I didn't know why music had this effect, but I was now curious about the pulsing of plasm itself.Previously I focused on shaping and moving plasm. Now, as I thought about vibration, I realized that it was an essential component of making it affect the real world. When I first pushed against my finger using plasm I had to constrain its vibration in one dimension. In its "natural", unconstrained polarization, plasm passed through matter without any interaction.I spent hours experimenting and trying to build a conceptual model of vibrating plasm. The vibration could happen in all four dimensions. The frequencies of vibration made a difference to how it looked, but my attempts to control it were weak. I tried rubbing one strand against another. That worked, but only for some frequencies. I also had a very limited perception of plasm harmonics.I went back to the Grimoire. Of course plasm vibration was mentioned there, but almost as an aside. One had to control the vibration in frequency. ”“I am Gudrun.”“Oh! From Wagner’s Ring!”She laughed. “No. Only Goetterdaemmerung. Do you live here in Adelaide?”“No. I’m only here for a few days. I have some family here, but I’ve not yet called them. Can I buy you a coffee?”“Thank you.” Sam replaced the Haebich.Sitting in The Coffee Spot, Gudrun asked: “What was that book?”“Oh. Haebich documents how the Nyungar people of Western Australiaadapted their rich performance culture to survive the catastrophe that engulfed them, and generously share their culture, history and language in theatre. In public corroborees they performed their sovereignty to the colonists and in community-only gatherings they danced and sang to bring forth resilience and spiritual healing. Pushed away by the colonists and denied their culture and lands they continued to live and perform in the shadows over the years in combinations of the old and the new, including indigenised settler songs and dances. [University of Western Australia Press, 2018]Actually, it.
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