The Fileclerk's Guide to the PDC - Part III-A
Author: fileclerk
Posted: Sun 27 Aug 2000 02:10 pm
ARC, SENSATION AND THE DYNAMICS
1. ARC
Theta can communicate in terms of ideas without the intervention of flows.
There's ARC at any point of that tone scale, from -8.0 right on up at any level. The wave band, the direction of flow, and the characteristic of energy, whether it's a flow, a dispersal or a ridge, make up ARC in this universe. Perception is wave length for any position on the tone scale. And ARC comes to mean, suddenly, conditions of energy.
ARC, however, becomes bad when you start getting into MEST universe type flows, and it becomes almost impossible to maintain.
2. Sensation and the Dynamics
Inequalities of interest and an unbalanced state of interest on the part of the preclear - that's why we are interested in "can'ts" - resolve down to an inability to draw out of the MEST universe in a balanced state. He's got to take all eight dynamics out of the equation if he's going to leave this universe - all eight simultaneously. The universe will never miss him.
But if he tries to take all eight except two out - no! It's not just going to miss him - it's not going to let him go, because, the universe seems to represent a havingness and have-not-ness. It, to some degree, owns your preclear. Every time he has a line to it, it has a line to him.
So any time he says, "Well, I'm just fine except for the second dynamic; I still seem to want this sensation from these bodies - they're a disgusting thing, these bodies, but second dynamic - hmmm!"
It doesn't just mean that your preclear is holding on, because it means that there's a big cable around his neck and it's got him nailed down to a stake.
And as long as he thinks he has to be in this universe in order to indulge that sensation, as long as he has to have something else to undo it besides himself, oh boy!
Even at a level where it isn't necessary for him to have a body of his own, where he can just take the sensation off any body any place, and the fellow says, "Well, that's great!" - your preclear is still nailed down in this universe, because every one of those bodies will put a line on him for every line he puts on them. And that's how he came down tone scale in the first place.
Author: fileclerk
Posted: Sun 27 Aug 2000 02:13 pm
ENERGY CHARACTERISTICS OF AFFINITY
Theta's greatest potentialities happen to be the ability to agree, which makes for groups; the ability to love and appreciate, and to feel sensation - that is affinity; and the ability to communicate.
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.
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.
But when it is worked in this universe, you would have, then, a manifestation for its various phases. And it could go through three phases, three characteristic actions in energy - flows, dispersals and ridges, and they make what we call sensations and emotions.
Immediately from below serenity, right on down to the apathy of matter itself, it has these harmonics. There's flows, dispersals and ridges up near the top, and on down the line. When we finally get into the bracket of homo sapiens, there is the flow of enthusiasm - it's energy going from one point to another point. It's a characteristic flow.
The next point down from enthusiasm, at 3.5, is somewhat a dispersal, a fellow is sort of tracking back from enthusiasm. Then there is conservatism, which is "hold that line", and that's a ridge. Below conservatism, there's a little flow. And the most important dispersal, in that area, is boredom - idle, scattered attention.
Man hasn't named the number of sensations (emotions) that exist between 4.0 and 0.0. There are a whole lot of emotions that lie in there. And you get down to another flow, and that is antagonism, an outward flow from somebody.
And then down to the most prominent ridge - anger. Below anger, the next prominent emotion is fear, and fear is a dispersal. You could get somebody to say when was the last time he was afraid, and watch that E-meter just start to climb right on off the top of the scale - he wanted to be somewhere else. That's a characteristic of dispersal.
Downscale from that, 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.
The whole scale makes up out of just those three characteristics. We have named some of them, but the bulk of them are not named, and they're actually emotional sensations which man experiences, but doesn't much bother to name.
He knows the feeling of "just before you get scared" - that's a flow.
Up at about 1.8, just above the ridge of anger, there's a dispersal called pain. It's an emotion. It's a sensation. It has harmonics all the way up, for instance, at about 6 or 8, there is "exquisite pain", or something like that. You'll find people fooling around with this once in a while on the track. It is the production of a very fine pain, that they consider quite a sensation. These are various manifestations of affinity.
Sympathy is a sort of co-beingness. One individual goes on tho the wave length of another individual, and he flows the same wave length back and forth on it. But it is a mockery of a higher manifestation of theta.
It's flow, dispersal, flow, ridge, flow, dispersal, flow, ridge.
Author: fileclerk
Posted: Sun 27 Aug 2000 02:15 pm
MORE TONE SCALE
1. The Tone Scale and Havingness
You're not going to do any grand job of pulling your preclear out if he still has, and you do not know about, something that nails him down good and hard on this tone scale.
The tone scale also measures time. It's one's belief in his ability to predict the rate of change of havingness and not-havingness.
At 1.5 one has lost his ability to not-have. So he has to have everything, and that gives you a terrific hold, and that gives him this enormously strange attitude toward all these various things.
At 1.0 - fear, he's doing this terrific dispersal and it's all not-have, not-have. See - he's lost his ability to have.
Down tone scale, in grief, we find they've again recovered a little ability to have and not-have, and then they went into grief on it, and have lost their ability again to not-have.
When you get somebody who is in grief, run Flow Balancing. It restores his ability to not have.
2. Harmonics
Thought, effort, emotion - they repeat in cycles along the Tone Scale.
At the top of the Tone Scale, this is very airy. You are up here around space. That thought band up there is postulates. A little bit lower than that we have agreements.
40.0 is out of the MEST universe.
At about 20.0 he's got a choice. He can contact the MEST universe, he can have the MEST universe, or on the other hand, he can have a universe of his own or be part and parcel of another universe.
In the cycle of action he has a pattern for the construction of his own universe, which he can do pretty much as he likes, but it doesn't define what the infinity of his own universe would be and it doesn't say that it has to be an all-motion thing at all.
But it tells him that he can raise his own universe from zero and take it through to infinity.
There is an action band around 20 - 22 on the Tone Scale.
Action can carry with it, but does not necessarily carry with it, the delivery of force. But it certainly carries with it the delivery of effort of one sort or another, even if it's the type of effort that you wouldn't ordinarily recognize as effort because it's in such wide space and delivered so regulatedly that it is a very closely monitored and activated effort. So, you don't call that effort at the action level of the Tone Scale as the same effort band as we know it. But it's a harmonic, an upper harmonic of the effort band.
Or you could say that work and matter themselves are the lower harmonic of this, the actual action band or effort band.
Volume per unit space determines the position on the tone scale. As you got down to the flows, dispersals and ridges, low on the tone scale towards 0, you had an awful lot of matter for a very small amount of space. And when you went up scale, you found out that you had little matter for lots of space.
Action becomes solider and solider and eventually becomes matter.
Force as it goes down scale is descriptive of certain states of being, and the first one, as you go from 40 down, is how much agreement has a person had or used; and the next one is how much communication does he enter into; and the third one is what is his state of affinity or emotion?
Way up scale it's sensation, and then it becomes affinity as we call the emotional band.
That sensation band, high on the scale, is actually emotion, high-toned emotion. High-toned emotion is sensation.
Exhilaration becomes enthusiasm on a lower part of the band.
Lower down, the emotion band is sort of an effort emotion - mesty, very mesty.
These bands really get thin; they really get awfully close together; these get packed tight right down at the bottom.
3. Aspects of Specific Levels
You suddenly spring a preclear into the spirit of play and he says, "My God, where's this been? I've got a ghostly feeling that when I was a little kid I used to feel this once in a great while, something like this, but this is really something." And he will suddenly recognize that this has more intensity than sex.
Boredom is not just a state of inaction. It is a state of idle action, vacillating action, where penalties are yet in existence and where they are great. But one has decided one can't really do anything about them, it's just a high-toned harmonic of apathy. There's a certain insouciance that comes along with boredom - there's a flippancy.
In antagonism, he's lost the power to differentiate and as a net result he thinks everybody's being antagonistic towards him.
Death comes about only when one is no longer able to place any of his own force, dream, hope, intention, upon the MEST universe.
Author: fileclerk
Posted: Sun 27 Aug 2000 02:17 pm
USING THE TONE SCALE
We have been covering aspects of interrelated cycles of action and we have found that by postulating or by acquiring or by assuming a new type of cycle called the tone scale that we can bring into relationship human experience, experience of a thetan and the conditions of space, time and energy so that by working one we can attain another.
We have set up an arbitrary crossroad by saying there is a tone scale. And that must be a pretty good crossroads because since 1950 it has been producing very good results; it is something that is accumulating data and simplifying data.
As the slide rule is to the engineer, which is an arbitrary after all - it's a logarithmic scale - so might be said the tone scale is to an auditor. It solves problems for him. And the better he knows how to use it, the better an auditor he is.
This tells him that in Creative Processing the mock-ups which he addresses to the preclear can go higher and higher in level with great variety.
If he did not give that variety, he would not maintain the interest of the preclear.
Furthermore, if he doesn't have an existing coincidence or association between human experience and thetan's experience and space, energy and time, he would not be able to remedy aberration really in terms of the MEST universe.
Here we find somebody in the MEST universe and we want to know how we can either:
1 - improve his status in the MEST universe;
2 - make him into a thetan and improve the status of the thetan in the MEST universe;
3 - make it possible for him to create items and objects and so forth in the MEST universe;
4 - make a universe of his own;
5 - handle and control universes, or
6 - skip it.
He has all those various choices and essentially we are studying choice and intention. One of the things which lie above 40 would be intention.
If the intention is to have objects, well, one would go through whatever he had to go through to make the object. Or he'd just postulate there was an object there and make an object. Or if one wanted action, his intention was action, he could have action. If his intention is just
Author: fileclerk
Posted: Sun 27 Aug 2000 02:20 pm
MORE AESTHETICS
Theta favours an aesthetic band because that's closest to motionlessness, it's closest in to the fine wave length which can append to theta itself. Theta can communicate through aesthetics much, much before it is capable of communicating through reason.
If you do something very aesthetically you're more liable to get some sort of an agreement on the thing.
A song is far more powerful than any blaster ever invented.
The only thing you really remember about the great conquerors is a song somebody wrote about them. The thought was the poet's.
Your havingness and not-havingness are changed by the interest level which is elicited towards you, in a business, in dissemination, and interest is invited by aesthetics, not by knowledge.
At various points on this tone scale you might get aesthetics suddenly cutting in. For example, an aesthetic automobile.
Up tone scale, individuals are airier and lighter and actually more aesthetic. The heavier wave lengths are favored down around 0.0, and the lighter wave lengths are favoured up around 40.0 and down.
A person who tries to do an aesthetic job in this universe will generally go down tone scale very fast, because he's trying to apply this light, airy little wave to things that are heavy masses.
If a person has a lot of space for his havingness, his time is fluid and he's light, and aesthetics can more easily enter in. An aesthetic wave doesn't transmit easily over something that's gross and heavy. That doesn't say it can't, but it just doesn't.
The cry of all architects, painters, sculptors, and so on, is: "Here is this horrible thing! Every time I implement something that I thought up, it always falls short of the ideal."
Author: fileclerk
Posted: Sun 27 Aug 2000 02:22 pm
PERCEPTION
1. Simultaneous Perception
You want to make a test out of a preclear, while talking to him, have him look out the window and start figuring out which one he is doing. He gets pretty groggy.
You say, "All right, let's look. Now you're looking? Okay, now, as you look, listen. Now as you listen, feel the weight on your feet. Now as you fell the weight on your feet, feel your heart beating," and about that time you will see him start reeling. You've asked him to come off of some terrific point of concentration that he is fixated on by aberration, and he reacts to this by becoming physically failed in his balance and stability. That's because you are asking him to do more than one thing at once and he knows very well it's utterly impossible to do more than one thing at once.
2. Perception Bands
Sound, sight, heat, cold, electrical, every perception your MEST body's got, plus about eight thousand more, are locatable on an energy band. They are called perception bands. What determines the kind of perception you have is the wave length of the perception.
Your thetan is active at one or another parts of the band, and not active at other parts of this perception band.
A wave length is a perception, a characteristic perception. Eyes for instance will gravitate to a certain perception. And what we're getting here is the various harmonics of affinity that we're looking at and we can get each one modifying the wave length of the aesthetic band.
And as a net result, you will find an aesthetic, an effort, and a regard for any of these perceptions, at each one of these levels on the tone scale. And that means for example that telepathy can exist at any level of the tone scale. It's a tune in, rather than going up scale or down scale to.
Outside of the body, the thetan has to be able to use force before he can perceive. He has to be able to perceive before he can locate himself well in this universe.
Ninety percent of your trouble in theta clearing is wrapped up in perception. The fellow gets outside, he says, "I can't see, I don't know what I'm looking at...", or he says, "I see, all right, but it's another planet." or, "My perceptions are very good, but there's about three quarters of the room is completely black."
What is missing is his ability to handle force. He's got a big engram right there, that says, "Look, when you perceive things, you get zapped!"
Author: fileclerk
Posted: Sun 27 Aug 2000 02:25 pm
PLACING PERCEPTION
Regarding perception, up scale he places and perceives what he has placed. And in the low band, he perceives only. And at the bottom, no perception. It goes hand in hand with automaticity, hand in hand with sensation.
"Places perception" means, he hands things out to be perceived. He knows so certainly how things would be perceived if he'd enter in the scale and use energy to that degree, that he could place it and know how it would be without inspecting it. Like a golf champ who takes a whoomp at the ball and knows the ball is a hundred and seventy five yards out there on the green. No strain on perception. You even don't bother to perceive. That's a level of knowingness.
In the middle of the scale, you've elected things out to be fifty percent automatic. You've got to perceive about 50 % of the things, but you still know that when you perceive you place the perception and then get it back again. You're well aware of the fact that when you want to feel joy from that person over there you put joy on that person and then experience the joy.
You can fish through the ether, so to speak, take the viewpoint of that person and find out how they are perceiving life. Just make a test of it, then you know what their emotion, or feeling or idea is about life and you don't have to take this relatively unnecessary step of putting an emotion onto their stream of regard for life to find out how they're looking about it.
You got an idea this person should be sad, he's looking at a wreck and therefore he should be sad, so you'd have to extend over into his chain a feeling of sadness, and then reexperience from him sadness. And you'd say, "I know he's feeling sadness." You'd know at the same time you'd put some sadness over there so that you could feel it.
Way on down tone scale you look at him and you say, "He feels sad." It's all automatic by this time. You just look at somebody and you know he ought to feel sad so you feel sadness from him. And you omit the fact that you have set up circuits which automatically install the sensation of sadness in him so that you can feel it back again. You don't inspect it in lines of ideas at all.
Your preclear is remedied in this respect simply by having him mock up things and put the emotion on it. You make him do this and he'll start to feel all sorts of things as his automaticity circuits start cutting out on him.
Author: fileclerk
Posted: Sun 27 Aug 2000 02:27 pm
SENSATION AND ENERGY
There is a higher dependency than depending on energy for communication. He started to depend on energy for sensation. And we get another automaticity which is highly undesirable, that energy must be used to make an effect out of one.
If one wanted to be the effect of some sensation, then the sensation had another point than oneself for its origin. He stands over here at A and he wants a sensation from B. So he runs a line from B back here to A and the line goes in that direction. B is being elected cause because B has sens-ation to deliver, and A then has elected himself an effect.
He has sensation received from some object and he will gradually get to a point where, as he comes down tone scale, he will become the effect of any line. He will become the effect of any energy line and will not be cause on any one of these lines.
He'll elect himself as the effect on any energy beam that happens anyplace, whether it's a force beam or any other kind of a beam. Therefore he becomes frightened of all force, and he will cease to use force.
Up scale the thetan can handle this in terms of space. You can have space without having energy. You can have theta level objects which are not composed of energy.
Sensations that come in via energy are not the higher level sensations. There are higher level sensations that are independent of energy.
But the fellow who has learned how to use energy and has found himself pushed, thrust, slammed into this universe and is right now subject to solidified energy at every hand, that individual had sure better learn how to use energy because he won't get out of here otherwise.
Author: fileclerk
Posted: Sun 27 Aug 2000 02:30 pm
COMMUNICATION
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. Thetans can handle ideas, you don't have to process that too much.
Communication is actually the wave band.
There's a photon band. That's light. The heavy band, that's the effort. Higher up there would be the emotion band.
Way up here at the top is aesthetics. That's a very tiny wave length. If you could work up here in the aesthetic band when you weren't working in any other band you'd produce higher results.
Operating in less and less space, apparently your volume of energy is getting more and more.
Originally, he started to use automatic communication. He started to have communication done for him in one way or another. The first thing he started to use, to make it more automatic and easier and more positive was energy.
He'd lose his ability to differentiate between a postulate and a communication statement.
A little communication disaster or so would occur. He'd back off and say, "I can no longer trust this merely stated pervasion into the atmosphere. I can no longer trust that, simply thinking something that I know, then somebody else will know too." One of the reasons is because they have ceased to trust their reception. And so he said, "Let's make it positive. Let's use energy. And we will put a beam out, and we'll put a communication on the beam. And the beam will carry the communication. And then he will know it's a communication because there's a beam sitting there."
After a while he says, "All communications have to go up and down a beam." Finally he winds up dropping a nickel in the Bell Company's just to tell somebody at home he'll be late for dinner. He's a gone dog.
Author: fileclerk
Posted: Sun 27 Aug 2000 02:32 pm
INTEREST
Interest is the monitoring action. Where there is no interest, there isn't any insanity. Of course, there's also nothing.
The state of mind with regard to past, present and future is monitored by interest in it - "Do you care?"
You want to know why theta clearing can suddenly produce such a change of viewpoint in an individual, I'm afraid it's contained in that data that I've just given you.
Estimation of the rate of change of havingness is either interesting, or very interesting, or terribly interesting, or "Oh, my God! We're lost unless..." and everything is serious and important.
What does "serious" and "important" mean? Interest is intense because of penalty. Importance is an intense interest because of possible penalty, and it is as intense as the penalty is envisioned to be intense or threatening.
We have then to shift it over to "own universe", and he has to be able to mock up a havingness or a not-havingness on any one of the dynamics, and particularly where interest is involved. He has to be able to create anything he is interested in and continue an interest in it in order to get rid of MEST universe havingness and not-havingness.
And nobody's recommending to you, really, that you get rid of this havingness and not-havingness in the MEST universe.
But I'm just telling you that the interest monitors it, and that is monitored by one's belief that it only exists in this universe - (which is the essence of scarcity) - that there's a penalty in leaving the universe, and the penalty of leaving it would be the penalty of not any more having something.
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