Now this is the third hour of December the fifth, afternoon. 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. Now by the Introduction of that we put up a crossroads. 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 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 NEST universe. Here we find somebody in the MEST universe and we want to
 know how we can either one, improve his status in the MEST universe, two, 
 make him into a thetan and improve the status of the thetan in the MEST 
 un1verse, or three, make it possible for him to create uh.. items and objects
 and so forth in the MEST universe, or four, make a universe of his own, or 
 five, handle and control universes, or six, skip it. 
 
 Now he has all those various choices and uh.. essentially we are 
 studying choice and intention. Now you want to know what lies above 40; one 
 of the things which lies above it would be intention. Now if the intention is
 to have objects; well, one would go through uh.. whatever he had to go 
 through to make the object. Or he'd just postulate there was an object there
 and have an object; or if one wanted action, his intention was action, he 
 could have action. If his intention is just to have lots of space, he could 
 have lots of space. 
 
 Or if his intention was to continue along a subject known as 
 progress, he could follow the cycle of action through from space to having an
 object. In other words, his intention in each case continually one after the
 other could be a selective thing. 
 
 Now there's great lucidity in this. There's great fluidity. He has 
 set himself up to agree to the arrival into the possession of an object by 
 the adoption of a cycle of action. And he has even gone so far as to think he
 has to have an object to have a memory. He has.. manufactures in homo sapiens
 facsimiles, engrams, secondaries, locks, data, facsimiles, pictures, books, 
 all that sort of thing, words, all these things. Now in order to.. to - he's
 gone into this scale. 
 
 Now it's gotten into a gradient scale and a new scale here, quite 
 Important - the scale of automaticity. I'll have to cover that scale. And 
 he's gotten everything to a point where it's all automatic. So it's all got 
 to be made for him, so it's all got to be pre-existing objects before 
 himself. He exists before any object exists, but he's got it so twisted by 
 this time that the object exists before he exists. 
 
 And uh.. he boy, he's.. he's starting low and diving full throttle.
 
 -16- 

 And this then is a number of choices. So intention exists above 40.0. Other 
 things can exist above 40.0 too, but intention exists. 
 
 Now he could simply say I have action. A magician, uh.. the magic 
 cults of the 8th, 9th, 10th, 11th, 12th centuries in the Middle East were 
 fascinating. The only modern work that has anything to do with them is a 
 trifle wild in spots, but it's fascinating work in itself, and that's work 
 written by Allister Crowley, the late Allister Crowley, my very good friend. 
 And uh.. he.. he did himself a splendid uh.. piece of aesthetics built around
 those magic cults. Uh.. it's very interesting reading to get ahold of a copy 
 of a book, quite rare, but it can be obtained, THE MASTER THERION, 
 T-h-e-r-i-o-n, THE MASTER THERION by Allister Crowley. He signs himself The 
 Beast, the mark of the beast six sixty-six. Uery, very something or other, 
 but anyway the.. Crowley exhumed a lot of the data from these old magic 
 cults. 
 
 And uh.. he.. he, as a matter of fact, handles cause and effect quite
 a bit. Cause and effect is.. is handled according to a ritual. And it's 
 interesting that whenever you have any of these things you can always assign 
 a ritual to it and that ritual is what you do in order to accomplish this. Or
 how you have to go through and how many motions you have to make to come into
 the ownership of that. And that's a ritual. 
 
 Or how many motions or words you have to say in order to be something
 else. Now that's a ritual. And that is a.. each ritual is a cycle of some 
 sort or another. Now you can have cycles that start low and end high, but 
 because homo sapiens has agreed to a cycle that starts with space and ends 
 with matter, when homo sapiens starts into a cycle of action he finds himself
 up with his hands full of gold and with shackles on every limb. 
 
 Now he continually knows completely that all he has to do is start 
 low and go high. He.. he knows that. Uh.. he said, "Well, now all we have to 
 do is go up this gradient scale - ta-da-da-da-pa-ba." And he hasn't had a 
 route that led through anything to reverse this cycle because he had agreed 
 so heavily to having the cycle of action which is this MEST universe itself, 
 he can't bring himself to completely reverse this without backtracking the 
 agreement cycle merely because he's ethical and his word is good. 
 
 However bad he may seem to you at this level on the tone scale, he 
 isn't bailed out of it for one reason and that is his word is good. 
 
 Now when he backtracks this cycle of action he just has to back it up
 and you've got to start low and arrive high, and in Scientology we have as 
 far as I know in this universe a.. as far as I know the first time we have a 
 cycle of action which starts low and goes high and gets there. And doesn't 
 start with the low we have and then denies its existence and just tries to 
 wipe that out and sails off someplace else. 
 
 There's something like a cul-de-sac, a blind alley, a box canyon; you
 come galloping into the MEST universe full of vim and vigor and all of a 
 sudden crash - here you are at the bottom of the tone scale, the cycle of 
 action. 
 
 Now we have a cycle of action which goes backwards. It starts with 
 stop, which is homo sapiens, and ends with intention, which is your thetan 
 bailed out all the way. Good workable cycle of action. What you're studying, 
 if the truth be known, is a cycle of action which can apply because it is 
 very carefully based upon the reversal of the cycle of action which made the 
 MEST universe. 
 
 -17- 

 And in order to make this new cycle of action the cycle of action 
 originally agreed to broadly and generally had to be completely understood.
 Now that we've got that cycle of action we can turn it backwards. But it 
 isn't backwards; it's forwards and upwards, because our sole motive here 
 isn't simply the reversal of a cycle of action. We're trying to establish a
 cycle of action in this universe which will work for individuals. And it 
 works; Scientology 8-8008 is a design of a new cycle of action. 
 
 That's a design right there. It tells what the cycle of action goes 
 to: an unapplied infinity, a potential, and it tells how you get there and it
 says you go up tone scale, and you see MEST universe is infinity at the 
 bottom of the tone scale. It's all a motion, it's all a matter. It's all 
 somebody else's and none of your own. You see, actually motion becomes an 
 all-motion becomes a no-motion and that's matter, so you've got.. you start
 there at the infinity which is the MEST universe, and the MEST universe is 
 never cere real than from four down. 
 
 And you go back up the line of that and you're going upscale all the
 time, and you're getting upscale there and the MEST universe ceases to be, 
 completely, at 40.0. Just isn't. For the preclear, you say you're bringing 
 him up tone scale. You're bringing him up to the point where the MEST 
 universe is going to be zero. 
 
 He.. you could stop him or he can stop himself at about ZO.O and he's
 got a choice. He can be.. he can contact the MEST universe, he can have the
 MEST universe, or on the other hand, over here, he can have a universe of his
 own or be part and parcel of another universe, or all those choices which I
 gave you the first part of this hour. 
 
 Now, uh.. we've got that cycle of action. Now it tells him quite 
 additionally that his additional cycle of action depends upon these cycles of
 action, and that he has a pattern for the construction of his own universe,
 which he can do with 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. So we've got this cycle of action. Now that's a
 cycle of action which would graph like this. 
 
 So of course infinity would be all possible cycles of action, and 
 when you say infinity of his own universe, he could make it any cycle of 
 action, so the first infinity means all possible cycles of action or any 
 other type of pattern or any other type of ridge, or any other type of 
 intention which he cares to engage in. 
 
 Now we find the MEST universe is most real down here at uh.. 0.0. 
 Boy, there's.. you're really real when you're dead. And uh.. that goes on up
 the line up here -- that would be infinity. And that goes on up the line up 
 here to 20.0 which would be halfway between infinity and zero. Up here and 
 it'd go on out and at 40.0 you would have for the MEST universe, that's zero
 phd, infinity phd, you would have 40.0 up here at the top. That's out. You 
 understand that - I mean, that's.. that's out of the universe. 
 
 Now that goes from here then for zero of his own universe; we just 
 have to reverse this thing, and let's say his own universe has a tone scale
 on an entirely different principle. You have a tone scale on this principle
 which takes us from a 40. uh.. 0 of his own universe to a zero of his own 
 universe or a zero of his own universe. And I don't care which way you put 
 it. 
 
 -18- 

 So, we've got this.. this thing lying from a zero or nothing but 
 space or something for his own universe (he makes it out of space) down to 
 there. And this, of course, for his own universe, could be called infinity. 
 And for his own universe up here could be called a zero. 
 
 Well, it doesn't matter how.. how I draw this. If you have any 
 curiosity about that second graph, it's because you're trying to relate it to
 the first tone scale graph. And he could.. he could design a tone scale for 
 his own universe which would be a beauty. Uh.. it could do anything, 
 torsional space or quadrupeds, or anything you want, but he doesn't have it 
 now, that's a cinch, he doesn't have it now, so perhaps it's best to draw 
 this thing this way. So it should go.. and this would be "0" because 
 certainly at 40.0, at 30.. 40.0 he can start toward the infinity of his own 
 universe, can't he? 
 
 And uh.. at uh.. zero here, zero point zero on this tone scale he 
 doesn't have one, does he, because at zero a man's hopes, dreams, illusions 
 and all those things which he graces the MEST universe with are dead, they 
 don't exist. Death comes about only when one is no longer able to place any 
 of his own force, dream, hope, intention, upon the MEST universe. 
 
 If you want to kill a man, the most effective way of killing a man 
 may be with a shotgun, but that shotgun is telling hue in a terribly brief 
 instant that he has met something in the MEST universe which he cannot 
 overcome in terms of force. And if he's met that, he is dead. Very simple. 
 
 Or you simply start in on him and start working on hno when he's very
 small and you say, "You shouldn't imagine such things, you shouldn't do such
 things, da-da-da-da da-da-da-da da-da-da-da, you gotta work, you gotta work 
 hard, now that you're married you gotta work hard, and you've got to do this,
 you got to do that, and we expect certain things of you, we.. and so on, and
 you got to go through this and you got to go through that; you can't do this
 and you can't do that, you can't do this and you can't do that." So that it 
 gets up to the point of restriction. 
 
 Had this mathematician one time, I told him about this, and he right
 away figured out something that was called an abstrict, and he found out that
 every time anybody spoke to him they were trying to lay a restriction upon 
 him, of one sort or another. It had to do with a restriction. 
 
 And so he suddenly realized this and with this clear, brilliant 
 recognition suddenly went up the pole, got up there to eight hundred thousand
 feet with no parachute and was quite somebody for quite a little while. He 
 was a problem. lie uh.. grabbed ahold of a girl who was married because he 
 loved her and he convinced her that this was the case. And she said, "By 
 golly, that is the case," and picked her up by the nape of the neck and went
 to another state and they've lived happily ever after, and they married. You
 just don't do that in this universe, you know. 
 
 You don't take this girl and she's married and she's all pinned down
 and she's got an identity and so forth, and you don't suddenly say, "Now 
 look, do you know that everything here that everybody's saying to you is 
 really an attempt to restrict you in some way or another? Now look, we can 
 have a pretty good.. nretty good time of it here and why don't you just come
 down to the train and pick up the kid and we'll leave." He's known her for 
 maybe 24 hours. 
 
 And uh.. they do; they've been very happy. You see, you'd expect 
 this, you'd expect this; the MEST universe would tell you anything that 
 starts like that will wind in disaster. Uh-uh. Anything which starts the 
 other way is what winds up in disaster. 
 
 -19- 

 You know, you.. you meet somebody and then you know them for a long 
 period of years, maybe three years, you have an engagement. And then he works
 very hard at a job in order to save up enough money to put the down payment 
 down on a house and uh.. then they finally get married. And with everybody's
 consent and everybody's approval, and then they have some children with 
 everybody's consent and everybody's approval, and then they.. they.. they 
 work harder and harder and they send the kids to college. And when the kids 
 get through college, they say to hell with the old folks. And uh.. so on, and
 they finally wind up footsore and weary but with this righteous feeling of, 
 "Well, we did our best, and we have helped them all out and now we two can 
 pass away." 
 
 That's practically what MEST says all around sort of thing: We helped
 you out, we went to the end of the trail. You say, "I got that sad, sad 
 remorseful feeling." Of course, there isn't a piece of MEST in the MEST 
 universe that hasn't been abandoned so often it's got that written all over 
 it. 
 
 So, we've got here then Scientology 8-8008 in the form of an action 
 cycle, which gives us a process. And it said, "This is a track and if you go
 on this track, now these are your potentialities. And if you like the other 
 track and if you think this MEST universe is a wonderful place that you avant
 to agree and agree and agree and agree and agree, brother, it's yours." 
 
 They give.. if you just like this universe, that's up to you. That's
 thoroughly up to you. In view of the fact that there you are at.. at uh.. 2.5
 or 3.0 on the tone scale and there you are at 3.0 on the tone scale and you 
 are perfectly agreeable, you think everything that's happening is all for the
 best. And you're perfectly happy, and it's all working out the way it should
 work out and if you can find a fellow who is like that and who doesn't want 
 to take this road, I'll give you a lot of MEST as a reward, because I have 
 not been able to find him. But he exists as a myth and an illusion. 
 
 Now a magician - getting back to cause and effect and Allister's work
 - a magician postulates what his goal will be before he starts to accomplish
 what he is doing. The old magician was the great-great-great-grandfather of 
 your modern stage magician. Your stage magician doesn't even know the old 
 magician even existed. 
 
 And the stage magician gets up there and he waves this around and he
 has a hat and he has a wand and he has his bric-a-brac of various sorts, and
 he doesn't really know where it came from. This is a great joke on him. These
 are pieces of ritual out of the 8th, 9th, 10th centuries and they - each one
 of them means something terribly specific and the most awesome ritual in the
 world is associated with their use. And the magician was very ritualistic and
 he would very carefully postulate what effect he was trying to achieve before
 he would be cause for that effect. That's the first thing he'd do: What am I
 trying to do? 
 

 
 Then he would make a statement of what he was trying to do and having
 made a statement of what he was trying to do, he would just then initiate the
 steps necessary to accomplish it. If one did not do this, one would 
 inevitably fall into this trap: he would become the effect of his own cause.
 Because what he had eventually accomplished would seem surprising to him. And
 might seem desirable as an effect upon him. 
 
 So he carefully stayed out of that rat race; he had nothing further 
 to do with it and at any time that he achieved this effect, then he would 
 say, "You see, I achieved that effect." 
 
 -20- 

 It uh.. he was, still cause to that effect, but a fellow who just 
 flounders around and says, "Well, I think I'll do so-and-so and so-and-so and 
 we'll leave it ail up to luck. And, what do you know, what happened -- I 
 finally wound up so-and-so and so-and-so and isn't that cute of me?" He gets 
 over to a point of where he's beinq continually the effect of his own reuse. 
 And sure enough, then and there we get a time illusion, hecause he becomes a 
 thing more and more. He's an object, more 'n more 'n more 'n nore an object. 
 
 And of course he can now only inevitably go down this tone scale 
 until you get an infinity of MEST universe and a zero of personal cause, so 
 you start out being at cause, be sure you don't wind up as an effect, and tie 
 only way you can wind up as being an effect is forget that you wound up this 
 effect over here. You did it. Nobody else did it. You did it. And as long as 
 you know you did it, why, you're all right. 
 
 Now because a person suddenly says, "Well, all right, I take full 
 responsibility for everything I've ever done and I'm to blame..." well, you 
 see, he didn't postulate what he was trying to do in the first place, so 
 you're picking your preclear up where he sits as a sort of a pawn. 
 
 He's just been shuttled around here and there and so on. He never 
 really had any intention clearly stated anywhere along the line. Now it's up 
 to you, it's up to you to get him to state an intention - what is he trying 
 to do? What does he want to become? 
 
 You make him state it. If you state it for him and if you do.. if you 
 state it for him, then be sure to remember that you stated it for hire. Be 
 sure you know when he is finally super-cleared or something of the sort, that 
 you did it. And if he suddenly comes around and blows your house down as a 
 result thereof, you have introduced some randomity that you hid. But you 
 shouldn't be in a situation where it would upset you any to have your house 
 blown down. 
 
 If you're going to go up into altitudes like that, somebody comes 
 around and blows your house down, .so you put the house together again. Boom, 
 you say the house is there. You say, "What's the matter, boy, you losing your 
 force?" 
 
 Now here.. here we have all up and down the scale, then, these 
 various gradients, these cycles of action, and we find a cycle of action 
 comes about because an individual does what? He starts in doing something and 
 uh.. he doesn't .ay what he's doing. 
 
 Like the parson in the church, he asked the congregation if they 
 liked his argufying and spewdifying and the whole church looked at him and 
 kind of doubtfully. And finally the deacon said, "Well, we're very fond of 
 your argufying and spewdifying but you don't show wherein." And the whole 
 point of it is the fact that here's your guy going into action action action 
 action action and he just don't show wherein at all. He.. he's just in 
 ac.ion. 
 
 He takes somebody else and something else and.. and uh.. he gets 
 kicked here or,a he says, "Mell, it's probably..." He.. he goes down and he
 eats a decayed whale upon the beach and he gets a terrible bellyache and he
 sits down, upon the sand a la Kipling and he says, "The gods have afflicted
 me." 
 
 And every time he says, "I'm an effect, I'm an effect, I'm an effect, 
 I'm an effect," or realizing that he did it, "I'm to blame," he digs himself 
 further into the MEST universe cycle and that cycle goes from space to 
 
 -21- 

 object, and an object is matter and things handle the object -- the object 
 doesn't handle other things. So there's your cycle and it is a cycle of 
 failure to postulate cause and recognize that one is the effect of cause. Now
 you can start any time to do that because it's not in existence in tune. 
 
 It only becomes a tune flow when one begins to abandon responsibility
 for the causes he postulated. And you start.. the worst thing that could 
 possibly happen to your preclear, one of the things that.. that's really nice
 and hot to run on homo sapiens, wonderful thing, are the times he denied that
 he had said it when he had. The times when he denied himself, and when he 
 denied himself, he was dead. And a lot of little mites dance around in this
 society around people and they want to say, some of then say all the time, 
 "Admit you didn't say that." 
 
 "You have broken my heart, what you said was so terrible and so 
 forth. Now tell me you didn't say that. You didn't mean that, did you?" 
 
 HKe said, "You are easily the um-hum-hum-hum-hum!" And then they 
 If I don't.. they don't go around saying, it's "I feel bad because he's postulated
 that I am that, or has tried to direct me." No, they say, "Tell me you didn't
 mean it." Or the whole argument will resolve around and finally when "peace"
 is made, it will be on these lines: "I didn't mean what I said." 
 
 Oh yes he did! If he said, "I meant what I said and I meant every 
 word of it. Just now I think you're lovely and charming," he doesn't deny 
 himself. You see that that in essence is honesty with himself; he has not 
 abandoned his own beingness. Because at the moment he said "You are easily 
 the um-hum-hum-hum-hum," that was beingness and it was beingness before and
 it was beingness afterwards, but all of a sudden he's taken a violent action
 point of beingness and intention. Then a little while after that he said, 
 "No, that wasn't I..." 
 
 So he's saying "Any time I administer force or use force even in the
 shadow of a communication line, that isn't I." And what do you know, he
 suddenly winds up as not being himself. He doesn't know who he is. 
 
 And he'll come around and ask you pathetically.. he'll ask you the
 most pathetic question. He'll.. he'll say, "It.. which.. well, could you tell
 me.. well, if I could just find out who I am, I think I would be all right."
 And he'll pull that on you just continually: "If I could just find out who I
 am." 
 
 And the big joke is, he's him. He's asking, for instance, he's asking
 on this astonishing thing. He's saying, "Will you please tell me what names I
 have been assigned in the past, would you please give me a list of the 
 effects I have been? Will you please give me a list of the times when people
 have assigned me an identity, in other words, when they have made an object
 out of me by giving me a name and a location? And they have given this to me
 and I have these things now, so I now am." Oh no he isn't. That's the moment
 when he's not. He's not himself at all, he is a name. 
 
 One of the slippiest tricks again in Kipling that you can get a 
 preclear to do uh.. is just start repeating his own name. Tell him to repeat
 his own name. Repeats his own name, repeats his own name, "Well, who am I?"
 And he gets this horrible funny state of being but not identified. And oh..
 it's an interesting experiment. 
 
 If you get a little kid to do this, you'll talk him right out of this
 universe. You just say, "Now what did you say your name was - Johnny Jones?
 Okay, now just start saying Johnny Jones." 
 
 -22- 

 The kid says, "Johnny Jones, Johnny Jones, Johnny Jones... The hell.
 Who am I?" You'll just desensitize it. It wears his name out because that's
 just an identity. 
 
 And therefore it's an object so therefore it can be used up. The one
 that can't be used up is his own beingness. Who is he? He's him - that's who
 he is. And as far as beingness is concerned, he's who he decides he is, he's
 not who somebody else decided he was. 
 
 And every time he decides to be somebody that somebody else decided
 he was, he gives up his own beingness and becomes an object. 
 
 Uh.. the.. the idea of naming is great magic in itself that the boys
 didn't cover in this dissertation at all. I'm not giving you data out of that
 area. It's just the.. those boys were very cognizant of that one point. When
 thou dost not make a statement and clear intention of what thou art trying to
 become, thou unbecomest, Bud. Do not be hoist by thine own petard. Do not 
 uh.. suddenly pretend that you didn't have anything to do with bringing about
 what you have now found yourself surrounded with. 
 
 That gives you time, you see, the upset of cause and effect, the 
 upset of it buries time. But the use of cause and effect brings it into 
 being. And cause and effect, as it is deserted, brings about various states
 of being. And force, as it descends on the tone scale in the MEST universe,
 partakes more and more of solid character. And it gets solider and solider 
 and solider and solider and solider, and down at the bottom of the tone 
 scale, your preclear couldn't quite know what to do with it to handle a force
 band. 
 
 Uh.. to handle a piece of force he'd think you needed a derrick, 
 really. You've at least got to have a wire. You've got to have a wire with 
 great big insulators. And you've got to have all sorts of things in order to
 get force from one place to another. 
 
 It wouldn't occur to him that what he would do with the middle action
 of the band in action, he would say, "Let's see, they want some force flowing
 along this line or something of the sort. All right. Kerrrwhap!" He's got 
 force flowing along that line, oh, but, brother. Or if he were a little 
 higher on the tone scale, he'd say, "Oh they need some force there? Well, 
 okay, it's there." And it would be there. Zong, zong, zong, zong. 
 
 Silly, it sounds to you, uh.. perhaps, but there's nothing easier to
 fool with than force; but there's nothing more incredible than force, down at
 the bottom of the tone scale. Oh boy, is anybody in effect of this stuff. You
 know, you take a lousy little hundred and ten A.C. and you hook it into the
 mouth of a homo sapiens and he'll complain. 
 
 Now this force as it goes down scale is descriptive of certain states
 of being and the first one is how much agreement as you go down from.. 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? And up here it's sensation, way up here, and 
 then it becomes affinity as we call the emotional band. 
 
 Right in here.. we're quite, of course, very accustomed to what homo
 sapiens uses as part of an emotional band and the fellow really doesn't think
 that a person has other emotions than this. He thinks that he knows something
 about "the emotion, spirit of play." He's a complete foreigner to it. 
 
 He.. he knows that it's lots of fun to go out and play a game. And 
 
 -23- 

 
 
 sometimes when he is 30 or something like that, he'll go out and play catch
 with his boy or something of the sort, you see. And he knows what play is - 
 It's something you work at. And he has the spirit of work down pat, well, 
 that is the emotion called effort. But the spirit of play he doesn't know too
 mph about. 
 
 And you suddenly spring a preclear into the spirit of play and he 
 says, "My God, where the.. where's this been? I've got a ghosty feeling that
 when I was a little kid I used to feel this once in a great while, once in a
 great wh1le, something like this, but this is really something." And he will
 suddenly recognize that this has more intensity to it than sex. 
 
 Ho, sensation - spirit of play - so we have those various things that
 come down tone scale from here to here and those things, the communication 
 ability and the agreement level, and the uh.. communication, agreement, and 
 emotional or sensational state, the three of them exist at any level; they 
 are a constant. They are interdependent at a constant and we get the triangle
 ARC. 
 
 Now ARC, ARC in the past we used as an interrelated experience. We 
 knew that affinity was related to communication and that these two were 
 related to agreement, that you could not go into communication with something
 without at least partially agreeing with it. You agreed with anything to some
 degree that you went into communication with and to agree with something you
 have to go into communication with it. You had to agree or disagree with 
 something, and that was very certain. Disagree with it or agree with it in 
 order to be in communication with it. You had to have something about that. 
 
 And so you had your communication uh.. band over here was dependent 
 upon the emotional band. The amount of uh.. communication you would enter 
 into and the type and variety of that communication was established by the 
 sensation. Uh.. the emotion, the affinity, the way you felt about this and 
 uh.. so you.. you have your interconnected things there. 
 
 You couldn't agree with somebody without going into communication 
 with him and having some emotional upset, even if it was something you were 
 fondly calling no emotion about it: "I didn't get upset about it, I held 
 myself in; I can control myself beautifully. I had no feeling about it." 
 
 Oh yeah? Well, that's a sensation. So, we had ARC ARC ARC, so at any
 point on this from zero, zero from minus eight-point-zero right on up at any
 level, we have an ARC and an ARC and an ARC and an ARC, and for any level of
 that tone scale, we've got ARC. 
 
 Well, looks like we have to get into something a little hotter. We 
 haven't tied.. I just say there's ARC at any point of that tone scale and we
 don't tie those things in any closer to the MEST universe than just ARC. So 
 we better tie those in. 
 
 And we'd better tie them in, but good. And that doesn't take me 
 forever to tie them in, fortunately, because I finally hooked them up into 
 terms of conditions of energy. And ARC comes to mean, suddenly, conditions of
 energy. 
 
 Now, we had better look at energy and find out what are the three 
 component parts of energy, if we're going to do that. And we found that 
 energy requires space and it's a particle and it's action and it becomes an
 object. We found that it's a particle and it's action and it becomes an 
 object. We found that doesn't... energy, but what do you know, there's three
 varieties of that happening. 
 
 -24- 
 

 There's the big variety of their being, just a.. a flow and then 
 there's a dispersal and then there's a ridge. Now, we get here a flow, 
 there's.. these are the three kinds of energy. Three actions of energy, 
 that's a flow. Now you understand that that could be a smooth wave as it is,
 a sine wave or something of the sort, or it could be a noise wave. 
 
 Or it can be.. it can be a complex wave here. Something that goes 
 like this, it doesn't matter what kind of a complex wave it would be. Any one
 of those things are flows. And it really doesn't matter whether that is a 
 small wave or a great big wave like this. 
 
 Anything like that is a flow and your flow goes from this point to 
 this point, point one, point two. You see, now we could say that an effort 
 flow was a.. a big heavy wave that went like this and that it was an effort
 flow, so it.. there was.. did you ever notice, by the way, that somebody 
 trying to pick up something heavy trembles? That he's got a shake to it, he
 can't hold it very stable and you get this kind of a noise wave going along
 with an effort band. You get a noise wave going along with it. You get a 
 tremble that would go along with it. 
 
 Now all of these things can be graphed on a cathode ray tube, 
 kinephotometer, uh.. numbers of other ways of doing it. Uh.. they could 
 follow magnetic patterns on pieces of tape. You can measure these things with
 meters. 
 
 It doesn't matter whether they're a wave of the sea, a.. a 
 rarefaction condensation wave such as that passes through air, whether or not
 it's the passage of a particle as in an )(-ray machine, because that is a 
 very.. that's an interesting one. That's a.. a particle going bzzzzzzzt like
 this in a motion and it's flying from here to there. The bottom here is a 
 particle. 
 
 In other words, to have a particle you would say it's.. it's going 
 vrvrvrvrvr and then we sent it going zzzzzzzzzt. So it's a specialized kind
 of a wave, and therefore when the professors stand behind their benches in 
 physics classes and they say, "Well, tell me, is it a particle or is it a 
 wave?" they're full of beans. They're just full of beans. 
 
 A straight line is inevitably a type of wave. You couldn't possibly
 have a straight line that wasn't a wave. Because a wave essentially is a path
 of flow, and you wouldn't have.. you wouldn't have any better or more useful
 definition than to say a wave was a path of flow, or a pattern of flow and,
 by God, the day that you can take a straight line out of the category of 
 patterns, I haven't seen yet. 
 
 So, is it a particle or is it a flow? They're just obfuscating 
 themselves. You know they keep changing their minds about it, which is the 
 most humorous of all. 
 
 One day, one year, it's fashionable to say.. it's fashionable to say
 K-rays are flows, and the next year it's uh.. fashionable to say N-rays are
 actually particles in motion, which are travelling in straight lines. And the
 next year they change their minds again. They say a photon is travelling in a
 straight line so therefore it's a particle flow - it is not a wave motion. 
 
 Oh, no, I mean, these are not workable definitions and that's all you
 want in a definition. Anything that's flowing on a wave is a particle flow.
 You take an electric line and it has electrons in it and those electrons are
 going brrrr. They're a particle of flow. 
 
 -25- 

 They're going like mad in there, and you get the number of inches 
 which an electron moves on that electrical flow that's coming in there now 
 during a day, you can measure it with a tape measure. 
 
 It isn't flying down that line like water through a pipe; it's being 
 kicked and it's uh.. like a.. you rack up a flock of billiard balls here.. in
 order to have billiard balls you gott' have things that are in motion. 
 They're not statics. 
 
 We're studying statics and kinetics, only we're really studying 
 statics and kinetics. And the old boys really just pretended they were. They
 said, "You see this object; it is sitting there, isn't it?" All right, there
 it sits and therefore it's a static. And you say, "Oh, no, where do you get 
 this?" 
 
 That thing has eight motions already if it's on the surface of earth.
 Well, there's the motion of the earth going around the sun; there's the 
 motion of the variation of the position of earth with relationship to the sun
 called the orbit. There's the rotation uh.. it.. it, by the way, is a 
 changing motion, it's not a.. a stable motion; and there is in addition to 
 that the spin of the earth around its axis; and that ball sitting there 
 statically, motionless, you see, is travelling already, being on the surface
 of the earth, by one motion alone: it's travelling at almost a thousand miles
 an hour. 
 
 Any time you can show me something that's going a thousand miles an 
 hour and say that thing is standing still, you'd have to be a better magician
 than a physics professor. Because a static would simply mean something by 
 definition that had no motion in it. 
 
 They define the word STATIC as something without motion. That's 
 great. Kinetic is motion, something that's moving, or a potentiality of 
 motion. You look right there in Webster's and you look in the physics books 
 and you look everyplace and it says a static is something that isn't moving 
 and a kinetic is something that's moving, or can reve, and there it is. 
 
 And then they show you a ball which is sitting on the surface of the 
 earth moving in eight different directions simultaneously. There's the tip of
 the solar system, there are all sorts of motions with relationship to other 
 spaces. Completely in addition to that, let's take this billiard ball and 
 look inside of it -- its own structure - and we find out that we could 
 actually trace the pattern of molecules and atoms through that billiard ball
 and they're going like mad inside the billiard ball, and the particles which
 make up the molecules and atoms of each of the molecules and atoms are going
 like mad in the molecules and atoms, and yet somebody tells you that thing is
 not in motion. Well, brother, it is in motion. 
 
 Cause that's motion itself and by definition motion, so when we study
 a static for heaven's sakes, a static would have to be something that had no
 wave length. It would have to have no volume. It would actually have no 
 location in space. This would be your static. And it would be nothing there.
 And that would be a static. 
 
 So we're studying a static and a kinetic - just above 40.0 we have a 
 static, a real static. And when we get down to NEST down there, low part of 
 the scale, we're studying a kinetic. So we're studying the science of static
 and kinetics in Scientology. And that science has not ben outlined in the 
 subject of physics. Hummm. 
 
 It's very, very amusing, it's very amusing, the limitations which 
 
 -26- 

 homo sapiens puts upon himself. He.. he sets out to study the science of 
 static and kinetics and then he doesn't define a kinetic and he doesn't 
 define a static. Except he put. it in the dictionary: it's exactly what they
 are, and then he never tries to study them. 
 
 Yeah, he says.. he's said all this time what a static is and then 
 he's never studied a static. All right, let's take a look at this then. We
 find out that this flow is a characteristic and that this flow can exist at
 any level of the whole wave scale, and the wave scale can go from a wave 
 length of one over infinity down to the wave length of infinity. 
 
 Hut the second you say it has zero, it becomes a static and does not
 become a wave motion. That's simplicity, isn't it? So we're studying fran 
 static to kinetic, and we're really studying it here. We're finding out some
 terribly interesting things, all of which could have been found out much 
 earlier. 
 
 That's a flow. Now an aesthetic wave would be a flow, an emotional
 level could be a flow, effort could be a flow, electric lights are a flow,
 supersonic is a flow, uh.. X-ray machines are a flow, uh.. the uh.. path of
 wave motion through the ocean is a flow, the path of wave compaction, 
 rarification as you go through a block of ice is a flow, doesn't matter what
 wave length. A radio station sitting out here madly emanating electronic
 magnetic waves uh.. is establishing a flow and those are all wave lengths 
 because they are all measurable in terms of wave length. 
 
 In physics you try to divide these things into.. into rarification
 and condensation formations and actual flow formations. And yet they show you
 what they have as actual flow formations or rarefaction condensation 
 formations. That's what's interesting. 
 
 Rarefaction condensation takes place in an electric light line in 
 order to get electricity to flow. Okay, you see, another thing, funny part
 thing part about radio, it's going through space where there is nothing and
 it's doing rarefaction condensation to go through space where there is 
 nothing. 
 
 That's why the old boys said there has to be such a thing as ether.
 Doesn't have to be anything like ether. All you have to do is put out a big,
 big fan of ion beams of some sort or another, throw out ions of some sort 
 which they probably have not described adequately yet, and then you just 
 rarefy.. fy and condense these.. these uh.. ions as you go through and you
 have a perfectly adequate wave flow. 
 
 See what we mean by flow? All right, let's put flow under one
 heading. liow does it.. what is it in experience? It's communication. Let's go
 on to the next one. 
 
 We have here a ridge. A ridge is formed from two flows. And these two
 flows hitting will pile things up. If you were to take a stroboscopic picture
 of throwing a bucket of water against the side of a house - you would find
 that at the moment it hit the side of the house that there was a great big
 gob of water standing there. There was a lot of water there. It's standing
 there in a mass. The water stops flowing when it leaves the lip of the bucket
 and it hits the side of the house and it goes kaplash. 
 
 And then it stands there in a mass for an instant and then.. then 
 trickles on down the wall, pulled by gravity, not by any.. any necromancy,
 it's just pulled by.. by the agreement called gravity and uh.. this goes down
 the wall and what do you have left? A dry wall? No, you don't. You have a wet
 
 -27- 

 wall. And that wet wall is a remaining part of a flow which is impinged upon 
 the wall of the house and which in itself is embryonically a ridge. 
 
 Now if you were to take two buckets of water and you were to throe 
 them at each other, you would have two flows which would be meeting in 
 mid-air and if you'd have a stroboscopic camera there, you would be able to 
 study the pattern they made and the wall they made when they hit each other. 
 The two flows hit each other and they make a wall. 
 
 Now if we take electronics, the boys just got wise to this not too 
 long ago. Uh.. the.. very, very, very new, newer than our material, uh.. no 
 coincidence in this at all, I mean the fact that we've been studying ridges 
 like this and been talking about electronic densities, because this.. this 
 other stuff, really there's no relationship, because there's some very old 
 writers who suppose something like this might happen. Well, we can prove it 
 happens. 
 
 You take an electronic beam of some sort and you pour it in from the 
 right, which is flow A here, and you take an electronic beam and you pour it 
 in from the left and we call that B. And if you hit them one against the 
 other - crash. They stand for a moment. You turn the beams off and they'll 
 stand there. Isn't that peculiar? You've got a persistence of crash. Good 
 name for it - just a persistence of crash. 
 
 Now if you have a whole lot of electronic beams with lots of 
 horsepower in it and a whole lot of electrons, that means a whole lot of 
 force in it, and they hit each other and they ran and ran and ran and ran and 
 ran and ran and ran, the persistence of crash would eventually become matter. 
 
 And that persistence of flow hitting each other would take on the 
 emotional aspects of such things as apathy, anger, conservatism, in other 
 words, those things which hold. The formation of matter could well be 
 accounted for by electronic flows in space hitting hitting hitting hitting 
 and this persistence continuing and continuing until at last you have 
 something which is in apathy and that something which is in apathy is a 
 ridge, which becomes matter. 
 
 So we have that flow hitting that flow. Now there are numbers of ways 
 you could make ridges. You have here what is called a dispersal. A dispersal 
 is a specialized kind of flow. But that's your next type here. There is where 
 you're getting an outrush from, and oddly enough, we will just have to 
 classify under dispersals implosions. This is an ex- and this is an in-. 
 
 Here.. here everything is dispersing down to a point because it's 
 particles which are dispersing, you understand; this is not a picture of a... 
 we're not.. that's not the name of a pattern so much as the name of the 
 behavior of particles in space. And those are going from where they are at a 
 mad rush and they could be coming down to this point in the middle and that 
 would be implosion and they could be going out from this point and that would 
 be an ex - dispersal. 
 
 You could probably call it an impersal and an expersal, if you wanted 
 to invent a lot of words - we don't happen to need the language. 
 
 Now where that.. let's say two dispersals hit each other, and they 
 hit each other. Materials rushing out here like mad and so on. And here's 
 another one bang bang bang bang. We.. we get this thing exploding out from 
 the middle here and where they hit in the center area, the impact of energy 
 together will again make a ridge. 
 
 -28- 

 But.. what is that? That is just the number of flows at random 
 0 hitting one to the other. Now we could combine an implosion and an explosion
 in such a way as to get a turbulence. Ah, now we're getting someplace, aren't
 we? We can get a turbulence of electronic flow and we get a consistent 
 turbulence of electronic flow; you get a ridge. 
 
 The three actual levels of energy behavior are flows, ridges, and 
 dispersals. But a dispersal as you can see is a specialized multiple flow.
 It's just because a flow is parallel that you can call those the three. 
 
 Now a flow comes along here and a flow comes along thisaway and 
 it's behaving itself very nicely and it all of a sudden hits an existing 
 ridge. And it'll go splash. See, it's going in that direction and it goes 
 splash back this way and leaves a certain amount of its energy residual here
 on a ridge. Ridges are best formed when two flows hit, but we'll say there's
 just something there already and it hits that and you get that thing flowing.
 So we'll see here that the actual pattern of progress of electronic current
 is from a flow to a dispersal to a ridge. 
 
 Let's see, you get a dispersal at the moment of impact of the flow.
 So you could categorize this as the three types of flows here which.. I mean
 three types of the characteristics of energy; I should be very precise about
 this, flow, dispersal and ridge. 
 
 Energy as it begins to form goes into flows, dispersals and ridges.
 At the top of the tone scale, you have the unimaginably very, very, very tiny
 flow dispersal ridge which makes, what do you know, a particle. A particle
 consists of a flow dispersal ridge, flow dispersal ridge, flow dispersal 
 ridge, and is itself then a particle. And it's doing all sorts of weird 
 things inside itself. 
 
 Now your next step down from a particle you would start coming in 
 wider space, and this wider space would be particles which were doing flows
 dispersals ridges, flows dispersals ridges, flows dispersals ridges. When I
 was talking about harmonics a little earlier, I was talking about less and
 less heavily formed ridges, up the scale. 
 
 A ridge is fairly light at the beginning. Now we get the ridge itself
 -- doing some flowing and some dispersing and a new ridge, and we come down tone
 scale. So we plot the tone scale from 40 down in terms of flow dispersal 
 ridge, what do you know? uh.. as being that pattern which is coming down 
 there. Now we have a flow dispersal ridge, new tone, and we get a flow 
 dispersal ridge and we get a flow dispersal ridge. Get that! Now you see that
 gradient scale? 
 
 You're looking at the construction of matter. Flow dispersal ridge,
 flow dispersal ridge, flow dispersal ridge. Now you're also looking at 
 postive-negative plate voltages. Every time this thing hits you get a ridge
 at one potential positive, let's say - that's have us. And the next one down
 from that is don't have us, and the next one is have us and the next one is
 don't have us, and you get a continual interchange of energy flows, 
 dispersals and ridges up and down the tone scale; that's why you have these
 dichotomies. 
 
 Positive-negative poles make electrical flows and they can make them
 at any level of the tone scale. And why then is this so important? This is
 terribly important because it's the.. we treat those things in the human 
 experience as sensation and we therefore have the gradient scale of sensation
 so when we look at this.. this flow dispersal ridge proposition we are 
 getting then sensation continually all the way down the line as different 
 
 -29- 

 things, different things, and more and more solid things. And any sensation
 could be categorized as a.. as a dispersal or as a ridge or as a flow. 
 
 And what is agreement? And what's reality? That is the direction of 
 the flow. Reality is the direction of flow; if your disagree is flowing out,
 your agree is flowing in. If it's flowing in you get reality of agreement, if
 It's flowing out you've got a reality of disagreement. Then direction of flow
 1s reality whether it's a flow, dispersal or a ridge, is 1t affinity, and 
 whether or not it is at one point or another on the band scale, which I 
 showed you is at right angles to this, tells you what kind of communication  
 it is. 
 
 At the level of light it's sight. At the level of.. of sound it 
 happens to be hearing. At the level of tactile it's another thing. At the 
 level of effort it's another thing, and each one of those is being used as 
 a.. as a perception band, and the perception band is present at each level of
 these things. But where it's a ridge it's blind. Where it's a flow it can be
 seen, where it's a dispersal it's scattered and changing. 
 
 And so as you go up tone scale with a preclear you're getting these 
 three conditions in terms of perception all the way up the tone scale and 
 they're getting less and less and less. But they turn from excellent to poor
 for each band and then they'll turn good again. 
 
 And.. but they'll turn better and then they turn poor, and then they
 turn better than that and then they turn a little less poor, and then they 
 turn much better than that and what are you studying then when you're 
 studying communication? You are studying what point of the tone band and 
 whether or not the affinity of it is a flow, a dispersal or a ridge. 
 
 And those three interactions which we'll cover much, much more 
 thoroughly are then the three characteristics of ARC as measured up against 
 space, energy and objects and we have then human experience. 
 
 That will be all, thank you. 
 
 (TAPE ENDS) 
 
 -30-