Alex ( wrote:
>Imagine meatballs contemplating wasting bodies as theraputic.

      Wasting ....  has always intrigued me as a process, taken from
expanded GITA, GIve and TAke processing, Creation of Human Ability.

      Item's like power and sovereignty are not in there by the way which
is REAL odd.

      The prehavingness scale leads us down from having, to wasting
having, to substitute, to wasting substitute etc.

      The cold and careless physical universe wastes bodies all the time.

      "Life treats love like the ocean treats castles in the sand." -

      People who feel no responsibility for their condition in the
physical universe, eventually go out of valence into its valence, and
then they too waste others with careless cruelty that is hard to imagine
of a living heart.

      They are acting like a rock.

      The last effort of a being trying to give is to take.

      That's your criminal.

      The computation is 'the way to give is to take'.

      Thus the being can fall below care of the body into wasting bodies.

      But running wasting bodies will only bite if its in the direction
of getting the being able to make bodies again forever for free,
otherwise it just drives the being deeper into license and criminality.

      Wasting bodies while BEING a body eventually leads to wasting one's
self in a body.

      Wasting bodies while OUT of a body, leads to more stability being

      However just because an OT can waste bodies, doesn't mean he has
to.  He does however have to be able to maintain his stability.

      The question is can he waste a body and take full responsibility
for it.  The moment he regrets it, he has to make up for it, and then
he's stuck to bodies as a subject and eventually as an object, until he
has done his amends.

      You see regret is "I wish I hadn't done that, I wish I had known
better, I wish, I wish, I wish, I wish." Well desire is sovereign, but
wishing ain't.

      For an OT to create in the conception of something, and then regret
it is quite a skill.  It's not a flaw, its how things work, without it
you could never have a descent into manifestation.

      Decent takes protest, SERIOUS protest, to keep it around for long.

      The basic mechanism to keep time around is to regret the past and
use the future to make up for the past.  That ties the future
irrevokably to the past by your consideration that you are failing
miserably in present time.

      The OT creates games that can not be won or lost, and thus wastes
every later effort of his own to win them.  But this is not the same as
the same being who later is very low tone, a lower tone harmonic of OT,
who having realized he can not win, now tries to lose and cause others
to lose.

      That's headed further down, not up.

      The OT's intent by the way it to make the game last forever, to
PLAY forever, as either winning or losing creates a loss of game.  So in
that sense OT's try to engineer games that can never be won or lost.

      They seek the endless volley.

      It is instructive to spot the similarities and differences between
OT and Criminality, between native state at the top of the tone scale
and ENFORCED native state at the bottom.

      Both are states of non manifestation, but one is knowingly fair
chosen, the other isn't (but was.) That's about the only real difference
between top and bottom.

      In the end its all fair chosen, so at all times the being has
exactly what he wanted.  Realizing this then tends to as-is the present
time encumbrances, or at least slam it again into his face so he is
aware of it, and as they vanish, the thetan bubbles back up the tone
scale, even if slowly.

      It can be hard, the being that he is now near the bottom is very
different than the being he was at the top.  He has a very hard time
WANTING to be free again.  It's better to die.

      The motivation to come in, is not the motivation to get out.

      Any God wants to come in.

      Any Human wants to get out.

      "Who or what would want to get out?"
      "Who or what would want to come in?"
      E/P, able to come in and get out at will.

      It is the motivation to get out that traps him in, because he isn't
trying to get out to where he is motivated to come in again, he wants

      That's a FOREVER you see powered by a reget that he came in, in the
first place.

      So the out that he seeks isn't where he started off from and thus
is really just a further in.

      Thus he wonders why trying to get out so hard just puts him deeper
in.  He is actually driving in at full speed trying to get out.

      That place he seeks of 'never coming in again' is at the
bottom of the ocean 12000 miles down stuck in mud.

      He is so far in, of course he will never 'come in again.'

      On the other hand really trying to come in puts one out because one
has to be out in order to come in.

      "The creature can become the creator at will by BEING the creator
becoming the creature." - Adore.

      Notice BEING and BECOMING.

      BEING is outside of time, eternal.

      BECOMING is inside of time, temporal.

      One doesn't simply BECOME the creature once and then BE the creature

      No, one starts off in BEING as the CREATOR and then BECOMES the
CREATURE continuously while a creature.

      What people call 'being a body' is actually becoming a body
repeatedly as time moves on.

      Thus BEING is cause of continuous BECOMING.

      Thus to end BECOMING, one has to BE again moving into BECOMING.

      Once one can do that, one can simply BE and change one's mind and
NOT move into BECOMING again, and then you have a free being again,
someone who can BECOME what he wants to, when he wants to or not, as his
will might be.

      This isn't immediately easy because of the small issue of

      BEING has a motivation to BECOME that BECOMING doesn't
understand and rejects completely.

      So BECOMING doesn't want to BE again, lest it choose to BECOME
something else worse than what it now is :)

      So duplicating the OT motivation to come in, starts to put one
out, if one dares.

      Most inability is superior unwillingness.

      And this is as it should be, by design.



>>      SUB DEATH
>>      The tone scale is a scale of wave frequencies that range from high at
>> the top to low at the bottom.
>>      Waves are mathematical entities that change in time, usually from
>> positive to negative, up to down, or left to right, or something
>> similar.
>>      Frequency is how often the wave does a complete cycle in a
>> second.
>>      Sound waves range from about 100 cycles/sec to 20,000 cycles/sec.
>>      1 Hertz or Hz is 1 cycle/second, a KiloHz is 1000 cycles/sec, a
>> MegaHz is a million per second, GigaHz is a billion etc.
>>      Radio waves go from about 500 KHz upto the GigaHz range, and
>> Light and X-rays are above that.
>>      LRH kind of felt that emotions belonged in there somewhere, but
>> effort, emotion, thought and aesthetics may not be the same kind of
>> wave as electromagnetic radiation, but none the less, being a wave, it
>> would have the qualities of waves.
>>      Waves have 3 basic qualities, frequency, amplitude and
>> interference.
>>      Frequency is how often the wave cycles in Hertz.
>>      Amplitude is how loud the wave is, or how big, or how far it
>> swings as it swings back and forth.
>>      Interference is the result of two or more waves interacting with
>> each other producing harmonies and disharmonies.
>>      First thing to notice is that a pure wave, usually a sin wave, is
>> always a harmony, as the only way you can have a disharmony is to have
>> two or more waves of different frequencies interacting.
>>      Even then some mixtures produce richer harmonies, such as when
>> you mix a wave with one of its harmonics at 3/2 or 4/3 the frequency.
>>      For example G and C on the piano are 3/2 and they form a perfect
>> fifth, so called because G is the 5th note in the C major scale.
>>      But play C and some note that is 17/18's of C and you are going
>> to get a couple of cat's squalling.
>>      Another thing about disharmonies is that some disharmonies can be
>> 'resolved' into harmonies.  The harmony that results is better off for
>> having been preceded by a disharmony.  This gives disharmonies a
>> 'raison d'etre', a reason to be.
>>      Finding a resolve for any particular disharmony is not easy, this
>> is what good art is about.
>>      Find an exquisite disharmony, and then find an exquisite harmony
>> to resolve it.
>>      Desire is for harmony, or for disharmonies that resolve into
>> harmonies.
>>      Harmony is beauty, and disharmony is ugly.
>>      Now generally people have 'high tone' confused with harmonious,
>> beautiful or pleasurable, and 'low tone' confused with disharmonious,
>> ugly or painful.
>>      There is a reason for this even though it is completely wrong.
>>      High tone means high frequency and low tone means low frequency.
>>      Harmony, beauty and pleasure come either from single waves of
>> *ANY* frequency, or from discords and resolves of *ANY* frequency.
>>      Thus one can take two very high tone beautiful waves and mix them
>> and get a very high tone ugly (undesirable) cacophony.
>>      You see then that desire is for harmony and not for highness of
>> tone.
>>      Now admittedly a high frequency single wave is more beautiful
>> than a low frequency single wave.
>>      Get some regular sugar and some 10x sugar used for baking, and
>> put some of each on your tongue.
>>      Both are sugar and both are sweet, but the 10x is a real trip,
>> the regular stuff is, well kind of normal.
>>      So there is a natural tendency to want to go up the tone scale to
>> get to higher beauties, but if one is stuck in a high tone cacophony
>> of mixed waves of high frequency, then one can find solace in a
>> harmony lower down.
>>      This is the essence of the tone scale trap.
>>      Now Hubbard assigned various things to the various levels of the
>> tone scale, aesthetics and thought were way up, and then came action,
>> and pain, effort, and apathy and death and sub death etc.
>>      Most of us consider that pain is undesirable, and would have a
>> hard time conceiving of beautiful or harmonious pain.  But if pain is
>> a frequency of the tone scale, then as a PURE single frequency it
>> would have to be a harmony!
>>      Mockup a harmonious pain.
>>      Mockup a disharmonious pleasure.
>>      So how come then pain is almost always a disharmony?
>>      Because most body injuries consist of a complex mixture of many
>> slightly different incidents in restimulation resulting in a severe
>> disharmony of experience.
>>      The worst disharmonies are mixtures of waves that are just
>> slightly off from each other in frequency.
>>      A body injury is sort of like hitting the keyboard with your
>> fists, of course you are going to get a loud disharmony.
>>      One way to audit this is to take the injury and assess for HOW
>>      Try it, the meter will read deeply when you get it right.
>>      It may come out to a few or very many.
>>      Say it comes out to 5.
>>      Then one by one, or in groups, locate the single waves, or
>> harmonious collections of waves and run them out as beautiful pain.
>>      Say two of the 5 were harmonics of each other, they would run out
>> together as a harmony of two different frequencies, leaving 3 left
>> still causing a disharmony.
>>      Then two of them may run out again as a harmony of two waves,
>> leaving 1 left.  Well that 1 HAS to be a harmony by definition, so run
>> it out the same way, and voila you have run out what looked like one
>> god awful disharmonious incident but which was in truth 3 separate
>> harmonies making a disharmony.
>>      In this way one runs out ugly undesirable pains, by separating
>> them into beautiful desirable components and running them instead.
>>      If the pain isn't beautiful, it isn't ONE PAIN.
>>      Trying to run it as one ugly pain won't work, as there is no such
>> thing.
>>      OK so at the top of the tone scale the being creates in the mere
>> conception of things.
>>      So one day he gets the idea of this great big beautiful space
>> forever for free with all these trees and flowers and green grass, and
>> scattered through out are these absolutely gorgeous little spiders,
>> each one preening itself, and gleaming in the sun.
>>      And he's just BEING there, and the space/time is just being
>> there, and the little spiders are all just being there having a good
>> time.
>>      You see that scene is a complex set of waves that all form a
>> gorgeous harmony for the being.
>>      *THEN* he gets the idea that the spiders are dangerous and
>> poisonous and are out to get him.  All of sudden, as one, the spiders
>> start to align in his direction and begin their approach.
>>      He becomes absolutely certain that they are going crawl all over
>> him, and bite him and eat him, and that he can't get away fast enough.
>>      At that moment his space and time crystalize into hard persisting
>> rock and he can't make the scene disappear any more.
>>      He can't wake up as he has fallen BELOW the original frequencies
>> that made up the original scene by adding in lower tone wave lengths.
>>      Now he has a problem, and that problem consists of an even more
>> complex set of waves than the original scene that turn the original
>> gorgeous harmony into a deadly nightmare, a disharmony of magnitude.
>>      All he did was add some more waves into the original scene with
>> his postulates, waves that weren't quite in sync with his original
>> scene, and wham, he has a cacophony of terror and pain and
>> undesirability like has never been written in the books of man.
>>      So he is still BEING there, counting the seconds to his assured
>> doom, and someone comes up behind him and taps him on the shoulder and
>> says 'Hey you see that small building over there, there is an arsenal
>> of anti spider bazookas in it, they are all locked up, but if we run
>> and break down the doors we will have enough weapons to kill all these
>> spiders no problem!"
>>      All of a sudden his heart soars with *HOPE* again, for now he has
>> a possible solution to those spiders.
>>      He has a game.
>>      Lord save him.
>>      So he has added in a whole mess more wavelengths into his scene
>> that have turned it from a nightmare disharmony of waiting to die, into
>> an exciting rip roaring fun time of killing and being killed.
>>      Oh, he will recruit all his friends in to the war, they will
>> protect their women and children at all costs, they will devise better
>> weapons, and execute plans of daring do and kamikazee.  The glory will
>> go down in history never to be matched again.
>>      So what happened?  Did he go up tone from the nightmare back into
>> being happy again at a higher tone?
>>      No, he went downtone, he fell from a higher disharmony of being,
>> into a lower harmony of doing.
>>      If he had gone up tone from the nightmare band he would have been
>> back where he could just change his mind about the scene and it would
>>      Instead he fell down tone from the nightmare into a lower harmony
>> where DOING pretends to be sufficient for the solution.
>>      Now DOING will NEVER be sufficient to any problem, any solution
>> created by doing will merely become another problem later on.
>>      This is by sub intent by the way, the high tone original being
>> knows full well what he is doing even if he isn't consciously thinking
>> about it.
>>      Thus by diving down tone from disharmonious being into harmonious
>> doing, he is guaranteeing to set himself up for a further disharmony
>> at the lower tone level when his solution finally becomes another
>> problem.
>>      He will then solve this new problem by falling down to an even
>> lower tone harmony with some new solution which then becomes another
>> problem later on and so forth.
>>      So where is the guy headed at this point?  Certainly not glory.
>>      He is headed down into further problem disharmonies, solved by
>> LOWER TONE harmonies that then becomes LOWER TONE disharmonies, to be
>> solved by even LOWER TONE harmonies, until he goes out the bottom.
>>      Assess for how many problem/solution cycles the guy is buried in
>> and you can spring him out of his present life which is just a
>> solution to the problem of body death.
>>      Notice we are not trying to exteriorize him from his *BODY*, we
>> are trying to exteriorize him from his *LIFE*.  Oh hell, he can go back
>> into it any time he wants.
>>      So a being crates a scene from a state of BEING.
>>      This is a harmony.
>>      Then he creates a problem in the scene from a state of BEINGNESS.
>>      This is a lower disharmony.
>>      Then he creates a solution in the scene from a state of
>>      This is an even lower harmony.
>>      And thus he has a game guaranteed never to end powered by the
>> dwindling spiral of problems and solutions which become problems etc.
>>      Solutions based on BEINGNESS and DOING are headed down the
>> spiral.
>>      Solutions based on BEING and finally not BEING (Native State) are
>> headed up the spiral.
>>      So what is SUB DEATH?
>>      Hubbard marked death of the body at 0.0 on the tone scale.
>>      Now clearly the thetan survives the body death, there is the
>> thetan outside the body moping over a perfectly good lost body.
>>      0.0 maybe zero heartbeats a second for the body, but it certainly
>> is not zero cycles per second for the frequency of the thetan, far
>> from it.
>>      Since the thetan is still there and clearly functioning the
>> thetan must be SOMEWHERE on the tone scale above absolute zero at
>> - -400.0 on the tone scale or spiritual death.
>>      The thetan has a LONG ways to go between 0.0 body death and
>> - -400.0 spiritual death.
>>      Now the death of the body is a PROBLEM to the thetan.  Eventually
>> it became a SERIOUS problem to the thetan.  More serious that even
>> mere mortals can conceive.
>>      Early bodies were perfect and unique but fragile.  They COULD
>> live forever, but once injured they would remain crippled FOREVER or
>> even die FOREVER.
>>      We call this part of the track FRAGILE IMMORTALITIES.
>>      Consequences became serious during this time of the track.
>>      So when a thetan was at 0.0 on the tone scale with a dead body at
>> his feet, his one and only unique, never going to be another one like
>> it again, he was in sad shape.
>>      I mean just think about your favorite dog or cat dying.
>>      So he had a PROBLEM AND A DISHARMONY on the tone scale.
>>      He eventually figured out all kinds of solutions to this problem,
>> most of which involved becoming the body itself and guiding it from
>> within, and losing sight of the distinction between the body and
>> himself to make himself more careful etc.
>>      These sub death solutions make him feel REALLY GOOD, and he was
>> just sure that they would end the problem forever for him.
>>      But they were DOINGNESS solutions at a lower harmony on the tone
>> scale than death of the body.  Thus the thetan entered into tone
>> levels BELOW 0.0 that were more harmonious at the time than what he
>> was experiencing at 0.0.
>>      At 0.0 he's sad about the loss of an irreplacable love.
>>      At -1.0 he's all happy and enthused about 'THAT will never happen
>> again!'.
>>      But man is he being CAREFUL.
>>      Run happy carefulness, and happy carefreeness.
>>      So SUB DEATH means that the thetan is living a solution to the
>> regretted death of prior bodies on the whole track.
>> toned disharmony of body death.
y slowing down his frequency the thetan has made himself feel
>> better by adding postulates of doingness on top of the insufferable
>> problem of BEINGNESS that he had with bodies dying on him.
>>      Notice that BEINGNESS IS NOT BEING.  BEING is free from
>>      BEINGNESS is BEING constrained by added considerations, like
>>      "I am a goofball bumblefuck who couldn't keep a body alive if my
>> own life depended on it!"
>>      But he's overjoyed at the chance to try, you see.
>>      His BEING might have solved the problem for him, but his
>> BEINGNESS that he assings to himself, sure as hell isn't, so he falls
>> to the lower harmony of 'going to DO something about it, by gum!'
>>      So now he comes back AS a body, he has fallen from HAVING bodies
>> to BEING bodies, and he gets born and he is all Rah!, he is going to
>> take care of this body, and punish those that don't take care of their
>> bodies, hang them out on crosses as examples to show people what
>> happens if you don't take care of your body, make a fortune selling
>> nails while he is at it and keep his body well to do, and he's going
>> to start and finance a whole war against non body care-ers, and Oh
>> the glory of it...!
>>      And he falls lower, and lower, and lower and lower.
>>      Lower means slower, eventually he becomes a rock.
>>      "Eventually all become marbles on the thetan plane..." - Adore.
>>      So notice anyone who is IN a body is sub death.  They are
>> blaming, shaming, protecting, controlling, owning, punishing,
>> worshipping, sacrificing themselves to, hiding in, being, or taking
>> care of bodies.
>>      Imagine being responsible for the death of an ant.
>>      Now imagine being responsible for the death of a body.
>>      See the difference?
>>      'Tis why you are in a body and not an ant.
>>      Eventually they can't even control a body any more, they can't BE
>> a body, so they become PARTS of bodies, they become OBJECTS, and
>> eventually they can't even do that and they fall down to can't hide,
>> and eventually spiritual death.
>>      "Do with me what you will, I deserve it, good bye dear body, I am
>> a total failure, sorry I let you down."
>>      So that is what sub death means.
>>      It is actually sub problem, falling down from a disharmony of
>>      He's feeling better for a while, but he's going slower.
>>      Find anything the person is doing, especially the things he has
>> great enthusiasm and steely eyed determination for, and find out the
>> higher disharmony beingness that the lower harmony doing is a solution
>> for.
>>      The person will exteriorize from his SOLUTION DOINGNESS and from
>> his PROBLEM BEINGNESS and regain his restorative BEING where all
>> problems dissolve naturally.
>>      E/P is astounding peace.
>>      Homer
>> - ------------------------------------------------------------------------
>> Homer Wilson Smith     The Paths of Lovers    Art Matrix - Lightlink
>> (607) 277-0959 KC2ITF        Cross            Internet Access, Ithaca NY
>>    In the Line of Duty
>> ======================= ========================
>> Fri Feb 10 23:24:19 EST 2006
>> Send mail to saying help
>> Version: 2.6.2
>> iQBVAwUBQ+1m8z4RxM7qO/z1AQGhtQH9HrRI3z3qnsOknDw11KrgtWYoDF4Eb5Eh
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>> =0OEl
>> -----END PGP SIGNATURE-----

- --
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Homer Wilson Smith     The Paths of Lovers    Art Matrix - Lightlink
(607) 277-0959 KC2ITF        Cross            Internet Access, Ithaca NY    In the Line of Duty

Sat Feb 11 19:12:48 EST 2006

================ ====================
Sun Oct 12 03:06:01 EDT 2014
Send mail to saying help
================== ===================
Learning implies Learning with Certainty or Learning without Certainty.
Learning across a Distance implies Learning by Being an Effect.
Learning by Being an Effect implies Learning without Certainty.
Therefore, Learning with Certainty implies Learning, but
not by Being an Effect, and not across a Distance.

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Sun Oct 12 18:05:44 EDT 2014