**7. Conclusions**


*Efficient Conscious Speaking - Live Communication Pedagogical Technique… DOI: http://dx.doi.org/10.5772/intechopen.101093*

of digital pedagogy, as a thematic axis, and we do it through the formalization, or objectification, of a tablet or digital device, located on top of the teacher's platform, we can see the possibility of infinite channels of subtle communication unfolding with the concept of the left foot. For example, if on the left foot we must insert a concept such as emotional intelligence in the classroom, we can represent it with an illuminated heart sitting on one of the desks. In this way, when establishing the two concepts in the body, we can create a common thread between both ideas so that they do not lose their location, and we have a kind of subtle internal compass that is always interconnected and interdependent, that allows a guiding semantic plus in the recreation of the concepts. In this case, it may be a spatial connection since, if we see a tablet on the class platform on the right foot, we can amplify the camera or our gaze, and see how that seated heart appears in one of the desks in the first row at one of the tables in the class. In this way, each concept has independence, and cognitive autonomy in our creation, but it also exists.

## **8. Future directions**

The next and future main lines of research would be the following:


of the concept, retention, seats the creation on the canvas, and exhalation, we release the focus of the image, but the concept settled on that canvas of our body. The essence is that the speaker feels like a genuine cartoonist and a deep musical creator who draws concepts and words on the screen of your mind through the art of harmonic breathing. The art of drawing and evocative writing conscious of the speaker 2.0 walk through rhythmic breathing and inspiring music. The first investigations that we are conducting on this novel next line of research are allowing us to glimpse, in the first instance, two first metacognitive application scenarios. A special fluid first stage of the composition of the speaker's walk 2.0 allows a production of our speeches that is especially intense and lively, which results in highly fluid and stimulating memorization. In the second instance, the use of music as an empty stage to be composing in real time, as an improvisation with a musical rundown, on the inspiring and environmental elements that the speaker is, allows, in addition to being a highly stimulating method of our concentration. It becomes a tremendously practical method to relate to creativity from a much healthier perspective that deconstructively allows us to release our creativity rather than build it. This implies a relationship with less involvement in linear expectations and classical memory and connects us with a singularly more imaginative memory that allows it to be transformed into a genuine, inspiring, and interdependently creative compositional attention.
