THE METHOD

Systematic Improvisation

Reading problems result from disruptions in the coordination of the functions of the visual and auditory senses and the cognitive ability to interpret signals. This disruption is responsible for the damaged cognitive signal processing ability, for problems in focusing vision, and difficulties in motor coordination. These problems are characteristic of dyslexics and of people who have learning disabilities with dyslexic features.

The method utilizes tools and components in various ways according to the individual needs of the client and the pace of progress. This method does not use predetermined programs, since they create a fixation that does not facilitate successful and effective treatment. This is the source of the name: “Systematic Improvisation”.

The method is based on the approach of Dr. Stanley Abelman and Dr. Jerry Getman, and on my own experience as a dyslexic child who grew into a dyslexic youth who had the ability to solve the problem from its roots. My deep personal connection with the world of dyslexia has given me the means to solve it from its roots. The elements of my method are based on constant assessment using deep intuitive observations, and on shared exercises with the client in a playful atmosphere that helps him learn. The emotional aspect, expressed in the special relationship formed between the therapist and the client, based on constant support and assistance, is an essential component without which no progress would be possible.

The method recognizes that reading involves the integration and coordination of three components: the vision, the audition and the cognitive ability to interpret signals. The method is unique in that it works to correct the root of the problem, creating a process whereby senses that were not processed correctly for learning realize their potential. During the treatment, the client learns to integrate and coordinate the senses to achieve correct reading. The client is given specific information that elicits senses whose potential had been dormant, all the more so when the knowledge penetrates the depths of an individual’s reality. The sense discovers the essential oil (the internal self, the unrealized potential) that permeates every corner of human potential. The sense develops the knowledge and spreads incessantly from one task to another, and this is the basis of realizing potential.

The method is based on intuition , which is the key to correcting the cognitive disruption. Intuition is based on structured internal work by the therapist, which has three stages that are an integral part of the therapy.

The three stages are: wisdom, understanding and knowledge.

Wisdom is the power of abstraction and inspiration, the idea.

Understanding is the ability to grasp the idea with all its details.

Knowledge is the ability to connect wisdom and understanding, to connect the idea to a tool in a practical way.

The internal work of the therapist takes place in the following stages:

Wisdom: The therapist forms the preliminary therapeutic idea based on the individual client’s case.

Understanding: The therapist constructs the unique therapeutic tool for the client in theory.

Knowledge: The combination of the therapeutic idea with the therapeutic tool creates the practical approach, the implementation.

The therapist is a sort of orchestral conductor. The orchestra is composed of many musicians each of whom play different instruments. The client has many instruments (senses), but they do not always work correctly, and are not always well timed. The conductor’s job is to ensure that all the instruments function correctly and with the right timing to create pleasant music. An example of the type of work the therapist does is improving the client’s combination ability. The ability to process letters is dependent on the ability to combine. Reading is composed of three stages: seeing the graphic form of the letter (such as identifying the letter “A” as “A” rather than “H”), understanding the phonetic meaning (the ability to distinguish different sounds such as O, A, E), and the combination of the letter with other letters to form syllables, words, sentences and ideas (for example, a combination of the phonetic and visual aspects to read the word “Dad”).