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      SELF CLEARING FILE #10 OF 11

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Copyright 1997

All commercial rights are reserved to the author, who currently
wishes to remain anonymous and therefore is writing under the
pen name of "The Pilot".  Individuals may freely copy these files
on the internet for their own use and they may be made available
on any web server who does not charge for them and who does not
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SELF CLEARING CHAPTER 42: OBJECTS AND INFINITY

Now we are going to work a bit more with objects,
introducing exotic concepts like infinite mockups
and so forth.



42.1 MUST NOT TOUCH

Go around the room and touch things, and as you touch each
one, have the walls yell "Mustn't Touch" at you and you
let go very fast.

Then do the same thing mentally, spotting an object,
reaching out and connecting to it, having the walls yell
"mustn't touch" and letting go of it rapidly.

Then repeat both of these steps (physically touching, then
mentally touching), but when the walls yell "mustn't touch",
you ignore it and continue to touch the object, letting go
when you feel like it.


42.2 BLACKNESS

Looking around with your eyes open, spot an object and
alternately push a wave of blackness over it and pull
it off a few times.  Then spot another object and repeat
until you feel good about this and in control.

Next, do the same with your eyes closed.

Next, pick a large city and imagine that you are looking
down at it from above.  Spot thinks that you like in the
city until you have some perception of it.  Then alternately
cover the city with a huge cloud of blackness and pull the
cloud off and dispel it.  Run this until you feel in
control of blackness and occlusion.  Change to a different
city occasionally.


42.3 COMPLEX MOCKUPS


Mockup (visualize) a large and complex building or similar
structure with lots of interesting features and details.
Work on this for awhile, paying special attention to working
over details.  Do things like mocking up the color and
texture of the walls, the panes of glass, the window and
doorway design, the passageways and rooms inside, and so
forth.  Get it so that you really feel like you have
something.

Then discard it and mockup another one.  Do at least 3
different ones.  If you have any trouble discarding the 
mockup, copy it until you have enough that you feel good 
about throwing them away.

Now do the same with a scene in the countryside, maybe
a tree covered hillside or whatever you have affinity for.
Again do it in great detail.  Do this at least 3 times.


42.4 INFINITIES

A simple infinity is actually easier to do than a complex
mockup.

Imagine a road, perhaps light gray in color, hanging in empty 
space.  Get above it and look down its length in one direction.
Imagine that it goes on forever, in other words, it is
infinite in length.  Turn around and extend it out to 
infinity in that direction as well.

Now mockup a milepost or sign with a "0" on it on the
side of the road.

Move to a point one mile further down the road and mockup
a milepost or sign with a "1" on it.  Then go a mile further
and put up one with a "2" on it.

Notice that you could keep doing this forever because the
road is supposed to be infinite.

Now do a simple single mockup of mileposts or signs extending 
out to infinity, each numbered one higher than the next.  The
mileposts can be all identical.

Go to milepost 100 and see it there.  Then go to milepost
14,000 and see that it is there too.  If you have any trouble
with this, repeat the infinite postulate of mileposts and
check again until you can get these things to be there.

Shift back to milepost zero, face in the opposite direction,
and run an infinite series of negative mileposts off in that
direction, from "-1" out to infinity.

This is, of course, nothing more than the number line in
mathematics, postulated in visual form.


Notice that it is a simple and easy postulate, much easier
than working on the details of a complex building.

Mock this up a few more times until you can do it easily
and have no trouble discarding the mockups.



42.5 Grains of Sand


Now mockup a grain of sand, look at it closely and get some
detail as to the exact shape and surface.

Mockup a dozen different individual grains of sand, with
slightly different shapes and colors and textures.

Now imagine thousands of copies of each one, all mixed
together forming a plot of sand.  Add a few shiny specs
of things and interestingly colored pebbles for variety.

Now stretch this plot of sand out to form a large beach,
copying it as much as needed.

Now extend the beach out to infinity in both directions.

Check some places along the beach and assure yourself
that it continues as far as you care to go along it.

Repeat until you are comfortable with doing this.
You can vary this by mocking up stretches of dirt or
gravel or other similar things if you like.

There is a bit more on infinities in chapter 5 of the
Super Scio book.


42.6 Objects out to Infinity

Now look around the room and pick an object that you like.

Make a copy of it, overlapping but shifted over just slightly.

Make another copy, just a tiny bit further over.

Make a bunch of copies, each one a fraction further over,
a bit like a fanned deck of playing cards.

Now copy the object out to infinity.  An infinite run of
copies, each a tiny bit further over, making a sort of solid
line that goes on forever.  You can do this with a single
postulate.

Then discard the mockups.  If you have any trouble doing
this, run another set of copies out to infinity but vary
the color slightly.  Keep getting more and more runs in
parallel until you can discard them easily.

Pick another object and repeat.

Do this until you can handle infinite copies easily.


42.7 Who's Mocking You Up

This might be too difficult for a first pass, but see if
you can get anything on it.

Spot an object and ask it "Who is mocking you up".

Ask this with as much intention as you would ask an important
and serious question of a person, and get the intention
into the object, don't just think it in your head.

This is not done with the expectation that there is anybody
in the object who will answer.  It is only done this way to
ensure that you hit the object with a strong questioning
intention rather than simply sitting back and musing about
it.

Now you permeate the object and mock it up as answering
you.  In other words, you draw an answer back from the
object.

It is not that the object is talking to you, you are the
one who is putting it all there, but you are doing it
this way because you want to draw a real answer back from
the object, so you supply the "theta" necessary to get
an answer.

Note that if something does start answering up like a
real person (and you aren't just mocking it up for fun),
then handle it as an entity with Nots techniques and
get it out of the way.

If you can draw an answer back, it will be an impression
of old connections and postulates and lines running off
into the distance.  Acknowledge these.  They will generally
go back to old designers or manufacturers or previous
owners or admirers.

If you do this with something that somebody really wants,
you will hit a strong and current reaction.  In that case 
you just acknowledge this and leave it be.  It might be 
somebody's favorite car or whatever.

But if it is some old thing and the postulates are all
old and unconscious and automatic on various people's
parts, you might be able to get control by carefully
and thoroughly acknowledging each one.  

For now, just spot objects and ask the question and see
what you can learn.  When you are comfortable doing this
in the room, go outside and try it on objects that 
other people have more active connections to.

Eventually, you might try to take this a bit further and
see if you can get some control over some of the agreed

upon mockups that compose reality.  But that is best
left for a second pass through the book.


=================



SELF CLEARING CHAPTER 43: ADVANCED CONCEPTS


43.1 Courage and Beauty

Courage was messed up very early in our history by convincing
people how beautiful and glorious it was to be courageous 
and fight against overwhelming odds and loose.

So one tends to postulate one's opponents as stronger when
one is being courageous.

The following process should clean this up.

a) get the beauty of being courageous and losing
b) get the beauty of another being courageous and losing
c) get the beauty of being courageous and winning
d) get the beauty of another being courageous and winning

Run this at least to the point where you have no need
to make an opponent stronger to show off how courageous
you are.

At basic, this underlies the tendency to mockup one's own
opposition.


43.2 More on Courage

Now mockup a feeling of strong and contemptuous courage
that has no need of opponents or any desire to prove
anything but simply is willing to face anything.

If you have trouble with this, or there is any tendency
to want to mock up opponents to prove anything, go
back and run more of the first process given above.

When you can get a strong and contemptuous courage,
then use it in the following process:

a) mockup clouds of strong and contemptuous courage
and a willingness to face anything above large cities

b) postulate a strong and contemptuous courage and a 
willingness to face anything into the inhabitants of 
large cities

If it seems necessary, you can go back and run more
of the first process given above.


43.3 Decay

Pick an object in the room.

Mockup a copy of it.

Have the copy decay, rusting, collapsing, deteriorating, or
whatever seems appropriate.  Then have it break completely
and become scrap or shattered fragments.

Now run this in reverse, having the shattered fragments or
whatever pull together and gradually heal and improve until
the copy again matches the original.

Do this decay and reverse decay on the object selected
a number of times.  Then pick another object and repeat.

Do this until you can confront decay.

Then mockup a thriving city.  Imagine it decaying, falling apart 
and becoming a ghost town.  Then reverse the process and get
it back to being a thriving city again.  Repeat.


43.4 Decay of bodies

Now mockup a tree in its ideal state and have it decay and 
then reverse it and have it return to its ideal state, back
and forth as above.

Then do the same with a mockup of an animal.

Do it with more lifeforms of various sorts until you begin
to feel causative over this.

Then mockup a young human body (not your own) and run it
to old age and back again a number of times.

Then mockup another different human body and do the same.
Pay attention to the decay in various organs and exaggerate
it.  Continue until you have no flinch at decayed human 
bodies and feel some cause over this process.

Now close your eyes and spot your own body.  Visualize it
aging to a decrepit old state and then reverse it making
it younger.  Go back to an early ideal age.  Then age it
again, working it back and forth.

When you feel causative about this, do it some more paying
attention to a specific organ or feature and concentrate
on its aging and the reversal of it.

End off with the mockup in an ideal young state and intend
that into the GE machinery of the body (see the earlier
chapter on bodies).  Just do this as well as you can and
see if anything happens over the next few weeks while you
continue on with other processes.


43.5 The Past

Think of an interesting object.  Anything that you like.

Visualize it in some detail.

Now push a history behind it, where is came from, what
its been through, etc.

Discard it and then mock it up again, but this time push
a different history behind it.  Repeat.

Then pick another object and do the same, mocking up

various histories behind it.

Continue until you can do this comfortably.


43.6 Experience

Run these commands alternately:

a) Mock yourself up with experience
b) Mock yourself up without experience

When this is comfortable, then do it again but mock yourself
up with different experiences than the ones you actually had,
again alternating it with mocking yourself up without experience.
When you do this, vary the experience each time.


43.7 Impossibilities

This is a Zen style drill to help you exteriorize from the
current frame of reference.

a) Think of something which is truly impossible by
definition.  Something like two plus two equaling five.

b) Then, knowing that such a place could not exist, spot the
place where this could be true anyway.



43.8 Stepping out of the struggle

This does not produce the apathy of not caring.  It produces
the freedom of not having to fight for survival.  


a) Decide that you are willing to exist in the future
b) Decide that you are willing to not exist in the future


This can go to the point where the game and the struggle fall
away.

Once this happens, you will find that you are still here
but no longer under pressure.

Then notice which things you still enjoy or like better than
others.  See what remains with you when you no longer have
to fight for survival.

The freedom from struggling may not be stable.  One tends to get
drawn back into the game.

But after this you will know which of your likes and desires
are more basic and which are transient products of the current game
and struggle.


43.9 Spotting Spots in Space

This is an advanced variation on the processes in chapter one.

Look around the room and spot precise points in the space of
the room, in other words, points in mid air.

When this feel good, begin spotting specific points outside
of the room.  This can be done with the eyes opened or closed,
but is done mentally rather than by looking at the spots with
the body's eyes.

This can significantly improve one's exterior (bodiless) 
perceptions.


=================


SELF CLEARING CHAPTER 44: ETHICS, MORALITY, AND THE DYNAMICS


Morality consists of trying to do what is good or right by obeying
the rules of society or a particular group or a particular code of
behavior and conduct.

Ethics, on the other hand, consists of attempting to do what is
truly good or right in the absolute sense.

These two often come into conflict.

In the beginning, the being's ethical sense is very high.
He desires to associate with other beings and he desires
to operate in an optimum manner.

But the being is inexperienced and the games and struggles
are fun and gradually he looses sight of what is optimum.

And eventually he decays to the point where he feels the
need for some external moral code to help him behave
in an optimum manner.

This fails, but he blames the failure on other's immorality, 
and so he begins to impose his moral codes on others.

This in turn leads to further conflict.

Soon he is fighting to force others to be good and violating
his own ethics every step of the way.

And if he goes too far with this, he looses his feeling
of community with other beings and thereafter seeks to
enslave them.

But people do not stay frozen at the bottom of this pattern.
Luckily, it is always possible for us to start over.

And so we shift between three different states of operation.

a) Operating from a sense of ethics.  In this case one is
unrestrained in a relative sense.

b) Operating from a ridged moral code.  In this case one
imposes heavy restraints on oneself and others.  Here one
often suffers from regrets and suffers as well from the
side effects of having many withholds.

c) Operating in negation of morality.  In this case the surface
appearance is of operating without restraints, but the
unconscious restraints are greater because deep down one
is in conflict with oneself.  Here one has few regrets,
and the withholds are present but unreal, however one

suffers extensively from pulling in motivators for the
overts that one has committed.

Obviously, one is better off operating in an ethical manner.
But that leaves one with the problem of judging what is
optimum.  And this raises the question of optimum by
what standard?

Let's begin by looking over some potential standards
in this area.


44.1 The Dynamics of Survival

Hubbard took the general urge to survive and divided it
into 8 dynamics or sphere's of operation.  This system
of dynamics is used extensively in orthodox Scientology.

Although it is limited by its emphasis on survival (we
will be looking beyond it shortly), it is quite valuable 
in categorizing things and should be learned for that
reason.

This pattern has occasionally been used in processes
in this book although no attention has been called to it.

Note that there is no true question of survival for an
immortal spirit that cannot die.  But your participation
in the current game at this time does depend on various 
things beginning with bodily survival.

Note that these dynamics form a widening sphere with
the higher ones encompassing the lower ones (in other
words, if mankind is destroyed, then the body and
family etc. are destroyed as well because they are
part of mankind).

These 8 dynamics are:

Dynamic 1: Physical or bodily survival.  This includes
things like food, sleep, shelter, and the avoidance of
illness and injury.

If you only work with this system of 8 dynamics, you
will also be tempted to put your own urges towards
things such as aesthetics into this first dynamic, but
that transcends physical survival and we will leave it
for later.

Dynamic 2: Survival through intimate relationships, sex, 
family, and children.

Dynamic 3: Survival though groups

Dynamic 4: Survival through society, race, and mankind.  

Note that orthodox Scientology does not usually mention
society here, but the keynote of this dynamic is groups
that you are born into and have to come to terms with
rather than groups that you enter and leave by choice
as in the 3rd dynamic.

- From a science fiction perspective (the spirit having
used other body types at various times), one would
substitute the appropriate species of which one was
a part in place of mankind.

Dynamic 5: Survival through lifeforms.  This includes
plants and animals and of course includes mankind as
well (and alien lifeforms too if they should show up).

Dynamic 6: Survival through the physical universe

Dynamic 7: Survival through thought, theta, or
spirits.

This is a bit of a catchall for non-physical things
which affect survival.

Factors involving thought or theta are better categorized
from a higher perspective than survival and we will
be looking at that later.

Actions involving spirits are non-obvious in the
current game but may be present and are certainly valid
as a category because people think about these things.

Dynamic 8: God or infinity or all of creation

- From the lowest perspective, this includes all things
involved in religion and worship.  From higher perspectives,
it would include contemplation of or operation as a part
of a universal mind or an infinite life static or 
survival through infinite creation.

But again, we are tempted to put things here which
extend beyond simple survival.


44.2 A process on the dynamics

Before we start examining this further, lets see if
we can do a bit of processing in this area.

These are simple repetitive processes.

44.2.1

a) How could your body aid your survival
b) How could you aid your body's survival

44.2.2

a) How could your family or intimate partners aid your survival
b) How could you aid your family or intimate partners' survival

44.2.3

Note that this would include jobs, clubs, informal groups,
or formal organizations.

a) How could groups that you are a part of aid your survival
b) How could you aid the survival of groups that you are a part of

44.2.4

a) How could society aid your survival

b) How could you aid society's survival

44.2.5

a) How could lifeforms aid your survival
b) How could you aid lifeform's survival

44.2.6

a) How could the physical universe aid your survival
b) How could you aid the physical universe's survival

44.2.7

a) How could spirits aid your survival
b) How could you aid spirits' survival

44.2.8

a) How could god or an infinity of creation aid your survival
b) How could you aid god or an infinity of creation's survival


44.3 The Greatest Good

One of the common ethical standards is to operate for
the greatest good for the greatest number.

A Scientology reinterpretation of this is to work for the
greatest good for the greatest number of dynamics.  This is
an improvement because it broadens one's perspective and
helps one to sort out the potential effects that one might
create by calling one's attention to various areas.

But both of these have a potential liability in that they
involve bean counting.

There might be, let us say, ten people and so one can justify
enslaving or sacrificing one of them for the sake of the
others.  This may get one into trouble and conflict with
one's own sense of ethics.

This is not to say that it is a bad standard.  One would
prefer to feed the many rather than the few.  But if it is
used as a stiff rule and used to justify one's harmful
acts rather than considering it to be a useful guideline
and consulting it along with other factors, one will surely
do things that one later regrets.

If anything that you have done came to mind, clear it up
as a harmful act as discussed in the chapter on overts,
motivators, and withholds.

Now run the following process to improve your judgment
in this area.  Alternate the two commands.

a) think of a situation where making a choice based on the
greatest good for the greatest number would lead to an 
optimum action.

b) think of a situation where making a choice based on the
greatest good for the greatest number would lead to an 
undesirable action.


44.4 The Golden Rule

Now we come to Christ's wise saying.

Do unto others as you would have them do unto you.

This is an excellent rule, but again it can fail due to
unthinking and literal minded interpretations.

If one likes fish, it is not that one should inflict it
upon another who dislikes fish.  Rather, it is to view
the effect from their viewpoint instead of inflicting
your own viewpoint upon them.

But even an ideal interpretation only addresses one person's
relationship to another and ignores the broader effects.

Again, let's see if we can broaden one's judgment.

a) think of a situation where making a choice based on the
golden rule would lead to an optimum action.

b) think of a situation where making a choice based on the
golden rule would lead to an undesirable action.


44.5 Serving a Higher Purpose

Now we come to a rule which has often been used to justify 
terrible deeds.

And yet it has its sphere of operation.

When one suffers from fear and weakness, the ideal of
serving a higher purpose helps one put aside one's
limitations and win success in the face of supposedly
inevitable failure.

So let us evaluate this one and see where it is best used.

a) think of a situation where making a choice based on 
serving a higher purpose would lead to an optimum action.

b) think of a situation where making a choice based on 
serving a higher purpose would lead to an undesirable action.


44.6 Infinite Creation

My own personal belief is that at the highest levels we
are evolving towards participating in a dance of infinite
creation.

If we are indeed the fragments or reflections of a godlike 
nothingness of infinite potential, then the goal would be
to balance the nothingness with the projection of an 
infinity of creation, and to do this consciously rather
than being trapped within the creations.

This in turn suggests that there would be another
range of dynamics, not oriented towards physical 
survival but instead oriented towards creation.


Here I will only introduce a possible pattern of higher
dynamics which would align with a spirit striving for
an infinity of creation.  This will be discussed more
in a subsequent chapter.

Dynamic 1 (9): Ethics

Dynamic 2 (10): Aesthetics

Dynamic 3 (11): Construction (building things)

Dynamic 4 (12): Reason (mathematics, logic, etc.)

Dynamic 5 (13): Variety (change)

Dynamic 6 (14): Games

Dynamic 7 (15): Understanding

Dynamic 8 (16): Creation

This to some degree forms a pattern which harmonics on the
earlier set of survival dynamics.  Ethics, as the contemplation
of optimum action, for example, would harmonic on bodily
survival, and aesthetics would harmonic on love and sexual 
activity and so on.  There is more on this in the Super Scio
book.

Note that an infinity of creation would require an infinity
of creators and therefore encompasses others as well as
oneself.

Although these are really oriented towards a richness of
creation, they can be seen in terms of enhancing one's
survival as a spirit.

To get a view of this, fit each of the 8 points above into
the following process:

a) How could your ____ enhance the survival of others
b) How could others ____ enhance your survival


We will be covering a bit more on this system later, 
so you can skip this process for now if it seems to unreal.

But you can run the judgment process on each of the
above points when you are ready.

Fill in the blanks with each of the 8 items listed above.

a) think of a situation where making a choice based on 
increasing _____ would lead to an optimum action.

b) think of a situation where making a choice based on 
increasing _____ would lead to an undesirable action.


44.7 Evaluating some basic ideas

Now look back at the dozen points suggested in the introduction
as being desirable attitudes and things to work towards.

Although these are exceptionally good ideas, nothing
works absolutely.

So lets fit each of those into the judgment process and
examine them.

a) think of a situation where making a choice based on 
_____ would lead to an optimum action.

b) think of a situation where making a choice based on 
_____ would lead to an undesirable action.


44.8 Mocking up your own standards

Now see if you can think up some other useful standards
for optimum behavior and operation.

For each one which you like, fit it into the judgment
process above and see where it leads.


44.9 Summary

The end product of this should be the ability to think
and judge freely, knowing many useful standards and being
capable of evaluating situations for optimum action on
a moment to moment basis in present time.


=================



SELF CLEARING CHAPTER 45: AESTHETICS


Aesthetics could be described as that which differentiates
art from more mundane creations.

Hubbard's working definition was "Art is the quality of
communication".

If we are indeed balancing nothingness with a richness of
creation, then making the creations more interesting and
desirable is of great importance.

We might even define art as something which can sustain
interest after repeated examination.  As such, these would
be things that one would continue to mockup by choice
even after one had mastered the asisness of things and
could vanish them at will.

This is really a lifetime study and the boundaries seem to
be unlimited.  People just seem to keep going further in
this area.


45.1 Spotting aesthetics

Aesthetics are everywhere.

Let's put aside the critic's judgment and the official
labels.

Go around and spot aesthetics, things which you find beautiful
or fascinating, things which you would like to have around.

There is aesthetics in music, there is aesthetics in objects,
there is aesthetics in lifeforms, there is aesthetics in stories, 
it is all around us.

It is not just the tear jerkers or the beautifully sad things,
its also courage and triumph and the clean lines of a well
designed car.

Do this for at least a few days as you carry on in life and

continue working through this book.  Just notice aesthetics,
at home, at work, on the street, on TV, or whatever.


45.2 Aesthetic Recall

Here we are interested in things which you feel are
aesthetic without regard to any external criteria.

a) recall something aesthetic
b) spot something about it that contributes to the aesthetic


45.3 Enforce and Inhibit

Aesthetics have considerable power at a spiritual level.  It is
a major element in getting one's creations accepted or creating
effects on people.  And so people often become jealous, 
manipulative, or evaluative in this area.

So let's confront some of the charge in this area.

45.3.1

a) recall enforcing an aesthetic on another
b) recall another enforcing an aesthetic on you
c) recall another enforcing an aesthetic on others
d) recall enforcing an aesthetic on yourself

45.3.2

a) recall inhibiting an aesthetic for another
b) recall another inhibiting an aesthetic for you
c) recall another inhibiting an aesthetic for others
d) recall inhibiting an aesthetic for yourself

45.3.3

Now let's balance this with some positive action

a) recall another enjoying an aesthetic that you shared with them
b) recall enjoying an aesthetic that another shared with you
c) recall others enjoying an aesthetic that another shared with them
d) recall enjoying an aesthetic that you discovered for yourself


45.4 Evaluation and Invalidation

This is similar to enforce and inhibit, but instead of
dealing with the aesthetic itself, it refers to the
consideration of what is an aesthetic.


45.4.1

a) recall enforcing an evaluation of an aesthetic on another
b) recall another enforcing an evaluation of an aesthetic on you
c) recall another enforcing an evaluation of an aesthetic on others
d) recall enforcing an evaluation of an aesthetic on yourself


45.4.2

a) recall invalidating an aesthetic for another
b) recall another invalidating an aesthetic for you
c) recall another invalidating an aesthetic for others
d) recall invalidating an aesthetic for yourself


45.5 Encouragement

Now lets work the positive side of this.

a) recall encouraging another's creation of aesthetics
b) recall another encouraging your creation of aesthetics
c) recall another encouraging others creation of aesthetics
d) recall encouraging yourself to create aesthetics


45.6 Overts

Spot any time that you can where you might have created
an aesthetic with intent to harm or which resulted in
harm.

Run out the victim's viewpoint as given in the chapter
on overts, motivators, and withholds.


45.7 Sales

Aesthetics are so desirable that they can be used as
carrier waves, so to speak, for less desirable things.

This is very common in sales.  TV commercials often
use an aesthetic to present an otherwise inferior or
undesirable product.

a) Spot a time when a desirable aesthetic was used to 
present something that was not desirable.

b) Mock up the aesthetic part and the undesirable parts
separately, one to the right and one to the left.

c) Copy each one individually a number of times until
you can have it or discard it.  Do this until they seem
really separate.  Then do what you want with each part.

Repeat until you find it easy to separate the aesthetic
envelope from an unwanted product.


45.8 Mocking up aesthetics

Pick an object in the room.

Mockup a copy of it.

Make the copy more and less aesthetic, alternately.


45.9 For the future

At your convenience, study and work at aesthetics in
whatever areas seem interesting to you.

It is its own subject.  You need to do more than just
run processes.  But processing can help in raising your
confront and awareness and freeing up enough of your
attention to allow you to create things easily.

In general, your first step in any area of creation is
simply to create things without worrying about the
aesthetics or quality until the barriers to creating
fall away.

In other words, if you want to write, then start writing

things without worry about the content, value, or
quality, until you find it easy to sit down and write.

After that is when you begin to work on trying to write
something that somebody else would want to read.

In other words, you start mocking up first, and then you
add the aesthetics, rather than trying to do both on
the first try.


=================


SELF CLEARING CHAPTER 46: THE UPPER DYNAMICS


These were mentioned in the chapter on Ethics.  They are extremely
important to your spiritual health as a being.

Here is the list again.

Dynamic 1 (9) : Ethics
Dynamic 2 (10): Aesthetics
Dynamic 3 (11): Construction (building things)
Dynamic 4 (12): Reason (mathematics and so forth)
Dynamic 5 (13): Variety (change)
Dynamic 6 (14): Games
Dynamic 7 (15): Understanding
Dynamic 8 (16): Creation

We have already done some work on ethics and aesthetics.

This chapter is barely a beginning in these areas.  They run
very very far back in the course of our existence.  As you
become more advanced, you will find much more material on these
things, both in the far past and in your current lifetime.


46.1 Some Positive Processing

Let's begin by spotting some positive factors on each of
these upper dynamics.  Since we have already run some things
on Ethics and Aesthetics, skip the processes on those if they
feel like an overrun.

46.1.1

a) think of a desirable ethical concept
b) think of an ethical concept that another would find desirable


46.1.2

a) think of a desirable aesthetic
b) think of an aesthetic that another would find desirable


46.1.3

a) think of something that you would have fun building 
b) think of something that another would have fun building.


46.1.4

a) think of an interesting brain teaser or problem in logic
that it would be fun to solve
b) think of an interesting brain teaser or problem in logic
that another would have fun solving


46.1.5

a) think of some interesting changes that would be fun
b) think of some interesting changes that would be fun for another


46.1.6

a) think of some games that would be fun to play
b) think of some games that another would have fun playing

46.1.7

a) think of something that it would be interesting to understand
b) think of something that another would find it interesting
to understand

46.1.8

a) think of something that it would be interesting to create
b) think of something that another would find it interesting
to create


46.2 The Negative Side

Unfortunately, we have used these things against each other.

Lower scale mechanisms of pain and control will not work
on a godlike being.

But these upper dynamics are native to somebody who is in
a godlike state and they find the ethics and aesthetics and
games and whatever to be of extremely great interest.

And so they can be used as lures for entrapment.  Being
innocent, the being can be easily tricked.  These dynamics
are the desirable bait that was used in laying the traps.

But let's not get one sided about this.  It is not so much
that you, in your innocence, were dastardly tricked and
trapped.  The truth of the matter is that you also worked
very very hard to trick and trap others.  It was a two way
street or else you never would have been caught so thoroughly.

We still do these things even now.  Aesthetics are used to
sell undesirable products, logic is used to talk people into
undesirable things, and so forth.

The area is so basic and runs so deep that only the barest
edges may be accessible at this point.  But we should at least
take some of the sting off of these areas.  If you can run
these deeply (possibly on a second pass), then do so.  If
not, then just take them to a mild win.  Even that should
have profound effects.

Because the area is very advanced, we are going to use a
very loose question in the form of "spot the impulse to ..."
and let anything come up that you can get your hands on.
This could be spotting your postulates or intentions, this

could be spotting actual incidents in the past, or it could
simply be "getting the idea of" as a way to soften up the
area and bring it into view.

And we will use the general button of "control" rather than
trapping or enslaving others because it is both more general 
and more basic.


46.2.1 Ethics

a) spot the impulse to control or manipulate others through 
their sense of ethics
b) spot the impulse of others to control or manipulate you 
through your sense of ethics

46.2.2 Aesthetics

a) spot the impulse to control or manipulate others through 
their desire for beauty or aesthetics
b) spot the impulse of others to control or manipulate you 
through your desire for beauty or aesthetics

46.2.3 Construction

This could be building structures or even building an
organization.  It can often involve much work and group
activity and is one of the reasons that a free being will
join groups by choice.

a) spot the impulse to control or manipulate others through 
their joy at constructive efforts
b) spot the impulse of others to control or manipulate you 
through your joy at constructive efforts

46.2.4 Reason

Logic can be used to entrap.  One agrees with "A" and then
with "B" and then is shown that "C" is a logical consequence
even though one doesn't like it, and so one agrees to "C"
as well and begins to be lead down the garden path.

a) spot the impulse to control or manipulate others through 
their agreements with logical arguments
b) spot the impulse of others to control or manipulate you 
through your agreements with logical arguments

46.2.5 Variety and Change

The being likes variety and change.  If you can convince
someone that something else is just as good as what they
have now, they will happily trade just for the fun of it in
most cases.  Unless, of course, they have grown cynical 
because we have played this as a con game so many times.

a) spot the impulse to control or manipulate others through 
their desire for change and variety
b) spot the impulse of others to control or manipulate you 
through your desire for change and variety

46.2.6 Games

We put up with all sorts of misery just for the sake of
having an interesting game.  People can be tricked into
limiting themselves just to make the game more interesting.

a) spot the impulse to control or manipulate others through 
their desire to have an interesting game
b) spot the impulse of others to control or manipulate you 
through your desire to have an interesting game


46.2.7 Understanding

The being's desire to understand can also be used against
him.  The great game of victim is played by convincing
somebody that they can't really understand how you feel
unless they feel just as bad as you are pretending to feel.

a) spot the impulse to control or manipulate others through 
their desire to understand
b) spot the impulse of others to control or manipulate you 
through your desire to understand


46.2..8 Creation

This one is embracive of all the others.

The being loves creations and loves to create.

He copies things and mocks them up just for the sake of
having them.  At a deep level, he is afraid that he will
fall behind and not have enough richness and variety in
his creations, and so he can be tricked into copying
and creating and stepping into an unpleasant reality
just because it is detailed and interesting and has
games and aesthetics of whatever degraded sort.

At the higher levels, you could think of these as
universes or realities.  But even in the human existence,
we are often tricked into undesirable situations simply
because they seemed interesting and enticing.

a) spot the impulse to control or manipulate others through 
their desire to create or experience interesting realities
b) spot the impulse of others to control or manipulate you 
through your desire to create or experience interesting realities


46.3 Positive Action

Even though these upper dynamics have been used to entrap,
the being will not truly abandon them.


As we have discussed before, the surface attempt to make
nothing of something does not release the deeper impulses.
A being might negate against ethics or aesthetics, saying 
that all rules are meant to be broken or that all art is
junk.  And yet he will still have some code that he holds
to and some kind of aesthetics that he still considers
beautiful.

He will not discard a gem just because it has become
corroded.  The only choice, therefore, is to polish it up.

So now that we have looked over the negatives and how these
dynamics have been used to entrap, lets get back on the
positive side and take it a bit further.

Run this for each of the 8 upper dynamics:

Go to a crowded place and spot people and postulate into them
an increase in ability in that area.  For ethics, postulate
that they will have a greater sense of true ethics (not
morality).

After this, go over each of the 8 areas again and think
of things that you could do in the area and actually do
some of them.  It is all right if the things are trivial.  Its
all right if you only choose to do some things and not others
in a particular area.  But get some actual positive action going.


=================  



SELF CLEARING CHAPTER 47: POSTULATES


The being's senior ability is to have things exist simply
by postulating that they exist, or to have things happen
simply by postulating that they are happening.

This is almost like wishing things into existence.  But it
is external rather than internal.  It is not hoping for
something or desiring it very very strongly.  It is the
actual and active projection of thought so that it becomes
manifest.

To work it must be done without considerations or counter
intentions and it requires responsibility for the indirect 
ramifications.

It is very easy to make your postulates work with your own
mockups.

Visualize a door.  The door is there in your "imagination".
This is a postulate.

Visualize the door opening.  Because it is your door in your
own mocked up space, it does open without problem.  This
is a postulate.  Note that if you just sit there wishing
that this door should open, you simply sit there wishing
about the door, which remains closed.  Instead, you wish
to have the door open and then you have it open.  It is
the actual "having it open" which is the postulate.

When you try to make a postulate stick in the "real" world,
there is a bit more difficulty.  There are other people,
and all of us are holding reality synchronized together.
There are many people postulating or holding things various
ways even if they are no longer conscious of doing so.
There are various ramifications and consequences and
counter intentions.

At this late stage, with the being so deeply enmeshed
in material reality and with so many considerations and
counter intentions buried out of sight, the being will
rarely make a postulate stick in the real world.  And
yet when he does, it is unbelievably easy.

A postulate is not done with force.  When it happens, it
happens effortlessly.  These things are done in a total
bypass of physical laws.

The biggest thing that affects a being's postulates are
his own considerations.

So let's see if we can do some processing on this.  


47.1

a) what postulate were you glad to make stick
b) what postulate did you regret making stick


47.2

a) what postulate worked completely
b) what postulate only worked partially
c) what postulate didn't seem to work


47.3

a) mockup a way to keep your postulates from sticking
b) mockup a way for you to keep another's postulates from sticking
c) mockup a way for another to keep other's postulates from sticking
d) mockup a way for another to keep their own postulates from sticking


47.4

Here is a set of processes that you can run on a specific 
postulate that you would like to make stick

Pick some light and interesting and pleasant thing that is
not too far out of the realm of possibility and which is not
harmful to others.

Try this with a few things just to see what considerations

you can dig up and to see what happens.  Do it as an experiment
and don't be too disappointed if one doesn't stick.


a) get the idea of (postulate)
b) get the idea of (reverse of postulate)

a) from where could you mockup (postulate)
b) from where could you mockup (reverse of postulate)

a) who would be willing to mockup (postulate)
b) who would be unwilling to mockup (postulate)

a) spot a reason for making (postulate)
b) spot a reason for not making (postulate

a) spot a desirable consequence of (postulate)
b) spot an undesirable consequence of (postulate)

a) mockup an acceptable history leading to (postulate)
b) mockup an unacceptable history leading to (postulate)

a) get the idea of making (postulate) stick
b) get the idea of keeping (postulate) from sticking

a) who would you have to be to make (postulate) stick
b) who don't you have to be to make (postulate) stick

a) what would you have to have to make (postulate) stick
b) what don't you have to have to make (postulate) stick

a) what would have to happen to make (postulate) stick
b) what doesn't have to happen to make (postulate) stick

a) what would you have to do to make (postulate) stick
b) what wouldn't you have to do to make (postulate) stick

a) spot people who could agree with (postulate)

a) spot a time when you didn't want another to make
   (postulate) stick
b) spot a time when you were willing to have another
   make (postulate) stick

a) what agreement would prevent ___ from sticking
b) how could that be adjusted


47.5 More information

You can go around with a lighthearted attitude, just making
postulates and seeing what happens.

It doesn't work to struggle with or force these things.
Either they stick or they don't.  It usually messes them
up to keep fooling with them after you have made them and
it rarely helps to do so, so you just project the intentions
and let it be.

If something is important, you postulate it occasionally from
different angles, never letting yourself become concerned
about the ones which didn't stick.

You can also spot what considerations you have in an area.
And you can spot counter intentions which prevent the
postulate from sticking.

But this entire book could to some degree be thought of as 
the study of the considerations and counter intentions that
are in one's way.

And so the factor of accessibility comes into play.  You 
probably can't reach the deepest considerations which
prevent you from casually and consistently violating
physical universe laws.  And yet you might occasionally
let a postulate slip through anyway.

The easiest postulates to make stick are those which are
made for the sake of others rather than yourself.  Even
the most selfish and cynical person will have deep (and
possibly unreachable) considerations which block him
from highly selfish postulates.

For your own greatest benefit, postulate things for others
which also bring you what you need as a deserved side 
effect.

The way out is to some degree by holding hands rather than
by each of us flailing about alone in the dark.


47.6 An Advanced Process

This one might be better left until the second time through
the book.

You stop many of your own postulates by automatically
mocking up a counter postulate.

So let's try mocking up opposing postulates and then
relaxing them.

Pick some simple postulate such as reaching over and moving a 
pen or a pencil.  First do this a few times, postulating
moving the pen and moving it.

Now postulate moving it and immediately change your mind
and postulate not moving it, leaving it where it is.

Now postulate both simultaneously, moving it and not
moving it.  Hold them for a moment and relax.  As you
hold the two postulates concurrently, you might feel
a bit of mass or solidity which goes away when you
relax the two thoughts.

Practice this until you feel really good about being able
to relax two postulates that you are holding in opposition.


Then you might see if you can find some postulates that
are currently (and perpetually) in suspension like this,
spot what they are, and relax them.



=================



SELF CLEARING CHAPTER 48: NEXT STEPS


Even a shallow first pass through this book should have
given you a firm base to stand on in your further pursuit
of truth, enlightenment, and ability.

At a minimum, you should now know enough to experiment with 
anything safely and should be capable of evaluating various 
metaphysical schools and practices with some degree of judgment.

A thorough second pass through this book is highly recommended.

Scraping one layer off of the darker regions of the subconscious
exposes the next layer and makes it accessible.

Most of the processes in this book will run down to bedrock,
but you cannot take any one area all the way while the other
areas are unhandled.

It should eventually be possible to take things such as
simple recall techniques or handling of problems all the
way back to the early godlike time period when we first
postulated our own downfall and entrapment.

After this book has been run well and deeply (usually on
a second pass), you will probably find that there are other 
areas which need to be looked at.  There are quite a few
advanced topics in the Super Scio book, and there are others
being perused in the freezone, all of which may need to be
addressed.

Once you have gone much further, it may be appropriate to
come back to this book yet again and see if you can take
the processing even further.

The road is long and I do not pretend to have all the
answers.  But the techniques given here have been useful
to me even when entering areas that I was unfamiliar with.

If you should someday find yourself on some dark and
unknown shore, begin by running the techniques of chapter
one in that area.

The band of accessibility is of paramount importance.  This
determines what you can reach and what you can change.  The
E-meter only reads on what is in the accessible band, which
is why you can't use it to gain cosmic answers.  The same
is true for everything from hypnosis to faith healing and
psychic channeling or even the placebo effect noticed
by doctors.  It all works in the accessible band, because
that is where the person can still change his own mind,
and it all fails when it comes up against the more deeply
buried areas.

The indications are that the accessible band represents
perhaps twenty percent at best.  The keynote of the techniques
used in this book are that they move things from the accessible
band up into the clear region and therefore allow more that
was in the deeper regions to come up into the accessible band.

Once you have taken apart most of the twenty percent that
is in reach, you will find that you can now reach things
that you could not have conceived of before and you will
find that you can cure more conditions that used to be
unchanging facts of life.

Before taking a second pass though this book, it will help
to read chapter 4 of the super scio book which explains
a bit more about processing, and also to read chapter 2
which lays out a bit of a cosmic history that might help
in orienting your past life experiences.

You might also want to read the appendix of this book even
if you are not trained as a professional processor.  You 
probably do know enough about Scientology by now to follow
the discussion.

You might also want to read some of Hubbard's books or
listen to his lectures.  The taped lectures of 1952 to 1954
are very in keeping with the spirit of this self clearing
book.


48.1 Other Areas to Pursue


To live life well, you need skills and abilities.  To earn
your daily bread, you need to produce something to exchange
for it.

The upper dynamics described in an earlier chapter are 
ideal areas to pursue.  Develop talents.  Follow aesthetic
pursuits.  Perform constructive activity.

Work on these upper dynamics is rarely rewarded immediately.
Sometimes it can take lifetimes to develop a major talent.

But this is your power base as a free spirit.

You will find that you will be much happier in your job and
do better in life if you can just add in a tiny bit of these
things into your daily activities.


48.2 Other things to learn

Of course the general areas of philosophy and metaphysics
are extremely useful, as is any study of work being done
with the mind or spirit even including the more materialistic
behavioral studies that are so popular in the field of
psychology.

It is especially beneficial if you learn how to process
others.  In helping others you will not only be doing a
good deed but you will also be helping yourself and it will
raise your awareness and understanding by a considerable
margin.

The realm of higher mathematics exercises concepts that are
involved in the creation of universes.

Abstract (non-vocal) music is an exercise in creating a small
fixed universe that is outside of the human frame of reference.

Computer programming exercises the ability to create an
ordered series of postulates, and that (without the electronic
hardware) is the skill used to create the more complex mental
machinery.

Advanced physics, especially in areas such as quantum 
mechanics, explore the mechanics of this universe at a level
which you will need to understand eventually.

Really anything which expands your skill or awareness or
exercises your ability to create is rich ground for future
growth.

These are not things that you learn in a weekend.  These are
things that you might initially only dabble in or play around
with a bit.  But if you begin laying some foundations now,
you'll be prepared to run with them when the time is right.

Even if you think that you are too old or it is all too far
beyond you, you can lay fertile soil for the next time around.


48.3 A final process

Let's do one final process which is aimed at getting you a
bit exterior to universes and the games therein.

This one undercuts a lot of things and is especially nice
to run.

Visualize or mockup a scene.  City or landscape or whatever
you like.  Add some detail to it.  Get some mass into it,
whether mountains or buildings or steam locomotives.  Add
some color and aesthetics.

Then alternately, visualize yourself as being in the scene,
and being exterior to the scene looking at it.  Do this
a number of times.

Then mockup another scene and repeat.

Continue until you feel good about entering and leaving
scenes at will.  Do at least 3 different scenes so that you
don't fixate on one.


48.4 Conclusion

Good luck and good wishes.

As Jesus said, ye shall do greater things than I.

We have each been the architects of our own entrapment.  
We only thought that we were trapping others.  It is time
that you set yourself free.

Thou are god.  Each and every one of us in his own way.



The Pilot

December 1997


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