41 – Bodies

CHAPTER 41

BODIES

At basic, a body is a symbol that the spirit uses as their playing token in a game. It is a terminal used for relaying communication and perception and action.

In the early stages of our existence, we simply wished these things in and out of existence, or left them in known positions where others could find them when they wished to contact us. We did not initially confuse ourselves with these tokens or have any limitations on projecting them as needed.

But, out of our desires to have more interesting games and more complex and entertaining mockups, we gradually put more restrictions and complexity into these bodily mockups, eventually evolving them from simple objects into elaborate and ever changing lifeforms.

Even then, we did not make the foolish mistake of confusing ourselves with the playing pieces that we were using. Consider a game, any game that has playing pieces that one moves around, whether chess or monopoly or a video game where one controls a character. Imagine how far you would have to sink to forget that you are the player and begin to believe that you are the piece that you are moving around on the playing field.

We have come down through a long series of universes, and it is only in the last few that we have made the gruesome mistake of confusing ourselves, our identities, our very existence and survival with that of the tokens that we are projecting and maneuvering through the game.

I do not ask you to accept this as gospel truth. Consider it as an interesting and speculative idea if you will. But try some of the drills and see what you can learn for yourself.

41.1 Pawns in a Game

For this drill, you need some playing pieces. These could be chess pieces, or dolls, or toy soldiers, or any collection of things that can be moved around and used as pieces in a game. They should be individual, at least to some degree, rather than homogenous (chess pieces are fine, but not checkers).

Set up the pieces (dolls or whatever) on a table in some interesting arrangement.

Move them around, getting the idea of their interacting, communicating or touching or flowing at each other one way or another, much like a child would play with dolls or toy soldiers. Just fool around a little bit until you can really get the feeling of these being pieces interacting in a game.

Up to this point, we have done nothing more than what the average child might do to have a game. Now comes the special part of the drill.

Pick a piece that you like and be it to as great a degree as you can, imagining that you are located in the doll, seeing from its viewpoint, being it, and experiencing its emotions.

Then be yourself, outside of the game and senior to it.

Alternate back and forth, being the piece, and being yourself in back of the game.

When you can shift back and forth easily, then begin manipulating and moving around the pieces, again having them interact and so forth, and as you do this, shift back and forth between being yourself and being the piece.

Keep manipulating the game using your human body to move things around, even when you are being the piece, letting your manipulations continue on a sort of automatic basis whenever you are working to experience the game from the piece’s viewpoint.

Keep this up, shifting and manipulating, until you can hold both viewpoints comfortably and simultaneously, being both the piece and the manipulator concurrently.

Repeat, if needed, with different kinds of playing pieces and games until you feel good about this and it is fun.

Eventually you can take this to the point where you suddenly see your human existence from this viewpoint and see your human body as your current piece in the game. But that might not happen until the second time through the book.

41.2 Mocking up Bodies

Close your eyes. Find a crowded place, indoors or outdoors. As usual, just get the idea of looking at it as well as you can.

Mockup your own body in the crowded area. Get the idea of various people acknowledging you for being there even if they don’t look at your body or pay any attention to it. Unmock the body and just look at the area from an exterior view.

Repeat this a number of times. Then pick another crowded place and do it some more. Continue until you feel good about this.

41.3 Mocking Up Other Playing Tokens

Pick a basic object, such as a cube or a pyramid or a globe or a diamond.

Repeat 41.2 above but mockup the object as your “body” and have people acknowledge it for being there.

Mock it up and unmock it in various places as was done in the previous drill.

Then pick another object and repeat.

41.4 Copying Bodies

Go (physically) to a crowded place.

Pick somebody who is fairly still, standing or sitting, so that you can do the drill without them walking off (if they do move out of sight, just pick another person and do the drill).

Mockup an identical copy alongside of them. Spot differences between your copy and their body and make adjustments etc. as you did with machinery in an earlier chapter.

If they move around a bit, see if you can copy their motion with your copy.

When you are happy with this (or they have moved off), then pick another person and do the same.

When this is comfortable, try also copying the internal organs, bones, muscles or whatever structures are there to whatever degree you can manage.

When you are comfortable with this, pick somebody who is moving and see if you can copy them in motion. Do the best you can. Repeat until you feel good about this.

41.5 Animal Bodies

Going to a zoo is ideal but you can also drill this with pets, wildlife, or any lifeforms.

Begin by noticing lifeforms and silently acknowledging them for being there. Get the idea that they are acknowledging you back.

When this is comfortable, do the same drill as in 41.4 with animal bodies instead of people.

41.6 Mocking Up Animal Bodies

The spirit will have all sorts of mental machinery tied into the body. It is all so automatic and comfortable that one has trouble finding it and working with it.

In working with mockups of human bodies, there is a tendency to put everything on automatic because one is so used to doing that.

This makes it especially valuable to drill with mockups of other body types that one is not so used to operating. This is quite good for giving one better control over bodies.

Interestingly enough, there is a bit of this in advanced Kung Fu (martial arts) training and legend has it that Merlin had the young King Arthur drill visualizations of being various animals and traveling around the countryside.

You need to do this with at least three different animal types so that you don’t become fixated on one.

Begin with some four footed animal. Visualize yourself as the animal in some nice and appropriate countryside. Move your limbs and body around, visualizing how the muscles work, how the balance is adjusted, and so forth. Look around with the animal body’s eyes, putting things there to look at and looking at them. Work the respiration and circulation.

When this feels comfortable, begin walking and then running and jumping around, getting how the limbs work and so forth. Mockup some feeling and sensation and a sense of aliveness and action coming from the body to you.

When you are happy with this, repeat the drill with some sort of creature that swims such as a fish or a dolphin. Get the appropriate sensations of water and so forth.

Then do it with a creature that flies such as an Eagle or other bird of some sort.

If this is running well and it seems like you can get some more out of it, go ahead and do it with more different creatures. You can even do this with mythical creatures such as flying dragons etc.

41.7 Human Bodies

Now let’s repeat 41.6 with some mockups of human bodies.

Do this with a) an ideal body, b) an aged and decrepit body, and c) a body of the opposite sex.

It is not as beneficial to do it with mockups of your current body at this point because one just tends to copy the existing structure instead of create things newly. So save that for later.

Note that for most drills you would simply mockup a body without all of this attention to detail, but in this case we want to work the details.

It would not be a bad idea to get an anatomy book or some other reference on the physical structure of the human body and work over various details of the internal structure, mocking up the various organs and so forth.

Move the mocked up bodies around in pleasant or interesting surroundings.

41.8 Duplicating the Body

Now mockup two copies of your current body facing each other.

One of them will be correct, and the other will be a mirror image style copy, in other words, although they are facing each other, you will want your “right” shoulder on the same side in both copies so that they reflect each other.

If there is some kind of flow or energy discharge between the two copies, allow it to occur, holding the two copies facing each other and keeping them there until the flow dies down.

When it is calm and comfortable to hold both facing each other, reverse the orientation so that the perfect and mirror copies are the other way around. If the perfect copy was to your right on the previous step, you would now have the perfect copy be to your left instead and have the mirror copy on the right.

Again allow any energy discharge to occur and then hold them comfortably for a minute.

Keep reversing the orientation and holding them that way for a minute or for however long it takes any energy discharge to complete.

When you can hold these facing each other comfortably and shift the orientation back and forth easily with no further reactions, go on to the next step.

41.9 More Duplication

Now repeat 41.8, but this time, focus on a specific body part such as an arm or a leg or the eyes or whatever.

Put the whole body there vaguely, but try to get the part that you are working on into clear and fine detail.

Again allow energy discharges to occur and shift the orientation back and forth, but especially concentrate on the detail of the part you are working on and make a point of seeing a particular detail in both the perfect and mirror copies simultaneously.

When you are comfortable about body parts, move on to copying and focusing on internal structures such as the stomach or kidneys or liver or whatever.

This process is sometimes called “double terminaling” in Scientology because the two images act like terminals which sometimes discharge against each other. It can be done with other things besides bodies, but it is most useful in the version given here.

41.10 Direct Duplication

By this point you should be capable of exteriorizing and looking at your current body (at least vaguely) without any tendency to snap into it.

If that is not the case, then leave this drill for your second pass through the book.

Begin by closing your eyes and getting the idea that you are looking down at your body in its current position.

Then mockup a copy alongside of it. Note that this should be a perfect copy, facing the same way rather than the mirror image duplicates facing each other that we used earlier.

Now spot differences and make adjustments as we have been doing in earlier drills.

When you are comfortable with this, shift your orientation so that you are looking down at the body from a different position and repeat. Do this for all six directions (right, left, front, back, above, below) and any positions in between which seem natural or important to you.

If you did this lying down, then repeat this sitting in a chair. If you did it in a chair, then repeat it lying down. In other words, you want to do the whole drill with the body in both positions, but it doesn’t matter which you do first. If it seems necessary, also do this with the body standing up.

41.11 Flow of Control

Get the idea that you are behind your body and reaching into the body’s brain with some sort of beam to control it.

Do this one with your eyes open but maintaining some sense of also being behind or to the side of the body and looking at it as you operate it.

Now make a slow and simple motion with your hand. As you do so, trace the flow of energy and nerve impulses through the brain and down to the hand which causes it to move.

Do this a few times, noticing how the flow works. Then do the opposite hand a few times as well.

Now go back to the first hand you worked with and do this again, but this time pay special attention to any stops or impediments to a smooth flow.

Where ever there is a stop or impediment, focus on that spot (usually in the body’s nerve channels, but it could also be in the beam from you to the brain or at the point where the beam connects to the body). Pick two points a bit to each side of the barrier and gently flow energy back and forth until the barrier dissolves.

Move the body some more and find more barriers and dissolve them this way.

The odds are that you will initially see a sort of “analog” of the flow rather than the actual flow itself. This will be a slowed down version which is within your range of “acceptable” motion. Eventually you may see beyond this to the actual flow which is so fast as to be nearly instantaneous.

Don’t invalidate your perceptions of the stuck points just because you are seeing them with an “analog”. You generally can find the real stuck points this way. We have all surrounded ourselves with a great deal of mechanisms that do things like this to shield us from having to perceive the speeds and power levels of the real world directly. As you become more advanced, you will be better able to bypass things like this and you will still probably use them for convenience.

41.12 Anchor Point Adjustments

There are a number of structural and energy systems that the spirit will have hooked into the physical body.

These are not physical in the material sense, but they can be viewed as physical at the spiritual level.

At one extreme is the true physical matter and energy of the current universe.

At the other extreme, is the pure spirit or thetan which is a nothingness with thought and potential. That is you without all the encumbrances.

In between are various layers of semi-physical “mental” or “theta” structures and energies which one uses to project and control the body. We have been very busy at building up layers and layers of complexity over the millennia. The various “mental” machinery that we were working with in an earlier chapter exists at this level.

These layers range from almost physical at one extreme to almost purely thought at the other with various gradients in between.

There is much that is still speculative and experimental in this area but there are some indications that there are a total of 8 levels ranging from the pure physical up to pure theta.

The next layer above the physical is the “astral” body and the “chakra” energy system which is extensively worked with in many eastern practices. We will leave that for the advanced student, there is material on it in the Super Scio book and on the internet.

The easiest of these systems for a beginner to work with is the system of “anchor points” that was researched by Hubbard in the early 1950s. It is at a higher layer than the astral system and therefore is less solid and easier to handle.

In its ideal state, the “anchor points” consist of golden balls of various sizes arranged in and around the body.

There will be 3 large ones in the head.

There will be medium sized and smaller ones at each joint and in various key places within the organs and usually in 8 positions a few or more feet outside of the body.

And there will be thousands of tiny ones, mostly within the body but also extending to quite a few feet outside of it.

Many of these anchor points may be decayed, off color, misaligned, and out of position. Cleaning them up can make the body feel better and one can also get some interesting effects by playing around with them.

The drill is very simple. You mockup golden anchor points around (not in) the body. Start with the 3 large golden ones that are in the head. Mockup lots of these around the head (not in the head).

As you keep mocking them up around the head, the real ones in the head should gradually become visible in a vague sort of way. If possible, you should have the real ones pull in the copies that you are mocking up.

Do not push new anchor points into the head, this will not be acceptable to the body’s structure and don’t jerk around the ones that you do find by hitting them with strong energy beams. This is yet another good way to give yourself a headache.

As the anchor points become visible, gradually begin flowing in energy and turning them back to a golden color, flushing out any dark spots.

If they feel like they are out of position (they probably will be), gently add more energy and encourage them to shift into the correct position without trying to force them.

Clean up the various anchor points in and around the body until you feel good. You might be able to get various tensions to ease up and adjust with this.

This mockup technique (mockup copies around the area until the real thing becomes visible) seems to work with many different structures including the chakra system and a sort of structure of energy rods. But leave those sort of things for later unless you have already been working with systems like this.

It is a mistake to spend too much time working on any of these systems because you get too deeply into agreement with existing energies and structures. Only work with them occasionally while continuing with other processing.

41.13 The Genetic Entity

This is given more for background information because you will run into it eventually and it is mentioned in some of the early Scientology literature.

There is a sort of “genetic entity” which manages the body.

The “genetic entity” is not really a conscious entity but is a “theta machine” which manages the growth of the body. It was labeled as an “entity” because there seemed to be another agency at work on the body besides the being himself, but it is more like a computer program that is running to manage the body rather than an intelligent being.

The anchor points discussed earlier are often called the genetic entity or GE anchor points but it is uncertain whether there is any real relationship between them.

You can work with the genetic entity by permeating areas of the body and intending how you want the area to grow or heal or develop and the program will try to carry it out within the limitations of human biology.

But real entities often think that they are this GE and get in the way (see the chapter on fragmentation) so this should be left until after you have really mastered handling entities.

If you do manage to contact the actual GE, it seems like a machine or program, with a fantastically complex series of inter-related and ordered postulates executing from moment to moment. But if you run into anything conscious, its an entity who thinks he’s the GE and you should handle it with Nots or similar techniques. These actual entities just gum up the works. The real GE machinery is not affected by Nots techniques so you don’t have to worry about accidentally taking apart anything that really is useful to the body.

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