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TROM replay B32
Date:
Fri, 24 Jul 1998 21:57:07 +0200
From:
Antony Phillips <[email protected]>
Organization:
International Viewpoints
To:
[email protected]
Judith Anderson's present email address: [email protected]
--
Ant Antony A Phillips
[email protected]
Subject:
Steps for running Trom
Date:
Thu, 3 Apr 1997 13:03:33 +1000
From:
Judith Anderson <[email protected]>
To:
[email protected]
Dear Trommers, I have been introduced a number of times by Antony as the
Distributor of
TROM for Australia and Europe, but this is the first time I have entered
anything on this list as I
am new to the workings of Microsoft etc and was having difficulty in getting
a hang on to how to
type a long piece without being on line. However with lots of help I hope
I've got it right.
Some time ago it was suggested to me that it would be useful especially for
Trommers new to
clearing techniques to have the steps set out for easy reference. I was
reluctant at first to do
anything in this line, because each person gains an understanding of aspects
of written
material that is often different to the next person's understanding,
however I have set out what I
consider the steps of running TROM with a warning. (I have not inserted page
numbers as the
manual distributed by me is a typographically corrected version of the
original distributed
elsewhere and the page numbers are different, so as not to confuse, I have
left the pages for
you to fill in below)
____________________________________________________________________________
STEPS FOR RUNNING TROM
Distributor's Warning: The text in the manual must be read by you and
understood before
running each level - I have merely extracted the steps of each level and
laid them out for your
convenience. It is your responsibility to check these steps to ensure they
are as you interpret
the manual....................Judith Anderson, Distributor
SESSION PREPARATION
1. Be session ready - not tired, hungry, suffering from disease or dietary
deficiency, or under
the influence of drugs or medication or alcohol.
2. Find a quiet place away from interruption or distractions, and alone.
3. Do the exercises with the body's eyes open at all times.
4. Have pencil and paper to hand to take notes of actions run.
STEPS OF SESSION
1. Run RI (Repair of Importances) (see below - also in manual - page ......)
2. Do exercise for the level you are on.
3. Continue an exercise as long as it produces change - then leave it. The
exercises are
intended to produce CHANGE (mood changes, body changes such as temperature
changes,
twitching, pain or sensations turning on, awareness changes, yawning,
overstimulation of
body's nervous system, queasy stomach etc). If there is NO CHANGE - go to
next exercise
this level.
4. WHEN IN DOUBT RUN RI (especially during the session if the going gets
rough eg. you
suffer an intolerable amount of unpleasant sensation)
5. Continue level exercises until you decide to finish session.
6. Run RI (Some Trommers have run RI as much as 2/3rds of the session)
7. Finish Session (feeling good)
___________________
RI (REPAIR OF IMPORTANCES)
Creative RI Commands (3 pairs)
a) "Bring something into existence" [run repetitively until no change,
then run b)]
b) "Have another bring something into existence". [Run repetitively until
no change, then run
a), then run b), to no change]
[It is not necessary to perceive with ones' eyes one's creation. The
certainty that one has
created is sufficient. (see page .......)
OR
a) "Create something" [Run repetitively until no change then run b)]
b) "Have another create something" [Run repetitively until no change then
run a) etc. to no
change, then b) to no change etc]
OR RI by Perception
a) Grasp any solid object with your hands. (Really feel it) Let go.
Grasp another solid object
with your hands. Let go. Walk around the room contacting walls, floors,
tables etc. with your
hands, doing this to no change. Run it until it is ho-hum. It doesn't
matter how long it takes.
(RI by Perception can be done to the top of Level 4 but Dennis suggests
doing the creative
exercises above, in preference, as they are what should be used for Level
5). See page .........
_________________________
RI cannot be overrun. It can (emphasised) be underrun.
When in doubt run RI.
Use RI at the beginning of every session
Use RI at the end of every session
Use RI during the session if the going gets rough [e.g. if you suffer an
intolerable amount of
unpleasant sensation]
When in doubt, run RI.
___________________________
___________________________
LEVEL 1
Read "The Test" in the Manual.
Test yourself to see if this level is necessary for you. It is very simple.
Work your way through
the RI Commands, creative ones first. Give each pair a good run
(a,a,a,a,a,a,a,a, to no
change, then b,b,b,b,b,b,b,b, to no change etc) before you move on. You are
looking for
changes. Any changes (queasy stomach, twitching, yawning, mood changes,
etc). It if
produces any change it is a usable command.
If none of the creative list produce a change, then do Perceptive RI
(described above) until you
feel better. You have now topped up your reservoir of importances, and are
ready for Level
Two.
If you need a separate therapist to assist in getting you through this,
contact the distributor of
the manual for suggestions.
For technical help Judith Methven and Leonard Dunn can be contacted through
Judith at
[email protected]
________________________
LEVEL 2
Purpose: Learning to Timebreak
Read the chapter in your manual for Level 2 - fully.
Do "Session Preparation" as above 1-5
Commands:
a) "Select a past scene" (start with a non-significant one, gradually using
more and more
significant past scenes, and eventually past persons, one at a time,
completing the exercise
with each to conclusion)
b) "Select an object from this scene."
c) "Find an object in present time (one you can see with your eyes) that is
different from the
past object."
d) "How is it different?"
Repeat c) and d) (It is permissible to use the same present time object
over and over again if
you wish) until no more change; then:
e) "Find an object in present time (one you can see with your eyes) that is
similar to the object
in the past scene" (selected in a).
f) "How is it similar?"
Repeat e) and f) until no more change, then repeat c) and d). Continue
until both c) and d),
and e), and f) produce no more change.
g) "Select a new past object, either from the same past scene or a
different one"
Repeat c) and d) and e) and f) with this new past object until no more change.
Continue until no more change occurs with any past person you care to
select. Use RI
liberally, also reread manual for Level 2.
End result: you will find that it becomes progressively easier to place the
'then' and 'now'
objects side by side for comparison purposes until you are quite easily able
to view both
objects simultaneously. You are learning to Timebreak. The exercise
continues to produce
changes as long as this compulsive games condition is highly charged. As
the compulsive
games condition quietens down between you and your own past, so the exercise
ceases to
produce change.
_____________________________
_____________________________
LEVEL 3
Read the chapter in your manual for Level 3 - fully
Do "Session preparation" as above 1-5.
Commands:
a) "Select a past scene. Become simultaneously aware of the scene and
present time around
you. Don't try and Timebreak all of the scene at once. Take it a bit at a
time. Continue to do
this until the past scene 'fades' - i.e. begins to 'fall away' in intensity
compared to present time."
b) "Select a new past scene, and repeat a)"
Continue until you are willing and able to Timebreak all your known past.
This exercise will take
many (joyful) hours, with you gaining all the way. Run RI as necessary, it
will speed your
progress.
If a scene does not Timebreak drop back to Level 2 on it and find some
differences and
similarities between the scene and present time. Run RI. Timebreak it.
Note it for Level 4 and
5.
End result: You will be free of your past, with no enforcement to view it,
and therefore it will no
longer be pressing in on you. You will be able to occupy any viewpoint you
so desire in any
scene, whether 'then' or 'now' and be able to continuously operate your body
in present time
from a viewpoint exterior to it, and no doubt you will get your first
preview of Nirvana.
________________________
________________________
LEVEL 4
Purpose: The systematic discharge of the eight classes of overwhelm. (A
start in the direction
of having the enviroment loose its power to restimulate your mind by
preparing you to become
an expert in games play by taking a look at the subject of overwhelms and
freeing you up thus
untying a lot of your 'livingness'). Vanishing another large and unwanted
chunk of your mind.
Read the chapter in your manual for Level 4.
Do "Session Preparation" as above 1-5
The eight classes of overwhelm are:
1) Forced to know
2) Preventing from being known.
3) Prevented from knowing.
4) Forcing to be known.
5) Forced to be known.
6) Preventing from knowing.
7) Prevented from being known.
8) Forcing to know.
Commands:
1) "Get the idea of being forced to know".
Punch the concept into your mind. Timebreak everything that shows up as you
go, the guilt
feelings, the blame, the shame, the regret, the whole works. Take your
time. Now punch out
the "Forced to know' idea again. Continue till it is dry. Now run RI.
2) "Get the idea of preventing (something) from being known". (Run
repetitively till dry; Run
RI)
Continue through the list. Run plenty of RI, for this Level tends to chop
it up a wee bit. When
you've completed to 8), go back and start again at 1). New material will
show up. Continue
round and round the list until there is no further new material, and no
further change. When in
doubt - run RI.
End result: You will not be bothered by any of the overwhelms (upsets) on
your known time
track. The environment is now virtually incapable of triggering your mind
against your
conscious choice. Only you can do it now, - and even you are having trouble!
___________________________
___________________________
LEVEL 5
Purpose: To exercise the being in the creation of complementary and
conflicting postulates in
accordance with the Postulate Failure Cycle Chart.
Read the chapter in your manual for Level 5 - fully.
Do "Session Preparation" as above 1-5 plus Timebreak the events of today.
Make a photocopy of the Postulate Failure Cycle Chart for your working copy,
with cardboard
backing.
Follow instructions from tape and text.
The following 3 pages are the most important part of the tape Dennis
Stephens sent to Judith
Methven on how to run Level 5 of TROM. In the latter part of the tape he is
again admonishing
everybody to stick to his instructions especially to doing RI generously.
He also warns not to
leave a level before all the charge has been taken off it, that is, there is
no more change being
produced when running it. He says you cannot overrun any of the levels of
the failure cycle
chart. You simply get bored if you overrun them.
Another point he makes is that it is no loss of face to drop back a Level if
you are not doing well
on the higher one. Simply drop back, run it till no more change and then go
back to the higher
level. (Some have said that from their experience this was something that
brought enormous
gains)..............................Judith Anderson - Distributor
The Tape by Dennis
"[The best way to follow this is when you have the postulate failure cycle
chart in front of you]
"I will go through the chart as if I'm the subject and I'm running Level 5.
I'm starting at Level 1A
and the goal-package I'm using is the basic To Know goal package. Before I
start as given in
the manual I'd timebreak all the day's activities and also I would make sure
the Levels 1,2,3,
and 4 have been run to no more change. I wouldn't, of course, attempt Level
5 until those first
4 levels have been run to no more change and also I've timebroken the day's
activities.
"Ok, here goes. Level lA. The first thing we need is a little bit of space
around us. Now, it
doesn't matter which space you use, you can use the space of the present
time universe
around you or you can use the space of any past moment in time. It doesn't
matter. You are
not limited in any form whatsoever. You just need some space in which to
work. It doesn't
have to be present time physical universe space, it can be past physical
universe time space.
You just need some space there to work.
"So, we are at Level lA and the first thing you would do is put up the
postulate, the Other's
postulate "Must be Known". The postulate is "Must be Known" and that is in
the class of not-
self. Now, it doesn't matter where you put the postulate. Most people find
it easier to put the
postulate into a mass. Even a created mass of your own choice or into a
wall, a part of the
physical universe, a fence, a passing car. It doesn't matter where you put
it.
"The important thing is that it is a "Must be Known" postulate and it's in
the class of not-self.
That is important. You must be certain that it's in the other's, the class
of other's to which I will
refer for more precision as the class of not-self. So you put up that
postulate "Must be Known"
in the class of not-self. You yourself then create the postulate "Must
Know". If you go over the
column 1 on the chart you see that the level here is "Forced to Know. It's
you being forced to
know. Get that? Doesn't matter what it is, you don't have to specify as we
are just working with
the postulates. So you would put up "Must be Known" over tht way in the
class of not-self and
then get yourself there.
"Don't see yourself over that way doing this. You get yourself right where
you are, right where
you are with the "Must Know" postulate. There's a little danger there that
you could say, Oh
well, get me over that way. Oh no, that's wrong. You get right where you
are - with the "Must
know" postulate. Then you simply timebreak out anything that shows up, any
sensations that
show up. Your whole situation is of cameo, as a scenario, as a scene, and
you timebreak out
anything that happens. Anything that shows up, you time break it. Time
break it out until it's
gone away and then you put the postulates back up again.
"You put the postulates back up and more scenes show up from the past, you
timebreak those
back out, have a good look at them, timebreak them out of existence and put
the postulates
back up again. And you keep on doing this until you can put the postulates
up at level 1A with
no more change occuring and you can quite happily put up the postulate "Must
be Known" in
the class of not-self over that way while you're sitting there with "Must
Know". And you got the
idea that you're being Forced to Know. That's quite OK. Nothing is
happening and it's all
quietened down. Right, now you're ready to move on. You started to get
bored with that level.
You've done all you can with that level, it's now time to move on. So we
now more from 1A to
level 1B.
"Now that is signified by you changing your postulate from "Must Know" to
"Mustn't know".
You're still at receipt point, but you're changing your postulate from "Must
Know" to "Mustn't
know". The postulate "Must be known" is still out there in the class of
not-self. But now it's a
game. We now have a games condition. We now have the opposition. We now
have an
opposition situation. We have "Must be Known" in the class of not-self and
"Mustn't Know" in
the class of self and they are opposing postulates and that is a games
situation. So, you just
now hold that. Just hold that situation and timebreak out everything that
shows up. Everything
that shows up there.
"And you continue with it until there's no more change. You've timebroken
out everything you
quite happily have that situation there where you have "Must be known" over
there in the class
of not-self and "Mustn't know" in the class of self and you can hold that
situation. And there's
nothing else, it's all quietened down. There's nothing else happening. And
you're getting bored
with it, so it's time to move on. So you now move on from 1B to 2A.
"Now this involves a definite change, you're going from origin now to
receipt. That is a bigger
change that happens there between 1B and 2A. When we go from 1B to 2A you
start off by
still feeling yourself at receipt point. You start off by saying, well, I'm
in "Mustn't know" across
to the other person, to the "Must be Known" there. In other words, instead
of him being the
originator and you being at the receipt at level 2A you're the originator
"Mustn't know" and you
drive him into the receipt of "Must be Known". In other words, you're
beginning to get at him.
So you're beginning to get at the opponent. So it's you with "Mustn't know"
and him still holding
his postulate of "Must be known", but instead of him being at the origin
point he's now at the
receipt point.
"But it's still a game. Then again you would do all the necessary
timebreaking, the handling of
all that shows up, clean everything up until you're quite bored with that
Level, the whole Level
2A. Then you would go to Level 2B where now you are going to actually
overwhelm the
opponent. You still stay in your "Mustn't know" postulate, you're
originating your "Mustn't
know" postulate at level 2B and now you drive him, you actually force him,
you drive him by the
sheer power of the postulate, you drive him from "Must be Known" into
"Mustn't be known". In
other words, you make him comply with your postulate. So he's driven from
"Must be known"
he held at level 2A he now goes to "Mustn't know" at the origin and the
opponent with "mustn't
be known" at receipt point there.
"So now we've gone through a whole little cycle, haven't we. We've gone
through a whole little
cycle. We had the complementary postulates at level 1A with "Must be known"
and "Must
know". We've gone through two game cycles and now we've gone back to
complementary
postulates again. But notice that the postulates have changed. We are now
at 2B. At 2B we
have "Mustn't Know" - "Mustn't be known" and we are back with complementary
postulates
again. But now you are at the origin point and the "Mustn't be Known" is at
the receipt point.
"Basically the difficulty is a lack of understanding that you're dealing
purely with postulates.
You're not dealing with effects here on the chart, you're dealing with
postulates. That's all you
are putting up, it's postulates. You're not putting up effects, you're not
putting up sensations, or
you're not creating people, you're not mocking up people, you are not
mocking up walls, or
floors, or situations. You're simply mocking up postulates. What we're
working with are just
postulates. That's the whole level of level 5, it's postulates. That is
all we are working with at
level 5, it's postulates. We don't work with anything else, we timebreak
out anything else that
shows up. We only work with postulates at Level 5.
"It is an incredible thing to work with. At first it seems very strange and
so forth, very odd and
peculiar to be just working with postulates. But after one gets used to it,
when you get into level
5 you get to a point eventually where you wouldn't dream of working with
anything else but
postulates because you get the fastest results working with postulates and
you always work with
just postulates. You simply timebreak out everything else that shows up.
Any incidents that
show up, or sensations, or emotions or whatever shows up. You simply
timebreak them out.
So at level 5 you are working purely with postulates. Once you grasp that
you have got it. You
have got it. You can work then on level 5 and realize what you're doing."
END OF TAPE
I hope this helps those of you who have not asked me specifically for a
transcript of the tape as it
has been available for a long time, and that it encourages use of the
fantastic materials of
TROM.
Judith
--
Ant Antony A Phillips
[email protected]
tlf: (+45) 45 88 88 69
Box 78
DK - 2800 Lyngby
Editor, International Viewpoints (= IVy). See Home Page:
http://home8.inet.tele.dk/ivy/
Administrator: trom-l, selfclearing-l, superscio-l, IVy lists
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