uScope
(uScope= Your Stable Cause Obtainment by Polarity Elimination)

(Link to shorthand write-up)

The following is an experimental procedure for releasing conflicting intentions and postulates from lighter incidents. If this technique seems to be insufficient or the student gets into trouble, one would shift to DEEP Incident Clearing of the same incident or one could address resistive identities using DEEP Character Clearing.

Before shifting to another application or technique one would, however, first run plenty of Fresh Reality applications as using these simple techniques tends to make the trouble sort itself out.

uSkope is our main application or technique in Scope of Life. SCOPE (as Stable Cause Obtainment by Polarity Elimination) 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 and identitiies. 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.

What we are addressing in Scope of Life and with uScope, are games. We view life in all its aspects as a game--even when it is getting real serious. It is getting serious when the stakes are high and the risks of losing are high too. Yet, all occurences of life have the elements of a game. We have players, opponents,  a playing field, rules (written or unwritten) barriers, goals and purposes, things that are wanted and desired and things that are detested and abhored. In uScope, you could say, we start by defining and duplicating the players by their states of mind. Having elstablished that, we inspect the game as it's playing out. We inspect the decisive and emotional moments of the game. This enables us to view the game from an exterior viewpoint. We can learn from our mistakes and rehabilitate ourselves so we become better players of that particular game--and over time-- a better player of all the games of life.

Prior to using uSkope we have located an incident containing conflict or overwhelm. Now we want to release the charge from it. Various questions can be used to initially locate such situations in the student's past. This is covered elsewhere. But the first step is to have a situation at hand where two or more characters are in conflict; or where one character is being overwhelmed by something or someone.

Each character in play will have an intention (postulate.) For an intention to stick it has to be recorded in or on something. The mind uses emotions and efforts (in recorded form) as a recording medium. By recording the intention, postulate or thought this way it can persist through time. The emotions and efforts we are talking about exist as tiny and light particles in the mind. These particles are created by the Being by postulate. So in the final analysis these are postulates too, but they are of a coarser wavelength and, unlike thought, they are not readily put into words. It is the interplay between these three elements, thought, emotion and effort that makes things stick in the mind. The elements have a tiny mass and the physical side of their nature can be  measured. (Valerie Hunt, Wilhelm Reich, Ron Hubbard, Volney Mathison, C. G. Jung and others.)
There is thus a package (a DEEP unit) of thought, emotion and effort surrounding each intention or postulate.
To release a postulate fully all three levels have to be addressed. The layers may have different dominance from situation to situation, depending on how rational/verbal, emotional or physical the situation is.
A DEEP Unit is a manifestation and product of the Being; it is a manifestation of consciousness. DEEP stands for Decision, Emotion, Effort, Polarity.
Decision is used for thought. It includes intentions, postulates, considerations, opinions, agreements, etc., all kinds of  thought forms. They are usually easy to put into words.
Emotion can be the pure emotions, such as expressed on the tone scale. It also covers feelings and anything emotional, including, urges, impressions, most sensations, etc., etc.
So we are talking about the emotional state, the state of mind, the attitude of the person when we talk about emotion.
Effort refers to a more gross and physical wavelength. It is the execution part of thought and emotion. Or simply physical force. Synonyms are physical energy, action, force, force vector, impact, etc. Pain is two efforts colliding. So some sensations will be in the effort band.
Polarity refers to any conflict or dissonance among the involved parties or forces. If one talks about vectors, we would see 2 or more vectors working against each other.
Thought, emotion and effort as a package or unit has mass. It has a tiny mental mass and the anatomy of mental mass is thought packaged in emotion and effort. To handle mental mass on the case, one simply has to contact and handle these packages. When we have DEEP packages in a confusion or in conflict the mental mass increases considerably as the sides lock up against each other and form ridges. Small ridges congregate and form larger ridges and it can become very confusing and appear like an impossible maze. The approach is to find a level where these DEEP units can be comfortably contacted and taken apart by discharging them.

First you find an incident by other questions. Many charged incidents have only two charged and opposing characters. It is the existence of two poles that generates the charge. The unresolved conflict is in a sense still ongoing and the charge is generated between the two poles--as if they were poles in an electrical battery.

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 uScope you can still discharge them using uScope 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 uScope. 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.
 

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.

B1. 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.
One can add Shock Moment handling if the simple action of spotting the overwhelm doesn't seem enough.
However, in incidents, such as upsets, there is an impact of the disturbance that should be looked at.

B1A. 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.

B2. 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.

B3. 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.

B4. 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.

B5. Self limiting thoughts?
Conclusions, statements, adopted rules, computations.

Done after all IDs are taken through B steps:
C. Games Sensations (GS)

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 emotional points of action and reaction and run one side followed by the other, back and forth, back and forth.

Note: On heavy incidents it may be necessary to replace 'Step C. Games Sensations' with DEEP Incident Running. If Step C, as given here, seems to become heavy or overcharged one can simply switch to DIC and do the A and B steps and again the D and E steps as given here.

C1. Before we do that, we spot the principle characters' 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 desire and goal that provides the energy to fuel any polarity game. So here we spot the basic desire and then in the next step we spot what we maybe got instead, such as enforcements and inhibititions.

C1Self. Spot Self's basic desire before the game starts to play out.
C1Other. Spot the Other ID's basic desire before the game starts to play out.
C1Additional. Optional: Spot any additional IDs' basic desire before the game starts to play out.

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 reactions; of desires and of realities.

Is there an emotional point in own ID?
What is the reaction in the other ID?
Each emotion, effort and thought can be run with basic DEEP technique, developing the emotion, effort and thought to that moment and doing the same with the other side.

Another way to run games that seems very promising, is to spot moments in the game related to the CDEI scale.
You would only do that with students that already know the scale or recently have been educated in it.
Before you start the below procedure, you do the 'Basic Desire' step, C1 Self, C1 Other, and possibly C1 Additional.

For our purposes we rename it 'the Games Scale'. It is a scale that games and goals follow. In one encounter or conflict you will see the two players move up and down the scale in offensive and defensive moves and efforts. Over time you can plot the overall attitude of one player on one location on the scale. Unfortunately, even though the attraction of a certain game is to succeed you will usually see a longer cycle of gradually sliding down the scale to a point of giving that game up completely and finding a substitute game or goal.  Thus we have the famous dwindling spiral, where a major goal after eons of use is totally worn down and substituted with a lesser goal, a substitute. When we run incidents with uScope, however, there is no set downward motion. Just offense and defense playing out as a tune, using all the notes of the scale.

When working games sensations we are not looking for chronological events. We are simply asking questions of the type:
"In that game/situation, is there a moment of [Enforcement]?" etc. You typically spot it in one of the characters. After you have done that repeatedly, you ask for the reaction in the other player or players and spot that repeatedly. Instead of verbal questions, you can have the student look over the scale and spot moments that correspond to a step on the scale. The student may come up with a different wording. You accept any wording and run that. These moments may typically spring up out of chronological sequence and out of sequence of the scale. Just take what offers itself and have the student spot, describe and duplicate that.

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.

 One important thing about games sensations is, that it takes a playing field and two (or more) parties to generate them.  Think of examples of falling in love, to hate, the joy of winning, having a good laugh, to admire or be admired. Not to speak of physical pleasures such as sex, having a good meal, driving a fast car or do parachute jumping. These all require a playing field and usually other players. Where other players are not an absolute requirement, the games sensation is still enhanced and intensified when other players are participating. So the rule is, that games sensations are generated between players or between a player and the playing field.

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
D. View the scene from all relevant (VP). Included here is a higher viewpoint expressed as a pan-determined viewpoint or God's viewpoint on the characters.
Then it goes onto looking the incident from all present viewpoints. 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.

1) Have the student take the viewpoint of a higher self, capable of seeing all the characters at the same time.
2) Then have student describe the scene from that elevated VP.
3) Then have student take the VP of the opponent 
4) and describe the situation from that VP.
5) Then student should take own VP
6) and describe scene from there;
7) then in turn any other VPs present
8) and describe the scene from there
then steps 1-8 are repeated.
 Go round one or a few times till the endpoint is reached (Very good indicators, cognition, etc.)

D1. Admire the characters, one after the other; also spot and admire the scene and other relevant IDs and things to the situation.
D2. 3XSolid: Make the whole scene more solid a few times. Then, hold the scene still a few times. Then, Keep it from going away a few times.
Each step of 3XSolid is done at least 3 times or as long as it produces change.

At this point you can ask how that incident/game seems to the student now and also ask what the student got out of it or learned from it.

Instant Remedies
'Six Directions' (6-D) is a very versatile application. As an instant remedy we use it in 2 functions.

Six Directions for Flattening of a Polarity (6-Dp.) If material is contacted and the clearer seems out of questions or regular options, the clearer would take elements from the material (the conflict) and do 6-D on one item after the other. Each item taken up is run till flat. This tends to bring up new details and one can possibly return to use regular uScope clearing.

Six Directions for Fresh Reality (6-Dfr.) Another use of 6-D is to use it in lightening up things (key them out.)
This is done by taking items that has no particular charge connected to them and run one after the other.
For instance, one can imagine a familiar pleasant environment, say a garden or a park, pick an item from that environment and run 6-D on that till flat. Pick another item from the same place and do 6-D using that, etc. Again, each item is run to no more emotional response or change; that is what we mean by flat.

If a polarity gets too heavy and nothing seems to help or there seems no way out, one would run 6-D using items from the conflict and if that doesn't help either or only partially handles the situation, one would at a suitable point shift to 6-DFR

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.

uScope - Shorthand

-+ (uscope = Your Stable Cause Obtainment by Polarity Elimination)

Part A - Finding the IDs to Run
A1. Get time and place and a brief statement of the conflict or situation.

A2. Make an ID list.
Make list of parties and persons involved, including Self.
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
B1. Experience the impact of that overwhelm or disturbance (IO).

B1A. Optional: Shock Moment (SM) Handling
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.

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

B2. What is the emotion or feeling (EF) of that character?

B3. 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.
Note: Check reaction on the counter-part as appropriate.

B4. What are the thought, decisions or intentions (TDI) of that character in the situation?
       Can you put that into words?
 Note: Check reaction on the counter-part as appropriate.

B5. Self limiting thoughts?
Conclusions, statements, adopted rules, computations.

After all IDs are run:

C. Games Sensations (GS)
C1Self. Spot Self's basic desire before the game starts to play out.
C1Other. Spot the Other ID's basic desire before the game starts to play out.
C1Additional. Optional: Spot any additional IDs' basic desire before the game starts to play out.

C2. Now we go back and forth between the parties in play.
Is there an emotional point in own ID?
What is the reaction in the other ID?
Each emotion, effort and thought can be run with basic DEEP technique, developing the emotion, effort and thought to that moment and doing the same with the other side.
(See also use of Games Scale (CDEI) in the full write-up.)

Part D.  Final Clean Up
View the scene from a higher viewpoint (HVP).
D1. Admire the characters, one after the other; also spot and admire the scene and other relevant IDs and things to the situation.
D2. 3XSolid: Make the whole scene more solid 3 times. Then, hold the scene still 3 times. Then, Keep it from going away 3 times.

E. Fresh Reality (FR) (Havingness)
 Six Directions (6-D) on neutral things or objects in incident.
Also 3Xsolid on same type of items.