Dear Quantum, (2024)
Dear Quantum, is a piece that explores via the sounds of real-time quantum fluctuations, the interconnected notions of indeterminacy, superposition and true randomness in the realms of quantum theory, philosophy of information and future of technology.
Using live radio transmission, electromagnetic waves are synthesised with (electro)acoustic waves along with the event of quantum wave functions.
The work also seizes the chance of sonifying the virtual particles that continuously come into and disappear from existence, to reflect on probability interpretations in sound compositions, information processing and epistemic justification.
Image of white dot, symbolising point light or laser driven by quantum randomness, courtesy of Edy Fung.
The performance piece aimed to contemplate both quantum physics and sound art practices. An ensemble of radios were set up, similar to John Cage’s piece “Imaginary Landscape No. 4”, integrated real-time quantum fluctuations to guide the selection of radio channels. The entire spectrum of radio frequencies exist at all times, yet only one channel was “collapsed” by quantum noise and audible at any given moment. This was to draw a parallel to the indefinite possibility of a quantum state (and the popular debate between Copenhagen, Many-Worlds, de Broglie interpretations). Sonification of quantum randomness was infused subsequently, and a self-referential and reflexive spoken text addressing quantum and the performed sounds. The whole piece existed as an intersection between experimentation and artistic expression.
Reflecting on ways which quantum potentially differentiates itself from classical paradigms (classical music, classical physics and classical computing), O’Riain and I opted for music temperament free from any conventional structure by not using any “mtof objects” in Max/MSP, so that all quantum random values are translated directly to frequencies in hertz instead of MIDI values, breaking away from the default classical 12-TET standards. We approached the piece with an intention of liveness. That is, to be coherent to the idea that quantum randomness is true and only unique to the now, we use generative sounds and translated the quantum fluctuation real-time i.e. without any pre-recordings or sampling methods so that the resultant sonic material belongs as close to the present moment.
Still image of video by Zoe Kahlert.
O’Riain’s expertise in harmonic series enriched my ongoing inquiries of randomness, noise and entropy. His synthesiser, crafted for just intonation and combination tones, unveiled new modes to interpret instances of wavefunctions and hence probability amplitude—elements at the heart of quantum superposition. We also resonated with Cage’s attempt for the absence of self and authorial footprint, and ventured further by expressing the continuous shift of self/identity through the mapping of the root note with quantum randomness as well. Sonifying (potentially true) randomness, we ask if quantum would possibly shed light to a contrast in the narrative that current classical computing and AI is leading, especially on the creation of future knowledge and foundation of reality.
Possible Format:
→ Performance (sound and/or spoken word)
→ Screening
→ Audiovisual / Moving Image
→ Audio Sample Pack (Digital on bandcamp)
Supported by Zeitgeist Irland 24, Goethe Institut Irland and Club Transmediale.
__________________________________Work Title: Dear Quantum,
Year of Production: 2024 (CTM Festival Live February 2024)
Material/Medium:
Electroacoustic performance, composition/improvisation, spoken word, soundscape and sonification of Quantum system, radio transmission, generative randomness
Size of work: 30 minutes duration
Acknowledgement:
Quantum Optic Group, Australian National University
Muiredach O’Riain, musician and composer, Royal Institute of Music KMH
Project Funding: Goethe Institut; In-kind support: Zeitgeist Irland 24, CTM, Radialsystem, Elektronmusikstudion EMS
Image by Alicja Hoppel