

LONDON GROUP COURSE TAPES (1953) 8/8 repost



CREATIVE ADMIRATION PROCESSING

Alternate Title Mock-up, Certainty, Group Processing.

LGC-6

A lecture given on 10 January 1953.

According to the Flag Master list, this was given on
Jan 15, 1953, but that is after LRH began the
PDC Supplement lectures in London (which started on
Jan 12), so the R&D date of Jan 10 is probably correct.

[Based on R&D transcripts.]


All right, This is the sixth lecture, and the lecture here
is Creative Admiration Processing, I'm going to give you a
brief rundown on this subject and on mock-ups in general,

What is a mock-up? The word mock-up is military in origin,
It has this characteristic: During the war they would very
often stage a battle or stage a landing or something of the
sort, and they would build actual sets with which to make
this stage, And these sets would be called mock-ups, and
that meant that they weren't actual. Well now, to some
degree the word mock,up is unfortunate in that it is
actual, but - a mock-up is actual, Now, the point here is
that the word describes a special thing. It is not, really,
an idea; it is not something one imagines, It is an item,
it is an object.

But let's get that very clear right there as an important
datum, A mock-up is an object. It is an item. It exists at
a finite distance from the preclear. It is of a finite
size, It has an identity and it has a location in space and
time. You can actually mock up in the past, the present or
the future. You want the mock-ups in the present or in the
future, not in the past, really.

But in Self Analysis, to be on the safe side, we mock it
all up past tense. That will run out the whole track.
That's because it hits the people who are sure they only
have mock-ups in the past, they only have terminals in the
past They know they've got a past, so they can put a
mock-up in the past.

You will find, gradually, if you were looking into their
minds, their mock-ups would drift first in the past, in the
past, in the past, and then they would drift forward into
present, a little more into the present. The next thing you
know, they would be having mock-ups right up here, you see,
right here in the room with them. And then the next thing
you know, they'd kind of be mocking into the future and
into their own space.

But each time that mock-up has a finite location in space
and time. It, at its optimum, is a three or more
dimensional picture in full color, sound, motion and with
all other perceptics present, and with a solidity one could
perceive as superior to the solidity which he perceives to
exist in the MEST universe. That one is an optimum mock-up.

And a really optimum mock-up would be all those things, and 
have a persistence such that it would stay there after you 
had mocked it up and go on acting of its own volition, and 
other people would see it. Now, that would be a mock-up to 
end all mock-ups. All right.

Then we're dealing with a specific object, an item and
thing here when we're dealing with a mock-up. We're not
dealing with just an idea, pictures, something of the sort.

You'll find out from individual to individual there's
tremendous variation, tremendous behavior. One of them
mocks something up and it goes off erratically and does
this and that and other things, and he doesn't control it
at all. Well, the trick is to get the mock-up as good as
possible and under as full and analytical control as
possible with the least possible use of energy. Now, you
want - you want this mock-up under full control, you want it
in a specific position, you want the person to be able to
move it, place it, so on.

You'll find out most people, wog people have mock-ups which
are two-dimensional; they're flat and gray, or they're
mocking up in black space, or they're doing this with the
mock-up or doing that with the mock-up. Well, fortunately
we can change the characteristics of a mock-up now as easy
as you can change your hat. Let it sink in for a moment.
Just because people get these various mock-ups is no reason
they can't be changed in characteristic. A mock-up's
characteristics can be changed almost at will by an
auditor, simply by getting the preclear to admire the
imperfections.

"Get a mock-up." "Got it?" "All right," "What's wrong with it?" 
"Admire that," A fellow getting a mock-up in black space -
"Admire that blackness." A fellow getting a mock-up - he can 
mock up women, but he never gets a woman with a face - "Admire 
that fact she doesn't have a face." Admire that facelessness, 
and faces will appear. And in such a way by admiring these 
imperfections, you can monitor and change the quality of 
mock-ups at will.

Now, to remedy blackness on a mock-up - blackness means just
blackness. Actually, it'll appear to be something that
people think something was in blackness, because blackness
is so capable of having something in it. And they don't
know for sure, so they just guess there is something in it.
It's safer to have something in it than to doubt it has 
something in it, so we'll put something in it, so we'll 
say there's a blackness exists. Sometimes you'll get blackness 
flowing away from an individual, and it'll flow and flow 
and flow and flow and flow. There's no flow of blackness, 
but it'll flow anyway.

Now, we get to people who are admiring how black it all is,
and the darnedest things will occur to that blackness. Now,
there's another method of remedying that, and that is to
run what we call a bracket dichotomy on it, because
preventing admiration, preventing admiration is black. When
you see blackness, you know admiration is prevented.

The second that somebody tells you, "Look, I've got a lot
of blackness," you say to yourself right there this fellow
is present - preventing admiration, not only in the past but
in present time. How's he doing it? Who cares. All he has
to do, if you're running him on flows, is get him to
prevent admiration from flowing. Just do that.

Just ask him, "Now, let's get the idea of preventing the
admiration from flowing," "Preventing something from being
admired. That's right," "Now protect something from
admiration," "Now hide something so it won't be admired,"
This is subzero Tone Scale, bracket dichotomy, That's
Professional Course stuff. I'm just giving it to you at
this point, but there's other ways of handling this.

The next thing you know, everything will turn blazingly
white on him and practically knock his block off. And he'll
say, "Gee-whiz, there's - there's ... There - there -
there's - there's dogs, and there there's - there's my
dog, Bingo. And - and there's this one and there's that one
and there's Papa and there's Mama and there's - there's my
schoolteacher and there's this one and, gee! How did all
these people get here?"

And you say, "Now, we're not interested in that. Just get a
mock-up there, and prevent it from being admired,"

"Now, there's my first wife, my second wife, my third wife,
my sixth wife, my eighth wife, Gee!" That's blackness.

The second you spot blackness you know somebody is
preventing admiration from... Well, when I say preventing
admiration from flowing, he's just preventing flowing. So
you know he's stuck on the time track. Why? Because to get
up to present time on the time track, you've got to unstick
a person, and he's going to stick unless he's got some
grease. And what's grease? That's admiration.

He can't get terminals because he hasn't got anything to
let terminals flow, and his lack of that particle will keep
him from flowing. It's very interesting. Very good 
manifestation, so on. :'i 

Well, you're not too interested in this as a Group Auditor. 
But don't get downhearted if you have your class - the
can'ts - segregated out and you have to process them.

Now, don't take just one can't and process him and another
can't and process him and another can't and process him.
No, no, no, no, no. Don't give him any special attention,
because you're denying the rest of the groups and so forth.

Make a group out of the "can'ts" or the "maybe can'ts." 
Just make a group out of them and then process them for 
short, brief times. And how do you process them? Well, you 
process them this way: "All right, now get an idea that 
there's a mock,up out there." 

The guy says, "Just an idea? There - class."

And you say, "Just an idea. Yeah, just an idea there's a
mock-up out there someplace." 

"All right. Ah, I get that."

"All right. Now get the idea of preventing it from being
admired." Wham, they'll go right out of their seats.

This is horrible. Two or three of them are practically
going to blow their heads off before you've run this
process very long.

That applies to little children, too. They're preventing
admiration. You'll find out in little kids' cases there is
- are members of the family who are preventing them from
admiring others. "You mustn't admire your father." "You
mustn't admire your mother." "You mustn't admire your
great-aunt Bessie Leu." And the child doesn't want his
mother to be so admiring of his father because it denies
him admiration. He's got a scarcity level of admiration 
already.

So we've got these interpersonal situations preventing
admiration, which is going on right in present time, and
you just have to pull the cork on them and let those flows
flow from terminals to terminals, and the case solves. And
by the way, the case solves, which is what's interesting.
It isn't just the mock-up. Whatever a mock-up won't do or
mock up can't do, that person in his life isn't or can't
do. There, that's a parallel. A person acts as good as he 
can mock up. Horribly true.

Now, the odd part of it is, is the person can have lots of
reactive mind and be sitting on top of this with lots of
analytical mind. Remind me of a professor one time that was
very famous, he - for his temper and so forth. And one of
the - he got mad at the class, and one of them came up to
him after class and said, "Sir, I wish you'd control your
temper a little better."

And he says, "Young man, I will have you know that I
control more temper in fifteen minutes than you control in
your entire lifetime!"

Now, it's sort of that way with the reactive bank and the
analytical mind. There's some of these people who just have
a horrible reactive bank that they're controlling quite
admirably. The only place you really see it reflected in
conduct to amount to anything is in their mock-ups. But
they're skidding in the direction of that inability.

Now, a person who is fixed, sort of, he - every mock-up he
gets. He'd get a mock-up and then he couldn't move it
anywhere. See, he just couldn't move this mock-up.

By the way, there is a way of moving mock-ups. You move
them a little bit and then you move them more. Gradient
scale, you see? Do things a little bit and then do them 
more. And then do them more and more and more, and you get 
the whole thing going. Control something a tiny bit and 
then control it more and more and more. There - you can't 
get rid of this mockup of this man, well, all right, get 
rid of one hair on his head. And then get rid of two hairs, 
six, eight, his hair, his head, the man. That's getting 
rid of the whole mock-up. All right.

Producing a mock-up - can't produce a mock-up with somebody
or other? Get something they touched once. Get their
handkerchief. Now get a stocking. Now get a shoe. Now get a
foot, feet, legs, body, head, mock-up, there it is.
Gradient scale, you see. You do a little bit, and do it all.

Now, you can create things in that fashion. But if you just
admire their imperfections, you can achieve the same and
even a superior result. So we have this in Mock-up
Processing as a big bonus right at the present time, here,
you see.

Now, your three classifications, then - this kid who was too
fast. (snap, snap, snap) Bang, bang! No persistence, you
see? He hasn't any persistence at all. There's a
nonadmiration of persistence present there, you see?
Persistence is what's missing - pardon me, is nonadmiration,
nonpersistence. So what you've got, you've got to
admire - get him admiring the disappearance of things.

It's very easy for you to figure out. Just get him admiring
anything he's doing. That's the rule behind this, just
anything he's doing. The mock-up disappears too fast, get
him admiring that speed of disappearance. And the next
thing you know, you'll find out that he's lost more
terminals, more things, more homes and so on. Every
terminal he ever had in his whole life has a tendency to go
out from under and disappear. Boom, boom, boom! It's
gone, gone, gone, gone, gone. Next thing you know, he can't
get mock-ups. Reason he can't a mock-up, it's paralleling 
the reactive mind. Mock-up has a lot to with the reactive 
mind.

Now this fellow gets a mock-up and he can't get rid of
it - nrrrr, nrrrr, nrrrr. He's had no admiration for holding
on. People keep telling him, "Now look, you shouldn't hold
on, you should get rid of it, you shouldn't hold on to
this, you shouldn't hold on to that." He just holds on. And
then they say, "We don't admire you." And he holds on. And
they say, "We don't admire you." And he gets - then he
gets insisting: "Look, I'm going to get some admiration for
holding on if it kills me." Years later when you ask him to
get a mock-up and he gets a mock-up - and you say, "All
right. Now get another mock-up." "Now get a rabbit." "Now
get an infantryman." "Now get an airplane." "Yeah," he
says, "what do I do with the rabbit?" And you say, "Well,
put it away."

"Yeah, Ha-ha. It doesn't go anyplace. As a matter of fact,
the harder I try to put it away the more it stops right
there." What do you do?

You admire - get him to admire its persistence. And if it
disappears, you get him to admire the way it disappears.
Simple. Whatever he's doing, get him to admire it. or it 
to admire him.

Now, the phenomenon of boil-off is one that's quite
important to you. And if you are teaching or processing a
class like this and you are lecturing to a class like this
and you saw two or three of the students asleep, and if you
were really on the ball and you weren't making a tape,
you would simply make them get up and turn their chair
around. That's all. If you were all to turn your chairs
around right now, you'd wake up and go home very fresh.
Why? You've got sound flowing into the face of them. That's
all. Really, I ought to ask you at this moment to turn
around and have - and let the sound fly in the other
direction. Because it would, it'd wake you up.

I think we might as well do that. Why don't - why don't 
you all turn around, face the other direction. (audience
laughter; sounds of moving chairs) All right, now that
you're all turned around, I'll finish this lecture.

Now, the phenomenon of boil-off is a one-way flow; it's a
flow that's been flowing too long in one direction. And
you'll find at first a person, when he turns around and
flows - gets a flow in the other direction - has a tendency
to wake up.

Now, this works to a slightly lesser degree than in
processing when you go through a program like you've just
gone through. You're turned around now. Now you have the
sound flowing past you in the opposite direction. It's very
possible some of you might feel a little relief on this.

Well now, this manifests itself in terms of boil-off. A
person will simply go to sleep on too long a flow. And once
in a while if you're processing children or adults, you will 
find them suddenly falling down across their desk and going 
out cold.

Well, don't think something horrible has happened. They've
just put the mock-up in front of them and in front of them
and in front of them and in front of them and in front of
them, and they've flowed toward it and flowed toward it and
flowed toward it till all of a sudden they went too far on
the one-way flow and it knocked them out.

Now what you do is simply turn the mock-up around and put
the mock-up behind them. And you put the mock-up behind
them and let them put it behind them. This first one they
put behind them will brighten them up and give them a
tendency to awaken and be brighter and fresher.

So when you see a person getting groggy, you should, as
Group Auditor, indicate that person and tell him to put the
mock-ups behind him, or just as general practice, you ought
to shift the position of mock-up on the whole group,

Now that has two parts to it there. If you notice somebody
getting groggy suddenly and inexplicably when the others
aren't, you know he's got a mock-up where he shouldn't have
one. So you just ask him, "Where did you put that last
mock-up?" He'll say, "I put it behind me."

You say, "Put the next one in front of you and go on with
the rest of the mock-ups." And you should shift for the
whole group the mock-ups and the position of the mock-ups
where - at regular intervals, let's say, at the ratio of
about six mock-ups.

Don't ever go on about - more than about six mock-ups
without saying, "All right, now put them behind you," and
six more mock-ups without saying, "Put them on the right of
you," and six more, "to the left of you." And six more,
"above you." And six more, "below you." And then "in front
of you" again.

You'll have to remind people of this once in a while. And
you should change them around because they will very often
have the idea of putting a mock-up out there in front of
them. And they shift it behind them for one mock-up and
then they put the next one out in front of them again
because they got too strong a flow running and the flow is
mastering them, and they're no longer mastering the flow
You see how that would be? All right. 

So, we shift the mock-up around. And when anybody starts
boiling off, if they just boiled off and you didn't catch
them in time, it's nothing very dangerous. They'll just
simply sort of snore it off. And if you want to wake them
up, you don't have to take them out someplace or do
something special or get smelling salts or something. Just
kind of shake them awake a little bit, easily and gently
because they can be startled with this, and you just say,
"Where was the last place you put a mock-up?" And they
say, "I put one - I don't know."

And you say, "Well, put a mock-up, now, in back of you. Now
get a current of water flowing at that mock-up," or some
such thing or "Get something flowing from the mock-up to
you." And all of a sudden they'll brighten. That's all. And
you just got the way they'll run. Well, they'll brighten
right up and they'll wake up on something like this. Now,
therefore your mock-ups should be placed, and if placed too
long in one position, will cause boil-off; and boil-off is
just too long a flow in one direction. That's all that happens.

There is nothing else you need to know about boil-off. It
just happens that that's it. It means that the particles
are changing in location to each other so as to produce and
restimulate an old period of unconsciousness. That's what's
happened,

It doesn't matter, by the way, about boiling off. If you
had a person boiling off for hours and hours and hours and
hours and hours - we've boiled them off for as long as three
hundred hours with no slightest benefit to the case. So
don't get the idea it'll do the case any good, because it
won't.

Now, these mock-ups will do all sorts of things. They'll
fly around like mad, They will go into various erratic
levels of action. You can't be too sure of what the mock-up
is doing for your group. Well, at a Group Auditor level you
don't care what this mock-up is doing because you can be
sure it's going to get better. But at first, you will have
various erratic things happening about a mock-up. You will
have a mock-up occurring there that, well, every time he
gets a person, this person is jumping a hoop over - through
a hoop. And just keep jumping through the hoop. He didn't
tell this person to jump through the hoop, it's just what
happens to this person. He will eventually get to a point
where he's no longer doing this. I mean, it'll wear out.

Erratic things not called for. Now, they'll complain to you
that their mock-ups are doing these things or they will
think it's very funny to have a mock-up amuse them this
way. You needn't pay any attention to it at all. You can
just know that mock-ups are going to do strange and
peculiar things. And if you must do something about it,
just get them to admire that peculiarity and it'll
disappear. The theory behind mock-ups is that the MEST 
universe is an illusion, and that one must increase one's 
ability to create illusions in order to exist better and 
perceive better the MEST universe. And to think better, 
one certainly must be able to handle illusion. If he can 
handle illusion, he can handle imagination, which means 
he can handle the future. And the future is computational. 
Actually, what it is, is putting electric terminals into 
the future when you put mock-ups for the future: things 
to be admired, things for which I'm going to be admired.

Now, you do mock-ups in order to rehabilitate the
individual's control of objects, persons, things, and these
things all occur rather regularly. The processing of an
individual of the group, away from the group, should be
done just with that. You should take this individual all
the way out of the group if you're going to process him.
Now, I've mentioned to you this: you shouldn't process an
individual all by himself up there in front of the group,
because you've given him a special mock-up, and now the
rest of the group will want special mock-ups. And you've
cut down their ability to get mock-ups. So you just mark
this trouble down as trouble and decide that you're now
going to give him special mock-ups only in the absence of
the group, And preferably so that the group doesn't know
about it.

In other words, just - the class or the group's filing out
or something of this sort. And you don't keep the person in
the room and say, "And now we're going to process you some
more," something like that. You say, "Well now, come in a
little bit early tomorrow," or get them away from the rest
of the group if you're going to do this at all. Or have an
entire group that you're going to process individually.
You get that?

You spot all of the people you've got to process individually 
and you move them into an awkward squad. And make sure that 
you call it an awkward squad or something of the sort and 
don't make it desirable at all. And so the rest of the group 
- the rest of the group don't get upset and so forth by this.

Children particularly are very touchy on this subject. You
can take out a certain strata of the group that you're
processing and then handle them individually and put them
back into the group again. You will find yourself doing
this quite often.

It is not terribly necessary that you do this. You save
two-thirds of this group, you've done better than would
have happened with these individuals othenvise. It's rather
obvious.

If you want to take that other third and do something very
special for them, you'll find out that it'll pay dividends.
You just bring them up to a level where they can hold their 
own with the rest of the group, though.

Now, the use of mock-ups by a professional is very wide and
very varied, and a great many things can be done with this,
but I would advise you in handling mock-ups in general and
so on to leave that on a professional level. Handle them on
these lists and handle them in Self Analysis, you're on
good, sound, safe ground. And use admiration of their
imperfections, you're still on safe ground.

You start going into specific mock-ups or specific
illnesses and specific things and so on, it requires a
considerable command of the subject in theory and of flows
and other things in order to get away with it. There's no
need for you to do that. You give individual processing in
terms, then, of Self Analysis, and you don't worry too much
about a professional level action.

If you have a case that is very bad off, a case that's
very, very bad off, get that case - if it has to have very
special individual address get that case some professional
auditing. Don't try to go too deeply into individual cases
yourself. It's very true that you can handle psychosomatic
illnesses in children and adults, but I would advise you to
handle them with Self Analysis.

And a psychosomatic illness is easily remedied, by the way, 
with list processing - processing by a list. Very easily 
remedied. Just have them put mock-ups in the area where the 
psychosomatic exists. Just have them keep putting up mock-ups 
in there. And then shift the mock-ups around here and there 
and put the mock-ups back in that area again.

Let's say they got a headach. And well, have them put
mock-ups in their head for a while. But if the child has
some permanent "permanent" - disability, it's - you'll find
out that this won't be hindered. I mean, you won't - this
child won't be hindered in any way by giving him processing
as a member of a group or by giving him list processing.
The child won't be hurt by it and might even recover from
it. But I wouldn't expect it as a matter of course or
demand that it happen. Do not treat this with the level of
seriousness, in other words.

If it's handled by Group Processing, all right. And if it's
not, your individual processing should be limited to
putting people in shape so that they can keep pace with the
group. And I've given you how to do that. Now, it'll happen
quite incidentally that a lot of psychosomatic illnesses
will turn off in your group. Just consider it a bonus.
You're trying to make people better able to live; you're
not trying to make them well.

People come around and say, "Isn't that remarkable. Our
little Bertram always had sinusitis." Or this group of war
veterans you may be processing may have had all manner of
shot and shell go through it, and you might have them, while 
doing your session, have them flopping around like fish out 
of water with somatics. Don't pay any attention to it. So 
they hurt. Good. The somatic will run out. That's all. You 
just keep on with this.

Now, the handling of a psychosomatic illness is very
simple, but you must have this piece of information: You
must be consistent and persistent in mock-ups to run a
somatic all the way out. A somatic is liable to turn on
during the processing session where you're handling the
whole group, and then the somatic is liable to come on
stronger and stronger and stronger. And you as a Group
Auditor could very easily lose your head and say, "My
goodness, oh, dear! What am I doing to this poor man? He
says if we give him just one more mock-up, it'll bash his
brains in."

Well, I'II tell you what you do in that case: You give him
just one more mock-up. And then you give him another dozen,
because his brains in his head is not going to split him.

Whatever is turned on by Creative Processing will turn off
by the same process. Now, don't mix processes, If you start
in with a list, finish with a list. If something turned a
man's headache on, for heaven's sakes, keep on with the
same list. Don't suddenly switch off and start running
flows on him. You could put the mock-ups in new places and
that sort of thing, but don't suddenly turn around and say,
"Well, we better run out an engram." No, no. No. The best
process for it is Self Analysis type lists. And you run it
until it runs out.

Now, the easiest way to do something like that is, if
your - if you have an older group, is to give a book to
somebody or other, if somebody gets into trouble, and just
tell them to go out in the other room and finish it off.
Make somebody else read the list to them rather than give
that person special attention yourself, because you'll have
everybody with somatics on. All right.

Another thing here is mock-ups must not be a consecutive
story. You'll find it a very inviting idea to tell a story
of Br'er Rabbit to a group of children with a series of
mock-ups. Don't do it. No dice. You know why?

There's differentiation, association, identification. And
identification is at 0.0 and association is at 20.0, and
differentiation, which is the essence of sanity itself, is 
at 40.0. And we want mock-ups which change the subject 
radically. And as long as we change the subject radically, 
the child doesn't suddenly get a story of his own turning 
on, or the adult doesn't get a story of his own turning on 
and start paralleling it.

In other words, you give him Br'er Rabbit and you say, "All
right, now mock up a carrot." "Now he's lippity-lopping to
the store." "Now get him there with the storekeeper." "Now
get the Big, Bad Wolf coming in the door." And this child,
you would think, would be terribly absorbed with this
story. No, no, He's now got - he's now got Grandma. And the
more you give him Br'er Rabbit, the more Br'er Rabbit looks
like Grandma. And you're just digging his grave, that's
all. You're just plowing this kid right on in. Why? The
MEST universe is logical. Stories are logical. If you
really want something that works well, get it as widely
apart as possible from mock-up to mock-up.

"Now mock up a fire engine." "Now mock up a beauty shop."
"Now mock up the vinegar works." "Now mock up a bottle of
ginger ale." "Now mock up a movie actor." "Now mock up a
cow." We just get this jump, jump, jump, jump. And that's
what a list, in essence, must do. Then we get the
"associative level" of logic chopped into and broken up. It
is that level of associative thinking which has led this
person along this line, The reactive mind is not capable of
differentiation; it's only capable of identification. And
as long as we ask it to associate, we're bordering on
identification. It'll very shortly start to identify.

So let's go up the level where we're perfectly safe, which
is differentiation, and give different mock-ups one right
after the other, And that's why these lists are important.
And that's why you should process from a list even if
you're doing your own hand-out processing, because you have
a tendency, when standing in front of people and giving
them things, to connect them and associate them.

You know, you sort of feel the pressure and you give
a - "All right, let's give a fire engine," "All right, now
let's have a ladder." "Now let's have a fireman," "Now
Let's have a wheel," "Now let's have a fire." "Now let's ..." 
See, you're all on the same subject. That's identification. 
And that's not a good list. So, if you want a list for a
special group, you should sit down and then just figure out
a lot of things, no matter how well associated they are,
and then just rewrite them so they're all cluttered up and
not in association anymore. See how that would be? Then,
that's what's done.

Now, the theory of Self Analysis and similar lists is the
theory of terminals. And the theory is that you're putting 
up, by creative levels, new terminals, and you're keeping 
them divorced from the real universe. You're keeping them 
as unlike the real universe as you can. And you do this for 
several reasons. But one of the chief ones is it is one way 
of meeting a level of knowingness which is very high.

A Level of knowingness is very important. How much does
your preclear know he knows? You can pick up the rest of
this information from books, you can pick up this material
here and there, hearsay - figure it out.

But get this one. Burn this in. Sort of so it'll scorch a
little bit. You want to establish a level of certainty:
certainty of location, certainty of knowledge, certainty 
of beingness. The child who is uncertain, the adult who 
is uncertain is a child or an adult that isn't well. You 
want a level of certainty.

How can you quickly reach a level of certainty. Have him
mock up a scene; have him make it his scene, and he knows
where it is. He's got a certainty! And that is a fast way
of reaching a certainty. So when somebody is getting very
little benefit from mock-ups, ask him these questions: "You
know where it is? You know where this mock-up is?" The
fellow will all of a sudden tell you "No!" You say, "Well,
put it there on the windowsill," "Yeah, I can do that."

It never occurred to him before. He's had these mock-ups
all over the universe but he's never known where they are.
Maybe they were in his space, maybe they weren't in his
space. So he had no certainty of location. And the other
one is "Is it yours?" Fellow says, "No." "Well, make it
yours." "Well, uh ... Yeah, I can change it a little bit."

"Well, change it. Now change it some more. Now do you
know whose it is?"

"Yeah. Yeah, it's mine." He'll brighten right up. Level of
certainty. And that's what you're trying to achieve. You're 
getting a certainty of a terminal.

And he's - can get inner flows from these terminals. Now, you
can do two mock-ups for each one if you want to, and you'll
get some interesting results. You can have him make his
last mock-up last on the right, and put his new mock-up on
the left, just for variation.

Make him do two mock-ups out there at the same time. Let
his old mock-up persist and then put a new mock-up
alongside of it. But that's not important, not near as
important as establishing a level of certainty. Does he
know it's his?

If anybody is having real trouble with mock-ups, it's
because he doesn't know they're his and he doesn't know
where they are. Of course, "doesn't know where they are"
also means he doesn't know when they are. When is that
mock-up? And that becomes very important to him.

Now, in conclusion, the function of the Group Auditor is 
seen to be a very important one from the level of Dianetics 
and Scientology. And it's important from the level of groups.
I'll give you a little bit of an idea of a preliminary test 
on this, and this is from an actual record of a test which 
is going on at the present moment.

Self Analysis was given for a relatively short space of
time to a group of children that varied in number - same
children, but the influenza epidemic, you know, was going
on, so the group was varying between twenty and thirty. And
the previous gain of this same group in reading age before
Self Analysis was between .9 and .5 months per month,
according to the ability of the teacher. That's the
previous gain - .9 to .5 months per month.

Now, the gain in reading age after three-and-a-half weeks
of Self Analysis on the average for those students was 4.0
months! By actual tests, just by standard school tests,
LCP tests.

The average gain was from .9 to .5, and the gain after
three-and-ahalf weeks of Self Analysis was 4.0 months.
That happens to be a gain somewhat in the neighborhood there, 
oh, somewhere between 5 and - 5 and 8 per - 800 percent.

Now, some of these made no gain because they were absent
during the influenza epidemic. And that's included in that
average of 4.0. They're included there. And there were many
gains of 6, 7 and 8 months of reading age.

And there was one of 11 months and one of 13 months with
three-and-a-half weeks of Self Analysis given for about
twenty minutes per day to this group. So you're not dealing
with anything light. And because you don't see something
terrifically dramatic happening right off the bat, don't
worry about that.

This is a group of very backward children who should be in
an institution, but are in class and in school because
there aren't enough institutions.

It was the more intelligent ones of the class who made this
terrific gain of 9, 11 and 13 months. They made this
terrific gain. They were the more intelligent ones. What
this does in a higher level class is subject to further
testing, but this is a low-level class. So that your
benefits and gains are the benefits, by test, of putting
the child in a frame of mind where he can be instructed.
And that's what you're trying to do.

And in terms of an adult, you're trying to put him in the
frame of mind where he can be interested in life. And after
that, you can instruct them and interest them. But unless
you have done that first step there you have a missing
bridge, which is going to hold down the third dynamic
wherever it is missing.

(Recording ends abruptly)

[end of File]
