For the whole of humanity, fire was a major discovery, that first took place in the land of Africa.
The utilization of fire has considerably improved the lifestyle of human beings, particularly in the African continent.
Some countries in Africa have known and used fire for long periods of their history.

In the beginning, fire helped trigger the transformation from ‟savage” to ‟human” check ‟genesis” for more information. Though, in ancient times, fire was used mainly for cooking, it was also used a lot for lighting.

The Communities have organized their systems of education in adaptation to the context they were in, serving the objectives of the transmission of knowledge and the sustainability of an original, recognized and dynamic civilization.
In every house, it is around the fire that the Oral Tradition has formed its Teaching System. Evening classes gave the opportunity to peerless Teachers to use carefully chosen words to create sounds, images, which, associated to the light of the bright flames, would durably be engraved in the memory of the learners and accompanied them in their somnolence and their deep sleep.

The learners would wake up the next day, having internalized a considerable ancestral knowledge, a remarkable know-how and a sense of measured social behavior.

Light that shines from the fire, associated to the image created by the Master would blend into each other to produce a phosphene, attracting the children’s attention and rendering them able to memorize vast domains of the oral and traditional African tradition.

Beyond the cognitive, knowledge spreads to psychomotivity and influences the attitudes towards the members of the Community and to the Environment.

Though oral teaching is still very important, the fact remains that the written word has also known its golden age, by producing countless veteran learners, coming from schools of fire.

In Africa, the schools of fire constitute a very common practice, popular and efficient that is still practiced in the villages.

At dusk and before dawn, a circle of learners surrounds the fire and starts a cacophonous performance, as each student recites, in a loud voice, the particular lesson that he or she is learning, from a sculpted plank of wood, filled with writings in black ink.

With its very good rhythm, the cacophony lets also appear sounds as varied as the voices that rise in the night, during which light streams out, is associated to the images and to the sounds and produces miracles; as, after many years, cohorts of learners progress in their training in education. The learners develop prodigious capacities of memorization, become teachers to perpetuate the tradition and watch over the younger initiates.

The learners overcome important challenges and themselves become masters, recognized by all, their peers included.

In spite of a very fast process of urbanization of Africa, these practices still remain effective, particularly in the most rural areas.

In Africa, the schools of fire are an undisputed reality that handsomely contributes to driving back the bounds of ignorance and to favor the blooming of many well-trained youths, able to face the new challenges that Africa must take up. No doubt that the practice of Phosphenic Mixing will contribute to that.

Phosphenic Mixing is a potent and efficient technique for therapeutic treatment as well as for learning, for children and adults alike.
I am a psychotherapist and I conduct training courses in the domain of human resources.
Let me recount some of the applications I have used with with patients.

In the domain of psychotherapy

Deep relaxation

I use Phosphenic Mixing with lateral head sways and the mantra ‟EELLEE”, to relax the patient. The relaxing effect can be felt immediately. To deepen the effect of profound relaxation and the state of modified consciousness, I use the seven colors of the rainbow. I ask the patient to visualize the various lights, starting with the red light, all the way up to the purple light. The patient imagines that his/her body is full of light and radiates the corresponding color (red, orange…) while mixing each color of light with a specific sentence:

Red light: I feel alive, dynamic and in good health;

Orange light: I feel harmonious and radiate a warm communion and benevolence in my relations;

Yellow light: I am awake, spontaneous and creative;

Green light: I respect life and nature;

Blue light: I am calm and perfectly peaceful;

Indigo light: I am serene and I am overrun by mystical joy;

Purple light: I am calm and serene, I feel connected to the positive energy of the entire universe.
Finally, the patient finishes the session with the star phosphene: i.e. the patient looks at the light bulb while moving his/her eyes up, down, right, left, and diagonally, passing by the center. The patient then feels transformed and perceives several options for solving his/her problems.

At the end of the session, I offer a glass of alkaline, ionized water to the patient.

Developing self-confidence

To develop self-confidence, I use Phosphenic Mixing with anteroposterior head sways with the following sentence: ‟As I am confident, I am me, I exist, I have rights, I express myself, I am responsible, I am powerful, I am kind.”
Another example: ‟I can direct my thoughts by telling myself that I am enjoying good results in my studies for this exam.”

Finally, the patient finishes the session with the star phosphene: i.e. the patient looks at the light bulb while moving his/her eyes up, down, right, left, and diagonally, passing by the center. Of course, I explain to the patient the meaning of the sentence he/she has chosen and that corresponds to their current objective or to the problem they want to solve.

For instance: I am me means that I have my own values, beliefs and needs to satisfy. And, it is up to me to do it, solely for myself, among the others, rather than for the others, neither against them. I am responsible for my well-being, for my actions.

I am powerful means that I am conscious of my feelings, of my emotions, of my thoughts and that I express them in the here and now. I state what I think and I do as I say. I feel coherent and harmonious.

I have rights means that I have the right to exist, to have needs, I have the right to express what I want to express, I take my place, I have the right to love and be loved in an unconditional manner.

Phosphenic Mixing creates a new neurological pathway; the message is imprinted in the brain and comes into action through the idea-motivity phenomenon. During the first session, the patient immediately feels confident as if he/she had had a ‟change of skin” or was ‟wearing new clothes”.

The patients can practice that exercise on their own, three times a day. Once in the morning, just after waking up, it is the auspicious moment for fixing or stimulating the message; once in the evening, before sleep, to message the brain what it needs to integrate during the period of regulation; and one more time during the day so that the message becomes unconscious and automatic.

Example: a student in psychiatry is anxious and fears that he is going to fail his exam in spite of the work he has generated to learn and revise his lessons. A single session of Phosphenic Mixing has given him ‟the bones of a good psychiatrist” who thoroughly knows the subjects he is dealing with. The self-confidence that he has developed has helped him successfully passing his exam.

Practicing triangular or square breathing instantaneously reduces stress.

In an airport, a woman who is waiting for her flight to take off is anxious. She is chain-smoking, walking relentlessly up and down the hall, asking ceaselessly and aggressively the airline employee for the time of departure as she is scared that she is going to miss the connecting flight. She then has coffee, sitting next to me, I suggest that she should practice a bit of triangular breathing to dissipate the stress she is accumulating. She does that and, one minute later, she feels calmer, friendlier. She thanks me and we exchange interesting conversations on other subjects.

A child who is described as hyperactive at school.

A mother asks me if I can give her some help treating her 8-year old son, described as an hyperactive by his teachers. He is always chatting with his schoolmates and cannot remain calm. He is restless.
I evaluate him as an intelligent boy, bright, spontaneous, a bit of a rebel.

Je commence à faire le phosphène avec lui et je lui demande de bien observer les formes et les couleurs des lumières qu’il voit se dérouler, les yeux bandés. Je lui demande de me faire une description à haute voix. L’exercice se fait en trois fois et dure une dizaine de minutes.

I start by doing a phosphene with him and I ask him to observe closely the shapes and the colors of the lights that follow one another, while he is wearing a sleep mask. I ask him to describe them in a loud voice. This is a powerful game of concentration as, during the entire exercise, he is fascinated by the dance of the colors and his whole body remains still. He enjoys this game of changing colors.
Afterwards, I ask him to repeat, in a loud voice, ‟I am calm and relaxed” while he is practicing Phosphenic Mixing with anteroposterior head sways.
At the start, he repeats that sentence in a loud voice for a minute, then he repeats it mentally ‟in his head” for another minute, then again in a loud voice for the third, final minute. The exercise lasts approximately ten minutes.

His mother is present during the session and she notices the instantaneous change in her son’s behavior. She purchases the Pocket Lamp so that her son can practice more exercises on his own.

Learning

A girl in the fourth grade cannot memorize certain mathematical laws and formulas. She gets it wrong every time. Her father, a financial director, does not manage to help her memorizing adequately.

I start by doing a phosphene with her and then ask her to observe closely the shapes and the colors of the patches of light that appear in her field of vision, while she is wearing a sleep mask. I ask her to describe them in a loud voice. The exercise is repeated three times for a total duration of approximately ten minutes.

Then, she writes down the formula clearly, in big letters on a sheet of paper. She recites it in a loud voice. She closes her eyes and tries to picture the written formula and repeats it in a loud voice.

First, she focuses on the lamp for thirty seconds and then closes her eyes while reciting and placing the formula in the phosphene.

Then, she focuses on the lamp for thirty seconds, then she reads the written formula in a loud voice, through the phosphene, using a second amp to dim its glow and be able to read through it.

The action of the phosphene increases concentration and clarifies memorization, making it sharper, more precise. Phosphenic Mixing creates a new neurological pathway to store the information.

She continues the exercise with the other formulas she needs to learn, following the same protocol. After the second week, her father compliments me because his daughter does not make mistakes on the mathematical laws any more and has good marks at school.

As for me, there is no doubt: Phosphenic Mixing is an efficient method of learning, it develops self-confidence, concentration, memorization, helps recovering regular sleep patterns and favors healing.

Every night, before I go to bed and every morning, when I wake up, I practice Phosphenic Mixing.
I feel calm and serene throughout the day. When I have to travel and suffer from jet lag, rhythmic breathing and head sways help me greatly to maintain a clear head and a high level of energy.

My daughter uses Phosphenic Mixing to improve her studying of foreign languages and other subjects. She is in the sixth grade and believes her good results are due to the practice of Phosphenic Mixing. My son is in the fifth grade and since he has been using Phosphenic Mixing, his grades have improved, in all the subjects.

Educational protocol

1- Observation of the phosphene with a description of the colors perceived
2- Exercise of Phosphenic Mixing with a positive sentence
3- Exercise of reading with the post-phosphene
4- Test of comprehension and memorization
5- ‟Star phosphene”: i.e. the patient focuses on the light bulb while moving their eyes up, down, left, right and following a diagonal that crosses the center
6- I give a glass of alkaline ionized water to the patient
7- I provide a lamp for practicing exercises at home

Conclusion: For my part, I practice everyday different breathing exercises, head sways and mental imagery. My children have started practicing and introduce the method of learning with the phosphenes to their circle of friends.
With my patients, I use phosphenes systematically and I provide them with lamps and some practical information, according to their situation.

Finding persons buried in rubble or missing after an earthquake, using divination.

I work in the humanitarian domain and, thanks to my function as the leader of a team specialized in the rescue of persons injured during disasters, I am often active in remote areas of the world, helping unprivileged populations. In order to provide you with a more precise idea of what I do, I am going to try to illustrate my situation by relating some of the things I experience during these interventions.

First of all, my participation in trying to find people buried alive under rubble is efficient only because I have had the opportunity, thanks to my many trips around the world, to receive many initiations, including Dr Lefebure’s. During that long quest, I encountered various techniques and teachings, I always made sure that I understood their practice through the basics that Dr Lefebure had taught me personally. That way, I have been able to avoid many pitfalls and dead ends…

A dog trained to search for survivors under rubble can only locate injured people for a short period of time, because their scent loses its sharpness very quickly. For my part, I can detect 10 times more persons.
In a word, I am able to detect physically, without using any aid like a pendulum or any other instrument used for divination, injured people buried underground, whatever the state of their wounds, by stretching my hands above the zones of rubble produced by the disaster.
I perceive everything through the chakras in the palm of my hands.

As a mark of recognition from the persons I save from certain death, I only accept a piece of fabric that they have owned. The quality and the cleanliness of the cloth or fabric does not matter.
Thanks to these ‟offerings”, I make a thick screen by sowing the pieces of fabric together. I then contemplate the sun through this patchwork, this cloth charged with ‟vibrations of pain”, during hours or sometimes days.

In this ‟posture”, I try to immerse myself in these vibrations and channel the perceptions into my hands. As a complement, I do phosphenes with the reflection of the sun on water, and project the phosphenes on my hands. That is how my hands have become genuine tools of divination. I do not need a pendulum nor any other equipment, I use only my hands for divination.

After an intervention, having faced extreme distress, it is absolutely necessary for me to evacuate the accumulated tension; that is why, after a field operation, I systematically enter retreat. I use my time in retreat to regenerate myself with the rhythmo-phosphenic techniques.

I would also like to highlight the fact that, since my early childhood, I have evolved in initiatory circles, and that allowed me to develop my latent psychic faculties at an early age. But, without the help I found in Phosphenism, i.e. without Dr Lefebure’s works, I would NEVER have reached my present level.

According to Dan Brown’s latest Gospels, Man would be a god, without knowing about it. The symbol that can teach that knowledge to mankind, after a high-dosage absorption of tens and tens of symbols, is a point in the middle of a circle… the circumpunct… It reminds of the alchemical symbol for gold, the symbol of the sun and the bindi, the incarnation of the third eye, a point that certain Hindus paint on their foreheads. The circumpunct is thus the symbol of symbols.

The third eye, eye of Shiva, is the name given to the phosphene in the East. It is of particular interest to us.

It belongs to the inter-hemispherical commissures that connect our two cerebral hemispheres. Each hemisphere has a different purpose, and information is shared with the intermediary of these commissures.

The left hemisphere, devoted to language is the dominant hemisphere, analytical, precise, it prefers details. It permits happiness and optimism. It provides the notion of TIME.

The right hemisphere provides the notion of SPACE; it is the creator, the dreamer, the emotive, the fearful, the melancholic, the pessimist, the intuitive, and it apprehends all situations. It contains more white substance, the axone of its neurons are longer and thus can connect more scattered neurons, with the possibility of activating more cerebral modules; on the other hand, the left hemisphere contains more grey substance, the cellular body of nervous cells. It is more adapted to performing complex and meticulous tasks.
It is worth noting that the male brain contains more white substance than the female brain. That results in a greater capacity for adapting to the outside world.

If the callous body is the only channel that connects our two cerebral hemispheres and the cortical areas, i.e. the sites of thinking, there is an ancient pathway that connects our two hemispheres on the limbic level: it is the anterior white commissure.

The phosphene with the point of concentration on the third eye is the reflex point of the anterior white commissure and of the two hypothalamuses (that regulate our homeostasis). It is the famous Inn Trang of Chinese acupuncture.

That commissure connects the deepest zones of the two temporal lobes that are the seat of our primary emotions.

The definition of emotion is “a movement towards the outside” that can be felt by one’s entourage and, as such, belongs to the “means of communication”.

How can we not give credence to the possibility of self-influence and of influence on others through the medium of the point of concentration.

Our emotions result from our: sensitivity, sensoriality. When sensitivity is the starting point of our feelings, sensoriality goes directly to our consciousness. It is the localization of our self.

Our primary emotions are also our capacity for taking decisions.

From the moment of our birth, we are programmed to answer in a automatic and instinctive fashion to emotions provoked by inner and outer stimuli. They are the primary emotions.
That has allowed our species to follow its path, phylogenesis at the service of ontogenesis, and the characters are transmitted from generation to generation. The anterior white commissure connects the two temporal lobes: time and space.

Dr Bazire has given the name of  child’s crown to the projections of the different neural cranial groups.
It would be easy to represent it on the cranium, by going around a hat. We would then be surprised by the fact that the crown goes across Brodmann’s areas 17, 18 and 19, that correspond to the projections of the visual areas.

Let us compare with the projections of the secondary emotional areas, those that are engraved in memory during the development of the self. It would be easy to localize the reflex projections by wearing a kippa, like the Orthodox Israelites. The purpose of the kippa is to show that they are not God, to cut the individual from the higher energy that reaches the top of the cranium and influences, not the epiphysis (that is sclerosed as soon as we become adults) but the underlying nervous ganglions of the habenula.

If we cut the main inter-hemispherical connections located in the callous body, primary emotions can still go through a secondary route: the anterior white substance and circulate freely.

It was discovered by Gazzaniga and Joseph Ledoux, thanks to special contact lenses, designed by Eran Zaidel, that can direct an image toward one side of the retina. Consequently, it is possible to send detailed information separately to each hemisphere. It is very easy to find an analogy with Dr Lefebure’s cerebroscope, though with an important difference, the use of vibratory alternation. However, it should be noted that one of our eyes is devoted more to seeing, when the other one serves more for localizing ourselves in space.

Our research and our experience allow us to claim that the point of concentration can regulate the etheric body.

I feel I need to mention the result of the works and experiments conducted by Charles Lancelin between 1911 and 1920, that he relates in a marvelous little book: ‟The Human Soul”.

The visual areas are vascularized by the posterior vertebral artery, when the callous body is vascularized by the anterior cerebral artery. Hence the importance of holding one’s head as right as possible. However, that can only be done if one’s eyesight is adequate, and that is not always the case.

Also:

While vision follows a cross, the sense of smell, on the other hand, does not present a similar crossing of the connections to the hemispheres. That is important if you take into account the fact that rhythmic breathing exercises have a potent action on the awakening and the development of spirituality.

Indeed, the nose is placed in the middle of the face, like the point in the middle of the circle. That importance is also stressed by the fact that our early scientists gave number one to the cranial nerve responsible for the sense of smell and number two to the one that is devoted to vision…

Conducting an Orchestra
Phosphenic Mixing is a very powerful resource for learning music and for producing high-level musical performances.

I am a musician, organist, cymbalist, composer and conductor. It is when conducting an orchestra that I have been able to experiment with the extraordinary effects of Phosphenic Mixing. First of all, I have to admit that I always have had a very limited capacity of memorization. I have suffered a great deal because of that, principally when conducting orchestras.

Having to follow a score with your eyes is very restrictive, as the conductor is not free to establish a direct contact with the musicians who play in the orchestra. It is difficult to come up with an efficient answer to that constraint. What it comes down to, is that certain conductors do not experience any difficulties conducting a concert entirely by heart when others, on the contrary, have to read the score while they are conducting. Among the latter, there even are very famous conductors, like for instance in Italy, Riccardo Muti who almost always conducts the orchestra while reading the score. On the other hand, a conductor like Daniel Baremboim, head of the Teatro Orchestra of the Scala of Milan has always conducted Wagner’s Parsifal, a five-hour opera, from memory. Conducting an orchestra by heart or by reading the music does not necessarily have an incidence on the artistic quality of the musical performance. When the conductor is a great artist and an excellent musician, a high-level performance can be delivered in both situations. However, it is the way of working and of bonding with the orchestra that is completely different. A more direct contact with the orchestra, the freedom of moving on the podium, the absence of constraints, the independence from the score, not having to turn the pages, all are advantages that will doubtlessly have an impact on the final result of the performance.

Moreover, the conductor who can work without reading from the score gains the esteem of the orchestra, as he demonstrates a very specific knowledge of the music to be played. The capacity of remembering the entire score is a stunt that always draws respect and admiration, as the musicians in the orchestra usually play while reading the score: consequently, they have admiration for the conductors who are able to perform something that they cannot themselves perform.

I have been able to experiment with the efficiency of Phosphenic Mixing for memorizing a piece of music that I had to conduct a few days later. It is the Overture of Gioachino Rossini’s opera La Gazza Ladra. It is a piece written for a large orchestra, it lasts about ten minutes: that is already a sizable duration. Thanks to Phosphenism, I memorized it all in one hour! Many people can testify about that: two days later, I was doing the first rehearsal with the orchestra. I told the musicians that I was experimenting with a new learning technique for the memorization of the musical score. I asked them to forgive me if I made mistakes while I conducted. Fortunately, I did not need their forgiveness, as I conducted the piece from the beginning to the end without making any mistakes and I performed the right gestures when doing signs for the attacks and for the entrance of the various instruments.

What is the mode of operation and the procedure I followed to learn the music I had to conduct by heart? I used Phosphenic Mixing in various ways, and I believe that the success I obtained is mainly due to the integration of the different modalities which, all coming together, led to the result.

I started with a first phosphene solely meant for listening to the music. During the post-phosphene, I listened to the entire piece of music, in the dark, with my eyes closed. I listened to the music on headphones, doing a single phosphene for the entire 10-minute piece, though the phosphene naturally disappears after three minutes.

I used the second phosphene for reading the music. During the post-phosphene, I remained in the dark, with my eyes closed, without listening to the music, but recounting it mentally in my head, hearing it only in my inner ear. Then, I opened the score and read the music, again without listening to it. The goal of that second run was to create a connection between the sense of audition and the sense of vision.

Again, the third run was different. During the post-phosphene, I kept my eyes open and, during the presence of the phosphene, I read the music from beginning to end. I could perceive the dark ball of the phosphene through the music, but as I had turned the lights on, I could see the score rather well and could read it without difficulty. The purpose of that run was to read the music in the best possible condition, with an inter-hemispherical balance and, consequently, to be able to read it in an “extra-sensorial” way.

Finally, for the fourth run, during the presence of the post-phosphene, I read the music with my eyes open, under the influence of the phosphene, while listening to the music on headphones. The purpose of that run was to integrate all the capacities and all the sensations, on all levels.

I was already obtaining a really surprising result. The music I played from CD sounded completely different. It was as if a veil was ripped, as if a fog was lifted. The orchestra played and the music reached my ears in a much more transparent fashion. When all the musicians of the orchestra were playing together, it was much easier for me to distinguish the various instruments, the flutes, the oboes, the violas, the cellos, the horns, the trombones. The phosphene had already managed to amplify my sensory abilities.

That capacity is very important when conducting an orchestra, maybe even more so than memorization. It is thanks to that capacity that the conductor can work well, i.e. can hear what each musician in the orchestra is playing, in order to correct them, direct them and to achieve the interpretation and the expression that the conductor intents for the piece. Listening and listening well is primordial for a good conductor. So, this experiment demonstrates that Phosphenism can amplify the ability of hearing music well, amplify resources, and helps listening well to the conductor.

But, in order to pursue the original purpose of this document, which is to help memorizing quickly a piece of music to conduct, I shall continue to explain how I managed to obtain that result very quickly thanks to Phosphenism.

After having done four runs of the piece under the influence of the phosphene, as described above, I stopped using the phosphene and I started to study the piece, as I usually do, reading the score several times, sometimes while listening to the piece.

Repetition is an integral part of learning music, musicians are used to rehearse several times, whether to learn how to play an instrument, whether for memorizing, a long and complex process that does not suit everyone.

As for me, who started music with the organ, memorization is not something I am used to, because in Italian music schools or in the conservatoires, memorization or learning to play by heart is not required from the organ players/teachers in order to obtain the title or the diploma. That can be explained by the great difficulty that organ music represents, as it is played with the hands and feet, and written on three pentagrams that must be read simultaneously, hence the difficulty to learn it by heart. That could be another domain in which Phosphenism could be used.

Consequently, as memorization never was a habit of mine, it is all the more difficult to obtain. But, with the help of Phosphenism, that morning, after just one hour of work, I had learnt by heart the overture of Rossini’s La Gazza Ladra. I would have actually been able to conduct the overture, in my bedroom, holding my baton in front of the mirror, while playing the piece on my stereo.

That was not yet a performance with an orchestra but, it was already a first step!
After that, I gave that study up and moved on to other things. In the evening, before going to sleep, I did another phosphene and played the piece for the last time.

The next morning, I had another great surprise. The piece was drawn up in my head, in an astonishing manner. Before I came out bed, I repeated the piece mentally, and I discovered relations between the different parts of the piece that had not occurred to me before. I now had a clear picture of the piece in my head: divided in four parts, the two central parts being similar to the first part that was, too, divided in four parts, etc. In a word, I had clearly understood the structure of the piece. So, the memorization I obtained was not due to a mechanical and repetitive action, but was the result of an inter-hemispherical reaction to the work of the conscious and the unconscious. Such a memorization can remain vivid for a very long time.

During the morning, I rehearsed the piece a few more times, reading it and conducting it in front of the mirror. I had perfect control over the piece: only the final test remained.

The next day, I had to attend the first rehearsal with the entire orchestra, without the score, only myself and my memory. After telling the musicians about the experiment, I gave the signal for the beginning… and the orchestra started playing; I conducted it through the entire piece without making a single mistake!

After that positive and thrilling experiment, I learnt the same way the other pieces of the concert that we were preparing and, several days later, I conducted the entire concert by heart!

Many witnesses can confirm that, as it was the opening concert of the year for the Ferrara town council. On January 18th 2011, in front of a large audience, in front of the mayor, all the councillors and all the musicians of the orchestra. For the first time, I conducted a concert entirely by heart in front of an audience!

I use Phosphenism everyday and, with that extraordinary resource, I have obtained and I still obtain amazing results. I have even used it to write a book, and it has helped me writing a chapter a day. It was a book I wrote with two other persons, in just nine days. I finished my part during the Christmas 2009 period, at the rate of a chapter a day. I have many emails that prove it.

My daughter, who is a university student and also a musician, uses Phosphenism every day for her studies and her musical performances. She is even studying to become a phospheno-teacher so that she will be able to diffuse that knowledge.

Other applications

Being a musician and a conductor are not my only activities. I also teach. I am a teacher at the Music Conservatoire of the Adriatic, near Venice. I also conduct training courses for businesses and companies. I designed a type of training that is called ‟Sound Genius”. My wish is to use Phosphenism as a resource for helping people reproduce the great performances of the musical spirit.

Consequently, I decided to become a Phospheno-teacher, so I can apply Phosphenism in the following two situations:

– For teaching memorization applied to music, for the benefit of musicians and conductors alike. The basis of the project has been explained above.
– For obtaining high-level performances in companies, businesses, for managers, for realizing projects, for taking decisions, for creating new ideas.

Conclusion

Phosphenism has become a daily habit of mine, with applications in several fields of activity, from personal life to the musical domain. One of the most potents aspects of Phosphenism is that it amplifies one of the most important characteristics of music: inter-hemispherical alternation. Because of its very nature, music, when it is played or listened to, forces the individual to use both their hemispheres; it is a dual performance, the logical one and the emotional one, the conscious one and the unconscious one. Phosphenism amplifies and activates the process that allows one to live in complete harmony with the world and themselves.

I would like to thank the head of Dr Lefebure’s center, Mr Daniel Stiennon, for his precious work that has given the entire world the possibility to enter with simplicity the higher celestial sphere and enjoy a superior way of life.

P.S.: Here is my latest experiment with Phosphenism: my daughter and I have participated to a theater festival (Festival Teatro d’Impresa, Bologna, on June 11th and 12th 2011).
First, I used Phosphenism to write the script and the scenario. Writing was smooth and fluid.
Then, we used Phosphenism to memorize it.
We actually memorized it very quickly, much quicker than without phosphene.
And, we obtained the audience’s prize for the best show as well as the jury’s prize for the most original show!
I have now offered to apply Phosphenic Mixing in a post university master, in which I would like to use it with the same model as the one I am using in “Sound Genius”.
Thanks again for everything!
Giorgio Fabbri
Head of the conservatoire of Ferrara.