Sounding Qubits

FILE 2024 | Quantico
International Electronic Language Festival
Eduardo Reck Miranda – Sounding Qubits – Brazil

Although he has learned classical musical instruments since childhood, Eduardo Miranda’s favorite tool for composing is the computer. The researcher has been delving into artificial intelligence and innovative computing methods for compositing for some time, as they offer fresh insights and ideas beyond his own.

A quantum computer deals with information encoded as qubits. A qubit is to a quantum computer what a bit is to a digital one: a basic unit of information. In hardware, qubits exist in the subatomic world. They are subject to the laws of quantum mechanics.

Quantum computers are like super-powered versions of classical digital computers. While a digital computer processes data in a linear, step-by-step fashion, a quantum computer can explore many possibilities at once.

Operating a quantum computer requires different ways of thinking about encoding and processing information. This is where composers can benefit greatly. This technology is destined to facilitate the development of unprecedented ways of creating music.

Bio

Composer who works at the intersection of music, science and new technologies. His background as an artificial intelligence scientist and classical composer with early involvement in avant-garde pop music informs his distinctive music. He has composed for BBC Radio 3, BBC Concert Orchestra, BBC Singers and Scottish Chamber Orchestra. He is a professor at the University of Plymouth and a research associate at Quantinuum, where he explores music composition with quantum computers.

WOMANEROES

“Eliška Sky’s tribe of ‘womaneroes’ stand bold and bright, their bodies and heads adorned in vibrant shapes, colours, and textures. Beneath the wigs and paint are women of all ages, shapes and ethnicities, photographed with a large-format camera to capture every detail, rough or smooth, with the intention for the images to eventually be printed and exhibited life-size. “It started as visual play, but transformed into a series that challenges depictions of women’s bodies,” explains the London-based Czech photographer. “In light of my own experience of working in the fashion industry, I felt the need to portray the body in new ways and forms, with an element of playfulness and humour in opposition to western media advertising”.” Marigold Warner

Arrival

“Arrival’s narrative plays out in four languages: English, Mandarin, Russian and Heptapod. Though they are not spoken in the film, we learn that Louise is also fluent in Farsi, Sanskrit and Portuguese (and possibly others). The language learning process and the growing translingual bond between Louise and the heptapods forms the film’s narrative arc and the majority of its plot. Thus language, and specifically the mechanics of ←215 | 216→multilingualism, is Arrival’s central theme. Within this context, the ability to communicate across language barriers is an asset, and the flexibility to navigate new linguistic challenges is invaluable. The heptapods are pure science fiction, but serve a powerful metaphorical function. As Emily Alder (2016) writes in The Conversation, “ultimately, Arrival is less about communicating with the aliens than with each other – internationally but also individually […] The film’s message is that difference is not about body shape or colour but language, culture and ways of thinking. It’s not about erasing that difference but communicating through it”. Gemma King

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语言学习过程以及路易丝与七足动物之间越来越多的跨语言联系形成了电影的叙事弧线和大部分情节。 因此，语言，尤其是←215的机制| 216→使用多种语言是到达中心的主题

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Процесс изучения языка и растущая межъязыковая связь между Луизой и гептаподами составляют повествовательную дугу фильма и большую часть его сюжета. Таким образом, язык и, в частности, механика ← 215 | 216 → многоязычие – центральная тема Арривала.

Spheres
Dutch designer Maria Blaisse is one of those legends. She began in the early 80s’ by creating spherical foam forms that moulded and folded in ways that were revolutionary at the time and she worked primarily in dance wear where she is still breaking new ground today. Blaisse then went on to collaborate with Issey Miyake for whom she made mitre-like rubber hats.

Babel

The first synonym for disorder that appears in the dictionary is babel, with a lowercase letter
Du Zhenjun transforms the world into a new tower of Babel, but don’t you think this Earth already is? Isn’t there already too much disorder, injustice and misunderstanding?
The first synonym for disorder that appears in the dictionary is babel, with a lowercase letter. Nor are all the consequences of the confusion wanted by God here, as if to justify this adjective. We embody pride and supremacy over the world, the same one that He wanted us to inhabit.
In the images proposed by Du Zhenjun we observe a standard composition: in the center there is always an interpretation of the Tower, various shapes, various structures, various visions. Then a gray atmosphere hovers all around, the atmosphere of reality. A mass of things, people and buildings. They are parts of photographs, or rather of journalistic reports, of war and more.
We do not identify the origin of the light source, it is in the air: everything is illuminated, as in the composite prints of the late nineteenth century, ancestors of photomontage.

ليدا عبدول
What We Saw Upon Awakening

In my work, I try to juxtapose the space of politics with the space of reverie, almost absurdity, the space of shelter with that of the desert; in all of this I try to perform the ‘blank spaces’ that are formed when everything is taken away from people. How do we come face to face with ‘nothing’ with ‘emptiness’ where there was something earlier? I was a refugee myself for a few years, moving from one country to another, knowing full well that at every juncture I was a guest who at any moment might to asked to leave. The refugee’s world is a portable one, allowing for easy movement between borders. It is one that can be taken away as easily as it was given: provisionally and with a little anxiety on the part of the host.

Sometimes people say, I am post-identity, post-nation, etc.. I don’t know what this means. For me the most difficult thing is precisely to go past the memory of an event; my works are the forms of my failed attempts to, what others call, transcend. But what? For me art is always a petition for another world , a momentary shattering of what is comfortable so that we become more sophisticated in reclaiming the present. The new wandering souls of the globe, the new global refuseniks —stubborn, weak, persecuted, strong—will continue to make art as long as people believe in easy solutions and closures of the most banal kinds.