Judith Anderson

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


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.


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)


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 .......)


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).

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.


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.


Purpose: Learning to Timebreak

Read the chapter in your manual for Level 2 - fully.

Do "Session Preparation" as above 1-5


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.


Read the chapter in your manual for Level 3 - fully.

Do "Session preparation" as above 1-5.


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.


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.


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!


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."


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.

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