9 research outputs found

    Experiments in Sound and Music Quantum Computing

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    This chapter is an introduction to quantum computing in sound and music. This is done through a series of examples of research applying quantum computing and principles to musical systems. By this process, the key elements that differentiate quantum physical systems from classical physical systems will be introduced and what this implies for computation, sound, and music. This will also allow an explanation of the two main types of quantum computers being utilized inside and outside of academia

    The Entanglement: Volumetric Music Performances in a Virtual Metaverse Environment

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    Telematic music performances are an established performance practice in contemporary music. Performing music pieces with geographically distributed musicians is both a technological challenge and an artistic one. These challenges and the resulting possibilities can lead to innovative aesthetic realizations. This paper presents the implementation and realization of β€œThe Entanglement,” a telematic concert performance in a metaverse environment. The system is realized using web-based frameworks to implement a platform-independent online multi-user environment with volumetric, three- dimensional, streaming of audio and video. This allows live performance of this improvisation piece based on an algorithmic quantum computer composition within a freely explorational virtual environment. We describe the development and realization of the piece and metaverse environment, as well as its artistic and conceptual contextualization

    International Interdisciplinary Conference; Quantum music (and beyond): music and new technologies in the 21st century

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    ΠžΡ€Π³Π°Π½ΠΈΠ·Π°Ρ‚ΠΎΡ€ΠΈ : ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΡˆΠΊΠΈ институт БАНУ (Π‘Π΅ΠΎΠ³Ρ€Π°Π΄) ΠΈ Π¦Π΅Π½Ρ‚Π°Ρ€ Π·Π° ΠΏΡ€ΠΎΠΌΠΎΡ†ΠΈΡ˜Ρƒ Π½Π°ΡƒΠΊΠ΅ (Π‘Π΅ΠΎΠ³Ρ€Π°Π΄

    ΠŸΡ€ΠΎΠ³Ρ€Π°ΠΌΠΈΡ€Π°ΡšΠ΅ ΠΊΠ²Π°Π½Ρ‚Π½ΠΈΡ… Ρ€Π°Ρ‡ΡƒΠ½Π°Ρ€Π° Π±Π°Π·ΠΈΡ€Π°Π½ΠΈΡ… Π½Π° ΡƒΠΏΠΎΡ‚Ρ€Π΅Π±ΠΈ Π»ΠΎΠ³ΠΈΡ‡ΠΊΠΈΡ… ΠΊΠΎΠ»Π° Π·Π° ΠΏΠΎΡ‚Ρ€Π΅Π±Π΅ Ρ€Π°Π΄Π° са ΠΌΡƒΠ·ΠΈΠΊΠΎΠΌ

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    There have been significant attempts previously to use the equations of quantum mechanics for generating sound, and to sonify simulated quantum processes. For new forms of computation to be utilized in computer music, eventually hardware must be utilized. This has rarely happened with quantum computer music. One reason for this is that it is currently not easy to get access to such hardware. A second is that the hardware available requires some understanding of quantum computing theory. Tis paper moves forward the process by utilizing two hardware quantum computation systems: IBMQASM v1.1 and a D-Wave 2X. It also introduces the ideas behind the gate-based IBM system, in a way hopefully more accessible to computerliterate readers. Tis is a presentation of the frst hybrid quantum computer algorithm, involving two hardware machines. Although neither of these algorithms explicitly utilize the promised quantum speed-ups, they are a vitalfrst step in introducing QC to the musical feld. Te article also introduces some key quantum computer algorithms and discusses their possible future contribution to computer music.Досад су Π·Π°Π±Π΅Π»Π΅ΠΆΠ΅Π½ΠΈ Π·Π½Π°Ρ‡Π°Ρ˜Π½ΠΈ ΠΏΠΎΠΊΡƒΡˆΠ°Ρ˜ΠΈ Π΄Π° сС Ρ˜Π΅Π΄Π½Π°Ρ‡ΠΈΠ½Π΅ ΠΊΠ²Π°Π½Ρ‚Π½Π΅ ΠΌΠ΅Ρ…Π°Π½ΠΈΠΊΠ΅ користС Π·Π° Π³Π΅Π½Π΅Ρ€ΠΈΡΠ°ΡšΠ΅ Π·Π²ΡƒΠΊΠ° ΠΈ Π΄Π° сС ΠΎΠ·Π²ΡƒΡ‡Π΅ симулирани ΠΊΠ²Π°Π½Ρ‚Π½ΠΈ процСси. Али, Π·Π° Π½ΠΎΠ²Π΅ ΠΎΠ±Π»ΠΈΠΊΠ΅ Ρ€Π°Ρ‡ΡƒΠ½Π°ΡšΠ° који Π±ΠΈ сС користили Ρƒ ΠΊΠΎΠΌΠΏΡ˜ΡƒΡ‚Π΅Ρ€ΡΠΊΠΎΡ˜ ΠΌΡƒΠ·ΠΈΡ†ΠΈ, ΠΌΠΎΡ€Π° сС ΡƒΠΏΠΎΡ‚Ρ€Π΅Π±ΠΈΡ‚ΠΈ ΠΎΠ΄Π³ΠΎΠ²Π°Ρ€Π°Ρ˜ΡƒΡ›ΠΈ Ρ…Π°Ρ€Π΄Π²Π΅Ρ€. Ово сС досад Ρ€Π΅Ρ‚ΠΊΠΎ дСшавало са ΠΊΠ²Π°Π½Ρ‚Π½ΠΎΠΌ ΠΊΠΎΠΌΠΏΡ˜ΡƒΡ‚Π΅Ρ€ΡΠΊΠΎΠΌ ΠΌΡƒΠ·ΠΈΠΊΠΎΠΌ, Π½Π°Ρ˜ΠΏΡ€Π΅ Π·Π°Ρ‚ΠΎ ΡˆΡ‚ΠΎ Ρ‚Π°ΠΊΠ°Π² Ρ…Π°Ρ€Π΄Π²Π΅Ρ€ нијС ΡˆΠΈΡ€ΠΎΠΊΠΎ доступан. Π”Ρ€ΡƒΠ³ΠΈ Ρ€Π°Π·Π»ΠΎΠ³ Ρ˜Π΅ΡΡ‚Π΅ околност Π΄Π° ΠΎΠ²Π°ΠΊΠ°Π² Ρ…Π°Ρ€Π΄Π²Π΅Ρ€ Π·Π°Ρ…Ρ‚Π΅Π²Π° извСсно познавањС Ρ‚Π΅ΠΎΡ€ΠΈΡ˜Π΅ ΠΊΠ²Π°Π½Ρ‚Π½ΠΎΠ³ рачунарства. Овим Ρ‡Π»Π°Π½ΠΊΠΎΠΌ ΠΏΠΎΠΌΠ΅Ρ€Π°ΠΌΠΎ овај процСс ΡƒΠ½Π°ΠΏΡ€Π΅Π΄ ΠΏΠΎΠΌΠΎΡ›Ρƒ Π΄Π²Π° хардвСрска ΠΊΠ²Π°Π½Ρ‚Π½Π° рачунарска систСма: IBMQASM v1.1 ΠΈ D-Wave 2X. Π’Π°ΠΊΠΎΡ’Π΅ ΡƒΠ²ΠΎΠ΄ΠΈΠΌΠΎ Π½Π΅ΠΊΠ΅ идСјС ΠΈΠ· IBM-ΠΎΠ²ΠΎΠ³ систСма заснованог Π½Π° Π»ΠΎΠ³ΠΈΡ‡ΠΊΠΈΠΌ ΠΊΠΎΠ»ΠΈΠΌΠ°, Π½Π° Π½Π°Ρ‡ΠΈΠ½ доступан рачунарски писмСним Ρ‡ΠΈΡ‚Π°ΠΎΡ†ΠΈΠΌΠ°. Ово јС ΠΏΡ€Π΅Π·Π΅Π½Ρ‚Π°Ρ†ΠΈΡ˜Π° ΠΏΡ€Π²ΠΎΠ³ Ρ…ΠΈΠ±Ρ€ΠΈΠ΄Π½ΠΎΠ³ ΠΊΠ²Π°Π½Ρ‚Π½ΠΎΠ³ ΠΊΠΎΠΌΠΏΡ˜ΡƒΡ‚Π΅Ρ€ΡΠΊΠΎΠ³ Π°Π»Π³ΠΎΡ€ΠΈΡ‚ΠΌΠ°, који ΡƒΠΊΡ™ΡƒΡ‡ΡƒΡ˜Π΅ Π΄Π²Π΅ хардвСрскС машинС. Иако нијСдан ΠΎΠ΄ ΠΎΠ²ΠΈΡ… Π°Π»Π³ΠΎΡ€ΠΈΡ‚Π°ΠΌΠ° Сксплицитно Π½Π΅ користи ΠΎΠ±Π΅Ρ›Π°Π½Π° ΠΊΠ²Π°Π½Ρ‚Π½Π° ΡƒΠ±Ρ€Π·Π°ΡšΠ°, ΠΎΠ½ΠΈ ΠΏΡ€Π΅Π΄ΡΡ‚Π°Π²Ρ™Π°Ρ˜Ρƒ Π²ΠΈΡ‚Π°Π»Π°Π½ ΠΏΡ€Π²ΠΈ ΠΊΠΎΡ€Π°ΠΊ Ρƒ ΡƒΠ²ΠΎΡ’Π΅ΡšΡƒ ΠΊΠ²Π°Π½Ρ‚Π½ΠΎΠ³ рачунарства Ρƒ ΠΏΠΎΡ™Π΅ ΠΌΡƒΠ·ΠΈΠΊΠ΅. Π§Π»Π°Π½Π°ΠΊ Π·Π°ΠΏΠΎΡ‡ΠΈΡšΠ΅ΠΌΠΎ ΠΊΡ€Π°Ρ‚ΠΊΠΈΠΌ ΠΏΡ€Π΅Π³Π»Π΅Π΄ΠΎΠΌ ΠΊΠ²Π°Π½Ρ‚Π½ΠΎΠ³ рачунарства ΠΈ ΡƒΠΊΠ°Π·ΡƒΡ˜Π΅ΠΌΠΎ ΠΊΠ°ΠΊΠΎ сС ΠΎΠ½ΠΎ ΠΌΠΎΠΆΠ΅ ΠΏΡ€ΠΈΠΌΠ΅Π½ΠΈΡ‚ΠΈ Π½Π° ΠΏΠΎΠ΄Ρ€ΡƒΡ‡Ρ˜Ρƒ умСтности. Π‘Π»Π΅Π΄ΠΈ ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ΅ ΠΏΡ€Π΅Ρ‚Ρ…ΠΎΠ΄Π½ΠΈΡ… ΠΏΡ€ΠΎΡ˜Π΅ΠΊΠ°Ρ‚Π° Ρƒ којима су ΠΊΠΎΡ€ΠΈΡˆΡ›Π΅Π½ΠΈ стварни ΠΈΠ»ΠΈ симулирани ΠΊΠ²Π°Π½Ρ‚Π½ΠΈ процСси Ρƒ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΈΠΌ Π΄Π΅Π»ΠΈΠΌΠ° ΠΈΠ»ΠΈ ΠΈΠ·Π²ΠΎΡ’Π΅ΡšΠΈΠΌΠ°. Π£ слСдСћСм ΠΎΠ΄Π΅Ρ™ΠΊΡƒ сС Π³ΠΎΠ²ΠΎΡ€ΠΈ ΠΎ Π½Π°Ρ˜ΠΏΠΎΠ·Π½Π°Ρ‚ΠΈΡ˜ΠΎΡ˜ врсти ΠΊΠ²Π°Π½Ρ‚Π½ΠΈΡ… Ρ€Π°Ρ‡ΡƒΠ½Π°Ρ€Π°, заснованих Π½Π° Π»ΠΎΠ³ΠΈΡ‡ΠΊΠΈΠΌ ΠΊΠΎΠ»ΠΈΠΌΠ°, ΠΈ ΠΎΠΏΠΈΡΡƒΡ˜Π΅ сС Ρ…Π°Ρ€Π΄Π²Π΅Ρ€ јСдног ΠΎΠ΄ ΠΌΠ°ΡšΠΈΡ… ΠΊΠ²Π°Π½Ρ‚Π½ΠΈΡ… Ρ€Π°Ρ‡ΡƒΠ½Π°Ρ€Π° компанијС IBM. Π‘Π»Π΅Π΄ΠΈ ΠΊΡ€Π°Ρ‚Π°ΠΊ ΡƒΠ²ΠΎΠ΄ Ρƒ Ρ‚Π΅ΠΎΡ€ΠΈΡ˜Ρƒ ΠΊΠ²Π°Π½Ρ‚Π½ΠΎΠ³ рачунарства; ΠΎΠ²Π΅ идСјС су ΠΏΠΎΡ‚ΠΎΠΌ ΠΏΡ€ΠΎΡ˜Π΅ΠΊΡ‚ΠΎΠ²Π°Π½Π΅ Π½Π° јСзик који користС IBM Ρ€Π°Ρ‡ΡƒΠ½Π°Ρ€ΠΈ: IBMQASM. Π‘Π»Π΅Π΄Π΅Ρ›ΠΈ ΠΎΠ΄Π΅Ρ™Π°ΠΊ доноси ΠΊΡ€Π°Ρ‚Π°ΠΊ ΠΏΡ€Π΅Π³Π»Π΅Π΄ Π΄Ρ€ΡƒΠ³Π΅ врстС ΠΊΠ²Π°Π½Ρ‚Π½ΠΎΠ³ Ρ€Π°Ρ‡ΡƒΠ½Π°Ρ€Π° који сС користи: D-Wave. Π”Π΅Ρ‚Π°Ρ™Π½ΠΈΡ˜ΠΈ описи ΠΌΠΎΠ³ Π°Π»Π³ΠΎΡ€ΠΈΡ‚ΠΌΠ° доступни су Ρƒ Π΄Ρ€ΡƒΠ³ΠΈΠΌ Ρ‡Π»Π°Π½Ρ†ΠΈΠΌΠ° Π½Π° којС сС ΠΏΠΎΠ·ΠΈΠ²Π°ΠΌ. На ΠΊΡ€Π°Ρ˜Ρƒ јС описан qGen: IBM Π³Π΅Π½Π΅Ρ€ΠΈΡˆΠ΅ ΠΌΠ΅Π»ΠΎΠ΄ΠΈΡ˜Ρƒ, Π° D-Wave јС Ρ…Π°Ρ€ΠΌΠΎΠ½ΠΈΠ·ΡƒΡ˜Π΅. Ѐокус јС Π½Π° мСлодијском Π°Π»Π³ΠΎΡ€ΠΈΡ‚ΠΌΡƒ, ΠΏΠΎΡˆΡ‚ΠΎ јС Π°Π»Π³ΠΎΡ€ΠΈΡ‚Π°ΠΌ D-Wave описан Ρƒ ΠΏΠΎΠ³Π»Π°Π²Ρ™Ρƒ ΠΈΠ· књигС Π½Π° ΠΊΠΎΡ˜Ρƒ Ρ€Π΅Ρ„Π΅Ρ€ΠΈΡ€Π°ΠΌ. РазвијСн јС β€œΠ½Π°Ρ˜Ρ˜Π΅Π΄Π½ΠΎΡΡ‚Π°Π²Π½ΠΈΡ˜ΠΈ ΠΌΠΎΠ³ΡƒΡ›ΠΈβ€œ мСлодијски Π°Π»Π³ΠΎΡ€ΠΈΡ‚Π°ΠΌ, ΡƒΠ· који јС ΠΏΡ€ΠΈΠ»ΠΎΠΆΠ΅Π½ ΠΈ ΠΎΠ΄Π³ΠΎΠ²Π°Ρ€Π°Ρ˜ΡƒΡ›ΠΈ ΠΏΡ€ΠΈΠΌΠ΅Ρ€

    Creative Quantum Computing: Inverse FFT Sound Synthesis, Adaptive Sequencing and Musical Composition

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    Quantum computing is emerging as an alternative computing technology, which is built on the principles of subatomic physics. In spite of continuing progress in developing increasingly more sophisticated hardware and software, access to quantum computing still requires specialist expertise that is largely confined to research laboratories. Moreover, the target applications for these developments remain primarily scientific. This chapter introduces research aimed at improving this scenario. Our research is aimed at extending the range of applications of quantum computing towards the arts and creative applications, music being our point of departure. This chapter reports on initial outcomes, whereby quantum information processing controls an inverse Fast Fourier Transform (FFT) sound synthesizer and an adaptive musical sequencer. A composition called Zeno is presented to illustrate a practical real-world application.Comment: Pre-publication draft. Replacement of figures 5 and 8, 06 Dec 2

    Applying quantum hardware to non-scientific problems: Grover’s algorithm and rule-based algorithmic music composition

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    Β© 2019, Old City Publishing. All rights reserved. Of all novel computing methods, quantum computation (QC) is currently the most likely to move from the realm of the unconventional into the conventional. As a result some initial work has been done on applications of QC outside of science: for example music. The small amount of arts research done in hardware or with actual physical systems has not utilized any of the advantages of quantum computation (QC): the main advantage being the potential speed increase of quantum algorithms. This paper introduces a way of utilizing Grover’s algorithm - which has been shown to provide a quadratic speed-up over its classical equivalent - in algorithmic rule-based music composition. The system introduced - qgMuse - is simple but scalable. Example melodies are composed using qgMuse using the ibmqx4 quantum hardware. The paper concludes with discussion on how such an approach can grow with the improvement of quantum computer hardware and software

    Quantum Computer: Hello, Music!

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    Quantum computing is emerging as a promising technology, which is built on the principles of subatomic physics. By the time of writing, fully fledged practical quantum computers are not widely available. But research and development are advancing rapidly. Various software simulators are already available. And a few companies have already started to provide access to quantum hardware via the cloud. These initiatives have enabled experiments with quantum computing to tackle some realistic problems in science; e.g., in chemistry and cryptography. In spite of continuing progress in developing increasingly more sophisticated hardware and software, research in quantum computing has been focusing primarily on developing scientific applications. Up till now there has been virtually no research activity aimed at widening the range of applications of this technology beyond science and engineering. In particular applications for the entertainment industry and creative economies. This article introduces a new field of research, which is referred to as Quantum Computer Music. This research is aimed at the development of quantum computing tools and approaches to creating, performing, listening to and distributing music. The article begins with a brief historical background. Then, it introduces the notion of algorithmic music and presents two quantum computer music systems: a singing voice synthesiser and a musical sequencer based on quantum walk. A primer on quantum computing is also given. The chapter ends with a concluding discussion and advice for further work to develop this new exciting area of research

    Musicology 24 (I /2018)

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    Π’Π΅ΠΌΠ° Π±Ρ€ΠΎΡ˜Π° 24 ΠšΠ²Π°Π½Ρ‚Π½Π° ΠΌΡƒΠ·ΠΈΠΊΠ° инспирисана јС истоимСним ΠΌΠ΅Ρ’ΡƒΠ½Π°Ρ€ΠΎΠ΄Π½ΠΈΠΌ ΠΏΡ€ΠΎΡ˜Π΅ΠΊΡ‚ΠΎΠΌ кофинансираним ΠΎΠ΄ странС ЕвропскС УнијС Ρƒ ΠΎΠΊΠ²ΠΈΡ€Ρƒ ΠΏΡ€ΠΎΠ³Ρ€Π°ΠΌΠ° ΠšΡ€Π΅Π°Ρ‚ΠΈΠ²Π½Π° Π•Π²Ρ€ΠΎΠΏΠ°, којим сам Ρ€ΡƒΠΊΠΎΠ²ΠΎΠ΄ΠΈΠ»Π° Ρ‚ΠΎΠΊΠΎΠΌ ΠΏΡ€Π΅Ρ‚Ρ…ΠΎΠ΄Π½Π΅ Ρ‚Ρ€ΠΈ Π³ΠΎΠ΄ΠΈΠ½Π΅ (559695-CREA-1-2015-1-RS-CULT-COOP1, 2015-2018) . По ΠΏΡ€Π²ΠΈ ΠΏΡƒΡ‚ јС ΠΈΠ½ΡΡ‚ΠΈΡ‚ΡƒΡ†ΠΈΡ˜Π° ΠΈΠ· Π‘Ρ€Π±ΠΈΡ˜Π΅ – ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΡˆΠΊΠΈ институт БАНУ – Π±ΠΈΠ»Π° носилац ΠΏΡ€ΠΎΡ˜Π΅ΠΊΡ‚Π° ΠΈΠ· ΠΏΡ€ΠΎΠ³Ρ€Π°ΠΌΠ° ΠšΡ€Π΅Π°Ρ‚ΠΈΠ²Π½Π° Π•Π²Ρ€ΠΎΠΏΠ°, Π° ΠΊΠΎΠ½Π·ΠΎΡ€Ρ†ΠΈΡ˜ΡƒΠΌ ΠΏΠ°Ρ€Ρ‚Π½Π΅Ρ€Π° ΠΈ ΠΏΡ€ΠΈΠ΄Ρ€ΡƒΠΆΠ΅Π½ΠΈΡ… ΠΏΠ°Ρ€Ρ‚Π½Π΅Ρ€Π° ΠΎΠΊΡƒΠΏΠΈΠΎ јС високошколскС, истраТивачкС ΠΈ ΠΊΡƒΠ»Ρ‚ΡƒΡ€Π½Π΅ ΠΈΠ½ΡΡ‚ΠΈΡ‚ΡƒΡ†ΠΈΡ˜Π΅ ΠΈΠ· Π‘Ρ€Π±ΠΈΡ˜Π΅, БловСнијС, ДанскС, Π₯оландијС ΠΈ УјСдињСног ΠšΡ€Π°Ρ™Π΅Π²ΡΡ‚Π²Π°. Још ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ Π°ΠΏΠ»ΠΈΡ†ΠΈΡ€Π°ΡšΠ° Π½Π° конкурс ΠΈ каснијСг ΠΏΠΎΡ‚ΠΏΠΈΡΠΈΠ²Π°ΡšΠ° ΡƒΠ³ΠΎΠ²ΠΎΡ€Π° са Европском комисијом, истакли смо Π΄Π° су Ρ†ΠΈΡ™Π΅Π²ΠΈ ΠΎΠ²ΠΎΠ³ ΠΏΡ€ΠΎΡ˜Π΅ΠΊΡ‚Π°, ΠΈΠ·ΠΌΠ΅Ρ’Ρƒ осталог, ΠΎΡ€Π³Π°Π½ΠΈΠ·ΠΎΠ²Π°ΡšΠ΅ ΠΏΡ€Π²Π΅ ΠΊΠΎΠ½Ρ„Π΅Ρ€Π΅Π½Ρ†ΠΈΡ˜Π΅ ΠΎ ΠΊΠ²Π°Π½Ρ‚Π½ΠΎΡ˜ ΠΌΡƒΠ·ΠΈΡ†ΠΈ, ΠΊΠ°ΠΎ ΠΈ ΠΎΠ±Ρ˜Π°Π²Ρ™ΠΈΠ²Π°ΡšΠ΅ ΡΠΏΠ΅Ρ†ΠΈΡ˜Π°Π»Π½ΠΎΠ³ Π±Ρ€ΠΎΡ˜Π° часописа ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π° посвСћСног овој Ρ‚Π΅ΠΌΠΈ. Π‘Π° задовољством истичСм Π΄Π° су ΠΎΠ±Π° ΠΎΠ²Π° Ρ†ΠΈΡ™Π° остварСна. ΠœΠ΅Ρ’ΡƒΠ½Π°Ρ€ΠΎΠ΄Π½Π° интСрдисциплинарна ΠΊΠΎΠ½Ρ„Π΅Ρ€Π΅Π½Ρ†ΠΈΡ˜Π° посвСћСна ΠΊΠ²Π°Π½Ρ‚Π½ΠΎΡ˜ ΠΌΡƒΠ·ΠΈΡ†ΠΈ ΠΎΠ΄Ρ€ΠΆΠ°Π½Π° јС 21–22. ΠΌΠ°Ρ€Ρ‚Π° 2018. Π³ΠΎΠ΄ΠΈΠ½Π΅ Ρƒ Π‘Ρ€ΠΏΡΠΊΠΎΡ˜ акадСмији Π½Π°ΡƒΠΊΠ° ΠΈ умСтности, ΠΏΠΎΠ΄ покровитСљством ΠœΠΈΠ½ΠΈΡΡ‚Π°Ρ€ΡΡ‚Π²Π° просвСтС, Π½Π°ΡƒΠΊΠ΅ ΠΈ Ρ‚Π΅Ρ…Π½ΠΎΠ»ΠΎΡˆΠΊΠΎΠ³ Ρ€Π°Π·Π²ΠΎΡ˜Π° Π Π΅ΠΏΡƒΠ±Π»ΠΈΠΊΠ΅ Π‘Ρ€Π±ΠΈΡ˜Π΅ ΠΈ ΠΏΡ€ΠΈΠ²ΡƒΠΊΠ»Π° јС Π²Π΅Π»ΠΈΠΊΠΈ Π±Ρ€ΠΎΡ˜ заинтСрСсованих ΡΠ»ΡƒΡˆΠ°Π»Π°Ρ†Π°, ΠΊΠ°ΠΎ ΠΈ Π·Π½Π°Ρ‡Π°Ρ˜Π½Ρƒ ΠΏΠ°ΠΆΡšΡƒ СлСктронских ΠΈ ΡˆΡ‚Π°ΠΌΠΏΠ°Π½ΠΈΡ… мСдија. ΠŸΠΎΡ€Π΅Π΄ Ρ‚ΠΎΠ³Π°, Ρ€Π΅Π·ΡƒΠ»Ρ‚Π°Ρ‚Π΅ ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ° Ρƒ ΠΎΠΊΠ²ΠΈΡ€Ρƒ ΠΎΠ²ΠΎΠ³ ΠΏΡ€ΠΎΡ˜Π΅ΠΊΡ‚Π° ΠΏΡ€Π΅Π·Π΅Π½Ρ‚ΠΎΠ²Π°Π»Π° сам Π½Π° LIII годишњој ΠΊΠΎΠ½Ρ„Π΅Ρ€Π΅Π½Ρ†ΠΈΡ˜ΠΈ ΠšΡ€Π°Ρ™Π΅Π²ΡΠΊΠ΅ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ Π°ΡΠΎΡ†ΠΈΡ˜Π°Ρ†ΠΈΡ˜Π΅ (RMA) Π½Π° Π£Π½ΠΈΠ²Π΅Ρ€Π·ΠΈΡ‚Π΅Ρ‚Ρƒ Ρƒ Π›ΠΈΠ²Π΅Ρ€ΠΏΡƒΠ»Ρƒ, сСптСмбра 2017. Π³ΠΎΠ΄ΠΈΠ½Π΅. Π£ Π’Π΅ΠΌΠΈ Π±Ρ€ΠΎΡ˜Π° ΠΏΠΎΡΠ²Π΅Ρ›Π΅Π½ΠΎΡ˜ ΠΊΠ²Π°Π½Ρ‚Π½ΠΎΡ˜ ΠΌΡƒΠ·ΠΈΡ†ΠΈ ΠΎΠ±Ρ˜Π°Π²Ρ™ΡƒΡ˜Π΅ΠΌΠΎ Ρ€Π°Π΄ΠΎΠ²Π΅ Π°ΡƒΡ‚ΠΎΡ€Π° који су нСпосрСдно учСствовали Ρƒ Ρ€Π΅Π°Π»ΠΈΠ·Π°Ρ†ΠΈΡ˜ΠΈ ΠΎΠ²ΠΎΠ³ ΠΏΡ€ΠΎΡ˜Π΅ΠΊΡ‚Π°, Π°Π»ΠΈ ΠΈ Π½Π°ΡƒΡ‡Π½ΠΈΠΊΠ° који су сС спонтано ΠΈ ΡΠ°ΠΌΠΎΠΈΠ½ΠΈΡ†ΠΈΡ˜Π°Ρ‚ΠΈΠ²Π½ΠΎ ΠΏΡ€ΠΈΠΊΡ™ΡƒΡ‡ΠΈΠ»ΠΈ ΠΏΡ€ΠΎΡ˜Π΅ΠΊΡ‚Ρƒ Ρ‚ΠΎΠΊΠΎΠΌ Ρ‚Ρ€ΠΈ Π³ΠΎΠ΄ΠΈΠ½Π΅ њСговог одвијања, ΠΊΠ°ΠΎ ΠΈ Ρ€Π°Π΄ΠΎΠ²Π΅ Π°ΡƒΡ‚ΠΎΡ€Π° који нису Π½ΠΈ Π½Π° који Π½Π°Ρ‡ΠΈΠ½ Π²Π΅Π·Π°Π½ΠΈ Π·Π° овај ΠΏΡ€ΠΎΡ˜Π΅ΠΊΠ°Ρ‚, Π²Π΅Ρ› сС, нСзависно ΠΎΠ΄ нашСг ΠΊΠΎΠ½Π·ΠΎΡ€Ρ†ΠΈΡ˜ΡƒΠΌΠ°, Π±Π°Π²Π΅ сродним ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠΈΠΌΠ°. Π£ΠΊΡƒΠΏΠ½ΠΎ Π΄Π΅Π²Π΅Ρ‚ тСкстова ΠΎΠ±Ρ˜Π°Π²Ρ™Π΅Π½ΠΈΡ… Ρƒ ΠΎΠ²ΠΎΠΌ Ρ‚Π΅ΠΌΠ°Ρ‚Ρƒ, написаних ΠΎΠ΄ странС Π°ΡƒΡ‚ΠΎΡ€Π° који су ΠΏΠΎ ΠΏΡ€ΠΈΠΌΠ°Ρ€Π½ΠΎΡ˜ Π²ΠΎΠΊΠ°Ρ†ΠΈΡ˜ΠΈ Ρ„ΠΈΠ·ΠΈΡ‡Π°Ρ€ΠΈ, ΠΌΠ°Ρ‚Π΅ΠΌΠ°Ρ‚ΠΈΡ‡Π°Ρ€ΠΈ, ΠΈΠ½ΠΆΠ΅ΡšΠ΅Ρ€ΠΈ, ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€ΠΈ, ΠΌΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ·ΠΈ ΠΈ ΠΏΠΈΡ˜Π°Π½ΠΈΡΡ‚ΠΈ, освСтљава Ρ€Π°Π·Π»ΠΈΡ‡ΠΈΡ‚Π΅ аспСктС ΠΏΡ€ΠΎΠΆΠΈΠΌΠ°ΡšΠ° ΠΊΠ²Π°Π½Ρ‚Π½Π΅ Ρ„ΠΈΠ·ΠΈΠΊΠ΅ ΠΈ ΠΌΡƒΠ·ΠΈΠΊΠ΅. Π’Π»Π°Ρ‚ΠΊΠΎ Π’Π΅Π΄Ρ€Π°Π», јСдан ΠΎΠ΄ Π½Π°ΡˆΠΈΡ… Π½Π°Ρ˜Π·Π½Π°Ρ‡Π°Ρ˜Π½ΠΈΡ˜ΠΈΡ… Π½Π°ΡƒΡ‡Π½ΠΈΠΊΠ° Π΄Π°Π½Π°ΡˆΡšΠΈΡ†Π΅, профСсор Π½Π° Π£Π½ΠΈΠ²Π΅Ρ€Π·ΠΈΡ‚Π΅Ρ‚Ρƒ Ρƒ ΠžΠΊΡΡ„ΠΎΡ€Π΄Ρƒ, Ρƒ ΡƒΠ²ΠΎΠ΄Π½ΠΎΠΌ тСксту Ρ‚Π΅ΠΌΠ°Ρ‚Π° Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π° Ρ‚Π΅ΠΎΡ€ΠΈΡ˜ΡΠΊΠ΅ могућности Π·Π° β€œΠΎΠ·Π²ΡƒΡ‡Π°Π²Π°ΡšΠ΅β€œ ΠΊΠ²Π°Π½Ρ‚Π½Π΅ ΡΡƒΠΏΠ΅Ρ€ΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π΅. АлСксис ΠšΠΈΡ€ΠΊ, ΠΌΠ°Ρ‚Π΅ΠΌΠ°Ρ‚ΠΈΡ‡Π°Ρ€ ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€ ΠΈΠ· ΠŸΠ»ΠΈΠΌΡƒΡ‚Π°, Π±Π°Π²ΠΈ сС ΠΏΡ€ΠΎΠ³Ρ€Π°ΠΌΠΈΡ€Π°ΡšΠ΅ΠΌ ΠΊΠ²Π°Π½Ρ‚Π½ΠΈΡ… Ρ€Π°Ρ‡ΡƒΠ½Π°Ρ€Π° Ρƒ Ρ†ΠΈΡ™Ρƒ ΡΡ‚Π²Π°Ρ€Π°ΡšΠ° ΠΌΡƒΠ·ΠΈΠΊΠ΅, Π΄ΠΎΠΊ Ρ„ΠΈΠ·ΠΈΡ‡Π°Ρ€ Π•Π½Π΄Ρ€Ρƒ Π“Π°Ρ€Π½Π΅Ρ€ (Π‘ΠΈΠ½Π³Π°ΠΏΡƒΡ€/ Π‘Π΅Ρ‡) пишС ΠΎ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎΠΌ ΠΈΠ½Ρ‚Π΅Ρ€Ρ„Π΅Ρ€ΠΎΠΌΠ΅Ρ‚Ρ€Ρƒ. Π€ΠΈΠ·ΠΈΡ‡Π°Ρ€ ΠšΠ»Π°ΡƒΡ ΠœΠΎΠ»ΠΌΠ΅Ρ€ (ΠžΡ€Ρ…ΡƒΡ) ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€ Ким Π₯Π΅Π»Π²Π΅Π³ (ΠšΠΎΠΏΠ΅Π½Ρ…Π°Π³Π΅Π½), сваки са свог ΡΡ‚Π°Π½ΠΎΠ²ΠΈΡˆΡ‚Π°, Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π°Ρ˜Ρƒ ΡΠ°Ρ€Π°Π΄ΡšΡƒ ΠΊΠΎΡ˜Ρƒ су остварили Ρƒ ΠΎΠΊΠ²ΠΈΡ€Ρƒ ΠΏΡ€ΠΎΡ˜Π΅ΠΊΡ‚Π° ΠšΠ²Π°Π½Ρ‚Π½Π° ΠΌΡƒΠ·ΠΈΠΊΠ°, Π΄ΠΎΠΊ ЈСлСна ΠˆΠ°Π½ΠΊΠΎΠ²ΠΈΡ›-Π‘Π΅Π³ΡƒΡˆ ΠΈ ја Π°Π½Π°Π»ΠΈΠ·ΠΈΡ€Π°ΠΌΠΎ Ρ˜Π΅Π΄Π½Ρƒ ΠΎΠ΄ Π₯Π΅Π»Π²Π΅Π³ΠΎΠ²ΠΈΡ… ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π°, Ρƒ ΠΏΠ°Ρ€Π°Π»Π΅Π»ΠΈ са Π‘ΡƒΠ»Π΅Π·ΠΎΠ²ΠΈΠΌ Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π°ΡšΠΈΠΌΠ° споја ΠΌΡƒΠ·ΠΈΠΊΠ΅ ΠΈ Ρ‚Π΅Ρ…Π½ΠΎΠ»ΠΎΠ³ΠΈΡ˜Π΅ ΠΈΠ·Ρ€Π΅Ρ‡Π΅Π½ΠΈΠΌ ΠΏΡ€Π΅ чСтрдСсСт Π³ΠΎΠ΄ΠΈΠ½Π°. БСоградски ΠΏΠΈΡ˜Π°Π½ΠΈΡΡ‚ΠΈ Боња Π›ΠΎΠ½Ρ‡Π°Ρ€ ΠΈ ΠΠ½Π΄Ρ€ΠΈΡ˜Π° ΠŸΠ°Π²Π»ΠΎΠ²ΠΈΡ› (Π›ΠŸ Π”ΡƒΠΎ), ΠΊΠ°ΠΎ ΠΈ ΠΈΠ½ΠΆΠ΅ΡšΠ΅Ρ€ Π”Ρ€Π°Π³Π°Π½ Новковић са својим студСнтима, ΠΏΠΈΡˆΡƒ ΠΎ ΠΈΠ·Π°Π·ΠΎΠ²ΠΈΠΌΠ° са којима су сС суочили ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ ΠΊΡ€Π΅ΠΈΡ€Π°ΡšΠ° Π½ΠΎΠ²ΠΎΠ³ Ρ…ΠΈΠ±Ρ€ΠΈΠ΄Π½ΠΎΠ³ ΠΊΠ»Π°Π²ΠΈΡ˜Π°Ρ‚ΡƒΡ€Π½ΠΎΠ³ инструмСнта који јС ΠΎΠΌΠΎΠ³ΡƒΡ›ΠΈΠΎ Π΄Π° β€œΡ‡ΡƒΡ˜Π΅ΠΌΠΎβ€œ ΠΊΠ²Π°Π½Ρ‚Π½ΠΈ свСт, Π° Ρƒ Π·Π°ΠΊΡ™ΡƒΡ‡Π½ΠΎΠΌ тСксту ΠΎΠ²ΠΎΠ³ Ρ‚Π΅ΠΌΠ°Ρ‚Π° Ρ„ΠΈΠ·ΠΈΡ‡Π°Ρ€ΠΊΠ° ΠšΡ˜Π°Ρ€Π° ΠœΠ°Ρ€Π»Π΅Ρ‚ΠΎ Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π° СстСтскС ΠΈΠΌΠΏΠ»ΠΈΠΊΠ°Ρ†ΠΈΡ˜Π΅ ΠΊΠ²Π°Π½Ρ‚Π½Π΅ ΠΌΡƒΠ·ΠΈΠΊΠ΅. Као ΠΊΠΎΠΎΡ€Π΄ΠΈΠ½Π°Ρ‚ΠΎΡ€ ΠΏΡ€ΠΎΡ˜Π΅ΠΊΡ‚Π° ΠšΠ²Π°Π½Ρ‚Π½Π° ΠΌΡƒΠ·ΠΈΠΊΠ°, Π·Π°Ρ…Π²Π°Ρ™ΡƒΡ˜Π΅ΠΌ сС ΠΏΡ€ΠΎΠ³Ρ€Π°ΠΌΡƒ ΠšΡ€Π΅Π°Ρ‚ΠΈΠ²Π½Π° Π•Π²Ρ€ΠΎΠΏΠ° Π½Π° ΠΏΡ€Π΅ΠΏΠΎΠ·Π½Π°Π²Π°ΡšΡƒ иновативности ΠΈ Π·Π½Π°Ρ‡Π°Ρ˜Π° ΠΎΠ²Π°ΠΊΠ²ΠΎΠ³ интСрдисциплинарног ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ° Π½Π° Ρ€Π°Π·ΠΌΠ΅Ρ’ΠΈ умСтности ΠΈ Π½Π°ΡƒΠΊΠ΅, ΠΊΠ°ΠΎ ΠΈ ΠœΠΈΠ½ΠΈΡΡ‚Π°Ρ€ΡΡ‚Π²Ρƒ ΠΊΡƒΠ»Ρ‚ΡƒΡ€Π΅ ΠΈ ΠΈΠ½Ρ„ΠΎΡ€ΠΌΠΈΡΠ°ΡšΠ° Π Π΅ΠΏΡƒΠ±Π»ΠΈΠΊΠ΅ Π‘Ρ€Π±ΠΈΡ˜Π΅ ΠΈ ДСску ΠšΡ€Π΅Π°Ρ‚ΠΈΠ²Π½Π° Π•Π²Ρ€ΠΎΠΏΠ° Π½Π° Ρ„ΠΈΠ½Π°Π½ΡΠΈΡ˜ΡΠΊΠΎΡ˜, Π»ΠΎΠ³ΠΈΡΡ‚ΠΈΡ‡ΠΊΠΎΡ˜ ΠΈ мСдијској ΠΏΠΎΠ΄Ρ€ΡˆΡ†ΠΈ. ΠŸΠΎΡΠ΅Π±Π½Ρƒ захвалност Π΄ΡƒΠ³ΡƒΡ˜Π΅ΠΌ ΠΏΠ°Ρ€Ρ‚Π½Π΅Ρ€ΠΈΠΌΠ° Π½Π° ΠΏΡ€ΠΎΡ˜Π΅ΠΊΡ‚Ρƒ, који су својим ΠΏΠΎΠΆΡ€Ρ‚Π²ΠΎΠ²Π°Π½ΠΈΠΌ Ρ€Π°Π΄ΠΎΠΌ Π΄ΠΎΠΏΡ€ΠΈΠ½Π΅Π»ΠΈ њСговој ΡƒΡΠΏΠ΅ΡˆΠ½ΠΎΡ˜ Ρ€Π΅Π°Π»ΠΈΠ·Π°Ρ†ΠΈΡ˜ΠΈ. Π Π°Π΄ΠΎΠ²ΠΈ ΠΎΠ±Ρ˜Π°Π²Ρ™Π΅Π½ΠΈ Ρƒ Ρ€ΡƒΠ±Ρ€ΠΈΡ†ΠΈ Varia Π±Π°Π²Π΅ сС Ρ‚Π΅ΠΌΠ°ΠΌΠ° Π·Π½Π°Ρ‡Π°Ρ˜Π½ΠΈΠΌ Π·Π° Π½Π°ΡˆΡƒ срСдину. Π’Π°ΡšΠ° Бпасић пишС ΠΎ статусу опСрског ΡƒΠΌΠ΅Ρ‚Π½ΠΈΠΊΠ° ΠΈ ΡΠ°ΠΌΠΎΡƒΠΏΡ€Π°Π²Ρ™Π°ΡšΡƒ Ρƒ Народном ΠΏΠΎΠ·ΠΎΡ€ΠΈΡˆΡ‚Ρƒ Ρƒ Π‘Π΅ΠΎΠ³Ρ€Π°Π΄Ρƒ Ρ‚ΠΎΠΊΠΎΠΌ осмС ΠΈ Π΄Π΅Π²Π΅Ρ‚Π΅ Π΄Π΅Ρ†Π΅Π½ΠΈΡ˜Π΅ Π₯Π₯ Π²Π΅ΠΊΠ°, Π΄ΠΎΠΊ историчари Π‚ΠΎΡ€Ρ’Π΅ Π‚Π΅ΠΊΠΈΡ› ΠΈ Милош ΠŸΠ°Π²Π»ΠΎΠ²ΠΈΡ› ΠΎΡΠ²Π΅Ρ‚Ρ™Π°Π²Π°Ρ˜Ρƒ дСлатност Π’Π΅ΠΎΡ„ΠΈΠ»Π°ΠΊΡ‚Π° Π‘ΠΈΠΌΠΎΠΊΠ°Ρ‚Π΅. Π£ склопу Π½Π°ΡΡ‚ΠΎΡ˜Π°ΡšΠ° Π΄Π° Ρƒ сваком Π±Ρ€ΠΎΡ˜Ρƒ часописа посвСтимо ΠΏΠ°ΠΆΡšΡƒ Π΄Π΅Π»ΠΎΠ²Π°ΡšΡƒ српских Π°ΠΊΠ°Π΄Π΅ΠΌΠΈΠΊΠ°, Π‘Π΅Π»Π΅Π½Π° Π Π°ΠΊΠΎΡ‡Π΅Π²ΠΈΡ› пишС ΠΎ сСстрама Π‰ΡƒΠ±ΠΈΡ†ΠΈ ΠΈ Π”Π°Π½ΠΈΡ†ΠΈ ΠˆΠ°Π½ΠΊΠΎΠ²ΠΈΡ› ΠΈ ΡšΠΈΡ…ΠΎΠ²ΠΎΠΌ односу ΠΏΡ€Π΅ΠΌΠ° ΠΏΡ€ΠΈΠΌΠ΅Π½ΠΈ Π›Π°Π±Π°Π½ΠΎΠ²Π΅ ΠΊΠΈΠ½Π΅Ρ‚ΠΎΠ³Ρ€Π°Ρ„ΠΈΡ˜Π΅. Π ΡƒΠ±Ρ€ΠΈΠΊΠ° Научна ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ° ΠΈ 3ΠΎΠ»Π΅ΠΌΠΈΠΊΠ° доноси Ρ‡Π΅Ρ‚ΠΈΡ€ΠΈ осврта Π½Π° Π½ΠΎΠ²Π΅ ΠΏΡƒΠ±Π»ΠΈΠΊΠ°Ρ†ΠΈΡ˜Π΅, ΠΊΠ°ΠΎ ΠΈ Писмо ΡƒΡ€Π΅Π΄Π½ΠΈΠΊΡƒ – ΠΊΠΎΠΌΠ΅Π½Ρ‚Π°Ρ€ Π½Π° Ρ‚Π΅ΠΌΠ°Ρ‚ Π£Ρ€Π±Π°Π½Π° Π·Π²ΡƒΡ‡Π½Π° Скологија (ΠΎΠ±Ρ˜Π°Π²Ρ™Π΅Π½ Ρƒ Π±Ρ€. 22 часописа ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎ.ија) ΠΎΠ΄ странС сарадника Π˜Π½ΡΡ‚ΠΈΡ‚ΡƒΡ‚Π° Π·Π° Π°Ρ€Ρ…ΠΈΡ‚Π΅ΠΊΡ‚ΡƒΡ€Ρƒ ΠΈ ΡƒΡ€Π±Π°Π½ΠΈΠ·Π°ΠΌ Π‘Ρ€Π±ΠΈΡ˜Π΅. Π”Ρ€Π°Π³ΠΎ Π½Π°ΠΌ јС ΡˆΡ‚ΠΎ тСкстови ΠΎΠ±Ρ˜Π°Π²Ρ™Π΅Π½ΠΈ Ρƒ часопису ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π° Π΄ΠΎΠΏΠΈΡ€Ρƒ Π΄ΠΎ Ρ‡ΠΈΡ‚Π°Π»Π°Ρ†Π° ΠΈΠ· Π΄Ρ€ΡƒΠ³ΠΈΡ… дисциплина, ΠΏΠΎΠ±ΡƒΡ’ΡƒΡ˜Ρƒ Ρ€Π΅Π°ΠΊΡ†ΠΈΡ˜Π΅ ΠΈ подстичу Π΄Π°Ρ™Π° ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ°. Π£ ΠΈΠΌΠ΅ Ρ€Π΅Π΄Π°ΠΊΡ†ΠΈΡ˜Π΅ ΠΈ својС Π»ΠΈΡ‡Π½ΠΎ, Π·Π°Ρ…Π²Π°Ρ™ΡƒΡ˜Π΅ΠΌ сС Ρ€Π΅Ρ†Π΅Π½Π·Π΅Π½Ρ‚ΠΈΠΌΠ° ΠΈΠ· Π‘Ρ€Π±ΠΈΡ˜Π΅ ΠΈ иностранства, који су Π΄Π°Π»ΠΈ Π²Π΅Π»ΠΈΠΊΠΈ Π±Ρ€ΠΎΡ˜ ΡΡƒΠ³Π΅ΡΡ‚ΠΈΡ˜Π° ΠΈ Π΄ΠΎΠΏΡ€ΠΈΠ½Π΅Π»ΠΈ ΠΊΠΎΠ½Π°Ρ‡Π½ΠΎΠΌ ΡƒΠΎΠ±Π»ΠΈΡ‡Π°Π²Π°ΡšΡƒ ΠΎΠ²ΠΎΠ³ Π±Ρ€ΠΎΡ˜Π°. Π’Π°ΠΊΠΎΡ’Π΅, Π·Π°Ρ…Π²Π°Ρ™ΡƒΡ˜Π΅ΠΌ сС Π»Π΅ΠΊΡ‚ΠΎΡ€ΠΈΠΌΠ° Π˜Π²Π°Π½Ρƒ ΠœΡƒΠ΄ΠΈΡ˜Ρƒ ΠΈ ΠœΠΈΡ€Ρ˜Π°Π½ΠΈ ΠΠ΅ΡˆΠΈΡ› ΠΈ ΠΆΠ΅Π»ΠΈΠΌ Π΄ΠΎΠ±Ρ€ΠΎΠ΄ΠΎΡˆΠ»ΠΈΡ†Ρƒ Π½ΠΎΠ²ΠΎΠΌ Ρ‡Π»Π°Π½Ρƒ ΠœΠ΅Ρ’ΡƒΠ½Π°Ρ€ΠΎΠ΄Π½ΠΎΠ³ ΠΈΠ·Π΄Π°Π²Π°Ρ‡ΠΊΠΎΠ³ савСта, Π”Π°Π½ΠΈΡ˜Π΅Π»ΠΈ Π¨. Π‘Π΅Ρ€Π΄.The main theme of the issue No 24 Quantum Music was inspired by the eponymous international project co-funded by the Creative Europe programme of the European Union (559695-CREA-1-2015-1-RS-CULT-COOP1, 2015-2018). For the first time, an institution from Serbia – the Institute of Musicology SASA – was the project leader within the Creative Europe programme, and the consortium of partners and associate partners comprised cultural, higher education and research institutions from Serbia, Slovenia, Denmark, the Netherlands and the United Kingdom. When submitting our application and, later, signing the contract with the European Commission, we emphasised that the objectives of this project, among other things, included the organisation of the first conference on quantum music, as well as the publication of an issue of the journal Muzikologija/Musicology dedicated to this topic. I am pleased that both these goals have been achieved. The international interdisciplinary conference devoted to quantum music was held on 21 and 22 March 2018 at the Serbian Academy of Sciences and Arts, under the auspices of the Ministry of Education, Science and Technological Development of the Republic of Serbia and attracted a large number of listeners, as well as considerable media attention. In addition, I presented the research results of this project at the 53rd Annual Conference of the Royal Music Association (RMA) at the University of Liverpool (UK) in September 2017. The main theme Quantum Music contains articles by authors who directly participated in the realisation of the eponymous Creative Europe project, but also of scientists who spontaneously joined the research during the project development, as well as articles by authors who are not in any way related to this project, but they are involved with similar research independently of our consortium. A total of nine texts written by authors who are by primary vocation physicists, mathematicians, engineers, composers, musicologists and pianists, illuminate various aspects of the permeation of quantum physics and music. Vlatko Vedral, one of the most influential scientists today and Professor at the University of Oxford, explores the theoretical possibilities for hearing the quantum superposition in the article that opens this topic. Alexis Kirke, a mathematician and composer from Plymouth, deals with programming gate-based hardware quantum computers for music, while physicist Andrew Garner (Singapore / Vienna) writes about the musical Mach-Zehnder interferometer. Physicist Klaus MΓΈlmer (Aarhus) and composer Kim Helweg (Copenhagen), each from their point of view, discuss their collaboration within the Quantum Music project, while Jelena JankoviΔ‡-BeguΕ‘ and I analyze one of Helweg’s compositions, in parallel with Pierre Boulez’s discussion on music and technology written some forty years ago. Pianists Sonja Lončar and Andrija PavloviΔ‡ (LP Duo) and engineer Dragan NovkoviΔ‡ with his students, write about the challenges they faced when creating a new hybrid keyboard instrument that enabled us to β€œhearβ€œ the quantum world for the first time, and in the concluding text on this topic, physicist Chiara Marletto examines the aesthetic implications of quantum music. As a coordinator of the Quantum Music project, I am grateful to the Creative Europe programme for recognising the innovativeness and importance of such an interdisciplinary research in the field of art and science, as well as the Ministry of Culture and Information of the Republic of Serbia and Creative Europe Desk for their financial, logistical and media support. I owe special gratitude to the partners on the project, whose devotion contributed to its successful realisation. Articles published in the section Varia deal with topics important for Serbian music. Vanja SpasiΔ‡ writes about the status of opera artist and self-management in the Belgrade National Theatre during the 1970s and the 1980s, while historians ĐorΔ‘e ĐekiΔ‡ and MiloΕ‘ PavloviΔ‡ illuminate the activity of the early seventh-century Byzantine historiographer Theophylact Simocatta. As part of an effort to acknowledge the work of fellows of the Serbian Academy of Sciences and Arts in each issue of the journal, Selena RakočeviΔ‡ writes about sisters Ljubica and Danica JankoviΔ‡ and their attitude towards the application of Kinetography Laban (Labanotation). The section Scientific Reviews and Polemics contains four reviews, as well as a Letter to the Editor – a comment on the topic of Urban Sound Ecology (published in No 22 of this journal) by the associates of the Institute for Architecture and Urban & Spatial Planning of Serbia. We are pleased that the texts published in our journal attract the attention of readers from other disciplines, provoke reactions and encourage further research. On behalf of the Editorial Board and my own, I would like to thank our peerreviewers who gave a large number of suggestions and contributed to the final shaping of this volume. Also, I would like to thank our English and Serbian language editors Ivan Moody and Mirjana NeΕ‘iΔ‡, and it is my pleasure to welcome a new member of our International Editorial Council, Danijela S. Beard (Cardiff University).ΠžΠ±Ρ˜Π°Π²Ρ™ΠΈΠ²Π°ΡšΠ΅ часописа Ρ„ΠΈΠ½Π°Π½ΡΠΈΡ˜ΡΠΊΠΈ су ΠΏΠΎΠΌΠΎΠ³Π»ΠΈ ΠœΠΈΠ½ΠΈΡΡ‚Π°Ρ€ΡΡ‚Π²ΠΎ просвСтС, Π½Π°ΡƒΠΊΠ΅ ΠΈ Ρ‚Π΅Ρ…Π½ΠΎΠ»ΠΎΡˆΠΊΠΎΠ³ Ρ€Π°Π·Π²ΠΎΡ˜Π°, ΠœΠΈΠ½ΠΈΡΡ‚Π°Ρ€ΡΡ‚Π²ΠΎ ΠΊΡƒΠ»Ρ‚ΡƒΡ€Π΅ ΠΈ ΠΈΠ½Ρ„ΠΎΡ€ΠΌΠΈΡΠ°ΡšΠ° Π Π΅ΠΏΡƒΠ±Π»ΠΈΠΊΠ΅ Π‘Ρ€Π±ΠΈΡ˜Π΅ ΠΈ Европска ΡƒΠ½ΠΈΡ˜Π° – ΠΏΡ€ΠΎΠ³Ρ€Π°ΠΌ ΠšΡ€Π΅Π°Ρ‚ΠΈΠ²Π½Π° Π•Π²Ρ€ΠΎΠΏΠ° / The publication of this volume was financed by the Ministry of Education, Science and Technological Development, the Ministry of Culture and Information of the Republic of Serbia and the European Union programme Creative Europe

    Unconventional Computing and Music: An Investigation into Harnessing Physarum polycephalum

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    This thesis presents an investigation into developing musical systems with an Unconventional Computing substrate. Computer musicians have found it difficult to access the field of Unconventional Computing, which is likely due to its resource-intensive and complex nature. However, ongoing research is establishing the myxomycete Physarum polycephalum as a universally-accessible and versatile biological computing substrate. As such, the organism is a potential gateway for computer musicians to begin experimenting with aspects of Unconventional Computing. Physarum polycephalum, in its vegetative plasmodium form, is an amorphous unicellular organism that can respond with natural parallelism to the environmental conditions that surround it. This thesis explores the challenges and opportunities related to developing musical systems with Physarum polycephalum. As this area of inquiry is in its infancy, the research took inspiration from a common approach in Unconventional Computing: a journey of exploration and discovery. This journey consisted of a selection of waypoints that provided direction while allowing the research to explore applications of Physarum polycephalum in order to establish how it may be useful in Computer Music. These waypoints guided the research from adapting established prototypes for musical application to developing purpose-made musical demonstrators for use outside of the laboratory. Thus, the thesis reports on a series of Computer Music systems that explore one or more features of Physarum polycephalum's behaviour and physiology. First, the text presents an approach to algorithmic composition that exploits the organism's ability to form and reconfigure graph-like structures. Next, the thesis reports on systems that harness the plasmodium's electrical potential oscillations for sound synthesis and compositional tools. Finally, the thesis presents musical devices that encompass living plasmodium as electrical components. Where applicable, the thesis includes artefacts from demonstrations of these systems, some of which were developed in collaboration with a composer. The findings from this journey demonstrate that Physarum polycephalum is an appropriate substrate for computer musicians wanting to explore Unconventional Computing approaches creatively. Although Physarum polycephalum is relatively robust as a biological substrate, several obstacles arose during this project. This research addressed such obstacles by reviewing and selecting approaches that maintained the organism's accessibility to computer musicians. As a result, the work suggests methods for developing systems with the organism that are practical for the average music technologist and also beneficial to the wider group of scientists investigating Physarum polycephalum for other purposes.Plymouth University HumPA Studentshi
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