Chapter Ten

The Singing Soul

Written By Abdun Nur

“Nothing exists without music, for the universe itself is said to have been framed by a kind of harmony of sounds, and the heaven itself revolves under the tone of that harmony.”— Isidore of Seville

It was around mid-morning when Gwen’s phone rang. “Hello?” Gwen answered, she seldom got phone call, and thought it was likely Cathy ringing about the professors visit the previous evening.

“Hello. Could I speak to Seisyll please?” Asked the voice on the phone.

“Just a moment, I’ll have to fetch him, who shall I say’s calling?” Gwen asked.

“Joanne Godwin. Is that you Gwen?” Joanne asked.

“Yes. Joanne Rhodes is it.” Gwen had thought the voice familiar even after forty years.

“Well, of old, it is indeed.” Joanne replied

“After all these years, how’ve you been?” Gwen asked.

“Fine, it’s good to hear your voice after so long.” Joanne replied.

“Hang on Joanne, I’ll go get Sill.” Gwen put down the phone and went outside to find Sill who was busy working in the garden with Phil.

Sill rushed in and picked up the phone. “Hello Joanne.” He said a little out of breath.

“Hello. My father told me you wanted to speak with me?” Joanne said.

“I did. I want to find out what happened to Isambard, and I thought a chat with you may help me to discover more.” Sill replied.

“I’m not sure what I could tell you, that would be helpful.” Joanne concluded.

“Would it be possible to meet up and have a chat?” Sill asked.

“I suppose so, I’m giving a class this afternoon, if you come I’ll chat with you afterwards. I’ve some pictures and writings of Isambard’s I can show you.” Joanne offered. Sill wrote down the address and agreed to meet her later in the day.

After dinner Sill ordered a taxi and drove into the city, he arrived at the address Joanne had provided around two o’clock. He went inside, where the receptionist told him which room to go too.

Sill knocked at the door but no one answered, a brass plaque was fixed to the centre of the door, ‘lecture theatre 7’, Sill tried the door and pushed it open. Inside he found a room full of people sat in a small lecture theatre with pens and paper in front of them, all looking towards, what Sill guessed, must be Joanne, who was stood at the front. Sill sat in an empty seat at the back.

“I’ll quote Alex Clay Hutchings ‘Art is how we decorate space: music is how we decorate time.’, and politely disagree with his sentiment. Music is creation, it’s the fabric of reality itself, not merely decoration; art, painted, drawn, and performed is decoration, music is everything.”

The music teacher stood before the group, this was the first time she’d stood before this small group of musicians, and she wanted to make the passion they’d already expressed for music, mushroom into the very core of their existence.

“Good afternoon people, I’m Mrs. Joanne Godwin, please call me Jo. Together we’re going to create music, but today we’re simply going to explore what is music, both conceptually and commercially?

Could anyone tell us what music ‘is’?” She asked the room full of attentive faces. These musicians had paid to study under Mrs. Godwin; her reputation for shaping mediocre musicians into masters was considerable.

“It’s rhythmic noises that make you want to dance.” A young man replied.

“Hands up please. In future.” Mrs. Godwin told the young man.

“Music is form, the singing thought that reaches down to nothingness and stretches out to everything, so music structures all perceptions, the perpetual recursive mind spins to a tune of infinite potential. Consciousness is the instrument and music the harmonization, when a song is played into consciousness reality itself is rearranged.

Almost all, when you were children, were exposed to many detrimental experiences, you were given toy guns and weapons to learn to fight, hate and view violence as acceptable. You watched the soulless heroes of movie, television and video game, murder and beat others in glory and adulation.

In this cult of society all children learn to fear intelligence and imagination, educated to aspire to gain certification in memorized authored poppycock; certified fictional passports that are cultured within them as the accolades of success and prosperity. Music is rarely considered, but in shaping the perceptions of the child, it’s the most potent force.

Few have any concern about what their child listens to, but if broken hearts and rejected advances are all that’s heard, the soul will harmonize with that vibrational state, if pain, suffering or misery dominate the music, then the soul will harmonize with that, if loss, death and violence dominate then the soul will harmonize with that, and so on.

We’re both the music makers, and the music absorbers; music engages all consciousness in unity, therefore all truth is musical, so music is the highest communication of all the unnameable and the unknowable, music is the language of the soul expressed by the artist upon a canvas of silence, while words are merely the spells that hypnotize the mind, but put those spells to music, and they cast the strongest magic.

Our very form is a song that flows within and vibrates out, its tune is not in the notes, but in the silent pattern they project.

Consciousness is filled with music, the soul dances to its tune, while the soulless hold a monotone grey and constant. When the soulless hear the music of the child, they don’t feel anything but contempt and revulsion, because to let the music free will change the worlds that spin to hide the truth, even your words are a simple music.” Mrs. Godwin explained.

“Why is music so vital to my soul?” A young girl asked.

“When you learn the skills of making music, it increases unity with other souls at a profound level, it improves coordination skills, and it encourages cooperation in its expression and appreciation.

Music increases cultural cohesion; it forms vibrational unity, so creates a community identity through song. It’s a modern phenomenon that music is anything but a live performance, until very recently it was a binding social practice and valued skill.

We’re empathic souls, formed fundamentally as a flowing emotional manifestation, music feeds the vibrations of emotion, instead of words and ideas, emotions and intent are communicated through music, in this way the soul is awoken.

Music, just as language, stories, and culture, can be passed on to each new generation, in the past this created a sense of continuity and loyalty to a community with a unique musical character, this still exists conceptually as a national trait, but sadly community does not.

Music’s the fundamental nature of creation, all is vibrational thought, so this musical nature is one that must be nurtured, as it plays a pivotal role in maintaining the dominance of empathy, and empathy unifies emotional expression with cold intellect.

Intellect combines with emotion as music is processed; intellect tries to understand the intent, while emotion tries to harmonize with the vibrational pattern of the music.” Mrs. Godwin answered.

“Why is music ignored completely in physics, if it’s the fundamental nature of reality?” Someone in the class asked.

“Sadly modern physics is stagnant upon a path of deception; this stagnation will continue as long as the dominance of a small elite exists to manipulate. If physicists returned back to quaternion equations, then they would see the signs that mark the music of the spheres. If Einstein had been an honest man or even a competent one, which he certainly wasn’t, an honest man would realize the significance of sounds, feel the fundamental importance to vibrations, he would not have plagiarized the theories of relativity, nor helped to propagate the fraud of nuclear weapons; if the Jesuit priest Georges Lemaitre had no deceptive agenda, and been able to hear creation he wouldn’t have fabricated a big bang theory; if Newton had listened, he would’ve realized the attraction of mass was not the cause of gravity.

The heartbeats of every life upon the Earth are part of the symphony on the Earth, the wind, the sun, the sea, the movement of all creation sings out simply to entertain the perceptions of the mind, so allowing within an infinite potential the soul to dance and sing in exuberance and conscious bliss.” She answered.

“How can we hear creation?” A girl asked, all attention.

“The mind has a spiritual eye buried in blackness, neglected and ignored by most; we also have a spiritual ear, it’s as big as the heavens, rendered silent by apathy and ignorance. A great poet can see in the blackness, while others are blinded by the light, and hear in the silence, while others are deafened by the noise, this is what makes them a great poet. You have an easier task; you only have to hear in the silence to be a great musician.

Once a sound exists, that sound joins the harmony of the infinite and lasts forever. In our perception of the infinite moment it may vanish, but in eternity it continues to exist in the silence.” Mrs. Goodwin smiled.

“It’s claimed everything is energy, not music?” A skeptical voice asked.

“Energy is an elusive state, what do physicists know of energy, nothing, only how it interacts, energy is vibration, what is vibration but a perceptual expression, that through a physical act of rhythm, joins the musical composition of the infinite frequencies of vibration.

But to have music you need space, and so space is a more fundamental state than music, music is in fact movement. And to move you must have space, the vortex is the structure of the notes, and upon a sea of notes perception is presented.

The music of creation is a thought, we are a fractal of the consciousness sharing all thought, all souls share that single consciousness, this is demonstrated by souls experiencing a shared perceptual reality, only if they share the same consciousness could that happen.

Only what you perceive; the thoughts you process are reality. The physical is exposed as thought when the quantum is examined at the infinitesimal, the thought that spins within the vector equilibrium of the geometry of the octahedron of volume, the zero point of all perceived manifestation. The “vector equilibrium” comprised of 6 pairs of equal and opposite vectors that perfectly match the 6 pairs of tri-tones, the interval that divides the twelve-tone musical scale perfectly in half, all thought is musical, therefore all creation is musical, the physical is merely a vast orchestra playing from a single note, infinitely forming the harmonies that are reality. Music changes the way you think, it changes the emotions you feel, and the perception you experience.” Mrs Goodwin explained

A young man with long scruffy hair raised his hand, but without waiting to be asked to speak said. “Aren’t we going to learn anything about music?”

“Have you not heard what I’ve said?

Do you think what I’ve said has no connection with music?” Mrs. Godwin Asked him.

“I want to learn how to write better songs and riff’s, not a history or philosophy lesson.” He replied.

“I suggest you take a different type of music course, it seems I’ve nothing I could teach you, you’re free to leave.” Mrs. Godwin told him politely.

The young man stood and walked out of the room with an air of contempt.

“Shouldn’t we get paid for our music, to get paid we need to create music that appeals to the music labels?” A heavily tattooed man asked.

“The ‘music industry’ has steadily become more and more repressive, until modern music is formulaic, contrived, puerile; generally negative corporate garbage, and those, ‘musicians’, promoted by the agents of those vast corporate entities, are predominantly vacuous whores, willing to service the desires of their corporate masters with little regard for their listeners or concerns for the content and effects of their musical machinations.

If you create music to be rich and famous, then you cannot create music that I would be interested in hearing, a passion can be nurtured, but a lust for fame and wealth has no place in passion.

I’d like to ask why do you want to create music?” Joanne asked the group.

A man in his mid twenties raised his hand and said. “To make money, get laid and be famous, why else.”

“Well for me that’s not a creative motivation. Which brings us to copyright. Would those who believe copyright is vital to music raise their hands.” Joanne asked.

Everyone in the room raised their hands. “There is an old adage.

‘I met a man with a pound. We exchanged pounds and we still both had a pound.

I met a man with an idea, we both exchanged ideas, and now we both have two ideas.

In the example the first is of a medium of exchange, like for like, so the exchange is purely reciprocal; the second is a true exchange both reciprocal and perceptibly enriching, both exchanges are balanced.

Balanced exchange is the key to understanding why copyright is a fraud.

The legal fiction of Copyright is an extension of the fraud of ownership; copyright being the control and monopoly of intellectual ‘property’, used to extort revenue (taxation) upon the application or copying of the idea or design of the copyright holder, further imposing regulations upon another who uses the copyrighted goods, services or ideas.

So dictating what someone can or cannot do with their own, real resource, even to possess and use, that resource.

These two types of possession, tangible possession and intangible possession are mutually inconsistent.

If you trade your labours in natural equity you give full and complete possession over to the buyer, but in the fictional world of copyright, you sell your goods and services, yet claim you still retain them in full, and wish to be paid by everyone who uses the same idea, song, story, invention etc., by holding a state granted criminal monopoly privilege (a privilege means- a right to steal).

Copyright has never been of net benefit to humanity and instead serves to enrich a few at the expense of creativity and the removal of natural ability as the basis for opportunity.

Copyright is invalid because, only your labour generates wealth, if you have physical resources they are free, only the labour invested within those resources has value, while intellectual property is not scarce and is itself a resource, as knowledge builds upon knowledge, therefore to claim monopoly upon the advancement of any knowledge, or ideas, ideas that themselves are an extension of existing un-monopolised ideas, is inequitable, and is a selectively applied legal fiction created by the state, applied only to limited specified monopolies.

Copying never deprives the alleged victim of the original item, and so enforcement of copyright law constitutes aggression on the part of the state, to impose monopoly and privilege.

In reality intellectual property is something you can trade, but not something you can rent out, in the case of copyright they demand rent on something they have sold, but we can only own what we ourselves create, and therefore all forms of rental are by definition usurious, since it is equivalent to selling your resource, then still demanding it’s your own, selling anything is transferring in entirety, as a validation of utilisation, in doing so you concede all fictional rights and possession upon it. Two parties cannot possess one thing, each, in its entirety, that constitutes a fictional relationship of entanglement that cannot exist naturally.

It’s claimed what is to stop someone else then taking my invention, story, song or discovery and claiming it as their creation?

Being the originator of an idea does afford you advantages, for example if you write a book, and I copy your book but claim I wrote it myself, that is fraud, and you can seek relief.

But if I copy your book and leave it unaltered, crediting you with it creation, I have caused you no harm. An author can claim things a copier cannot, for example the author can claim the first edition, the original and authorised version, the author can state clearly that their version benefits the creator of the work directly, whereas a copier could not, and those who enjoy the work of an author would seek out a copy that benefited the author. This would also prevent the originator of the work from charging extreme amounts for copies of the work.

The supporter of copyright monopoly claim the idea of plagiarism can only exist with copyright, which is utter nonsense. Plagiarism occurs when a writer duplicates another writer’s language or ideas and then calls the work his or her own. To avoid the charge of plagiarism, some writers take care to credit those from whom they borrow and quote, but in reality all authors use a universal pool of existing ideas, they just combine ideas in new ways.

Plagiarism in respect of taking credit for a written work that another wrote, is a wrongful act inherently, as a natural axiom, it needs no corporate policy to make it so, it is innately.

To claim ‘falsely’ another’s fruits are your own, is of direct detriment to another, so can be disputed, and relief established in equity.

Counterfeiting is not the same as piracy. Counterfeiting attempts to pawn off pirated products as those produced by the copyright holder, or branding corporation. Thus, a golf club that looks just like a Callaway driver but has a name like “Hallaway” is considered a pirate, whereas a copy identical, that uses the original “Callaway” club branding is a counterfeit. Inherently counterfeiting is a wrongful act, a fraud, while what is labelled piracy is not a wrongful act in itself.

Höffner compared the economic effects copyright law had on authors and publishing in the United Kingdom to those in Germany in the first part of the nineteenth century when in Germany such laws hadn’t been instituted, and found that more books were printed and read in Germany where authors, in general, also made more money. Copyright reduces diversity and allows a certain amount of censorship.” Mrs. Godwin explained.

“But copyright protects us from losing what we create.” A woman interrupted.

“It’s the delusion that you may hold onto what you create after it has been exchanged for what another has created, if I build you a house, you use the house and exchange labours for the labours invested in the creation of the house, the house builder does not demand you exchange, yet they retain their creation in full, demanding more each time the house is used, or if the house appears in a photograph or film demand more payment; or demand if anyone else build a house similar to theirs they must be paid, however, you think this same act with music, literature, invention or whatever is copyrightable through selective monopolies granted by a state mafia.

There’re of course differences between academic exchange and material exchange. Electronic versions of written works cost almost nothing to copy and disseminate, there’re advantages and disadvantages to electronic versions of written works, meaning the printed version will always have a dominant place, as it’s an easier medium to access and to examine and digest the contents, more satisfying and interactive in many ways, this also applies to recorded performance and live performance.

Electronic music, books, games and software is, in general grossly overpriced, generating obscene profits for corporate monopolies, often the majority of these corporately endorsed media are poor or low quality, dressed up and promising far more than they deliver.

An early example of this was demonstrated by a company called Atari, who price gouged every customer, selling the very poorest quality products, making no effort to provide value, instead they at that time held a virtual monopoly, and they abused that monopoly to the point they destroyed their own customer base. Corporations are always controlled by psychopaths, and a psychopath will, if in control of a monopoly, abuse that to the very extreme, draining every penny possible from their victims.

The true cost of electronic media is pennies, development cost being small in comparison to the number of copies used, people would be happy to pay the true cost of pennies, not the corporate cost; even this would generate more rewards for the actual authors if they were free of corporation, than they could have ever earned through that fiction, and if the software was popular the pennies would far exceed earnings for the labour invested.

The ‘Stars’ of film, television, music, literature, sport and radio cry in outrage at those who copy the monopolised products of the corporations they represent, these elite Stars have millions in the bank already, yet their avarice is so insatiable they still can’t stop whoring themselves upon the corporate alter.” Mrs. Godwin replied.

“What’s wrong with making a profit?” The same woman replied.

“The corporations claim a loss of profits from those copying their granted monopoly copyright.

Profit is the interest demanded for the use of capital invested to produce, so a form of usury.

Profit is the monetary surplus added upon the cost of a product or service after accounting for wages, infrastructure, cost of raw materials, etc., so corporate profit is added onto the actual cost of the created product or service to the end consumer, an invented amount, identical to the taxation added by the imposed State, all forms of State are in all practical respects a mafia corporation that itself grants the monopoly through copyright protection.

Even with copyright monopolies “counterfeiting” accounts for only 5% to 7% of global merchandise trade, much of what is labelled counterfeit is in reality only appropriation of technologies, knowledge or the free dissemination of digital information. Counterfeiting doesn’t require any legislated copyright monopolies to stand as a wrongful act, it is, inherently. If however you created a copy of something openly stating its origins, and it was clear to all it was a copy, not issued by the original designer, inventor, writer, or creator, you have committed no wrong.

All of the music of the Earth, all the teachers, the doctors, the dentists, the dancers, the inventors, etc., should reflect their true worth, not a value imposed. The third party using a State imposed monopoly to extort profit from the labours of others is unnecessary, and allows the third party control over the product of those they subjugate.

One of the most terrible results of the legal fiction of copyright has grown from the pharmaceutical industry, as naturally existing medicines cannot be copyrighted, so are actively discredited, while in order to copyright natural medicines the natural compounds are corrupted, often making what would have been beneficial, toxic. I would say this area of copyright has cost hundreds of millions of lives over the past 100 years.” Mrs. Godwin replied.

The class continued for a further hour before Joanne was free to speak privately with Sill, she invited him to her office.

“So how did you meet Gwen?” Joanne asked Sill as she sat in the chair behind her desk. Her office was a drab and unremarkable room of filing cabinets, slat blinds and polystyrene ceiling tiles.

“She advertised for a gardener and I applied.” Sill explained.

“Well, what would you like to know?” Joanne asked.

“When was the last time you saw Isambard?” Sill replied.

“A week before he was declared missing.” Joanne looked sad at the recollection.

“What did you talk about?” Sill pried.

“He was very happy; he’d succeeded with the project he was working on. He said ‘now I’m the master of the moment’, I asked him what he’d achieved, he said, ‘time was circular not linear, and it spun within an eternal moment. Time exists as a toroidal three dimensional flow, and so energy and time are inextricably linked, if you drain energy locally it slows, stops or can even reverse time within the area of that energy drain.’. I asked what practical use was his discovery?” Jo explained.

“What did he say?” Sill asked eagerly.

“He said, ‘it had medical, storage, transport and exploration applications.’ He created constantly so I didn’t get too excited myself.

He told me he’d arranged a meeting with someone in order to upscale one of his inventions or discoveries, I don’t know who, where, or exactly when, or if he of course ever actually got to the meeting. But if he did get to the meeting, nothing ever came of it, clearly.” Jo continued.

“Oh, that’s interesting.” Sill commented.

“The police never discovered anything when they investigated?” Sill asked.

“No. the police had almost no interest in investigating.” Jo looked a little sad.

“You don’t recall any anecdotal comments Isambard may have said, that might help discover who the meeting was with?” Sill asked.

Jo sat and thought. “No. All he told me was, ‘I’ve agreed to meet a wealthy investor from the city.’ I asked why he would trust a capitalist, to which he replied. ‘I don’t, the meeting was arranged by someone else, they were keen to advance this technology, and thought this the best way.’ But Isambard was in two minds about showing up for the meeting.” Jo explained.

“You don’t have any idea who the friend may’ve been that arranged the meeting?” Sill asked.

“Isambard was a solitary soul, he never showed much interest in people, for him to have found a friend would mean they were intelligent enough to converse with, for him; and someone like that would be rare.

I got the impression his friend was a teacher, from comments he made.” Jo replied.

“You can’t think of anyone around then that would have fitted that description?” Sill asked.

Jo sat back in her chair and pondered for a while. “If I were to guess I’d investigate people like professors, possibly from the local university, look up the faculty members of the 70’s; it would be a good place to start looking, see if any of them knew Isambard. He may have come across someone like that, maybe.” Jo proffered.

Jo signalled Sill to stop and began to rummage around in her bag, she pulled out a large brown envelope and handed it across to Sill. He opened it and found photographs and documents. “This is great, putting a face to the name at last, I haven’t seen any pictures of Isambard at all in Gwen’s house, which come to think of it, is strange.” Sill commented.

“Isambard and Gwen were very close, she took it hard, even harder than me when he vanished. I can see why she doesn’t have his photo’s up, a painful reminder of the loss.” Jo suggested.

“Would it be possible for me to keep these for a while and let you have them back after I’ve had them copied, I can drop them at your dads in the village?” Sill asked.

“No need.” Jo reached out towards Sill in a gesture of having the envelope returned. “I can copy them here. The university has excellent copying facilities.” Jo smiled.

With copies in hand Sill was ready to leave. “Thanks Jo, you’ve been a great help, if I uncover anything that sheds light on what happened to Isambard I’ll let you know.” Sill shock her hand warmly and left.

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