Volume 9, Issue 8, page 10

think he might be identified with or might be
living for. What you want is to break any subconscious identifications, and they will show
up in this method. You want to break the blocks .
If, for example, he cannot imagine murdering
somebody, it is a block in perception. It is
also a block in ability. The same is true of
anything else, no matter how radical or unusual. He should be able to create and destroy
father and mother quite easily. (If he is good
at destroying them and can't create them, he
has a block there too; evidently he doesn't
like them. You will find this in many persons.)
Sometimes it is easier to start on destroying
first, and then create.

Now, this does not mean that you should go
out and cut your neighbor's throat, or proceed
to do any of these radical things. You should
be able to create and destroy them in imagination, and should not confuse these imaginary
forms with the real thing. The individual
should be able to create anything whatsoever,
physical or mental, in the universe; and at
the same time he should not confuse these imaginary structures with the real ones he perceives outside his imaginary universe.

You will find that the average person has a
lot of created structures around him which he
is guarding very closely and does not intend
to destroy. In order to open up his perception,
it will be your job to see that he becomes
consciously aware of these symbols and able to
destroy them so that he becomes free from those
limitations, free to chhose a course of action
which is appropriate to his immediate environment of today rather than some pre-set course
from 15 or 20 years ago when the facts weren't
all in. There may be some goals from the past
which do not have to be thrown off because they
are still appropriate. But as a general rule,
you want to be able to snap at your subject,
"Create this. Now do something with it, make
it act or function, make it exist. Give it
duration. Have it grow old and die; bury it;
destroy it." Or, "Create this, break it up and
repair it; destroy it." He should respond
quickly, no matter what it is. You should keep
him drilling and working on this until he finds
out how he creates in his mind.

Another reason for this drill is to remove
the constant background noise and milling and
the circulation which exists in the mind, and
to help the individual control his own thought
field, his own consciousness, so that it does
specifically what he instructs it to and not
something else, and so that he knows in detail
whether those things which appear before his
consciousness are his own or someone else's. I
will reiterate what I have said in previous
lessons: Anything which you can change or put
thru a cycle of action in your imagination belongs to you. If a picture appears in your mind
and you cannot do anything with it except turn
it down or shut it out -- if you cannot say,
"Well, that's a nice picture. Let's make it do
this. Let's make it do that. Now let's make it
do something else," and get the results you
want -- then it is not yours. Your pictures -- the
things which belong to you -- should be under
your control; you should be able to do anything with them.

A person in good shape should not have old
songs millingthru his head. He should not have
thoughts which disturb him. He should not have
any emotions but those he chooses to feel. If
he does feel them , he should know where they
came from and why they are there and what purpose they serve. He should have the answer to
any problem for which he has all the data. The
act of cogitating or milling in the mind is an
emotion, and not a necessary one. The proper
method of mental function proceeds from problem thru data to an immediate blankness opening up for the answer to move in -- a receptivity
-- and the answer should be there promptly.

The ease with which you can create and destroy images and the variety of images you can
control will determine how accurately you will
pick up other people's images. At first, as
you receive stuff which comes from someone else ,
it will probably come to you in your own symbolism; that is, when they put out something
keyed to an emotion, you will translate it into whatever you would have to do or see to
have that same emotion. As you work with it
and it becomes more accurate, you will begin
gradually to see some of the sender's picture
and what causes this particular emotion in him.
The reception will clear up. Sooner or later
you should be able to look thru the other person's eyes and see the scenery around him, the
bus he is riding on, the place where he walks,
the newspaper he is reading. But that takes
some practice.

The factor which will determine the accuracy
of your ability wi!1 be how freely you c an
create and destroy in your imaginary universe.
If you are drilling someone on this, see to it
that he has an imaginary universe, that he recovers all of it, and that he gets the feeling
within himself that he can put anything whatsoever into that universe without feeling any
doubt or fear. He should know that it belongs
to him alone, and that it is under his control .
Be absolutely positive about this. Make certain
he is not living in someone else's imaginary
universe, that he is working and living in his
own, and that he has his own under his control .

How do you control from whom you pick up
images? This is a matter of empathy. What determines the ones you pick up is how close
your own emotion and rate of motion and desire
or intention match the other individual. The
same applies to somebody receiving your signals. It will be, literally, the individual
who vibrates on your frequency, the one who
has the same type or rate of motion or something close to it, and the same emotion or a
similar emotion, and the same or similar intentions.

Hcw do you pick up something which is specifically attached to someone else. Probably
the easiest way, if you can do it, is "black
and white". If you have the individual himself
or something which belongs to him in front of
you, sit down and blank your mind completely.
Clear out all the images. Then create in your
mind a white field, and take whatever appears
in this field and look at it. Such images should
be those which are associated with the person
or object on which your attention is focused.
They may not; they may be strays, especially
at first; it takes practice. But this method
is by far the easiest. As someone else puts
it, you go into the mists, sort out the pictures, and pick out the ones you want. This is
the Spiritualist's description of what he does
in order to tell people about themselves, what
condition they're in, etc. If you can develop
this ability, you can go into a room full of
people, sit down, close your eyes, and create
around you a blank field; simply spread the field
out over the room, and the images which will
appear will be the ones transmitted by others.

How do you know which signals are important
to you, and how do you get the ones you want?
This takes practice too. Desire controls it,
(PLEASE TURN TO PAGE 13)
1
10 The ABERREE DECEMBER, 1962