Abstract
    “Resonance” is an interactive installation that defines a relationship between the viewer/ participant and the vibrational forces that are prevalent in nature.

Significance
    This artwork creates an intimate dialogue between the participant and the installation. This dialogue examines the idea of identity, which traditionally categorizes people as autonomous fragments, functioning independently of a whole unit. We are doctors or lawyers, students or teachers, homeless or wealthy, weak or strong, and the list goes on infinitely. This piece, however, speaks to a singular identity. An identity not defined by individual emotions or observable idiosyncrasies, but as a dynamic segment of a universal network of connections taking place on a quantum scale.
    This installation endeavors to evoke thought about a universal unity between all things. Quantum physicist and theorist David Bohm used quantum mechanical theories to discuss the unified nature of matter. He writes:

“[We need a] Replacement of the assumption that the world can be analyzed correctly into distinct parts, each having a fixed “intrinsic” nature (for instance, wave or particle), by the idea that the world is an indivisible whole in which parts appear as abstractions or approximations, valid only in the classical limit.” [Bohm 1]

    This idea of being part of a single unit can have an enormous impact on our view of identity. We are all made up of tissue, blood and bones. On a deeper level we are chemicals and gasses. Deeper still, we are atoms. It is theorized that atoms are made of only particles and vibrations. How many people actually consider themselves a collection of vibrations? Is it that much of a stretch? Vibrations are seen throughout all aspects of nature. We use vibration to communicate through words. Our brains interpret these vibrations and give them meaning. Light and color are made up of waves or vibrations. Electricity oscillates in waves as well. We are all vibrating on multiple levels.
    I am intrigued by the work of Japanese scientist Dr. Mararu Emoto. He spent over a decade conducting experiments on the effects of specific stimuli on the formation of ice crystals in water. One experiment found that the dissonant vibrations in heavy metal music created deformed crystals or hindered the water from forming any crystals at all. Alternatively, after being exposed to the vibrations of various Beetoven symphonies, the water formed complete, symmetric crystal formations. [Emoto 2]
    These experiments inspired me to look deeper into the idea of using water as a medium for experiencing vibrations. Water allows us to see and feel the effects of sonic vibrations. Water is also a direct connection to our biological make-up, a reflection into our elemental identity. Humans, on average, are 70% water. How then do vibrations affect us?
    Through the process of researching and developing this piece, I have become fascinated by the idea of a quantum unity of all things. I cannot help but to believe, however, that humans are something more. Awareness, perception, emotion and many other traits help to shape what we are. I do believe taking a closer look into what composes our foundations will help to refine the definition of identity. If we are really governed by our inherent vibrational forces, then all of our interactions would be affected. When we are disgusted by something, it may be because it is vibrating at a dissonant frequency to our own. When we are in love, is it because we are vibrating in exactly the same frequency, in perfect resonance?

The Installation
    Vibrations are seen, heard, and experienced through sound and light interaction with a glass bowl of water on a birch pedestal. The piece emits a constant low frequency hum reminiscent of a didgeridoo instrument or a low vocal chant. A light is projected from within the piece that shines through the glass bowl onto the wall behind. When a participant places his or her hand over the water the tone becomes louder and the vibration intensifies. This vibration can be felt throughout the body and the exhibition space. As their hand moves closer to the surface of the water, the liquid begins to ripple and pattern. The light from within the piece projects a silhouette onto the wall behind the pedestal revealing an abstracted narrative of the interaction. The light magnifies the patterns of the water, which diffuse and focus as the vibrations fluctuate. If the interactant places their hand into the water the tone is silenced and the vibrations become still.

Technical
    The base pedestal of this piece is constructed of birch and measures 3ft x 1ft x 1ft. The pedestal is equipped with a 8-inch subwoofer and 100 watt amplifier. The basic tone is controlled by a hand assembled Theremin. This uses the viewer's own capacitance, or electric charge to judge their distance from an antennae (a metal plate inside the pedestal) and thus manipulate the sound based on that distance. The sound produced from this Theremin is a continuous sinusoidal tone that is around 1700 Hz at a distance to around 50Hz near the antenna. When the interactant places their hand in the water, their capacitance is discharged, silencing the tone. (Information on theremin schematics and circuit descriptions can be found at http://www.harrisoninstruments.com)
    The signal is sent through an Alesis "Metavox" processor. This is a vocal “vocoder” processor that takes a carrier signal (in this case the theremin tone) and recreates the fundamental frequency in a oscillator. (This processor is no longer in production. It is very difficult to find specs on the unit.) I have chosen the rectified sawtooth wave as my output. This setting only allows one note to be produced causing the Theremin interaction to be used as volume control only. The signal is then sent to the amplifier crossover that I have set to only allow tones 120 Hz and below output to the subwoofer. This softens most of the upper level harmonics that would be heard.
    The glass bowl sits inside a circular cutout in the top of the pedestal. A rubber ring is used to seal the opening. This allows the bowl to become part of the speaker cabinet, absorbing the vibrations from the subwoofer, and in turn vibrating the water.

Bibliography
1. Bohm, David Wholeness and the Implicate Order London: Routledge, 2002.
2. Emoto, Masuro. The Hidden Messages in Water. New York: Atria; 2001.

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