Level 4 Running

Level 4 Running

You have found a charged life goal. The next step is to find what type of overwhelm it has been subject to.
Assess it against the list below. "Help" is just an example, of course. Have the student name the primary overwhelm.
You run, say, Flow 1 of a pair first. It is run to EP. Then Flow 2 of that pair to EP; then back to Flow 1 to a new EP, Flow 2 to a new EP.
You go back and forth until that pair is handled. Then you check the other pairs for charge and run next pair the same way.

Step 1

Pair 1
F1 Forced to help
Self being forced by another to [help]
F2 Forcing to help
Self forcing another to [help] something or someone.
Also: forcing self to help.

Pair 2
F1 Preventing from being helped
Self preventing something or someone from being [helped]
Also: self preventing self from being helped.
F2 Prevented from being helped
Self being prevented by something or someone from being [helped]

Pair 3
F1 Prevented from helping
Self being prevented by another from [helping]
F2 Preventing from helping
Self preventing another from [helping]
Also: Self preventing self

Pair 4
F1 Forcing to be helped
Self forcing another to be [helped]
Also: Self forcing self
F2 Forced to be helped
Self being forced by another to be [helped]

Step 2

Let's say we have found Forced to Help as the hottest line.

1. Ask the student "Get a situation where you were forced to help"
2. The student will answer with an incident from his/her life.
3. You run Alt 4 on the incident.
4. Now you run the other side to EP. ("Get a situation where you were forcing another to help.")
5. You run F! F2 alternately until there are no more incidents or the student experiences a good release (an End Point).
6. Now you check the other pairs for charge and run those that are charged in the same way (1-5).
Note: Havingness, such as Ideal Scenes, can be run at any time. Typically after an incident is cleaned up.
The rule is to run it as needed. See write up below.

uScope
(uScope= Your Stable Cause Obtainment by Polarity Elimination)
This is our main application or technique. S.K.O.P.E. was a working title for the DEEP Character Clearing at some point of development. S.K.O.P.E fits very well here as we look at both sides of a polarity in order to eliminate any confusion and conflict of goals. Also, according to the dictionary, 'Scope' means as a verb to look carefully (usually 'to scope out.') As a noun it has the meanings of outlook, purpose and of viewpoint. As a suffix it means an instrument suited for looking under special circumstances (e.g. micro-scope, tele-scope, peri-scope.). (Scope, origin: from Italian scopo goal, from Latin scopus, from Greek skopos target; related to Greek skopein to watch.)

uScope could be said to make it possible to look into someone's energy field and 'scope out' energies, postulates, etc. So, with a little humor, our uSkope is such an instument.

(Was 'Revised version of GRID.' Includes optional steps of overwhelm/disturbance and shock handling.)

First you find an incident by other questions. Many charged incidents have only two charged and opposing characters. In conflicts you usually only need to run Self and the opposition (counter-pole). Still, it does some good to list all who had a presence around the incident. And if charged, more characters than the two combatants can be run.
You can also run flow 0's (self to self), accidents and losses with this technique, although it is not ideal. They may only have one ID, Self. Accidents and losses are better handled with incident clearing (DIC), but should they come up while you are working with GRID you can still discharge them using GRID and then maybe program the incident to be run with Deep Incident Clearing (DIC) at a later time.
If the student comes to session upset or preoccupied, then run whatever is on the student's mind using an abbreviated version of Scope. You run the student's side and skip the opposition as that usually is enough as a rudiment/disturbance handling action. You usually only need to do the steps of section B below to handle such current issues.

~~Games Resolution by Identities (GRID)~~

uScope (Your Stable Cause Obtainment by Polarity Elimination)

Part A - Finding the IDs to Run
A1. Briefly state the situation, mainly the conflict or interplay (game) among the involved parties.
Get time and place and a brief statement of the conflict or situation. We focus on the roles and characters in play rather than the story.
A2. Make an ID list.
Make list of parties and persons involved, including Self.
It is a list of names, hats and characters. One may include other forces, such as a group pressure, a command intention, a boss or parent behind the scenes, a "presence" dominating the area without being physically there, and even 'now-I-am-supposed-to's, morphic fields. etc.
A3. Take the one that is most pressing or obvious first, then the next most, etc. (if metered: take the one with the longest read first.)

Part B - Discharge of each ID
On that character (including self) find emotion, effort and intention/thought as they appear to student in that situation. This can all be found in the mind in recorded form. One takes that element first that seems to offer itself. So there is no set order. If none seems to offer itself more, start with emotion.

Note 1: Often the student will experience own reactions to, say, an identity acting against him/her. The student can be asked to go back and forth discharging the ID, then discharging Self's reaction to that. One can check for this from time to time. The going back and forth releases the vectors (thoughts, emotions, efforts) working against each other in a mental ridge. One does not necessarily wait till after first vector is flat, as we are dealing with a confusion of vectors. We flatten the vector available when it is available. Just make sure to flatten all the charge you have contacted before you leave the area.

Note 2: While running, the student may bring up one or more additional incidents as the emotions, efforts, and thoughts appear in both. Have the student freely talk about that experience without interruptions and simply acknowledge when the statement is finished. Then you return to the item you were working on: "experience that (original) emotion," until it is flat.

Note 3: Sometimes you have an incident offering several scenes. Simply take the first scene and flatten the ID in that. If another scene offers itself at this point, flatten that as well, etc. You take what offers itself only and leave it at that. You may, however, have to come back to the same incident several times before all aspects are discharged. Just make sure what is available now is discharged.

B0. Optional: Experience the impact of that overwhelm or disturbance (IO).
Get the force of the overwhelm: This is either receiving the impact or delivering the impact.
Since only some incidents contain an overwhelm, or an attempt to overwhelm, the step is optional.
However, in incidents, such as upsets, there is an impact of the disturbance that should be looked at.

B1. What is the emotion or feeling (EF) of that character?
(It can be any emotion or feeling. Examples: anger, fear, spaced out, cautious, distracted, like dancing, etc., etc.)
      Tune into that emotion/feeling carefully.
      Experience that emotion/feeling (this can be said repeatedly till flat)
      Any other emotion or feeling in that character? etc.
(You can ask where the emotion is impacting the body physically in present time, and otherwise have the student describe it in physical terms:
location, density, vibration, color, temperature, shape, weight, motion, impact. etc.)

Note: Check reaction on the counter-part as appropriate.

B2. What is the impulse or effort (IE) of that character?
Show me that effort or impulse (acting it out.) This can be asked for repeatedly till flat.
It can be impulses like strangling the other, jumping around, deliver a punch, giving a hug, etc. One can also take up own reactions to another person's efforts
and impulses.

Note: Check reaction on the counter-part as appropriate.

B3A. What are the thought, decisions or intentions (TDI) of that character in the situation?
       Can you put that into words?
       You can flatten it by having the character do repeating on it.
       "Have the character say (e.g. 'it's your fault')" .... "Thank you." "And again" .... "Thank you," repeating it till flat. Practitioner acknowledges each repetition. He may ask for
        emotions/impulses, etc. connected with that intention/thought.

Note: Check reaction on the counter-part as appropriate.

B3B. Self limiting thoughts?
Conclusions, statements, adopted rules, computations.

B4. Check the incident for a shock moment.
Optional: Shock Moment (SM) Handling
Shock moments are closely assiciated with overwhelms. By Shock we here mean a moment where the person decides he/she has lost, can't cope with the situation, gives up, etc. This is always at the core of a true overwhelm. In other words, a shock is an experience that was way beyond what the person could handle, it shook his/her values or identity - his world.
You address the shock moment as a stuck point in time.

There are many techniques for handling shocks. The following is a simple and effective tool.
First you ask "Was that a shock?" and if "Yes," do the following:

Where were you at the time? Where are you now 'today'?" ('today' meaning your current situation, maybe the last year or so)
"What did you do at the time?" "What are you doing now?"
"What did you feel at the time?" What are you feeling now?"
"What did you think at the time?" "What are you thinking now?"
Each line should be done repeatedly till flat. The shock moment, however, may dissolve on the first question at which point the action is ended.

C. Are there any games sensations (GS), or cravings in that character?

Once we have explored each of the players, it is time to explore the playing of the game they are engaged in. We spot the emotionally charged points of action and reaction and run one side after the other, back and forth, back and forth.
C1. Before we do that, we spot the student's basic desire in the game. If it is a business, it could be "to become rich and successful." We spot the feeling and sensation of that as that is the basic goal that provide the energy to fuel any polarity game. So we here spot the basic desire and then in the next step we spot what we maybe got instead.

C2. Now we go back and forth between the parties in play. You get the action with its sensation from one side and get the reaction from the other side. You go back and forth, contacting all the moments of sensation and reaction. Of desires and of realities.

There are two qualities that determine if a person is alive or dead. The one is motion; an organism that does not move nor has any internal movements (such as heart beat and breathing) is obviously dead. The other quality is sensation. Sensation (including emotion) is what makes us feel alive. We live to experience sensations. Both our own and those of the people we interact with. We live to find love, physical and emotional, and we live to experience pleasure and pain and all the shades between success and failure; between life and death.

There are roughly two types of sensations: the ones we desire and crave and the ones we may get instead.
Any incident or experience, it could be said, is a play of these contrasting sensations. That is what makes the story of our life interesting--just like in the movies. In clearing we need to review the whole scale of sensations in order to clean the slate and be ready for experiencing new stories and games we can star in.

On this step the student is made to look at all the passions of winning and losing. Both in self and in the opponent. The special thrills, the tragic emotions, the teasing, annoyances, joys, pleasures, intense experiences, desires and cravings, etc. generated by the incident. Part of playing games, is to experience the sensations generated in the other players.

Games Sensation GS)
Games Sensations are feelings that are generated and experienced during games play. They are felt when the person engages in games either as a participant or as a spectator.
GS have a certain feel or thrill connected to them. Games are basically played and fought to experience these sensations.
It is not just emotions in the normal sense. It can be certain "enjoyable pains" or "the passions of winning and losing." GS have a special flavor that is not perceived through the normal senses. Part of it is desires and cravings and trying to extract certain responses from the counter-pole.
Different subjects and goals have each their special GS connected to them as do winning and losing. Synonyms are passion, special joy, perverse pleasure, passions of winning and losing, intense experience, tragic pains and emotions, desires and cravings. It is the sensations connected to one's dreams and aspirations; but also all the intermediate sensations experienced when playing the game--by players and onlookers.

Part D. Final Clean Up
This is done after the characters have been run on Part B.

Run Ideal Scenes of own identity and principal opponent, one after the other (IS)
Once the different sides of the conflict is run we run the ideal scenes by Identities (ISID). Typically we have a conflict of two characters, each trying to win, each trying to overpower the other.
On this step, however, we have each side express their ideal scene-- each getting it their way in the incident--without interruptions from the other. Instead of two (or more) flows colliding and forming a ridge, we have the sides taking turns while the other side is simply standing by and acknowledging the opponent's reality. In this way any collision of flows gets untangled and the elements on each side are filed in good order in the mind. To have the other side acknowledge the opponent's ideal scene is part of this.
The ideal scene is an expression of the intention of the ID in the incident. A salesman is trying to sell a car to a customer. His ideal scene is that the customer buys the car. The customer's ideal scene may be very different, say, to get a free ride in the brand new car and to impress his girlfriend.

D1. Have self imagine his/her ideal scene in the incident (Self-IS). This is done to a good point (Have opponent acknowledge the scene.)
D2. Have opponent imagine his/her ideal scene in the incident (Other-IS). This is done to a good point. (Have Self acknowledge the scene.)

D3. Optional. Run Ideal Scenes on any other character in the incident that is still charged and has a different Ideal Scene. (Have self acknowledge the scene.)

Optional: You can ad these additional steps to important ideal scenes.
1. Have ID-x imagine his/her ideal scene.
2. Have ID-x make it very real.
3. Have ID-x make it even nicer adding some new features.
4. Have ID-x pull it in on him/her and experience the mass.
5. Have ID-x disperse it around him/her.
6. Wipe your (the student's) slate clean.

D4. View the scene from a higher viewpoint (HVP). This can be expressed as a pan-determined viewpoint or God's viewpoint on the characters.
This step tends to handle any discomfort that may still be generated among the characters as the step straightens out the flows and interactions of the characters.
Have the student take the viewpoint of a higher self, capable of seeing all the characters at the same time. Then have student describe the scene.

E. Fresh Reality (FR) (Havingness)
Six Directions (6-D) on Objects
1. Invent something important to that scene.
(Make sure it is different from a plain copy. Give it at least a twist.)
2. 6-Directions:
Put it... (a) above you; (b) below you; (c) to the right of you, (d) to the left of you; in front of you; behind you.
You flatten one item, then have student pick a new one, etc. until the whole area is flat.

Example: The scene just run is a court case.
1. Invent something important to that scene.
Answer: a judge.
2. OK, put the judge (a) above you; (b) put the judge below you; (c) put the judge to the right of you; (d) put the judge to the left of you; (e) put the judge in front of you; (f) put the judge to the back of you.

Repeat (a)-(f) until no change (flat).
Each execution of an instruction is acknowledged by the clearer.
Then:
1. Invent something important to that scene.
Answer: a court room.
2. OK, put it above you, etc., 6 directions, (a)-(f), till flat.
Then:
1. Invent something important to that scene.
Answer: a gavel..
2. Do 6 Directions on 'gavel. till flat.
Etc.
By putting these elements in present time and space the "illusion of time" is discharged.
This is the stated formula for Time-breaking in TROM and here we use this method of breaking time as a final step. So it is important to stress that the student 'invents' the items as this is a present time creative action. Obviously, often the student will pick an item identical to one in the scene. If so, have the student modify or 're-invent' it in some way. One simple way of 'inventing' an item is to change one attribute, circumstance or condition regarding it. It can be a new color, material, weight, condition, etc. With persons one can change the clothes, age, hair-do, attitude or emotion; etc., etc.
You can actually use the 6-Directions on Objects as an elementary way of discharging any incident. It is not the fastest or best way, but as a solo assist when no clearer is available it works surely but slowly.

Older version of above.

Alternative Running Level 4

Take the overwhelm situation and run it effort processing style.
The main effort in the incident is the overwhelm.
Since we know what it is from the assessment we start with that. We run it from the aggressor's viewpoint.

Example:
Aggressor: Forcing another to help. (or another forcing Self (you) to help.)
Overwhelmed: Self (you) being forced to Help.

0. You find the incident and run the two sides of the conflict.
(The process immitiates what happened in life. But it is run in "slow motion" and under the person's control.
The student does conciously what life did to him and what the bank impacted or reran on him repeatedly after that.)

You take the most obvious side first, either recipient or originator:

1. The originator/ aggressor
2. Get the aggressor's effort of forcing you to help.
3. Ask for aggressor's (a) emotions, (b) additional efforts and (c) thoughts around that.
4. Get the games sensations: Is there a highly desired thrill or sensation the aggressor craves or experiences.
5. Spot that sensation repeatedly or create it knowingly.
(Get them all 4, 5 done repeatedly)

6. The recipient/ overwhelmed
7. Experience the main effort (another forcing you (Self) to help. Get Self's reactions.
8. Get reactions to overwhelmerr: Get (a) emotions, (b) counter-efforts, (c) thoughts around that.
9. Get the games sensations: Is there a highly desired thrill or sensation the overwhelmed craves or experiences.
10. Spot that sensation repeatedly or create it knowingly.
(Get them all 8, 9 done repeatedly)

11. Get the sensation generated by the games condition with its 2 opposing postulates.
12. Spot that sensation repeatedly or create it knowingly.

13. Havingness: Invent/imagnine a game of comparable magnitude.
(many other havingenss processes can be used, such as Ideal Scenes, ISID, PDIS.)

Games Sensations
A games sensation consists of fine particles with a certain feel or thrill connected to them. Games are basically played and fought to experience these sensations.
It is not an emotion in the normal sense. It is a desirable or enjoyable quality that the player finds has its own beauty. Different subjects and goals each have their special sensation connected to it as do winning and losing.

Games Sensations of War
In war all kinds of pains and sufferings are experienced. Wounds, exhaustion, starvation, thirst, dying, loss of comrads and loved ones, etc. These are not the primary Games Sensations.
Primary games sensations of war are: heroism, curage, cunning, fallen hero, cameradery, sacrifice for a noble cause, nationalism, etc. All the noble things portraied
in war literature and films. These are the all important elements that make young men go to war willingly and dying with a smile on their lips. These are the virtues that
make them popular with the ladies and make the ladies as well support the war effort on an emotional level.

Another type of games sensations in the example is of course, the sensations of fighting the enemy. There are this tension, the excitement, the gambling with one's life, getting the enemy overwhelmed (killed, sent to flee, surrender, etc.) There are the sensations of winning and losing, of prevailing or being wiped out. The whole spectrum of games sensations is a vital part of games playing; the reason for that soldiers keep fighting wars despite the destructive outcome of any war. Finding these games sensations and gaining control over them is an important part of running out obsessive games playing.

Similar packages of gams sensations exist for the different favorite games of Man. The game of courtship, the game of marriage, the game of an executive, the game of a worker, a writer, an actor, musician, a politician, etc., etc.

*******

This procedure is still good at running general incidents.

Let's say we have found Forced to Help as the hottest line.

1. Ask the student "Get a situation where you were forced to help"
2. The student will answer with an incident from his/her life.
3. You run Games Resolution on the incident.
4. You ask (1) again and get another incident.
5. You keep this up till there are no more incidents or the student experiences a good release (an End Point).
6. Now you run the other side to EP. ("Get a situation where you were forcing another to help.")
7. You check the other pairs for charge and run those that are charged in the same way (1-6).
Note: Ideal Scenes can be run at any time. Typically after an incident is cleaned up.
The rule is to run it as needed. See write up below.

Note: In the original TROM materials it is stated that one should follow the sequence of the classes 1-8 (see definitions for list). Dennis Stephens states, that this is the way they are stacked in the mind. The present materials are written up for application where students work together two and two. Here we find it is more efficient to take the inflow and the outflow one after the other. One could possibly continue with working the 1-8 commands over and over to get all available material.

Games Resolution by Identities (GRID)

1. Briefly state the situation, mainly the conflict or interplay among the involved parties.
We focus on the roles and characters in play rather than the story.
2. List the parties and persons involved, including yourself.
It is a list of names, hats and characters. One may include other forces, such as a group pressure, a command intention, a boss or parent behind the scenes, a character dominating the situation without being physically present, and even "now-I-am-supposed-to"s, morphic fields. etc.
3. Take the one that is most pressing or obvious first, then the next most, etc. (Unmetered: take the one with the longest read first.)
4. On that character (including yourself) find emotion, effort and intention/thought as they appear to you in that situation. This can all be found in your mind in recorded form. You take that element first that seems to offer itself. So there is no set order. If none seems to offer itself more, start with emotion.

Note 1: Often you will experience own reactions to, say, a character acting against you. You can go back and forth, discharging your own reaction to that. One can check for this from time to time. The going back and forth releases the vectors working against each other in a ridge. This is not necessarily done after first vector is flat, as one is dealing with a confusion of vectors. One flattens the vector available when it is available.

Note 2: The person may bring up an additional incident as the emotions, efforts, and thoughts appear in both. Have the person freely talk about that experience without interruption and simply acknowledge when the statement is finished. Then simply return to the item you were working on: "experience that (original) emotion," until it is flat.

Note 3: Often you have an incident with several scenes. Simply take the first scene and flatten that. Then the next scene and flatten that, etc.

4A. What is the emotion or feeling of that character?
(It can be any emotion or feeling. Examples: anger, fear, spaced out, cautious, distracted, like dancing, etc., etc.)
      Tune into that emotion/feeling carefully.
      Experience that emotion/feeling (this can be said repeatedly till flat)
      Any other emotion or feeling in that character? etc.
(You can ask where the emotion is impacting the body physically in present time, and otherwise have the student describe it in physical terms:
location, density, vibration, color, temperature, shape, weight, motion, impact. etc.)

Note: Check reaction on the counter-part as appropriate.

4B. Are there any sensations, cravings or pains in that character?
Sensations are a variety of signals sensed with the body rather than the traditional senses. It can be danger signals the body originates. It can be bodily cravings and satisfactions of cravings. Examples: hunger, thirst, cravings for stimulants (sugar, drugs, alcohol, tobacco, sex, perverted or odd needs, etc.) It can also be mental sensations. In games we find the excitement or despair experienced by players and spectators. Dennis Stephens talks about each type of game (goals package) has its own unique sensation.
      Tune into that sensation/craving/pain carefully.
      Experience that sensation/craving/pain (this can be said repeatedly till flat)
      Any other sensation/craving/pain in that character? etc.
(You can ask where the sensation/craving/pain is impacting the body physically in present time, and otherwise have the student describe it in physical terms:
location, density, vibration, color, temperature, shape, weight, motion, impact. etc.
Also message and mood.)

Note: Check reaction on the counter-part as appropriate.

4C. What is the effort or impulse of that character?
Show me that effort or impulse (acting it out) (this can be asked for repeatedly till flat.)
(It can be impulses like strangling the other, jumping around, deliver a punch, giving a hug, etc. One can also take up own reactions to another person's efforts
and impulses.)

Note: Check reaction on the counter-part as appropriate.

4D. What is the intention or thought of that character in the situation?
       Can you put that into words?
       (You can flatten it by having the character do repeating on it.)
        ("Have the character say:...." .... "Thank you." "And again" .... "Thank you.") repeating it till flat. Practitioner acknowledges each repetition. He may ask for
        emotion/feeling, etc. connected with intention/thought.

Note: Check reaction on the counter-part as appropriate.

Step 3
This is done after the characters are run through steps 3-4

1. Run Ideal Scenes of own identity and principal opponent, one after the other.
Once the different sides of the conflict is run we run the ideal scenes by Identities (ISID). Typically we have a conflict of two characters, each trying to win, each trying to overpower the other.
On this step, however, we have each side express their ideal scene-- each getting it their way in the incident--without interruption from the other. Instead of two (or more) flows colliding and creating a ridge, we have the sides taking turns while the other side is simply standing by and possibly duplicating the opponent's reality. In this way any collision of flows gets untangled and the elements on each side are filed in good order in the mind. To have the other side acknowledge the opponent's ideal scene is a good idea and can be added.

2. Run Ideal Scenes on any other character in the incident that is still charged and has a different Ideal Scene.

1. Have ID-x imagine his/her ideal scene.
2. Have ID-x make it very real.
3. Have ID-x make it even nicer adding some new features.
4. Have ID-x pull it in on him/her and experience the mass.
5. Have ID-x disperse it around him/her.
6. Wipe your (the student's) slate clean.

3. Run Ideal Scenes from a higher self. This can be expressed as a pan-determined viewpoint or God's viewpoint on the characters.
This step tends to handle any discomfort that may still be generated among the characters as the step straightens out the flows and interactions of the characters.
Take the viewpoint of a higher self, capable of seeing all the characters at the same time.

From that viewpoint:
1. Have the higher viewpoint imagine the ideal scene among the characters
2. Have the higher viewpoint make it very real.
3. Have the higher viewpoint make it even nicer adding some new features.
4. Have the higher viewpoint pull it in on itself and experience the mass.
5. Have the higher viewpoint disperse it around itself.
6. Wipe your (the student's) slate clean.

*******

About Ideal Scenes

Ideal Scenes, general form (ISG) can be run anytime. It's function is to have the person replace the masses that are as-is-ed in processing.
It is especially used when: 1) the session is getting rough and 2) at end of session.
One can run it unspecified as listed below. One can also ad a subject "Imagine something nice
regarding....(your marriage). And it can be run from other viewpoints: "Have XYZ imagine something nice."
It is used as an universal remedy and lubricant to get the processing to run smoothly.

1. Imagine something nice.
2. make it very real.
3. Make it even nicer adding some new features.
4. Pull it in on you and experience the mass.
5. Disperse it around you.
6. Wipe the slate clean.

Ideal Scenes by Identities (ISID)
In this version the process is run from the viewpoint of an identity, including the identity the student is occupying in a specific incident.
If one has just run out an incident with 3 significant persons in it, A (the student as a helper), B (uncle Bill), and C (aunt Mary),
One can run it from each of the persons' viewpoints: the helper, uncle Bill, and aunt Mary. For example:

1. Have uncle Bill imagine his ideal scene. (something nice.)
2. Have uncle Bill make it very real.
3. Have uncle Bill make it even nicer adding some new features.
4. Have B pull it in on him/her and experience the mass.
5. Have uncle Bill disperse it around him/her.
6. Wipe your (the student's) slate clean.

Running Ideal Scenes after an incident with two opponents produces significant gains.
You run ISID from own viewpoint (what did you want in the incident) and then from the opponent's viewpoint
(what did he/she want in the incident). It tends to further discharge the incident and file all the elements in play in good order in the mind.

There are many processes possible when we talk about repairing loss of mental mass.

Judith Metheven had this one: "Create a game of comparable magnitude." which is a real jewel.