Reflections From Hilbert Space



Track 1: Looking Toward Hilbert Space	9:53
Track 2: Quantum Etude_00	00:24
Track 3: the Superstring Octet	10:49
Track 4: Collapsing Waves	10:19
Track 5: Entangled Ambience	15:09
Track 6: Song of Interference (in three movements)	11:05
Track 7: The Infinite and the Infinitesimal	18:23

In quantum mechanics, a Hilbert space is an infinite-dimensional, complex vector space that serves as the mathematical stage for describing all possible states of a quantum system, with each state represented by a vector symbolized as |ψ⟩. (psi = the wave function)

Dear Listener,

The compositions in this project represent the results of Michael’s research and creative practice in the area of quantum computing (QC). With the exception of Track 1, each track was derived directly from this research. Michael has been studying quantum physics for many years, as a layman, and it was a natural progression of these studies to begin working with QC toward musical composition.

Track 1: “Looking Toward Hilbert Space” was inspired and influenced by Michael’s research into this area but was not directly derived from it. It is a result of a generative MAX patch titled, “an Eternal Song version 5”… the 5th iteration, in as many years, of the patch.

Track 2: “Quantum Etude_00” represents the first step in the direction of research and creative practice in the area of QC. It is the result of a sonification of quantum waveform interference patterns during circuit execution using 10 qubits. It was achieved through the use of one of IBM’s Heron series, 156 qubit, quantum computers and their suite of Python libraries called the Quantum Information Science Kit (Qiskit). As such it established a workflow and proof of concept toward future work in this area. Can you hear the quantum quanta buzzing around and interacting? You can read more about the project here.

Track 3: The “Superstring Octet” is the result of direct transductions from wavefield interference patterns, during specifically designed circuit executions in Hilbert space, to the audio listening space. It was an important tenant of this research and creative practice to employ QC in a manner that is only possible with QC. Therefore sonifications and quasi-random number generations, which can be accomplished with classical computing, were not within the scope. Conversely, implementing direct correlations between QC and the audio listening space is precisely the goal. This composition is thus comprised of humanly perceivable quantum wave function activities captured during specifically constrained quantum circuit executions. The results are truly novel and establish an unprecedented musical syntax. Listen carefully. What do you hear within these waveforms?

Track 4: “Collapsing Waves” is comprised of 64 samples, each 1/100th of a second in length, that were transduced directly from wavefield interference patterns during quantum circuit execution. The samples were time-stretched numerous times and their frequencies drastically raised to put them into the range of human hearing. They are the same samples used in the creation of Track 3, however, they were further manipulated by a generative MAX patch. The results were edited into the final composition.

Track 5: “Entangled Ambience” is a further extension of Track 4. However, the results were unedited. What you are hearing are the raw waveforms being playfully manipulated, while maintaining their original quantum-based relationships. While listening to this track, allow yourself to be enveloped by this novel quantum audio environment.

Track 6: “Song of Interference” was composed from samples in the purist forms of the timbres that resulted from waveform interference and entanglement schemas during quantum circuit execution. The samples were processed through a generative MAX patch, which was created specifically for this composition. Once again, the results were edited into the final 32-channel composition, mixed down to stereo, and presented here.

Track 7: Finally, “The Infinite and the Infinitesimal” is a fully quantum derived work. Using the Quantum Inspire, Tuna-9, backend, each of the 64, .01 second in length, audio waveforms were transduced directly from quantum interference over a 12-hour quantum circuit execution in five batches. This composition is the crowning achievement of this research project. Though the waveforms differed from the simulations due to random noise and momentary decoherence, thus appearing more complex, they sounded “smoother” and more refined. This composition demonstrates that the initial intuition that quantum computing opens exciting new worlds of quantum computational creativity was not misguided and certainly justified the extreme depth and breadth of endeavor involved.

Research and Creative Practice in Progress

This ongoing research and creative practice is in the early stages. The results of the 1st phase are posted here. Further expressions of uniquely quantum-derived musical compositions are in the pipeline and new projects will be posted as they develop. This new frontier is utterly fascinating… future facing… and there are no roadmaps. The depth and breadth of potential in the area quantum computational creativity is truly boundless and it is the future occurring NOW!

Thank you for listening!