B. THE PARABOLIC TONESCALE Students quite often wonder about the significance of the figures at the right hand margin of the tone scale. Why is antagonism at 2.0, anger at 1.5, fear at 1.0, grief at 0,5, and how come there are so many "microtones" such as 1.15, 1.02, or 0.375 in between? Putting the tone scale on a graph answers the riddle. Put the tones with equidistant spaces in between on one axis, the positive ones above zero, the negative ones below zero. Put the numbers from zero to plus 40 and zero to minus 40 on the other axis. Mark the coordinates of tones and numbers with dots. Connect the dots. What do you get? A hyperbolic curve (see graph on the next page). This hyperbolic curve shows how theta slides in first on life and then on mest from a theoretical state of positive infinity, assumes the various states of theta, lambda and phi described by the tone scale and know­to­mystery scale, and slides out towards a theoretical state of negative infinity. A development from free "fluidity" to fixated "solidity". "The mest universe is the right hand of this parabola. And over here on the left­hand side of this parabola, we have what: self." (Tape Lecture of November 16, 1952.) In his book "Scientology 8­8008", chapter "Affinity, Communication and Reality", Ron explains that the tone scale consist of a series of flows, dispersals and ridges. This becomes obvious when you use theta quanta (attention units) to define a thetan's space, and when you assume that size and shape of his space unavoidably follow his emotional state. One's emotional state, one's space and one's point on the ARC­scale are entirely tied up with one's attention: is it flowing, dispersing or ridging? Understanding this is extremely important to the auditor, to anyone coaching TRs, and to anyone trying to keep his sanity intact amidst the insanities of life. See some examples below. (By the way, this is how the clay demo on the theory checksheet should be done.)