Volume 9, Issue 1, page 10

(continued from page 9)

much the same. Best results will be achieved
if you work alone in a quiet place, the same
place at approximately the same time every day.
Take a pair, any pair, and feel first the one,
as strongly as possible, and then the other,
and drill on them alternately with a good
strong sense of change. Then speed up the
change until it is as rapid as possible. After
the change speeds up, the noticeable effects
within the body will probably diminish.

Don't work too long at a time on this. If
you are working in a team, you should alternate,
ideally about three times a week. If you can
do more than that, good. Don't work more than
a half or three-quarters of an hour at a session. If you are working alone, 15 or 20 minutes a day should be enough. The subject should
be fairly fresh and not too hungry or worn out,
because a half or three-quarters of an hour of
this done properly should be equivalent to
about half a day's work. It should consume
quite a bit of energy and food.

This is not an exercise in transmission or
radiation. It is an exercise in internal awareness -- sensing within yourself -- and internal
control. You have to learn to shut down the
transmitter, to control and handle it, before
you can receive, and that is the purpose of
this exercise.

Especially if you are working alone, here
is something to watch out for: Feeling these
emotions will dig up old memories and buried
data. The psychoanalysts use similar techniques
to dynamite loose anything they want to dig
out. Now that may be fun for the psychoanalyst,
but it is not what you are after. You are after
getting this stuff under control. So don't play
around with anything that may turn up. Keen on
going; concentrate on the emotions, the sensations within the body, and on changing them.
If you are the observer, and your subject says,
"Gee! I just saw the funniest pictures! Reminds me of something I did when I was a kid,"
you say, "Fine. Now let's feel that again."
Keep on going and don't play with the pictures.
If as an observer you notice that your subject
suddenly seems to get lost and out of this universe, get in communication and find out what
he's no to. If you are working alone, don't
follow the nictures; concentrate on changing
the emotions and feeling the sensations of them.

If the pictures do turn up and you want to
play with them later, that's all right -- later.
You can do free association on them in your
own sweet time -- but not while you're doing
this exercise.

Stay on success -- stay on the ones that can
be done easily. Work one pair at a time, about
five minutes or so if you're working alone, 10
to 15 minutes in teamwork. If you don't get
anything on the first pair, go to the second ;
if you get nothing on that, try a third. If you
draw three or four blanks in a row, go back to
effort. The subject is not yet ready to feel
emotion or control it. He is not yet ready to
be responsible for it. But there should be some
which come easily. Stay on these for awhile;
just mention the others gently, and if the
subject can't do them (or if working alone you
can't feel them), come back to them later on.

When you are thru, extrovert; put your attention on the external environment as you
learned to do in Lesson 1.

If you run into a discomfort, as you may
occasionally do in these things, try turning
the dichotomy over again several times. Ordinarily the same thing which produced the discomfort will, if continued, remove it. If it
doesn't, go outside, extrovert, get your attention away from it and on the environment.

Several of the dichotomies should be given
extra attention. Right and wrong is one on
which you should do a lot of work. Have the
subject feel right, feel wrong, and switch
back and forth. Beauty and ugliness.is another.
You should be able to sense strongly the emotion
you feel when you see something beautiful or
when you see something ugly. What is beautiful
to you, and how does it make you feel? What is
ugly, and how do you fee] emotionally?

As the subject gets better at changing the
emotions, he may begin to feel little flows in
his body, pressures at the back of the neck,
and a slight flow from the stomach to the back
of the neck, or a pressure pulling in and pushing out on his chest. If he begins to report
these pressures, shift him from the emotions to
working with the pressures and their flows.
This is the next level of awareness, the shift
uphill. As the subject works between the flows,
he should work upward in the body -- "climb the
pole" -- or work from a lower part of the body
toward the head. The flows should be between
the spots within the body which the Yogis cal]
the " chakras "; in the Jewish Qabalah they are
called "areas of sephiroh", and in the system
I was taught, "control centers". As far as I
know, these areas have no medical significance
or relation to any known physical organ. Their
approximate locations are: One within the diaphragm, one in the chest, one in the back of
the neck, and one in the forehead (this last
near or at the location of the pineal gland).

The subject or individual working alone
should climb the scale on the flows between
these centers. In other words, if he is working with flows in the lower areas and picks up
some above, he should move up and work with
the higher ones. It is part of the observer's
job to direct him to do this.

These flows or pressures may start on one
side, or may even seem to be outside the subject. The observer should watch very carefully
for this. If the subject outs his hand on his
head to see if it's solid, ask him if little
pieces of it are jumping up and down. If something pushes in or out, or if it itches badly
and he says his head feels like it was pushing
up and down, all right, fine, ask him if he can
move it a little farther, and have him move it
back and forth and then speed it up.

Any emotion run back and forth from negative to positive at high speed should sooner
or later be sensed within the head or just
above it, maybe about an inch above so far as
sensation goes. I know there is nothing uo
there. You can run your hand over there, and
you won't feel anything. But still, that's the
way it feels, so if somebody reports this,
don't tell him he's crazy. Just tell him, "Al]
right, keep pushing it back and forth."

The height of your technique, the final result, is to be able to walk into any external
situation and feel within yourself, within
your body, any emotion you wish. You should be
able to present this emotion whether it is
appropriate to the circumstances or not. I am
not telling you to be inappropriate; I am telling you that you should be able to be if you
want to be. It is not necessary to be inappropriate in situations, nor is it necessary to be
emotionally dead; but for the purpose of learning, it is necessary to bring your emotions
under control. Ultimately you should be able
to walk into a situation, no matter how rough
it is, and feel the way you want to inside, no
matter what is outside. To do this, you have
to learn the language; this is the language,
and this is how to learn it. You want to drill