 We have as our coverage level one of the many times which we will use
 the tone scale. The reason we have to get the cycle of action covered more or
 less and given a.. a bit of an overall coverage, fast-like, is so that we can
 get into the subject of the tone scale, because the tone scale is essentially
 a cycle of action. 
 
 And the second you know that the tone scale is a cycle of action you
 can start booting preclears around on the tone scale. Now you know from 
 experience that the best way to get somebody well and in good shape is to 
 hoot him on up the tone scale. 
 
 And that is the one thing you keep striving to do, and very often you
 hit it and sometimes you miss it and.. and.. and so on, and it becomes too
 much randomity. So how do you move somebody up the tone scale? 
 
 Well, we have been doing a number of these things simultaneously 
 without having them properly divided. And one of the ways you boot somebody 
 up the tone scale is you get them to stop identifying. And uh.. you get them
 so they'll associate one thing with another instead of identify with it. 
 
 Uh.. you can get them to differentiate. Uh.. you uh.. start them up 
 the tone scale by getting them to get their.. their visios in motion, or 
 something of the sort. Or you get them up the tone scale by running out all 
 the times people were trying to wipe them out. Or get them up the tone scale
 by reducing their desire to be an effect and.. and making them desire to be a
 cause. 
 
 Or you get them up the tone scale by running out enough secondaries
 so they can assume a higher level of emotion. Some secondary's pinning them
 down - they're in a terror engram or something of the sort. You run out the
 terror engram and after that they're in anger. 
 
 And you've got this sort of a series of combinations with which 
 you've been working uh.. straight through uniformly in Dianetics and 
 Scientology and working with this tone scale and you know that moving a 
 person up the tone scale makes a person well. We also found out that moving a
 person up the tone scale restores a self-determinism. 
 
 So we just extrapolate across of that, we find out that moving a 
 person up the tone scale uh.. increases their self-determinism and uh.. it 
 also increases this, that and so on and so on. Well, every tine you say "If 
 you move a person up the tone scale it will improve this and this and this,"
 that is automatically a statement that if you do this and this and this and 
 this and this, you move a person up the tone scale. 
 
 We can make this statement both ways and so we have now a very large
 number of ways to move somebody up the tone scale. With creative processing 
 you can address directly each one of these ways and they keep just coming 
 right on up the tone scale. 
 
 So the tone scale becomes something that is very easy to move people
 around on -- not something which was a terrible arduous hit over the head with
 a club sort of e thing, of "We've got to move him up the tone scale and Lord
 knows how we're going to do it. But we'll try somehow." 
 
 "And uh.. maybe running this and running that and doing something or
 other - maybe this is going to move him a little bit. He's.. he's in better 
 tone, his tone's better. He's just a little more self-determined. He got up 
 off the couch the other day and he said to me, uh.. he said, "You've got your
 nerve doing so and so." He's always been very meek and mild and propitiative
 before, so he's up the tone scale." 
 
 -1- 

 We've got a gauge here. Now this tone scale was a very interesting 
 thing. And the development of this whole science actually could be monitored
 by or measured by how well-developed the tone scale was. 
 
 In Book One we had a tone scale. That's the first plate, the first 
 illustration in Book One. It's the tone scale in its embryonic form. And then
 in Science of Survival we started to move out onto the line and we really got
 behavior at these various levels. 
 
 Now it's a funny thing about the tone scale is you get a person at a
 certain position on the tone scale and he operates right straight on across
 the tone scale, and we also found out that man was such a composite of beings
 that he had two positions on the tone scale. We found out first that he had a
 couple of positions on this tone scale. He was at.. be at 1.5 and he'd he at
 2.5. That was very strange. 
 
 Well, he seemed to be -- very, very upsetting. And we tried to explain
 it by harmonics and so forth and it was quite easily explained that way and
 that still has some truth in it but the.. but the fact of the matter is that
 this fellow.. this fellow was on the tone scale as a social, educational unit
 which was part of a society and that was his stimulus-response activity. 
 
 And then he was on the tone scale at an entirely different level a"
 the thetan. What was he as a thetan? Now he was conforming to or not 
 conforming to the society to the degree that he was sane or insane as a.. as
 the thetan. So we have this monitoring unit and we look on the tone scale and
 we find we can plot the thetan on the tone scale and just independently. And
 we find out he's just usually clear down below zero and we can plot the body
 response, social-educational strata, which we can trace all the way through
 this boy, we say "He went to Eton." We've immediately set a position on the
 tone scale. 
 
 And then we had the composite being plottable on the tone scale. 
 Social, educational, environmental background, so and so and so and so and so
 and so modified by the thetan. The thetan's willingness to accept this or 
 his.. his anxiousness to reject it. 
 
 So we had the thetan on the tone scale; we had the body on the tone 
 scale. And then we had this position on the tone scale which was gotten 
 because of the interaction between those two facts. So there are actually 
 three places a person could have been on the tone scale. And their.. their 
 common denominator, mean position, the.. the place where they were located 
 however would demonstrate a predictability, which in itself was horrible to
 behold. If you looked across the tone scale and you found out that somebody
 was continually withholding information from you, withholding information 
 from you, withholding information from you, you all of a sudden -- you would
 find yourself just being ruined by this person. You couldn't quite figure out
 why this was. Well, if you looked across the level, it says "Communication"
 and then in other positions on the Science of Survival tone scale under 
 "Ethics," under "Behaviour," sex and other things, you could have predicted 
 exactly what that person would have done. 
 
 Now there's a very good reason for this. The tone scale is a very 
 clear-cut pattern and it becomes very clear-cut to us now that we can relet.
 experience all the way up and down it and so it becomes very easy to use and
 you use this in creative processing and you use it continually in creative 
 processing because the composite, the overall.. the overall picture of the 
 case can be altered now by the use of any of the principles we've covered in
 the last hour and about five or six more. There are about five or six vore 
 interrelated experiences of lesser magnitude, really. 
 
 -2- 

 Five or six more that we can cross line and, as the anti-aircraft 
 gunner says, we can take the preclear with him and then let him have it. 
 Because we've got any number of conditions we.. which we can alter or throw 
 at him or vary and demonstrate to him that he can where he says he can't. You 
 do that with mock-up processing. 
 
 Therefore the use of the tone scale might be said to be the use of 
 processing itself. Now, if you know the tone scale, and if you know the tone 
 scale's principles, you can do a very good job of processing. The tone scale 
 could be conceived to be a scale of wave lengths. Now that actually would be 
 another scale. Uh.. it's actually a different scale. 
 
 Wave lengths uh.. are not an adequate demonstration of the tone 
 scale. Rut the states and conditions of beingness proceeding from Q-1 are 
 positions on the tone scale. Here we have then a tone scale from forty-zero 
 through twenty. 
 
 I keep putting down twenty and the harmonic picture figures it out to 
 be sixteen or twenty-two to be the optimum action points by the way. I just 
 keep splitting this thing in half just to give the zone of action. I say, 
 "Well, it's n the general zone of twenty." But actually twenty itself is a 
 conservatism. You figure out the harmonics that way. 
 
 And we have here zero-zero and then we also have minus eight-point-
 zero down here and then we have another interesting point and this point is
 four-point-zero. Another interesting point is two-point-zero. Now those are
 very interesting points on this tone scale. I give you the most interesting
 points on the scale. Now those are arbitrary numbers. 
 
 They are numbers with which you compute harmonic",. Well you say, we..
 we just.. there is an arbitrary number. They're just a value assigned 
 arbitrarily with no uh.. relationship to anything else except this scale. 
 They say these things might as well be called A B C D as positions, but if 
 you use them arithmetically you can compute from them harmonic values. 
 
 If you have harmonic values with our tone scale here you can compute 
 which ones are harmonics of lower ones and that figures out numerically. Now 
 really the tone scale should start at zero. The tone scale should be at zero 
 just at plutonium. That should be zero on the tone scale. And because that is 
 all this destruction fram there on south which starts in again on creation... 
 
 It's a.. you know, a beautiful piece of symbolism that they have used 
 plutonium at last for a weapon. That is the roost. wonderful piece of symbolism
 possible, because plutonium is the level or they think.. they.. these guys go 
 around wild-eyed talking about low-order fission. Did they get hydrogen so it 
 would have a chain reaction, and so on and so on and -- no no, they.. they.. 
 they just happened to hit at the point where they got the lowest point of 
 stop, where stop comes to a point where it's got to start again and that 
 element is plutonium. It is so dense that it can't stay dense. And so that 
 would be zero. 
 
 Now there is a condition of plutonium whereby it will stay together 
 and a condition of plutonium where it won't stay together and the difference 
 is the difference between the old cycle's end and the new cycle's beginning. 
 
 When plutonium explodes you can do all sorts of things with it. You 
 can run all kinds of things with plutonium. You have an almost unlimited 
 energy source which the boys are throwing around. And naturally with that 
 order of magnitude you would knock apart the section of the MEST universe 
 with great adequacy. You would just knock things apart wonderfully. 
 
 -3- 
 
 -- 

 And uh.. here we have then what would be the actual theoretical - you
 see there might be other elemental picture.. elementary pictures which 
 wouldn't make this an absolute in any way here in this universe. Certainly 
 there are different pictures in other universes of material. Rut we have 
 there, that would be real zero, but this tone scale up.. was first. tailored
 to apply to human behavior. 
 
 And oddly enough this tone scale has gone into parlance; the boys 
 know what you're talking about when you say he is a one-one, he is a 
 one-five. I was processing a one-five the other day and.. and when - that 
 statement one-five is a great big picture of behavior. 
 
 Auditor knows the tone scale well, that is to say he knows how to 
 speak Scientology well, he just comes right on straight across the line very
 easily and he said, "Oh, you one-five?" Yeah, it says to h1m immediately: 
 holds on like mad, uh.. quite destructive, uh.. yet at the same time uh.. has
 impulses toward uh.. helping and being upset and uh.. supposed to be doing it
 for his own.. everybody's good but is quite brutal about the whole thing. He
 has arthritis. He probably is holding on to flocks of ridges in these various
 patterns. 
 
 Uh.. it just tells you, if you gave him a communication line uh.. 
 he'd just flip it the opposite way so that it'd be destructive if he.. if he
 let it go on at a11. He'd be just holding pattern after pattern after pattern
 by saying a number. He'd say one-five. 
 
 Now you say two-zero; two-zero, that's the antagonistic fellow who 
 stands down in the middle of a park and lectures from a soap box and says 
 "Down with the government. You've got to do something, workers, uh.. uh.. 
 throw off your chains because we're going to destroy the government and uh..
 you're all going to inherit the government providing you.. you go ahead and 
 do so because the government's done this and it's done that." 
 
 Well, actually that's more one-five, toward.. more towards one-five
 than two-zero when he starts talking about destruction. But he's going on or,
 an antagonism level. That's antagonism. 
 
 They're this. They're that. They're something or other. They're so on
 and so on and so on, uh.. antagonism. Now four-point-zero, that's enthusiasm.
 He's going in or going out on the line of four-point-zero. He's saying, "Now
 what we ought to do is so and so and so and so and if we get together in 
 there and if we do this and we do that why we know we can do it. Now 
 let's..." so on. 
 
 And at zero-point-zero the fellow says... there you are on the tope 
 scale. Now this band between zero-point-zero and four-point-zero is very well
 plotted. It's found on the chart in SCIENCE OF SURVIVAL. There's nothing 
 changed on that chart, hasn't varied at all. And we have.. when we look that
 over, we have a very clear picture of what we're talking about. 
 
 Actually there'd be no reason why I should suddenly start in here and
 give you the various characteristics of people because the entire Book On of
 SCIENCE OF SURVIVAL covers this, and Book One of SCIENCE OF SURVIVAL could be
 called "Human Evaluation" and human evaluation applies very broadly. And it
 is still as valid as it was the day it was written. 
 
 And so it has come into even better use right now than it has been in
 the past. le.. we have more use for that book now than we had when it was 
 written, so there's no sense in my standing here and giving you a lang 
 dissertation on these various levels of the tone scale, from zero-point-zero
 to four-point-zero. 
 
 -4- 

 You don't know very much about minus eight-point-zero, nor too much
 about four-point-zero and forty. And uh.. this forty by the way I was showing
 you there on that cycle of action in an earlier lecture, uh.. that forty- 
 point-zero I was putting over there toward infinite rightness. And if you 
 made any confusion about it being over there toward infinite rightness, it's
 not even vaguely toward infinite rightness. 
 
 It's way in, I was just showing you more or less what a gradient 
 scale would be plotted on this tone scale. You can have a gradient scale for
 any cycle of action. But forty-point-zero is so far from infinity that uh..
 you couldn't hardly measure it. 
 
 It's.. it's quite finite. It's within the realm of experience of any
 one of you, forty-point-zero is. It has a certain number of emotions, so 
 forth, if you'll look in the Chart of Attitudes, which I'll have to cover a
 little bit more, but I'm not going to cover a11 of it. 
 
 The Chart of Attitudes in the HANDBOOK FOR PRECLEARS, which is the
 most valid portion of the HANDBOOK FOR PRECLEARS, it's that little chart. 
 Uh.. when you look across there you'll find a certain number of conditions 
 which go between twenty-seven-point-zero and forty-point-zero. 
 
 Some of them are above forty, some of them are below forty. I wasn't
 arbitrary enough to assign them straight across the boards there for forty.
 So you look across there, you find out what's at that band. And that band 
 uh.. has the very interesting characteristic of having an awful lot more in
 it than it appears at first glance, by a long ways. But the most interesting
 of all this is the fact that the darned thing is a harmonic. 
 
 It observably is a harmonic. This was not immediately apparent on 
 drawing it at all. But you know, all through the MEST Universe you find these
 harmonics. A harmonic is sort of this way. You've got something that.. you've
 got a tuning fork, you have two tuning forks, and one is uh.. one tuning 
 fork, let us say, is one thousand and twenty-four vibrations per second. 
 
 When you strike it, if you counted the vibrations, it was vibrating
 at that. It will give you a certain musical note. Now let's take and strike
 that thing and what do you know? Another tuning fork sitting alongside of it
 which is five hundred and twelve vibrations per second would give a much 
 fainter but a much.. just half a note. I mean half of a note level below it
 it'd go hummmmm. You haven't struck it. 
 
 You'd strike the upper one and the lower one is half its vibration 
 count, half its wave length in sound. Now if you were to take the five 
 hundred and twelve one and the ten.. uh twenty-four one is still - the five
 hundred twelve one - if you were to hit the five hundred and twelve one and
 go bong, why, what do you know, this.. everybody knows that another five 
 hundred and twelve one would certainly go bong right alongside of it. 
 
 The two - you strike one and the other's going to vibrate - they 
 just.. that's what's known as sympathetic vibration and is one of the 
 mechanisms that is contained in sympathy itself. Five hundred and twelve - 
 this person's at five hundred and twelve vibrations per second, that's more
 or less just a handy way of saying where he is and he's going to try and make
 everybody else tive hundred and twelve by being sympathetic. 
 
 He turns on this and they get to be five hundred and twelve too. 
 Maybe they'd like to he much higher. So, ten twenty-four, however, and that's
 the oddity, is that not as many people know that at ten twenty-four you would
 get the tuning fork sounding if you hit half of its wave length. And it goes
 
 -5- 

 this way in multiples. If you get.. if you.. down here if you turn on a radio
 station, a radio station is a thousand cycle or a thousand KCs or something 
 like that. It's a thousand KC, you're going to get somethinq.. it's.. it just 
 is operating at that and receivers around which were set at five hundred KC 
 and receivers around which were set at two thousand KC will also he able to 
 get a small chunk of that reception. 
 
 And this is more.. very marked when you get right up against the 
 transmitter. Those people who are unfortunate enough to be up against heavy 
 transmitters, in cities and so on, they can pick the harmonics all up and 
 down the line. 
 
 Radio stations are continually in receipt of nice letters from the 
 Federal Communications Commission saying "We understand that your harmonic at 
 so and so, double your wave length, something like that, is far too heavy; 
 you will have to modify this and uh.. or cease broadcasts." 
 
 There's sometimes the harmonic will get so strong that uh.. you could 
 actually tune in your radio set uniformly at half the wave length and get it 
 just as easily as the main wave length; that's the idea of harmonics. Repeats 
 in other words, repeats. Well, what's this a repeat of? Actually it's a 
 harmonic of densities. 
 
 It's just densities - anything that's half as dense as something will 
 go along and vibrate with something. So let's take density unit one. Anything 
 which is density half of that one or density twice of that one will be 
 company to it, they will do the same things that... 
 
 And.. but things that are at different - let's say something that's 
 a third of that or something that's two-thirds of that and so on -- you won't 
 get as marked uh.. action there. You might even get a different action 
 entirely. This is harmonics in observation in this universe. You could put in 
 quite a study on this, but just let me point this out. 
 
 Apathy is not too much different than anger. Apathy sits down there 
 to the lower band; it's quite wilde, but apathy is holding, isn't it? And it's 
 motionless isn't it? And anger is holding, isn't it? And it's more or less 
 motionless. The fellow, you can just see him just tightening up his chords 
 and so forth and rigidity is setting in and he gets arthritis and so forth. 
 
 Well, there's a relationship then between apathy and anger. Matter of 
 fact, a fellow in anger can be thrown into apathy with great speed because 
 it's such a related condition. So he's in anger, he has a companionship wi'h 
 apathy. 
 
 Now let's look at three-point-zero. Three-point-zero is conservatism. 
 "Well, yes, Mr. Jones, if you come back tomorrow we will think it over very 
 carefully. Of course this company has a very conservative policy and we don't 
 want to encroach too much upon your time or anything like that but uh.." and 
 so on stop motion stop motion stop motion, let's hold it down, let's not do 
 anything. Let's not be very advancing and let's seem so calm about the whole 
 thing because that's the nicest stupidest trap there is in the universe: that 
 these calm people have anything to contribute to the society or should at any 
 time be consulted because conservatism is a very low harmonic of serenity. 
 Very, very low harmonic on it and it is a rather near harmonic of anger and 
 apathy and it is destruction. And it is so low on its tone scale but is so 
 high compared to a lot of things, that people get quite fooled by it. 
 
 They think it has some value to be conservative and uh.. to he rather 
 poised and conform and to restrain. Now apparently - that's all of science 
 
 -6- 
 --- 

 today writing in any field - runs something like this: "Well, evidently, 
 according to some of our investigators, who of course we cannot possibly 
 guarantee the reliability of, but it just seems to us as we look at their 
 work that a condition might possibly exist, under, of course, certain 
 restricted conditions and not at any time pervasive into any workable or 
 useful brand of information, but this condition was found by certain things 
 and at various times was observed and so we can say at this time that we 
 tentatively advance, without endorsing it of course, this datum. 
 
 Now according to Professor Snodbump we have..." and here we go: 
 modern scientific writing. It means what? It says "We don't take the 
 responsibility for this. We take no responsibility, we take no responsibility 
 and just for variation we take some slight responsibility if there's anything 
 to have. But if there's nothing immediately to have, well, we don't take any 
 responsibility for that and if we have to have anything we'll have to have 
 procured it rather covertly as though it was somewhat our due, and so on, and 
 if we took responsibility for anything, why that would practically butcher us
 in our tracks because we're scared to death really." 
 
 "We're just sitting right there at the decks and if anybody said 
 C "Boo" real quick, we would run and run and run." Actually, they'll go into 
 anger and apathy. Now, here.. here is your picture of conservative things. 
 
 It is another beautiful way of destroying. Uh.. the young inventor 
 who just got the new wumagajugit that makes the Sherman tank actually 
 spufflelacate and he rushes in, and he's.. he's.. he's been working in their 
 design department, he rushes into the front office and he says, "Look, the 
 government is about.. the government is about to.. to.. to throw out our 
 orders on General Sherman tanks and so forth because they won't 
 spufflelacate. And I've suddenly found out that if you turriapate them 
 they'll spufflelacate. And just look, look, and.. and come out and look at 
 the test," and the fellows all in the front office, they.. they.. the clerks
 and so forth, they get quite excited. 
 
 Hut then they get into the.. the boss and the boss sits there and he 
 says, "Well, then, let's see, what's spufflelacation? Well, that's 
 sperffelacate and oh, I.. well, what terms are you using there? Well, that's 
 very interesting, that's very interesting, why don't you uh.. write a 
 -- memorandum about it and uh.. put it in channels and uh.. we'll consider this 
 at the next board meeting, perhaps, if we get around to it" and uh.. so on. 
 The young fellow says, "But I heard the government was about ready to 
 canc..." "Well now, you shouldn't concern yourself with these high policy 
 level things and uh.. that uh.. is about that," and he goes out and the 
 clerks noticed how he was treated. So they are kind of conservative to him 
 too. 
 
 And uh.. so he goes back into the plant and he sits there and he 
 kinda gets sore about this a little bit but he doesn't think too much about 
 it. He doesn't think much more about it. A few days later the government 
 cancels all of the orders on General Sherman tanks and uh.. the General 
 Sherman tanks they do make.. they finish up the orders on the thing - well, 
 they are delivered but they don't work in battle and a lot of men get killed 
 and that sort of thing. 
 
 Rut we couldn't take responsibility in the front office, could we? 
 Well, that's.. that's actually the truth of the rnatter. Young kid down in the
 oil well fields, he just.. he just, God help him, if he finds out how to save 
 the company 50/ of their production cost. God help him, because conservatism 
 is a gradient scale of die. It's stop. And it's one of the stopping stop 
 cycles of action. And you could say actually that there's a cycle of action 
 interposing between conservatism and anger. 
 
 -7- 

 It starts in conservatism and ends in anger. So you could say there's
 a whole cycle of action in there. And there's a cycle of action that goes 
 from anger and it leads straight into apathy. This whole thing from forty to
 minus eight could be called a cycle of action. This would be a full cycle as
 far as behavior is concerned, because we're interested in it. 
 
 But there could be a cycle of action as we've seen here between 
 four-point-zero and death. Here's a fellow's been enthusiastic all his life
 and uh.. he winds up and one day he's dead too. So this is homo sap and uh..
 that's his widest cycle of action. 
 
 Now a thetan has that first full cycle of action and the universe 
 itself has this full cycle of action. But things which start in conservatism
 will end in anger. Things which start in anger, you could see - you could 
 start creating at any one of those hold points really. And you've got numbers
 of cycles marked in here. That's why we can say we start him up here with 
 differentiation and we wind up with complete identification. 
 
 What's matter? The thing that is solidest is matter, it's matter and
 what do you get? You get an identification of particles inside that, and you
 get an identity and an identification, and they mean the same thing, identity
 and identification. Because identity is not individualism, identity is: We 
 are all the same. I have a name, too. But individualism depends on 
 differentiation which is: I am so different I don't need a name. The guy is
 so observably different he doesn't need an artificial classification. 
 
 So we get individualism as being way up scale and we get identity as
 being solid matter. Now what uh.. that.. that by the way interrelates most 
 terrifically. We find out down at the bottom of the line a symbol becomes the
 thing. The term is the thing. I mean there's no differentiation at the bottom
 of the scale. Psychotics are just that way. They hand you a symbol, they 
 reach into their pockets and hand you a thing. It's fascinating to observe.
 In scientific books it is much more important, in these very conservative 
 low-level books, it is very very much more important to have the proper 
 classification, but look at this difference. I think it's the field of 
 biology or botany, I have to look this up one day, and uh.. I just caught it
 going by about twenty-five years ago and I didn't read it straight. 
 
 But uh.. Francis Bacon was writing a philosophical treatise, he was 
 dashing one off, you know these.. takes a long time to write these things. 
 Uh.. uh.. the better writers took a long time to write things. You know that
 it is an actual fact that the longer it takes to write something the better
 the story. Well, it must be true because every time you look in the magazines
 or something of the sort it says this story took seven years to write. And a
 good.. good writer will look at something like that and say "I wonder what's
 wrong with that story. What couldn't be solved in it." 
 
 Evidently you're supposed to have written a paragraph at a time and 
 then laid it aside for a month or something. I can't see the virtue of all 
 this slow motion. But uh.. the funny part of it is that writers, knowing 
 this, rather hide from the general public the speed of operation. Poor old 
 Dickens, he certainly.. certainly - no popularity in his work of course, and
 it's not even vaguely accepted or clever, actually. lie's still the most 
 popular writer in England, I think. 
 
 Uh.. Dickens dished it out at a speed which would have made a modern
 court reporter dizzy. If you don't believe that, add the number of years that
 Dickens was alive and the number of books he wrote and the number of words 
 per book and then find out how much he wrote a year and you'll find out he 
 was topping the fastest pulp writer in America. Interesting, isn't it? 
 
 -8- 
 -- 

 Uh.. that uh.. old Eddie Poe used to dish this stuff out at a speed
 which would look like greased lightning to a fast newspaper writer. Ke was 
 writing what he wrote faster than the modern newspaper writer writes that 
 horrible junk that you read, about the murder and so forth. Uh.. it doesn't
 seem to have any relationship to time, quality does, except you can pretty 
 we11 count upon it having bad quality if it took too long. And modern 
 scientific work which goes on and quibbles about the word Professor Yockgatta
 says that uh.. this word should have been A but Professor Yackwalla says that
 it should have been A uh.. to the variation, nyheauw - and the book goes on
 for half of its length discussing whether it should have been A and this book
 is on Ice Ages. 
 
 And you're looking there in vain; you're just looking all the way 
 through this book to find what causes a glacial period. And you look and you
 look and you look and you look and it doesn't say anything. It describes a 
 glacial period by saying that it is thought, it is heard, it was believed but
 we.. we supposed, and evidence, all those others exist - what do you get? 
 
 You get no cause stated in the whole subject of Ice Ages and glaciers
 in any publication of which I have any knowledge and if you read the 
 -- Encyclopedia Britannica on the subject of Ice Ages, they don't even suppose
 that they ever were caused by anything. 
 
 You can look there in vain to find out the cause of Ice Ages, and you
 don't find this in scientific works. They don't even talk about the cause of
 Ice Ages. Why? Because they're writing at a tone level of identity and 
 identity is never otherwise than a full effect. And you don't get guys and 
 things that are at the level of full effect writing about cause. They 
 wouldn't even know cause if they ran into it. 
 
 The fellow that made this universe could meet them in the street and
 shake them by the hand, and.. and have every possible reason to bel.. they'd
 have every possible reason to believe that they were talking to the guy who
 made this universe and they would still go out and write: I.. it is thought,
 and I feel, and uh.. evidences do not seem to indicate at this time... 
 
 But you know what the rest of the conduct is at that tone band - it's
 a fascinating thing - complete no-responsibility. These things which they're
 actually espousing.. these things which they're espousing they have not 
 tested, and that is the most shudderingly horrible thing of the whole thing.
 
 They put out this terrific level of conservative approach and then 
 wind up advocating that everybody take a yackgalla. And what's their series
 of cases for the prefrontal lobotomy, to test whether or not it worked? 
 
 What was the exploratory investigation course of the prefrontal 
 lobotomy which is so widely advised, so widely advised that a court would 
 consider it malpractice if the physician didn't do it if it were indicated?
 And the number of cases which tested the prefrontal lobotomy is exactly zero.
 It started into practice in the United States as a thing in practice. 
 
 It was not investigated and at no time along the line has anybody 
 ever found out if it did anything to or for a patient. Now isn't that 
 fascinating? 
 
 There.. the only existing record and investigation of figures on this
 happens to sit in re vault. It was compiled at great expense, but it was all
 the data that could be gotten on the subject - not slanted data - all the 
 data that could be gotten on the subject of prefrontal lobotomy and electric
 shock. 
 
 -9- 

 They shifted their words around. They said inprovement means stopped 
 shaking so violently or something like that. Hut they'll say improvement was 
 indicated, and you find out what the improvement was. Improvement was 
 observed; you find out that the fellow used to fall uff of his couch and 
 scream and roll all around on the floor but now h" doesn't fall off of his 
 couch. He.. he screams and rolls around on the couch and that's superior. 
 
 There is nothing. The first case on that that it's based on was a 
 crowbar blew out of a forge and ran through the rrefrontal lobes of somebody 
 in Bavaria. You look over the case history on this and you'll find there's 
 somebody in Bavaria uh.. just, before this happened, uh.. he stuttered or he 
 was stupid and uh.. he was.. he was a moron and ore day he walked up to this 
 forge and the forge exploded and this crowbar blew right straight through his 
 temples and went out the other side and made a hole clear through the 
 prefrontal lobes. 
 
 Go on, why don't you ask me what happened? What.. what.. I mean, what
 happened to his stammering or his disability in general or whether he ceased
 to be a moron? That's not part of the case history. There isn't any. 
 
 And nobody writing or studying on the subject evidently has enough 
 brains to realize that it's an integral portion of the case history. Don't 
 ever look around at a piece of matter and respect it. Don't ever respect 
 matter. That's the first thing.. mistake you can make, because what you're 
 doing is lending your support to something which is full effect and if you 
 let yourself be full effect of that piece of matter it puts you lower than 
 the matter. 
 
 So any time you lend your support to anything as thoroughly matter as 
 such a.. a yakgullayupyup or treat it otherwise than - gee, what do you know, 
 they uh.. what do you know, those pebbles down there knock each other 
 together. Psychiatry.. they.. pebbles - you can't go out on an all-out basis 
 against psychiatry because you're in communication with something that's full 
 effect and it's pretty hare to get in communication with it because it hasn't 
 any communication lines to amount to anything. 
 
 It's.. you can zap it but why, you can always.. you can always 
 demolish matter, and you can do other things with matter, but it isn't even 
 there. All right, now get.. get your study then of where these various bands 
 are. And that's three-point-zero on the tone scale -- conservative scientific 
 writing. Three-point-zero on the tone scale. Gee, homo sapiens is really 
 operating there in a narrow band, isn't he? 
 
 He sure is, too. He's in a narrow tolerance band in every other 
 direction. Goes up there eighteen thousand feet and he'll probably die of 
 anoxemia. If he went down a couple of miles, he'd.. probably something else 
 would happen to him, roast or something. And uh.. he.. he certainly can't go 
 down two feet below the level of the sea, so he's pinned between sea level 
 and about eighteen thousand feet. 
 
 And uh.. he 's not only that but uh.. he's pinned on a certain.. 
 certain uh.. zones of this pole; he's here between uh.. oh he's not very much 
 above seventy. You have to have a technology, an Eskimo technology, to exist
 above that, which just is fascinating to behold, how technical it is. And 
 uh.. there's nobody living down in Antartica. And directly on the Equator at 
 sea level brrrr and uh.. so he's.. he's on this little tiny globe in the MEST
 universe. 
 
 And he can't go up more than eighteen thousand feet anda he can't go 
 down any distance and his temperature gradient without clothes or other 
 
 -10- 

 protection and so on is very slight; it's about fifteen or twenty degrees, 
 really, if it were constant. Very slight, if they had no protection. 
 
 But with all of his protective mechanisms ant so forth, he can live 
 from forty below zero, if he has all of his protective mechanisms, up to 
 about 135, if he has all of his protective mechanisms. But. if he doesn't have
 these protective mechanisms, he slims right on down from about. - oh I don't 
 know - 70 to 85 or something like that. He's.. pretty narrow if you didn't 
 have roofs and other things to hide yourself under when that sun started 
 beating hotter than 85, that would be the end of you probably. And uh.. 
 certainly cold is.. would get you rather quick, so he's.. he's scared. He 
 hasn't got any space to operate in. He's got a tolerance band of temperature; 
 he's got a tolerance band of motion. Do you know that if you hit a homo 
 sapiens at seventy-five miles an hour against a brick wall, he splatters. He 
 hasn't any.. any motion tolerance to amount to anything. 
 
 If you put him in a ship which had an acceleration of eight G's he'd 
 probably squash pretty flat. It'd hurt him bad; he'd have to have special 
 mechanisms. If you suddenly threw an acceleration of twelve times or twelve 
 gravities, thirty-two point two feet per second acceleration uh.. if you had 
 that much acceleration - twelve gravities - he probably wouldn't even be 
 alive to tell you about it; he would just burst to pieces. 
 
 Did you know that boys operating on PT boats when they'd go across 
 rough seas, it would knock their kidneys down, their kidneys would displace. 
 Uh.. just a PT boat hitting a heavy chop, or a uh.. guy riding a motorbike, 
 if he doesn't wear a belt, and so forth, he'll eventually knock his guts and 
 kidneys out of place. Guy on a PT boat by the way jolted his whole brain low 
 in his skull. So this is.. this is interesting. 
 
 I mean he has very little tolerance for motion and so on. So he's on 
 a narrow band and he feels like he's walking on the thinnest of thin ice. And
 you wonder why homo sapiens is afraid, he has no space, and he cannot 
 generate a high motion. He has to have a low motion. And the fact that he 
 does anything at all is just fantastic. It is.. it's a very great tribute 
 that he would work in this narrow, narrow tiny little tolerance band and 
 actually create something and protect himself and survive. 
 
 And about the only reason that he was doing it is homo sapiens for 
 -- his own environment was a very tough boy. For his own environment - he was 
 tougher than dinosaurs, he was tougher than snakes and alligators and tougher 
 than armadillos and he was tougher than birds, and he was tougher than 
 anything else - so he owns this planet. 
 
 All right, so he takes up that much of the tone hand when you're 
 operating on a preclear and you're having a tough time getting this preclear 
 up from one-one to two-point-zero. And you're having a tough time doing that 
 with old techniques; your frame of reference on what should happen to him is 
 itself quite narrow. To make.. to take a fellow from one-one to 
 two-point-zero. So, when we have a narrow band of this character we are apt 
 to forget that there is this band of action to work on. 
 
 We're doing a rather incredible thing of viewing from this little 
 tiny band here the ability to ascend a very large band. You can clean up homo 
 sapiens in a very short space of time with these techniques. You can shift 
 him around on the tone band, but you have to take into consideration, if you 
 do that, these various cycles. 
 
 -- Now we.. let's take what we have here and find out what is at forty 
 and we have at forty, we have space, beingness, creation, start, in terms of 
 
 -11- 
 

 motion, uh.. cause, very important there, now we have differentiation. Now 
 let's take the center band and let's find out what we have there on the 
 center band. 
 
 We have energy, we have doingness; you want to get somebody into high 
 level action, you have change. The essential of doingness is change, and you 
 have, in addition to that, uh.. conservation comes in there. And you have, of 
 course, logic and association. Now down here on this lower band you have 
 matter; of course, the guy's in a body, the thetan is in a body at that 
 stage; it's the matter band that you're into. 
 
 You have havingness; of course your thetan is clinging madly on to 
 this body; he has to have something. You have in addition to that stop, and 
 in addition to that destruction, and of course anything that came along could 
 use homo sapiens. Why? Because homo sapiens is pretty close to a full effect, 
 in that you're death. And you have identification. 
 
 You just take all those cycles of action and let's compose them all 
 together and let's take a look at what you get here. And you get this.. this 
 picture of all these cycles, and that's cycle after cycle after cycle after 
 cycle and if you change his position on any one cycle you change his position 
 on all cycles. 
 
 Now let's do one more thing on this. Let's take this and take a 
 gradient scale of energy and energy is here, perhaps a particle and there, 
 particles which are designed chiefly to move or be moved. And here we have 
 collections of particles down here. This would be positions on the scale of 
 uh.. A B C. Down here at C we have particles which are either constructed to 
 be or because of condensation; there we have the non-motion particles. 
 
 They're supposed to stop motion or to be stopped. There's the various 
 design of the particles. The space in that area is contracted so that 
 particles will stop and be stopped. That's designed to stop space. It.. it's 
 what you call stop space. That's.. it's a condensed space. 
 
 So space itself condenses from forty and comes on down here. Now 
 actually if we looked from here flat on the band, if we just looked straight 
 on we would really have here.. we.. I.. I wish I could draw this on here, 
 I'll put it in.. in red as a pole which is coming out toward you. Uh.. it 
 looks like a tack maybe, but if you could imagine yourself.. yourself looking 
 from this pole on down here - you see the pole came out this way - you would 
 be looking at gradient scales of wave lengths into the chart, so if.. as you 
 were to work on gradient scales of wave lengths into the chart, you would 
 f1nd that almost any wave could exist at almost any position on this chart. 
 That's quite hard to draw. In 8-80 I knew the existence of that but I 
 couldn't figure out any way to explain it without fouling anybody up like 
 mad. But I can tell you about it. That's different from writing about it, and 
 so on. 
 
 So let's have a.. let's have this thing here at any point and let's 
 just take the other plane out toward us and let's look at wave lengths. And 
 now we could have then.. there's a gradient scale of particle distances which 
 could fit against any of these spaces. 
 
 Now there's more to be said about that, but this is sufficient for 
 our knowledge here. And here's.. here's a silly thing called.. called the 
 aesthetics band. 
 
 Now the aesthetic band is very close to theta and theta could be 
 tractored into the lower end of the chart by aesthetics. How do we 
 
 -12- 
 -- 
 
 --

 
 
 demonstrate this? Me take bodies, bodies are aesthetic, he's attracted
 to bodies and so he qets himself down into this lower band of the scale, down
 in the C area, by an aesthetic wave. 
 
 So there's an aesthetic wave accompanying even the heaviest effort 
 wave you have on the effort, what we call the effort band. That is an effort 
 level which could exist at a certain, depth here across the fuil face of the 
 chart. And we would have reason existing also as a.. a wave length. These two 
 things can't be envisioned on a flat.. flat surface, a two-dimensional 
 surface. They're a three-dimensional thing. 
 
 As a matter of matter of fact" you're trying to put in terms of 
 dimension things which have to do with experience, and your particle flow is 
 essentially experience operating here under these various stressed 
 conditions. So, let's look out here and let's find that we have reason which 
 has a very fine wave. We have aesthetics here and we have this here and that 
 here at almost any level of this chart. 
 
 You can envision it that way, you can see how twenty-point-zero could 
 entain.. contain a terrific effort. See? How twenty-point-zero could have 
 this fantastic effort, which a person could accomplish because he was at 
 twenty-point-zero. But that same effort at four-point-zero would be something 
 you couldn't touch. But it could be the same effort at twenty-point-zero. 
 Same effort at four-point-zero. In other words, twenty-point-zero is able to 
 handle the whole band out here and four-point-zero is not able to handle the 
 whole band out here but the whole band is present at four-point-zero and 
 present at twenty-point-zero. You get the idea? 
 
 So we're taking the capabilities of handling the whole band. So we.. 
 look.. look at how this thing does -- it scales down this way. You needn't bog 
 your wits down too badly with this but it's quite interesting that it scales 
 down this way. 
 
 At forty-point-zero these things are so unessential that a person 
 pays mainly attention to the aesthetic band. Well, .......... aesthetic, he's 
 not going to worry about effort. 
 
 At twenty-point-zero he wants to go into motion, so he's going to pay 
 attention to visible particle bands like light, uh.. like electricity, uh.. 
 that sort of thing. He'll see these things snapping and booming around and 
 he'll use this stuff and so on and it's also present and can be present at 
 forty-point-zero, you see. But it's just used more at twenty-point-zero. 
 
 And now let's get down to.. to.. to C as a position there and we find 
 out that although there's.. there's all of these beautiful aesthetic bands 
 and there's all these light snap uh.. high wave abilities to think and 
 everything else there at C, the same as they were at twenty-point-zero, when 
 we get there at C we find out that the person's ability to handle the wave 
 spectrums and so on has decreased to a point where he has mostly to do with 
 the very heavy solid particle waves of matter. 
 
 And he's handling matter with matter and heavy juice and that's about 
 all he's willing to handle. And he doesn't add much of the aesthetic band in 
 there. So one could say that as here at the top there's a capability; we'd 
 have a triangle out here, you see, a triangle which would be facing you and 
 it'd come out here from forty and you'd have this terrific capability out 
 here about three feet. In triangles you'd have the whole band which would go 
 from the tiniest wave length there was to the heaviest wave length there was. 
 Anything could be handled at forty-point-zero with great selectivity, if you 
 wanted to handle it. No need to handle it though. 
 
 -13- 

 So what's selected out here, it'd be what is closest to you, 
 furthest up the scale. See it's only apparent that these scales are parallel.
 They're not - they're at right angles to each other. All right, so 
 forty-point-zero would be most likely to handle a various state of light 
 wave, there's no necessity to do anything else about it. 
 
 But it could handle a full wave if it wanted to and if it started to
 handle what we would call the effort wave, the heavy effort waves of - well,
 heavy electricity and so forth - if it wanted to handle those it could simply
 start out from scratch and handle those and it wouldn't be able.. it wouldn't
 be able to conceive.. it wouldn't be able to conceive there was a great 
 difficulty in handling heavy effort any more than it would have great 
 difficulty in handling aesthetic, but it would differentiate widely amongst
 these waves. It would be able to pick up this wave and then it'd say, "What
 do you know, that is a heavy.. that's a heavy photon wave, ah well," and then
 So on. Uh.. now if this line would cave back in toward B and at B would be
 about halfway back and we would find that this capabilities to use waves at B
 was simply this: It was unwillingness to use upper band waves because 
 capability requires a lot of heavier stuff, but this level at B would sort of
 select the center out of the band. 
 
 You.. you wouldn't use terrifically high aesthetics, but it'd use 
 toward aesthetics. And it.. it wouldn't use terrifically heavy matter if it
 didn't have to, but it would use matter, you see. And so you'd have its 
 capability. Now its preference for waves would be middle-band waves. That 
 would be the preference for it. You want.. you want energy which goes zzzzap
 and which will travel across a very large amount af space and accomplish a
 heck of a lot with the least effort. That would be the optimum kind of 
 energy. 
 
 We want a lightning bolt that is fast and portable and that you can
 put in your pocket and use at wall, but what do you know: already this person
 at twenty-point-zero or at B on the tone scale is sort of sliding in to: It
 has to be made for me or I have to have it in a package. He's already to that
 degree in that state of being. Uh.. it is valuable for me to take from the
 commissary uh.. certain packages of. It is a good thing to have with you a
 transformer pack for a replacement in these jets. 
 
 See he's already come down to the point where he isn't thinking too
 much in.. let's make a transformer pack for these jets, oh to hell with the
 jets, let's just go on over there - and by the way at that point on the tone
 scale you find people doing that. They'll fool around with a piece of 
 machinery or a piece of power pack or a piece of equipment or something like
 that and they fool around with it. 
 
 And they fool around with it, that guy gets bored with it 'cause 
 it's.. there's.. the parts and replacements aren't there, and they're a 
 little bit out of technology, they don't know quite what to mock up in the
 thing.. well, to hell with it. And they just go abandon ir. and then they go
 over someplace else and pick up some new equipment over there. Or make some
 new equipment over there. They.. as far as transportation is concerned it is
 a limitation which they will accept but uh.. which they will very easily..
 can reject; they can very easily reject it. All right, now let's get down 
 here to this poor son of a gun at C. 
 
 He's.. what he selects out is of course what's being used on him. Now
 he.. the whole band spectrum is available to C. An engineer operating in this
 society at this time can pick up, manufacture, use, do almost anything he 
 wants to with any part of a whole spectrum of energy. It's just that he 
 doesn't seem to want to play around with the upper part of the spectrum. 
 
 -14- 

 It's just as easy to make. He's.. he's gone into this astonishing 
 death datum. C, oh it's important, C, he can't fit it into anything, he 
 doesn't do anything with it, uh.. but he'll.. he has to throw in quantums. 
 Uh.. whenever he starts using quantum mechanics he uses a.. he uses a C. 
 Well, here's a C here and a C there, and a C someplace else. It has something 
 to do, I suppose, with his desire to see it. It.. that.. it.. I don't think 
 it has much other.. other relationship because of this: every time you see C 
 appearing in a formula I'll be a son of a gun if you don't have C, a bugger 
 factor, appearing in the same formula. And you say, "What's that bugger factor 
 doing there? What's that point eight six six zero eight nine ten doing? 
 What's.. what's that in that formula?" And he'll say, "Well," he says, 
 "that's.. that's.. that's the balancing, that's you have to balance it up." 
 
 "Hey, now wait a minute, why don't you just divide that bugger factor 
 into C and find out what the speed is for the..." "What are you talking about 
 now? There's.. there's C." C is sacred. There's a god by the name of C and 
 uh.. he lives at one hundred and eighty-six thousand miles a second and an 
 engineer in this life at this time considers that is fast living for anybody 
 so he's.. so he's willing to respect this god. But it's not substantiated in 
 any way that the fastest energy travels is a hundred and eighty-six thousand 
 miles a second. That isn't vaguely substantiated. 
 
 You can conduct a few little experiments and give an accelerator ring 
 booster onto a fast condenser action, and you'll find enough data to sort of 
 upset things; you can shoot energy out. Energy seems to want to travel; this 
 isn't any terrifically factual thing because we haven't even played around 
 with it. Just enough evidence to demonstrate what the score is on it. 
 
 If you.. if you... Energy travels at the speed ratio of its emission 
 and if you emit.. let a condenser or an ac.. an accelerator ring emit energy 
 at a terrifically brief period of time it apparently goes much faster. And 
 then we gotta.. we.. there's a.. there's a.. a bugger factor in that and it's 
 demonstrated that that is the case and that a hundred and eighty-six thousand 
 is very interesting if we insist on working with light. 
 
 Hut of course the guy is impressed with light who's working on this. 
 When he's born they shine it in his face. And uh.. so there we have light. So 
 at each one of these at C equally you will find some heavy MESTy old boy 
 sitting around with a paint brush and so forth and he'll be working really 
 with aesthetics. 
 
 Trying to work away with aesthetics, and you'll find somebody else 
 trying to work away with reason at that band, and using it, but you find that 
 society has agreed mostly between what we would call the emotional band and 
 the effort band. They're agreed that those are the bands you should use. The 
 thing to do is work. 
 
 And it says emotion, emotion - boy, that's what we need. Actually 
 emotion is lower than sensation and in order to get emotion you have to 
 recover sensation. So they're using at that bottom scale just that little 
 section of it. I hope now you understand this tone scale a lot better than it 
 has been understood, because I know I do. 
 
 All right, let's take a break. 
 
 (TAPE ENDS) 
 
 -15- 
 
