts to look head-on—his attention will be thrown off of it.

Now, you can run this experiment with any individual. You can tell him simply to look around a 360 degree sphere … You want to get somebody who is wearing glasses and tell them to do this, because he'll get it right in the face. You just tell him to look around at various depths until he finds an impression of something somewhere. And he'll say, "What kind of an impression?"

"Well, just an impression. Just search very carefully across this sphere, see, and look very carefully up this way and really look up there."

"What do you mean, look at the walls and so forth?"

"No. You know, kind of into the ether. You know? Just up this way." And just use some strange word so he won't look straight at MEST. "And just search it very carefully."

And he'll start looking, you know, and he'll look upon it all of a sudden, he'll look—bang, see? Right in the eyes. Nearly every time.

I've done this on people and they've cursed me for an hour. "Look at various distances." There's stuff waiting out on the fringe of consciousness, you see? Perception has to do with impressions and particles and so forth. And when that velocity hits one of these ridges sitting out there—we don't have to know too much about ridges, that's just another barrier.

People get happy about ridges, by the way, and they start validating ridges and validating ridges, and they just get more and more ridges, and the ridges get heavier and heavier and thicker and thicker and more of them. Anytime you start validating something too heavily it has a tendency to become real, because that's the way things are created. So this stuff up here can get solider and solider and solider and solider until, boy, a fellow can't move. He can make air—you can actually, by concept, make air so solid that you kind of have to walk through a room as though you were at the bottom of the sea. You can just get real solid, I mean, everything can get… What are you doing? You're just packing it up.

All right. Now, this not lookingness—he gets off there and he takes a look up here someplace, and he looks up here someplace and he looks up here someplace, and all of a sudden he'll hit one of these ridges and it'll discharge. Because it's only his perception that can discharge it. It's set up there to discharge. When? Some past date. And he's just carrying it forward and he probably has a machine mocking it up all the time, see? Real smart. Real cute. New automaticity. And he looks at it, and he sets this thing off.

Well, the way this thing was set up to operate was every time his perception went across a certain subject, he has a bunch of lighted relay stations … If you figured out the perimeter around a preclear as the coast of the United States with the preclear in the center of it, and every time his attention went on certain subjects or looked in certain directions, that attention—because he saves energy, you see—is then shunted to every lighthouse on every coast in the United States and activates every machine that's there. And that's the way he triggers all these things off and keeps going. Oh, he's a complex piece of machinery, that's right. By blowing up the United States you would, of course, dispense with the lighthouses, but this is a little rigorous. Because he can't dispense with all these lighthouses instantly. You can simply get him to take over control of these lighthouses. It doesn't take too long to get them in fairly good working order. He's—there's only a few lighthouses that get him into trouble. He swears they're lighthouses, too—they're "real important," and they're "just what he needs," and so on.

But what do you know, that perimeter—if you could just set down a bigger United States, with bigger coasts, in addition to the first one, with a whole new set of lighthouses, they're getting slightly activated too. Now we get a bigger United States, you see, and we get more coasts—this is actually apparent if you get up above some preclear and tune up your wave band, you can see these things—get more coasts, and that's a third ring now. And they get slightly activated, too, every time he thinks some kind of a thought. But if he thinks a thought that is really in that direction, why, boy, these things are going around like a pinball machine. It's real, real interesting.

This is not anatomy, as far as the body's concerned, but this is actually a thetan's—to some degree, his anatomy. All right.

We get a bigger United States, and we put it down on this whole picture, you could see how this goes. Because it goes out there a couple of light-years in both directions as far as he's concerned. I mean, it's not small. It's the area he's covering, because it's his own space. See, so this is pretty big—he's a big guy.

Well, now we get into this lookingness. Gradually he has to—in order to turn off the automatic machinery, he has to look closer. You get this? He can't look as far. Or if he has some automatic relays all set up electronically, right in close, he has to look way out all the time; he doesn't dare look up here. The second he does, he gets pinged. It's an actual physical blow that he would receive. But he receives just a trickle of it, you see. Just enough to take his attention away from it. Totally mechanical. It's as though you were asking somebody to look into the teeth of a fire hose. And this is just not going to work as far as he's concerned. So every time he starts to look toward some kind of a subject of any kind that has some automaticity and a relay station on it, his attention just goes zoonnnng, and he's off of it.

So you try to explain to the preclear, "The trouble that is wrong with you, Mr. Verypretty is—the trouble is, that you are having difficulties domestically and this upsets our processing."

Do you know that you'll occasionally run across one—he could, see, have a black eye, he could have his shirt half torn off him every time you called on him. He could have the police over to quiet the riot three nights a week, and he just looks at you very calmly, and he says to you, "That couldn't possibly be the trouble with my case."

And you look at this boy and you say, "God's sakes. Well, what's wrong with him?"

Well, I'll tell you what's wrong with him: he's got so much commotion, every time he tries to look at it his attention flicks off of it. He's got a complete occlusion on it. You ask him what he had for breakfast—if he's having a rough time in the family or something like that, he doesn't know what he had for breakfast. "Well, all right. What gas station did you last stop at to fuel your car?"

"Oh, well down there at 9th and Chester, and I—and so forth. Attendant down there named Joe. Got 9.1 gallons and the cost was so many dollars and so many cents. Ha-ha! And it was 10:32 in the afternoon and the date was the 8th. That was a Wednesday."

You say, "Boy, what a sharpie!" And then you say, "Well now, to take up your domestic affairs."

"I'm not having any domestic trouble."

Well now, that is putting something in a highly extreme form—very extreme form—with a pc.

But let's just narrow this down into what actually occurs with regard to this—I mean, that does occur, but this person goes around all the time—all the time, I mean, he's got this button. You just have to run the button on him. Just tell him, as an auditor, that he must run this button, see. We say, "All right. Now run this button of 'people's wives departing from them; people's wives and people's husbands departing from them.'And that's the button you should run on this next case. Now, when you finish up the session and so forth, want to make sure by the time you finish the session that you at least run that button."

He'll say, "Sure. You betcha. Yep. Yep."

And you run against the preclear a couple of days later, preclear's walking around, "Huh, what wall, what room?" See? And nothing's been done for him, you see.

And you say—go out, get ahold of this auditor: "What'd you run in that session?"

"Oh just what you told me."

"What did I tell you to run?"

"Oh, you said to do a little bit of Straightwire, next-to-the-last list. And you said to run some Step I, Orienting Straightwire, and I did that. And then I double-terminaled his difficulty with his liver and so on."

And you say, "Well how about husbands and wives departing from him?"

"Oh, I—I guess I just—there wasn't time in the session." Now we've got a reason, see? He's got to justify it. "There wasn't time in the session"—and he may even invent one to make himself completely right and say, "I tried to run it, but so-and-so."

You can take auditor-preclear teams that have failed and get two E-Meters, and you can ask the preclear what the auditor's been running on him, and the auditor's machine will clong, clong, clong and the preclear's machine will sit steady even though it hasn't been run out.

The auditor, because of this—unless he's snapped well up the line—is always running out of preclears what should be run out of the auditor; because of this difficulty of lookingness.

Now, let's take lookingness in symbols. We can understand human behavior in terms of lookingness; we've advanced an awful long way—that's what I'm trying to show you here very briefly. We say to this person, "Where did you get that hat?"

And they say, "Oh, hats are brighter colored this year. And I asked my aunt about hats. And you know, she used to be in the style business. She was in New York and she—long time she was a dress designer. She has some of the loveliest dresses and so on, and she used to particularly take a great deal of pains in matching them up with shoes and so forth. And by the way, I think I've got to go down the street and get a shine."

What you said was, "Where did you get the hat?" See, this is real fun.

Now, if you just look at this in Homo sap, it becomes very, very amusing as a game. You ask him, "Does this streetcar go to Poplar Place?"

"Oh, it's about twenty-five minutes."

"Twenty-five minutes to where?"

"Well, it's about twenty-five minutes out on the line here."

"What is?"

"Poplar Place—oh, we don't go there, that's the other streetcar."

You say, "Ahhhhhh!"

You've just asked him about something that he just couldn't look at, that's all, which is locational position. Locations, positions and so forth. So he went off into time and he went off into something else.

Well, if you look at people who are real bad off, if this is their attention, they're going this way, here's the center of the case—here's the buttons and buttons and buttons. So we look at them and their attention … We say, "Look at the ashtray" (and we'll just say that "ashtray" is really what should happen on that case), "Look at the ashtray," and his attention—this hand line here, see—goes up here and psheewww! Over here is a connecting thing which says, "cigarettes," and he'll say, "I don't know. When I was quite young I used to play with matches."

You say, "This is probably an ashtray. Now, take a look at this ashtray and let's see whether or not we can't pick up something about your mother, and get a little Straightwire on your mother and so forth. All right. Now, just let's recall a time …" See, his attention, all the time you're talking since the word "mother," is idling like this, you see. "Now, let's get a time when your mother spanked you."

"Well, I don't think that's what's wrong with my case. Actually, it's a question of matches. I remember being punished and then afterwards I was sick for a long time."

Now, an auditor will do this. He'll have a case in progress, the case will be coming along very well, case will be doing all right in terms of communication. The auditor adjudication of the speed of communication of the case says the case is progressing. That's all an auditor needs to know. And boy, before very long we ought to know real well what this is all about, so we don't have to ask somebody how he feels. You ask people how they feel now, to be courteous, not because you don't know. You know and then you ask. Just to be courteous; just because man talks that way. Not because you have to find out. So we ask him, "Do you feel better today?"

"Well, I don't know. I had an awfully bad night last night. I haven't had a bad night for a year."

Is he trying to be insulting? No, he sure isn't trying to be insulting. The fact of the matter is you've asked him about his condition and that's one thing he can't face. He's totally justifying, trying to look for some justification of condition. Why is he looking for justification? Because he's got logic machinery sitting around. And he flips in this direction and it shoots him off over in this direction, and he pings a couple of these relay stations and that clicks a couple more things and above all this—"How wrong can you get? Dead." So he has to be right somewhat, so he has to tell you he's alive and this means he has to be right, so he explains to you how right he is.

And you ask somebody, "Are you going to the theater tonight?" And he'll very often tell you how alive he is. Just routinely. And you ask somebody if he's eaten yet, he'll tell you how alive he is.

But if he considers this discourteous, he will tell you about how dead he is, kind of threateningly, or needing energy or sympathy. In other words, he goes off into computations, pang! pang! pang! All of this thinkingness sets up because his lookingness collapses on a certain subject. So he thinks. And then he doesn't know what he's thinking about. And then that inverts and he finds himself looking at something else. And then eventually that other thing inverts, and so he's looking at something else.

Psychology, our unlamented predecessor. We have nothing to do with psychology. Psychology is the study of the human brain and stimulus-response mechanisms, and its code word was, "man, to be happy, must adjust to his environment." In other words, man, to be happy, must be a total effect.

It was almost fatal, by the way, to run into that and tell somebody he has to start making the best of it and putting up with things and taking a rest, and that'll fix him right up.

Well, anyway, we have this problem coming up continually where you have distracted attention. This is one method of distracting attention. The other method of distracting attention, of course, is to pull it in, in some other direction.

Now, in psychology they neglect the factor of causation, because they neglect—they're treating the human body and trying to understand the human body. So they, of course, are not looking at that thing which monitors a human body. It's the thetan, so they never would have found the thetan. Furthermore, the thetan works like radar. Radar is much closer to it than MEST eyes.

MEST eyes depend on light coming in and hitting and agitating something or other for the GE to see. But what do you know—you never look at what the GE sees. I don't know why you use one. You don't feel what he feels, see what he sees, nothing. See, this is a real weirdie. You've got viewpoints dropped over the iris, and you've got hearing points over the eardrums and you've got feeling points over the fingertips and along the nerve lines you've got stations set up so that you can feel what he feels, but you never get a relay from the GE. That's real interesting, isn't it?

You can monitor a GE if you want to and turn him into nip-ups because he's a total effect—practically total effect. So that you generate any kind of energy, you're going to affect him one way or the other. But you're not doing anything with the energy, normally, that you have to have in order to run the GE and that sort of thing. Once upon a time you could probably just run one. You know, it didn't have to eat, nothing—you just mock up a body.

There's a certain shame—the first shame on the track, by the way, is when a person no longer is able to generate enough energy to run something—when he starts to eat and get the energy from someplace else. Eating is your first dog down; then below that level he can't make up new mock-ups just pang! pang! pang! so sex is invented as a substitute for eating and to continue lines of mock-ups.

All right. When we look at lookingness, we are looking at the same time at its collapsed states, which is feelingness, effort, thinkingness, and not thinkingness. And every time we look at lookingness, we're looking at geographical position. And you'll get so darn sick and tired of geographical position. Because as far as this universe, and as far as three universes are concerned, the key to them is contained in the Prelogics.

The first thing theta does is create space and time and objects in them, and—creates, see. And then the next thing it does is locate things. See, it just creates these things. But that is locational itself, and then it locates things in space and time.

You get a preclear to start locating things in the barriers of the MEST universe. It's just as valuable to get him to locate things in other people's universes, by the way.

We have three universes, all locational. Viewpoint of dimension. The moment we're into space, we're into location. And the second somebody tells you that he is "lost mentally" or "feels lost," it's because he's not looking at something. You see, first he didn't know, and then he had to look. First he said he didn't know, and he said he'd look, and then he didn't know and he did look, and then he couldn't look, and then he decided that he'd better feel, and then he wanted to feel so he couldn't really look anymore, and he started on down—and here goes your pc. Each time he tries to look, his attention is shunted off someplace else.

So I give you buttons to run this morning—that's what we're getting around to—and, of course, here and there you avoided running the key buttons, see? You run the Tone Scale buttons because they were all written down. Well, a very important button there is "ridicule." You see, you—here and there, in the offices over there, you dropped ridicule. I mean, it's very neat. That's—"Huuuuhhhh! No, not ridicule!"

Now, instructing on any such subject as this, using the symbols which comprise the English language, which of course is a symbol relay system itself (it's quite remarkable that we get across anything on a symbol relay system), we use these buttons and point them up and we get drills in progress, and the next thing you know we're running into one of these "not looks."

Well, you could be very, very uncomfortable if you simply were crushed into looking. Boy, we could bust the watch real royally—smash! And the way to really get a busted watch is to have somebody else look for you. You know, go around and clean up somebody else's bank for them. You can do that.

You can go down the street and a little crippled boy is hobbling along and you all of a sudden turn his leg red-hot, stretch out the bones, straighten it up and he goes, throws away the crutch. You can do this if you're hot enough. But it—does it do him any good, really, in the long run? No, it doesn't. Wonder why? Boy, has he been an effect, but royally! You made him more of an effect than he was before; so you crippled his own self-determinism to some degree. He'll have a straight leg, but he'll wonder after a while if it isn't better to have a broken back.

So when you interfere with self-determinism to that degree you get into trouble. That doesn't matter, it doesn't mean you shouldn't do it. I mean, I'm just telling you what I know so … You can sure produce an effect.

Now, we have, in any of this instruction, the process of reversing the line of agreement, which comprises a state not as able as it should be. Now, somewhere up the line, one attains a state of balance on cause and effect which gives him a sufficiency of barriers to enjoy the game. And not so many barriers that he's now not enjoying it, see. If you have too many barriers, why, it's being in jail. And if you have not enough barriers, why, no motion, no action.

So as we look up the line here, we're going up against the past. The past is running at higher speed than the present. Why is this? Let's take the fellow who runs a piano. He learns to run this piano; this is in the year 1722. Now, by the way, he's dead—he's wanted to be real convincing now—he died in 1745. He died real dead. Boy, was it convincing, his body was tramped by a horse and he was completely mangled. There was no doubt in anybody's mind he was dead. By the way, you'll find him holding on to this impact and so on, occasionally, when he needs to be reassured. See, it's: He's not there, he's there, he's not there, he's there, he's not there … You've got a "maybe" at work, but you also, between these two things, have the certainty of impact. No doubt in anybody's mind that they were hit.

You can go back down through a person's lifetime and you'll find a lot of these impacts sitting around—boy, there's no doubt in their mind that they were hit. In other words, something produced an effect upon them. They're more certain about what they hit, though, if they're in pretty good shape, because they've certainly produced an effect on something else.

Well anyway, this fellow could play this piano back here in 1722, and he played the piano very beautifully and he was very fast—clavichord or something of the sort. And he—just gorgeous, you see. I mean he—artist. Real fast and terrific virtuosity, and the best there was and all of that sort of thing. And that life's all gone. That's laid away. Doesn't remember. We only live but once, the beautiful sadness of that. He's been very convincing.

Death is a sort of an accusation. You say, "Boy, did you produce an effect upon me and a bad effect too. And all of your effects are bad, damn you. Because look how dead I am." Of course a person who can remember is not dead, see? So, of course, a person who's dead is dead, if you want to really be convincing.

So in 1940, why, Mama puts this person down to the piano and says, "Now, you've got to practice for two hours a day and you'll be a good piano player. And I've got a good teacher for you, and it cost a lot of money to buy this piano. We're paying five dollars a month for it. And we're paying umpteen dollars for the course of lessons. Now practice on the piano." And the kid—very happy, see.

And he starts monkeying around with the piano. Bum-bum-bum-bum, bum-dum-dum-dum. He starts monkeying around and they show him a piece of music he's supposed to play, and he looks at this music, and it sure doesn't look right to him—looks awful funny. He doesn't pay any attention to the music, to hell with the music. And he finally gets it down to where he's got a boogie beat down here, see, on the bass; and he gets this boogie beat and he's getting real interested and the piano teacher says, "No!"

And Mama says, "My God! We're trying to teach you to be a concert pianist, Oswald." And he tries this a couple of more times, you know, kind of speedy, and he'll just have to slow down. He's supposed to read music and he's supposed to do this and he's supposed to do that. In other words, instructingly, they're making an effect out of him—crush, crush, crush, crush, crush, crush!

All of a sudden he starts to play the piano one day, and he gets sick! He gets real sick. He doesn't know what on Earth has hit him. Nobody else does either. But he doesn't look at the piano; he can't tell anybody it's the piano. He doesn't know it's the piano. And this is your mechanism of the hypnotized subject unable to look at the tie signal of the hypnotist, as you'll find in Book One. You know, the fellow says, "When I touch my tie, you'll take off your left shoe." The hypnotized subject never sees the motion; he just doesn't look at it. All right.

We have this poor kid there, sitting in a fast ridge of terrific automaticity. Oh, if just left by himself, he could have sorted through so he could have learned a piano without ever contacting that ridge. But now, by being an effect—this "he has to learn"—they've got to set up all of his piano playing automatically, and as soon as it's being set up automatically according to music, in comes the old ridge. And the second we've got an old ridge coming in on him, it's moving faster than he is, and it goes boom! And boy, don't think it doesn't go boom. All of the automaticity about piano playing—he can't play that fast.

Then we get, every once in a while, a child wonder. He sits down at the piano, two years old, and pangity-pang-pang, Mozart and Brahms, zing-zing-boom-bong.

Or you get a kid four years old, and he all of a sudden starts talking ancient tongues. Somebody listens to him for a while and says, "My God, do you realize that you're talking algebra?" And he doesn't see anything peculiar about it at all. Just some old automatic ridge.

Well, sometimes they can handle them; mostly they can't. And when it caves in, it caves in but hard. It's running faster than they are. All right.

In the course of study, as we go up along the line, we are continually pushing the preclear to look at things which are running faster than we have the preclear running. So if your cases hang fire at any time, you're just auditing too slow, and using too slow a technique. Speed has everything to do with it. So that the fellow can't look quickly, you see—he doesn't look speedily, he doesn't carve through anything, his attention goes off in some other direction.

Techniques, as they are developed, make a very integrated picture. Extremely integrated, actually, since they are all designed to pick it up at the easiest end and reclaim with the least excitation of unhandled automaticity.

You know, a fellow's memory starts going to pot by handling automaticity and so forth, unless it's being handled by an auditor, and handled very well.

(Recording ends abruptly)

GETTING UP SPEED, PART I PAGE 2 2ACC-02A - 17.11.53

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