Theoretical Interpretation of Interference: A Study on Immortality, Waves, and the Subconscious (https://www.academia.edu/128178209/Theoretical_Interpretation_of_Interference_A_Study_on_Immortality_Waves_and_the_Subconscious

Introduction

Art has long served as a bridge between the tangible and the intangible, the conscious and the subconscious. My Interference project is an artistic and theoretical exploration of immortality, wave interference, and perception, delving into how these concepts intersect across science, philosophy, and visual expression. Through a series of artworks, including Inochi and Ozu Hologramme, I have sought to materialize the idea that existence is an ongoing interaction of waves, a continuity beyond physical form.

The Concept of Interference

In physics, interference refers to the phenomenon where two or more waves superimpose to form a new wave of greater, lesser, or the same amplitude. It is an apt metaphor for the way human consciousness interacts with memory, reality, and time. In my work, I reinterpret this scientific principle in an artistic and existential context:

• Temporal Interference: The overlapping of past and future in the present, allowing us to “see” or “hear” echoes of different realities.
• Emotional Interference: How personal experiences and external influences merge within us, creating complex, layered identities.
• Interference as a Creative Act: The fusion of different mediums, ideas, and cultural influences in my practice represents a visual and conceptual interference.

Immortality in Art and Science

The quest for immortality has been central to human thought, whether through mythology, spiritual beliefs, or scientific endeavors such as cryonics and artificial intelligence. Art, however, offers a different pathway to immortality—one that is neither physical nor digital but exists in the persistence of an idea, an image, or a resonance beyond time.

• Inochi was inspired by a personal event—a letter from Noriko, who found courage in the work but passed away before we could meet. This moment crystallized the realization that art is not merely an object; it is a transmission of presence beyond absence.
• Ozu Hologramme extended this idea, playing with the concept of spectral images and intangible forms of being.
• The Interference project as a whole can be seen as a dialogue with the infinite, where every interaction with the artwork becomes a wave that continues its journey.

Personal and Philosophical Inspirations

The Interference project is also a tribute to Ilya and Emilia Kabakov, whose installations explore utopian ideas and collective memory. Similarly, my work engages with themes of memory, loss, and presence, questioning what remains when physicality dissolves.

The project also draws inspiration from quantum mechanics and wave-particle duality, which suggest that our very existence is based on probabilities and interactions rather than fixed states. If we consider consciousness as a waveform, then perhaps identity, art, and memory are simply patterns that do not end but continue through interference.

Artworks as Experiments

Each artwork I have created is not just a static piece but an experiment in perception and presence:

• Painting as a Time Capsule – My paintings capture moments of wave interference, often containing layered, semi-visible figures or blurred transitions between past and present.
• Sculptures as Resonators – My sculptural works are designed as resonating forms, meant to interact with light, sound, and movement.
• Film and Performance as Lived Interference – My film projects, including Cosmic Installation Film, explore how movement, sound, and image interact in a dynamic, ever-changing way.

The Role of the Viewer

The audience is not passive but an active participant in the interference process. Just as waves require interaction to be observed, my work comes to life only when experienced.

• A painting shifts in meaning depending on the viewer’s own emotional state.
• A film’s perception changes with time, as memories of it alter and merge with personal experiences.
• An installation becomes a space where the presence of the viewer completes the interference pattern.

Conclusion

Through Interference, I seek to challenge the conventional boundaries of life, time, and consciousness. The project stands as an evolving dialogue with the unknown—one that suggests we are not fixed entities but patterns of energy that persist and transform. If reality itself is an interference of waves, then perhaps our very essence is something that never ceases, only changes form.

This work is an invitation: to see existence not as a linear narrative but as an infinite play of interference, where each of us leaves behind a ripple that will continue beyond our perception.

This essay serves as a theoretical foundation for the Interference project, connecting my past works into a unified exploration of waves, immortality, and the subconscious. I invite viewers to engage with these ideas and become part of the ongoing interference.