3. SOME HIGH POWERED PROCESSES
Of the many things I thought up and tried, these were some of the best.
3.1 UNIVERSE EXTERIORIZATION
Spot three points in the room. Spot three points outside of this universe.
See what you come up with.
3.2 MUST NOT TOUCH
Pick an object in the room. Imaging that you are starting to put an energy beam on it. Have the walls yell "Mustn't Touch" at you, and you pull the beam back very quickly.
Repeat this with different objects until you feel something release and feel very good.
3.3 INFINITE MOCKUPS
Pick an object in the room and mock up a copy of it. Then run the copy out to infinity by stretching thousands of them off into the distance with the postulate that the copies go on endlessly. Then unmock it and repeat with another object.
When you do the unmock step, you should be able to simply decide to have it vanish and have it do so. However, the first few times, it may be a bit sticky and persistent because there is so much havingness to the mockup that you may want to hang onto it or other entities may try to keep it there. So if there's any problem dissolving the mockup, then mockup more infinite runs of the same object, and make them different colors. When you have enough, you will find it easy to snap them out of existence.
3.4 OWNERSHIP OF REALITY
Pick a section of a wall. Make it as big as you can have and encompass comfortably, maybe a circle a yard or so in diameter.
a) get the idea that you're mocking it up.
b) get the idea that another is mocking it up.
When this flattens, go on to the next pair of commands and run them the same way.
a) get the idea that you're mocking it up.
b) get the idea that society is mocking it up.
Continue on, substituting the following list of terminals in place of society in command b above, always alternating the idea that you are mocking it up with the idea that the other thing is mocking it up. Run each one as long as it produces change. The list is:
Lifeforms The body Your machinery The object itself (get the idea that the wall is mocking itself up) The physical universe Agreed upon machinery Spirits God.
Once you have finished all ten of the above processes, you should have a good awareness of who is mocking up the wall. If not, then run the above set of processes again. You can pick a different wall or some large object (make sure its big and heavy) on subsequent passes.
I learned a lot from running this. One of the things I learned was that I was usually not the one mocking it up but I could be. Often nobody is mocking it up except for old machinery which continues to make it persist. Sometimes many people are each contributing a percentage and sometimes a particular person grabs it all. The whole thing is in a state of flux with the responsibility and control floating around by postulate.
3.5 ENERGY BEAM DRILL
I fooled around a lot with energy beams (and so did Ron to some degree in 1952) without a lot of results or a great deal of reality until I stumbled upon this process.
One of the problems in working with beams is that you try to do something with them and the lack of physical universe reaction causes you to invalidate the beam, so you never get very far or have a chance to build up strength. So its a mistake to try to put a beam on anything and use it (unless you're very far along). What's needed is an isometric where you actually start to feel something and get some feedback without needed to overcome physical universe reality. And that's what this drill will do.
Mockup an invisible energy beam hanging in the air. Make it about three feet long. An energy beam does not emit energy. It is a sort of standing wave flowing within itself. These beams are used to grip things and to push and pull at stuff, but we are not going to do that in this process. Here we just want a beam hanging in the air disconnected from anything. You don't have to get into the mechanics of it (charge flows in and out of the ends between the center of the beam and its surface which have different potentials and its a steady state perpetual motion). Just get the idea that you have an energy beam there, no matter how tenuous and unreal it seems.
Now alternately stretch the beam out to 10 feet and compress it back down to 3 feet. Do this steadily back and forth. Don't just mock it up as two different sizes alternately, its the stretching and contracting that make the process work. And at each of the two positions, you postulate that it is the size that it should be and then you stretch or compress it anyway.
After a little while, the beam will start having a tendency to snap into one position or the other and will resist being changed, but you make it do what you want anyway because its your beam. You will find that you have to wrestle a bit with it sometimes. Always stop at a point where you have the beam fully under control and feel good about it.
This is not something you do entirely at one sitting. It is a drill and its like exercising, you do a little each day and build up muscles. Eventually you will realize that you are dealing with real force and energy of considerable power and its no longer a tenuous imaginary little thing.
Carrying on in the face of no feedback is the hardest part, but it can be done. At one time I read a description of the normally unused muscles that could wiggle the ears. So I sat for an hour alternately tensing and relaxing those muscles without feeling anything or having anything happen, just imagining it so to speak. And then the muscle twitched, and then it moved and after that I could move my ears around. Not a very useful skill, but very educational.
3.6 DUAL REALITY
The basic postulates underlying the physical matter in this universe are "It is there" and "It isn't there". Both are equally true. Both are equally powerful. And both are basic. Holding two mutually exclusive postulates simultaneously causes the mockup to go into a state of vibration, and that is what we see when we examine the material of this universe.
It is very hard to hold these two postulates simultaneously in the same space. So we need to work up to it.
Get two identical objects. Two pencils or two pieces of paper or whatever. Put them alongside each other. Look at one and put the postulate in it that it is there. Look at the other and put the postulate in it that it isn't there. Alternate back and forth a few times. Then reverse which postulate goes on which object and do a few commands. Then flip back to the first pair of commands etc. When this becomes easy, go on to the next step.
Now simultaneously postulate that the object on the right is there and the one on the left isn't. Then simultaneously postulate that the one on the left is there and the one on the right isn't. Keep alternating these two commands.
When this becomes easy, try to get both postulates into the same object simultaneously. Do this alternately on the two objects rather than fixating on one of them. Do the best you can. Stop on a win even if its not a full result.
Then repeat the above with 2 mocked up objects. Then repeat again with 2 more physical objects.
Keep alternating the entire rundown on physical and mocked up objects until you can comfortably put both postulates into the same place simultaneously.
3.7 POOR BODY
When the body is injured or killed, one has a tendency to sympathize with it, feel sorry for it, and interiorize into it to try and fix it. The impact of dying will often exteriorize somebody, and then they hop right back into the body to try and reanimate it. This doesn't work. You can heal the body, animate the body, and control the body better from outside.
The following drill helps overcome this impulse as well as being an exteriorization process.
a) Pick an object in the room (large objects are best).
b) Decide that there is something wrong with the object (makeup whatever you like).
c) Feel sorry for the object. Sympathize with it. Say "Oh the poor thing".
d) Imagine that you are interiorizing into the object to fix it. Imagine that you are inside of it and its mass is all around you. Just get as much reality on this as you can, it doesn't have to be perfect.
e) Look around inside the object and realize that this is not a good place to fix it from and that you have made a mistake.
f) Exteriorize from the object. Imagine that you are looking down at it. Mockup fixing it from outside. Put a beam on it and say "There that fixes it". Then let go of it.
Then pick another object and repeat the above.
End off when you feel really good and can see that you have always done better fixing things from outside rather than by getting into them.
For your second run at this process (you don't have to do it immediately after the above), run it with mock ups instead of physical objects. Begin with a large mocked up object. As soon as the drill seems a bit comfortable, change over to mockups of injured bodies until you are free of the impulse to get into them to fix them.
For the third run, use mockups of dead bodies. In this case, on step f, you should alternate between mocking up fixing it successfully from outside (so that it is resurrected) and deciding that it isn't worth the trouble and abandoning it. In either case, you see that it is no good to get back in it after it is dead.
Note that in the real world, if the body has died from shock (in other words, a momentary impact that might have stopped the heart, rather than permanent heavy damage), you might have a good chance at reviving it (restarting the heart or whatever) simply by grabbing onto it from outside and pouring in some energy, maybe even slamming a beam into the heart to get it to restart (similar to the electrical jolt that the hospitals use for this). With this you would at least have a chance, whereas diving into the body will decrease your horsepower and reduce the likelihood of your being able to do anything at all.
A final run can be done with this process, picking actual body parts on your current body. Makeup things wrong and dive in to fix them, and then see that you can fix them better from outside etc.
As a little side note, you can mockup beams into anything fairly easily. But actually achieving any real effects with those beams is a different matter, and is a much higher gradient. Your own body is the easiest thing to affect because your ownership and havingness is well established and everyone agrees that its yours. The next gradient is physical objects. Actually impinging on someone else's body with a beam is the most difficult because you're going to hit all of their unconscious defenses that protect the body.
4. SOP 8 OT
The top of the early bridge was SOP 8-OT (Standard operating procedure version 8 for OTs) which was covered in the 3rd ACC. This was to be done after running the OT drills of SOP 8C (SOP 8 for clinical use). It did not have a formal procedure but instead was a sort of roll your own aimed at handling whatever else was in the way of making OT.
It primarily consisted of using the standard procedures of that time period (mockups, havingness, copying things, taking over automaticities by doing them consciously, etc.) to handle whatever was left, with special emphasis on a number of targets such as confront of nothingness, confront of bodies, courage, ability to mockup any sensation for yourself without a body, etc.
But despite the lack of an overall procedure, there were a great deal of processes given in the lectures and I have tried to collect together some of them here. I have taken the liberty of modernizing and formalizing these somewhat, so this is my own interpretation. It is also far from a complete list, especially as regards the powerful group processing sessions that are included in the lectures.
The final target was to get out with all your stuff (you could leave now but you wouldn't because you'd lose everything) rather than remaining here as an OT in this universe. But Ron suggests that if you do make it out, you should leave a copy of yourself behind so that your friends etc. don't get upset.
a) spot 3 things that are true
b) spot 3 things that are not true
c) spot 3 things that are true for another
d) spot 3 things that are not true for another
e) spot 3 things that are true for others
f) spot 3 things that are not true for others
2. Granting rights
Best done outside in a busy area, but this can also be done in the room or the woods etc. This should then also be run exterior.
Do each command a number of times, concentrating especially on the first two and being very specific about the exact rights you are granting. Then repeat the entire set of commands.
a) Grant things/people the right to be there
b) Grant things/people the right to do what they are doing.
c) Have them give you the right to grant rights.
d) Grant others the right to grant rights
e) Have others grant you the right to grant rights
Walk around the block and find things wrong. If nothing is obviously wrong, then find things that are unreasonably wrong, such as the shrubbery doesn't change colors to compliment the girl's clothes etc. Do this for at least an hour.
Then do this exterior, drifting around cities and countryside, beginning with your local area.
For each dynamic, spot what you are most certain of.
a) spot 3 things you don't have to agree with.
b) spot 3 things you don't have to communicate with
c) spot 3 things you don't have to like.
Run each of these as a separate process:
If your doing this solo, then for each question, write down answers until you feel good.
6.1 Mockup a way to waste knowing about things
6.2 Mockup a way to waste perceptions
6.3 Mockup a way to waste enthusiasm
6.4 Mockup a way to waste anger
6.5 Mockup a way to waste hostility
6.6 Mockup a way to waste fear
6.7 Mockup a way to waste grief
6.8 Mockup a way to waste effort
6.9 Mockup a way to waste pain
6.10 Mockup a way to waste sensation
6.11 Mockup a way to waste symbols
6.12 Mockup a way to waste thinking
6.13 Mockup a way to waste eating
6.14 Mockup a way to waste sex
6.15 Mockup a way to waste mystery
6.16 Mockup a way to waste matter
6.17 Mockup a way to waste energy
6.18 Mockup a way to waste space
6.19 Mockup a way to waste time
Run alternately until you feel very good
7.1 spot 3 mysteries that would be interesting.
7.2 spot 3 people you wouldn't mind having sex with.
7.3 spot 3 foods you wouldn't mind eating.
7.4 spot 3 ideas you wouldn't mind having.
7.5 spot 3 symbols you wouldn't mind displaying.
7.6 spot 3 sensations you wouldn't mind having
7.7 spot 3 efforts you wouldn't mind doing
7.8 spot 3 emotions you wouldn't mind feeling
7.9 spot 3 sounds you wouldn't mind hearing
7.10 spot 3 things you wouldn't mind seeing
7.11 spot 3 things you wouldn't mind knowing
(on 7.2, Ron uses "3 kinds of sex you wouldn't mind having").
8. Present time
a) resent present time b) desire present time
a) spot some barriers that are not in front of your face
a) spot some barriers that are not behind you
a) spot some barriers that are not on your right side
a) spot some barriers that are not on your left side
a) spot some barriers that are not above you
a) spot some barriers that are not below you
a) pick an object in the room
b) mockup a ridge of blackness in front of it.
c) alternately fix your attention on the blackness and take your attention off of it a few times. Then continue until you feel comfortable, have no attraction to the blackness and can ignore it and look through it.
Then repeat this with another object, etc.
Then close your eyes, mockup a ridge of blackness, and alternately fix and unfix your attention on it as above. Repeat, placing the ridge in different directions.
11. Layers of Blackness
Close your eyes and mockup many layers of blackness around you. Look through each layer in turn to see the next one.
Have objects accuse you of not creating them. You acknowledge them and tell them that their wrong.
13. Objective exteriorization
a) Spot an object in the room.
b) Get the idea of interiorizing into the object and being it. Mockup being in the object as thoroughly as possible, and actually go into it to whatever degree you can.
c) Then exteriorize from it.
Repeat many times.
The above can also be done exterior, spotting objects around the city etc.
Feel an emotion and make the body feel a different one.
Mockup exteriorizing and pushing yourself back in.
Repeat until you have no urge to go in.
close your eyes.
a) spot an occlusion or blackness.
b) alternately be in it, and be here, until it lessens.
a) spot 3 things in the body that are alright.
b) spot 3 things outside of the body that are alright
Have the walls say alternately, "you must make me alive", "you mustn't make me alive".
Put out a thought and mockup an effect coming back.
Repeat until you feel good.
Alternately put up nothing around yourself and something around yourself.
When you mockup something around yourself, consciously alter it slightly at least once to ensure that you are being causative over creating the mockup rather than just pulling in an old picture.
You can start out doing this in the body, mocking up things like water, air, pudding, energy clouds, cotton, wood, granite, and steel around you.
Then do it exterior, including putting up chairs, tables, symbols, basic objects, and bodies. With bodies especially, be sure to shift the appearance around a few times because there will be a tendency to put up old bodies that you've had or seen on TV etc.
21.1 Look in the mirror and flinch.
After you have done this many times, then alternate:
a) Look in the mirror and flinch.
b) Look in the mirror and see your ideal self.
For step b above, you mockup your ideal and look at that instead of the image in the mirror.
21.3 Look in the mirror and see nothing.
After these are all done, then pick objects (walls etc.) that are non-reflective and mock them up as being mirrors and repeat the above drills.
22.1 Look around and spot things and flinch at them.
Then repeat the process exterior, looking over the city.
Mockup flitter, which is like golden sparks (or use white sparks if you have trouble with golden).
Push waves of flitter against objects and pull it back.
This is intended to raise perception.
24. Animal Bodies
Pick some non-human body type such as a lion or a horse. Imagine yourself as that creature and visualize how you would move the limbs etc. Then exteriorize from that body.
Repeat this a number of times.
a) What kind of object can you be for certain.
b) Be it and experience it.
Repeat many times.
Then do the same for "what kind of energy". After that, do "what kind of space".
a) Order yourself to forget something.
b) Remember it anyway.
Leaving your eyes open, look around the room but don't see it while you do so. Inspect things very carefully, but don't see them.
Now close your eyes and inspect the room without seeing it.
In each process, run the two questions alternately.
a) find 2 particles that you don't object to having together.
b) find 2 particles that you don't object to having apart.
a) find 2 objects that you don't object to having together.
b) find 2 objects that you don't object to having apart.
a) find 2 animals that you don't object to having together.
b) find 2 animals that you don't object to having apart.
a) find 2 people that you don't object to having together.
b) find 2 people that you don't object to having apart.
a) find 2 spaces that you don't object to having together.
b) find 2 spaces that you don't object to having apart.
Find some things which are holding together and get how nice that is.
30. Falling Upwards
Mockup falling upwards and other things falling upwards in disagreement with gravity.
31. Blackness Machinery
Mockup machines that make blackness and throw them away.
32. Remedy of havingness
Mockup an acceptable copy of the Earth and then deteriorate it until it snaps in. Repeat.
a) Find a machine you can be.
b) now be it and perform its function.
Do this in mockup form for ordinary physical universe machinery, such as cars and drill presses.
Then do it for mental machinery.
Then do it for machinery that stops things, such as machinery which stops you from remembering, perceiving, and doing OT abilities.
Then do it for "unmocking" machinery which unmocks your mockups etc. You put up a picture, then you be the unmocking machine which snaps it up and makes it vanish etc.
Then do it for compulsively creating machinery which puts the walls there etc.
34. Enjoyment and Admiration.
Mockup enjoyment in various places.
Put clouds of pleasure over various cities.
Mockup crowds of people admiring you.
Put Nobility into the walls.
Go to a crowded place and postulate nobility into various people.
Then put clouds of nobility over various cities.
a) put feelings of terror into the walls
b) Make your body flip flop around as if in pain and terror.
c) Then do mockups of the body flip flopping around.
Its easier to run courage at a distance from the body, so begin processing it that way.
37.1 Mockup clouds of courage over various cities.
37.2 Go to a crowded place and postulate courage into specific individuals.
37.3 Mockup a way to waste courage.
37.4 Put feelings of courage into the walls.
Then mockup a feeling of courage in the face of blackness and repeat 37.1 to 37.4 above using that version of courage.
Then mockup a serene and contemptuous type of courage and repeat 37.1 to 37.4 above using that version of courage.
Next take the serene and contemptuous courage and alternately mock it up around yourself and around others.
38. More on Courage
Mockup force particles out in space.
Alternately mockup yourself and others being there and being courageous about them.
Repeat this with various specifics such as lightning storms, explosions, planets being thrown around, etc. Do this far away from the body.
39. More on Interiorization
Interiorize into and exteriorize from buildings, mountains, planets, and suns.
Mockup splitting into two, both in a body and exterior.