I think the problem is that we have both electricians and musicians here.
I did high school physics. No more. I understood at the time that high school physics bears the same relationship to the real world that cartoons do. When exam questions start "Assume no friction. A car is rolling down a slope..." it does not take a genius to realise that in the real world friction is not so easily dismissed, and that if it were the car would be [i]sliding[/i] down a slope.
So, in common with most people, I have a crude understanding of electronics. In my world an antenna is a magic stick that either receives or transmits information modulated into a radio signal, and a capacitor is is a circuit component with two conductors separated by a non-conductive material, typically air. I have never heard of "radiation resistance" (*) and would not be able to apply a formula if I wanted to. Fortunately I don't need to - I'm not designing theremins, just playing them. I do need a model of how a theremin works, just as a driver will get more out of his car if he has a vague idea of how an internal combustion engine works, but a crude model is good enough. Obviously a person designing cars would need a more accurate model, but a driver doesn't.
So if I say the pitch thingie is a capacitor plate, I do so knowing that it is not that simple really, but knowing that this simplification provides sufficient information for a player to operate the theremin successfully, whereas if I stuck with the alternative explanation that it is an antenna that would not provide me with any useful understanding of my instrument whatsoever, from a musician's point of view.
(*) Well, until I encountered the term on RS Theremin's website.
RS Theremin? I'm curious about your pitch thingie design. In my simple minded high school physics way it looks either like a coil or a very long rod curled up to occupy a small space like one of those springy rubber covered antennas on walkie-talkies. Now I have read that putting coils close to the pitch thingie improved linearity - as with the ePro, and I have seen that Tony Henk's theremins have remarkably long pitch thingies (the youTube clip (http://www.youtube.com/watch?v=Xn4TgYkqdi8) of Lydia Kavina playing Clair De Lune features one.) My understanding of the inverse square law is that it can't really be defeated, other than by making the curve very large and considering only a segment of it (i.e. why the world looks flat, not spherical) or by focusing the radiation with a lens. As I don't see anything lens-like in your design would it be fair to assume that you are making a darned big EM field that approximates linearity within the playing area? (I also note that ePros require far more separation from each other to avoid interference than, say, etherwave standards.)