CHAPTER 6 - ARC AND THE TONE SCALE
USING THE TONE SCALE
We have been covering aspects
of interrelated cycles of action and we have found that by postulating
or by acquiring or by assuming a new type of cycle called the tone scale
that we can bring into relationship human experience, experience of a thetan
and the conditions of space, time and energy so that by working one we
can attain another. We have set up an arbitrary crossroad by saying there
is a tone scale. And that must be a pretty good crossroads because since
1950 it has been producing very good results; it is something that is accumulating
data and simplifying data.
As the slide rule is to
the engineer, which is an arbitrary after all - it's a logarithmic scale
- so might be said the tone scale is to an auditor. It solves problems
for him. And the better he knows how to use it, the better an auditor he
is. This tells him that in Creative Processing the mock-ups which he addresses
to the preclear can go higher and higher in level with great variety. If
he did not give that variety, he would not maintain the interest of the
preclear. Furthermore, if he doesn't have an existing coincidence or association
between human experience and thetan's experience and space, energy and
time, he would not be able to remedy aberration really in terms of the
MEST universe.
Here we find somebody in
the MEST universe and we want to know how we can either:
1 - improve his status in
the MEST universe;
2 - make him into a thetan
and improve the status of the thetan in the MEST universe;
3 - make it possible for
him to create items and objects and so forth in the MEST universe;
4 - make a universe of his
own;
5 - handle and control universes,
or
6 - skip it.
He has all those various choices and essentially we are studying choice and intention. One of the things which lie above 40 would be intention. If the intention is to have objects, well, one would go through whatever he had to go through to make the object. Or he'd just postulate there was an object there and make an object. Or if one wanted action, his intention was action, he could have action. If his intention is just to have lots of space, he could have lots of space.
ENERGY CHARACTERISTICS OF AFFINITY
Theta can communicate in
terms of ideas without the intervention of flows. There's ARC at any point
of that tone scale, from -8.0 right on up at any level. The wave band,
the direction of flow, and the characteristic of energy, whether it's a
flow, a dispersal or a ridge, make up ARC in this universe. Perception
is wave length for any position on the tone scale. And ARC comes to mean,
suddenly, conditions of energy. ARC, however, becomes bad when you start
getting into MEST universe type flows, and it becomes almost impossible
to maintain.
Theta's greatest potentialities
happen to be the ability to agree, which makes for groups; the ability
to love and appreciate, and to feel sensation, that is affinity; and the
ability to communicate. These three manifestations are in action in this
universe, in the form of MEST. But it is theta, handling MEST in a peculiar
way, that gives us ARC. And the MEST handles to give us three conditions
of energy, which become Affinity, Reality, Communication.
Affinity means essentially
in this universe, to stick to, to hold together or not to hold together.
Above that level it does not need to have energy, and simply exists as
what you might call love. But when it is worked in this universe, you would
have, then, a manifestation for its various phases. And it could go through
three phases, three characteristic actions in energy - flows, dispersals
and ridges, and they make what we call sensations and emotions.
Immediately from below serenity,
right on down to the apathy of matter itself, it has these harmonics. There's
flows, dispersals and ridges up near the top, and on down the line. When
we finally get into the bracket of Homo sapiens, there is the flow of enthusiasm
- it's energy going from one point to another point. It's a characteristic
flow. The next point down from enthusiasm, at 3.5, is somewhat a dispersal,
a fellow is sort of tracking back from enthusiasm. Then there is conservatism,
which is "hold that line", and that's a ridge. Below conservatism, there's
a little flow. And the most important dispersal, in that area, is boredom
- idle, scattered attention.
Man hasn't named the number
of sensations (emotions) that exist between 4.0 and 0.0. There are a whole
lot of emotions that lie in there. And you get down to another flow, and
that is antagonism, an outward flow from somebody. And then down to the
most prominent ridge - anger. Below anger, the next prominent emotion is
fear, and fear is a dispersal. You could get somebody to say when was the
last time he was afraid, and watch that E-meter just start to climb right
on off the top of the scale - he wanted to be somewhere else. That's a
characteristic of dispersal.
Downscale from that, we
find our next ridge. Some people think it might be a flow, but that's only
the tears. The ridge is grief, and it is this little effort to try to hold
on to at least the memory of what one had but doesn't have now. And down
below that, we get another flow and another dispersal, and another flow,
and apathy.
The whole scale makes up
out of just those three characteristics. We have named some of them, but
the bulk of them are not named, and they're actually emotional sensations
which man experiences, but doesn't much bother to name. He knows the feeling
of "just before you get scared" - that's a flow. Up at about 1.8, just
above the ridge of anger, there's a dispersal called pain. It's an emotion.
It's a sensation. It has harmonics all the way up, for instance, at about
6 or 8, there is "exquisite pain", or something like that. You'll find
people fooling around with this once in a while on the track. It is the
production of a very fine pain, that they consider quite a sensation.
These are various manifestations
of affinity.
Sympathy is a sort of co-beingness.
One individual goes on tho the wave length of another individual, and he
flows the same wave length back and forth on it. But it is a mockery of
a higher manifestation of theta.
It's flow, dispersal, flow,
ridge, flow, dispersal, flow, ridge.
THE TONE SCALE AND HUMAN BEHAVIOR
If you know the tone scale's principles, you can do a very good job of processing.
The tone scale could be conceived
to be a scale of wave lengths. The states and conditions of beingness proceeding
from Q-1 are positions on the tone scale. Here we have then a tone scale
from 40 to 0 through 20.
At 40.0 the other bands
are so unessential that a person pays mainly attention to the aesthetic
band. He's not going to worry about effort. At 20.0 he wants to go into
motion, so he's going to pay attention to visible particle bands like light
or electricity. He'll see these things snapping and booming around and
he'll use this stuff. It's also present at 40.0. But it's just used more
at 20.0. When we get to the lower band we find out that the person's ability
to handle the wave spectrums and so on has decreased to a point where he
has mostly to do with the very heavy solid particle waves of matter. He's
handling matter with matter and heavy juice and that's about all he's willing
to handle. And he doesn't add much of the aesthetic band in there. Emotion
is lower than sensation and in order to get emotion you have to recover
sensation.
At 40 we have space, beingness,
creation, start in terms of motion, cause, differentiation. On the center
band we have energy, doingness, high level action, change, conservation,
logic and association. The essence of doingness is change. On the lower
band you have matter; the thetan is in a body at that stage. You have havingness,
stop, destruction, full effect, death, identification. There we have the
non-motion particles. The space in that area is contracted, it's a condensed
space.
In terms of knowledge, more
and more complexity reaches down as you go down the tone scale. More and
more complexity exists in the so-called pyramid of knowledge. And you could
call this a pyramid of combinations or complexities.
On the Tone Scale from 40 to 0.0, matter is really at 0.0 and 40 is space. It coincides also with the Action Cycle. At 40 you have start, intermediate you have change, at 0.0 you have stop. At the top of the emotional scale you have space, at the middle of it you have action, at the bottom of it you have matter. And this coincides with emotional experience, with the top of it being serenity, and then, about 20.0, a very high exhilaration that goes together with action, and skipping an enormous array of emotions, right down into what homo sapiens experiences as emotion, which is enthusiasm, caution, boredom, antagonism, anger, fear, grief and apathy.
HARMONICS
Thought, effort, emotion
- they repeat in cycles along the Tone Scale. At the top of the Tone Scale,
this is very airy. You are up here around space. That thought band up there
is postulates. A little bit lower than that we have agreements.
40.0 is out of the MEST
universe.
At about 20.0 he's got a
choice. He can contact the MEST universe, he can have the MEST universe,
or on the other hand, he can have a universe of his own or be part and
parcel of another universe. In the cycle of action he has a pattern for
the construction of his own universe, which he can do pretty much as he
likes, but it doesn't define what the infinity of his own universe would
be and it doesn't say that it has to be an all-motion thing at all. But
it tells him that he can raise his own universe from zero and take it through
to infinity.
There is an action band
around 20 - 22 on the Tone Scale. Action can carry with it, but does not
necessarily carry with it, the delivery of force. But it certainly carries
with it the delivery of effort of one sort or another, even if it's the
type of effort that you wouldn't ordinarily recognize as effort because
it's in such wide space and delivered so regulatedly that it is a very
closely monitored and activated effort. So, you don't call that effort
at the action level of the Tone Scale as the same effort band as we know
it. But it's a harmonic, an upper harmonic of the effort band. Or you could
say that work and matter themselves are the lower harmonic of this, the
actual action band or effort band.
Volume per unit space determines
the position on the tone scale. As you got down to the flows, dispersals
and ridges, low on the tone scale towards 0, you had an awful lot of matter
for a very small amount of space. And when you went up scale, you found
out that you had little matter for lots of space. Action becomes solider
and solider and eventually becomes matter.
Force as it goes down scale
is descriptive of certain states of being, and the first one, as you go
from 40 down, is how much agreement has a person had or used; and the next
one is how much communication does he enter into; and the third one is
what is his state of affinity or emotion? Way up scale it's sensation,
and then it becomes affinity as we call the emotional band.
That sensation band, high
on the scale, is actually emotion, high-toned emotion. High-toned emotion
is sensation. Exhilaration becomes enthusiasm on a lower part of the band.
Lower down, the emotion band is sort of an effort emotion - mesty, very
mesty.
These bands really get thin;
they really get awfully close together; these get packed tight right down
at the bottom.
ASPECTS OF SPECIFIC LEVELS
You suddenly spring a preclear
into the spirit of play and he says, "My God, where's this been? I've got
a ghostly feeling that when I was a little kid I used to feel this once
in a great while, something like this, but this is really something." And
he will suddenly recognize that this has more intensity than sex.
Boredom is not just a state
of inaction. It is a state of idle action, vacillating action, where penalties
are yet in existence and where they are great. But one has decided one
can't really do anything about them, it's just a high-toned harmonic of
apathy. There's a certain insouciance that comes along with boredom - there's
a flippancy.
In antagonism, he's lost
the power to differentiate and as a net result he thinks everybody's being
antagonistic towards him.
You can punish somebody
at about 1.1 on the Tone Scale. Just brutalize them, by sitting there talking
non-sequitur and pretending you're making sense. You'll practically cave
their brains in before you get through. By straining a ridge with that
non-sequitur thing you can make that ridge blow up on a guy.
People become that of which
they are afraid. People create that which they fear.
The reason a guy gets down
to apathy is he's no more willing. He thinks he has to receive the sensation
without putting the sensation out. The more he believes this, the less
force he employs.
The criminal uniformly has
lost his self-respect. And when we ask him rather closely what his self-respect
is, he says, "One day I found out I couldn't trust myself." "How did you
find that out?" "I struck up mother." or "I found out that I betrayed a
comrade. And therefore I was no longer worth anything." He discovered that
there was bad experience for which he was cause and he thereafter cannot
be anything because he won't permit himself to be anything. And there's
your criminal. Criminals, they're very easy to process. All you have to
do is rehabilitate a man's belief in himself. It's so simple. He's lost
it. Belief in self is the ability to garb self with an acceptable illusion,
an illusion which other people would accept.
Death comes about only when
one is no longer able to place any of his own force, dream, hope, intention,
upon the MEST universe.
THE TONE SCALE IN AUDITING
As you go up the tone scale from zero on up, you're going through various levels whereby the preclear agrees or disagrees. He favors at various levels of the tone scale agreement with the MEST universe, and he favors at various other levels on the tone scale disagreement with it.
You never thought of enthusiasm
as disagreement, but that's what it is. It's an outflow, and the fellow
is mostly enthusiastic about getting rid of or overcoming or doing something
that remedies a situation. So of course he's disagreeing with some situation.
Everybody knows antagonism is a wonderful state of disagreement. And even
a 1.1 dispersing like mad is disagreeing.
The Tone Scale is essentially
a cycle of action. And the second you know this, you can start booting
preclears around on the Tone Scale. You know from experience that the best
way to get somebody well and in good shape is to boot him on up the tone
scale. One of the ways to achieve this is you get them to stop identifying.
You get them so they'll associate instead of identify with it. You can
get them to differentiate.
You start them up the tone
scale by having them get their visios in motion, or something of the sort.
Or you get them up the tone scale by running out all the times people were
trying to wipe them out. Or get them up the tone scale by reducing their
desire to be an effect and making them desire to be a cause. Or you get
them up the tone scale by running out enough secondaries so they can assume
a higher level of emotion. We also found out that moving a person up the
tone scale restores a self-determinism.
40.0 is quite finite. It's
within the realm of experience of any one of you. Up there at the top of
the tone scale you find love as something which is strong enough to practically
monitor, or control anything - a warmth of feeling of which homo sapiens
sometimes, in sad and nostalgic moments, dreams. You don't have to ask
permission from anybody to go up tone scale to 40. Beware of all routes
where you have to ask for approbation and permission in order to be. But
boy, you sure have to ask everybody's permission to get famous.
THE TONE SCALE AND HAVINGNESS
You're not going to do any
grand job of pulling your preclear out if he still has, and you do not
know about, something that nails him down good and hard on this tone scale.
The tone scale also measures time. It's one's belief in his ability to
predict the rate of change of havingness and not-havingness. At 1.5 one
has lost his ability to not-have. So he has to have everything, and that
gives you a terrific hold, and that gives him this enormously strange attitude
toward all these various things.At 1.0 (fear), he's doing this terrific
dispersal and it's all not-have, not-have. See - he's lost his ability
to have.
Down tone scale, in grief,
we find they've again recovered a little ability to have and not-have,
and then they went into grief on it, and have lost their ability again
to not-have. When you get somebody who is in grief, run Flow Balancing.
It restores his ability to not have.
AESTHETICS
Theta favours an aesthetic
band because that's closest to motionlessness, it's closest in to the fine
wave length which can append to theta itself. Theta can communicate through
aesthetics much, much before it is capable of communicating through reason.
The aesthetic band is very close to theta and theta could be tractored
into the lower end of the Tone Scale by aesthetics. There's an aesthetic
wave accompanying even the heaviest effort wave you have on the effort
band. We would also have reason existing as a wave length. The thetan takes
his form of interest in this universe in terms of an aesthetic wave or
in terms of sensational waves. Real good theta traps are baited with aesthetics.
They match the wave length of the thetan if the thetan cares to put out
a wave length.
If you do something very
aesthetically you're more liable to get some sort of an agreement on the
thing.
A song is far more powerful
than any blaster ever invented. The only thing you really remember about
the great conquerors is a song somebody wrote about them. The thought was
the poet's.
Your havingness and not-havingness
are changed by the interest level which is elicited towards you, in a business,
in dissemination, and interest is invited by aesthetics, not by knowledge.
At various points on this
tone scale you might get aesthetics suddenly cutting in. For example, an
aesthetic automobile.
Up tone scale, individuals
are airier and lighter and actually more aesthetic. The heavier wave lengths
are favored down around 0.0, and the lighter wave lengths are favoured
up around 40.0 and down. A person who tries to do an aesthetic job in this
universe will generally go down tone scale very fast, because he's trying
to apply this light, airy little wave to things that are heavy masses.
If an artist refuses to
act within the frame of agreement which is assigned to bigness and greatness
(great flowing gestures, etc) or if he has some purpose in not acting in
that frame of reference, he won't be.
If a fellow fills up all
the space he has, he'd better find bigger space. If a person has a lot
of space for his havingness, his time is fluid and he's light, and aesthetics
can more easily enter in. An aesthetic wave doesn't transmit easily over
something that's gross and heavy. That doesn't say it can't, but it just
doesn't. The cry of all architects, painters, sculptors, and so on, is:
"Here is this horrible thing! Every time I implement something that I thought
up, it always falls short of the ideal."
COMMUNICATION
Communication isn't talking
or hearing, communication is perception and communication is energy, in
this universe. To rehabilitate good communication you've got to rehabilitate
energy. Thetans can handle ideas, you don't have to process that too much.
Communication is actually
the wave band. There's a photon band. That's light. The heavy band, that's
the effort. Higher up there would be the emotion band. Way up here at the
top is aesthetics. That's a very tiny wave length. If you could work up
here in the aesthetic band when you weren't working in any other band you'd
produce higher results.
Operating in less and less
space, apparently your volume of energy is getting more and more.
Originally, he started to
use automatic communication. He started to have communication done for
him in one way or another. The first thing he started to use, to make it
more automatic and easier and more positive was energy. He'd lose his ability
to differentiate between a postulate and a communication statement. A little
communication disaster or so would occur. He'd back off and say, "I can
no longer trust this merely stated pervasion into the atmosphere. I can
no longer trust that, simply thinking something that I know, then somebody
else will know too." One of the reasons is because they have ceased to
trust their reception. And so he said, "Let's make it positive. Let's use
energy. And we will put a beam out, and we'll put a communication on the
beam. And the beam will carry the communication. And then he will know
it's a communication because there's a beam sitting there."
After a while he says, "All
communications have to go up and down a beam." Finally he winds up dropping
a nickel in the Bell Company's just to tell somebody at home he'll be late
for dinner. He's a gone dog.
THE FILECLERK'S GUIDE TO THE PDC
CHAPTER 6