12. Drilling with an Object

Pick out two different objects and do this entire section twice, once with each object. A few of these drills use both objects together (in which case the one your not running is called the "other object"), so have them both on hand. These objects will also be used in the subsequent sections.

One of the objects should probably be a nice solid square ashtray for the reasons given in TR8. The other should be something different, such as a block of wood or a plastic container etc. Use objects which have enough mass to give you a little havingness without at the same time being too heavy to lift easily. The objects should have some corners rather than being complete circles so that you have some points that are easy to distinguish and reach for.

12.1 Orientation

12.1.1 Pick the object up and examine it. Notice things about it. Put it down.

12.1.2 Compare the object to the "other object". Notice things that are different between the two objects. You can pick them up and look them over while your doing this.

12.1.3 Pick the object up, look it over, and put it down in exactly the same place a number of times.

12.2 ARC

a) Flow some ARC at the object and have it acknowledge it.
b) Have the object flow some ARC at you and you acknowledge it.

a) Flow some "hellos" at the object and have it flow some "OKs" back at you.
b) Have the object flow some "hellos" at you and you flow some "OKs" back at it.

12.3 Ownership

12.3.1 Spot some people who don't own the object.

12.3.2 Have the object grant you the right to own it.

12.3.3 Spot people and grant them the right to own the object.

12.3.4 Spot people and have them grant you the right to own the object.

12.4 Thoughts

Have the object think various things. Have it think "I have to buy milk today", "I want to go out and meet another sexy object and have fun", "I'm going to run away and join the circus", "I'm of French descent", "I am a blue bird", etc. Invent various things for it to think and have it think them. You can use the dynamics for ideas.

12.5 Reach and Withdraw.

This is done with both objects, alternating. On each of the reach commands, do it a few times on the first object, then a few times on the other object, then back to the first object etc. until you feel good about it.

Begin by intending the space (get 8 anchor points) and the 2 objects in the space.

12.5.1 Reach for the solidity of the object. Intensify it. Let go of it.

12.5.2 Reach for the weight of the object. Intensify it. Let go of it.

12.5.3 Reach for the color of the object. Intensify it. Let go of it.

12.5.4 Reach for the temperature of the object. Intensify it. Let go of it.

12.5.5 Reach for the energy of the object. Intensify it. Let go of it.

12.5.6 Reach for the space of the object. Increase it. Let go of it.

12.5.7 Reach for the thought in the object. Increase it. Let go of it.

12.5.8 Reach for the mystery in the object. Increase it. Let go of it.

12.5.9 Reach for the aesthetic in the object. Increase it. Let go of it.

12.5.10 Reach for the past of the object. Intensify it. Let go of it.

12.5.11 Reach for the future of the object. Extend and improve it. Let go of it.

12.5.12 Reach for the importance of the object. Increase it. Let go of it.

12.5.13 Reach for the beingness of the object. Increase it. Let go of it.

12.5.14 Reach for the ultimate purpose of the object and elevate it. Let the object be it's higher self and uplift it. Admire that for a moment and then let go of it.

12.5.15 Reach for the complete isness of the object (including everything contacted in the earlier steps). Admire that for a moment and then let go of it.

12.5.16 Reach for the original native state as-isness of the object. Admire it for a moment and then let go of it.

12.6 Holding the object

This is done using both objects. Run the command on one object a few times, then the other object, then back to the first one again etc.

12.6.1 With the body's hands, grab the object and keep it from going away. Then let go of it.

12.6.2 With the body's hands, grab the object and hold it still. Then let go of it.

12.6.3 With the body's hands, grab the object and make it more solid. Then let go of it.

These commands tend to unflaten each other. After all 3 have been run, go threw the set again until it is not producing any more change. See the general theory in the 16th and 17th ACCs.

12.7 Perfect duplication

Run R2-33 from Creation of Human Ability on each of the 2 objects. run the pair of commands on one object a number of times, then do the other object, then back to the first one, etc. The commands are:

12.7.1 a) Make a perfect duplicate of the object. A duplicate in the same time, in the same place, and with the same energy as the object. b) Now consider that it is there again.

12.8 Pressession 31

Reference: tech vol 4 page 159. Run this alternately on both objects.

12.8.1 Spot some things the object is not duplicating.

12.9 8C on an Object

This is a variation of opening procedure of 8C. Run this standing up.

a) select a spot in the room where the object could be placed. (include places on top of things, on the floor, etc.).
b) Pick the object up, move it to the spot and put it there. Then let go of it.

When this flattens, up the gradient to the following version:

12.9.2 same as above, except that besides picking the spot, also decide how you want to orient the object (where the corners should go, etc.). Imagine exactly how you want it to sit there (do a mockup). Then move it very precisely to the exact position you selected.

When this flattens, do the following:

12.9.3 - same as 12.9.2 except that once you touch the object, try to move it quickly and then let go of it as fast as possible (jerk your hand away from it).

Now let's get some more mileage out of this by using it to run out some of the flinch that most people have on putting a beam on something.

a) Select a spot in the room where the object could be placed. Mock up exactly how you plan to position it.
b) Reach for the object with your hand, touch it and then flinch away (like you were touching a hot stove). Repeat this exactly 3 times.
c) Now, calmly and easily (without flinching) pick up the object and move it precisely to the position you planned for it. Let go of it (in a relaxed manner).

12.10 Remedy of Havingness.

Run remedy of havingness using large, heavy mockups of the object.

a) begin by mocking up decrepit versions of the object until it snaps into the body. Then make many copies (varying the color etc. and making them as solid as possible) and push them into the body from all directions. When this flattens, improve the mockup and push in more copies. Continue until you have a super beautiful version of the object (far better than the real thing). Also throw some away occasionally. Try to start inflow and outflow "avalanches" of the mocked up objects.

b) Pick an operating point out in space (as was done in earlier drills) and repeat the above procedure without the body.

12.11 Acknowledgment of the Object

a) Spot the object as a communication from an originator in the distant past. Consider the object itself to be the comm line stretching through time to give you a perfect duplicate of what the originator mocked up.
b) Send an acknowledgment through the object back to the originator.
c) Now you send the mockup of the object back to the originator (send it back through the track of the object).
d) have the originator send an ack back to you.

As you repeat this, you can spot the same or different originators.

Oddly enough, this process works and produces a very interesting release and increase of havingness. It seems to sidestep the apparancy that other MEST was alter-ised to make the object and it also bypasses the manufacturing considerations. Mass produced objects were postulated by somebody or somebodies even if a machine was used to make vast numbers of copies.

12.12 Int / Ext

Use both objects alternately. Interiorize into and exteriorize from each one a number of times and then shift to the other object and continue.

12.13 Op Pro by Dup

Run this using the two objects as the "book" and "bottle". Place them at opposite ends of the room so you have to walk between them. See R2-17 in CofHA. This is not meant to be an endurance contest or a long grinding run. Just do it until it stops producing change and your feeling quite exterior. Per the 3rd ACC, this process is only arduous if Op Pro 8C is unflat.

a) pick up the object b) spot its weight c) spot its color d) spot its temperature e) put it down.

Repeat alternately on the two objects.

12.14 Granting Beingness

Run these commands on both objects, running a few commands on each one alternately.

The basic idea for the first process comes from the 3rd ACC. The third process is based on R2-31 in CofHA.

12.14.1 Insist that various people are in the object. Use famous people, people you've known in the past, people you know in the present, fictional characters, etc.

12.14.2 Mockup crowds of people in the object, push in more crowds, then have them all blow.

12.14.3 Spot some things you wouldn't mind the object being.

12.14.4 Grant some beingness to the object. Then acknowledge it for being that beingness.

12.15 Enhancing the object

This is run on both objects, running a few commands on each one alternately.

12.15.1 Mockup golden anchor points (little golden balls) in the object. Mockup lots of them, one after another, at very precise points within it.

12.15.2 Cause a large number of golden anchor points to materialize in the object. Have them vanish. Have them appear. Have them vanish. Repeat a number of times.

12.15.3 Mockup energy auras for the object by mocking up energy within it and having it glow with a specific color (it is OK if the glow is non-physical). Do each color a few times in a row on one object and then do the other object. Flatten one color before going on to the next. Do this for blue, green, red, yellow, orange, brown, purple, white, black, silver, and gold.

12.15.4 Mockup quality and aesthetic in the object and get it to radiate its internal beauty.

12.15.5 Cause a large number of golden anchor points to appear within the object, get it glowing with a gold aura, and have it be aesthetic and radiate beauty. Get this all happening simultaneously while you pick up the object and look it over. Notice your own causation in the current state of the object. Put the object down.

12.16 Unmocking Machinery

This is derived from material in the 3rd ACC.

a) Get the idea that your exteriorized and floating above the object. Put a beam (white or golden line) down to the object.
b) Now mock up a demon (as a point of energy) behind you. Have the demon reach out and make the beam vanish.
c) Put another beam there and see the demon make it vanish.
d) Now be the demon and see yourself putting out a beam and make it vanish.
e) Do step c 3 times and then step d 3 times. Repeat until flat.

12.16.2 Then drill putting a beam on the object and choosing not to have it unmocked by a demon. Leave the beam on the object for a moment to show that you can do it, and then choose to turn it off yourself.

12.17 Flinching from Contact with Mest

Run this on objects in the room, including the object and the second object and also various other things.

12.17.1 Spot objects in the room. For each one, put a beam on it. Then imagine the essence of the object flowing up the beam at you. Flinch back and release the beam and say "Yeetch, that tastes awful".

12.17.2 Spot objects in the room. For each one, put a beam on it and imagine pleasant things flowing up the beam.

12.17.3 Spot objects in the room. For each one, put a beam on it and do the following: Have the beam not flow. Have the beam flow something pleasant from the object to you. Have the beam not flow. Have the beam flow something pleasant from you to the object. Repeat.

12.17.4 Do 12.17.3 again but this time have something unpleasant flow but you hold on anyway, starting and stopping the flow.

12.18 Handling Interference

12.18.1 Put a beam on the object.

Check on the meter if any entities etc. are unmocking it or opposing it or invalidating it or otherwise trying to stop you from levitating the object.

Check what kind of entity it is (usually a PME or CE in this kind of activity) and handle appropriately.

12.18.2 Put a beam on the object and check on the meter if an unmocking machine is undoing the beam.

If so, first check if there are any PMEs in the unmocking machine and handle. Also check if any other BTs or whatever are trying to keep the machine mocked up and handle them.

Then copy the machine many times, changing its color etc. until you get control over it. If necessary, you can run remedy of havingness on the machine.

Unmocking machinery is useful, but it shouldn't undo things when you don't want it to.

Now put a beam on the object and have the unmocking machine leave it alone. If any trouble with this, repeat 12.18.2 from the beginning.

12.19 Fourth Dimensional thickness

The Physical universe only uses 3 dimensional mockups, but there is a slight degree of 4th dimensional thickness to it. Imagine a 2 dimensional universe drawn on a sheet of paper. Although everything has only 2 dimensions, the paper and ink have a faint thickness in the third dimension.

Note: sometimes you see a BT as a spark disappearing in the distance while it doesn't seem to move off very far in the usual 3 dimensions. It is moving off in a 4th direction sideways of reality. Imagine a book a foot away from you and then imagine it dwindling in the distance while continuing to be only a foot away from you in the usual 3 dimensions (it doesn't move away by going past the other things in the room but instead it goes away without shifting). It is this 4th direction that we're interested in spotting.

Another note: A 4th spatial dimension would have two directions, just like we have right/left, up/down, and front/back for the usual 3 dimensions. I think that the mathematicians usually call the 4th pair of directions ana and kata.

a) Intend the space around the object by putting up 8 anchor points in a cube around it. Keep this in place while doing the remaining steps.

b) Imagine a 3 dimensional co-ordinate system (as in geometry class) with an x axis, y axis, and a z axis all at right angles to each other and crossing at a point in the center of the object. Then imagine a 4th axis stretching off both ways in non-physical directions.

c) reach down this 4th axis finding the object continuing to be there in that direction until you reach the end of the object. Then find nothingness on the far side of the object in this direction. Pick up the center (physical universe point) of the object again. Then repeat this step in the opposite direction on the 4th axis to find the other side of the object and nothingness beyond that.

d) Reach and let go of one of the 4th dimensional edges of the object. Repeat a number of times. Then do it with the other 4th dimensional edge. Then reach and let go of both edges simultaneously as if you were holding the 4th dimensional thickness of the object between a pair of theta hands.

Once you can find the 4th dimensional thickness easily and with certainty, you don't have to keep the set of 4 axises mocked up.

e) Intend 8 anchor points fairly close around the physical object. Put a second set of 8 anchor points in the same place as the first set. Now take the second set and extend it in a 4th direction until it passes into the nothingness beyond the edge of the object. Then move it back just a trifle so that it encompasses the last place in that direction which still includes the object. Reach an let go of the object in that space a few times. Then repeat this in the opposite 4th direction.

f) Imagine the 8 anchor points in one 4th direction connecting to the 8 anchor points in the other 4th direction. Imagine the 3 dimensional object in each of these cubes and also as a smear stretching between them.

g) Now, with a pair of theta hands, grab the 4th dimensional edges of the object and keep it from going away. Repeat until flat.

h) With a pair of theta hands, grab the 4th dimensional edges of the object and hold it still. Repeat until flat.

i) With a pair of theta hands, grab the 4th dimensional edges of the object and make it more solid. Repeat until flat.

j) Cycle back through steps g, h, and i until the set of processes ceases to produce change.

Note that we are dealing with a 3D object that has a bit of 4D thickness, so the object doesn't go very far in either 4th direction and it doesn't change very much in those directions. At most, things seem to waffle up and down a little as you shift off in these odd directions. This is in contrast to real 4D objects (which are used occasionally back on the track) which have real shape in a 4th direction. Just imagine rotating a coffee cup off on a 4th axis so that only a circle remained in the normal 3 dimensions and the structure of the cup was sideways of reality.

12.20 Advanced TR8

Here we're going to extend some energy throughout the object and lift it up. A shadow or ghost of the object will move. The portion that moves may be very real, or just the slightest trace of beingness of the object. Just get as much as you can of it and don't Q & A about it. It might be 1% of the isness or 20%. Then, use the body's hand to 8C the rest of the object up to where you moved its ghost. End this on a win. As you do the drill, the percentage of the object that your moving will increase and decrease periodically. Don't end off when its decreased, get to a high point on the cycle. The commands are as follows:

a) Reach into the object and spread some golden energy through it. Extend the energy out in 4th dimensional directions to fill the entire object between its 4th dimensional sides. Extend more energy out into the objects future and past until you have the entire object filled with energy. As you continue with the steps, refresh this energy and make it more solid occasionally.
b) Intend the object upwards and move it to a precise point about a foot in the air. (note that your own energy moves up easily, and it will bring some of the objects isness and beingness up along with it).
c) Acknowledge that portion of the object which moved for having moved.
d) With the body's hand, move the rest of the object to the place where your holding the portion that moved. Have the object feel relieved at catching up with itself. Acknowledge it.
e) Intend the object back down to where it had been sitting. Acknowledge the portion which moved. Then, using the body's hand, lower the rest of the object, have it feel relieved, acknowledge it, and let go of it.

Repeat b to e to a win.

12.20.2 Now mockup a space and do a mockup of the object in that space. Intend it to move up and down and have it do so, giving it acknowledgments. Mock the object up as protesting, and you move it anyway. Mock the object up as enjoying it as you move it. Mock the object up as wanting to move somewhere else, but you move it where you want to anyway.

Alternate drills 12.20.1 and 12.20.2 until you get a major win.

12.21 The Interconnectedness of Mest

All this MEST universe stuff is interconnected, the objects hold each other in place with gravity etc. So let's get back some control over this.

Note that "The Object" refers to the object that we're using in this section of the rundown rather than the various objects your spotting around the room.

12.21.1 Spot other objects in the room. For each one, have The Object connect with it and disconnect from it a number of times.

12.21.2 Spot other objects in the room. For each one, have it connect with and disconnect from The Object a number of times.

12.21.3 Spot other objects in the room. For each one, have The Object agree with it and disagree with it a number of times.

12.21.4 Spot other objects in the room. For each one, have it agree with and disagree with The Object a number of times.

12.21.5 Spot other objects in the room. For each one, have The Object be in ARC with it and be out of ARC with it a number of times.

12.21.6 Spot other objects in the room. For each one, have it be in ARC and out of ARC with The Object a number of times.

Now repeat processes 12.21.1 to 12.21.6 but this time, instead of room objects, spot things at a distance including the center of the Earth, the center of the sun, the mass of the sun, the center of the Galaxy, etc.

12.22 Stopped Motion

Solids could be considered to be stopped motion. Also, not-isness is stopped motion.

12.22.1 Mockup the object flying along at high speed. Hit it with a flow of "Stop" (a stop ridge) and have it freeze right there. Repeat many times. Then bundle up all the mockups and throw them away.

Now let's reverse the flow.

12.22.2 Mockup the object hanging stopped in space. Pull a "Stop" ridge out of it and have the object fly backwards at high velocity.

12.23 Universal Forces

Gravity is the impulse of the objects in the universe to keep each other from going away.

12.23.1 Have the Universe keep the object from going away. Have it let go. Repeat.

12.23.2 Have the object keep the universe from going away. Have it let go. Repeat.

Inertia is the impulse of the universe to hold the object still. According to the physicists, all motion is relative to other motion, so that there is no privileged frame of reference for the Mest universe. This means that any frame of motion could be considered to be unmoving with everything else moving around it. If an object holds still in its own frame of motion, it would be moving in a straight line in other frames of motion. Therefore, all inertia could be considered to be an object "holding still".

12.23.3 Have the Universe hold the object absolutely still. Have it let go and leave it uncontrolled. Repeat.

12.23.4 Have the object hold the universe absolutely still. Have it let go and leave it uncontrolled. Repeat.

The universe was built with the postulate that it should keep making itself more solid. This is the isness of reality.

12.23.5 Have the universe make the object more solid. Have it let go and leave it uncontrolled. Repeat.

12.23.6 Have the object make the Universe more solid. Have it let go and leave it uncontrolled.

12.24 The Universe Postulate

To take command of a mockup, even an agreed upon physical universe mockup that is being postulated by others, the trick is to take full responsibility for the mockup and make the postulate that keeps it there your own.

12.24.1 What about that object could you be responsible for.

Keep extending your sphere of responsibility for the object until you encompass the object as it is now and as it was and will be.

12.24.2 Postulate total responsibility for the object. End that cycle. Repeat.

a) Spot the impulse of the universe to hold the object still within the objects frame of motion.
b) Spot the impulse of the universe, enacted by nearby masses such as the Earth (in proportion to their distance and mass), to keep the object from going away. (Note that a and b together result in the location of the object on the Earth's surface where it is held still and turns with the Earth).
c) Spot the impulse of the universe to mock up the object and make it solid (a sort of cross-copied intention coming in from all directions).
d) Repeat a, b, and c above in quick succession until you can do them as a single combined impulse into the object.
e) Repeat this impulse faster and faster. Get it as a wave that repeats many thousands of times a second. Just hold the impulse and get the concept of it repeating very very fast so that it's a sort of high frequency hum, and then make it a little faster until it's too fast to hum but simply IS. This is the universe postulate of the isness of the object.
f) Get the universe postulate (as above) and consider it as constantly repeating and recreating the object in consecutive spaces and thereby carrying the object forward through time.
g) Make the universe's postulate your own. Accept full responsibility for the continual recreation and location of the object in present time. Put out the intention, "I'm mocking it up" and have the universe acknowledge it.

12.24.4 Choose to move the object and then move it. Use the bodies hands to get compliance if needed.

12.25 Teleportation and Duplication

This process is very interesting. It began as a simple attempt to do a mockup version of book and bottle. Then I extended the drill based on a 3rd ACC suggestion to try teleporting an object in mockup form. The two actions done together resulted in an amazing feeling of weight in the mockup. It was the first time I felt as much weight in a mockup as I did in real world objects. Hence the addition of the final portion of the drill.

a) Mockup a space (use PDC spaceation if necessary). Then mockup a desk and a table in the space with some distance between them.
b) Mockup the object on the desk. Postulate into it a reasonable physical universe weight, temperature, and color.

The next two steps are then done over and over, with attention to perfect duplication, always using the same weight, temperature, color, and the same precise position in each of the two locations. Continue until you are willing to go on doing this forever and the object is quite real, and the process is not producing any more change.

c) Permeate the object (which is now on the desk) and spot its weight, color, and temperature. Then have it vanish and reappear on the table (e.g. teleportation).

d) Permeate the object (which is now on the table) and spot its weight, color, and temperature. Then have it vanish and reappear on the desk (e.g. teleportation).

Note that these two steps can be repeated back and forth very very fast and are quite interesting because there is no MEST universe comm lag. If you find it arduous or boring, then the process isn't flat.

When your complete, keep the object mocked up in the space (on the desk or table) for use in the next process.

12.25.2. Permeate the mocked up object and will it upwards. You will probably find that the object has considerable weight. Do not unmock the weight. Lift it up in spite of the weight. In other words, drill lifting a heavy object by postulate. If necessary, spot the fact that you created the object and therefore have a right to move it by postulate even if it is very heavy. Drill lifting it up and putting it down in exactly the same spot until you can do it effortlessly despite its weight.

This drill significantly changed my view of MEST universe weight and strength.

12.26 Templates

This drill is highly experimental and some of the theory may be incorrect.

It does not seem like thetans usually go around mocking up MEST atom by atom in a painstaking fashion. When you mocked up the object in the previous drill, you probably just postulated it there in its entirety without much attention to details. Part of this can be explained by simple copying of other mockups, but there seems to be a bit more to it. Try the following exercise.

12.26.1 Mockup the teleportation exercise again (see previous drill). As you mockup the object on the desk and then vanish it and mock it up on the table, notice that you are really putting up a new copy of the object rather than moving the first one. But they are not two different objects. There is a sort of essence of the object that is not located in space which is common to the object wherever you mock it up. Spot this basic underlying part of the object. Repeat the teleportation steps a few times and spot the object as mocked up and the underlying essence each time.

From this, it seems like there is the object as mocked up but not located in space, and then there is the object as located. In other words, the concept precedes the manifestation.

12.26.2 Now consider both the mocked up object as an unlocated essence and as a mockup located in a space. Copy Both of these many times. Experiment with this a bit and see what you can find out. Next, copy the essence many times and then reach beyond them to the basic pattern that your using as a template to mock these up.

Of course you might have created a pure mockup from scratch, but the odds are that you grabbed an existing template and used it as a basis for the manifestation of the object. Quite possibly, it might be the same template as the template underlying the physical universe object that we've been using in these drills.

12.26.3 Spot the physical universe object and reach and let go of its underlying basic essence (unlocated ) and its underlying template a number of times.

12.26.4 Close your eyes. Spot points in the physical universe object and place golden balls in those locations. When your feeling good about this, extend a wave of golden energy throughout the object. Now reach for the real object behind the object and do the same. Repeat. Reach for the basic unlocated essence of the object and do the same. Expand through the underlying template of the object and do the same. Let go of it.

Note: it is quite possible that your looking at pictures of pictures of the physical universe rather than looking at the underlying reality directly. This is especially true if your using the body's eyes (which have many vias) but also can occur in your vision machinery even when your exterior. This is really the anatomy of not-isness and will need a separate rundown for thorough handling. But you can reach past a few of these screens by postulate. But beyond your own screens, I believe that there are a number of vias built into the physical universe mockup itself (to protect it from easy vanishment etc.) so that even without any not- is of your own, you might have to reach through a few layers of apparancy to get the actual object. Beyond that, is where your would find the unlocated essence of the object and the basic template used to generate it.

12.27 Mirror Processing

This is highly experimental. I tried this out based on an idea that we might be looking at reality in a sort of mirror. I'm not totally happy with the theory and I think there is more to be learned in this area. But the process produced a fantastic perception change, giving everything more depth and color, so its well worth running.

12.27.1 a) Sit a little distance back from the object, enough so that you can see the desk or table it is resting on. Mockup a huge mirror on your right and imagine it reflecting the image. Make it a three dimensional mirror sitting off at an angle in 4 dimensional space and copying the entire 3 dimensional view that your looking at. Now mock up another mirror that is off to your left. Mock it up as reflecting a full 3D space in the same manner as the first one. Have it reflect the space that is appearing in the first mirror.

b) Now look from an exterior viewpoint into mirror number 2 (the one that you placed on the left). Look at it from infront so that you get the same view as the body's eyes have of the room. Then chase the reflection back to mirror #1 (the one you put on the right initially). Turn your viewpoint around so that your looking directly into mirror 1 and seeing the view of the room. Realize that it is a reflection and chase it back to the view of the room that your body's eyes are seeing. Turn your viewpoint around so that your looking directly at the room from your usual position.

c) Now get the idea that the "real" room your looking at is yet another reflection in a 3D mirror. As a being, turn your viewpoint around and look at the room that it is reflecting. When you do this, try to feel for the right way to turn. Once your looking at it as a being, shift it so that it is the view that you see through the bodies eyes. Now get the idea that this one is also a reflection (but a little closer to reality than the previous image) and repeat this step on it. Continue through a number of images, gradually working closer to reality. Stop when you get a perception change, or feel good about the view, or can't find any more.

Note that you shouldn't push too hard on step c. Just run it as far as it wants to go without forcing. Don't try to push all the way back to true reality. This sort of thing goes in stages, because you need to blow the reasons for not-is and looking through vias before you can strip too many of these things off. I didn't really notice my perception change on this until I ended off and went outside. It was very similar to the change that occurs on power processing.

12.28 Ownership of reality (Aug 1996)

At this point you should do the ownership of reality processing given earlier in this write-up, and run it on each of the two objects (I'm mocking it up, another is mocking it up, etc.).

12.29 Lifting drill

For each of the following portions of the object, mentally reach and let go a few times, put in golden anchor points, extend a wave of energy, and make it your own.

a) The physical object itself as visible to you.
b) The real object behind the object (reach as deep as you can).
c) The 4th dimensional thickness of the object.
d) The object's past and future.
e) The unlocated essence of the object. f) The template underlying it.

Keep you energy spread through the entirety of this mockup during the following steps.

g) Get the universe's postulate (solid /hold still/ keep from going away - see earlier drill) into the object. This is what solidifies and locates the essence into being the real object. Make the postulate your own.

h) Now drill lifting the object up and putting it down. Move the ghost of the object, getting as much of the real object as you can and just ignoring the remaining physical universe component which might remain behind.

12.30 Mockups

Alternate the above lifting drill with some mockup processing, including the following:

a) Mock yourself up as a giant, taller than the building your in. Reach in through the roof with your hand and delicately pick up and put down the object many times.

b) Mock yourself up as standing sideways of the MEST universe off at a 4th dimensional angle. Reach into the 3 dimensional reality and pick up the object and put it down many times.

c) Mock yourself up as a big copy of the object and mockup the pleasure of being lifted up and down. Really get yourself being lifted up and put down and enjoying it, like being on a swing that someone is pushing for your gratification.

13. Bodiless Processing

After you have repeated section 12 on each of the two objects, then use both objects in the drills in this section.

These drills are done bodiless as described in section 10 above. Place the 2 objects near each other on a table or desk. You can either place them in a different room than the one you are lying down in (as in section 10) or do this in the same room with you (if you don't have a ridge on spotting the body while exterior).

13.1 Orientation

For each of these, do a few commands on one object, then on the other, then back to the first one etc.

13.1.1 Remedy of havingness. Mockup many copies of each object and push them into your operating viewpoint. Spot the 8 corners of the room occasionally while doing this.

13.1.2 Spot the object and reach and let go of specific points on the edges and within it. Spot the 8 anchor points of the room occasionally. Note that there is a tendency at first to be pushed away from the object by the force of the beam your using, but this flattens. Also, shift the position from which your doing the reaching occasionally.

13.1.3 Run hello/OK on the objects. (you say hello, the object says OK; the object says hello, you say OK etc.).

13.1.4 Run 'keep it from going away' on the objects (a few commands each, alternately).

13.1.5 Run 'hold it still' on the objects.

13.1.6 Run 'Make it more solid' on the objects.

13.1.7 Fill each object with golden anchor points and energy and postulate an aesthetic quality into them.

13.2 Op Pro by Dup

Run alternately on the two objects:
a) Permeate it;
b) spot its weight, temperature, and color;
c) let go of it.

13.3 Lifting

Do the final lifting drill from section 12 above, this time doing it bodiless. Run one object to a minor win, then do the other object, then back to the first one etc. Continue to a big win.

14. Rudiments

Fly the ARCX, PTP, OVERT, Eval, and Inval ruds on levitation again.

15. The Gravity Process: an advanced levitation drill

(august 1996)

One of the biggest stops to levitating or moving objects is compulsive agreement with gravity. It would be much easier to learn the skill in free fall.

The drill is as follows:

Get the idea that the world is transparent or an illusion and that you're sitting or walking on a sort of thin imaginary eggshell which is not supporting your weight but only appears to do so and that you are really holding yourself up above the real surface by means of energy beams which you have been using unconsciously.

Get the idea that the real surface is some distance below you, under the illusionary eggshell. Use a distance that feels real, maybe one foot or ten or even a hundred feet. It should be a distance that you can imagine looking down from. Mockup a solid surface at that distance and feel yourself putting down beams to it and supporting yourself from there.

Initially, don't bother trying to get the full 4000 miles down to the center of the Earth, and don't push the distance beyond where you feel comfortable (even if its only a few inches), but gradually you will increase the distance (always maintaining reality and comfort) until you can reach the whole 4000 miles.

The first step is just to support yourself with beams at some slight distance. Drill this often, while sitting, lying down, walking etc. Just make it a regular thing you do in spare moments and keep the distance comfortable.

When you start feeling good about this, add a second step which is to mockup a beam pulling you down. Put both beams there simultaneously, the one supporting you and the one pulling you down. Gradually work the mocked up "real" surface lower and lower so that you are supporting yourself at greater and greater heights.

You can also occasionally drill this same set of beams on an object. Pick something that has some mass, such as a chair or a desk, and imagine supporting it above the "real" surface down below by means of a beam and then add the second beam which pulls it down.

You will find that you can work a much greater distance with your own body than you can with an object. You might find that you can mockup a 100 feet of distance from your body down to the real surface but only a few feet of distance from a desk down to the real surface. Of course these "real" surfaces hidden under the illusionary eggshell are only mockups (especially as evidenced by using surfaces at different distances for different things). They are a device for mocking up beams of comfortable length so that you can drill it on a gradient because the full 4000 mile distance is too great to work with initially.

The two beams (supporting and pulling down) should usually be kept in balance and to some degree synchronized with each other so that they act as a balance of forces. Also, occasionally get the idea that there is a sort of 4 dimensional wave motion as if the beam were a rope which stayed steady in the usual 3 dimensions but was vibrating sideways in a 4th unperceived direction.

As you get good at this, also occasionally work with a large number of pairs of beams simultaneously.

With this, you are duplicating the force of gravity. Eventually you want to reach the point where you can mock up thousands of pairs of beams stretching all the way down to a point at the exact center of the Earth. If you can get this to the point where it is really real and comfortable, you will have handled one of the largest stops to levitating and possibly will turn on the ability (assuming you have done the other processes such as running off your overts on the area etc.).


Don't be disappointed if the physical universe object doesn't move after completing the first pass through this rundown. Many of the processes will bite much deeper the second time around. Also remember that the gains in orientation and responsibility etc. that occur on these processes are really quite significant and an important step on the road, possibly more important than doing some parlor tricks with floating objects. Just get what you can out of the processes and don't place too much importance on physical universe manifestations. That will come when the time is right.

Before doing a second pass, you should run all the other OT drills given in the first half of this document if you haven't done so already. Also, do not concentrate on OT drills exclusively. Be sure to do case oriented rundowns as well (such as those given elsewhere in this series).

It is quite possible that there are a few other factors that need to be handled to restore the ability fully. If you're up to it and have a good research quality ITSA line and understanding of the tech (see my write-up on research auditing), then check for and handle anything else that I may have missed in the area, and please write it up and pass it around if you do find anything.