 Here in the third hour of the Monday afternoon lecture, December the
 8th, I want to cover now, ARC. When I told you about automaticity, and I've
 told you about cycles of action, told you about space and energy, and time,
 and how that compares with be do and have, you must realize something, that
 we have been talking about energy. 
 
 When we talk about this universe we're talking about energy. The only
 way an individual can be held in to this universe is by a conviction that he
 cannot handle energy. Because this is a universe full of energy, and is 
 composed only of energy, which operates in a thing called MEST universe 
 space. If you cannot handle energy in its fullest extent don't think you can
 be free of this universe or any other one. 
 
 Force begets force, and he who lives by the sword will die by one. I
 promise you! But, funny thing is, you have to be able to have enough force to
 use an unlimited quantity of force, before you can pass over into a higher
 band of ethics. One cannot retreat from and cower back from force, under any
 pretext whatsoever, and still have a beingness above the level of this 
 universe. 
 
 When you stop and think right now, perhaps, of being hit in the face,
 in the MEST body, with a hundred thousand KW lightning bolt, it possibly is
 not a comfortable thought. But I assure you that that is a small amount of
 juice, compared to what you as a thetan can take. You ought to be able to 
 pick your teeth with a million KW lightning bolt, theta wise. 
 
 If you have ever seen the mercy of the very strong, compared to the
 sympathy and fear of the very weak, if you've ever watched these two things,
 you will see the mockery of bottom scale trying to echo the top of the scale.
 A person has to be very, very strong before he can be ethical and completely
 merciful of his own free will. At the bottom of the scale a person has been
 forced to be, and everything affects him. He has been an effect of this and
 an effect of that, and so on. He's still carrying along with him some of his
 capability; there's still theta there at the bottom of the scale, but not 
 much of it. He has crossed over, you might say, crossed over the span of 
 force on the band, succesfully. But bluntly, nobody ever crawled out of this
 universe through the bottom of the hole. Nobody ever got out that way. That's
 a grave. The only way out is through. 
 
 You have to be able to conquer the full use and control of any factor
 of the first dynamic, and having conquered that, the full use, control, of
 the factor of the second dynamic, and the third and so forth. You have to be
 willing and capable, and in full control of those dynamics, before you are
 free of them. Because always lingering in the back of your mind, no matter
 how esoteric you may think your ambitions may be, always lingering in the 
 back of the mind is something you can't do. Which is always a disability. 
 
 The capability of a thetan is not simply force. You take every saint
 on the calendar as represented as having a big bright aura. What do you think
 that aura was representing? That was representing something very interesting.
 Raw energy. 
 
 Now whether or not these boys could wield energy or not, I don't 
 know. But they certainly represented them that way, and have continued to do
 so ever since. Tell you something interesting: Right there. Force. You want
 to be able to heal somebody at a distance, you have to have the capability of
 charring them into charcoal at a distance. And don't mistake that one, 
 either. Because the ability to produce force is the ability to make a strong
 postulate. And the ability to make a strong postulate alone is capable of 
 controlling the health and beingness of others. 
 
 -87- 

 So all force is, is the shabbiest shadow of what can be done. But 
 unless you can make a postulate strong enough to handle force, it is highly 
 unlikely that you can make a postulate strong enough to pervade all through 
 the beingnesses which you would like to help. Tells you a lot about force. 
 This is a force universe. And don't EVER make a mistake about that. And if it
 was the only universe there was, God help all of us! It is a force universe.
 It's built on trickery, and it's built on force. 
 
 Every single item that you see in a store is condensed energy, 
 existing in space. Every single brick that you see out on the street is a 
 condensation of energy. Any action you see on the part of a MEST object is 
 some manifestation of force at work in this universe. And don't think for a 
 moment that a low, low scale action in this universe will be greeted by 
 anything but force. 
 
 You can protest, reason, agree, grovel, beg, it does not matter. 
 Force is there, heavily and solidly, to greet the BEST of intentions to help.
 This universe does not care anything for brightness, for aesthetics. You 
 could go out and make the prettiest planet that ever existed in this whole 
 universe, solely by your hard work, and application and genius. And the force
 that is this universe could simply roll it up and blow it away. Without the 
 least tremor. 
 
 The strong man who uses force, fort main, as his sole criteria of 
 existence is nothing but a brute. He is nothing but a brute. Nevertheless, the
 strong man who is able to make something in this universe must be able to 
 protect it. 'Cause this universe doesn't care. And that's what breaks the 
 heart of man. It doesn't care. He looks around, no matter what he does for 
 anybody, no matter how much he tries to help, or anything else, in this 
 universe with MEST force on the loose, and relatively uncontrolled, it makes
 no difference whatsoever. It is that remorselessness, that crushing 
 capability, without discernment as to a finer quality, that breaks him at 
 last. 
 
 lie thinks in this universe there ought to be such things as love, and
 goodness, and he thinks these things ought to repay. And you find somebody 
 working himself to the bone, trying to be a good guy. Trying to be a straight
 guy and so on. What do you find around him? You'll find pitfalls waiting for
 his tiniest error. And he will go crashing down. 
 
 And who will push him? The people he helped the most. It's a great 
 universe. It is so debased and degraded, really, that the better capabilities
 of theta, the better capabilities of beingness, almost can't exist in this 
 universe. They are here in the flimsiest possible form. 
 
 Let's take an aesthetic. What does this universe care for an 
 aesthetic? You're going out and looking at the beautiful sunset; it's.. 
 that's.. that's.. very amusing. Expecting a sensation of aesthetic from this
 universe? Have you any idea what composes that beautiful sunset? It is dust 
 hanging in the air from some old volcanic explosion, where the earth 
 convulsed and vomited and shot rock and ash into the air. And it's a sun of 
 such a violent temperature that it is shooting sheets of fire out two hundred
 and forty thousand miles. Radioactive fire which if you even vaguely 
 approached it and got a tiniest burn you would thereafter rot. Beauty in this
 universe. 
 
 You go out and 1ook at the butterfly, and you watch him flying around
 through the grass, and you.. so forth, and uh.. you say: Isn't that pretty? 
 Did you ever follow the fate of a butterfly? It's an interesting game. But it
 doesn't have any room in it for the beingness called man, really. 
 
 -88- 

 Here you have an unlimited universe, of force, and debased force, and
 the solidified results of force, and man and thetans in their small way try
 to add into it the ingredient of love, of beauty, of appreciation, of fair
 play. Nothing happens, really, just more force. 
 
 So don't go moaning and moping around and saying, "There is no goal
 for this universe," and don't go moping around 'n saying "Nobody appreciates
 what I'm doing" because the truth of the matter is this universe is too 
 strong and too forceful and too powerful from the standpoint of MEST force,
 to permit it to happen. 
 
 The only thing which you see out here in this universe that is worth
 seeing, is what you and people like you have put into it to perceive back.
 And if you have ever counted the number of beautiful cities which have gone
 by the boards here on this earth, and which are no more, the hopes with which
 they were built, and the ardures and depths of their fall, and the plight and
 agony of their final days, you would no longer sit around and worry about
 "Let's make this a good universe." That's how you got trapped into it in the
 first place. Trying to make this thing a good universe. You've got lots of
 universes, and you can make one of your own. We're not worried about it any
 further than that. Lots of them. 
 
 Theta's greatest potentialities happen to be the ability to agree,
 which makes for groups. The abiilty to have an affinity, to love and 
 appreciate, and to feel sensation. And that is affinity. And the ability to
 communicate. And that's communication. And the communications which are here
 in this universe are done through MEST. And these three manifestations are in
 action in this universe, in the form of MEST. But it is theta, handling MEST
 in a peculiar way, that gives us ARC. And the MEST handles to give us three
 conditions of energy, which become Affinity, Reality, Communication. 
 
 The characteristic of the energy, whether it exists in terms of a 
 flow, a dispersal or a ridge, determine the degree of affinity. Now affinity
 means essentially in this universe "To stick to". "To hold together or not to
 hold together." Above that level it does not need to have energy. And simply
 exists as what you might call love. It doesn't have to have energy. But when
 it moves down into this universe, or is worked in this universe, or perhaps
 one that you would participate in, you would have, then, a manifestation for
 its various phases. And it could go through three phases, three 
 characteristic actions in energy. 
 
 When I'm talking then about affinity on the broad theta level, I'm
 not necessarily talking about.. about theta at all. I'm talking about the
 manifestation of theta in energy in this universe. You see? Get the 
 difference of that. 'Cause affinity can exist without energy. But when it
 gets into an energy form it exists in three levels. Flows, dispersals and
 ridges. And those three conditions make what we call sensations and emotions.
 And we have our full scale of emotion, from apathy at the bottom to serenity
 at the top, runs immediately below serenity.. and by the way, there are other
 manifestations than serenity up there in theta. But immediately from below
 serenity, right on down to the apathy of matter itself, are these gradient..
 these harmonics. 
 
 There's flows up near the top, and dispersals and ridges up near the
 top. Then as we come on down the line we find out that there are flows, 
 dispersals and ridges, and we finally get into the bracket that we can know
 very well and easily as homo sapiens, which is to say the flow of enthusiasm.
 Enthusiasm is a flow. That is energy going from one point to another point;
 that's enthusiasm. And it's a.. a characteristic flow. 
 
 -89- 

 And the next point down from enthusiasm is uh.. there's a 3.5, 
 somewhat a dispersal, right in that area there, a fellow is sort of tracking
 back from enthusiasm. He just doesn't quite like enthusiasm. And then there's
 conservatism, which is "Hold that line". And that's a ridge. Now we go down
 below that again, and we'll find below conservatism there's actually a uh..
 little dispersal, and then there is the.. a f.. a f.. pardon me.. a little
 flow, and there's a dispersal. But the most important dispersal in that 
 point, as you know very well, is boredom. Scattered attention, idle, 
 scattered, attention. 
 
 Now we'll have to go below that. You see, man hasn't even vaguely 
 named the number of sensations that exist between 4.0 and 0.0, which is a 
 bad.. is bad communication, then. There are a whole lot of emotions that lie
 in there. And uh.. you get down to another flow. And that is antagonism. And
 then you get down to the most prominent ridge.. yes, antagonism is an outward
 flow from somebody. He's being antagonistic and it's a certain characteristic
 of a wave. 
 
 The wave characteristic you see in each case is different. But it's
 the same kind of energy, a characteristic of it. So anger is a ridge. Now we
 go down below anger as a ridge, and we find the next prominent emotion is 
 really prominent emotion.. is fear. And fear is a dispersal. You could 
 actually get somebody to say when was the last time you were afraid, and 
 watch that E-meter just start to climb right on off the top of the scale. 
 You.. y.. he wanted to be somewhere else. That was.. that's a characteristic
 of that. Dispersal. Anywhere else. Not flow to some other place, but a real
 fear is be anyplace else. Which is a dispersal. 
 
 And now we go downscale from that, and we find our next ridge. Some
 people think it might be a flow. But that's only the tears. The ridge is 
 grief, and it is this little effort to try to hold on to at least the memory
 of what one had but doesn't have now. And down below that, we get another
 flow and another dispersal, and another flow, and apathy. 
 
 Uh.. that whole scale makes up out of just that.. those.. those three
 characteristics. And we have named some of them. We.. some of them are named.
 But the bulk of them are not named. And they're actually emotional sensations
 which would be found to be various manifestations of experience, which man
 experiences, but doesn't much bother to name. He knows that. He knows the 
 feeling of "Just before you get scared." That's a flow. Or he knows the 
 feeling of "Just after you have been afraid." You know, the "((pant,pant))".
 He knows those feelings. Well, he calls that relief, but shucks, there's 
 relief from pain, there's relief from all sorts of things. 
 
 Now there is a peculiar ridge, up at about 1.8.. pardon me.. 
 dispersal. Up at about 1.8, just above the ridge of anger. And it's a little
 ridge there called pain. It's an emotion. It's a sensation. Now it has 
 harmonics, all the way up, and way up above the level it has "exquisite 
 pain", is up at about 6 or 8, or something like that. And you'll find people
 fooling around with this once in a while on the track. It is to production of
 a very fine pain, that is, uh.. they consider quite a sensation. 
 
 Now actually, in your lifetime, you've fooled around with a very fine
 pain. It kind of "hurts so good", uh.. and so on. These are various 
 manifestations of these characteristics known as affinity. 
 
 Sympathy is one. Sympathy is a co-flow. I mean, it's.. it's a sort of
 a.. a.. a co-beingness. And that sort of thing. But one individua1 goes on to
 the wave length of another individual, and he flows the same wave length back
 and forth on it. The fellow's hurt, so the fellow says "You poor fellow." Now
 
 -90- 

 this is an.. actually a mockery of a higher manifestation of theta. On high
 on the wave.. uh.. on the tone scale, an individual says "Oh, you hurt? Well,
 what's your wave length? We'll patch it up." And it gets patched up! 
 
 But down in the sympathy level, all they do is take the fellow's wave
 length and find out what it was and then say "You poor fellow, you're so 
 tired," and put him into the automaticity thing, and "We've got to wait on
 you." And then they really make that stick; they can cut him down to no speed
 at all, then. See, it's used as a control operation, as most things below 2
 are. Now you get that then. 
 
 We have a characteristic whether a thing is a flow, whether it is a
 dispersal, or a ridge. And that determines the emotion or sensation. We 
 haven't said anything yet about its wave characteristic. 
 
 Now we have communication. And we'll have to draw a picture of this
 so that you can see it somewhat, but let's draw the tone scale on its side,
 here. 40.0, 20.0, and 0.0. And let's draw this.. this tone scale on its side.
 Now, we know that the.. the flow.. actually, it's flow, dispersal, flow,
 ridge, flow, dispersal, flow, ridge, if you want to be very technical about
 it. And here it'd be flow, dispersal, uh.. flow, ridge, flow, dispersal, 
 flow, ridge - pretty, huh? Well, it goes right on down scale like that. 
 That.. that would be the.. be what we've just been talking about, here. And
 that would continue right on down. Each one of these characteristics, except
 that we're really.. I haven't got this quite as exaggerated as it should be.
 We get flow, dispersal, flow, ridge, flow, dispersal, flow.. that's matter!
 You get the idea here? See, we're going down, very light, on down the line.
 And that would be A, for affinity. We call this e.. emotion. 
 
 And uh.. now, let's take the.. we have to do another trick here, to
 get communication. Communication is actually the wave band. And.. and 
 communication as a wave band doesn't sit the way that 0040.0 sits. It's a
 rather complex thing, not entirely worked out at this moment, but it does sit
 this way. 
 
 We have here uh.. communication would be for instance high band..
 heavy band.. and it would sit at any one of these places the same way. It
 could sit up here at 40.0 the same way. See, there's no difference between
 these, I'm just trying to draw them more or less similar. Same difference,
 see? 
 
 I mean, if we were to turn this tone scale on edge here, we would
 again find 40.0, 20.0, 0.0; we'd still have this coming out here, and the
 same.. same difference. That's how theta gets tacked on to any of this. 
 Because this area in here is the no-wave of theta. And this area up here is
 no-wave of theta. It's not tacked on this way, see, to the no-wave of theta,
 it's tacked on this way. 
 
 Now this could match theta. It's uh.. so close to 1 over infinity a
 wave when we get out here, to point X.. point X in each case; it's so close
 to uh.. an infinity wave, uh.. that uh.. for all intents and purposes it has
 no wave. Now down here would be the heaviest, grossest waves. You might take
 uh.. I don't know, there's.. guess there's some kind of electronic waves that
 are big, heavy.. what's the heaviest electronic wave? Solid one. I don't 
 know, they've been uh.. we aren't down at the bottom of the band yet, though,
 by the way. That's amusing. There are heavier force waves below where we're
 operating than anybody is operating with. 
 
 But we'll take just one little sector in here, and let's take.. let's
 take this little sector here, we'll find out that this is the photon band.
 
 -91- 

 That's light. Down in here some place, is a radar band. Now, you take uh.. I
 don't know what the wave lengths of light are offhand, I'd say about .503 
 centimeters, something like that. Long would be the wave length of uh.. 
 light, middle band light. Somewhere in there. But it's point-many-many- 
 several-zeros, uh.. 3. I think ultraviolet's about point-six-zero's, if I 
 remember rightly, 3 centimeters. There's that little infinitesimal distance
 between each wave point. See, between here and here. 
 
 All right, here's your waves. But your wave could be smaller and 
 smaller as it gets up here. Now, down.. down this level, down here, you've
 got the heavy band, that's the effort. Now really, this band up here would be
 something on the order of the emotion band. See we've been doing it just a
 little bit wrong, in not drawing it properly. And you use this wave length
 for human emotion, or something on that order. 
 
 And way up here at the top is aesthetics. That goes up, clear on up,
 to point-twenty-five-zeros's 2 centimeters. Oh, boy, that's.. th.. that's a
 t.. hmmm! Very tiny wave length. It's so tiny that it just fits right on in
 to about one over infinity. Now there are a lot of empirical data turned up
 to confirm this. Uh.. it was demonstrated that theta has no wave length, and
 if you worked out this and that and so on, if you could work up here in the
 aesthetic band when you weren't working in any other band you'd produce 
 higher results. And all sort of things happened. 
 
 And we found out that the effort band depended wholly upon interest
 or aesthetic to exist. Of.. only reason a fellow would hold on to the effort
 wave lengths and bands, and ardures, and pain, and all the rest of the thing,
 is because he thought he might have something afterwards. He wasn't holding
 on to beingnesses just blindly, uh, he actually thought that there might be
 some interest in life to pull him on along the line. When all of his interest
 or aesthetic in life was gone, he was gone. 
 
 Well this is a crude way of demonstrating it, and is not even.. not
 even uh.. completely accurate there, 'cause you have a two-dimensional
 graph. But it gives you an idea of what we're talking about. 
 
 Then it says that at 20.0 you could have a wave length of.. of.. you
 could have a wave length of aesthetics; you could have a wave length of 
 effort; you could have a wave length of light; you could have a wave length
 of sound; and a11 of these things would be at 20.0. 
 
 Now it so happens that as one descends the tone scale, and these 
 flows here, emotion, get heavier.. I mean, that's volume. Get the idea? And
 it also is.. depends upon contracting space. How much space you've got. You
 go down tone scale, we go from.. from lots of space, to no space. Now what..
 what's that wave length doing? I mean, how much space is the wave length 
 operating in. It's operating in less and less space, so apparently your 
 volume of energy is getting more and more and more, you see? 
 
 You could have a light which is going at wave length )(. It's going at
 wave length )(, and that's just a certain wave length of light, and now we
 hook up some new machinery on to this thing, and put a lot of new batteries
 in it, and we really soup the juice to this light - we would do it, by the
 way, by contracting the space of the filaments - we would just soup the juice
 up in this light, zong zong zong, and it's travelling what? at the same wave
 length, but it's actually gone down tone scale. 
 
 Now we'll soup the juice up and contract the space some more, volume
 per unit of space, we'll soup the juice up some more; actually the light's
 gone on down tone scale again. And let's soup this.. it hasn't changed in 
 
 -92- 

 wave length. Wave length has not shifted or altered. It's just going on down
 tone scale, because there's more energy per unit space. And if you try to 
 maintain the same number of unit spaces, boy, do you have to pack in the 
 energy! And what do you get at the bottom of it? Boy, you'll get a busted 
 piece of MEST! That would be the end product. Or you'd just get solid matter
 or you would actually have a light beam that was going out there, and which
 somebody could lean on! And it'd just push over. That's right! 
 
 Now, cathode ray tubes, they.. they get one stream of light as'd be 
 deflecting against other streams of light, and you can get the most 
 interesting interplays of making streams of light lean against streams of 
 light, or streams of magnetism lean against streams of light, and all sort of
 things like this. But in order to produce a real good effect, if you.. you'd
 s.. have to step up the magnetism until the light has to hit something to go
 around it. In other words you contract the amount of space for the amount of
 power. And that.. that's a bad use of the word power, per.. per energy unit.
 
 You see how that would be? And the final product down here is 
 completely contracted space, or practically completely contracted space, and
 it'd be a very heavy metal. But up the line a little bit further if you were
 working on.. on matter, and matter is below our 0.0 scale, we just contact it
 in preclears as apathy, and boy, it's as gluey as any matter you ever want to
 run into! 
 
 Uh.. you come on up tone scale and you've got space, and you.. you..
 before you get to that level you have the.. you have such light things as 
 hydrogen. That is below apathy. But It's running on certain vibrations, and
 certain uh.. matter, and in certain spaces, and that's what your matter band
 would be. 
 
 All right, that tells you, too, that at various points on this tone 
 scale you might get aesthetics suddenly cutting in. Suddenly. You have an 
 aesthetic automobile. Well that's a heck of a place for the aesthetic band to
 suddenly appear, isn't it. There's actually a combination of wave lengths and
 wave forms, and so on, that give you a very tiny vibration that's quite 
 attractive to a thetan. And he'll buy one. He'll sell his time, which is to
 say his havingness, in one department, to pick up his havingness in another
 department to get that automobile. Because it's got the aesthetic band run in
 on matter. 
 
 Now let's take 20.0, action. And let's take.. let's take a bunch of 
 fellows who are having a.. oh, they're.. they're real tough, and they're 
 crude and uh.. and they're uh.. they wear long scraggly mustaches, and 
 they're dirty, and they smell foul, and.. and so forth, they're still running
 at 20.0. But uh.. their aesthetic isn't there. And now let's take a fellow, a
 lot of fellows running at 20.0 and they're.. they're very neat, and they're
 travelling like hell, and they keep their equipment in good shape, and.. and
 uh.. so forth, and there's an aesthetic goes along with them too, completely
 aside from their orderliness. A real aesthetic. And they're uh.. just for no
 good reason at all, uh.. their armbands and so forth, and uh.. other 
 bric-a-brac and items which they are wearing are pretty. See, you don't have
 to have a reason for anything to be aesthetic. It just is. 
 
 But uh.. higher uh.. order of approach, the less energy you'll find 
 such beings using to produce more results, the more aesthetic they are. You
 see? The infantry is always dirtier than the cavalry. The cavalry has a 
 little higher level of aesthetic because it rides to war, doesn't use quite
 as much effort. But the cavalry'll go downhill and become awfully enMESTed 
 awfully fast. Well-known disorganization of cavalry. All right. That's a 
 principle in war! 
 
 -93- 

 Now, we have then, down here at 4.0, we have the fellow who is 
 enthusiastic about his slot-machine business. He's still enthusiastic. But 
 then we have the fellow who is enthusiastic about something aesthetic. He's
 still enthusiastic. He is giving this manifestation of a heavy band flow, on
 an aesthetic level. What is the quality of the wave, and what is the volume
 of the wave, are two different things. The quality of the wave and the volume
 of the wave. 
 
 Now we're dealing with all these various characteristics of waves,
 and we're finding out, then, that a fellow at enthusiasm is pretty easy to 
 work. But a fellow at conservatism isn't. Why? The fellow at conservatism is
 actually specializing in a certain kind of ridge. And a ridge doesn't flow.
 So you get your fellow at conservatism, you've got to go right into the need
 of pulling a ridge. Or find something he can get enthusiastic about, or 
 something he can get afraid of. In order to get a dispersal or a flow, be..
 in order to blow down ridges. You see how that is? 
 
 So every time you hit one of these bands that has a ridge, you have
 the anger person, the conservative person, the person in grief or the person
 in apathy, you know by experience as auditors that they're your.. they're 
 your terribly.. terrible cases. You say, "Oh, no! Don't give me another one
 of those apathy cases! I ain't.. you know.." and you.. you hear them talking
 around here. You say "Oh, he's one of those apathy cases," or "He's a typical
 anger case." You don't much talk about fear cases. One in a while you'll talk
 about a dispersal case, because you can't get this preclear near any engram.
 
 But uh.. the rest of the cases don't worry you. Why don't they worry
 you? Because they've got flows to work with. And the guy flows this way, and
 flows that way, and some other way, and the ridges go down, and he changes in
 tone. But whenever you have a case that is sitting on a ridge, you'll find 
 out that you have to somehow or other mock up or find or do something with a
 flow, to get him off the ridge. That should tell you how to process your 
 conservative case, and your anger case, and your grief case, and your apathy
 case. Find something they can flow on. Run flows. Something they can flow on.
 
 They are just as happy as could be, by the way, to put a mock-up out
 there and leave it. Sure they can get real persistence. They can hold two 
 facsimiles apart until they explode. Those people can do all sort of things,
 particularly the guy at anger. He delights in holding two facsimiles apart 
 until they explode! Sure, he can do that all day. 
 
 You get your fear case: "Well all right, hold these two facsimiles
 apart until they explode." 
 
 "I don't know, they keep coming together!" Smack! Smack! Person can't
 stabilize anything. The person in fear does a jiggle,'jiggle, jump, jump, on
 the uh.. automaticity. So you get these various actions here, of flow 
 characteristics. 
 
 All right, and we got this aesthetic band, now, we've got light, and
 all of the perceptions are on this band. These are then called what? They are
 called perception bands. Sound, sight, perception. Sound, sight, heat, cold,
 electrical, every perception your MEST body's got, plus about eight thousand
 nore, are locatable on this band. On.. anywhere on the wave length. 
 
 And what determines the kind of perception you have is the wave 
 length of the perception. That's all. That's all. And the.. depends to 
 rehabilitate the perception, your thetan is active at one or another parts of
 the band, and not active at other parts of this perception band, and he's at
 the same position on the tone scale. And it should strike you as rather 
 interesting. 
 
 -94- 

 It's anyplace, then, anyplace then on that band, he's got perception.
 So what's.. what's communication? Per.. communication isn't talking, or 
 hearing, communication is perception, and communication is energy, in this
 universe. To rehabilitate good communication you've got to rehabilitate 
 energy. Now you can talk around this MEST universe, and somehow or other MISS
 all of this perception line, but your guy's going to be deaf in one 
 department or another. He's not going to see quite as well as he might, or
 he's going to have a little bit of trouble feeling something or other, or 
 uh.. so on. He's.. he's blind, deaf, dumb, something, on one of these 
 perception bands. 
 
 Boy, nail that fact down, will you? Communication is perception. Very
 secondarily talk and ideas. Fact, thetans can handle ideas. You don't have ic
 process that too much. Although there's a cycle of ideas, of increase and 
 decrease of thinkingness, that is a honey of a process. Get a guy thinking
 about one thing, then tell him to increase it, now decrease it, now stop 
 thinking about it. And he'll say "Nnyyaaooow!" 
 
 But you're dealing here, then, primarily, in perception with energy.
 And you get your thetan outside, and you say.. you say "All right, how do
 things look to you?" 
 
 "Yeah everything's all green and pink, and I've got the sky.. and I..
 I don't know what I'm looking at. I don't think I'm even outside, I can't
 see." 
 
 Now the time for you to pat him on the hand, and say "Well, that's
 right, uh.. so and so and so and so, and I wonder how we would get around 
 this, and let's run out the phrase of your mother saying "I can't see 
 anything." If I had ahold of you in that auditing session I'd shoot you. 
 Because of this - this is too simple, so never miss it: Perception is energy.
 Perception is energy. Energy is perception. Perception is energy. And the 
 ability of the preclear to handle energy depends upon his ability to 
 perceive, and his ability to perceive depends upon his ability to handle 
 energy. And energy is force. And force is random effort, and effort is 
 directed force, and.. force.. and if he's unwilling to smash grandma with an
 axe he won't be able to see, believe me. 
 
 Use of force. Use of force. He has to be able to be free to use force
 before he can perceive. He has to be able to perceive before he can locate
 himself well in this universe. Well let's get that, once and for all, and 
 even though you are terribly timid about the use of force yourself, at the
 moment you listen to these golden words of wisdom and advice which I'm giving
 to you, don't forget it! Because that's going to be ninety per cent of your
 trouble in theta clearing. Ninety per cent of it is wrapped up in perception.
 
 The fellow gets outside, he says "I can't see, I don't know what I'm
 looking at, I.. towards.. ffmm.. da.." Or he says "I see, all right, hut it's
 another planet." Or he says, he says "I.. My perceptions are very, very 
 good," and so on, uh.. and so on, "But, uh.. there's about three-quarters of
 the room is completely black." 
 
 He.. what is.. what is missing is his ability to handle force. He 
 doesn't want to look at anything, he knows what'll happen if he looks at 
 something, he knows what'll happen if he moves out into a space all by 
 himself, and.. and looks at something. He knows what'll happen. He'll get hit
 right between the eyes, with a.. with a.. with a Mark Six VM Pistol, or 
 something. Now he knows! He's done it! He's got a big engram right there, he
 keeps right here handy in his hip pocket, that he can take out and look at
 every once in a while, and says "Look: When you perceive things, you get 
 zapped!" He.. he knows. That lesson he learned, fast! 
 
 -95- 

 So you say "Well now, let's take a look at the windows." And there's
 just a little tiny trickle of sunlight over there in the windows, and the
 trickle of sunlight is leaking into the room, barely perceptible anyway, and
 you say "Can you locate the window?" 
  
 "NO! I can't locate the windows." 
 
 Why? Force. It's energy that you're asking him to use. And 1f he 
 can't use energy, he won't be able to perceive. So the solution to the 
 perception problem is the rehabilitation of the preclear in the handling and
 use of force. Okay? 
 
 Also.. also, the responsibility happens to be force in this universe
 too, because objects in this universe are made out of energy. So, if you want
 to rehabilitate the responsibility of the preclear, you've got to 
 rehabilitate his ability to handle force. What are we talking about? We're
 talking about ARC. We're talking about space and energy. We're talking about
 livingness and beingness. We're talking about space. We're talking about 
 beingness. And if a fellow's space is packed so full of inaccessible energy,
 he can't possibly get to any of it, you're going to have a bad time with him.
 
 So we've got to have.. we've got to have a complete ability to use
 force in all directions before we get a.. the completest ability to perceive.
 It goes by geometric progression. It goes slow at first, and then faster and
 faster. But if you're on the line of rehabilitation of the use of force, 
 you're on the main track. And everything else in this universe is subsidiary
 thereunto. 
 
 When you've mastered this universe utterly, you'll never afterwards
 have any doubt about your ability to make a universe. So you'd better learn
 how to master. 'Cause if a fellow's down on his ability to use force, believe
 me he won't even look at it. 
 
 You see, what's nice, a thetan's got a body, and he can look back of
 the eyes, and anything that's going to hit those eyes when the Mark Six VM
 zap-pistol hits the face, he can already disconnect. He has the warning of it
 hitting the eye first. See, he's.. he's sort of a fellow standing behind a..
 a huge barricade of a body. He's dug in. Uh.. he gets a signal before he's
 burned. But supposing.. supposing he's in the horrible position of being out
 in empty space? There's no warning. So he has to be uh.. be uh.. able to 
 withstand energy. Otherwise he's never going to look. 
 
 All right. So we get perception band, tells you that this is 
 communication. Now we get communication.. see, you have to have an idea 
 before you communicate. Communication is perception bands in NEST universe.
 Communication is. Now those are the various sc.. scales of it. 
 
 Now this becomes very humourous after a while, by the way, it's more
 that you can know about this is, as a guy starts up the line to perceive, his
 sight'll go off suddenly. What's he doing? He's just hitting those ridges as
 he goes up scale. He gets on ridges. And he hits areas as he goes up scale,
 and his perception turns off for a moment, and he gets real upset. And he
 thinks that's the most horrible thing. Well the next thing you know it's 
 flowing like mad. And then it starts to disperse slightly, and then he's up
 scale again. And then he's doing a nice, smooth flow and he says, "Oh, gee,
 boy! I'm sure glad I got there!" Bong! And off goes his sight again! Each
 time it goes off a little bit lighter, and it goes off a little bit lighter,
 and it'll go right on up scale. 
 
 All right. This leaves, then, the simple ingredient called reality.
 
 -96- 

 And boy, is that simple in terms of energy! In terms of energy it is the 
 simplest thing amongst the simplest things amongst the simplest things there
 could be. It's which way did he go? Is it flowing out from the preclear? If
 it is, he's disagreeing. Is it flowing in to the preclear2 He's agreeing. 
 Agreement would be a superfluity of inflow. Too much inflow is what's wrong
 with the guy. He's become the effect of energy. He agreed and agreed and 
 agreed and even though he told everybody he agreed they still made him agree
 and they still used force on him. So he agreed and agreed and he agreed some
 more, and he still agreed, and they still told him; he agreed, and so they
 used some more force on him, just for variety. 
 
 So at this time he gets frantic about agreeing, and he says "But I'm
 agreeing! But I'm agreeing like mad! I'm a conformist to end all 
 conformists!" And so forth so just for variety's sake, the MEST universe
 just uses some more energy on him. It has no valve on it that said "This 
 person has agreed enough." The end of that track is "It doesn't matter what I
 agree to, I'll be wrong," and the real end of the track is "Well I have no
 responsibility whatsoever, I'm completely insane." 
 
 So what.. your.. your agreement levels are flavored by emotion. You
 see? I mean a fellow can agree, in some form or another, he can agr.. agree,
 but that.. that is flavored then by emotion, and he can agree on a certain
 communication level. He could agree by radio, and not 'like it a bit. 
 
 Now the ridges and dispersals are nulls, and upsets, and confusions
 about agreement and disagreement. Now you get a dispersal right up there 
 above anger, where the terrible-tempered Mr. Bang explodes. He goes Boom!
 Well, he's trying to disagree in all directions simultaneously. So the 
 environment explodes back at him. And it.. it starts trying to disagree in
 all directions simultaneously, and it gets a very confused and chaotic 
 picture. 
 
 So we have, then, the emotional band monitors the character of the
 flow. And you only really have agreement and disagreement where you have 
 flows. Good orderly agreement and disagreement. When you hit ridges you have
 nulls, and dispersals you have an.. implosions, you have franticnesses of 
 some sort. Agitations, idlenesses, and things like that. 
 
 So you get this reality level - really goes out, thunk! Every time
 you hit a ridge. So what do you get with reality is - a guy comes up tone 
 scale, from 0.0 on up tone scale, he comes up the line, up the line, and all
 of a sudden he doesn't believe it. Now you work him for a short time, and he
 believes it. Everything's going along fine, and then all of a sudden he gets
 very frantic about, "Well, is it real, or isn't it real, or is it real, or..
 or.. I.. I'm not sure, uh.. so on." Just work him a little bit longer, and
 he'll just be fine. And then work him just a little bit longer, and he's 
 saying, "You know, I don't believe it." He just hits this gradient scale with
 less and less emphasis, as he comes up the tone scale. You can start down 
 here with belief, and then you get into disbelief. And then you get into 
 belief, and then disbelief. And each one becomes lighter. Very interesting,
 the variation. 
 
 But you get the wave band, the direction of flow, and the 
 characteristic of the energy, whether it's a flow, a dispersal or a ridge,
 makes up ARC in this universe. So let's go over that again. Affinity is 
 emotion - let's get what these things are. Affinity is emotion, sensation,
 uh.. communication is perception, and uh.. communication is perception, and
 perception of course is wave lenghts. Any wave lenghts for any position on
 the tone scale. Communication is energy, and it has to do with perception.
 And then we get "Which way did he go?" Out from the preclear, or in, or null.
 
 -97- 

 Out, in, or null, and we get the level of reality he has on something. And 
 uh.. that's just his degree of agreement with what's happening. 
 
 So we get these three things in combination and we get out of that
 the randomity which we call human emotion. Laughingly called human emotion.
 Boy, it's really.. it.. it's.. it's like a dead snake trying to move. I mean
 it.. it's way down low. When you get anything that's as heavy a volume to 
 move around - the guy doesn't much feel like being happy or being 
 enthusiastic - he'll just sit. At one place on the tone band with one 
 characteristic using.. using one direction of flow, and using one set of the
 wave lenghts, he can see good. He.. he knows that, he can see real good with
 his MEST eyes, and uh.. he knows that if you accept things cautiously, you 
 know, he agrees cautiously, inflow, receive caution, and uh.. he.. he.. he 
 uh.. knows then, too, that uh.. if you're.. well, if you accept things with
 caution, you've got your emotional scale, why he'll get along. And you come
 along as an auditor, and you say do this and do that, and do.. heh-heh-heh-
 heh-heh. It's too much work to change any of those characteristics. And you
 get at it with mock-up processing, and it works very effectively. Extremely
 so 
 
 Now, let's look over, then, these three things, affinity, reality and
 communication, and see how you use them in mock-ups. And we find out that 
 ridges are approximated by brick walls, solid objects, unmoving things. When
 you're trying to run ridges or handle ridges, teach him how to handle solid,
 walling barricades, unmoving things, and so on. That handles ridges. 
 
 Explosions add up to bursts of water, bursts of.. of energy of any
 kind, flares, flash-ups, sudden increases in energy, any kind. And flows add
 up to something going from one point to another point. So you do mock-ups to
 handle those things. 
 
 I notice I put in here your dispersals hanging in the middle and 
 dispersing at both ends. The funny part of it, there's actually another.. 
 dispersal points, just before you hit the ridge. And you get somebody coming
 off a ridge he'll very often BLOW off of a ridge. He'll BLOW right off a 
 ridge. This is when a guy decides he'll do a bunk. He shoots out of his head
 and he's on his way. He hits the dispersal just adjacent to a ridge. 
 
 But uh.. remember here that your mock-up is approximating these 
 various bands, and behind every inability to use force. And all of a sudden
 you'll find your preclear is unable to use anything that has any sound in it.
 And he tries to run like mad. You have to rehabilitate his whole perception
 band. And you give him mock-ups for the whole band of perception that he can
 reach even vaguely. And you just work on rehabilitating the perceptions 
 alone, however, you won't get anyplace until you rehabilitate his confidence
 in force, and his ability to handle force, and his ability to use force. And
 his confidence in standing up to force. Then the whole band starts solving.
 
 And you get this fellow, and his sonic is off. And you say, "All 
 right, now let's hear a bell, let's put a sound into that bell and listen to
 it." 
 He says, "I can't." 
 Uh.. "Let's do this, let's do that.." 
 "I can't." Sound off, sound off. 
 
 You must know that the only time you ever get sound out in space is
 in the middle of an explosion. Space isn't rigged for sound. Sound requires
 
 -98- 

 air. And so the electronic flow itself could be vibrating in sound when the
 ship blew up or when something else happened, or some other universe blew up
 or something of the sort. 
 
 He got for an instant the impression of sound, and ever since, every
 time he's heard a sound it's held keyed-in the explosion of some time long
 ago. So he doesn't have sonic. 'Cause it's been proven to him adequately that
 sound is very dangerous. 
 
 Now you rehabilitate use of force. To rehabilitate use of force it's
 only necessary for his ability.. it's only necessary to rehabilitate his 
 ability to handle solid blocks of energy, energy that is flowing, and energy
 that is dispersing or contracting. That's all that's necessary. Now it should
 be handled going out from the pc and going in to the pc. That could be done
 in mock-up by mocking the pc up out there. So those are three necessary 
 characteristics of mock-ups. 
 
 Now you start putting the perceptions in the mock-ups, you will find
 that those perceptions get better and better and the preclear gets better and
 better on this line, as you add in these perceptions, IF you are primarily
 taking care of force, raw force itself. You have to get him pretty good with
 force. You have to get him down, and.. and.. and really drill on the subject.
 And you'll finally.. you're all set, you've been knocking the room to pieces
 with lightning bolts, and you're having lightning bolts come in like mad, and
 the preclear all of a sudden says "Yeah, the room's all full of lightning 
 bolts." 
 
 You say "Now wait a minute! Heh heh! That's.. I said ONE lightning
 bolt." 
 
 "Well, the room's all full of lightning bolts." 
 
 "Yeah, I got that." No, he's pretty well down on the automaticity 
 scale. Now you.. you've got.. finally you've got one lightning bolt, and it's
 absolutely horrendous, and you say, "Get the smell of ozone off of it." Nyah!
 
 "Well all right. Yeah, I can see something like that." 
 
 "All right. Now let's get the sound of it as it hits. That's good.
 Let's get that several times. Good. Now let's look full at it, and get the
 full glare of it. Okay. Now, let's have the lightning bolt come through and
 start selectively hitting people.. bodies.. mock-ups." 
 
 We've got a lightning bolt. Now let's handle that lightning bolt 
 reductio ad absurdum. Let's just handle that lightning bolt until we've got
 lightning bolts. We turn them blue and we turn them pink. And we have them go
 through the chimneys, and we have them do this and we have them go through
 the earth, and we have them do this with them and we do that with them, and
 we braid them and we make ties out of them, and we handle lightning bolts 
 that are very high horsepower, and so on. Don't be surprised if you carry 
 this drill through to its last possible ditch - killing off everybody with
 lightning bolts, being killed off in every fashion possible with lightning
 bolts, and all connected with lightning bolts - that the last few that he 
 sends through the room.. don't be surprised if they singe the walls. 
 
 Anyway.. you want to be sure, however that you don't think just a 
 lightning bolt is all the energy there was. There's energy dispersals coming
 from the end of wires. There's energy dispersals coming from nozzles. There
 are energy flows that spring off of large molten masses of energy. There's
 bodies being packed in molten flowing energy. The energy can take all kinds
 
 -99- 

 of forms. So you just run energy out to the furthest furthest further that 
 you can, and start putting it into space, and start, stop, change energy, 
 increase it, decrease it, uncreate it, and in general uh.. finish it up, 
 until your preclear has that. And you'll have his perceptions on nice and 
 full before you get through. Nice and full. 
 
 Now that is the essence of handling mock-up processing. And it's the 
 essence of handling anything about ARC that you have tried to handle about 
 ARC at any time in the past. Whatever you tried to do with ARC in the past, 
 you can do with a mock-up, knowing something about the energy characteristics
 and behaviors of it here on the graph, here. 
 
 Okay. Thank you very much. 
 
 (TAPE ENDS) 
 
 -100- 
