I picture my present awareness as a vibrating membrane whose motion becomes visible only at its silent edges. Inside a circular chamber, several sources hum at distinct wavelengths; their interference is never drawn directly. I trace only the nodal contours—thresholds where motion cancels—so the portrait appears as a tempered lace of lines. Each polyline speaks in a phase-aware colour chosen from its overall heading, allowing a quiet polyphony while keeping every mark a single honest stroke.