“Rocks” is composed of two carved styrofoam sculptures suspended from the ceiling, set six feet apart from each other. Each sculpture contains a custom-wired functional speaker system within, and when combined, serve to function as a complete stereo system.

Sonically each rock is emitting a sound file with two tracks. Each rock has it’s own droning vocal, with the voice of one priest in one rock and the voice of the other priest in the opposite rock. Secondly, each rock is playing a phase inverted combination of sine waves with frequencies calculated to collide most effectively in the space between the rocks.

Since phased inverted waves cancel out each other when they collide, the space between the rocks is in effect one of the “quietest” parts of the room to stand in.


“Communion” is composed of two found objects, both crystal urns of similar composition yet varying size. Both of these urns were inlaid with gold leaf, and two speakers of the same stereo system were suspended in the mouth of both urns with golden wire.

Each urn was struck, and its resonant fundamental frequency was measured and noted in a frequency spectrometer. Two artificial “songs” were created, one for each urn, consisting of a sine wave of that urn’s fundamental frequency as well as two matching proportionate overtone frequencies.

Over the course of 3 minutes, each urn would play its created tone at irregular intervals, with the occasional swapping of tones between the urns via rapid panning. The tone began at a low volume and rose in a steep crescendo while it pulsed. This artificial frequency “song” was so attuned to each crystal urn that as the pulse resolved, the glass would continue to resonate even as the speaker stopped playing its tone.