CHAPTER B4 - CREATIVE PROCESSING: MOCK-UPS
MOCK-UP PROCESSING
When you're running mock-up processing you're postulating your preclear at cause continually, and never as an effect. Don't ever ask your preclear to evaluate what his mock-up means in terms of reality. If you do that, you have missed the whole point of 8008. Psychoanalysis made the guy agree with the real universe and it spun him in. They showed him that every dream he had, every dream he ever could have was really caused by the physical universe. And that he wasn't free to have an illusion of his own, but that every illusion was motivated by the real universe. And that's a control operation that kills them. It slaughters them in their tracks. So, don't let me catch you pulling the same operation. The course runs the opposite direction entirely. Get them to disagree with the MEST universe. And not even by fighting it, just, "to hell with it!" And you'll find their differentiation above the association level - they differ-entiate more and more, until there isn't any relationship between what they're mocking up and the MEST universe.
A SPACE TO CREATE MOCK-UPS IN
When in Creative Processing
an individual's mock-ups fade out and get thin and wobble around, he thinks
he's viewing them in somebody else's space. Get him to postulate first
a viewpoint of dimension. Get him to postulate and look and make the area
in which he's going to place the mock-up.
The way you make this area,
is simply to give it dimension from the viewpoint of the individual. "It's
tall that-a-way, it's long that-a-way to a certain distance, and it's wide
this-a-way and that-a-way, and it just goes out there." It's a very finite
dimension. "I've extended a shell out there and got this shell all around
this particular area and, all right, now we've got a space here. Now we're
going to put a particle in this and we're going to make the particle go
into motion and we are going to have a mock-up."
This isn't a ritual line,
this is really the only way you can do it. He's been doing that other automatic,
so you just say, "The dickens with this automatic, let's get out of the
automaticity bracket." It's getting postulated space, and you'll find something
very peculiar - that the things are more durable.
LOCATING THE MOCK-UP
A standard sequence to be
followed in auditing with placing a mock-up might run something like this,
"In front of you, behind
you, to your right side, to your left side, above your head, below your
feet." (These six directions at two feet distance, then at 20 feet distance,
100 feet distance, two light-years). But remember that when you get him
grooved into a routine, he'll be able to do just these things and no others.
It is more important to
change the position of a mock-up in space than it is to change its color
or anything else.
BLACKED-OUT MOCK-UPS
It's a trick for some preclears
just to get a mock-up sitting right here in this room. If you ask your
preclear once in a while, "Is it here in this room?" He'll say, "I never
thought of that. No". "Well, where is it?" "It's in black space." "Well,
where is black space?" "I don't know, but I always get my mock-ups in black
space."
You say, "All right, put
a mock-up right here in this room."
New thing to him. He says,
"My goodness, every time I do that I shoot out there about 500 miles or
something."
What's happening? He's in
a terrific dispersal and you're trying to tie him down to present time
and he isn't even vaguely in present time.
Is it beneficial for this
preclear to go on getting mock-ups in black space? Yes, if that's the best
he can do, it is indeed beneficial for this person to get a mock-up even
if he's totally blacked-out as far as seeing it is concerned.
Don't beat him to death
if he can't put'em in the room. You see, all you're doing is giving him
the maximum number of wins that you can give, and the minimum number of
loses. If he starts getting loses in the way you want him to do a mock-up,
his tone will deteriorate.
You're coming up on a mock-up
to Cause.
THE FORM OF THE MOCK-UP
Mock-ups are done by gradient
scale and you get the least he can get. Don't concentrate on visio any
more than you would on any other part of the band - get emotions, get sound,
and so on.
Use, at the beginning, simple
geometric forms in preference to complex forms; use black and white to
improve color. If your preclear is having trouble, look over the problem
from the standpoint of space, because you've got to have space before you
can have mock-ups. He might not have any space.
When you're handling simple
geometric figures, you would be handling dots, discs, circles, triangles,
squares, cubes, cylinders, pyramids - rather simple. Now we get them in
all colors and get them in all positions.
A GRADIENT SCALE ON CREATING MOCK-UPS
Don't get a gradient scale
running in this fashion: Making it more and more complicated but doing
the same action.
We see hesitation on throwing
a body out the window. "All right, let's throw a shoe out. Throw another
shoe out. Throw the coat out, a lock of hair." Anything like that, and
we'll throw him out.
Quite often, an auditor
gets these things snarled up and he just starts making it more complicated:
"Have her put your body in a wheelbarrow and then wheel it over to the
window and throw it out", or something on that order. These things are
non sequitur, the preclear is finding it impossible to let somebody throw
that body out the window, it's on the subject of value of a body.
So don't make the error
of making something more complicated, or less complicated just on the basis
of fixtures or scenery or something of the sort. He's afraid of elephants.
So you just give him a lot of elephants, that's all.
OTHER CHARACTERISTICS OF THE MOCK-UP
One of the main things people have trouble with in mock-ups is getting people to leave from in front of them. And very often you will get a case that if you can just get one person to walk away in a mock-up from in front of them, the case will jump points on the tone scale. Very often, one of the most valuable things that you can do is to get somebody to walk away. And another case, rarer, will be in beautiful shape just because they got somebody to walk in toward them. You accomplish just that one action and you'll very often get a most singular and startling result.
MOCKING UP FLUIDS
He's just doing fine on objects,
objects, objects, and then one day you say, "All right, now let's mock
up some air".
"Oh no," he says, "... phooey,
I .."
Listen, 20.0 is action and
20.0 is energy. And gases and less solid things are around 20.0. Somebody
well down the scale may get motion with a solid object and not get a single
motion in the fluid.
So what do you process as
he comes up the line? You try to get motions in fluids. And let's consider
electricity more or less a fluid for our purposes.
A fluid is a loose bunch
of particles, that's all. An object is a tight bunch of particles. It's
how far apart the particles are. So it's the amount of space per particle.
That tells you then that space comes above energy as a process. It's more
important for the preclear to get himself a bunch of space, really, than
it is to put something in it.
Remark: before mocking up
clear, transparent air it would be a gradient to ask the preclear to mock
up translucid objects, liquids, coloured smoke, etc.
UNDOING IDENTIFICATION
Create mock-ups on identification
of various actions which they would tend to take in their life - what is
the difference between driving here and driving someplace else? Or driving
a car and driving a wagon? You'll be surprised how some guys are fouled
up like a fire drill. You'll get some of the most amazing identifications
out of your preclear, and all you have to do is give him one mock-up of
one, and one mock-up of another one and let him look at the two mock-ups.
If he can't get up the scale
to where he can do that kind of a mock-up, let's get the first basic elementary
differentiation, and that is the difference between black and white. Get
the difference between grey and very grey. Etc.
AUTOMATICITY OF MOCK-UPS
Things which introduced themselves automatically may be difficult to handle when the mock-up is vanished. The automatic aspects of the incident don't go away quite as fast. It didn't ask to come and it doesn't go when asked. You tell him to get rid of this and it's done several extra things and added a couple of new ingredients and the whole thing goes except the ingredients that weren't called for.
Well, he is the fellow that
can make the automaticity increase and decrease in those images. If he
can't, you better start in with or fall back to the simplest geometric
forms. Geometric form one is a point, form two is a small circle or a disk,
three is a square, four is a triangle, any one of these little figures.
Have the fellow take that
and put it up someplace, until he can hold it still, and then move it at
will. All of a sudden he'll say, "What do you know, I can control these
gimmicks which I create!" And he'll take a considerable jump up the tone
scale at that moment.
OTHER MANIFESTATIONS
When you start to do mock-up
processing, don't think you're avoiding handling - you're not.
You're not doing mock-up
processing in order to make these manifestations occur. You're doing mock-up
processing to make all such manifestations stop occurring for ever more
until the end of time, such as ridges blowing, flows running, facsimiles
jumping up and getting out of line, locks being picked up, people getting
upset because this and that happens to them. You're just ending this sort
of thing.
No catalog goes along with
it, since this was not a cataloguing job at any time, it was an action
research. But there are frames of thinking which include all these phenomena.
When we take a rundown on this, you're getting a framework of existence
of phenomena. Something is going to fall into one of these baskets.
It'll fall into the baskets
of pictures in black and white or in color, which are still or in motion.
And they'll contain all perceptics. And that catalog or that frame expands
out to embrace energy as a whole.
HOW MANY MOCK-UPS
The preclear does what he
does as long as he's doing it. Don't try to rush him. And don't try to
slow him down. Let him hit his own speed. Only you make sure you find out
what he's doing. Don't just sit there and optimistically suppose he's doing
everything he says he's doing.
The best thing to do is
run mock-ups with E-meter cans in the guy's hands, and you just watch that
thing. Because if he's doing it wrong, that needle will keep knocking around.
The physical universe is uncontrolled. It's not his. His sense of ownership is bad. But this mock-up has got to be better than anything the real universe can possibly produce. In the end, that's the test of a mock-up. Is that senior to anything there is in this universe? Is it better?
When do you stop doing mock-ups on him? It would just be till he could make a new postulate, by stating a postulate.
MOCKING UP ENERGY
Every time you're running these cant's, slip in some energy, some raw energy. In any mock-ups that you can possibly slide it in, slide in electricity, ribbons of energy, sparks and beams. You're working hands, put sparks on the fingers. That, to a thetan, is force, flow, electronics, and so on. If you run into heavy flows, you can also run firehoses.
"Take a searchlight and turn
it on yourself." Nice mock-up, that sort of translates electrical flows,
and he says, "Ohhh, I'm nervous about that, It'd hurt my eyes."
"Well, take this flashlight."
"Oh, I can't seem to do it."
"Well, take this little
lady's handbag penlight and flash it on yourself from 200 yards away."
And he can do that. See how big he thinks he is? He thinks that these photons
contain so much mass that they would destroy him if you turned a searchlight
on him - that the photons could destroy an illusion or something.
To handle flows, have him stop Niagara Falls. And then, have Niagara Falls run backwards. He probably can't do that, but he can get one drop of water falling from the bottom of the dry falls back up over the lip. Move on up from there on a gradient scale until he's got Niagara Falls roaring madly upside down. Make the water run up the fall and over the lip and upstream. When you've got him doing that, you have him in a state where he's not very worried about flows. He can have all sorts of flows, and that cures up flows.
Get him to mock up beams before you make him use beams.
MOCKING UP FORCE
Demonstrate force. Mock the individual up using unlimited quantities of force. Let's cure a person in Step Three of being wary of using force before witnesses - mock-ups which give demonstration of temper, unlimited quantities of force, destruction and so forth, before witnesses. Just a series of mock-ups which show him busting up everything and breaking everything through and everybody saying, "Tsk, tsk, tsk!" The second he does that, he will be cured of thirst for identity, which cure lets him out of his body like that! Because all his body is is a very expensive method of having and carrying around an identification card.
Unlimited force is liable
to come out of black space. So you do a series of mock-ups under Three,
of locating the most horrible things in the black space - not seeing them,
creating them in black space, until the fellow is completely accustomed
to finding anything in that blackness.
White dazzling space is
just as important to locate things in because it's an electronic area.
So locate things in flaming energy. Locating things in energy is higher
than Step Four, Gita, which is getting energy and giving out energy. In
Three, get him over being afraid of black or white space.
MOCKING UP EMOTIONS
Differentiate amongst flows
and demonstrate to him clearly and conclusively that the flow is unnecessary
for the receipt of sensation. You do that with drills, not by educating
him.
You do these drills by mocking
up and running emotions from the bottom to the top of the scale, up toward
start. Run it from apathy, grief, fear, anger, resentment. Drill him to
a point where the sensation he gets is much superior to any he gets or
thinks he gets from the MEST universe. Let's get it to that point, because
he's putting the intensity on it all the time.
You want to get grief off
this fellow, loss. What does he own? What could he lose, what could he
safely lose? What could he not get along without?
First thing you know, his
sphere of ownership starts going up on objects. What he could do and what
can't he do - and his sphere of action starts going up. What can he be,
what can't he be - and his sphere of space starts going up.
Okay, you have to get him
up so far until he can cry over something because most guys are in apathy
on this.
A way of swiftly changing the emotional tone and therefore the position of the preclear on the tone scale is to shift his position on the sensation scale, in the sense of having him put emotions into objects and feeling them back.
FACSIMILES
The following would be the
positive and negative approach to engram processing - there are four flows:
Trying to have the engram.
Trying not to have the engram.
Restraining oneself from
not having the engram.
Restraining oneself from
having the engram.
However, it's rather senseless.
Just because that thing is sitting on a rigde with a time tab on it is
no reason you have to find it and grind it to pieces. Because it's not
sitting on any lineal time track in space. It's just sitting on a geographically
located ridge with regard to your preclear, and it goes into action out
there when it's hit.
You just teach him that
he could make postulates at will and it doesn't matter how many postulates
are in that thing. It won't have any effect on him, because he can handle
postulates. He can take responsibility for making up his mind. Remark:
Ron found out later that it wasn't so easy to unmake postulates embedded
in engrams, that a person rather had to reach clear before attaining the
realm of theta-level postulates.
In Creative Processing you don't want any truck or deal with a real, real convincing facsimile or any part thereof.
MOCK-UPS AND THE TONE SCALE
It says on Science of Survival,
for instance, "Sex as punishment" was a level of the chart. And that causes
a lot of howling. And the way you'd go on and correct this situation is
a very simple thing. You'd take the SOS chart, peg your preclear on it,
and then go right straight across the chart, and hit above and below on
each one of these subjects with mock-ups on various dynamics. It's quite
a therapy.
By doing this, you won't
fall into the rut of simply putting yourself on the chart all the time
and giving the preclear mock-ups which would benefit you or that you like.
Because as you come up tone
scale, you will find yourself going higher and higher up the level and
your interest more and more something else. And one day you will be dishing
out - to be very technical - mock-ups which won't fit the case at all.
Your preclear's down in
the tar pit, practically fossilized, and his state of case demands mock-ups
above and below his level of the chart and at that level, predominantly.
We have now a very large number of ways to move somebody up the tone scale. With Creative Processing you can address directly each one of these ways, and they keep just coming right on up the tone scale.
SPACE, ANCHOR POINTS AND MOTION
1. Rehabilitating Space
You are rehabilitating space for the preclear. The process called Spacation will spring somebody with great ease. After he's unmocked the body a few times and he has had facility in creation of space and so on, moving in and out of the head or being where he wants to be in the MEST universe becomes very easy to him.
Let's try to rehabilitate
a little space when he is outside.
"What are you afraid might
be there?"
He doesn't want to find
in that space those things which he's afraid of. They are those things
he got a drop on when you did the assessment.
To test how much space a
preclear has, have him put out a mocked up toothpick in front, and have
him move it an inch away, then about four inches closer to him, then ten
inches away from him, back and forth, covering larger distances. Then use
other mocked-up objects or larger and larger size.
For the current lifetime,
play it straight in front of the preclear; and around to the sides to get
orientation points of earlier lives.
You'll find your preclear
that's worst off can't hold a toothpick out in front of him. It comes in
and smacks him one. Why? Too many MEST objects have too convincingly tried
to occupy the same space as he was occupying - for example, at 40 miles
an hour he has hit a tree.
Any time when your case is
slowing down, it's because you're not resolving the problem of space and
you're not getting particles further apart for this guy.
Assist him to do what he's
trying to do so he won't give a damn after a while whether he's doing it
or not, and he'll get well.
2. Orientation
The most fundamental process
that you could run on a preclear is orientation in space. Your process
on this is to mock up spaces. And fill them full and empty them. Or,
"How would you like to orient
yourself?"
"What would you like to
have out there to get you to really know you were there?"
Have the thetan still inside find his feet in the opposite direction where the MEST body is located by the MEST universe. Work your preclear like that, for a short while or maybe a little longer. That's one of the techniques that you would use in Orientation and Spaçation.
3. Anchor Points
With theta clearing, a thetan can once again start to throw his anchor points out, at will. And if he can step out of the field of worrying over energy and worrying over space and get up to a point where he can rehabilitate his postulates, he can do anything he wants to with his anchor points. He can probably go out in space again and build a few more suns just for the dickens of it. Find out whether or not this is true. Prove it up.
4. The Body
"Is there anything you'd like to do to fix this body up?" That's just so they'll get an anchor point fixed up.
If he has the enormous stress
on the body as his sole and only anchor point, your chances of getting
him out aren't good. Until you've collected him. If he's got an absolute
certainty that he needs that body in order to find himself, you just handle
that body, and manhandle it, and mishandle it:
- put the wrong scenes in
front of it,
- and the right scenes in
front of it,
- and put it upside down
- and right-side-to,
- and put the limbs in the
wrong places,
- and reverse everything
- and make the body do things
it couldn't possibly do;
all of a sudden the guy
gets, "Where the hell am I?" Let him get that shock a few times. Till he
can stand it. And he'll move out.
He'll say, "What am I doing
in this thing? I don't need this thing! I needed it for orientation. Well,
I can still keep an eye on it, and be elsewhere."
Remark: A process of bending
the body out of shape is likely to turn on facsimiles and somatics, and
would probably run into several can'ts, connected to the non-nullness (
a later concept) on the meter of the body and its various parts.
5. Motion
The following drill is a
very simple drill. You do this whether he's inside or outside, by the way.
You have him Be Here, and Be There, and Be Somewhere Else, and Be On One
Side Of The Door and Be On The Other Side Of The Door.
And you want him to know
that he didn't move through the door and still be very comfortable in his
mind about it.
You can always mock up the
illusion of moving. He'll be in new positions at millimeter gradients.
All right. He's here. Now he's a millimeter closer to the door. And another
millimeter closer to the door. And that way we get the illusion of him
passing through the door.
And what do you know? That
complicated method is what he has tagged as reality. That is agreement.
We agree that one can move but one can't appear.
Step Two, is to disabuse
him of the existence of energy. Not by argument, not by sales talk, but
just by drill. And this is simply done by making him move at the widest
possible gradients.
Remark: this process is
very close to what became later known as the Grand Tour, but seems to have
a different rationale.
THE FILECLERK'S GUIDE TO THE PDC
CHAPTER B4