 This is the first hour evening lecture, Wednesday, December 10th. 
 
 I have a uh.. couple more things that we've got to cover consecutive
 to this afternoon's talk, but there's no reason why this material doesn't
 cover independently as itself. 
 
 This material has to do with the other two items, namely Flows and 
 Ridges, pardon me, Dispersal and Ridges, having covered Flows this afternoon.
 
 Okay, those that didn't get that this aftenoon will of course get 
 this material subsequently when they review the tapes. 
 
 Uh.. the subject of Flows, Dispersals and Ridges is, of course, the 
 subject of the characteristics of emotion. Characteristics of emotion. 
 
 Now an emotional state depends upon the wave characteristic and upon
 the volume of the wave. And then that combination of waves could ride with
 any combination of perceptic waves. 
 
 Very simple. Here we have a flow; if you want to draw in all possible
 dispersals on this it becomes very interesting. 
 
 We have a flow; here is a dispersal-flow, dispersal-ridge, dispersal-
 flow, dispersal-flow. In other words, you've got all possible combinations of
 this here. 
 
 Ridge. 
 
 And of course this dispersal looks like a little, tiny ridge going to 
 hell in a ballon. And actually, any one of those ridges, those black lines 
 there, any one of those ridges - here we'd be going right on down the tone 
 scale if we did this - uh.. any one of these ridges could be a source of 
 di spersa1. 
 
 I usually don't draw all these things or bother too much by this for 
 a good reason, is that it's just more data than you happen to need. Some 
 electronics engineer, though, can take this stuff and he can have an 
 interesting time tracing a circuit. 
 
 You look through a circuit and you look through your radio receiver 
 or your radio transmitter and you'll find out that what you're doing is.. is
 making a flow do a dispersal, banking it up in a ridge, making it go this way
 and that. You're.. you're reforming the forms of it. There you're mixing the
 wave uh.. characteristics and the wave characteristics are.. uh.. well, as I
 say, they're mixed, they're straightened out, they're corrected, they're 
 mixed up again and so on. 
 
 Well mixing and straightening out and correcting up again, the 
 characteristic of a wave uh.. wouldn't really change too much the quality of
 the thing. Uh.. but it would take down, for instance, noise out of the wave,
 or it would take out random uh.. things out of the wave that really weren't a
 part of the wave. It's trying to be - mostly the electronics equipment - 
 quite selective with the waves that come in. 
 
 So what you do is just with, by using things that make flows and 
 dispersal and ridges, you.. you get the thing fooled around to a point where
 it'll take the maximum of the desired wave and the minimum of the undesired
 waves and you've got it. 
 
 That doesn't matter much what you're applying this to; it works about 
 the same way. 
 
 -80- 

 Now what do we mean by a wave characteristic? 
 
 See, these are characteristics of energy - flows, dispersals - this 
 is about all the kinds of energy there are. But uh.. when I say "wave 
 characteristic" this would be the characteristics of energy. Now we're 
 talking about a wave length. We're talking about what part of the gradient
 scale of vibration rates we're talking about. You know, you saw that one. 
 
 That's.. here.. let's lay the tone scale on the side, let's put 40.0 
 here, 20 there and down here is 0.0. And let's find that at any point of this
 sort of thing uh.. we've got that. Oh, it doesn't matter which way we draw
 this - we're just graphing it. It doesn't matter where we're graphing it. 
 
 Now that's this up here is the.. this is energy characteristics over 
 here and that.. this consists of Flows, Dispersals, Ridges. And this up here
 is wave length, and that's still wave length. See, it doesn't matter if.. 
 it's just graphed. You can have a 1.5 operating on an aesthetic. He goes into
 a beautiful rage. Did you ever see anybody that went into a rage 
 artistically? He's still at 1.5, he tears the hell out of things, but he's
 still going into an artistic rage. 
 
 There are a lot of actors that cultivate this as a fine art. And 
 actually it is something that is appalling because it just chews theta up 
 just.. just madly. You can't chew theta up but I mean some guy thinks he has
 to protect himself and his very beingness in the face of an artistic wave,
 because it's terribly interesting. It is aesthetic, it has mood, it has rythm
 - it has various combinations of things that you associate with aesthetics.
 
 All right, now you see now - this is energy characteristics but what
 do we mean by "wave characteristic"? This is just wave length. Wave length -
 that.. that's an easy one because this means what agreed upon distance is it
 from node to node on the wave length? I mean, how far apart are the wobbles?
 
 Let's take a rarefaction condensation wave - all of them by the way
 are rarefaction condensation waves. They.. that.. that thing going through
 that electric line is an.. a "rarefaction condensation wave. 
 
 I used to sit in physics class and say "But what you're talking about 
 would need ether." There's the wave which you do by making a rope flick. You
 can tie a rope over there, you see, and then you go zong! like this and you
 show somebody this wave. Well, it's cute, but how the hell does electricity
 do that? I used to go around naive. I thought they knew. It used to puzzle me
 and puzzle me. They said "There's a rarefaction condensation type wave. That
 has to do with particles." I'll show you what that is. 
 
 Here are particles, particles all over the place, evenly distributed. 
 See, this is Figure Three here. And uh.. these particles, Figure Three, are
 just going - they're all the same, see? I mean, there's nothing happening to
 those particles yet. 
 
 Now we put a wave through those particles. And do we put a wave 
 through the particles this way? We put a particle this way. See, they're 
 grouping. That's Four. We've got embryonic ridges, the parts I've marked "R"
 here. Embryonic ridges. What.. that area, the ridge, is a condensation of 
 particles, and this area where you have few dots left is a rarefaction of 
 particles. How long is a complete wave from wave to wave, not a half node,
 but how long is a complete wave in that case. 
 
 A complete wave is from, in Figure Four, point A to point B - that's 
 a complete wave. That is to say, it runs through a full cycle between those
 
 -81- 

 two points, a very full cycle. It goes from being a ridge up through to the
 point where it's almost a ridge again. 
 
 Now.. now look. Don't get ahead of me, don't - just.. let's not look
 at Figure One here - let's not look at Figure One and compare it with Figure
 Four. That's not fair. 
 
 You realize - you'd better not do it, because you realize that you 
 would be, at that moment, way ahead of physics. And you mustn't get ahead of
 them because there would be a lot of boys in universities lose jobs and it's
 important that they eat. It is. 
 
 If you examined, stroboscopically, the particle flow of a rarefaction
 condensation flow, you would get minute patterns which would demonstrate that
 there were, at any given instant, rarefactions and condensations taking 
 place, and that some of the particles between the rarefactions and the 
 condensations were expanding suddenly and some of the particles were crashing
 in, and the pattern of particle action would give you a pattern which you see
 more or less in Figure One. 
 
 Well, it doesn't matter whether you figure this out, then, in 
 standing wave. 
 
 Now supposing we got this rarefaction condensation wave going here 
 good enough and heavy enough and then said whoa! We're going to have it. And
 we just grind and stop it. And we - and that pattern if closely examined, I
 mean Four, would become the pattern, more less, of One. The ridges would 
 stand. 
 
 Now, what's the definition of that whole thing? I mean, we talked 
 about what is.. talk about Death is Stop. Deaths are very aberrative - quite
 aberrative, you know. Those sudden stops that you don't want it to stop. And
 here's all this inflow and outflow and flows and rarefactions and particles
 and all sort of things. Well brother, when a fellow all of a sudden starts to
 stop motion, when he just turns on the brakes and let's say his.. his.. his
 horsepower, the horsepower rating of this thetan at the time he put on the 
 brakes was a potential milli-G (that's a new quantity I just developed) uh..
 a milli-G - if he had that as a horsepower, then these ridges would stapd at
 one milli-G. That's how much energy was radiating around this thetan. 
 
 So we look.. go and look at Figure Five here. All right, this gets 
 more and more interesting as we go, so don't go to sleep. 
 
 Here's a lot of loose particles. The fellow did.. this milli-G thetan
 did a lot of loose living. and they're all around here and.. and here he is.
 You say "Well, where is he in this.. this whole matter here in Figure.. 
 Figure Five?" I can't answer that question, because that's him. You say 
 "Where is he?" Well, that's him.. that.. that.. that's the boy; that's our 
 boy. 
 
 Now all of a sudden - it doesn't matter how far across that is - 
 doesn't have to to have the dimensions. Now all of a sudden a one milli-G 
 thetan, has already started to specialize slightly in energy, and something
 hits him or convinces him that at some instant he has to come to a stop, you
 see. But the thing that convinced him he had to come to a stop was a 
 horrendous blast of something or other. A two milli-G thetan came to call and
 didn't like the tea - something like that. 
 
 Well, the way you get rid of one of these.. these dispersed 
 characters and that sort of thing, it's a very simple way of getting rid of
 
 -82- 

 him, is.. is just to undisperse him. Just solidify him a little bit and give 
 him a shock so that you get a.. an upset of particles - now he's got 
 particles kicking around, he's made hoo-ha and so on. So you'd possibly get 
 our lightning bolt hitting somewhere in here. It'd be just on the order of a 
 lightning bolt. What do you suppose would happen? Well, we have to go to 
 Figure Six to find out what would happen. 
 
 And Figure Six is on the next page. 
 
 All right, Figure Six here shows us now something has happened. This 
 center here tried to rush in and condense to drive it back and Figure.. as I 
 understand this, it.. its tendency was to do this: trying to rush in, see? 
 But it's tried to rush in toward the center to block off Mr. Lightning Bolt, 
 so we're just going to stop that by putting a lot of particles there suddenly
 and letting it hit matter. That's the good, sensible way to stop things. 
 
 Of course, the best way to stop them is, of course, cause a 
 rarefaction right there and the lightning bolt goes on through and the two 
 mill-G thetan looks sort of apathetic for a moment and says "Well, I guess 
 the tea wasn't so bad." 
 
 But the other way of going about it and what's wrong is to suddenly.. 
 suddenly have here uh.. one of these.. one of these uh.. condensations right 
 at the center. 
 
 So, let's go to Figure Seven. A lightning bolt hit this condensation
 here at the center and a vector started to go out. The impulse here was out,
 see? 
 
 Now he condensed, it started to go out - and what are the laws of
 motion and emotion? It says, "We've got to run away from this because we're
 scared." You see, you couldn't stop it, so you had to depart from it. 
 
 Now that, in essence, is what happens in an injury. You can check 
 this in an injury. A guy is hit and at the instant he's hit, just before the 
 blow strikes his skin, oddly enough, just before it hits him, there's this 
 odd one. 
 
 Fellows always get their hands hurt just before they hit the table. 
 They.. they come in and they start to hit the table and they know their hand 
 is going to hit the table; an instant before it hits the table their hand 
 hurts. In they come and they hit the corner of the table and it hits the hand
 and their attention units or particles rush to that point to defend, and blow
 off the injury, find out they can't do it, penetration continues and those 
 particles which rushed in now try to rush away from the injury. 
 
 You can test this out, if you want to. Go around and stab yourselves. 
 I mean, you'll find out just that it's just exactly what.. what happens 
 there. And you get a rarefaction and condensation action. It rushes away, the
 particles try to come back again and stop it some more. Then they rush away 
 and then they try to stop it again. 
 
 But this thing is making more and more ingress all the time. And it
 rushes away and tries to stop it again. And all of a sudden he goes into
 apathy and he's just null. 
 
 But he's.. each time he's trying to stop, stop, stop, stop - and you 
 can practically hear the.. you can practically hear the.. the brakes squeal 
 on an injury. And if you're running by Effort Processing - you know Effort 
 Processing - just start to work out one of these injuries and you'll find out
 
 -83- 

 that it's going this way. And you work a little further and all of a sudden 
 why, the last efforts are run and it all weakens down and bong! There goes 
 the injury. 
 
 You'll find that's a pattern of rarefaction and condensation of 
 attention units which are rushing in periodically to PUSH the thing back out, 
 finding out they can't and rushing away. Then gathering a sort of force and 
 coming back in to stop it again and then pushing it away. You get the same 
 action as you get with flows, dispersals and ridges - that sort of thing. You 
 see how that is? 
 
 I.. I see you're looking at me rather alertly. You.. some of you that are
 looking at me that way haven't listened to Technique 88, then. Or, it wasn't 
 stated in there uh.. as clearly as it ought to be stated, because the truth 
 of the matter is there's nothing simpler than this. 
 
 You can actually, and should, right at this moment, if you have some 
 curiosity in the matter, simply pinch the back of your hand. Hold it like 
 this and you will feel the skin is tight - it starts to tighten up on you. 
 Now pinch it like that and you'll feel the attention units rush away from 
 there - not just the pain. You can feel the attention units rush away from 
 there. Now you un-pinch the thing and you'll feel the attention units come 
 back into it. You can feel the path of those units... 
 
 Now you know that if you hurt your hand a little bit like that, you 
 probably only feel it for a couple of inches around and about the injury. But 
 if you hurt your hand real bad and so forth, you could hurt it so that it 
 would shock clear up here and hurt the elbow. There attention units are 
 rushing down the whole length of the elbow and then they're dispersing back 
 up the whole length of the elbow and then they're dispersing back up the 
 whole length of the elbow and they're.. that's an energy flow and it's flow 
 and it follows the pattern of flow. 
 
 So, what do we get here? We get right here in the center as the 
 second stage - this was stage uh.. two on this lightning bolt, and this was 
 stage three on the lightning bolt, and we get this sort of an action. 
 
 But what happens to these when these little arrows here get out and 
 hit these outer particles. The outer particles say, "Hey, we're getting an 
 injury!" And they say, "To hell with that!" So they brake. And they say, "No! 
 No!" And they start in like this - Whong! Whong! Whong! See these little 
 arrows? All right, these little arrows come in here and they brake - or put 
 the brakes on fast. See the particle directions? 
 
 So the little arrows.. every time you hit that receding wave an 
 injury actually goes - and explosion goes - if you took a picture of an 
 explosion you'd find it was going whong - whong - whong! See. It's getting 
 bigger and braking itself at each moment. Like a bird would flap its wings, 
 or something of the sort. It's down-up, down-up, down-up. Out-in, out-in, 
 out-in, out-in, out-in, all the time getting bigger. What's it doing. 
 
 It finally winds up as in Figure Eight - you're very lucky people to
 hear this lecture. I'd never intended to give it. I keep forgetting this one
 because the subjects is so big, as you will find out in a moment. 
 
 You'll finally wind up with a kind of an empty spot here and with a.. 
 some scattered particles here and some scattered particles here and some 
 scattered particles out here. And what are these things? Well, here's the 
 center hardness, and there's a ridge, and there's a ridge and there's a 
 ridge, resulting from that explosion, see? These particles out here at this 
 gradient scale in Figure Seven are still scattered and still influenced. 
 
 -84- 

 Now this shows you here.. gives you a pretty good idea of what goes 
 on in an explosion. I wish I had some stroboscopic pictures of an explosion. 
 That is, something that just split instant stops the wave motion or formation 
 which takes place during an explosion, so that you can examine it. 
 
 For instance, you see a stroboscopic picture of a drop of water. It 
 forms the doggondest pattern. It just drops into a bucket and you can watch 
 that drop go down and then the pattern that it makes and so on as it finally 
 drops. And you'll say, "Good God! Could one drop of water cause that much 
 commotion and that many patterns?" It sure can. 
 
 Well, if you were to take a picture of the guts and anatomy of an 
 explosion in action, you would find there's rarefaction condensation areas in 
 the middle of it. If anybody here has ever served with artillery, you're 
 quite we11 aware of this, because you can actually feel on the explosion of 
 shells as they hit. Uh.. they go 'bah - ow - wah - ow - wah - ow - ong'. 
 You're hitting those ridges, see - sound ridges are going by. 
 
 There's this 'bo-ong'. You'd think.. you'd think a shell would just 
 go 'boom!' - it doesn't. It goes 'Bo-oo-oo-oo-oom!'. You could forget it. 
 
 For instance, if an artillery shell went off, if.. if there's just a 
 sound, solid blast - why do you think windows cave in? Well, they.. they would..
 could probably be braced. Your window would stand up to a pressure so the 
 pressure would hit the window, you'd think, and if it were a solid blast, it 
 would just sort of stretch the window pane in. 
 
 Waves will break out an anchor. You can lie in a hurricane of wind 
 and the hurricane of wind won't blow your ship away from its moorings - just 
 won't. That anchor will just dig in and dig in and dig in. But once you get 
 waves going, they lift that bow and they drop that bow and they lift the 
 anchor buoy and they drop that anchor buoy and it keeps yank on the anchor 
 and yank on the anchor and yank on the anchor. And all of a sudden the anchor 
 course moves and drifts. 
 
 Rhythm.. rhythm does this. So as the sound of an artillery shell 
 outside that window would hit the window: the first wave would hit it - 
 bong! And then the window comes back toward the direction of the sound and 
 then the second wave hits it - boonng! And it goes just a little bit further 
 and then back toward the direction of sound. And then the third ridge in that 
 ball of sound hits it and it goes boom-crash! 
 
 But it took 'bong - bong - bong!', you see, to break the window. If 
 you just had a sound pressure - solid pressure - on it, it wouldn't have 
 broken the window at all, usually. You could tape your windows so they 
 wouldn't break. There is no taping a window so it won't break in a good sound 
 barrage. 
 
 All right, you see? It's interesting here. Funny part of it is, that
 if you were to trace these ridges in any pattern of explosion, you'd find out
 they were really.. of course, I'm drawing here.. a flock of spheres. 
 
 Now, watch a pebble being dropped in a pool of water. Water.. of 
 course the physical universe runs on the laws of the physical universe and 
 never varies - pooey! 
 
 Water freezes from the top down; it's noncondensable - the most 
 confounded things happen in water. 
 
 Now you can drop a drop of water in a pail, or a rock in a pond and 
 
 -85- 

 you can watch these waves going out. And they're linear waves. Why are they
 linear waves? They're just linear waves because you cross-section them and 
 they're applying, really, only to the surface. You're getting a particle 
 yanked up and down. You're moving a particle up and down. But that's 
 because.. that's because you have air above the wave and the wave cannot 
 compress of itself; water's noncompressible. So you get a strange and 
 peculiar attitude on the part of the water. So it raises and lowers. And you
 get the particles raising and dropping. 
 
 And then they tell the physics student, "Well now you see, waves are
 just like this piece of rope. And if you want to prove it, go on out and look
 at a pond of water. And here we show this rope and we give it a whip and 
 we'll see the wave travel down and come back again. And isn't that cute and
 it's just..." 
 
 I wonder where the hell these professors ever did any observation. 
 Why don't they go out and jump in a lake and find out what happens? Because
 what you're getting is an interplay of an incompressible with a compressible.
 And that is a very peculiar wave indeed. It's a wave peculiar to a condition
 where two fluids are involved - fluid one is air and compressible, and fluid
 two is water and not compressible. You've got a commotion; there's motion 
 there someplace. So your first splash sets air waves in motion which react 
 back against the pond and make these silly-looking pools and things like that
 - very, very interesting. 
 
 You take a stroboscopic picture - if you could - that would take one
 that showed actually the particles of air, you'd see that you had an 
 interaction between two fluids. So this is a very, very peculiar wave. 
 
 Well, you get down under water and water has no compressibility, it 
 says right in the physics textbook, so of course it's impossible for sound to
 pass through water. What's the matter? Some disagreement with this? I mean,
 you.. somebody heard sound through water here? 
 
 The way.. the way the scholastics used to teach uh.. almost anything,
 is always worthy of.. of comment and notice. They.. in 1500 universities 
 taught on the scholastic principle. They had a number of books and the. books
 were quite authoritarian and they said so-and-so and so-and-so, and then the
 student would read the book and listen to the lecture and then take the 
 examination that said so-and-so and so-and-so and so-and-so. They had.. 
 didn't have to make any comparison with the real universe. And uh.. uh.. 
 having taken the examination, he would get his grade only on this basis. It
 was a very peculiar custom and uh.. it uh.. ceased, I'm sure, about 1500 or
 1600. It's - noways - been carried through into modern times. 
 
 Of course, modern classes, when they teach a student some principle 
 or other in physics, they say, "Now, uh.. we don't care whether you believe
 this or not. Uh.. why don't you go out and look. And by the way, by the 
 virtue of your looking, you might find out something you can tell us." No, 
 they never said that.. they.. I mean.. pardon me! I mean, they.. they 
 undoubtedly do that, because this is a modern age. 
 
 The scholastic came about through Aristotelian logic, and so forth. 
 It was all black and white; therefore anything that was written was right. 
 And things that weren't written were wrong. Or I.. I don't know how they 
 figured this out, but that's more or less the way it was. 
 
 Natural History.. Natural History and that sort of thing was taught 
 by rote. We didn't have to go observe it. 
 
 -86- 

 And that's actually - physics as a science prides itself upon its 
 observation. Oh, it just prides itself just straight through on its 
 observation. 
 
 Your engineer gets out of class and he goes over and he. starts 
 working on - and all of a sudden he plugs in the ruddy-rods on the wrong side
 of the whatchamagujits and he graduates up and he finds himself working at 
 Los Alamo Pork Pie or someplace and he throws the cross-pile against the 
 cross-pile and this doesn't quite agree with the conservation of energy, but
 he kind of looks dogged about the whole thing. And he says, "Well, I guess it
 really doesn't make the basic laws of elementary physics wrong - I hope - 
 because I signed a pledge that I wouldn't disobey those things. I wrote on 
 the examination paper and said, "These are right and they will always be 
 right and they will always hold true for the whole universe - signed and 
 sworn to and subscribed before me this Umth Day of Umth. Charles Jones, C.E."
 Or something like that. 
 
 All right, here's one that you could very easily miss: Rarefaction 
 condensation. 
 
 The number of linear waves which you are going to find in the
 universe will be when two fluids come together or three fluids or six fluids,
 in some eight-dimensional torsional G space. 
 
 Uh.. but uh.. let's not throw that rope around and say, uh.. "Well,
 it's all linear space and uh.. uh.. that's why a radio wave travels in this
 fashion and that's why a broadcast station works, is because you've got this
 long line. And actually what you do is you go out and attach this line to 
 this television antenna of John Jones and when you've attached it to John 
 Jones's aerial, then you go back to the station and you keep flipping it from
 this station. This.. this.. this wave, then, jumps up and down and he only 
 then receives television. 
 
 God! If that were the case! That's really the way they explain it in
 elementary physics. 
 
 No, it looks just like this: Figure Eight might as well be 
 television, might as well be television. 
 
 And what do you know? Let's add something else in Figure Eight here.
 Just before you get there.. there's a little tiny dispersal, see? Out here in
 this third ring - third ring out. You get these little dispersals just before
 it forms in a ridge. And in here you have an indecision on "Which way did he
 go? Which way did he go?" 
 
 So you've got your complete rarefaction in here where I have marked
 Point uh.. M - midway in between those two waves, see? And.. and that.. that
 point is.. could stand for "Which way did he go?" 
 
 Rarefaction comes in, it goes 'bo-oo-ong', see? And you've got that
 point. 
 
 Now, there's a dispersal, but just as it leaves that rarefaction - I
 mean, just as it leaves this ridge, first ridge out from there - just as it
 leaves that, there's a little bit of a dispersal there. 
 
 Now let's magnify that up and have on Figure Nine, then, the action
 there that happens in that ring. So here we've got a.. a ridge and it's 
 travelling from right to left. We've got a little dispersal here as your 
 particles.. particles leave there, and this comes over here in this 
 
 -87- 

 direction; and you've got your particles lining up for any given moment and 
 you've got which way did they go, and there's a dispersal sort of a thing at
 this midway point in here. 
 
 And then we've got - let's see now. If we'll get it at the same 
 instant. Whong, yeah. The same instant here would be a little bit of a lag. 
 We won't bother with that. So let's get it over here and this is actually 
 coming in like this. And here's your next ridge. 
 
 So let's break this thing down and we get - and you've actually got 
 ridge at 'R-1' here discharging toward Ridge 2 and it gives us, in Figure 
 Nine a.. it gives us a ridge, a tiny dispersal, a flow to a dispersal, to a 
 flow, to a dispersal, to a ridge. You get that? 
 
 Now we look back at that first one that I drew, you will see we are
 dealing with the characteristics of energy. And energy then, it always bears
 some relationship to the characteristics of a floating sphere. 
 
 Rarefaction condensation waves as they go down a copper wire are 
 really rarefying and condensing electrons. The electron does not flow down 
 the wave like a drop of water; it rarefies and condenses. 
 
 In a whole day of electrical flow on DC, probably an electron doesn't
 move a hundred feet. I don't know - it.. I don't know how fast it moves. 
 Might move a mile, but th.. that stuff is supposed to be travelling at a 
 hundred and eighty-fi.. -six miles a second. They are trying to agree on it.
 
 All right, so.. so that's very.. very.. very amusing there to find
 out that we are dealing with a rarefaction and a condensation in such a way
 that we've got the - what? 
 
 Let's draw a picture here and let's call it Figure 10 of Mr. Preclear
 at the moment he put on the brakes. He found out that this reaction was 
 taking place and he said, "Stop!" Here's your reaction center, here's your 
 next ridge out, R-1; next ridge out is already beginning to go; the explosion
 has hit him; he's in this form at.. that's R-2, And he gets out here and he
 says.. at this instant he says "Stop!" 
 
 Now that's a sphere you're looking at; that is not a two-dimensional 
 plane, that's a three-dimensional sphere. What's it give him? It gives him 
 the shape of an electron. Of course this doesn't bear any relationship to the
 shape of an electron. We're not supposed to talk about that because we're not
 licensed to. It requires a special license from the Atomic Energy Commission
 to talk about electrons. They're sacred property now and they're the only 
 ones who can have any. 
 
 And uh.. I.. I regarded this with considerable sorrow because I
 probably will have to give up a couple of electrons that I kept around for
 old keepsakes. 
 
 What's an electron? It's one of those spheres. And if you can get one
 of those spheres to jump once, R-1 to jump out to R-2, it releases what? One
 quantum of energy. And this is the subject called Quantum Mechanics, because
 it takes a.. a.. a mechanic to be as jerry-rigged and jacklegged about 
 explaining this as they are. It really takes a mechanic of the kind and 
 variety that Rube Goldberg employed to repair his models. 
 
 There's nothing much to this. The way you get atomic fission is this
 way. The artillery shells - you want to know? No, we're not going to give you
 any real atomic fission. Uh., the shell.. the shell doesn't.. the explosion 
 
 -88- 

 from the shell doesn't go 'Boooooom!', you see? It goes 'Boo-oo-oom!'. Now 
 the way.. way you do, is you've got.. you've got something which is floating
 around and it's making this sound. What's happened is sound, uh.. what's 
 happened is you've taken.. the artillery shell has exploded and it's gone 
 'Boooom!', see. But what.. what you did was go 'Boo-' - and it said "Stop," 
 right there. And there it's been for just ages and ages and ages and ages. 
 And what do you do to make an atomic explosion? You just let the artillery 
 shell explosion go 'Booom!'. That's all. You've cut the thing loose on its 
 timetrack, what do you know? 
 
 That's all you do, because you just let it go from R-1 to R-2, hit 
 the next rarefaction out. And if you let.. let the thing clip on its time 
 track and go 'Booom!', see, and then you've.. it's stopped right there and 
 it's been stopped for some ages. It's been sitting there on a rock. The 
 fellow that made this energy let it go just that far, see? And then the next
 step on it, and the way you get chain reaction, is to start it suddenly off 
 of its time track and let it finish out its 'Boo-oom!'. And it will knock out
 Hiroshima, of course, or anything else. 
 
 Now theoretically you could do this to a preclear. You could get his 
 ridges, his spheres out here, going in and out, in and out, in and out, in 
 and out, and they would go 'Bow-oo-oom!'. They probably wouldn't even hurt 
 him. He's indestructible. 
 
 That's right, he is. I said that very seriously. Some guy's going to 
 try this and blow up half of this universe. 
 
 So it isn't any kind of a specialized or silly condition - is it at
 all? We're looking at a preclear when we're looking at Figure 10, only we're
 not looking at near as far or near as complex as the preclear is. 
 
 So this.. to finish off Figure 10, this would really have to be all in
 spheres. We would have to put R-3, which is your next ridge of particles. You
 understand, there's just countless billions and billions of particles in any
 one of these ridges, see? 
 
 Now we're looking out here at R-4 - of course, in between these 
 things in here at.. at uh.. these points I've marked 'F' and these parts I've
 marked 'D' - all through here there's 'D', 'D', there's dispersals, 
 dispersals. And there's flows above the dispersals, and flows and.. and tiny
 dispersals - dispersals. We're getting this pattern, see. And we've got these
 patterns on these ridges. And this is the pattern. And I'm drawing you a 
 pretty picture - portrait of a preclear. This is what you're working on. Of 
 course, the second they find out that we're working with atomic energy, 
 they'll stop us, but, uh... 
 
 Honest to Pete. There.. there's really nothing to this problem. This 
 is one of those silly damn problems. If this problem were complicated and if
 anybody made this problem complicated for the last eight thousand years, he 
 ought to be spanked, to tell you the truth, because it's too simple a 
 problem. 
 
 You see those dispersals and you see those flows? Now, it all.. it's 
 all adding up into, again, this ridge, dispersal, dispersal - that's a flow,
 little dispersal, uh.. dispersal, flow, dispersal, ridge. That's the pattern.
 Only you've got - good God! I mean, all this stuff is standing out here. 
 
 Now your preclear just shifts just a little bit in this flock of 
 onion skins which he's living in. Or, you all of a sudden stop him at a point
 where he's been arrested and it sort of goes 'Boo-oom!' for a second, and 
 he'll shift a ring, or something of this sort. 
 
 -89- 

 I've had this happen to preclears, by the way. It's not dangerous
 because you think atomic bombs are dangerous. They're not. YOU'RE dangerous -
 not some bomb. Maybe you particularly. 
 
 Now I've had them shift, I've had them shift a ring. And I didn't get
 a quantum of energy kicked back, all I got was maybe - I don't know - maybe
 something like a thousand, well maybe a hundred thousand watts, something 
 like that, exploding in the preclear's face - a slight singe, just a tiny 
 singe, maybe eyebrows and just... nothing. Nothing. The fellow said, "My God!
 It's like the Fourth of July!" And felt much better the next couple of 
 minutes - kind of mystified as to where all this electricity came from 
 suddenly. 
 
 Of course, I wasn't doing it - I didn't have anything to do with it 
 at all. No responsibility for that energy. I was merely coaxing him to try to
 reach out and pull in that outside ring and let it go again suddenly in 
 rhythm. 'Song - bong - vroom! Pow!'. It hardly made any noise at all. 
 
 Now you understand that when your preclear's in this terrible state 
 of affairs, stuff hitting him bang! bang! bang! all the time... Stuff keeps
 hitting the preclear and hitting him - it gets terrific condensation to this
 point, through that rarefaction, that one, and the more ridges he's got and
 the more heavily stacked these things get up.. because he's sitting there in
 a stopped motion. He's stopped someplace on the time track, otherwise he 
 wouldn't have a single ridge. He's stuck on the time track. He's holding on
 to these particles in that formation. And he's holding on at a high energy 
 input incident - a few milli-G's of impact, way the heck and gone, back on 
 the track. 
 
 And of course he'll use.. running around with one.. one uh.. one 
 grasshopper erg, or one one hundredth of one grasshopper erg being normal, 
 and you all of a sudden say, "All right, now let's reach out there and run 
 that ridge." "Nooo," he says. Because he instinctively knows what's really on
 those ridges. He.. he knows really that they're all ready to go 'Boo-oom!' 
 and when your preclear won't change, he.. he knows what his penalty of 
 changing is. So that's your build-up and your energy pattern - that's a 
 picture of your preclear. That's a portrait, Figure 10. 
 
 Now somebody who is really very good ought to really build one of 
 these things out of sectionals half cut through plastic spheres just to show
 somebody. It'd be pretty hard to do, little sketch network of.. of 
 rarefaction and.. and the pattern of particles and so forth, in one of these,
 so that you really get an idea. See, there's particles all through the 
 ridges, they're hard now. There's particles in between the ridges and there's
 particles - you're doing just very specific things. 
 
 Now I tell you, as you look at this galaxy and you look at the Milky
 Way, the number of engrams which you can run off the Milky Way aren't 
 anywhere as near as important as getting the fellow in command of the Milky
 Way. And when you look at the central hub of this galaxy and treat it in one
 fashion or another, you must remember that it's awfully happy to have an 
 arrested 'Boom!' - very happy to. 
 
 And this of course, bears absolutely no resemblance whatsoever to the
 pattern of the MEST universe. Now just remember this when you take a look at
 it. And sometime when you're out in the s.. stars or around someplace or 
 another, just take a look at some of the patterns which you see up there, and
 you get a very clear picture of a preclear. They're sort of elliptical; 
 they're not spherical. They're not even an oblate spheroid. I mean, they're
 quite flat. They're just sort of a wheel variety of the thing. 
 
 -90- 

 And when I say, "Build your own universe by restoring your 
 capabilities to do so," you.. this MEST universe has gone hog silly on 
 particles. And don't think that just because there's those great big chunks 
 of MEST and energy out there and they're so great and big, remember they're 
 just great and big in comparison to you and nobody else. 
 
 So you're looking at the pattern of a galaxy, you're looking at the 
 pattern of a preclear, and you're looking at the pattern of an atom. 
 
 Now, is an atom sentient? Is the atom a building preclear? Is it 
 something which will graduate up to the rank of a preclear? Just as a 
 preclear will eventually graduate up to the rank of a galaxy? Is that a 
 gradient scale - goes on? Lucretius said so. I don't know how much he knew, I
 don't know which navigator he was on what spaceship before he arrived here. I
 seriously doubt this gradient scale has any actuality whatsoever... 
 
 For this reason, is, I've put together one of these island particles.
 You get down real small, see, and you scatter a lot of little particles 
 around, and you p.. postulate that there are a whole bunch of particles and 
 then you say.. you say, "Booh, stop!" And what do you know? You've got an 
 atom - you can make an atom of any size. 
 
 Now if you did this several times and so forth, and you jammed all 
 these things in proximity and you sort of set them in positive and negative,
 you could actually get these things to changing space - you know, they go 
 'Pok! Pok!' to give us a space to change in one way or the other. And then 
 blow them up. That's matter. 
 
 It's a gradient scale of this kind of ridge. You've got to have 
 space, you've got to have particles and so forth to build this way. But this
 is not.. this isn't necessarily a way of building, it's not a pattern of 
 building, it's not a pattern you have to know about anything except auditing.
 It's merely very amusing that it does happen to exactly approximate the 
 pattern of a galaxy; it has the approximation of the pattern of an explosion;
 it has the approximation of the pattern of an atom. 
 
 It also, to some vague.. vague fashion has the pattern of a solar 
 system. You see the solar system out here? The sun is collecting particles on
 a 'boom!' basis, but it's not a good example of it at all. That once upon a 
 time it had rings all around and they were all solid rings and then the rings
 sort of uh.. solidified, the ridges sort of drew together, you could 
 postulate that this was the way planets come into being. Here's your sun - 
 here in Figure 11, and uh.. your sun's shining here in the center and uh.. 
 here's Earth - oh, uh.. pardon me. Venus - oh, pardon me. They're.. they're..
 they're much much further apart than this, honest.. honestly. The Earth and 
 the size of the sun, if you were to plot them out, oh, on a square mile piece
 of paper, why you.. you.. you'd have to use a very fine pointed pencil to put
 the planets into size. 
 
 It's uh.. people get an awfully exaggerated idea of how much matter 
 there is wrapped up in one of these systems. 
 
 All right. And here's the.. here's Mars, and so on. There's a
 terrific amount of difference between these things. So you could - Jupiter,
 Saturn. 
 
 Now you could then postulate that once upon a time there were some.. 
 there were some rings around here and that these rings gradually caught up 
 with themselves and tripped over themselves and finally got into a congealed
 mass and got there, but it would be in direct controversy to.. to Professor 
 
 -91- 

 Yumphgallah, and he's a man I put lots of confidence in. He writes with so 
 many commas that he's very convincing. I remember one adverbial phrase he had
 there and I.. it took an entire afternoon to find out whether it fitted in 
 the sentence or not, and I finally found out that although it was in chapter
 one, it referred to the fifteenth sentence of the appendix. And uh.. I.. I 
 respect a man who can do that. He wrote it in English too. It is completely 
 incomprehensible. 
 
 So it would be in conflict with his basic theories and I wouldn't 
 want to advance this as a basic theory. So you'll pardon me if I don't 
 mention the fact that maybe your preclear can just as easily walk around 
 dragging some planets. 
 
 Well, regardless of all of that, it gets very amusing when you look 
 at Mr. Preclear and uh.. realize that you're really looking at a standard 
 pattern of an explosion, which is arrested. The explosion is arrested in 
 midair, you might say.. it's just sudden - 'Yeoeow - whoomf!' - stop. Well 
 now, what's he using for energy? 
 
 You see, now I've been talking for a few minutes here about: "Oh boy!
 It looks like the galaxy and the preclear looks like an atom and the atom 
 looks an..." And true enough. These things are all related, because it's a 
 pattern of a method of making a universe - it's just patterns. 
 
 Uh.. guy was on.. he had a one pattern mind, you might say. He
 probably worked for the Ford Motor Company back about 1915. All he could
 build was a Model T. And uh... one pattern mind. 
 
 And it just seems uh.. that everywhere you go in the universe you 
 find that one pattern mind; you find this rarefaction condensation thing. 
 
 Now when you're looking at these.. these pictures, you're also 
 looking just right straight at.. you're also looking at a radio wave, you're
 looking at uh.. so on. And it's the distance from one ridge to another ridge,
 which is the wave length. 
 
 Now that wave length can be eight miles or the wave length can be 
 uh.. the wave length can be 15 centimeters or the wave length can be, oh, a 
 couple of inches, or it can be a half an inch - that is from ridge to ridge.
 Or it can be uh.. .5 inches - that's radar by the way. That's about the 
 shortest they got radar, I think. They may have a shorter one by now. If they
 have, they're keeping it secret. They have to keep all these things secret 
 because merchant ships and automobiles groping in the fog can't use radar. 
 
 And uh.. you get uh.. down, you see you're getting down from, oh, 
 various types of waves, electrical waves. You're getting down further, 
 getting down to radar. Now radar is hot - radar is almost solid. 
 
 Radar is very amusing stuff. Uh.. when you get down to, I think it 
 was a half an inch, or maybe it was a half a centimeter - I've forgotten 
 which it was - doesn't matter much - if you're rigging them up, you can 
 change them from one to the other pretty fast. 
 
 And uh.. uh.. you can take one of the radar beams and - I'm afraid 
 that there is an unserious streak in me, that I will have to do something 
 about. But I had about a.. at one time about 50 thousand dollars worth of 
 radar - or maybe it was 200 thousand - and I put it up - it was all up on 
 everything. And you weren't supposed to be able to do anything with it, and 
 they said its.. its wave was somewhere down around a half an inch or a half a
 centimeter or something of this sort. And I said, "How.. how short?" And they
 
 -92- 

 said it was so and so and so. I said, "My golly! That's awfully, awfully 
 hot." "Yes," he said, "the reason we're telling you is so that you won't let 
 your operator..." I said, "Wait a minute! You're talking about hard 
 radiation. That.. well, that's almost into the hard radiation band." He said, 
 "Yeah, yeah, yeah. That's why we don't want your operator uh.. reaching into 
 this thing and crawling into it to change his pants or something of this 
 sort, and because he's liable to get a bad burn. And so let's.. let's not do 
 this and uh.. they.. by the way, these waves are secret, so don't let 
 anybody know I told you what this wave was. 
 
 Uh.. they're.. they're different from vessel to vessel and.. and so 
 forth and uh.. they have a complete system worked out. And there's IFF 
 Systems and so forth. And it's all very confidential, so don't let it out. 
 Uh.. and uh.. I'll give you a diagram if you stay after class." 
 
 Yeah, any spies present? The diagram is proximity shells. The Bell 
 engineers.. Bell engineers - I'm just taking off, by the way, on a Be11 
 engineer. He'll come in with the newest, latest piece of Navy equipment, see, 
 and he'll have it all sawed up and he's.. he's refining it somehow; he's 
 decided that the production copy is not good enough. He's got it in his grip 
 and uh.. he says, "I just brought it over to show you," and so forth. He 
 says, "This is the latest device, and this explodes the torpedos in a 
 submarine uh.. if you fire it within ten or twelve feet of the submarine's 
 radar," or something of the sort, see? And.. and so on, and, "Isn't this cute?
 It's built right into the shell here," and so on. And he talks about it 
 because, of course, he's making.. he's making robots. He's making things that 
 think and act without being told right away. They were told a little earlier 
 by him. And he's got a delayed action of doing what one is told - after a 
 while. And that's quite a trick. If they'd only make one that would do what 
 it was told before it was told it, that would be good. 
 
 Well, anyhow, he'll.. he'll bring this in and he'll show it to you 
 and it'll be just beautiful and uh.. he'll get a.. he'll show you all the 
 diagrams and so forth. And after he's all through, he'll say, "By the way," 
 he said, "this is dead secret - this is top secret. I don't want you to let 
 anybody know about this." And you say, "Well, does your wife know?" "Yeah, 
 well sure. We're under good heavy security on this though." And I said, "Well 
 then the lady next door kind of knows about this too." "Yes, she was very 
 interested." 
 
 Well the three or four callers that you had, to which you had 
 introduced him indifferently, of course, they've appreciated it too. But 
 that's all right. Bell Labs could make all that stuff obsolete tomorrow if 
 they wanted to. 
 
 But uh.. the government, if he were to leave a copy of the drawing 
 open on his desk at the office and move away from his desk, he would probably 
 come back and find himself on the Communist Party list. Everybody in the 
 office is secure, see. They're all nailed down. And if he left the drawing 
 open, he'd get ruined. Fascinating business, security. 
 
 Well, anyhow, having no.. not quite a serious streak about all this, 
 we trained this radar beam on the front of the focsle head. We just went up 
 and yanked out some pins and warped it around and took its antenna around, 
 you know. They've got big cages. Those mattress-like things that look - 
 mattress springs on masts and things like that.. that - oh, that might be 
 radar and it might be a new way to dry the captain's cap covers, you never 
 know these days. 
 
 And uh.. so just turned it around, cocked it over on one side and 
 
 -93- 

 turned it around to get how hot it was to tune it in, and so on, because I 
 was actually working for something serious. I wanted to be able to pick up a 
 landing craft or a torpedo closer than 700 feet to a ship. And I thought this
 would be a very good idea - this would be a very smart thing to do. 
 
 By the way, your landing craft could come in at that time - they were 
 about 700 yards, I think, was the closest. Landing craft could all be in.. in
 the fog and losing the ship all the time and passing by it in all directions,
 still too far away to hear very much and your radar couldn't pick them up. 
 You'd be sitting there looking all around on the water for the ships and you 
 just couldn't pick them up. They were too close to you. So, anyway, we put 
 some weinies up on the bow and fried them. That was a good - good 
 application. It was about all I ever did use that radar for, but it was uh...
 
 Now you get how hot a wave like that is getting. It.. it's really 
 getting hot. You're getting shorter and shorter and shorter stuff. And if you
 could keep up volume with the shorter stuff, oh, that'd really be 
 fascinating. 
 
 That radar gets hot - radar of longer beams than that - you go out 
 and you shoot it against the wall and it would come back in practically a 
 ball of fire. You're making a directed part of this sun deal. You're taking a
 little section, see, and you're shooting - there'd be a bunch of beams out 
 here and then you rarefy and condense them. And you've got them all rarefied 
 and condensed and then it comes back rarefied and condensed and goes out 
 rarefied and condensed and back; you just fill the hell out of the air with 
 particles, see? 
 
 And it comes back in - slosh! And it reads and you turn it on and it 
 says it was 762 yards and a half. 
 
 The British were very conservative, by the way. During the last war 
 the poor old Hood and the Bismarck fired a simultaneous salvo practically. 
 And I think the Hood got in her salvo first, and they.. they - according to 
 the reports, the Hood took optical range on the Bismarck because that radar 
 was pretty new. And their shell hit at exactly the optical range. Optical 
 range was very good and it hit very good. But the only trouble was, the 
 optical range could be far wrong and the Bismarck was almost exactly the 
 distance that the radar range said it was and the Bismarck fired, by radar, 
 on the Hood and shot her right into the magazine "Ka-boom!" -- first salvo. 
 "Bang" - there went the Hood. Great big battle cruiser. They didn't believe 
 in these new gadgets. 
 
 The fact of the matter is that radar is very sharp, so you're getting 
 a.. a highly directional wave when you're getting up there - terrible 
 directional. 
 
 Well, you go on up into the other waves, uh.. terribly directional,
 very reliable, work with it very sharply and so on - better and better
 directed. 
 
 Now we go up there above a little bit and we go upstairs from that 
 and we get a little higher and we get better and better directed waves. And 
 they go up above that and we get higher and a little bet better directed 
 waves. And when you get high enough and run out of waves, what do you know? 
 One thinks. 
 So, this proves that one should think. Let's take a break. 
 (TAPE ENDS) 
 
 -94-  
