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“In a 1981 lecture, the famed physicist Richard Feynman wondered if a computer could ever simulate the entire universe. The difficulty with this task is that, on the smallest scales, the universe operates under strange rules: Particles can be here and there at the same time; objects separated by immense distances can influence each other instantaneously; the simple act of observing can change the outcome of reality.”
“Nature isn’t classical, dammit,” Feynman told his audience, “and if you want to make a simulation of nature, you’d better make it quantum mechanical.” See Symmetry”
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In the quantum world, energy is discrete. The noun quantum means “a specific amount” and is used in physics to mean “the smallest quantity of energy.” Classical sensors generally do not make precise enough measurements to pick up individual quanta of energy, but a new type of quantum sensor can.
“A quantum sensor is one that is able to sense these individual packets of energy as they arrive,” says Aaron Chou, a scientist at Fermilab. “A non-quantum sensor would not be able to resolve the individual arrivals of each of these little packets of energy, but would instead measure a total flow of the stuff.” See Symmetry
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Geert Mull….works
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.Ian Andrews……The collider
DARK MATTER
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ARTIST…Bell Lab
.FROM A NEWS PAPER
ניסוי מקפיא
כדי לחקור תופעות קוונטיות בחלקיקי חומר זעירים, נוהגים המדענים לקרר אותם לטמפרטורות הקרובות לאפס המוחלט. פרופ’ נעמן: “כאשר מערכת כזאת גדלה אל מעבר לסף מסוים, או כשהטמפרטורה של החומר עולה אל מעבר לנקודה מסוימת, קשה לגלות את התכונות הקוונטיות שלה, והפיסיקה הקלאסית של היום-יום משתלטת……see here
CURATOR…a bit confused but interesting
https://zkm.de/en/collection-archives/archives/exhibition-archive
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»Open Codes. Digital Culture Techniques« explores the creative usages of codes as new source for creation. The exhibition brings together an array of artworks, which explore immersive technologies and negotiates different modalities of code. It transforms the exhibition space into a place of experimentation, action, and transformation through new forms of encounter. The works in the exhibition are exemplary of the new participatory formats of engaging with art and technology, in which visitors engage with artworks in new forms and themselves become participants.
As such, the works act as a starting point for discussion, challenging ways of knowing, set in an environment of interdisciplinary exchange. The exhibition project therefore includes a program of hands-on workshops and talks in partnership with local initiatives and protagonists with the objective of shedding light on the many facets and different contextual applications of coding. The exhibition project »Open Codes. Digital Culture Techniques« emphasizes the multi-layered, interconnected and non-linearity of knowledge creation. It provides an infrastructure that facilitates and fosters collaboration and co-creation, and one which invites visitors to participate in an open exchange.
The starting point of the project is an exploration of digital codes, attesting that codes have become the underlying and fundamental principles upon which the contemporary world is built upon. From a technical point of view, code is a formal language characterised by a finite set of symbols that are modified on the basis of rules (algorithms). Therefore, code exemplifies a universal representation of symbols that translate within the boundaries of mathematical logic. It is the textual artefact that constitutes a set of instructions and details the functioning process that a computer has to follow, in order to reach a certain outcome. Code constitutes the only executable and performative language, mediated through the frames of mathematical modelling.
As such, the digital code represents the most radical state of abstraction in our evolution. For hundreds of years, the objects of cultures and civilizations were mainly defined by words and images that visualized the state of these objects. Throughout the course of time, words and images became worlds of their own, and constitute the two most important evolutionary stages of abstraction. The third stage is the substitution of objects, words and images through logic. It is from here that the new digital world of codes has arisen: they have become a new digital culture technique. They constitute a new imagery as well as a new state of »imaging«, as expressed by technological media.
This leads to an additional interpretation of code that suggests it to be a generative language of thought. From a creative point of view, code provides a cognitive space for imagination which blurs boundaries and dissolves physical constraints. It is here that the digital world of codes has unveiled a new dimensionality, a realm of continuous re-creation and new formation. As such, the digital world of codes is also challenging the boundaries of what is thinkable and perceptible to the human, transforming our ability to use and understand information. Images and words become encoded and re-appropriated, opening up a space for creation and breaking up linear modes of thought, which allows for the investigation of new ontological landscapes…..see here
“I had this amazing professor,” Olmedo says. “I would go to his office hours and we would ponder the world together. He taught me that understanding reality meant looking beyond what our eyes could see.” SEE HERE
POST-HUMAN ARCHITECTURE: THE NEW AVANT-GARDE
LOOK PAGE 71
The theoretical physicist John Wheeler once used the phrase “great smoky dragon” to describe a particle of light going from a source to a photon counter. “The mouth of the dragon is sharp, where it bites the counter. The tail of the dragon is sharp, where the photon starts,” Wheeler wrote. The photon, in other words, has definite reality at the beginning and end. But its state in the middle — the dragon’s body — is nebulous. “What the dragon does or looks like in between we have no right to speak.”SEE HERE
korzacsol 