On this second hour of the night lecture December the 16th, I want 
 to talk a little more about various things. 
 
 And amongst them is Memory and Automaticity. Did you ever see a 
 memory system? The way to remember people's names is you see the person's 
 name, you see, across his chest and as you're meeting him, and you're very 
 careful to get it right that time and then you write it across his chest. 
 And then if the name was 'Gorse', then you point out to yourself the fact 
 that he actually looks like a horse and this reminds you of 'Gorse.' So the
 next time you see him you reach your hand out and say "How are you, Mr. 
 Horse?" 
 
 Man is internally evolved in trying to solve problems the wrong way 
 to on the tone scale. More and more complexity reaches down as you go down 
 the tone scale. More and more complexity exists in this so-called pyramid of
 knowledge. And you could call this pyramid, of combinations or complexities.
 
 Here we have this pyramid of knowledge - a cone. Let's draw it as a 
 cone and not be quite as rustic as some people have. And uh.. let's look at
 it here as a cone sitting there. And here is a datum - or two data - a 
 dichotomy of some sort from which all other data can be extrapolated. Uh.. 
 and so we get these two data combined and then get an interplay of viewpoint
 on these two data and we get our second level of complexity. 
 
 It's all very simple, you see; there's two data up there in Figure
 One here. And now we take all this data and take different viewpoints on it
 and we get a complexity of data which would be at Stage B. 
 
 Now we take all of the various viewpoints in Stage B and we take
 these and put them all together and evolve new information and application
 and other things and we get Stage C. 
 
 And from Stage C we get Stage D - more and more complex. D, E, and
 we get down here, then, to this lower scale line, and that would be F. And
 this cone, by the way, actually just keeps on going. 
 
 Now.. now let's assume that this is the subject of mathematics. And 
 without finding any of the common denominators, let's pick up a datum or 
 rule in level E out here - an X of some sort in E. And which way do you 
 think mankind customarily goes to know more? Well, don't all answer at once.
 The laws of flows tells you that he proceeds that-a-way down - with X. And 
 of course, it gets awfully complex. It just gets grim. 
 
 So that we start off with a subject at college with the valuable
 data that ferric oxide uh.. ferric oxide when mixed with sulfuric acid -
 H2S04 isn't it? - combined uh.. boy, it sure stinks. 
 
 Now we'll go from there, and we will now evolve why it is.. why it 
 is that iron oxides are so subject to infiltration by sulfur. And which way
 will we go? We'll go from 'X' down to the lower level, and to lower levels.
 And it gets more complex and more complex. 
 
 And the first thing you know, a society specializes; it has to 
 specialize. Nobody could know the same generality that everybody else knew 
 so they have to specialize. Each one becomes a specialist and the reductio 
 ad absurdum on this is for there to be a person in a whole science which is
 operating from this datum ferric oxide which when combined with H2S04 smells
 bad. But what do you know? That's not the whole science. The whole science 
 is ferric oxide. And there's another companion science called H2S04. And we
 
 -95- 

 get specialists on these two lines. 
 
 Me picked up somebody two generations or two thousand years earlier
 on the time track and we found out he was a chemist. We would find out he 
 had to know the philosophy of alchemy, he had to know all the pharmaceutical 
 preparations, medical chemistry, he had to know how to make iron. He had to 
 know all of these various things, and he figured that all out because he had 
 the highest common denominator that he could obtain on this and that was 
 what? That was the fact that there's earth, air, fire and water and when you 
 combine them you get the most interesting things. 
 
 Well, that would.. that would be up there along about C, you see. 
 And it's not a high level. 
 
 Now supposing we wanted to really know more about chemistry? Some 
 other science would have to come along with a higher level and suddenly 
 tramp, or we could proceed on chemistry with - chemistry became so complex 
 that an individual could study data for four years and not. even have a 
 working knowledge of chemistry. And the way we would do that would be to 
 start from an X and go down. Find an isolated datum in Y, relate it to 
 nothing in D - relate it to nothing in C and just say, "Oh, that's beyond 
 the realm of human experience." "All hands man the diving stations, stand by 
 for a crash dive. Here we go for more knowledge!" Now they should say, "Here 
 we go for more data" - more data - collection of data. Obsession! 
 
 Now the reason why Scientology got built is because this basic 
 pattern was appreciated and, willy-nilly, it was postulated that the place 
 to go for the data was the simplifying datum. What data knocked out a whole 
 compartment of former knowledge? 
 
 So Book One, ADVANCED PROCEDURES AND AXIOMS, Theta Clearing. 
 That's.. that's all. I mean, here we have Theta Clearing - it's a simpler 
 level but still embraces all the lower levels. And this area here was 
 self-determinism as the highest level. And this was here - examining what? 
 Automaticity: The automatic interdependencies of survival as they work out 
 and affect genus homo sapiens. 
 
 And I won't say we're at Two data - yet - or anywhere near it. But
 we're sure working hard. Now we're getting there just fine and it's
 producing results like mad. 
 
 Rut from any one of these levels D is explainable - anything in D is
 explainable, anything in E, anything in F - or any lower level is 
 explainable from a good broad datum in C. Anything is explainable, then, in 
 terms of human behaviour from C down if you have a datum in C. Anything is 
 determinable in C if you have a good broad datum in B. Anything that is 
 determinable in A, of course, would evaluate B, C, D, E, F - and so on. All 
 right, that's very simple, isn't it? 
 
 Uh.. remember I showed you early in this series, this gadget. And 
 here was one datum known and over here was ALL data known. Looked like a 
 circle, this thing here in Figure Two. And we went this way for inductive 
 logic, and we went that way for deductive logic. We took lots of data.. lots 
 of data and brought it to the inevitable conclusion. Which was also: If we 
 took all the data in the plane E and we assembled it all and we put it all 
 together and everything else, why then, by George! what would we find? Well, 
 you might find F but boy, you'd never find D. That method, then, requires a 
 two-action. You've got to have inductive and deductive logic. 
 
 -96- 

 You've got to reach for an inductive, almost intuitive datum, and
 grab 1t. And then dive - hit the deductive level, take all this data around
 here and see how it.. how it works: Does it fit? Does it fit? Does it fit?
 Yeah-yeah! Fits? Okay. Fits? That's good. Uh.. and uh.. deduce, then, from
 this that, hey! three pieces here don't fit. Well, I'll be a son-of-a-gun!
 We say C is too complex a level for operation, because we're got three data
 in C. 
 
 And after that, we've only one choice and that's to at least try and
 find out if there's a B level which will include everything in D and the 
 three data. See, everything in the B level to include everything in D and
 the three data. And so we're very, very happy about the whole thing and we
 say, "Eureka! We've found it! We have solved the riddle!" Wait a minute. 
 Ahhhh - C. There is a level of C. Oh, no! Well, all right. Let's look 
 through all the data of C very happily now and let's find out if there's any
 data in C that isn't evaluated by this beautiful new datum which we have in
 D. Oh, no! There's 12! 
 
 So you say, "Well, all right. There can only be, then, working on 
 this theory, a level called A. Now let's find out if everything in A 
 resolves everything in C because we're now interested in C, you see? Oh, 
 boy! Does it! Oh, it just cuts it down to shreds." And we look at B and we
 say, "Just look at B... Oh, no! Two data in B aren't explained by A. Don't
 tell me that there is another level above this. Well, there's gotta be. Why
 the hell does a postulate produce so much effect. The preclear simply says,
 'Wog' - and it's wog. Why? Why? What's this potentially about locating 
 things?" So we wobble along with that; actually it's.. it's such a slight
 wobble that you don't quite perceive that it's wobble. You.. you say, "Look,
 uh.. we're just solving everything in sight and everything's fine and we..
 we're solving homo sapiens. And he's going along real good." 
 
 And every once in a while somebody brings up flows and then say, 
 "Flows uh.. yeah. Anchor points? Fine." One gets a sort of a spooky feeling:
 Theta has the ability to locate terminals - postulate and then locate 
 terminals in space and have them flowed between. And every once in a while
 you say very grandly - you have to get up above the level of energy to work
 - or. are you just working in a much finer level of energy than anyone is
 capable of perceiving? And is there an upper strata above a postulate? I 
 don't know. But there's that weird datum. We're using that datum. We're 
 working like mad with it. It's just wonderful. We're just getting there 
 lickety-split. Poof, we have a.. then we haven't got two data at the top.
 
 Now I'm very adventurous to label these 'A, B, C, D, E, F' 
 nuhh-uhh. Where I have "F" should be called "A" and that's probably,where we
 should be operating from right at this moment. Rut ego prohibits that. And
 so we are here, we're working with this apple that's supposed to be a circle
 here. Uh.. and up toward two data. We know that two data form the MEST 
 universe. Why do we know it? The doggonest way of knowing that ever turned
 up. From the weirdest field - no field. A completely original geometry 
 called dimaxian geometry by Buckminster Fuller - little old Bucky Fuller one
 day said, "How do you fill three-dimensional space?" and he worked and he
 worked and he worked and he found that it was filled by.. it starts with 
 two. The basic unit of three-dimensional space must be, therefore, two. Why?
 Because we're talking about s.. filling a solid of space. 
 
 How do you fill that space up? What's its pattern? Well, three first
 has to be two: There's an outside and there's an inside. Because it can't be
 a point because a point doesn't have any dimensions. And we have to have a
 dimension to start filling space. We can't say, "This is a point," when it..
 a point is designed and defined as something which doesn't fill space. So we
 
 -97- 

 have to have an outside and an inside to the point. It doesn't matter 
 what... There's got to be an outside and inside to that point and it's got
 to be of some tiny dimension in order to do the next thing. Stack it with
 tetrahedrons. And you go all around that point and you'll find yourself
 fitting in tetrahedrons. 
 
 And then what do you find? You find this fits in with octahedrons.
 And then what do you find? It fits in with tetrahedrons. And what do you 
 find? That fits in with octahedrons. And what do you find? 
 Tetrahedrons-octahedrons- tetrahedrons-octahedrons. Whew! Triangles, 
 triangles, triangles. And that's how you fill space. 
 
 A-R-C. Cycle of action. Four sides: M-E-S-T. Fascinating, isn't it?
 
 I just suddenly, one day.. I've been working along this line and all
 of a sudden Bucky Fuller had invented out of whole cloth a geometry on this
 silly line. 
 
 So of course as long as you adhese to energy and particles you are
 going to have this dichotomy: triangle, four-side, eight-side octahedron 
 system. I mean, you're going to have flows, in other words, positive, 
 negative, and so on, as long as you deal along with only three-dimensional
 space. As long as you fool with space that's what's going to happen. 
 
 But does something exist above space? What is this.. this thing that
 doesn't fill space but makes space? We have to say 'thing' because we're 
 communicating in the MEST universe. What is it? We don't know quite where
 the top is. What's the roof? Well, we've got the roof on the MEST universe.
 Ho-ho, that thing went by hours ago, days ago, years and years of havingness
 ago, actually. It really went by the boards rapidly with Step Four, Standard
 Operating Procedure Issue Five. Because that licks flows, because it starts
 out by the basic thing that gives trouble with flows which is an object 
 which is the product of flows. And if you can handle the objects, the next
 step is to handle the energy that makes objects. And you can handle the 
 energy. It's very easy to handle the space in which to make energy - there
 it went - BOOM! 
 
 But we're out of that, but where are we? Well, a fellow can make his
 own universe, and there's lots of ways to go about making it. And a lot of
 guys can get together and do this and there's tremendous aesthetic 
 appreciation; there's t.. tremendous goals, enormous sensations, that you've
 never even vaguely experienced. Really you wouldn't dream they existed. 
 
 Once in a blue moon you might have had a dream about some beautiful
 music and then awakened to wonder what it was - something way back on the
 track some place - haunting thing - you can't quite recall it. You recall
 that you REALLY appreciated that. You had a dream where you really 
 appreciated some aesthetic of some sort. That's a vague shadow of how heavy
 and how high and how heady an aesthetic is. 
 
 So, what have we got? We have.. We're not up to Two data. There's a
 big adventure above this level. But it's safe this far - completely safe.
 
 Now you have two purposes: One is, we solve this on the operational
 schedule, all is simplicity. We assumed that all was simplicity. The answer
 was basically simple so where did you go to find the answer? Not into 
 further complexity. And whenever you, in doing research, start to grab up a
 datum that isn't explanatory of any large field of action, and then dive 
 into further complexities as the only direction to be taken - beware. And
 any time you see somebody adding up to solve some vast riddle, this business
 
 -98- 

 of a complex theorem to evolve complex theorems, just by test here and
 experience so far, there's something wrong with it. If it's complex, it's
 wrong. 
 
 And the MEST universe proves that completely, because the random 
 data at level F is horrible. What's down here? We're working as in Figure 
 Three, perhaps, between a 'NO wave length' as an interaction with 'ALL 
 motion'. And that could be that there is an understood and not yet 
 contactable, existing all motion thing which is as remote from the MEST 
 universe as the 'no motion' thing of theta. The MEST universe produces a 
 mockery of all motion in pretending that these cross entangled vectors of 
 chaos are a complexity and all the complexity there can be of motion. 
 
 The MEST universe is not very dense and it's not very fast. So that
 we'd have all possible vectors; we would have a complete density. 
 
 So theoretically we would proceed from the angriness of space to the
 relative density of a heavy object made out of gold. And we would have run 
 the MEST universe equivalent of 'no motion' to 'all motion'. And that would
 be the dichotomy that we are operating with. Something that doesn't move 
 operating with something that does move. And that would be the dichotomy. 
 
 Well, perhaps there's a much bigger dichotomy, and that is the 
 complete zero, 'no wave length' thing which is interacting against an a11 
 motion' thing which would be inconceivably more complex and yet well 
 ordered, than theta. And maybe the MEST universe was trying to proceed 
 toward this 'all motion' level. 
 
 I'm telling you this for two reasons. I want to explain automaticity
 to you; and I want you, in operating with preclears or in research data, to
 give some credence to this theory that the direction to go is toward basic 
 simplicity unless you think you have discovered the identity of an 'all 
 motion' thing. And the next big advance on this line probably would be in 
 the identification and better description of an 'all motion' thing - 
 possibly would be. Lord knows what it would be. 
 
 But we have 'motion' against 'no motion'. The gradient scale of 
 'motion' against 'no motion' makes up our tone scale, it makes flows, it
 makes all sorts of things. Actually over here we get, in Figure Four, we get
 a potential uh.. terminal A operating against a lower terminal B, and they
 don't have to be very much apart to produce a current - there'll be a 
 current between those two things. You can measure it. 
 
 And yet those in Figure Four are maybe a tiny little bit apart. So 
 your dichotomies can be unbelievably small and still produce results. 
 There's.. anxious communication and not quite so anxious communication would
 make a dichotomy and would create a randomity in a communication line. 
 
 Somebody would say, "My God! Get the ship off the rocks!" 
 
 And the other fellow is saying, "Well, we have two seconds to get 
 the ship off the rocks!" You've got an argument. 
 
 All right. Now you want to watch that. And the second part.. the 
 second thing I mentioned is the preclear. The preclear - his answer is 
 basically simple. It is not multiply complicated. And any time that you err
 in the direction of complication of symptoms you are going to err into a 
 long time of auditing. If you pay any attention to complex and changing 
 symptoms, you can just be sure that you're operating at F or E or D on this
 preclear. So at no time let Mrs. Smythe come in and tell you how badly 
 
 -99- 

 smitten she is, because.. because you'll learn this sort of thing. 
 
 The first day she comes in.. the first day she comes in it's because
 her children are such a trial to her and if she could just get along with
 her children it would be all right. And the next time she comes in, she's
 written you a long note and explained how it was all her husband and it came
 to her in a flash that her husband compared unfavorably or favorably with
 her father who was a splendid man and so on. And you'll decide, "Well, I 
 guess I'll work on that a little bit and get this case straightened out 
 before we start it rolling." But the next time she comes in she will have a
 nice long dissertation on the subject that it really was food. It didn't 
 have anything to do at all with her father, but her father bought food and..
 but it might have had something to do with it. But that wasn't really it. It
 was food. It was the fact that she was forbidden food when she was a child
 and that's what really aberrated her. And you'd say, "Well, we'll do 
 something with that." 
 
 And she comes in, now, the next time with 18 typewritten pages, a
 young manuscript, and she tells you how it wasn't food, it wasn't food 
 really. Uh.. the whole thing had to do with a memory which just came back to
 her in a flash and that memory consisted of having.. actually having 
 attended a funeral when she was about one year old and she remembered it 
 ever since, and it frightened her so, and that's what colored her life and
 she's got it all figured out. And how she figured it out? She's actually 
 built a little cone for you every time. She's tried to find the highest 
 common denominator, instinctively, of her case and tried to blow it to 
 pieces by showing you all the places this thing interacted and was 
 complicated. 
 
 And when you look at this, you're looking at, one: something which
 has to a large extent broadened our knowledge considerably; and we're also
 looking at any preclear we ever looked at. Because what is essentially true
 in a thetan would be essentially true as a pattern for the universe or 
 universes in which he dwelt. 
 
 All right, now you start operating with E and F - eeeooow! Just 
 follow the Auditor's Code, be courteous, cut off her chatter, put her in..
 on the meter, get an assessment according to Create-Destroy. Let her talk
 once in a while if it seems to make her feel a little bit better, but just
 for social reasons. Get that assessment, get her two inches, two feet, two
 yards, two miles back of her head. She can't get there? Okay. Have her put
 out a beam and push that forward. Fo.. she can't do that? Have her hold up a
 point. "Oh, well. All right, now let's see. Let's uh.. let's mock up the 
 first home you ever lived in. Okay. You got that? Oh, well fine. Now let's
 take that and turn it green, let's put it behind your back, put it under 
 your feet, let's put it over your head. Now let's put a new turret on it and
 let's put it over to the right. You got that? Good. Let's put it over to the
 left." 
 You say, "How are you getting these things?" 
 "Oh," she says, "just thoughts." 
 You say, "Did you get a picture?" 
 
 "No-no. I used to imagine pictures a lot when I was a little child
 but... I don't any more." 
 
 -100- 

 So you say, "All right. Now can you get a picture? Let's see if you
 can really get a picture uh.. a picture of the old homestead or the old cow
 barn of whatever it was you were raised. And let's get that old.. old thing
 and.. and let's turn it upside down - you.. you've got it? You got it?" 
 
 "Yes," she says, "I've got s.. some kinda grey dim, dull-looking 
 shape out there." 
 You say, "Is that the house?" 
 "Yeah-yeah-yeah, it kinda looks like it is." 
 
 Take it from there. Unless they can't move it after they see it; 
 unless they are just so terribly incapable of the tiniest point of the 
 gradient scale you get to. Nothing happens. But try to take it from there,
 because you have hit the lower level of automaticity, for this case. And by
 handling this case with the whole process of Four, you can then get back to
 a stable point. And with a stable point you can then get back to something
 resembling uh.. space, and when they got that, why, you might have to go 
 back and do some more Four. Don't be surprised at that, but at least try to
 clip them out of the head. Now there.. there's your process. 
 
 What are you doing? Then, you're coming down the tone scale with 
 those steps. You've thought perhaps.. but if you call this a tone scale - 
 it's really not a tone scale. There isn't any reason why 'F' couldn't be at
 '20'. That's playing very fast, and very horribly fast - a very fast game.
 It's very complicated. That's Indians gambling with uh.. these knuckle 
 bones, and they pass them from hand to hand and then they turn up to be in
 the buffalo hide outside the tent, and so forth; a complicated game. That's
 somebody who's playing at it being a very simple game like blackjack and 
 beating you all the time for some reason or other. That's uh.. that could be
 all sorts of complexities, played with rapidity. 
 
 Your tone scale is essentially a gauge of speed per scope, and this
 isn't. This is a gauge of complexity of knowingness. So, this is not '40,0'
 really. It doesn't have to be at all. There could be at one of these levels,
 you see, that existed all the way along. 
 
 All right, let's take a look at this, then, as Standard Operating 
 Procedure. And you're just simply getting the simplest way you can hit it,
 and then a little more complicated way to hit it, and then a little more 
 complicated way to hit it, and then a little more complicated way to hit it,
 and then a little more complicated way to hit it, and a little more 
 complicated way to hit.. you have A, B, C, D, E, F, G. 
 
 Because brother, that fellow there at the bottom is really 
 complicated. He's so complicated he isn't going to let go of anything. Or 
 he'll give you anything: You can't make him hold anything. This.. this 
 character's maybe in a hospital or something and has chronic - as unlovely
 as it may seem - chronic vomiting or chronic diarrhea - colonic trouble and
 so on. Just got to give everything. Boom! Boom! Out! Bang! in all 
 directions, you see? Could be. 
 
 Or this character is the other kind of a character - if you get them
 to put their purse on the chair instead of grip it solidly to their stomach,
 you'll advance the case. You've got one present time object to leave them,
 and they're holding everything else, and objects and words themselves are 
 lower level. There are tests as to how well a person'll do this. How much is
 an object.. how much of an object is a symbol? 
 
 -101- 

 You're say.. you're singing, "Yankee Doodle went to town, riding on 
 a horsefly." 
 
 He stops you and he says, "Oh, no, no, no-no! It was a pony." 
 
 And you say, "Well, okay. Uh.. and he stuck the feather in his hat 
 and called it Macaroni." 
 
 And he'll say, "Well, macaroni, you know, was uh.. a.. a.. an 
 English slang word at the time which meant 'a dandy', a swell, and uh.. 
 that's why he used the word." 
 
 You're not doing anything. You're singing a song. This guy is so 
 troubled with those things. You know what he's doing with these things? When
 you let.. when you let them drift out and you let them go, he'll pick them 
 up. It's a fact! He.. he does that. He picks them up. 
 
 So, as you get down here, you have more and more objects, that's 
 true. But along about this level in here of C, you've got automaticity 
 setting in, but very heavily. And it gets wusser and wusser and wusser. And
 you want to make sure what that preclear's doing. 
 
 Now I'll ask you a nasty, dirty question that is somewhat in the 
 vicinity of how do you hold your tennis racket? Where do those buttons come
 from that your people are wearing in those mock-ups? Where do those buttons
 come from that they've got on their clothes? You get a person and they've 
 got clothes on, and the coat's buttoned - where's the button come from? 
 
 "Oh, he just got it." 
 
 "Oh, yeah?" That's automaticity. "Now you.. you mock up this dog. 
 Where does his hair come from?" 
 
 "Well, he's just got hair!" 
 
 "No, no! He didn't 'just got hair'." Where does his barker come 
 from, if he barks? Woof-woof! Did you make him a throat? No, you didn't. So
 you haven't made a dog. You've made an automatic picture of a dog that was 
 behaving because you have automatic circuits which have trained you to mock
 up in such a way that a dog looks and acts like that. And so you just mock 
 up the NEST universe equivalent and you've taken the MEST universe for your
 automaticity. 
 
 Now even if you put pink bows on this dog, green ribbons, purple 
 hair, anything else - sure, he becomes your dog. But he doesn't become a 
 wumperjump! No, sir! You've got to build a wumperjump! And you've got to 
 have practically all the automaticity out of the bank to get a good 
 wumperjump. And you want to know what a wumperjump is - well, build one. 
 They're very complicated to build. It isn't that they take lots of time to 
 build, but the difference in automaticity is not 'save time'. It actually 
 takes longer. A person is operating much more slowly on automaticity. It's 
 taking him longer to mock up this mock-up, really, compared to how fast he 
 can think. He's thinking so slowly that it's taking him longer than he could
 if he built the thing. And there's no reason why he has to use the MEST 
 universe for a pattern. 
 
 It's all right to use the MEST universe for a pattern. You can do it
 for a long time. But one of these fine days, you'll say.. you'll.. you'll 
 say, "Oh, ~ could put a lot of chartreuse people with green bows and.. and 
 orange-colored sidewalks and so forth, and this is the Universe, and... Oh,
 
 -102- 

 what am I building this universe for?" You're building an automatic 
 universe. Your mock-ups might be very good - there's nothing wrong with 
 that. You're on the way up, but you're not out of the level of automatic 
 mock-ups yet. 
 
 Unless you can put together, piece by piece, a wumperjump which is a
 totally original idea. It has nothing to do with the MEST universe at all.
 It isn't just a scrambled MEST universe: He doesn't bark with his tail or..
 or.. uh.. pant with his ears, or something of this sort. He would be an 
 operating, functional beast of some sort, who you probably had a purpose 
 for. 
 
 Do you know.. did you ever see.. did you ever see an engineer get
 engrossed in a plan? Drives their wives mad! I mean, their wives come in and
 it's eleven o'clock and he's got to go to work in the morning and there's
 paper spread all over the dining room table, and it's twelve o'clock and 
 she's lying there in a cold bed in the dark and.. and it's one o'clock and
 it's two o'clock and papers still flying around. And she comes out and says,
 "Dear, it's two o'clock." 
 And he says, "Huh?" 
 "It's two o'clock in the morning!" 
 "Oh, yeah! Thank you very much. I will have some." 
 
 He isn't doing automaticity. He's working like mad. He's thinking
 every minute of the time - brrrrrrrrr! - and he's carving himself out a 
 piece of plan of some sort or another, and he.. he occasionally will throw
 into it pieces of the MEST universe electronics, because they're handy and
 other people build them. Or he's working it out on the basis of he has to
 follow gravity because there is gravity and.. and his isness - he's building
 in the world of the real instead of the actual, and so he has to make these
 compromises. 
 
 But if you were to take that boy on a full inspiration to build the
 trinnerbugs that go on a yumperjump! - zing! You've not seen anything like
 that much interest. Yet he's just all super-concentrated burn up the 
 highway. No.. it's really, it's really fascinating. 
 
 Now it's been so long since anything like that was ever called - I
 mean, any person was called upon to do anything like that, he says, "Oh, no!
 I couldn't possibly be original. After all, there isn't an original thought
 anyplace - originality and imagination, even at its best is just a 
 reformation of things which have been thought before. We know, over in the
 English Department where we teach our short story writers that it's all been
 written before. And there are eight dramatic situations and there are 36 
 ways to use paper. And all of them apply to stories except some of them, and
 uh.. we've got it all formalized and all the way you get a plot is to get a
 plot genie. Because everybody knows that all plots are basically similar and
 they've all been done before." 
 
 You run into one of these automaticity characters and he's liable to
 throw that at you, if you happen to be in the field of the arts - yeah. That
 is like Rubicon's uh.. famous portrait of the Stixburger. You just.. just
 painted a picture of the town hall. It's always 'like' something. He thinks
 in associations, not in aesthetics. It always has a comparison, and it's 
 always been done before - creative imagination. 
 
 -103- 

 If you've ever walked upstairs and into the high tower of creation 
 out of practically whole cloth, not in contest with the MEST universe, but 
 just absorbedly in creation of something of your own and something new, you
 don't throw the hair on it - zoom! No, you put it on, hair by hair. And you
 do it so rapidly and so swiftly that actually it goes on - zoom! but you 
 didn't put it on, zoom! You didn't say, "Alacabam-hair!" No, you didn't. You
 took hair and you put it on hair by hair and it went brrrrrrrrr - all the 
 hair's on. You get the idea? 
 
 So, it becomes very interesting. If you want to know how far your 
 preclear's down tone scale on automaticity, ask him rather snidely to think
 of something completely original. And he'll say, "Oh, no!" He'll think it 
 over for a moment and he'll say, "Now, let's see: I'll think of a road that
 goes in corkscrews. Yeah, completely original." 
 
 You say, "It's a road, isn't it?" 
 
 And then he'll finally think up this terrific, horrendous throng and
 he's just.. just worked on it and he's thought about it and thought about 
 it. And when he comes over, you say, "You know why that isn't original? You
 could tell me about it in MEST language, couldn't you? And you had a name 
 for every part. You wouldn't be able to tell me about something completely 
 original." 
 
 "Oh," the guy'd say, "I'm going to have you shot!" 
 
 What's automaticity? What'd be a gauge of automaticity? People have
 been in the MEST universe using energy of the MEST universe's, using objects
 made by the NEST universe and space made by the MEST universe so long that 
 they think they have to copy only the pattern of the MEST universe - three-
 dimensional space, things with wheels. How did the Aztec get along? 
 Everybody knows the Aztec didn't have a wheel. What did he have? He did have
 a wheel, by the way. All the child's toys you find down there uh.. in the 
 old ruins, and that sort of thing, have wheels on the little carts and that
 sort of things. And then somebody comes along and says they didn't have a 
 wheel in the civilization. Every kid in the Aztec society was dragging a.. a
 go-cart behind him with uh.. wheels. 
 
 Anyway, uh.. they didn't have horses, though. That we're very sure 
 of. I guess it was that Cortez that was on it. 
 
 So when we look over the scale of automaticity, we're looking over,
 as we look over automaticity, Step - as far as you're concerned - peaks - 2,
 3, 4, 5, 6, 7. Every single step contains enormous automaticity. Well, what
 are you shooting for? You want to know how far you're shooting? Well, I hate
 to do this on this graph, because it would be puzzling if it slipped back 
 afterwards, but up here at the top are some dotted lines and these dotted 
 lines have to do with.. these dotted lines have to do with a s.. a 
 coincidence. And where these two dotted lines marked uh.. 'Edgar' and 'Joe'
 coincide, above the chart is the level from A to that point above the chart,
 which is B. 
 
 All right, you've got room for improvement on your preclear. The 
 main trouble that's happened, is people have a paucity of imagination. And 
 this is going to outrage you about your preclear: You're going to say, "What
 happened to his imagination?" 
 
 They'll tell you something very interesting one day. They'll say, 
 "You know, I had an adventure." 
 
 -104- 

 And you'll say, "Yeah, yeah." This person's operating pretty well. 
 They can lift their arms outside their body and so forth. 
 
 "I had a big adventure and I.. I tell you, I was.. I was down at the
 grocery store..." 
 
 "Yeah" - you wait. 
 
 They feel very coy about this whole thing. And they say, "... and 
 the lady who was putting apples in a sack, and I took one of the apples and
 I just kept it rolling a little further away from her. Oh." 
 
 This would be on the order of taking Dan Patch and putting him to an
 old ramshackle - not even a steel, but a crooked stick plow. This would be
 somewhat on the order of grooming up a potential Hispano-Suisa with solid 
 gold wheels, body, brakes, all chromed over on an aluminium frame or 
 something, that looks in the sun enough to blind you utterly, and somebody
 uses it.. somebody uses it to smooth out the brims of hats in a hat shop. 
 And that's going to appall you. Here.. here's this whole universe staring 
 this thetan in the face, just begging.. just begging him to "let's do 
 something interesting." They roll an apple a little bit further. 
 
 Now if you've done that, your preclear.. here's the trouble with 
 your preclear. His level of automaticity at 'A' is so far from that 
 desirable end of what we will mark 'B' and put an arrow on it way up, that
 they can only copy 'X' and if you get them up a little bit, then they're 
 ashamed to copy 'X' but they can't feel that they can do new ones. So that's
 automaticity. 
 
 And you see that in somebody who gets.. oh, very rapid. I mean, he 
 mocks up a little man - "Get a little man. Got a little man? That's good. 
 Get another little man. Fine. Got another little man?" Brrrrrr! 
 "Oh, yeah! I got a lot of little men." 
 "What are they wearing?" 
 
 "Oh, they're all wearing little green jackets." I'll bet you 
 something: I'll bet you they're not wearing 'em behind their backs. It isn't
 just the omission, it's where did he get the pearl buttons. Where did he get
 the admirals' epaullets that he mocks up. He takes a pattern from the MEST
 universe, so much experience, and then he covets this pattern and when he 
 makes the mock-up he just recombines all these patterns - bong! - and he's
 got the thing. 
 
 Is it his? Well, he'll feel it's enough his to be completely shocked
 by the fact that he actually owns something. He's made this admiral stand on
 his head and he's got the admiral wearing garlands of flowers in his belt 
 buckle, or something - anything - his admiral. He's as proud as punch of his
 admiral! He isn't going to really take any pride in that admiral at all- or
 any real interest in that admiral at all. There's too much automaticity in
 the admiral. 
 
 So interest and automaticity are to a large degree similar. And when
 Hollywood begins to grind out motion pictures with the same plot... They 
 used to be, just in the cheap westerns that you always had the baddies and
 the goodies. And the goodies chased the baddies and sometimes the baddies 
 chased the goodies, and there was always the weenie, and it always wound up
 in the end with the guy getting the girl. They used to be corny enough to 
 ride off into the sunset like they do in modern A pictures. And you wonder
 
 -105- 

 why the public stays away from 'em in droves. There's not enough randomity - 
 it's too much of a complete grind pattern, pattern, pattern, pattern, 
 pattern. Too much entertainment being made and not enough originality. 
 Somebody tries to make a, quote, 'different' picture, and everybody says, 
 "Well, probably won't box office." 
 
 I made a serial one time that.. that's.. that's.. that's uh.. made 
 history. It made history because it only cost two hundred thousand dollars 
 to make and it made one million, seven hundred fifty thousand dollars at the 
 box office, and it was the worst serial ever made. But it didn't lack in 
 randomity, because after I put the plot together, it was.. it had a lot of 
 randomity in it. They decided that the last half of each of the reels, or 
 something like that, ought to be rewritten by somebody else who needed a 
 screen credit, and without reading my script, he rewrote it. It was really 
 random. And then they had a couple of extra stunt men they didn't know what 
 to do with, so they just threw these stunt men into various places in the 
 picture. To this day, if I walk into Hollywood, I could walk into so- 
 and-so's office down there, an agent, and they'd look at me blankly for a 
 little while - I have worked on fairly decent things, once in a while - look 
 blankly for a while and so on. And then, "Yeah - that's right. Yeah. Um-hmm. 
 I know, yeah-yeah! 1,750,000 dollars box office. That's right! Yeah, that's 
 it! Yeah, sure! We can put you to work! Let's go over to Paramount and see 
 what they've got to say!" Humph! That's a fact! Just the box office. They --
 never looked at the film. Nobody's ever analyzed that film to find out why 
 it did that. It defies analysis. It's.. it has no plot! It doesn't even end 
 with the same characters it begins with. Its confusion was so wonderful 
 people had to keep coming back to the theater to see it time after time 
 because they couldn't believe it. 
 
 And yet to this day, if I made.. Jimmy Fiddler.. Jimmy Fiddler is 
 kind of behind the times. He said I was working in Hollywood in a column a 
 short time ago. But if I went down there tomorrow, that would be the only 
 thing that I would possibly work with - o.. on that basis. It's got nothing 
 - just nothing. 
 
 Uh.. that tells you quite a bit on something like that. And they 
 wonder why they're staying away in droves from the box office. They think 
 they've got to be a this and a that. 
 
 I imagine the Greek theater was finally just ready to fall in. The 
 entrepreneurs and the promoters and the theater managers were having a bad 
 time and their shoes were getting pretty thin, and I imagine the actors were 
 fishing out of garbage cans before the Greek theater was finally finished. 
 I'm sure that's true, because they departed from randomity and went on a 
 pattern. And you never saw anything as stylized in your life as Greek 
 theater in the last days of Greek theater, and the public stayed away in 
 droves. 
 
 Interest alone carries a person down the track of the MEST universe.
 So interest alone is all that carries your preclear up the scale as a
 thetan. 
 
 And just in case we missed that, interest alone is the only thing 
 that carries your preclear up the track toward a higher level of beingness. 
 He has to h.. be interested in what he is doing and he has to be interested 
 in a potential will-be, will-do, or will-have, in order to improve himself 
 even vaguely. And if you step him outside, he hasn't got any personality; he 
 left the personality in the body. He doesn't feel like he has any identity, 
 he.. he feels all this, he's very upset about it, and you wonder.why he 
 won't improve and why he isn't improving? He's got no reason to improve. 
 
 -106- 

 Fortunately, there's enough automaticity in these techniques, and a little
 ra.. very little randomity in your Standard Operating Procedure, and he 
 won't understand what's happening to him until it's too late, and he will 
 run right up the line here in a very few hours of auditing to be a Step One.
 You don't have any trouble till you get to Step One and get Step One 
 finished and get him lifting fairly well. If you really get him lifting real
 good, your trouble start to be over. But he will go into a static. He is now
 a crane - he can lift things. 
 
 Now, therefore, to get an operating thetan requires something of an
 aesthetic. How do you restore this aesthetic? Do you recommend to him 
 spectator sports? That's just more automaticity. He sits there and it's all
 fed to him. Umm-umm. That isn't the way to establish it. You just keep 
 working him to work out automaticity out of his case, and the other restores
 itself automaticity - negative gain. 
 
 So your enemy in keeping the preclear coming, is a thing called 
 automaticity. Any time you find your preclear stalling, he's satisfied. And
 he will be satisfied sometime at a level on the tone scale where if he were
 walking down the street as a thetan and he's maybe doing something very 
 constructive like counting the lamp posts, and he's walking down it - and by
 the way, little kids will do this. So do thetans. They go down the street 
 slowly, a thousand miles an hour and count all the lamp posts and idle at 
 the corner. Uh.. and uh.. he'll be going by something like that and he'll 
 get himself uh.. a horse sneezes - cop's horse at the curb sneezes -- and 
 he's a horse. He isn't just.. he's just interested. He just quit. He.. he's
 just quit. He hasn't any.. any further level to go. And he didn't quit at a
 point where he was stable. He's still afraid, he's still dispersing, if he
 hit a trolly line or something like that he would get a shock badly. He runs
 into a ridge outside of his head, or something like that, and he gets an 
 electrical punch instead of an energy punch - electricity being much lower
 on the scale. And this is quite beefy to him and it's very upsetting to him.
 And he says, "Oh, no! I don't want to be outside that head. I'd better be 
 inside the head." 
 
 And you say to him, "Well, now all right. Let's put a couple of
 thousand watts across the top of your head and a couple more thousand across
 it. Now get between them." 
 The guy says, "What?" 
 And you say, "Well, get between these two bands of energy." 
 "I just strung one..." 
 "Well," you say, "string two hundred." 
 
 "Okay" - he'll string two hundred. A band from one temple to the 
 other temple of flowing energy. Actually, he can do that. It's very high 
 wave stuff - very high wave length, visible on an E-meter but on nothing 
 else practically. And visible to a thetan, of course - another thetan too.
 String another one out there and then get between them and blow it up. Oh,
 no! 
 
 First one will practically blow him all over his skull and blow him
 down through his feet. And then he'll say, "Oh, I'm not hurt" and with a 
 little coaxing, he does it again, and he does it again and he does it again.
 And he starts to beef the thing up. Next thing you know, he'll go over to 
 find a lightswitch - bzzzzzt! Bzzzzzt! Bzzzzzt! Bzzzzzzt! What do you know?
 He just burned the lamp out or something. He'll say, "What do you know?" 
 
 -107- 

 while you grope around in the dark, or you have to get out of your head or
 come in from sitting out there two thousand miles square up where you 
 weren't really auditing him at all, and you have to come in and grope around
 in order to get a new light. 
 
 All right, what keeps him coming? Your interest of him can help. 
 Your interest in him can help, and some knowledge of what he's facing can
 help. 
 
 But one of the sorriest jobs you're going to have to do is try1ng to
 coax him ahead, giving him a will-have enough to keep him going when he 
 doesn't have any interest in anything. Because he's in a state of amnesia,
 his memory is shot, he hasn't any real recollection or potentiality, he has
 very little energy compared to the amount of energy he'd have. And out of
 sheer boredom he'll slide back into his head. So it's going to be a 
 continual contest on your part to establish some interest level which your
 preclear can lead toward and appreciate. 
 
 And don't give him the whole package the way I'm giving you. It 
 flattens people. I mean they sit in their seats and gawp at you sometimes.
 I'm giving you information. I'm not trying to lead you off into the blue or
 play Pied Piper with you. I could, believe me. It used to be my profession.
 
 And when we look this over then, we find out that the course from
 'A' to 'B' pursues and follows and has a lag behind INTEREST. And interest
 has nothing to do with flows and is above the level of space. Conviction and
 interest are both above the level of space, but you never would have gotten
 the preclear to have gone into motion of any kind that led finally to the
 MEST universe, unless you gave him something in which to be interested. 
 
 Somebody came along one day and he was sitting there perfectly 
 content, and they sold him something in which to be interested. And so he
 came over down along the line and the interest path which was demonstrated
 to him was guess where? In Figure 1, from Two data down to G. That's the way
 that interest level led him. That isn't necessarily bad. He just got less
 and less powerful, and less and less powerful and he could do less and less.
 And finally departs from really being terribly interested in anything, and
 he says everything is dull, and the next thing you know, he's down there
 along about 'G' - homo sapiens. And he's having a rough time. Life is 
 arduous, he has to work hard. He's got all these reasons why and so forth.
 
 What have you got to do? What's your job? In theta clearing, you're
 reversing track. And I repeat, the best way to reverse track is to get the
 devil away from automaticity. Just drill him, then, in the steps which 
 constitute Standard Operating Procedure, more and more, until he becomes
 perfect and positive and less and less automatic in mock-ups and in the 
 making of space - less and less automatic. When he makes a piece of space,
 he doesn't say 'space'. He is fast enough so that he actually picks up that
 space, puts it together and it's real space and he.. he's got it tested and
 so forth, and he does it all, bang! that fast, see? He's got a piece of 
 space. 
 
 Somebody else walks in and says, "Ahhhh! A vacuum!" It can be that
 bad. I mean, then he's doing something. 
 
 Now a lot of the automatic mock-ups that you get and a lot of these
 responses that you get he can actually control are too automatic to serve.
 They might be brilliant in coloring, they might be everything else. They're
 definitely your preclear's, he's definitely making.. I'm just showing you
 that first he can get brilliant mock-ups and then it is above there - it's
 
 -108- 

 automaticity. He's got lots of automaticity in them. 
 
 You don't try to weed the automaticity out. You just increase the
 control of mock-ups in general, until he can do the darnedest things with
 sensations and colors - things like that. And you get that positive. 
 
 One pc we've got here who is doing a very fine job of.. of mock-ups.
 It's not that these are automatic and they are being done for him, they come
 out of some circuit. No, he's just using patterns that he's running 
 automatically out and he feeds them into the mock-ups. They're his - there's
 nothing wrong with this. I'm telling you, that's fortunate. Because if you
 don't have that to reduce, you wouldn't be taking him any place. 
 
 So, he.. with all these got a black spot.. he got a black spot that
 was really his. He could.. kind of grey but he got a black spot. He could 
 turn it on, he could turn it off, he could turn it on, he could put it any
 place. And boy, it was a real black spot! And probably if he'd enlarged that
 black spot and thrown it across some radio writer's script - well, I 
 wouldn't mention any names uh.. you.. if he'd really worked on getting a 
 black spot, he would have gotten to the point where this other reader would
 have said, "I must be going blind. My script has just turned the color of 
 ink!" - you see? Get that. Get a real black spot. And yet this preclear is
 getting very good mock-ups. 
 
 Now this doesn't mean that you have to get a black spot of that 
 magnitude and that commanding reality and that commanding beingness and "I
 own it and it's mine" in order to have a mock-up or in order to have some 
 certainty on a mock-up. He'd just come up scale, up scale, up scale; a 
 little bit higher certainty, and all of a sudden he'd hit a level of 
 certainty, that's all. And that's a level of certainty. This is a very high
 level of certainty. Because, that's a gradient scale of knowingness. The 
 more he can do that and the better he can do that, the more he will be 
 interested. Why? Because interest is native to the thetan. It's above the 
 level - just above the level of interest and interesting - he's nothing - 
 he's nothing. 
 
 So, it is of the utmost that he is led by interest. And any time he
 stagnates and it isn't interesting, what is that a diagnosis of? You see 
 that he's not being interested, all of a sudden. It's a diagnosis of the 
 fact that he has hit an automaticity which needs resolving. That's all. And
 the way you resolve it is just make him drill much more arduously and 
 precisely with mock-ups. And particularly favor conserving mock-ups, making
 them persist, making them more complex and putting more perceptions in them.
 
 Now in the field of sensation, you don't think you've even vaguely
 entered the field of sensation with homo sapiens, do you? He's only got 55
 emotions or - uh.. pardon me - uh.. perceptions. (He hasn't anywhere near 
 that emotions - he's only got five or six good emotions, maybe eight at the
 outside. They're real heavy predominant, that can be felt easily.) Sensation
 is a wide subject and sensation is the parallel subject of interest and 
 enters higher wave bands along the aesthetics than are entered by any other
 type of flow. And sensation itself can be, evidently, above the level of 
 flow. 
 
 So you rehabilitate sensation and you continue to rehabilitate 
 sensation and you hit very early in the case and get out of this 
 automaticity of using the NEST body to prepare all sensation for us. And how
 do you do that? You make him feel emotions from mock-ups. I gave you that 
 drill early in these lectures - emotions from mock-ups. And you ge.. ge.. 
 take the emotions from low scale up scale until he can vary the emotions at
 
 -109- 

 will in any mock-up and re-perceive it. Until he can vary any.. feel the
 thing he perceives in the whole area around him. And then you get mock-ups
 which get the highest and most powerful sensations in them. First you 
 discover to him that he can pick up directly sensations from the MEST 
 universe better than he can pick them up from himself - from the body - 
 himself; he can do it directly. And in doing it directly, you will find that
 he suddenly really sparks up. He doesn't really need this body. He isn't
 dependent anymore. 
 
 Because sensation and interest are levels, and if he can't get
 sensation, he can't get interest. The two iMterlock. And they follow all the
 way up the scale. 
 
 And that's how you lead a fellow into an operating thetan, is you
 just make sure that he can feel all these emotions and sensations, first
 from the MEST universe itself, and to make an operating thetan from mock-ups
 which are MORE real, which are QUITE ACTUAL and have a GREATER DEGREE OF
 ACTUALITY than guess what? MEST universe things. And that includes any 
 sensation you can name, including the taste of pepper. And if you can do
 that, then your preclear is led right on UP the scale and he can always make
 things more complex. 
 
 But things get simpler and more beautiful and more interesting and
 more intense and more concentrated and more able, the higher and higher he
 goes toward an operating thetan, and he's led by interest and the keynote of
 that interest is sensation. 
 
 That does not mean that you're trying to make just a sensation -
 hungry thing from him, because without some sensation, one doesn't even know
 he's alive. And for this thetan to know he's alive, he's got to be able to
 go down the street and he smells all the fruit in the fruit stand as he goes
 by the fruits and... 
 
 Did you ever see a dog.. did you ever see a dog out on a trip, and
 the dog's got his nose out the window and the dog's going "sniff-sniff-sniff
 - sniff-sniff, aha, aha, aha, aha - gee! Cows!" He's saying, "Cows and..
 and.. and gosh, look at that barn! Barn full of... And there's been a cat
 passed here and..." Roy, he is interested. 
 
 Well, you know that man has practically lost that? Not that he 
 should pattern himself on a dog either, but a thetan can go past a fruit
 stand and he can get the sensation of every fruit there. And there's more to
 a fruit than the sensation of smell, of taste - there's just dozens of them.
 
 And then there's sensations of going into the library and feeling
 what all the people have been doing with the books and what they thought of
 when they read them - much more interesting than reading the books - there's
 nothing in the books. 
 
 So you've got all sorts of tricks and I hope you understand that.
 The road toward sensation, the road toward interest, is away from 
 automaticity and toward being able to perceive from things one has made -
 all the sensation and more sensation than he was ever able to obtain in the
 MEST universe. And at one level of the tone scale, when you first start into
 this, when your preclear first starts into it, he's pretty blind about it.
 He doesn't know how bright even this MEST universe can be, how interesting.
 And he has just gone.. drawn back from it. 
 
 -110- 
 -- 

 He gets up into a level of interest that makes a little kid's most 
 intense moment look very pale. 
 
 Now, I've talked often about regaining the feeling of the morning 
 when you woke up early and the sun was bright and just coming up and there 
 was dew all over the ground, and you were a little kid and you looked out 
 and it was a new day, and you certainly want to be able to gain that, 
 because you can gain that now, quite easily. Just use Standard Operating 
 Procedure Issue Five, and remembering that we mustn't let our preclear lag 
 or sag at any time, because he's getting things too automatic. Jar him out 
 of it and push him on up the scale further. 
 
 You think there's a satiation to it? No, it's only when he gets back
 in the rut of automaticity that there is insufficient interest to command 
 his continuing attention. 
 
 (TAPE ENDS) 
 
 -111-