I'm sorry I have no idea what your talking about, but it has little to do with modes. Sounds like a bunch of gibberish. If you raise the fourth degree of a major scale you will alter it from an Ionian scale to a Lydian, but if you truly want to take advantage of the modes the underlying chords (beneath the scale) are equally as important as the scale itself. Thus the reason for modal chord progressions.

if you play F lydian over a static C major chord, you are just playing a major scale starting on the note "F" the fourth degree of the scale. If you play the F Lydian over a F Major7 b5, now you are playing within the Lydian mode (Mode# 1) and not the Ionian (mode# 4) as is the case above.