Markdown lines 361–461 · Part 2 of 2
class by getting very close to one of
the students and asking, “Who are
you?” The following scenario is typ-
ical:
Student: “I’m Billy Brown.”
Me: “No, that’s your name.
Who are you?” His classmates
snicker and wiggle in their seats.
Student: “I'm a human being.”
Me: “No, that’s what you are.
WHO are you?” The student and
the class fall silent. (Aha! They’re
thinking.)
root get mad like this?” The whole class bursts out laughing and joins
the discussion. Most of the kids decide that they aren’t sure WHO
they are, but their “whoness” seems to be located in either their skull
or the middle of their chest. Every time we do this exercise, they ask
me for the “answer.” My response is always, “Heck, I don’t know. 1
was hoping you could tell me.”
After one or two weeks of similar activities, every student is
thoroughly involved. Most of them have never thought about such
things or had an opportunity to ponder questions without
right/wrong answers. It’s a real joy to watch them shed their “need to
be cool” and come alive. An atmosphere of trust and community
quickly develops. “Jocks” and “nerds” relate as equals and realize that
they have more commonalities than differences.
Next, I introduce the possibility of a “who” totally independent
of their bodies or of having more than one “who.”
Me: “Where are you?”
Student: “Sitting in photo class.”
Me: “Are you sure? Let’s try an experiment.” I put on some
METAMUSIC, dim the lights, and ask them to close their eyes and
get as comfortable as possible. “Imagine that you're at home in your
bedroom. Look around the room. What do you see? What's on the
walls? the floor? Move into your closet. What's there? Lie on your
bed. What does the ceiling look
like? What do you ear? What do
you smell? Rub your hands across
your bedspread. What does it feel
like? Move into a drawer. What's in
it? Can you smell anything in the
drawer or feel any textures?” When
they return, I ask for a show of
hands if they successfully perceived
their bedroom. Everyone usually
has some degree of success. Then
we discuss how one sense generally
comes easier than the others, and
they identify whether they are pri-
marily seers, smellers, hearers, or
touchers. I ask, “During this exer-
cise, where were you—in the class-
room? in your bedroom? in both?”
‘The ensuing interchange becomes
quite lively. Interestingly, their need
to arrive at a “right” answer has
markedly diminished.
After a few weeks the class is
comfortable with the odd goings-
on and adept at relaxing with
METAMUSIC. At that point,
they're asked to create an imaginary
space, much as we do during LIFE-
LINE. | emphasize that there are
no rules or limits. They are to create a place where they feel com-
fortable, safe, and happy. I ask only that they include a blank wall
somewhere in their space. For the rest of the school year, each class
starts with five to ten minutes of silence for the students to relax in
that special haven. They learn how to develop subject matter for their
photo assignments by staring at the blank wall and intending an idea
to appear on it. This approach has been very successful, and their
efforts soon exhibit much more originality and human interest.
Being an extremely right-brained artsy type, I haven't done a statis-
tical analysis of Hemi-Sync’s effect on student achievement. But
based on twenty years of teaching experience with over three thou-
sand students, I can personally confirm that my classroom atmos-
phere is calmer, quieter, and more productive. The students’ creativi-
ty is at an all-time high. They are more willing to take risks and
expose their feelings.
Open access to Focus 35 has also affected my life outside of the
classroom, particularly my art. Abstract symbols are the heart of my
information-processing style. In college my classmates took notes; 1
drew abstruse shapes to represent the lecture concepts. My scribbles
were nonsense to others, but they triggered total recall for me.
Needless to say, no one ever asked to borrow my notes! As a begin-
ning art student, I struggled to convey abstract ideas/experiences in
a concrete visual way. Drawing and painting lifelike renditions of
things didn’t interest me. If I wanted a realistic picture of a tree, a
camera could do the job better and quicker. I envisioned expressing