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Newsletter of Project Renaissance and Win Wenger              July 2007






*  Quote of the Month

*  Announcements, News Items, Books

*  Events, Workshops


       Music, the Arts, and Intelligence - A Dialogue

            by Win Wenger and Mike Estep

*  Comments, Feedback

       Louise Marie Lalande on idea seeds

       Jim Guinness on attention

       Gabriel Grenier on Photoreading

       Oddynius on Photoreading and Image-Streaming

       Win Wenger on starting a school

*  Organizational Notes

*  Links






"At all times and under all circumstances, we have the power to

transform the quality of our lives."

                                               - Werner Erhard








WELCOME to all new members who have joined us recently. We hope to hear

from you and to give you much food for thought. Back issues are available

upon request. Just add the month to the subject line: 


Or see the online archives: 






We are setting up a partners' bureau or real-time chat resource online

via Skype, msn or yahoo messenger for people looking for partners with

whom to do live Image-Streaming. If you're interested in joining this

resource, please send your contact information and preferences, such as

time of day, language, type of Image-Streaming, and we will create a

cross-reference index of partners to talk online. Contact: 






*  VENICE, ITALY - Franco Tiveron ( )

is interested in learning and practicing Image-Streaming, in Italian

or English. Please contact him if you are already knowledgeable in

this technique and in the Venice area.


*  PORTLAND, OREGON - Clarice Dankers

( )

would like to start an 8-week "Socratic Thinking" course for people in

the Portland/SW Washington area. Get together for two hours each week

to practice different techniques and document your results. If anyone

is interested in learning more about this, email Clarice or phone her

at:  503-247-3098


[Note from Win Wenger: -- Please, people, respond especially to this

one.  This looks to be a very special opportunity in several regards.]


*  FRANCE - Cirlene Magalhaes ( ) 

would like to start a 4-week "Socratic Thinking" course for people in

the Boulogne/Pas-de-Calais area in August and September 2007. It will

be a 20-hour course, with 2 dates a week and 4 hours of home activities.

The target audience of the course is academic teachers in the area of

human resources formation and education. The course has the objective

of gathering people interested in the method in order to: (1) discuss

its underpinnings; (2) practice its different techniques; (3) document

the results obtained. After mastering the technique, the interested

teachers can duplicate the experience with their students and document

the results obtained in their classes as well. Please contact Cirlene

by email to sign up or for more information.


[Note from Win Wenger: -- And also especially respond to this one,

people. What happier setting or more useful and pleasant content? 

Grab this chance today!]


* BALTIMORE - Gerald Hawkins offers interested parties to contact him

at about starting a problem-solving

and idea-testing group in the Baltimore, Maryland, area.


* CHICAGO - Nick Costello ( ) is interested in

attending meetings of Project Renaissance members in the Chicago area.


* TEXAS - Harry L. Beam, 6305 Poly Webb Road, Arlington, TX 76016

would like to meet with other members of Project Renaissance in the

Dallas/Fort Worth area of Texas.


* DETROIT - Eric Bottorff ( ) is interested

in attending meetings of Project Renaissance members in the Ypsilanti



* David Simpson ( ) is also in the

Detroit area, in Livonia, MI.


* NEW JERSEY - Donald Morrison ( ) is

interested in joining an Image-Streaming group in the Bloomfield, NJ,



* TAMILNADU, INDIA - Raj Kumars ( )

would like to practice Image-Streaming with a live listener in his area.








A series of compact handbooks of Win Wenger's key techniques. The first

three volumes are now in print and easy to order from the publisher:



*  END WRITER'S BLOCK FOREVER! by Mark Bossert, Win Wenger


Coming soon! - DYNAMIC TEACHING by Harman Benda and Win Wenger






Mental Training Affects Distribution of Limited Brain Resources

The information processing capacity of the human mind is limited, as is

evidenced by the so-called "attentional-blink" deficit: When two targets

(T1 and T2) embedded in a rapid stream of events are presented in close

temporal proximity, the second target is often not seen. This deficit is

believed to result from competition between the two targets for limited

attentional resources. ... meditation, or mental training, affects the

distribution of limited brain resources. ... This study supports the

idea that plasticity in brain and mental function exists throughout life

and illustrates the usefulness of systematic mental training in the study

of the human mind. Here's the original journal article:




"20 Tricks to Boost IQ and Build a Mental Exercise Routine"

Scott Young provides a fine list of enjoyable activities to sharpen your





Pheromones trigger brain cell growth


News from Calgary research:  Pheromone signals from dominant males spark

new brain cells in their female partners and could help repair injured

brains, suggests a new study by a University of Calgary neuroscientist.




Technology Review: Solar Power at Half the Cost

A new mechanism for focusing light on small areas of photovoltaic

material could make solar power in residential and commercial

applications cheaper than electricity from the grid in most markets

in the next few years.




Sun's activity rules out link to global warming

Direct satellite measurements of solar activity show it has been

declining since the mid-1980s and cannot account for recent rises in

global temperatures, according to new research.



Win Wenger comments:

This looks to be a biggie - In recent months I've complained that the

science on both sides of the global warming issue has been corrupted by

special interests, always able to find some round-heeled scientists who

will produce "studies" to support particular - and political - positions. 

Well, methodologically, Lockwood's and Fröhlich's study in this instance

looks pretty straightforward to me. Implications are considerable. See

what you think.




Gulf of Mexico "dead zone" could expand this year

The Gulf of Mexico's "dead zone" -- a swath of water with such low

levels of oxygen that marine life can be threatened or killed -- could

be the largest since measurements began in 1985, scientists said on

Tuesday. The dead zone, which recurs each year off the Texas and

Louisiana coasts, could stretch to more than 8,500 square miles this

year -- about the size of New Jersey -- compared with 6,662 square

miles in 2006 and 4,800 square miles in 1990.



Win Wenger comments:

Where better to apply our invention for oceanic fish farming, whether

or not one were actually to farm fish there (a question of the chemical

runoffs from Texas and Louisiana?).  We need to restore the waters to

health. See for a description of the

invention, whose main application would make it easy and inexpensive

to greatly expand the world's protein supply. 




9,500-Year-Old City Found Underwater Off India: Discovery Will Force

Western Archaeologists to Rewrite History

A civilization has been uncovered that would have appeared just as

ancient to the people who built the pyramids as the pyramids seem to

us. According to marine scientists in India, archaeological remains

were discovered 36 metres (120 feet) underwater in the Gulf of Cambay

off the western coast of India. And carbon dating says that they are

9,500 years old. The vast city — five miles long and two miles wide —

is believed to predate the oldest known remains in the subcontinent by

more than 5,000 years. See also: and

Some controversy is discussed at and repeated in



Win Wenger ( ) comments:

This Neolithic discovery is one of very considerable consequence. I've

known just about all my life that the standard model of late neolithic

to early bronze times was full of holes and stretched to the breaking

point to account for some of the anomalies. This latest discovery looks

too solid to ignore, and SOME revisions will indeed have to be made to

the standard model.  I hope we can do so rationally and well-based upon

the actual evidence. Take a look at the articles linked above.


Something on this scale isn't going away nor can it be hidden or ignored.

There is no lack of bases for evidence, and whatever is the truth here

is pretty likely to come out, these next few years.


Not in the articles, but worth noting:  Even today, with seven billion

people crowding each other over almost every square inch of the planet,

most of us live near sea level. In Eurasia and Africa, the first

civilizations on agreed record were near sea level or even on the

sea. It does not seem utterly implausible to me that if there had been

civilizations existing 10,000 years ago about the time of the melting

of the main icecaps of the last glacial age, they could have been based

at seaside and/or on fertile alluvial plains near sea level, and could

have been wiped out by the 200-foot rise in sea levels which resulted at

that time.  


No lesson in any of that for us, though, of course.




Gifted Education Press is offering a complimentary copy of their

Twentieth Anniversary SUMMER 2007 Online Quarterly issue. To receive it,

just email directly to the publisher, Maurice Fisher, Ph.D., at:




Translators wanted - in any language, to translate selected contents of

the Project Renaissance website, the new CoreBooks series, and certain

books by Win Wenger. Please contact Win at

if you are able and interested in collaborating on these projects.








Capitol Creativity Network - August 8, 2007

"Accessing Creative Intelligence for New Work and Life Solutions"


Contact: Michelle James at




Teamwork & Teamplay Workshops with Jim Cain, Ph.D.

September 24-26, 2007

ACA Southeast Regional Conference, Jacksonville, FL

Teamwork & Teamplay, 468 Salmon Creek Road, Brockport, NY 14420

Phone: (585) 637-0328   |   Email:





Coming, the second weekend of November 2007 - mark your calendar!

Another round of Invention-On-Demand Training in Gaithersburg, Maryland.

Further announcements will be posted here and on







Feature Article:





            by Win Wenger, Ph.D. ( )

        and Mike Estep, Ph.D. ( )



For this month's feature, we bring you a few notes on how involvement

with music and the arts may affect IQ and intellectual achievement, with

excerpts from a recent correspondence between Win Wenger and Professor

Mike Estep. 




Introduction - Win Wenger:


It appears increasingly evident that involvement with music - at least

classical music with its unique structures, architecture of detail,

accumulation of the most compelling of music over the past few centuries,

and richness of expression within the music - improves intelligence and

intellectual performance. I'm not talking about the so-called Mozart

Effect, which looks to be temporary. I'm talking about permanent changes

in intelligence and in the very structures of the brain most closely

related to intellect. I imagine that some forms of progressive jazz have

some of the same advantages, and possibly other forms as well.


I cite, for example, work by Gottfried Schlaug and his colleagues at

Dusseldorf University, demonstrating that, within their brains, the organ

responsible for the core of our intellects - the left plenum temporales

in the middle of our speech centers - in persons with perfect musical

pitch is TWICE THE SIZE of that organ, physically, in the rest of us.


Music and the arts, especially their aspect in aesthetics or our sense

of beauty, are predominantly far to the right in the brain; but key

aspects show up all over the brain, including in the conscious, word-

processing "left side."  The left plenum temporales is the core of our

intellect and verbal intelligence, as "far to the left" as you can get

in the brain; its primary function is to sort out and discriminate

nuances in word meanings.


Five or ten percent difference, on average, would be awesome. For the

left plenum temporales to be fully double the size, in physical volume,

in those of us who have perfect pitch, shoots right off the seismograph

in its implications.


Recent studies have suggested that most children are born with perfect

pitch, but most of us lose it early on for lack of experiences which

develop it. In our own experience, children who were taught at least

the beginnings of how to sight-read and play music, by a method devised

by Susan Wenger ( ), all

appeared as an accidental by-product to have perfect musical pitch. 


It is also my conviction that the practice of Improvitaping builds

intelligence and, indeed, does so rather strongly and rapidly. I think

it can do so even in people who are initially totally without musical

ability. See how to Improvitape, with its rapid sensory perceptions,

responses to those perceptions, and flow-with-feedback phenomena, at . Then read how such flow-with-

feedback phenomena improve intelligence, .




Mike Estep:


For the last 22 years in private music instruction, I've allowed myself

to use and develop a form of Imagestreaming (even though I didn't refer

to it this way nor know of Dr. Wenger's work in the beginning).


I always viewed my private instruction as a testing ground to experiment

with ideas and techniques. I didn't constrain my thoughts strictly to

musical structures, either. I'd incorporate elements of the habits of

geniuses (Mozart, da Vinci, Einstein, Tesla, etc.), personal development,

and brain science/psychology. I would take a broad range of subjects and

allow myself to improvise concepts and answers to students. I wasn't

afraid of making errors, as I felt the cream of ideas would rise to the

top, just as it does through trial-and-error with playing an instrument

or working with computer technology. The repetition of this process

allowed me to entertain ideas not commonly thought of and become very

philosophical in my approach.


The only censoring that took place was in regard to using language or a

few concepts that might be offensive to students. Other than that, I let

my mind roam freely, while extracting ideas verbally. The images, ideas,

and words would just flow. I also incorporated this with Socratic

questioning to help the students feel some sense of involvement in the



I didn't discover Dr. Wenger's work until I read the Einstein Factor in

1999. I was so thrilled to see such work taking place. While I haven't

incorporated verbatim every one of his techniques, I believe there is

great value in his work.


After using my imagestreaming processes for several hours per day (4 to

6 days per week) over the last 22 years, I'm absolutely positive that it

has changed me as a person. I commonly come up with solutions to problems

now where I'm not consciously searching for the answers (it happens at

the subconcious level). I'm also confident that my students continue to

come to me because of my incorporating this into my teaching. I believe

it reaches to students on levels that are much deeper than the intellect

alone. I'm convinced it is one of the reasons why I've had over 2500

private students in the last 22 years.


I believe it is important to "draw out" the genius within my students.

Unfortunately, I also know that most of my students would never encounter

such thinking if it weren't for my instruction. However, I still proceed,

because my efforts (and the efforts of like-minded individuals) could

help produce another da Vinci with insights that literally change the





Win Wenger:


Mike, from your description, one question: Did you have, and do you

have, a recorder going while you are giving these lessons? Capturing

your improvised insights on at least audio recorder greatly accelerates

progress because it frees you to go on beyond where you went before.

Maybe you already have that going for you.




Mike Estep:


I do use some of your techniques, sometimes with my own twist. For some

time now, I've been intrigued by your putting on of heads and seeing

through the eyes of geniuses. Several years ago, I wrote a browser-based

javascript subliminal tachistoscope that I run on my computer while

attending to other things. ... As a long-time ear-playing musician, I

have learned to highly trust my intuition. It steers me correctly most

of the time.


I don't go around discussing this freely with everyone, as most people

would not understand. However, I regularly discuss aspects of these

things with my students and help them to see that, as a species, most

human beings have no clue what their real mental capacities are. To

some degree, I believe there is a da Vinci in all of us.




Win Wenger:


There is always a next higher level, for each of us. From all you have

described, I believe a very well-defined next-higher level awaits your

practice of recording while you teach, especially of the sessions where

you let fly and sometimes surprise yourself with the insights which

come forth. As "dangerous" as you already are, this could be fun.


The tachistoscope sounds like a good idea. For years I've been wanting

to set up a tachistoscope-based program for making an interactive page

with our High Thinktank process, only no one with the needed skills has

emerged. Beyond that, just simply developing the ability to quickly

perceive a scene and identify and make sense out of its elements, would

be a good thing to do for training our mostly unused link to our own

perceptions. See, for example and for educational use with young

children, the "Sherlock Holmes" suggestion I made some years ago in  (and some of the perceptual-

development ideas I offered in the article that preceded it, ). No one has ever taken up

anything near this approach to things, though as I write this, it

occurs to me that people involved in training athletes might find

this to be of interest.


Where our efforts here could be most helped would be to get some sort

of publishable, quantifiable comparison measure of the effects of this

kind of process on (your) students. I mention quantifiable for obvious

reasons, though building up a stock of ready anecdotal evidence would

also be helpful at this stage. Publishable, point-to-able evidence

"creates permission" for other educators and trainers to dip their own

toes into the waters, generating more such data and more such

"permission." That's where our efforts here could be most helped.

How may we best help your efforts there?


Thank you very much for writing and sharing.




Mike Estep:


Actually this is rather ironic. I have much expertise with music/

multimedia/sound reinforcement technologies (36 years). But in 22 years

of private music instruction, I have never recorded my imagestreamed

discourse. I have had students who videotaped me showing particular

playing techniques, but not my philosophical "drawing out". I would

consider doing this, just to be able to reflect later on how I'm using

the imagestreaming process (for personal feedback/reinforcement/

improvement). I'm ready to resume academic teaching and research. If this

occurs for the Fall, it will include a move. That will mean having to

re-establish my private music instruction clientele.


I have also used my version of the imagestreaming process in university

instruction of groups. But even with academic freedom, it hasn't felt

quite as free as with my private instruction. However, I would not be

opposed at some point in the not-too-distant future to doing some kind

of research study incorporating such techniques.




Win Wenger:

It's great that you've been able to develop as far as you have without

such a direct volume of personal feedback. I expect that when you get

a chance to start recording yourself in action, your further progress

will totally amaze everyone, especially yourself.




Mike Estep:

... If you hire a college music student to transcribe your pieces, I

would recommend one that is pursuing performance/education in commercial

or jazz music as opposed to someone who is pursuing classical training.

The reason for this is that, as a rule of thumb, most musicians pursuing

formal classical training do not play much by ear. I've played by ear

since I was 10 and play professionally in country and rock bands, but

my bachelors in music ed was a traditional classical program - so I've

seen both sides. Although ear training is emphasized in classical theory

classes, students who aren't pursuing it on their own outside of school

don't develop their ears much (sad but true). Their pursuits are geared

mostly toward music reading, which is a different animal. Commercial and

jazz students who go to schools like Berklee College are highly skilled

ear players and readers.




Win Wenger:

... That is very interesting, what you mention about classical-training

Students' not being much involved in working by ear. I see that as a

lack, yet clearly something is working in classical training to the

point that we seem to be living in the Golden Age of Performance. Of

course, not everyone is an Evgeny Kissen and maybe great performers

come through despite, rather than because of, various aspects of the

standard training, but I have to wonder at this aspect. ...




Mike Estep:


On the ear thing... As far as musical balance goes, I believe more of

this goes on in commercial music (jazz, rock, pop, etc.) performance

schools like Berklee ( ). Although the styles are not

as much classical, what is emphasized is a balance of sight reading,

performance, theory, history, ear training, ear transcribing, ear

playing, composition, and improvisation. Musicians that finish training

from these schools are able to do studio work, play with national acts,

teach, etc.


Musicians receiving training from traditional classical schools will

generally not have near the amount of exposure to ear playing, ear

transcribing, and improvising. They can develop enormous technical

playing and sight-reading skills. I'm not saying they never use their

ears, but they don't regularly learn pieces by ear. The classical

repertoire is generally learned (phonetically, so to speak) through

sight reading.


There is a world-class concert pianist from Africa who was an artist-in-

residence at the University where I used to teach. She was nominated for

a Grammy a few years ago for a classical CD she recorded. I had a short

conversation with her after I finished my ear-training dissertation

study there. She informed me that she really had trouble with ear and

related theory training, which took me somewhat by surprise, because she

is truly a virtuoso when it comes to technical playing and sight reading.

She plays with much feeling also.


I believe the aversion to ear playing sometimes starts in early formal

music training. I have regularly seen students who go through public

music school band programs or private classical instruction encouraged

not to play by ear, as this is looked at as a possible crutch to not

learn to read music (which is true occasionally).


It is ironic that many of the classical composers we revere played by

ear often (as well as sight read). For instance, it was common for Bach

to write out chord progressions (no standard notation, just chord

symbols), hand them out to musicians, and then the musicians would take

turns improvising in fugue styles, much like jazz, rock, or country

musicians would improvise solos today. The majority of professional

rock, pop, and country musicians I have personally known in the last

28 years do not read standard music notation at all (yet, some of these

players are virtuosos). Accurate and current note-for-note transcriptions

for much popular music (as performed in recordings) are not readily

available, so these musicians have to learn to play by ear to work up

most of the songs.


Here are my personal feelings about ear playing vs. sight reading...

Learning to play by ear is analogous to learning to speak a language

by imitation. Learning to sight-read music is analogous to learning to

read words. We don't teach our children to phonetically read their

native tongue before they can speak it. However, using the previous

analogies, that is exactly what is happening with much formal music

training in private instruction and in schools. We usually consider

it a form of ignorance for people to learn to speak (or play by ear)

but not learn to read (or sight read). I think that a different kind

of ignorance occurs if a person doesn't learn to speak fluently (or

play by ear fluently) before, or at least during, learning how to

read fluently (or sight read fluently).


The best situation is to learn equally to play by ear and sight read.

However, if I were forced to choose one skill over the other, I would

hands-down choose ear playing over sight reading, just as I would choose

speaking words over reading words (because trying to read words

phonetically without being able to speak the language really doesn't

make sense). Fortunately, I've developed skills in both areas.


One thing is very clear to me. I have developed a very strong intuitive

sense of thinking, imagining, and feeling that are directly related to

my learning to play by ear starting at age 10 (I'm 47 now). Just as I

use my intuitive ear in every musical endeavor (many times doing so as

habit without realizing it's happening), I now also attempt to use

intuitive and feeling perceptions in every endeavor.


By the way, in the last decade, your work has contributed greatly to my

outlook in the matter of "connecting the dots" and tying such perceptions

together. Thanks.




Footnote - Win Wenger:


Regarding great composers playing by ear and improvising: Definitely not

only Bach - In the year 1800, Daniel Steibelt, a rather full-of-himself

Franco-Prussian musician and composer, came to Vienna to attempt to take

over music there. He challenged Ludwig von Beethoven to a piano-playing

duel. There he took a theme from one of Beethoven's pieces and did some

improvisations on it to show how he thought Beethoven should have handled

it.  Beethoven's turn at the piano, he took a sheet of music at random

from one of Steibelt's pieces, turned it upside down, and for a half hour

ran off variation after astonishing variation. Steibelt slunk out of town

and spent the rest of his life safely out of the way in Moscow.  By the

way, what Beethoven built out of Steibelt's music sheet turned upside

down became the basis for Beethoven's great Third Symphony, the Eroica,

which broke the back of classicism and launched the romantic movement in

Euro-Western music.


Ironically, it was Beethoven's own impatience with fellow musicians and

performers of his age that led to the death of improvisation in classic

forms of Euro-Western music.  All composers used to designate cadenzas

where the performer would go flying on his own, expressing his own special

take on the piece he was playing. Beethoven couldn't get any of the

performers of his time to come up with satisfactory cadenzas on his pieces,

so he ended up writing in his own cadenzas into his musical scores, a

practice which other composers thereafter followed.




Summary comments - Win Wenger:


The topics of music, perceptual rapid flow-with-feedback, improvisation,

and effects on parts of the brain having to do with intelligence and

intellect are an utterly rich field in which many important discoveries

are waiting to be made. Meanwhile, regardless of whether you are musical

now, you can significantly improve your intelligence and your intellect

by strongly involving yourself in music, and by practice of Improvitaping.


Computer game designers are being sought for our game program on music. 

Musicians are sought who are willing to test various of our procedures,

not only Improvitaping. In this context are easy points of leverage

through which to work major effects. And yes, music and the arts should

be especially a key part of the experience of every child. Economizing

moves that struck the arts from most public schooling have done most

terrible harm to our country and to most of us living therein.



To send feedback privately to Win Wenger, email to:


To send feedback privately to Mike Estep, email to:


To send your comments about this article to The Stream, write to:









Louise Marie Lalande ( ) writes:

My sense of the world resonates with your vision statement in . I believe we can help each other

grow while seeking inspiration from the wonderment of life, nature,

and inventions.  Most important, I believe we can lead a more peaceful,

healthy, happy and loving life if we choose so.  It is my hope to

plant these types of idea seeds by teaching and co-leading workshops

that include creativity and play while incorporating meaningful

viewpoints about our emotions, mind, body and spirit.  This will

provide others tools to shape their lives meaningfully through their

individual, innate wisdom and guidance.




Jim Guinness ( ) writes:


About 20 years ago I attended one of your workshops in the Boston area,

and recently "rediscovered" your work. I'm so glad! I'm now a HS math

teacher, I'd already been applying some of what you suggest without

knowing it, but it's so helpful to have it made explicit! Thanks!!


At the end of Winsights #33 [ ] you say: 

"... it is now overwhelmingly clear to me that one of the very best

things we can do for one another, in or out of the classroom context,

is to listen to one another, with full attention, respect and regard.

Really listen."


This reminded me of a quote from the great Indian teacher, Nisargadatta

Maharaj:  "Do not undervalue attention.  It means interest and also love. 

To know, to do, to discover, or to create, you must give your heart to

it - which means attention.  All the blessings flow from it." - Source:

- Jim Guinness ( )




Gabriel Grenier ( ) writes:


I read The Einstein Factor when I was 16. At that time I was not

quite good in English, but I read this book over and over until I fully

grasped the content. I was astonished. This was exactly the kind of

knowledge I  needed. There was a résumé about the Photoreading method.

It hooked me enough to order "Photoreading" by Paul R. Scheele.


The number of books I was willing to read was increasing dramatically.

Although I was spending more time reading than ever before, that was

not enough. I gave a try to the Photoreading system. The first dozen

were books I picked up randomly at the library. The results were good

but not as outstanding as I was expecting, but I kept practicing. A

few months later I was explaining the techniques to my grandmother,

and she challenged me. She gave me a book and asked me how much time I

would need. I said give me 30 minutes and you will have a one-page

résumé written down on paper.


I spent about 5 minutes photoreading, then I stopped and let it incubate

for about 2-3 hours (they suggest to sleep on it, but I didn't have time

to wait until the next day). I sat back in front of the book with a pen

and a paper and activated it for 20 minutes while writing the résumé. I

gave her a speech about the book with my résumé, and then she was



I still photoread and enjoy the process. It's a real pleasure to activate

a book - it's the hardest part but the most rewarding for me. You let

your intuition guide you. I can read more books in less time. The benefits

of Photoreading are more than just reading faster, coupled with Image-

Streaming. They support each other. Give it a serious try and I think

you won't be disappointed.


- Gabriel Grenier ( )




oddynius333 ( ) writes:


Photoreading is astounding! I was a skeptic also in 2004, when I had to

take a comprehensive certification exam for graduate psychology.  I had

to review materials that I had not looked at since the 1970s, although

I am a practicing psychotherapist for over 30 years.


I felt I would fail the test, so I took Paul Scheele's Photoreading

course. I passed the test with flying colors in September 2004!! I have

expanded my reading in many subjects since then, as I used to not like

reading. Now I read and photoread voraciously.


How Image-Streaming fits in - I photoread the Einstein Factor in 2005,

just for kicks. I realized, after I incubated it, that this book was no

ordinary book. I read it over and over again, and now I Image-Stream

constantly after I photoread books, from what I learned from Win Wenger's





Win Wenger ( ) writes:


How many teachers and former teachers are here in this group? How many

of those present would be willing to teach with some of the Project

Renaissance methods, especially our modern Socratic Method forms,

including "Dynamic Format"-focused buzz-grouping and partnered

cooperative activities - see , and - and

measure the results and report them? ( )


Is there anyone here interested in starting a school with our help? 

(Maybe a charter school, except in most states the people who get to

pass on whether such a school can be accepted are the same people whose

decisions have ruined the existing school system.) It's one thing to

complain about how schools are failing, another to demonstrate live a

working alternative.  Don't think the existing schools can't get worse

than they are - they are nearing abject collapse.  Working alternatives

need to be up and running and visible before that collapse happens, so

people will know what to jump to instead of panicking and making matters

worse. It's time NOW to get one or more of those working alternatives up,

running and visible. Front channel or back channel, please write me now.   


Montgomery County in Maryland has just killed its one alternative school,

a wilderness-based school which had done beautiful work here for more

than a decade, including with one of my own daughters. The same system

has also just killed its most outstanding after-school educational

project, Hands-On Science, which had done absolutely brilliant work

with younger children over the past twenty years. Our schools here are

leading us deeper into the abyssmal Dark Ages.  How are they where you



- Win Wenger ( )






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