View source for Resistance to Effect (2ACC 531120)

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

'''Date:''' 20 November 1953

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

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This is November the 20th and the first morning lecture, and this morning we're going to talk about duplication.

If I start lecturing you in French in a couple minutes, don't be surprised, just click your own French ridges in and we'll carry on!

The processes which you have learned to date you may regard as introductory or elementary. I have simply been wheeling up the sixteen-inch guns and letting you have large explosive shells in the belly. Because we're dealing with the essentials, we are not dealing with the fundamentals. We are dealing with the very stripped-down workability, we're not dealing with the theory. We're dealing with intense practicality.

And as far as you are concerned, we are dealing with the way you open a Case—yours. And even though we are using it so that it is—amounts to—although these groups are very small, we're using it, essentially, just as a group type of process.

But that doesn't mean that you can escape individuality in processing. But individual processing comes about on a Step I. The shape most of you people are in, it doesn't matter. I mean, these processes will just keep gunshotting and they'll just keep working, you understand?

Well, let's get it up to a point where you can unmock the body and be elsewhere. You get that—what we're trying to do? Now, let's just get to a point where the body vanishes, and you can put it there and not put it there and put it there and put it—not put it there, and where you can handle your own bank: where you can put it there or not put it there, or put it there and not put it there. And then certainly you are free to be where you please without the interruption of flows or anything like it. And that's what we're trying to achieve.

From there on an individual has to have some individual auditing. But you can get up to that point without individual auditing, because the same doggone thing is wrong with every single one of you. The same thing, straight across the boards. It's wrong in varying degrees. But the variance of those is so slight as to be almost undetectable.

Practically anybody here, except those that are already Step Is, will find themselves flicking in and out of blackness as they're processed. Bing-bang, bing-bang. On go the lights, off go the lights and so forth.

Well, we're dealing with the essentials. Why does this happen? Automaticity. The machine. Which is, at the same time, "no further responsibility for that machine," which in itself is the definition for automaticity. Something set , up automatically to run without further attention from yourself; which means immediately that you've selected it out as a randomity. See, you're not any longer predicting its motion, so therefore, it's predicting your motion. So it's unpredictable as far as you're concerned.

And as you run this, these randomities click in and out, become uncontrollable and so forth, and then controllable again. You make a person do what the randomity is doing, and make him handle it and he takes over ownership of it, it ceases to be automaticity.

Now, understand this: Anything in your environment which has apparently been out of control, itself had a tendency to set up as an automaticity. You understand that? The sea, for instance, sets itself up as an automaticity. Why? Because men don't control it. You see what other insidious ways there are to set up an automaticity? We won't go into those particularly, because that's not important. Men feel they don't control it because they have gone down to it in ships and have raised other barriers and limitations upon their control of the sea. The actuality is, is they have to put the sea there to sail upon it.

Now, here we have our problem. Everybody—everybody who is alive and can perceive anything, is sitting on the postulate "survive." But how do we state "survive"? We state it: "Something, to survive, must resist all effects." So everybody is sitting on this postulate: "Resist all effects." And that's the highest limiting barrier. All other barriers are junior to that barrier. Because that in itself is survival.

Now, it also means that there must be a conflicting postulate in there that other things which one has to combat in order to survive must not resist all effects. And everything is set up to resist all effects.

And so you wonder why, when you've been processing a preclear, he kept sitting there like a log of wood. He's got to resist all effects. But because he was resisting your auditing effect, he became a randomity to you because he was not controllable. You see that? So the reason why your Scientologist finds himself a different kind of case is because he has set up another "resist all effects" machine.

The pc is sitting there resisting all effects. So he has "auditing, resist all effects of." And he's had these pcs in front of him who were resisting all effects, and this of course, keys in the bank on change of ridges and mental attitudes. And because we've been shooting so high into this stuff, we, of course, without triggering out that postulate, throw things into restimulation which just simply stay in restimulation to some degree.

Now, that has been, to some slight degree, the danger in this. I knew this factor existed, but to find an easily communicated process which would in itself care for it—easily communicated—I could do this, have been able to consistently here. But how to get that down so that we could really communicate it and say, "These are the essentials we're working with." All right. That's what I'm telling you in these last few days and just giving you those essentials. I don't expect you to understand them even vaguely, just use them. Because by using them, you will understand. And you'll understand the whole gamut of human behavior.

There it is—"survive" which means "resist all effects." Which means, at the same time, you must reduce all other effects which are contrasurvival. An individual, to survive, must, in every portion of his beingness, resist the bulk of the effects. He feels, at last, that he has to have effects from somewhere else on the DEI cycle. See that? He's inhibited other effects to a point where other effects have inhibited him, till a point where he started to cave in.

Acceptance Level Processing is wonderful. You'll find an actual thirst for such things as excreta, disease and so forth. An actual hunger is built up for this simply by inversion of the enforcement. It gets down to inhibition and then, pang! here the fellow goes. He's got a hunger for this stuff and you'll be amazed what happens.

But, by the way, Acceptance Level Processing does not get you there. It is an educational process. Comes under SOP 8-L. You want to teach somebody about life, you run all these odds and ends which are demonstrating things, you see. It's not a good process for a class to use, because you're right straight up into the stratosphere, kicking in postulates continually on "resist all effects," until the case gets rougher and rougher, you see. So we just have to turn it around this way and process straight on its heaviest essentials.

Now, you don't have to process the public that way. You can go out to the public, you can match-terminal this and run a concept and et cetera, and things happen. But the funny part of it is, is they get down into exactly these same strata when they're real bad off. They've triggered everything in on "resist all effects."

And you'll find some girl who is having a terrible time on the second dynamic—oh, just real rough—and you'll find out she's in the middle of a second dynamic "resist all effects," but she must have the effect, but she can't have any effect and here we go!

You don't have to worry even about the anatomy of maybe. You don't even have to worry about the anatomy of a ridge. You don't have to worry about anything like this. Let's just take these essentials: Survive is resist all effects; but then you've got to make an effect on other things which are resisting all effects, in order to keep them from existing. You get how this is? It's a tug of war between a set of postulates which resist all effects and which must cancel other effects, against a set of postulates which themselves must resist all effects and cancel other effects. We get persistence out of this. But we get persistence which is automatic.

Now, what is responsibility? Responsibility is the—not necessarily the action of operating something, but the feeling that one can operate something. If one feels that he can handle or operate something he has responsibility for it.

So where is the responsibility of your pc going? It's going down the drain into automaticity. Because he has delivered over some function of his life and beingness into other-responsibility. Of course, it's still his responsibility, but he has said, "It's other-responsibility." And so this goes into a dwindling spiral where, at last, an individual feels he can't be responsible for anything and he has to start assigning "other cause."

What is the actual "other cause"? What is the villain of the piece? Himself. He's the villain of the piece. And the "other cause" that he is combating is his own automatic machinery. And that automatic machinery has, underlying each and every portion of it—every ridge, every type of training which he has, every piece of energy which he's hoarding, has under it—"must resist all effects."

This is survival. This is how he keeps going. He has a feeling like he is moving along a time track because he thinks of himself as a communication particle. He is not a communication particle, he is actually motionless. The particles are moving. He is not, and never will move.

There is no such thing as a progress through time on the part of the thetan. But time progresses past the thetan. And you can get the sort of an idea of you with a bird's-eye view of an enormous number of particles which are shifting and changing continually. You don't shift and change ever. But you can sure shift and change the location of the particles with relationship to you. But the particles never change you. You never age. There is no age. But the particles age. Why do they age? Because you say they do. This is simplicity itself.

Now we've got the cycle of action which is the cycle of action of a thetan, which is create, persist and destroy. Now, that cycle of action is cared for—when we say, "Resist all effects," we've cared for exact middle of it. And anybody who is alive or conscious is running somewhere in the middle of that band—close to one end or close to the other end, but he's somewhere in the middle—which is, "survive; must resist all effects." Of course, he gets along the line, he mingles that up. "Must cancel all effects which are leveled against me" is "resist all effects," you see?

So let's get over here to create and find out what's there. And create is the ability to make a postulate. If you can unmake postulates, you can make postulates. So we've gotten over here to destroy. So we've got both ends of it there immediately in the same statement. In order to make postulates, you certainly must be able to unmake postulates. But unlimited making of postulates, without unmaking any postulates, is chaos—that's you!

And we get over here to destruction: the unlimited effort to unmake postulates without making any. That's a real rough one. And that is a sort of a frantic state of trying madly to knock all the MEST to pieces, when all one should do is knock the postulates to pieces. That's terrifically simple in the final analysis. All right.

So to solve the problem, we must solve that proposition on postulates: "Must resist all effects." You don't have to handle any other postulate than that, you see. Survive, persist, must resist all effects, must retain effects—all of these things come under the same statement and heading. You state it in various ways, any way under the shape of the sun that you want to, but it's still that postulate "survive," which is "must resist all effects," which is "persistence," which is "no effects must have any effect upon me," "nobody is cause but me," "everybody is trying to be cause but me and I have to resist their causes." You could just go on and make a dictionary full of statements and it would become the English language—or the French language, or the Russian language.

Where we have a preclear, we have these problems. And where we have persistence—because nothing does endure and because there's nothing but a postulate—we have the other one: duplication. There isn't a single particle in that ashtray that endures for a split second. No endurance. So one has to set up postulate machines to make postulates, which postulates will say, "Exist. Exist. Exist. Exist. Exist. Exist. Exist. Exist. Brrp-brrp-brrp-brrp."

And you start running this sort of thing and a person very often feels the MEST universe going all out of plumb, himself all out of plumb and his head disappearing and his body disappearing and this going this way and that going that way. So what? He can put it all back together again.

You're always, at every moment, with these processes we're using right now, dealing with an echelon which a person can handle. A psycho can handle this if you can even vaguely get in communication with him, just vaguely. Of course every—every time you make him duplicate anything to parallel a machine of any kind, you've put him more in control of his automaticity. His somatics inevitably—although they'll flare a tiny bit—they inevitably progressively get less.

Now, you can fully expect them, however—because you're knocking out various types of machinery—that if you don't hit somewhere close to the machinery they're actually trying to make resist all effects, if you don't get somewhere close to that, it's going to key, but heavy. So sometimes you want to ask somebody what he's been doing, you know? And if he's getting into trouble with highly generalized techniques, just ask him what he's been doing. Get a specific account of what his primary interest has been in this lifetime, and you'll find it's been this or that or something of this sort.

You find out he's been a painter—and boy, has he been trying to get paint to resist all effects. And then he's trying to keep paint from resisting all effects. And then he's finally decided it was bad for business for his paint to save the surface and save all, because he could paint more often and that'd be more work, so he doesn't want paint to resist all effects. Basically, paint must resist all effects. That's why he starts to paint the walls and so forth. And then afterwards, changes the postulate around—just the dwindling spiral—so that paint must not resist all effects. And then it gets into, he must resist all the effects of paint. You see how that is? So he's gotten down to the bottom.

And here you have some fellow's been standing on scaffolding for twenty-two years, something like that, and you're processing him and his primary automaticity—the one that's really live and sitting there ready to trigger—has to do with paint. So you just have him start putting up paint. If he can only get blackness, have him put up black paint that must resist all effects. Or black paint which must not resist all effects. Or black paint which mustn't affect him. And you just keep putting it up.

But how do you put this up? Well, remember duplication. You've got to have a machine going pocketa-pocketa-pocketa—you think. You don't. But you think you've got to have a machine going pocketa-pocketa-pocketa, duplicate-duplicate-duplicate-duplicate. So let's take over the essential elements of automaticity. Now, we do that by creation and destruction, or by wasting the machinery itself and, of course, saving, accepting, desiring, being curious about the machinery, and duplicating it. Duplication is the essence. Duplication, because Step II is automaticity, falls right under Step II—pang!

Unless you permit a continuous duplication on the part of the preclear, why, you're going to—the case is going to come up just so far and it's going to level off, see? You're going to wonder why the case leveled off. Well, it leveled off just because you were letting him let something persist, and then he sits there and lets it persist, see? You tell him to match-terminal something, and he puts up two beings and they stand there. He'll do this very happily if he's down around the level of V or VI, and you're solving him with these I and II level processes. Ooh! He'll put up somebody, he'll just leave it there. He puts up a black curtain, he'll hold on to it.

I made a test on this one time, and one of them was perfectly agreeable to hold a black curtain for five hours. In other words, obey its postulate that it must persist. Well, the second that you make him obey its postulate, his case does not progress, does it? You see, he's obeying the mock-up.

So let him put the postulate in there and put a black curtain that "must persist," and then immediately put up another one that "must persist forever." And then put up another one that "must persist forever." Put up another one that "must persist forever." Put up another one that "resists all effects forever." Put up another one that "must persist." Another one that "mustn't affect him." Another one, that "must resist all pain." Something on this order. You know, this person's …

Now, what's this tell you? Another one was "resist all tiredness," or something like that. You can get terrifically specific. But, by the way, you can get far, far, far too specific. You can think too much with this. If you just obey this fundamental material—duplicate it, get it so that it resists all effects and keep putting it up—you've got it licked.

The essential difference between your own universe and the other fellow's universe and the MEST universe is that you're making yours. And that part of it which you're doing a good job on is the MEST universe, and that part of it which you're doing a lousy job on, you see, is your own universe. And then you try to go into competition with MEST. Oh! How can you go into competition with you? You'll only be on two sides of the chessboard. As soon as a person starts to go into real arduous competition with MEST, he goes into real arduous competition with himself, of course. And so he's defeating himself all the time, because the best thing he's doing is the MEST universe. And the worst thing he's doing is what he's calling still his. It's just a problem in automaticity.

You can tell somebody, "Be the MEST universe. Be your own universe. Be the MEST universe. Be your own universe," and he'll go, "Rarrrwwhh!" Not a recommended process. All right.

Now let's take this and see how duplication affects this. Remember that to have an ashtray here, over a period of time, requires this matter of duplication, see? You got an ashtray, you got an ashtray, you got an ashtray, you got an ashtray. Every one of you who can see this ashtray as I hold it up has got a machine saying, "There's an ashtray. There's an ashtray. There's an ashtray. There's an ashtray. There's an ashtray."

At what speed is it saying it? Boy, that's really interesting: the speed is one over c. That's real fast. That's just gorgeous. But, of course, that isn't fast unless you say it's fast. You can speed some preclear up remarkably, so that he'll consider that slow. You can actually speed somebody up to a point where he, out of his body, can watch a photon going by. "Well, it's gotten five feet now." It's very interesting, you see, he just doesn't consider it's fast—he can run at any speed. All right.

So this ashtray here has a persistency which depends upon duplication. So persistency depends upon duplication. You get that? You don't put up something and then it just persists. If you put up something and then it persists, it's because you're saying, "Duplicate. Duplicate. Duplicate." So there's essential part of the machinery you're not taking control of, which is "duplicate, duplicate, duplicate," see? So you must duplicate it in order to take over an essential part of the machinery. Because the essential part of automaticity is "duplicate." All right.

Now, let's get an idea here of what this is. Now just look at this wall and get the idea of your putting it here, and you can blink your eyes or something of the sort, and just get it here, duplicate it, duplicate, duplicate, duplicate, duplicate. You keep that up very long, the walls start to wobble on you—which is, of course, upsetting to people because they haven't taken over the basic controls of duplication.

So let's go about it this way, which is not even vaguely uncomfortable:

Let's put some sadness in this wall up here.

Now let's duplicate it.

Now let's duplicate the sadness.

Now let's duplicate the sadness.

Now let's duplicate the sadness on the side wall over here.

Now let's duplicate the sadness over on this wall.

Now let's duplicate the sadness in the ceiling.

And let's duplicate the sadness in the floor.

Possibly much too fast for some of you, but there's the process. See? And this is "chronic sadness machine." And you're just shooting it to pieces.

Now, there's people who have "chronic apathy machines." Are they actually in a state of apathy? No. They have a machine which duplicates their apathy. All right. Now, if they've got a machine which duplicates—remember that the basic machine is always some kind of a simple postulate rig—but other people have come along and used the machine later, so there's all sorts of locks come flying off of these machines. But don't think for a moment that those locks belong to anybody but you. You have to have a basic agreement with your basic postulates with the rest of the universe, or you wouldn't see it at all.

So let's tamper with the mechanism with a pc slowly and give him assurance. Don't make his whole body vanish—just say, pang! "Make your body vanish"—because he's actually liable to. He's liable to—body gone—and all of a sudden say, "Oh, my God, it's gone!" And now you've got him all upset, and some auditor has to come along and spend an hour or so with him trying to get him over this fright.

Yeah, some fellow mocks up some terrific mock-up—he just gets going just fine—and some auditor then says to him, "Well, all right, now mock up a big robot walking towards you." He does. See? And he does have a big robot walking toward him that's going clank, clank, clank. Ohhh! Well, somebody will have to work with him for maybe two or three hours, see, to get him out of this startlement. He was told to make a robot, and he didn't believe he could still make robots like that, and by gosh, he did! And, of course, he immediately had to say—at the instant he made it and it surprised him—that "it's somebody else's robot." Why? "Because it scares me."

So, you see the essentials of this?

Now, we can put this down very simply. You put emotions into MEST and into mock-ups. You can put it in in brackets. And as a matter of fact, today you'll start putting it in in brackets, and duplicate it. Now, we don't, then, today, from here on—now that we've gotten our—the tip end of the large right toe damp with this, let's go into a point where it'd at least cover the nail of that toe. Which is, whenever you put up something, duplicate it in all the walls and in any other part of the scenery, exteriorized—I mean, outside the building. You know, a person can be in his head, by the way, and do that outside the house—it's quite fascinating. Lot of times—whatever you've got there, put it out a lot of times. And then put it out in a bracket—each time, several times. See?

Now, here'd be an example: "In all four walls of this room, floor and ceiling, put sadness," see? Then, "Somebody else putting sadness, all four walls of the room, floor and ceiling." See, they do that one after the other, not just put it all in there because that's just one time, see? We want a duplication. We want some sadness in that wall and sadness in that wall; and we have somebody else putting some sadness in the back wall and sadness in the front wall. All right.

After he's done it a number of times, we have somebody doing it for somebody else: "Have somebody put some sadness in the walls for somebody else. Have them put it in the side wall, front wall, back wall, top wall, bottom wall and so forth, for somebody else."

Now, "Have somebody else putting some sadness in the walls for you." And we, again, run this front wall, back wall, right side walls, left side wall, floor, ceiling.

Now, "You putting it in the walls for somebody else." And again, sadness—"You putting sadness in the side wall for somebody else, sadness in the other wall for somebody else, sadness in the back wall for somebody else, sadness in the front wall for somebody else, sadness in the ceiling for somebody else, sadness in the floor for somebody else." See that?

And those of you who are still having a fearsome problem with occlusion, you know, that one is solved with a bracket with black panels.

Now, although we're still working squarely with the MEST universe, you'll find out that some of these work with their own universe much more easily. That's quite all right, because they built their own barriers. Their barriers are, to them, more remarkably strong than the barriers of the MEST universe. And so, when you run brackets on them remember to run it in their own universe and in the MEST universe. Each one with a bracket. In other words, get a mock-up—a black mock-up—and duplicate it and duplicate it and duplicate it.

Now, there's an exercise for just straight blackness which is quite remarkable—you just put it up in a bracket. You put up about five, six, eight, ten—doesn't matter how many—for each part of the bracket of five, a black panel that must persist and resist. Get the feeling of effort to persist and resist in it. Now, they'll get the—they get the postulates into it more easily with a feeling. You know, they make it feel that it must resist, instead of think that it must resist. And boy, you'll have more blackness and somatics flying around than you care to run into for a long time. You keep making it persist, keep making it persist, you see? All right.

And you do it in this fashion:

All right. "Have you put up a black panel for yourself that must persist. Put up another one. Put up another one. Put up another one."

Now, "Have somebody else put up a black panel for himself that must persist. And have him put up another one." (And, of course, they'll just get the vaguest and foggiest notion that there's somebody else doing it, but that's all you want.) "Somebody else putting up a black panel. Somebody else putting up a black panel. Somebody else putting up the black panel. All right."

Now, "Let's get somebody putting up a black panel for somebody else. Now have the panel resist. Get him putting it up resisting. Have him put it up resisting all evil. Have him put it up resisting all effects, resisting all evil. Okay."

Now, "Have somebody put up a black panel for you. All right. Now put up another one. Now put up one that resists all evil. One that resists all effects. One that resists all pain. One that resists all tiredness. Okay." (You vary it enough to keep up their interest, but you're—what you're doing is duplicating a black panel.) All right.

"Have you put up a black panel for somebody else now. Now put up a black panel that must persist. Another black panel that must persist for somebody else. Another one that must persist for somebody else. Another one that must persist for somebody else. Okay."

"Now get you putting up a black panel for yourself." And here we go, see?

"Now let's put up this black panel with some effort in it. All right. Put up another one with some effort in it. Put up another one with some effort in it. Another one with some effort in it."

"Now have somebody else putting up a—black panels for himself. Have him put up one with some effort in it. Another one with some effort in it. Another one with some effort in it. Another one with some effort in it."

About this time some member of your group suddenly says to you, "Gee, I keep stringing these things on a row of beads. I don't know," he says, "they keep stringing on a row of beads."

You say, "Are you getting rid of any of them?"

"Well," he says, "they're on this row of beads and it flies off into the far distance."

You say, "Well, after this, see if you can't make them fly off into the far distance after you've mocked them up."

Now, you can just stop in that particular unit—should, perhaps—and handle this individualized problem of automaticity. Because there is your automaticity. And boy, it shows up on black panels the like of which it never shows up on anything else. You can have mock-ups flying all over the room and kicking up their heels and jumping over the roof and so forth. It's never as—quite as much as what happens, really, when black panels start to break up and the automatic machinery for them starts to key in. They'll fly away to the right and fly away to the left and string themselves on beads and pile themselves up as mattresses and change themselves into doll carriages and do all sorts of things—zing, zing, zing! And unless your pc has triggered that very automaticity and so forth, he hasn't done too much. But remember, you're doing a process which undoes automaticity, so the tenure of the automaticity should be very brief, it should come under control rather easily.

And one doing the process should recognize an automaticity when he sees it and just duplicate it—make it a little more so, is all he has to do. And all of a sudden it's under his control. Somebody really starts bogging down with a terrific automaticity, just turn around and fix them up in the group. But a man should be able to just—if he sees a lot of purple dots all of a sudden, they're swinging around in front of his face, have him throw a few more in there. And all of a sudden, why, he—got that under control.

Now, what's the rest that you should do with this blackness? All right. Here's your next drill on it:

You make the front wall black with effort in it.

The side wall black with effort in it.

The back wall black with effort in it.

The other wall black with effort in it.

The ceiling black with effort in it.

The floor black with effort in it.

And each time with a feeling "it must persist." Effort. And they all of a sudden realize effort is the postulate you've put in about a persistence. That's what effort is. All right.

That's your next stage. Now, you vary this with a person who is running it by throwing in, every so often, something about emotion. And you duplicate it each time. Any kind of a basic emotion like tiredness, effort—it's not an emotion, of course, but you just have them put effort in these walls without any attention to blackness for a little while.

Now, there's another drill that comes in there: Have the walls of the room telling the preclear where he isn't, and refusing to tell him where he is. Very specifically, it works best when—have the walls of the room refuse to tell him where he is. You run that right now:

Have the front wall refuse to tell you where you are.

Side wall refuse to tell you where you are.

The back wall refuse to tell you where you are.

The other wall refuse to tell you where you are.

The ceiling refuse to tell you where you are.

The floor refuse to tell you where you are.

Now have the upper corner of the room there refuse to tell you where you are.

The lower corner of that room refuse to tell you where you are.

Now have the upper corner of the room refuse to tell somebody else where he is.

Of course, you'd go on through the corners of the room with that and then go into: "Have the upper corner of the room refuse to tell you where somebody else is. And refuse to tell somebody else where you are."

That would be your total bracket. Got that?

Well now, you vary that with your V level or occluded level case. You vary the processing, because he gets pretty flighty.

Now, if somebody who has a great deal of occlusion starts to get too flighty, for heaven's sakes, remember that I read you an Abbott company piece of advertising that said that Bl did something for blackness and occlusion. And that it said specifically, "When the preclear becomes very restive and his legs start to jerk," it said, "according to Dr. Hubbard, who insists now that he be called Mr. Hubbard," it said, "you must feed him with Abbott and company's handy jim-dandy little b1 pills to the amount of about 200 cc, preferably 200 cc"—well, yes, that would be a little bit, wouldn't it? Well that was their misprint. (audience laughter) Two hundred milligrams and some calcium in milk probably. If you can take them in milk it's much better—couple of hundred milligrams. "Somebody's occluded," it said in the folder, "somebody occluded starts to get jumpy under this, why, pump it in."

But there's another method which I can give you now which is just as good, and that's put franticness in the walls. But if you're going to start putting franticness in in brackets for a case that's down the line and fresh out of space, boy, you just make sure if you're doing the auditing at that moment, or you start to get groggy and somebody else starts doing the auditing at that moment in the unit—boy, you make sure that you beat that to death, you understand? I mean, don't start in on franticness and then skip it. You understand that? Because it'll actually throw a pc—some pcs—into convulsions. And they'll run right on out, just as nice as you please, if you just keep on duplicating the feeling of franticness in the various walls. See that?

Now we have a specialized one. And, of course, this is still under Step II. Put up a body to resist all effects of auditing. Put it up a couple of times, in brackets. Now, boy, don't forget that. That's for everybody. That's for everybody. Putting up a couple of bodies, in brackets—as I say, run it in a bracket, each time two bodies up there—to resist all auditing. All of your pcs will blow up and disappear, and you'll feel so much better, you'll wonder how the devil you ever got to feeling bad about it. You understand that?

Now, you could vary that. And there is a different method of varying it which is very simple, is "resist all effect of engrams." But remember, "all effects of auditing" is the main one. Resist all effect of engrams, resist all effect of other people's thinking, resist all effect of other people's control mechanisms—you can go on and on with that if you want to, but the one which is closest and most pertinent to you is this matter of auditing.

Yes, "must persist." Now, you must remember to put that up there, "the auditing must persist," to you. Because you've gotten a lot of—you've got a lot of that down into the effort band. All right.

What is duplication?

Male voice: It's like—duplication is continually mocking up what you have, over and over again.

Well, you mock up something new over and over again, but you just say you're duplicating. Yeah, that's very good. Very good. Why do you do duplication?

Male voice: Because you have automatic machinery which keeps doing it and you want the preclear to assume control of the automatic machinery.

Good. And how does the automatic—what's its prime functional operation?

Male voice: Of the process or the automatic machinery?

Of the automatic machinery.

Male voice: It's to make everything persist.

That's right. And how do you make anything persist?

Male voice: By duplicating it all the time.

That's right! That's right. All right.

What's blackness doing?

Second male voice: Covering me up. (audience laughter)

What's it doing?

Second male voice: All I get out of it, it covers me up.

Mm-hm. That's all you get out of it?

Third male voice: Helping me resist all effects.

That's right. That's correct. What is blackness doing?

Fourth male voice: Helping to resist all effects.

That's right. That's right. Okay.

What does this have to do with survival?

Male voice: Well, it's just contrary to survival.

What is?

Male voice: The—having you be an effect instead of being able to control it. Because to survive, you must get it under your own control.

Go over that again. Let me make the question much more specific. What does resisting all effects have to do with survival? (pause)

Male voice: Well, it makes you wonder if you can survive while one is resisting all effects.

What does duplication have to do with survival?

Second male voice: Duplication is trying to make it persist all the time.

Mm-hm. Can persistence occur without duplication?

Male voice: Hm-mm.

That's right. You see that clearly? What is automaticity?

Third male voice: Turning it over to the machine, not having control of it.

Mm-hm.

Third male voice: Seeing that it's other-responsibility.

That's right. Why do people do this? (pause) Why do people do this?

Male voice: So they can be an effect, and not cause.

That's right. Why do people do this?

Second male voice: I've got a machine that throws away the answer every time, so … (audience laughter)

Audience: Randomity.

Ah! That lost word—randomity. Somebody picked up this word, by the way, early in Scientology for their randomity. People have had trouble with it ever since. It's simply a way of stating the ratio of predicted to unpredicted motion necessary to interest an individual. They have automaticity to produce randomity. When a case has too much randomity, it is because he has set up too many things in automaticity. When he does not have enough randomity, he has not set up enough automaticity, or he has set up too much automaticity which cancels itself. Simple?

What are the essential parts of the process we're doing here? Just give me in—four essential parts of the process we're doing.

Male voice: We're doing a duplication. We're doing the freeing of the emotions with the full realization that we place the effect and we get—and receive it back again.

Right.

Male voice: Four. We're becoming aware of our automaticity.

Right. Let's restate that one: we're taking our automaticity under control.

Male voice: Yeah. Well, that's becoming clear to me.

Yeah. But let's take …

Male voice: Once you're aware of it, then you have a choice.

No.

Male voice: Well, when I said permission …

No, just roll up your sleeves, get your hands dirty because you're going to take over every automatic machine we can lay our hands on here. And we'll just put you in a condition whereby you could set up new ones. Okay, give me one more.

Male voice: Hm?

One more.

Awareness is not taking control of.

Male voice: No, no. You …

You can look at something without grabbing it.

Male voice: Yeah.

Okay. Let's go, one more. It's the one you're doing right this minute.

Male voice: Thinking machine?

No. No.

Male voice: Duplicating …

You've got that.

Male voice:… well, I am, in a way, yeah.

Come on.

Male voice: Seeing black ?

No.

Male voice: I'm guessing now.

Resisting all effects! (audience laughter) You see how—what a sneaky one that is?

Male voice: And Ron, when you—on awareness, that was an analogy, a beautiful analogy, for me when you said—about the black curtains? Tom worked with me last night on that and in creating them, duplicating them, this morning this analogy came: the photographer puts in a black something because he's never quite ready to take the picture. And we're never quite ready to see clear…

Hm.

Male voice:… the postulate there.

Mm-hm.

Male voice: Not quite ready to see clear because the subject isn't—oh, in the form in which we'd like it.

That's right. That's right.

Male voice: That was a clear analogy, we will attest to.

All right. Now let's look at those four essential parts, what you're doing. First one: survival and the necessity if one survives, then, to resist other effects which don't want him to survive. And one puts that in so strongly that he simply says, "Resist all effects," and that becomes in the MEST universe, conservation of energy. See that? Conservation of energy is just "resist all effects." There's a lot of energy around that does too. That's—asbestos—you can't burn it and so forth. But people do manage to put it out in sheets. There's all sorts of things. There—nearly everything is tailored up to resist a majority of effects. And here that is survival. Resist all effects. Which is persistence, which is why the case persists, which is why the case doesn't change.

Now, if you can start altering a piece of automatic machinery, by the way—if you start altering a piece of automatic machinery, you start taking control of it. You take control of it a little bit by changing an emotion, by changing a color, by altering the effort, and always by duplicating it. You start duplicating the machine, and the machine will stop duplicating. That's a little motto for you.

So that's the next one, is duplication. You start duplicating the machine and it'll stop duplicating. People have these automaticities and that is other-responsibility. They have these automaticities. The way they get them back is to create and destroy symbols of the automaticities. Or waste, save, accept, desire, and be curious about, in brackets, the same machinery. Or create and destroy it.

And there's another process which you will run into later on, and I might as well mention it because I use it in auditing all the time, is throwing postulates into the things and blowing them up. It's real cute. I hadn't done it for a long time, was doing it this morning and happened to call it to my attention. See that? It must persist. Now, mock up some black curtain and put the postulate in it, "it must persist." Okay. And now you put the other—another postulate in, "it must persist." After a while it gets silly that you keep putting this postulate in there. And then you can blow up one of them. Or you can blow up a postulate that must persist. Well, you'll blow up the whole darn bank.

Now, the other one, another little caution here is—remember this by the way, the next one on that little list I was giving there is just location. That's a covert one, but every time you're putting something up, you're locating. See, that's sneaking in on the process. We got a process that does a lot of sneaky little things. It slips into the cogwheels. All right.

You start doing these things in brackets, and even more will start happening than has been happening.

And wherever you employ your Steps I and II, just remember what you're doing. With Step I you are locating. You are locating. And the purpose of your doing that location is to get the preclear so high on the Tone Scale he does not have to be located and that is the goal of Step I. He knows where he is and knowingness is sufficient location for him, and when he sees location and points and so forth, boy, it all gets brighter than the—oh, it's real bright! I mean, this really gets polished. He really is certain where he is. Now, that's the goal of Step I, see? You get him up to a point where he knows where he is all the time, then his sole interest in location is locating other things with relationship to other things. It has no effect upon him. As long as he's being affected by location, he's in poor shape. All right.

Now, let's get the goal of Step II. The goal of Step II is being capable of handling and controlling, being part of or detached from, any and all automaticities. That's the goal of Step II.

We're going to solve these goals just like we've been solving them here.

(Recording ends abruptly)

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