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Copyright 1996
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 alter their contents.
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5. Levitation Rundown - continued
5. Handling of Gravity and other Advanced Phenomena
5.1 Exteriorization
This is the 1954 exteriorization process used in the 5th ACC among other places.
5.1.1 Alternately spot 3 points in the body and 3 points outside of the body.
5.2 Falling Upwards
This is based on some theories from the 2nd ACC.
5.2.1 Mockup objects (boxes, cans, cars, planes, etc.) on the ground outside and have them fall upwards into the sky and out into space.
5.2.2 Spot objects in the room. For each one, do a mockup of it falling upwards threw the ceiling and out through the sky.
5.2.3 Exteriorize and spot large objects around the world; tall buildings, mountains, monuments, etc. For each, have it fall upwards into the sky.
5.2.4 Mockup squished dead bodies lying on the ground (male, female, old, young, etc.). For each one, mock it up as pulling back together and falling up into the sky (i.e., run falling and going splat in reverse).
5.2.5 Mockup being very high in the air in a meat body and falling down to the ground and going splat. Then float up from the body and say "boy that was fun, let's try again". Do this with various types of meat bodies. Continue until flat. You should come up through the exhilaration of splattering various types of bodies until you can take it or leave it.
5.3 Reach and Withdraw from Gravity
5.3.1
a) Reach for the center of the Earth.
b) Let go of it.
5.3.2
a) Have others reach for the center of the Earth.
b) Have them let go of it.
5.3.3
a) Spot objects in the room. Have each one reach for the center of the Earth and let go of it.
5.4 Keeping the Earth from Going Away
5.4.1
a) Reach for the Center of the Earth and keep it from going away.
b) let go of it.
c) Have the Earth acknowledge you for doing this.
5.4.2
a) Have the Earth keep you from going away.
b) acknowledge the earth for this and have the acknowledgment end the cycle.
c) Have the Earth feel relieved.
5.4.3
a) Have others reach for the center of the earth and keep it from going away.
b) have them let go of it.
c) Have the earth acknowledge them for doing this.
5.4.4
a) Have the earth keep others from going away.
b) Have others acknowledge the earth for this and have the acknowledgment end the cycle.
c) have the earth feel relieved.
5.4.5
a) Have objects on the surface of the earth keep the earth from going away.
b) You acknowledge them for this and have them let go.
c) Have the earth acknowledge them for letting go.
5.4.6
a) Have the earth keep the objects on its surface from going away.
b) you acknowledge the earth for doing this and have the acknowledgment end the cycle.
c) Have the earth feel relieved.
5.5 Meaningness Processing
As a preliminary step, run or rehab the process of putting meanings into the walls. This is done on a group processing tape in the Anatomy of the Spirit of Man congress (ASMC-6, 1955) (the congress was repeated worldwide as the "October Congress" in 1969). The process is as follows:
5.5.1 Put "This Means ...." into the walls, floor, and ceiling. You fill in the blank. Invent things like "This means it's Tuesday" and "This means I'm hungry" etc.
The following variation is addressed specifically towards handling gravity.
5.5.2
a) Have the center of the Earth tell you "This means ..." and you acknowledge it.
b) You tell the center of the earth "this means ..." and have the earth acknowledge you.
5.5.3
a) Have the center of the Earth tell other people "This means ...". Have them acknowledge it.
b) Have other people tell the center of the earth "This means ..." and have the earth acknowledge them.
5.5.4
a) Have the Center of the Earth tell objects on the surface "This means ...". Have the objects all acknowledge
it together.
b) Have the objects on the surface all say together "This means ..." to the center of the earth. Have
it acknowledge them.
5.6 Perception
It might help to improve one's perception of the objects one is trying to move. This really belongs in a perception rundown, but we can use it here anyway.
Early tech was that a black or invisible field comes from incidents where one is looking at blackness etc. This is not the primary why (although it is the case occasionally). The main reason the PC has a black field is that he postulated blackness to not-is something he didn't want to see. His effort to make things go black is far senior to any motivators of blackness.
5.6.1 With your eyes open, spot objects in the room. For each one, push blackness onto it and then pull the blackness off again 3 times.
5.6.2 Repeat 5.6.1 with your eyes closed.
5.6.3 With your eyes open, spot objects in the room. For each one, push invisibility over it and then pull the invisibility off again 3 times.
5.6.4 Repeat 5.6.3 with your eyes closed.
5.7 Frames of Reference
You could think of a frame of reference as a way of looking at life or an intertwining set of consideration. There's really a lot more to this which will be covered in its own write-up.
5.7.1
a) Spot some frames of reference from which it would be reasonable for you to levitate an object.
b) Spot some frames of reference from which it would be unreasonable for you to levitate an object.
5.7.2
a) Spot some frames of reference from which it would be reasonable for another to levitate an object.
b) Spot some frames of reference from which it would be unreasonable for another to levitate an object.
5.7.3
a) Spot some frames of reference from which it would be reasonable for you to create some energy.
b) Spot some frames of reference from which it would be unreasonable for you to create some energy.
5.7.4
a) Spot some frames of reference from which it would be reasonable for another to create some energy.
b) Spot some frames of reference from which it would be unreasonable for another to create some energy.
5.8 Walls
5.8.1 Spot objects in the environment. For each object, put a beam on it, then have the walls, ceiling, and floor tell you "Your degraded for doing that".
5.8.2 reverse the flow. Touch objects in the environment with beams and you tell the walls, ceiling, & floor "Your degraded for doing that".
5.8.3 Touch objects in the environment with beams and have the walls, ceiling, & floor laugh and say "you can't do that".
5.8.4 Reverse the flow. Touch objects in the environment with beams and flow laughter and "you can't do that" into the walls, ceiling, and floor while your doing it.
5.9 Being Safe
5.9.1 How could not levitating make you safe.
5.9.2 How could not levitating make another safe.
5.9.3 How could not levitating make others safe.
5.10 Terror
In the old days, an object starting to move around might herald the beginning of an attack by an unseen spirit. In the theta MEST wars, the body people were harassed by free thetans, your first warning that one of these thetans was around might be an object suddenly taking off and flying at you. In the magic era, an enemy wizard might start moving things in your space or a demon might show up to haul you off to hell. In recent times, an object moving might mean that a ghost or the undead or something are around and are 'gonna get you'.
As a result, there is a terror connected with objects moving and you have all sorts of defenses rigged up to prevent this from happening. If you did make an object twitch, you'd probably scare yourself to death. The body can get really frightened too.
We'll start with some recalls.
5.10.1 Recall another scaring you by levitating something in your space.
5.10.2 Recall scaring another by levitating something in their space.
5.10.3 Recall others scaring others by levitating things in each other's space.
5.10.4 Recall scaring yourself by levitating something.
5.11 Further handling of fear of levitating
5.11.1 Put fear of levitating into the walls, furniture, and other objects in the room. Get this up to a real feeling of terror. Keep at it until it becomes humorous.
5.11.2 Spot an object in the room. Mock up the idea that it is beginning to twitch. Then have the walls and furniture become terrified and suppress the motion. Repeat.
5.11.3 Spot an object in the room. Mock up the idea that the object is beginning to twitch. Now mockup that you become terrified and suppress the motion. Repeat.
5.11.4 Spot an object in the room. Mock up the idea that the object is beginning to twitch. Mock up crowds of people all over the city noticing it on a subconscious level, becoming terrified, and suppressing the motion. Repeat.
5.12 Handling whoever is afraid
Check for BTs, PMEs, etc. who would be afraid if something was to be levitated and handle with the appropriate techniques.
5.13 Tearing Reality
Early on the track, one could tear the space/time fabric of a story universe and mess it up (like accidentally tearing a nice book). Since there wouldn't be anything postulated outside of the story, you'd only find blackness in the tear.
Later implants tried to stop people from levitating things by implanting false data to convince you that the real universe was a story universe that would tear if you messed with it.
5.13.1 Spot objects in the room. For each one, mockup putting a beam on it and pulling at it. Mockup a tear appearing between the object and whatever it is sitting on. Have blackness start poring out of this tear. Then you push it all back together and leave it alone.
5.13.2 Spot times when you tore a story universe. Spot any regret or feeling of shame in the incident. Spot whether or not you were invalidated for doing it. Spot whether or not you tried to hide the fact that you did it. Spot any decisions or postulates you made at the time.
5.13.3 Spot times you invalidated others for tearing story universes.
5.13.4 Spot times when others invalidated others for tearing story universes.
5.14 Spoiling the Game
5.14.1 Spot objects in the room. For each one, decide to levitate it. Then change your mind and decide not to because it would spoil the game.
5.15 Trust
5.15.1 Spot some people you could trust with the ability to levitate.
5.15.2 Spot some people who would be safe if you had the ability to levitate.
5.16 Ext/Int
The processes in this and the next section are based on 3rd ACC lectures 48 and 49 of 1 Feb 54.
5.16.1 Spot objects in the room. For each one, interiorize into it and exteriorize from it a number of times.
5.16.2 Spot objects in the room. For each one, mockup other thetans interiorizing into it and exteriorizing from it a number of times.
5.16.3 Exteriorize and look around the country. It's OK if your perceptions are vague, just get what you can. Spot large masses such as buildings, mountains, etc. For each one, interiorize into it and exteriorize from it a number of times.
5.16.4 Exteriorize and look around the country. Spot large masses such as buildings, mountains, etc. For each one, mock up other thetans interiorizing into it and exteriorizing from it a number of times.
5.16.5 Run alternately on the Earth and the moon. Interiorize into and exteriorize from the center of the planet a number of times.
5.16.6 run alternately on the Earth and the moon. Mockup other thetans interiorizing into and exteriorizing from the center of the planet a number of times.
5.17 Certainty Processing
See certainty processing in CofHA.
5.17.1
a) Get the certainty that objects can be levitated.
b) Get the certainty that objects cannot be levitated.
5.17.2
a) Get the certainty that you can levitate objects.
b) get the certainty that you cannot levitate objects.
5.17.3
a) Get the certainty that others can levitate objects.
b) Get the certainty that others cannot levitate objects.
5.17.4
a) Get the certainty that you can generate force.
b) Get the certainty that you cannot generate force.
5.17.5
a) Get the certainty that others can generate force.
b) Get the certainty that others cannot generate force.
5.17.6
a) Get the certainty that you must levitate things.
b) Get the certainty that you must not levitate things.
5.18 Havingness
Mockup a copy of the Earth. Make it as large and massive as possible. Make the copy more and more discreditable until it snaps in. Now mock up lots and lots of copies of this mockup in all directions and have them keep snapping in as long as possible.
Once they wouldn't snap in anymore, then mock up lots more in all directions around the body and push them in. Keep doing it until it feels really good and your havingness is high.
Then pick a point to operate from way out in space somewhere. Move to the point and look around. See some stars off in the distance. Now mock up lots more of these discreditable copies of the Earth and keep pushing them into this operating point from all directions. Be both in the point receiving the mass and pushing the mass in from outside. Occasionally throw some copies of the earth away as well.
When you don't give a damn about the mass of the earth anymore, make the copy nicer until it either snaps in again or it seems very interesting and worth having. Then go on with the process.
Keep this up until you can easily have or not have extremely beautiful, wonderful, aesthetic copies of the Earth in great quantities.
6. Union Station Processing
This is run where there are a lot of people walking around. The processes are based on R2-46. This step could be delayed and done between steps 5 and 6 or between steps 6 and 7 if that is more convenient.
6.1 Postulate an inability to levitate into people.
6.2 Postulate an ability to levitate into people.
6.3 Grant people the right to levitate
6.4 Have people grant you the right to levitate
6.5 Postulate a lack of energy into people.
6.6 Postulate lots of energy into people.
6.7 Postulate being a source of energy into people.
6.8 Grant people the right to generate energy.
6.9 Have people grant you the right to generate energy.
6.10 Postulate a lack of havingness into people.
6.11 Postulate lots of havingness into people.
6.12 Postulate being a source of havingness into people.
6.13 Grant people the right to create matter.
6.14 Have people grant you the right to create matter.
6.15 Postulate a lack of space (collapsed space) into people.
6.16 Postulate lots of space into people.
6.17 Postulate being a source of space into people.
6.18 Grant people the right to generate space.
6.19 Have people grant you the right to generate space.
6.20 Postulate a lack of time (not enough time) into people.
6.21 Postulate lots of time into people.
6.22 Postulate being a source of time into people.
6.23 Grant people the right to generate their own time (independent of Mest time).
6.24 Have people grant you the right to generate your own time.
7. Machinery and Other Stops
7.1 Check for any PMEs (Programmed Machine Entities) which are
a) being levitation machinery;
b) being broken levitation machinery;
c) being machinery that blocks levitation
Handle each one found (spot being made into a machine, spot the first time, who are you). If CEs or any other types of entities turn up while doing this, handle them as well.
There will generally be a lot of this machinery, especially in the 3rd eye position in the forehead.
Note that it is undesirable to use machinery built out of beings even if it can be made to work properly (usually it is broken or out of control anyway).
7.2 Remedy of Havingness.
Blowing PME type machinery drops havingness since the machines blow, so you need to offset this with havingness. You should be able to mock up whatever machinery you do like to have around and make it persist if you want.
So run remedy of havingness by mocking up levitation machinery, making it more solid, and then pushing it into the body. Begin with broken levitation machinery (make it decrepit enough to snap into the body). Then gradually improve the machinery until it is highly aesthetic good working machinery. Do this from many different angles (above, below, infront, in back, etc.) and also push it up into the body from the past and down from the future and from non-physical-universe directions. The levitation machinery looks like whatever you think it should look like. Note that after running this for awhile, there is a tendency to cognite on the way good quality machinery should look. Also waste some machinery occasionally (throw it off into space etc.) in addition to pushing it into the body. There is extensive theory on this in the 1950s materials.
Once this is flat, go back and do step 7.1 again. If you blow a significant amount of PMEs, then cycle through 7.2 and do 7.1 yet again. Continue until you don't find much on 7.1.
7.3 Energy
Check for any PMEs which are being a) machinery that puts out energy beams, b) broken energy beam machinery, and c) machinery to block energy beams.
Handle each one found as in step 7.1 above
Note that it is quite possible that whenever you put a beam on an object to try and lift it, an equal and opposing beam is put out by a PME to keep the object in place.
7.4 Remedy of Havingness.
Now run remedy of havingness on energy beam machinery, starting with broken machinery etc. as in step 7.2 above. Cycle through step 7.3 and 7.4 a number of times as needed.
7.5 Check for any "watchers" or other BTs or Control Entities (CEs) or whatever that are secretly observing you to report on you if you do anything OT like levitating or other rule breaking activities.
Handle with the usual techniques (for CEs, spot being made into a CE, spot being made to split, spot being implanted with false data, spot the first time you were implanted with false data, who are you - see the CE write-up).
Note that this is the reality behind the "horrible consequences". Your infractions are reported and then the big guns focus in on you (see next step).
7.6 Check if anything is focused in on you from a distance to block levitation, creation of energy, or other OT abilities.
Often, if you do levitate something or otherwise violate physical reality, a watcher reports on you and a "suppressor" type device will be focused on you from some sort of implant station or control bureau. Usually they only try to block the ability, although sometimes they will try and make you sick as well.
Generally these "suppressors" are implant machines which contain PMEs or other entities to mock up the telepathic connection necessary to reach you at a distance. Usually this stuff seems to come in from quite far away (other planets or other solar systems) and might also be in an astral plane or something like that which is sideways of normal reality.
Simply spot the location (usually you just know where it is, but if necessary you can look for and find the line connecting you to it) and handle any PMEs etc. by the usual techniques.
By the way, the crew running these places generally doesn't care what you think or what you do here on Earth, they're just making sure that you don't develop the ability to strike at them at a distance. They're very covert in stopping you, usually just holding an object in place while you pull at it with a beam so that you'll decide you can't do it. They don't want you to even realize that there's anyone to fight against.
7.7 Check for any other BTs, Clusters, PMEs, CEs, Astral Beings or whatever that is protesting or blocking you levitating things or blocking your putting out energy.
Handle with the appropriate techniques.
7.8 Check if you're secretly hiding from yourself and stopping yourself from levitating or putting out energy.
If so, spot where you are doing it from, then spot the beginning of the implant that set this up (date if needed). Then spot being made to split (and being implanted with false data, if necessary). Then look earlier similar and spot the first time.
(Aug 1996 improvement) - have anything you find "point to the being you divided from".
Handle anybody still in the split location (often there are BTs etc. there as well and pretending to be you after you've stopped being split). Then, from the split location, spot (and have anyone else there spot also) the top of the agreements universe and building the agreements universe.
If needed, you can use any other Split Viewpoint (SV) handling techniques.
8. TR8
Hopefully you've already done TR8 to a really good EP. If so, then rehab it, especially the feeling of really getting your intention into the ashtray.
If necessary, get a coach and do TR8 in full.
Otherwise, just do the final silent step of it solo for a few minutes. This is just to dust it off a bit, like doing a few minutes of TR0 before giving a session even though you've already had a major stable win on it.
9. Objective Handling
These are objective processes. In this step, you run them by looking around the room etc. using the body's eyes.
9.1 Postulating Mest Objects
A solid object is much more than just a solidity. There is also space and energy and time (in terms of past and future).
Also, there is a thought component to all MEST. This is not to say that all Mest contains BTs or spirits of one sort or another. This is not true. But there is postulated though as in making the ashtray think the though "I am a wildflower". At a minimum, there is the remnant of the creating postulate within the object.
Another thing you will find is that all persisting objects contain a mystery component to keep them from as-ising easily. This is not a mystery that is about anything and there is no underlying datum to be discovered. It's simply a postulated mystery. It can't be "known" because there was nothing there to know about in the first place, but it can be duplicated to bring about as-isness.
In these processes, we're assuming that the PC is continuously creating reality on an automatic basis and simply having him do what he is doing to bring it back under some degree of control.
9.1.1 Spot objects in the room and postulate solidity into them.
9.1.2 Spot objects in the room and postulate weight into them.
9.1.3 Spot objects in the room and postulate color into them.
9.1.4 Spot objects in the room and postulate temperature into them.
9.1.5 Spot objects in the room and postulate energy into them.
9.1.6 Spot objects in the room and postulate space into them.
9.1.7 Spot objects in the room and postulate thought into them.
9.1.8 Spot objects in the room and postulate mystery into them.
9.1.9 Spot objects in the room and postulate aesthetics into them.
9.1.10 Spot objects in the room and postulate that they have a past stretching behind them.
9.1.11 spot objects in the room and postulate that they have a future ahead of them.
9.2 Reach and Withdraw
This is similar to the above, but here we will reach and withdraw from the various components that make up the objects. Here, you pick an object and then reach and withdraw three times in succession. It is preferable if the 3 reaches are fairly rapid and basically the same. If you get significant change while trying to reach 3 times, then repeat it 3 more times until flat.
9.2.1 Spot objects in the room. For each one spotted, reach and withdraw from its solidity 3 times.
9.2.2 Spot objects in the room. For each one spotted, reach and withdraw from its weight 3 times.
9.2.3 Spot objects in the room. For each one spotted, reach and withdraw from its color 3 times.
9.2.4 Spot objects in the room. For each one spotted, reach and withdraw from its temperature 3 times.
9.2.5 Spot objects in the room. For each one spotted, reach and withdraw from its energy 3 times.
9.2.6 Spot objects in the room. For each one spotted, reach and withdraw from its empty spaces 3 times.
9.2.7 Spot objects in the room. For each one spotted, reach and withdraw from its thought component 3 times.
9.2.8 Spot objects in the room. For each one spotted, reach and withdraw from its mystery component 3 times.
9.2.9 Spot objects in the room. For each one spotted, reach and withdraw from its aesthetic component 3 times.
9.2.10 Spot objects in the room. For each one spotted, reach and withdraw from its past 3 times.
9.2.11 Spot objects in the room. For each one spotted, reach and withdraw from its future 3 times.
9.3 Granting Rights
9.3.1 Spot objects and grant them the right to be there.
9.3.2 Spot objects and have them grant you the right to grant them rights.
9.3.3 Spot objects and have them grant you the right to move them.
10. Exterior Objectives - Bodiless Processing
For this process, you will need a comfortable place to lie down and a different room to run the process in. This is best done at home with a bedroom (to lie in) and a living room (to run the drill in). The idea is to lie the body down and exteriorize into the other room and do drills there.
Begin by going into the other room (the drilling room) and looking around a bit and familiarizing yourself with it. Leave the lights on in there while running this.
Then go into the room with the bed and lie down. You will occasionally need to look at the commands for the next process to run (unless you've memorized the whole procedure) so you will need the light on to read this. You can leave the light (in the bedroom) on or off when you run the drill (turn it off if it distracts you).
The processes to be run are those given in step 9 above, except that now your going to do them without a body.
a) read the commands for the next process or a group of processes using the body's eyes. Learn them well enough so that you wouldn't have to look back at them before you finish running them (only do one process at a time to start with).
b) Close your eyes and relax the body.
c) Exteriorize (if not already exterior). Now be in the center of the drilling room. Note that a thetan is really not located in space at all. So if you've already blown the consideration of being located, then just mock up an operating viewpoint (from which you will project and perceive) in the center of the drilling room and work from that location (instead of working from the body) in this drill.
d) Find and hold the 8 corners of the room. If there's any trouble doing this, then do some reach and withdraw on each corner (one at a time) and then grab 2 corners at a time and then 4 until you can get all 8. It is OK if your perceptions are very vague and wobbly. The room might appear out of PT and inaccurate, but don't worry about it. Just establish the 8 anchorpoints.
e) Raise your havingness a bit by pulling in the 8 anchor points a few times. If the anchorpoints are unreal and massless, then put some big heavy gold balls at each point and pull those in a few times instead. Its OK if the room is still pretty vague, it will improve as you keep running processes this way.
f) Now start pushing big gold balls from the corners of the room into your operating location. You can be in the operating location receiving the mass and also be pushing the mass in. Alternate this with gently pushing waves of energy or flitter (or just the concept of a perception wave) into the walls & furniture & then pulling the wave back (sort of like tapping a theta hand against the wall, letting it sink in a bit & then pulling it back a little, over and over).
g) Now run the process that you came prepared to run. If you have more than one process, reestablish the anchor points (if needed) and run step e again between each process.
h) When complete, drift back to the body, open its eyes, and start from step a above (read the next process to be run etc.). Optionally, you can run a little energy over the body and gradually reconnect to it before making the eyes open.
The above technique can be used with other processes besides those of step 9. We will call this general technique "bodiless processing".
Since the body is in a sleep like condition, there is a slight tendency to fall asleep. This is undesirable. So only run this when your wide awake. If you do begin to feel in a sleepy or dreamlike state, then do more of step f. You can also run remedy of havingness with other objects if needed. Another trick is to reach back to the body and make it feel a little more awake. What happens is that the body thinks it should sleep when the thetan is not using it, and the thetan tends to copy the body's unconsciousness if it does go to sleep.
11. Body Lifting
Do the PDC Levitation drills (body lifting). In brief, the rundown is as follows:
Repeat this for each of the following body parts:
a) right index finger b) left index finger c) right middle finger d) left middle finger e) right thumb f) left thumb g) right hand h) left hand i) right forearm j) left forearm k) entire right arm l) entire left arm
Other body parts can also be run, but the above should be enough.
For each body part, repeat the following steps over and over a number of times. Continue until you can do the steps successfully with speed and certainty. Then go on to the next body part.
A) Lay your hand down flat on the table, (for moving the entire arm, lay down and stretch your arm out).
B) Exteriorize, float above the body part, and put a beam on it. Drill putting the beam on it, and turning it off.
Note that pulling the beam off sometimes causes a flow that makes the beam sticky, so simply turn it off instead of pulling (this is per 3rd ACC).
Note that you can mock up a beam without having to be at one end of it. Try it both ways (putting a beam out from where you are and just mocking up a beam from a point that you select down to the body part).
C) Now put a beam on the body part and lift it up. Drill putting the beam on, lifting, moving the body part around very precisely, putting it down, and letting go (turning the beam off).
Note that you pull it into the air with a beam, you do not use the muscles to lift it. However, the muscles, in their relaxed state, will carry the weight of the body part, so that it is very easy for you to move it around with a beam.
At first your beams may be inverted and working backwards. So, if you have trouble lifting, try turning the beam around and reversing its direction. Also try mocking a tripod up underneath the bodypart and have the tripod extend itself upward and lift the body part from underneath.
If the body part still doesn't move after working at this for a bit, go on to step D. This is a fairly easy drill and you will get the body part into the air after a few times threw the steps.
D) Do mockups of lifting the body part.
You can start with the following, and then vary it on subsequent repetitions:
Mock up a space. Mockup a giant copy of the body part in the space. Make it very heavy. Have an army of men with ropes and equipment come and grunt and strain and finally lift it up into the air. Have them lift it and put it down a few times. Then have them go away and have another crew come with some big cranes and lift it up and put it down a few times. Then have a giant tractor beam come down from the sky and lift it & put it down a few times. Then have a minuscule, vague beam appear and snap the body part into the air easily and put it down a few times.. Then have a golden circle of light appear and make the body part go up and down simply by postulating it. Ball the whole thing up into a mass and toss it where you want.
You can end on either step C or D, whichever feels good.
Ï12. 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
12.2.1
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.
12.2.2
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.
12.9.1
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.
12.9.4
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
12.11.1
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.
12.16.1
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.
12.19.1
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:
12.20.1
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.
12.24.3
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.
12.15.1
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.).
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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.
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