9 research outputs found
Experiments in Sound and Music Quantum Computing
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
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 βThe Entanglement,β 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
ΠΡΠ³Π°Π½ΠΈΠ·Π°ΡΠΎΡΠΈ : ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΈ ΠΈΠ½ΡΡΠΈΡΡΡ Π‘ΠΠΠ£ (ΠΠ΅ΠΎΠ³ΡΠ°Π΄) ΠΈ Π¦Π΅Π½ΡΠ°Ρ Π·Π° ΠΏΡΠΎΠΌΠΎΡΠΈΡΡ Π½Π°ΡΠΊΠ΅ (ΠΠ΅ΠΎΠ³ΡΠ°Π΄
ΠΡΠΎΠ³ΡΠ°ΠΌΠΈΡΠ°ΡΠ΅ ΠΊΠ²Π°Π½ΡΠ½ΠΈΡ ΡΠ°ΡΡΠ½Π°ΡΠ° Π±Π°Π·ΠΈΡΠ°Π½ΠΈΡ Π½Π° ΡΠΏΠΎΡΡΠ΅Π±ΠΈ Π»ΠΎΠ³ΠΈΡΠΊΠΈΡ ΠΊΠΎΠ»Π° Π·Π° ΠΏΠΎΡΡΠ΅Π±Π΅ ΡΠ°Π΄Π° ΡΠ° ΠΌΡΠ·ΠΈΠΊΠΎΠΌ
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.ΠΠΎΡΠ°Π΄ ΡΡ Π·Π°Π±Π΅Π»Π΅ΠΆΠ΅Π½ΠΈ Π·Π½Π°ΡΠ°ΡΠ½ΠΈ ΠΏΠΎΠΊΡΡΠ°ΡΠΈ Π΄Π° ΡΠ΅ ΡΠ΅Π΄Π½Π°ΡΠΈΠ½Π΅ ΠΊΠ²Π°Π½ΡΠ½Π΅ ΠΌΠ΅Ρ
Π°Π½ΠΈΠΊΠ΅
ΠΊΠΎΡΠΈΡΡΠ΅ Π·Π° Π³Π΅Π½Π΅ΡΠΈΡΠ°ΡΠ΅ Π·Π²ΡΠΊΠ° ΠΈ Π΄Π° ΡΠ΅ ΠΎΠ·Π²ΡΡΠ΅ ΡΠΈΠΌΡΠ»ΠΈΡΠ°Π½ΠΈ ΠΊΠ²Π°Π½ΡΠ½ΠΈ ΠΏΡΠΎΡΠ΅ΡΠΈ. ΠΠ»ΠΈ,
Π·Π° Π½ΠΎΠ²Π΅ ΠΎΠ±Π»ΠΈΠΊΠ΅ ΡΠ°ΡΡΠ½Π°ΡΠ° ΠΊΠΎΡΠΈ Π±ΠΈ ΡΠ΅ ΠΊΠΎΡΠΈΡΡΠΈΠ»ΠΈ Ρ ΠΊΠΎΠΌΠΏΡΡΡΠ΅ΡΡΠΊΠΎΡ ΠΌΡΠ·ΠΈΡΠΈ, ΠΌΠΎΡΠ° ΡΠ΅
ΡΠΏΠΎΡΡΠ΅Π±ΠΈΡΠΈ ΠΎΠ΄Π³ΠΎΠ²Π°ΡΠ°ΡΡΡΠΈ Ρ
Π°ΡΠ΄Π²Π΅Ρ. ΠΠ²ΠΎ ΡΠ΅ Π΄ΠΎΡΠ°Π΄ ΡΠ΅ΡΠΊΠΎ Π΄Π΅ΡΠ°Π²Π°Π»ΠΎ ΡΠ° ΠΊΠ²Π°Π½ΡΠ½ΠΎΠΌ
ΠΊΠΎΠΌΠΏΡΡΡΠ΅ΡΡΠΊΠΎΠΌ ΠΌΡΠ·ΠΈΠΊΠΎΠΌ, Π½Π°ΡΠΏΡΠ΅ Π·Π°ΡΠΎ ΡΡΠΎ ΡΠ°ΠΊΠ°Π² Ρ
Π°ΡΠ΄Π²Π΅Ρ Π½ΠΈΡΠ΅ ΡΠΈΡΠΎΠΊΠΎ Π΄ΠΎΡΡΡΠΏΠ°Π½.
ΠΡΡΠ³ΠΈ ΡΠ°Π·Π»ΠΎΠ³ ΡΠ΅ΡΡΠ΅ ΠΎΠΊΠΎΠ»Π½ΠΎΡΡ Π΄Π° ΠΎΠ²Π°ΠΊΠ°Π² Ρ
Π°ΡΠ΄Π²Π΅Ρ Π·Π°Ρ
ΡΠ΅Π²Π° ΠΈΠ·Π²Π΅ΡΠ½ΠΎ ΠΏΠΎΠ·Π½Π°Π²Π°ΡΠ΅
ΡΠ΅ΠΎΡΠΈΡΠ΅ ΠΊΠ²Π°Π½ΡΠ½ΠΎΠ³ ΡΠ°ΡΡΠ½Π°ΡΡΡΠ²Π°. ΠΠ²ΠΈΠΌ ΡΠ»Π°Π½ΠΊΠΎΠΌ ΠΏΠΎΠΌΠ΅ΡΠ°ΠΌΠΎ ΠΎΠ²Π°Ρ ΠΏΡΠΎΡΠ΅Ρ ΡΠ½Π°ΠΏΡΠ΅Π΄
ΠΏΠΎΠΌΠΎΡΡ Π΄Π²Π° Ρ
Π°ΡΠ΄Π²Π΅ΡΡΠΊΠ° ΠΊΠ²Π°Π½ΡΠ½Π° ΡΠ°ΡΡΠ½Π°ΡΡΠΊΠ° ΡΠΈΡΡΠ΅ΠΌΠ°: IBMQASM v1.1 ΠΈ
D-Wave 2X. Π’Π°ΠΊΠΎΡΠ΅ ΡΠ²ΠΎΠ΄ΠΈΠΌΠΎ Π½Π΅ΠΊΠ΅ ΠΈΠ΄Π΅ΡΠ΅ ΠΈΠ· IBM-ΠΎΠ²ΠΎΠ³ ΡΠΈΡΡΠ΅ΠΌΠ° Π·Π°ΡΠ½ΠΎΠ²Π°Π½ΠΎΠ³
Π½Π° Π»ΠΎΠ³ΠΈΡΠΊΠΈΠΌ ΠΊΠΎΠ»ΠΈΠΌΠ°, Π½Π° Π½Π°ΡΠΈΠ½ Π΄ΠΎΡΡΡΠΏΠ°Π½ ΡΠ°ΡΡΠ½Π°ΡΡΠΊΠΈ ΠΏΠΈΡΠΌΠ΅Π½ΠΈΠΌ ΡΠΈΡΠ°ΠΎΡΠΈΠΌΠ°.
ΠΠ²ΠΎ ΡΠ΅ ΠΏΡΠ΅Π·Π΅Π½ΡΠ°ΡΠΈΡΠ° ΠΏΡΠ²ΠΎΠ³ Ρ
ΠΈΠ±ΡΠΈΠ΄Π½ΠΎΠ³ ΠΊΠ²Π°Π½ΡΠ½ΠΎΠ³ ΠΊΠΎΠΌΠΏΡΡΡΠ΅ΡΡΠΊΠΎΠ³ Π°Π»Π³ΠΎΡΠΈΡΠΌΠ°,
ΠΊΠΎΡΠΈ ΡΠΊΡΡΡΡΡΠ΅ Π΄Π²Π΅ Ρ
Π°ΡΠ΄Π²Π΅ΡΡΠΊΠ΅ ΠΌΠ°ΡΠΈΠ½Π΅. ΠΠ°ΠΊΠΎ Π½ΠΈΡΠ΅Π΄Π°Π½ ΠΎΠ΄ ΠΎΠ²ΠΈΡ
Π°Π»Π³ΠΎΡΠΈΡΠ°ΠΌΠ°
Π΅ΠΊΡΠΏΠ»ΠΈΡΠΈΡΠ½ΠΎ Π½Π΅ ΠΊΠΎΡΠΈΡΡΠΈ ΠΎΠ±Π΅ΡΠ°Π½Π° ΠΊΠ²Π°Π½ΡΠ½Π° ΡΠ±ΡΠ·Π°ΡΠ°, ΠΎΠ½ΠΈ ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ°ΡΡ Π²ΠΈΡΠ°Π»Π°Π½
ΠΏΡΠ²ΠΈ ΠΊΠΎΡΠ°ΠΊ Ρ ΡΠ²ΠΎΡΠ΅ΡΡ ΠΊΠ²Π°Π½ΡΠ½ΠΎΠ³ ΡΠ°ΡΡΠ½Π°ΡΡΡΠ²Π° Ρ ΠΏΠΎΡΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅.
Π§Π»Π°Π½Π°ΠΊ Π·Π°ΠΏΠΎΡΠΈΡΠ΅ΠΌΠΎ ΠΊΡΠ°ΡΠΊΠΈΠΌ ΠΏΡΠ΅Π³Π»Π΅Π΄ΠΎΠΌ ΠΊΠ²Π°Π½ΡΠ½ΠΎΠ³ ΡΠ°ΡΡΠ½Π°ΡΡΡΠ²Π° ΠΈ ΡΠΊΠ°Π·ΡΡΠ΅ΠΌΠΎ
ΠΊΠ°ΠΊΠΎ ΡΠ΅ ΠΎΠ½ΠΎ ΠΌΠΎΠΆΠ΅ ΠΏΡΠΈΠΌΠ΅Π½ΠΈΡΠΈ Π½Π° ΠΏΠΎΠ΄ΡΡΡΡΡ ΡΠΌΠ΅ΡΠ½ΠΎΡΡΠΈ. Π‘Π»Π΅Π΄ΠΈ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ΅
ΠΏΡΠ΅ΡΡ
ΠΎΠ΄Π½ΠΈΡ
ΠΏΡΠΎΡΠ΅ΠΊΠ°ΡΠ° Ρ ΠΊΠΎΡΠΈΠΌΠ° ΡΡ ΠΊΠΎΡΠΈΡΡΠ΅Π½ΠΈ ΡΡΠ²Π°ΡΠ½ΠΈ ΠΈΠ»ΠΈ ΡΠΈΠΌΡΠ»ΠΈΡΠ°Π½ΠΈ
ΠΊΠ²Π°Π½ΡΠ½ΠΈ ΠΏΡΠΎΡΠ΅ΡΠΈ Ρ ΠΌΡΠ·ΠΈΡΠΊΠΈΠΌ Π΄Π΅Π»ΠΈΠΌΠ° ΠΈΠ»ΠΈ ΠΈΠ·Π²ΠΎΡΠ΅ΡΠΈΠΌΠ°. Π£ ΡΠ»Π΅Π΄Π΅ΡΠ΅ΠΌ ΠΎΠ΄Π΅ΡΠΊΡ ΡΠ΅
Π³ΠΎΠ²ΠΎΡΠΈ ΠΎ Π½Π°ΡΠΏΠΎΠ·Π½Π°ΡΠΈΡΠΎΡ Π²ΡΡΡΠΈ ΠΊΠ²Π°Π½ΡΠ½ΠΈΡ
ΡΠ°ΡΡΠ½Π°ΡΠ°, Π·Π°ΡΠ½ΠΎΠ²Π°Π½ΠΈΡ
Π½Π° Π»ΠΎΠ³ΠΈΡΠΊΠΈΠΌ
ΠΊΠΎΠ»ΠΈΠΌΠ°, ΠΈ ΠΎΠΏΠΈΡΡΡΠ΅ ΡΠ΅ Ρ
Π°ΡΠ΄Π²Π΅Ρ ΡΠ΅Π΄Π½ΠΎΠ³ ΠΎΠ΄ ΠΌΠ°ΡΠΈΡ
ΠΊΠ²Π°Π½ΡΠ½ΠΈΡ
ΡΠ°ΡΡΠ½Π°ΡΠ° ΠΊΠΎΠΌΠΏΠ°Π½ΠΈΡΠ΅
IBM. Π‘Π»Π΅Π΄ΠΈ ΠΊΡΠ°ΡΠ°ΠΊ ΡΠ²ΠΎΠ΄ Ρ ΡΠ΅ΠΎΡΠΈΡΡ ΠΊΠ²Π°Π½ΡΠ½ΠΎΠ³ ΡΠ°ΡΡΠ½Π°ΡΡΡΠ²Π°; ΠΎΠ²Π΅ ΠΈΠ΄Π΅ΡΠ΅ ΡΡ ΠΏΠΎΡΠΎΠΌ
ΠΏΡΠΎΡΠ΅ΠΊΡΠΎΠ²Π°Π½Π΅ Π½Π° ΡΠ΅Π·ΠΈΠΊ ΠΊΠΎΡΠΈ ΠΊΠΎΡΠΈΡΡΠ΅ IBM ΡΠ°ΡΡΠ½Π°ΡΠΈ: IBMQASM.
Π‘Π»Π΅Π΄Π΅ΡΠΈ ΠΎΠ΄Π΅ΡΠ°ΠΊ Π΄ΠΎΠ½ΠΎΡΠΈ ΠΊΡΠ°ΡΠ°ΠΊ ΠΏΡΠ΅Π³Π»Π΅Π΄ Π΄ΡΡΠ³Π΅ Π²ΡΡΡΠ΅ ΠΊΠ²Π°Π½ΡΠ½ΠΎΠ³ ΡΠ°ΡΡΠ½Π°ΡΠ° ΠΊΠΎΡΠΈ
ΡΠ΅ ΠΊΠΎΡΠΈΡΡΠΈ: D-Wave. ΠΠ΅ΡΠ°ΡΠ½ΠΈΡΠΈ ΠΎΠΏΠΈΡΠΈ ΠΌΠΎΠ³ Π°Π»Π³ΠΎΡΠΈΡΠΌΠ° Π΄ΠΎΡΡΡΠΏΠ½ΠΈ ΡΡ Ρ Π΄ΡΡΠ³ΠΈΠΌ
ΡΠ»Π°Π½ΡΠΈΠΌΠ° Π½Π° ΠΊΠΎΡΠ΅ ΡΠ΅ ΠΏΠΎΠ·ΠΈΠ²Π°ΠΌ. ΠΠ° ΠΊΡΠ°ΡΡ ΡΠ΅ ΠΎΠΏΠΈΡΠ°Π½ qGen: IBM Π³Π΅Π½Π΅ΡΠΈΡΠ΅
ΠΌΠ΅Π»ΠΎΠ΄ΠΈΡΡ, Π° D-Wave ΡΠ΅ Ρ
Π°ΡΠΌΠΎΠ½ΠΈΠ·ΡΡΠ΅. Π€ΠΎΠΊΡΡ ΡΠ΅ Π½Π° ΠΌΠ΅Π»ΠΎΠ΄ΠΈΡΡΠΊΠΎΠΌ Π°Π»Π³ΠΎΡΠΈΡΠΌΡ, ΠΏΠΎΡΡΠΎ
ΡΠ΅ Π°Π»Π³ΠΎΡΠΈΡΠ°ΠΌ D-Wave ΠΎΠΏΠΈΡΠ°Π½ Ρ ΠΏΠΎΠ³Π»Π°Π²ΡΡ ΠΈΠ· ΠΊΡΠΈΠ³Π΅ Π½Π° ΠΊΠΎΡΡ ΡΠ΅ΡΠ΅ΡΠΈΡΠ°ΠΌ. Π Π°Π·Π²ΠΈΡΠ΅Π½
ΡΠ΅ βΠ½Π°ΡΡΠ΅Π΄Π½ΠΎΡΡΠ°Π²Π½ΠΈΡΠΈ ΠΌΠΎΠ³ΡΡΠΈβ ΠΌΠ΅Π»ΠΎΠ΄ΠΈΡΡΠΊΠΈ Π°Π»Π³ΠΎΡΠΈΡΠ°ΠΌ, ΡΠ· ΠΊΠΎΡΠΈ ΡΠ΅ ΠΏΡΠΈΠ»ΠΎΠΆΠ΅Π½ ΠΈ
ΠΎΠ΄Π³ΠΎΠ²Π°ΡΠ°ΡΡΡΠΈ ΠΏΡΠΈΠΌΠ΅Ρ
Creative Quantum Computing: Inverse FFT Sound Synthesis, Adaptive Sequencing and Musical Composition
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: Groverβs algorithm and rule-based algorithmic music composition
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 Groverβs 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!
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)
Π’Π΅ΠΌΠ° Π±ΡΠΎΡΠ° 24 ΠΠ²Π°Π½ΡΠ½Π° ΠΌΡΠ·ΠΈΠΊΠ° ΠΈΠ½ΡΠΏΠΈΡΠΈΡΠ°Π½Π° ΡΠ΅ ΠΈΡΡΠΎΠΈΠΌΠ΅Π½ΠΈΠΌ ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½ΠΈΠΌ ΠΏΡΠΎΡΠ΅ΠΊΡΠΎΠΌ ΠΊΠΎΡΠΈΠ½Π°Π½ΡΠΈΡΠ°Π½ΠΈΠΌ ΠΎΠ΄ ΡΡΡΠ°Π½Π΅ ΠΠ²ΡΠΎΠΏΡΠΊΠ΅ Π£Π½ΠΈΡΠ΅ Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΏΡΠΎΠ³ΡΠ°ΠΌΠ° ΠΡΠ΅Π°ΡΠΈΠ²Π½Π° ΠΠ²ΡΠΎΠΏΠ°, ΠΊΠΎΡΠΈΠΌ ΡΠ°ΠΌ ΡΡΠΊΠΎΠ²ΠΎΠ΄ΠΈΠ»Π° ΡΠΎΠΊΠΎΠΌ ΠΏΡΠ΅ΡΡ
ΠΎΠ΄Π½Π΅ ΡΡΠΈ Π³ΠΎΠ΄ΠΈΠ½Π΅ (559695-CREA-1-2015-1-RS-CULT-COOP1, 2015-2018) . ΠΠΎ ΠΏΡΠ²ΠΈ ΠΏΡΡ ΡΠ΅ ΠΈΠ½ΡΡΠΈΡΡΡΠΈΡΠ° ΠΈΠ· Π‘ΡΠ±ΠΈΡΠ΅ β ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΈ ΠΈΠ½ΡΡΠΈΡΡΡ Π‘ΠΠΠ£ β Π±ΠΈΠ»Π° Π½ΠΎΡΠΈΠ»Π°Ρ ΠΏΡΠΎΡΠ΅ΠΊΡΠ° ΠΈΠ· ΠΏΡΠΎΠ³ΡΠ°ΠΌΠ° ΠΡΠ΅Π°ΡΠΈΠ²Π½Π° ΠΠ²ΡΠΎΠΏΠ°, Π° ΠΊΠΎΠ½Π·ΠΎΡΡΠΈΡΡΠΌ ΠΏΠ°ΡΡΠ½Π΅ΡΠ° ΠΈ ΠΏΡΠΈΠ΄ΡΡΠΆΠ΅Π½ΠΈΡ
ΠΏΠ°ΡΡΠ½Π΅ΡΠ° ΠΎΠΊΡΠΏΠΈΠΎ ΡΠ΅ Π²ΠΈΡΠΎΠΊΠΎΡΠΊΠΎΠ»ΡΠΊΠ΅, ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠΊΠ΅ ΠΈ ΠΊΡΠ»ΡΡΡΠ½Π΅ ΠΈΠ½ΡΡΠΈΡΡΡΠΈΡΠ΅ ΠΈΠ· Π‘ΡΠ±ΠΈΡΠ΅, Π‘Π»ΠΎΠ²Π΅Π½ΠΈΡΠ΅, ΠΠ°Π½ΡΠΊΠ΅, Π₯ΠΎΠ»Π°Π½Π΄ΠΈΡΠ΅ ΠΈ Π£ΡΠ΅Π΄ΠΈΡΠ΅Π½ΠΎΠ³ ΠΡΠ°ΡΠ΅Π²ΡΡΠ²Π°.
ΠΠΎΡ ΠΏΡΠΈΠ»ΠΈΠΊΠΎΠΌ Π°ΠΏΠ»ΠΈΡΠΈΡΠ°ΡΠ° Π½Π° ΠΊΠΎΠ½ΠΊΡΡΡ ΠΈ ΠΊΠ°ΡΠ½ΠΈΡΠ΅Π³ ΠΏΠΎΡΠΏΠΈΡΠΈΠ²Π°ΡΠ° ΡΠ³ΠΎΠ²ΠΎΡΠ° ΡΠ° ΠΠ²ΡΠΎΠΏΡΠΊΠΎΠΌ ΠΊΠΎΠΌΠΈΡΠΈΡΠΎΠΌ, ΠΈΡΡΠ°ΠΊΠ»ΠΈ ΡΠΌΠΎ Π΄Π° ΡΡ ΡΠΈΡΠ΅Π²ΠΈ ΠΎΠ²ΠΎΠ³ ΠΏΡΠΎΡΠ΅ΠΊΡΠ°, ΠΈΠ·ΠΌΠ΅ΡΡ ΠΎΡΡΠ°Π»ΠΎΠ³, ΠΎΡΠ³Π°Π½ΠΈΠ·ΠΎΠ²Π°ΡΠ΅ ΠΏΡΠ²Π΅ ΠΊΠΎΠ½ΡΠ΅ΡΠ΅Π½ΡΠΈΡΠ΅ ΠΎ ΠΊΠ²Π°Π½ΡΠ½ΠΎΡ ΠΌΡΠ·ΠΈΡΠΈ, ΠΊΠ°ΠΎ ΠΈ ΠΎΠ±ΡΠ°Π²ΡΠΈΠ²Π°ΡΠ΅ ΡΠΏΠ΅ΡΠΈΡΠ°Π»Π½ΠΎΠ³ Π±ΡΠΎΡΠ° ΡΠ°ΡΠΎΠΏΠΈΡΠ° ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ΠΎΠ³ ΠΎΠ²ΠΎΡ ΡΠ΅ΠΌΠΈ. Π‘Π° Π·Π°Π΄ΠΎΠ²ΠΎΡΡΡΠ²ΠΎΠΌ ΠΈΡΡΠΈΡΠ΅ΠΌ Π΄Π° ΡΡ ΠΎΠ±Π° ΠΎΠ²Π° ΡΠΈΡΠ° ΠΎΡΡΠ²Π°ΡΠ΅Π½Π°. ΠΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½Π° ΠΈΠ½ΡΠ΅ΡΠ΄ΠΈΡΡΠΈΠΏΠ»ΠΈΠ½Π°ΡΠ½Π° ΠΊΠΎΠ½ΡΠ΅ΡΠ΅Π½ΡΠΈΡΠ° ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½Π° ΠΊΠ²Π°Π½ΡΠ½ΠΎΡ ΠΌΡΠ·ΠΈΡΠΈ ΠΎΠ΄ΡΠΆΠ°Π½Π° ΡΠ΅ 21β22. ΠΌΠ°ΡΡΠ° 2018. Π³ΠΎΠ΄ΠΈΠ½Π΅ Ρ Π‘ΡΠΏΡΠΊΠΎΡ Π°ΠΊΠ°Π΄Π΅ΠΌΠΈΡΠΈ Π½Π°ΡΠΊΠ° ΠΈ ΡΠΌΠ΅ΡΠ½ΠΎΡΡΠΈ, ΠΏΠΎΠ΄ ΠΏΠΎΠΊΡΠΎΠ²ΠΈΡΠ΅ΡΡΡΠ²ΠΎΠΌ ΠΠΈΠ½ΠΈΡΡΠ°ΡΡΡΠ²Π° ΠΏΡΠΎΡΠ²Π΅ΡΠ΅, Π½Π°ΡΠΊΠ΅ ΠΈ ΡΠ΅Ρ
Π½ΠΎΠ»ΠΎΡΠΊΠΎΠ³ ΡΠ°Π·Π²ΠΎΡΠ° Π Π΅ΠΏΡΠ±Π»ΠΈΠΊΠ΅ Π‘ΡΠ±ΠΈΡΠ΅ ΠΈ ΠΏΡΠΈΠ²ΡΠΊΠ»Π° ΡΠ΅ Π²Π΅Π»ΠΈΠΊΠΈ Π±ΡΠΎΡ Π·Π°ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠΎΠ²Π°Π½ΠΈΡ
ΡΠ»ΡΡΠ°Π»Π°ΡΠ°, ΠΊΠ°ΠΎ ΠΈ Π·Π½Π°ΡΠ°ΡΠ½Ρ ΠΏΠ°ΠΆΡΡ Π΅Π»Π΅ΠΊΡΡΠΎΠ½ΡΠΊΠΈΡ
ΠΈ ΡΡΠ°ΠΌΠΏΠ°Π½ΠΈΡ
ΠΌΠ΅Π΄ΠΈΡΠ°. ΠΠΎΡΠ΅Π΄ ΡΠΎΠ³Π°, ΡΠ΅Π·ΡΠ»ΡΠ°ΡΠ΅ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΎΠ²ΠΎΠ³ ΠΏΡΠΎΡΠ΅ΠΊΡΠ°
ΠΏΡΠ΅Π·Π΅Π½ΡΠΎΠ²Π°Π»Π° ΡΠ°ΠΌ Π½Π° LIII Π³ΠΎΠ΄ΠΈΡΡΠΎΡ ΠΊΠΎΠ½ΡΠ΅ΡΠ΅Π½ΡΠΈΡΠΈ ΠΡΠ°ΡΠ΅Π²ΡΠΊΠ΅ ΠΌΡΠ·ΠΈΡΠΊΠ΅ Π°ΡΠΎΡΠΈΡΠ°ΡΠΈΡΠ΅ (RMA) Π½Π° Π£Π½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΡ Ρ ΠΠΈΠ²Π΅ΡΠΏΡΠ»Ρ, ΡΠ΅ΠΏΡΠ΅ΠΌΠ±ΡΠ° 2017. Π³ΠΎΠ΄ΠΈΠ½Π΅.
Π£ Π’Π΅ΠΌΠΈ Π±ΡΠΎΡΠ° ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ΠΎΡ ΠΊΠ²Π°Π½ΡΠ½ΠΎΡ ΠΌΡΠ·ΠΈΡΠΈ ΠΎΠ±ΡΠ°Π²ΡΡΡΠ΅ΠΌΠΎ ΡΠ°Π΄ΠΎΠ²Π΅ Π°ΡΡΠΎΡΠ° ΠΊΠΎΡΠΈ ΡΡ Π½Π΅ΠΏΠΎΡΡΠ΅Π΄Π½ΠΎ ΡΡΠ΅ΡΡΠ²ΠΎΠ²Π°Π»ΠΈ Ρ ΡΠ΅Π°Π»ΠΈΠ·Π°ΡΠΈΡΠΈ ΠΎΠ²ΠΎΠ³ ΠΏΡΠΎΡΠ΅ΠΊΡΠ°, Π°Π»ΠΈ ΠΈ Π½Π°ΡΡΠ½ΠΈΠΊΠ° ΠΊΠΎΡΠΈ ΡΡ ΡΠ΅ ΡΠΏΠΎΠ½ΡΠ°Π½ΠΎ ΠΈ ΡΠ°ΠΌΠΎΠΈΠ½ΠΈΡΠΈΡΠ°ΡΠΈΠ²Π½ΠΎ ΠΏΡΠΈΠΊΡΡΡΠΈΠ»ΠΈ ΠΏΡΠΎΡΠ΅ΠΊΡΡ ΡΠΎΠΊΠΎΠΌ ΡΡΠΈ Π³ΠΎΠ΄ΠΈΠ½Π΅ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ ΠΎΠ΄Π²ΠΈΡΠ°ΡΠ°, ΠΊΠ°ΠΎ ΠΈ ΡΠ°Π΄ΠΎΠ²Π΅ Π°ΡΡΠΎΡΠ° ΠΊΠΎΡΠΈ Π½ΠΈΡΡ Π½ΠΈ Π½Π° ΠΊΠΎΡΠΈ Π½Π°ΡΠΈΠ½ Π²Π΅Π·Π°Π½ΠΈ Π·Π° ΠΎΠ²Π°Ρ ΠΏΡΠΎΡΠ΅ΠΊΠ°Ρ, Π²Π΅Ρ ΡΠ΅, Π½Π΅Π·Π°Π²ΠΈΡΠ½ΠΎ ΠΎΠ΄ Π½Π°ΡΠ΅Π³ ΠΊΠΎΠ½Π·ΠΎΡΡΠΈΡΡΠΌΠ°, Π±Π°Π²Π΅ ΡΡΠΎΠ΄Π½ΠΈΠΌ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠΈΠΌΠ°. Π£ΠΊΡΠΏΠ½ΠΎ Π΄Π΅Π²Π΅Ρ ΡΠ΅ΠΊΡΡΠΎΠ²Π° ΠΎΠ±ΡΠ°Π²ΡΠ΅Π½ΠΈΡ
Ρ ΠΎΠ²ΠΎΠΌ ΡΠ΅ΠΌΠ°ΡΡ, Π½Π°ΠΏΠΈΡΠ°Π½ΠΈΡ
ΠΎΠ΄ ΡΡΡΠ°Π½Π΅ Π°ΡΡΠΎΡΠ° ΠΊΠΎΡΠΈ ΡΡ ΠΏΠΎ ΠΏΡΠΈΠΌΠ°ΡΠ½ΠΎΡ Π²ΠΎΠΊΠ°ΡΠΈΡΠΈ ΡΠΈΠ·ΠΈΡΠ°ΡΠΈ, ΠΌΠ°ΡΠ΅ΠΌΠ°ΡΠΈΡΠ°ΡΠΈ, ΠΈΠ½ΠΆΠ΅ΡΠ΅ΡΠΈ, ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠΈ, ΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ·ΠΈ ΠΈ ΠΏΠΈΡΠ°Π½ΠΈΡΡΠΈ, ΠΎΡΠ²Π΅ΡΡΠ°Π²Π° ΡΠ°Π·Π»ΠΈΡΠΈΡΠ΅ Π°ΡΠΏΠ΅ΠΊΡΠ΅ ΠΏΡΠΎΠΆΠΈΠΌΠ°ΡΠ° ΠΊΠ²Π°Π½ΡΠ½Π΅ ΡΠΈΠ·ΠΈΠΊΠ΅ ΠΈ ΠΌΡΠ·ΠΈΠΊΠ΅. ΠΠ»Π°ΡΠΊΠΎ ΠΠ΅Π΄ΡΠ°Π», ΡΠ΅Π΄Π°Π½ ΠΎΠ΄ Π½Π°ΡΠΈΡ
Π½Π°ΡΠ·Π½Π°ΡΠ°ΡΠ½ΠΈΡΠΈΡ
Π½Π°ΡΡΠ½ΠΈΠΊΠ° Π΄Π°Π½Π°ΡΡΠΈΡΠ΅, ΠΏΡΠΎΡΠ΅ΡΠΎΡ Π½Π° Π£Π½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΡ Ρ ΠΠΊΡΡΠΎΡΠ΄Ρ, Ρ ΡΠ²ΠΎΠ΄Π½ΠΎΠΌ ΡΠ΅ΠΊΡΡΡ ΡΠ΅ΠΌΠ°ΡΠ° ΡΠ°Π·ΠΌΠ°ΡΡΠ° ΡΠ΅ΠΎΡΠΈΡΡΠΊΠ΅ ΠΌΠΎΠ³ΡΡΠ½ΠΎΡΡΠΈ Π·Π° βΠΎΠ·Π²ΡΡΠ°Π²Π°ΡΠ΅β ΠΊΠ²Π°Π½ΡΠ½Π΅ ΡΡΠΏΠ΅ΡΠΏΠΎΠ·ΠΈΡΠΈΡΠ΅. ΠΠ»Π΅ΠΊΡΠΈΡ ΠΠΈΡΠΊ, ΠΌΠ°ΡΠ΅ΠΌΠ°ΡΠΈΡΠ°Ρ ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡ ΠΈΠ· ΠΠ»ΠΈΠΌΡΡΠ°, Π±Π°Π²ΠΈ ΡΠ΅ ΠΏΡΠΎΠ³ΡΠ°ΠΌΠΈΡΠ°ΡΠ΅ΠΌ ΠΊΠ²Π°Π½ΡΠ½ΠΈΡ
ΡΠ°ΡΡΠ½Π°ΡΠ° Ρ ΡΠΈΡΡ ΡΡΠ²Π°ΡΠ°ΡΠ° ΠΌΡΠ·ΠΈΠΊΠ΅, Π΄ΠΎΠΊ ΡΠΈΠ·ΠΈΡΠ°Ρ ΠΠ½Π΄ΡΡ ΠΠ°ΡΠ½Π΅Ρ (Π‘ΠΈΠ½Π³Π°ΠΏΡΡ/ ΠΠ΅Ρ) ΠΏΠΈΡΠ΅ ΠΎ ΠΌΡΠ·ΠΈΡΠΊΠΎΠΌ ΠΈΠ½ΡΠ΅ΡΡΠ΅ΡΠΎΠΌΠ΅ΡΡΡ. Π€ΠΈΠ·ΠΈΡΠ°Ρ ΠΠ»Π°ΡΡ ΠΠΎΠ»ΠΌΠ΅Ρ (ΠΡΡ
ΡΡ) ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡ ΠΠΈΠΌ Π₯Π΅Π»Π²Π΅Π³ (ΠΠΎΠΏΠ΅Π½Ρ
Π°Π³Π΅Π½), ΡΠ²Π°ΠΊΠΈ ΡΠ° ΡΠ²ΠΎΠ³ ΡΡΠ°Π½ΠΎΠ²ΠΈΡΡΠ°, ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΡΡ ΡΠ°ΡΠ°Π΄ΡΡ ΠΊΠΎΡΡ ΡΡ ΠΎΡΡΠ²Π°ΡΠΈΠ»ΠΈ Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΏΡΠΎΡΠ΅ΠΊΡΠ° ΠΠ²Π°Π½ΡΠ½Π° ΠΌΡΠ·ΠΈΠΊΠ°, Π΄ΠΎΠΊ ΠΠ΅Π»Π΅Π½Π° ΠΠ°Π½ΠΊΠΎΠ²ΠΈΡ-ΠΠ΅Π³ΡΡ ΠΈ ΡΠ° Π°Π½Π°Π»ΠΈΠ·ΠΈΡΠ°ΠΌΠΎ ΡΠ΅Π΄Π½Ρ ΠΎΠ΄ Π₯Π΅Π»Π²Π΅Π³ΠΎΠ²ΠΈΡ
ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΡΠ°, Ρ ΠΏΠ°ΡΠ°Π»Π΅Π»ΠΈ ΡΠ° ΠΡΠ»Π΅Π·ΠΎΠ²ΠΈΠΌ ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΡΠΈΠΌΠ° ΡΠΏΠΎΡΠ° ΠΌΡΠ·ΠΈΠΊΠ΅ ΠΈ ΡΠ΅Ρ
Π½ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ ΠΈΠ·ΡΠ΅ΡΠ΅Π½ΠΈΠΌ ΠΏΡΠ΅ ΡΠ΅ΡΡΠ΄Π΅ΡΠ΅Ρ Π³ΠΎΠ΄ΠΈΠ½Π°. ΠΠ΅ΠΎΠ³ΡΠ°Π΄ΡΠΊΠΈ ΠΏΠΈΡΠ°Π½ΠΈΡΡΠΈ Π‘ΠΎΡΠ° ΠΠΎΠ½ΡΠ°Ρ ΠΈ ΠΠ½Π΄ΡΠΈΡΠ° ΠΠ°Π²Π»ΠΎΠ²ΠΈΡ (ΠΠ ΠΡΠΎ), ΠΊΠ°ΠΎ ΠΈ ΠΈΠ½ΠΆΠ΅ΡΠ΅Ρ ΠΡΠ°Π³Π°Π½ ΠΠΎΠ²ΠΊΠΎΠ²ΠΈΡ ΡΠ° ΡΠ²ΠΎΡΠΈΠΌ ΡΡΡΠ΄Π΅Π½ΡΠΈΠΌΠ°, ΠΏΠΈΡΡ ΠΎ ΠΈΠ·Π°Π·ΠΎΠ²ΠΈΠΌΠ° ΡΠ° ΠΊΠΎΡΠΈΠΌΠ° ΡΡ ΡΠ΅ ΡΡΠΎΡΠΈΠ»ΠΈ ΠΏΡΠΈΠ»ΠΈΠΊΠΎΠΌ ΠΊΡΠ΅ΠΈΡΠ°ΡΠ° Π½ΠΎΠ²ΠΎΠ³ Ρ
ΠΈΠ±ΡΠΈΠ΄Π½ΠΎΠ³ ΠΊΠ»Π°Π²ΠΈΡΠ°ΡΡΡΠ½ΠΎΠ³ ΠΈΠ½ΡΡΡΡΠΌΠ΅Π½ΡΠ° ΠΊΠΎΡΠΈ
ΡΠ΅ ΠΎΠΌΠΎΠ³ΡΡΠΈΠΎ Π΄Π° βΡΡΡΠ΅ΠΌΠΎβ ΠΊΠ²Π°Π½ΡΠ½ΠΈ ΡΠ²Π΅Ρ, Π° Ρ Π·Π°ΠΊΡΡΡΠ½ΠΎΠΌ ΡΠ΅ΠΊΡΡΡ ΠΎΠ²ΠΎΠ³ ΡΠ΅ΠΌΠ°ΡΠ° ΡΠΈΠ·ΠΈΡΠ°ΡΠΊΠ° ΠΡΠ°ΡΠ° ΠΠ°ΡΠ»Π΅ΡΠΎ ΡΠ°Π·ΠΌΠ°ΡΡΠ° Π΅ΡΡΠ΅ΡΡΠΊΠ΅ ΠΈΠΌΠΏΠ»ΠΈΠΊΠ°ΡΠΈΡΠ΅ ΠΊΠ²Π°Π½ΡΠ½Π΅ ΠΌΡΠ·ΠΈΠΊΠ΅.
ΠΠ°ΠΎ ΠΊΠΎΠΎΡΠ΄ΠΈΠ½Π°ΡΠΎΡ ΠΏΡΠΎΡΠ΅ΠΊΡΠ° ΠΠ²Π°Π½ΡΠ½Π° ΠΌΡΠ·ΠΈΠΊΠ°, Π·Π°Ρ
Π²Π°ΡΡΡΠ΅ΠΌ ΡΠ΅ ΠΏΡΠΎΠ³ΡΠ°ΠΌΡ ΠΡΠ΅Π°ΡΠΈΠ²Π½Π° ΠΠ²ΡΠΎΠΏΠ° Π½Π° ΠΏΡΠ΅ΠΏΠΎΠ·Π½Π°Π²Π°ΡΡ ΠΈΠ½ΠΎΠ²Π°ΡΠΈΠ²Π½ΠΎΡΡΠΈ ΠΈ Π·Π½Π°ΡΠ°ΡΠ° ΠΎΠ²Π°ΠΊΠ²ΠΎΠ³ ΠΈΠ½ΡΠ΅ΡΠ΄ΠΈΡΡΠΈΠΏΠ»ΠΈΠ½Π°ΡΠ½ΠΎΠ³ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° Π½Π° ΡΠ°Π·ΠΌΠ΅ΡΠΈ ΡΠΌΠ΅ΡΠ½ΠΎΡΡΠΈ ΠΈ Π½Π°ΡΠΊΠ΅, ΠΊΠ°ΠΎ ΠΈ ΠΠΈΠ½ΠΈΡΡΠ°ΡΡΡΠ²Ρ ΠΊΡΠ»ΡΡΡΠ΅ ΠΈ ΠΈΠ½ΡΠΎΡΠΌΠΈΡΠ°ΡΠ° Π Π΅ΠΏΡΠ±Π»ΠΈΠΊΠ΅ Π‘ΡΠ±ΠΈΡΠ΅ ΠΈ ΠΠ΅ΡΠΊΡ ΠΡΠ΅Π°ΡΠΈΠ²Π½Π° ΠΠ²ΡΠΎΠΏΠ° Π½Π° ΡΠΈΠ½Π°Π½ΡΠΈΡΡΠΊΠΎΡ, Π»ΠΎΠ³ΠΈΡΡΠΈΡΠΊΠΎΡ ΠΈ ΠΌΠ΅Π΄ΠΈΡΡΠΊΠΎΡ ΠΏΠΎΠ΄ΡΡΡΠΈ. ΠΠΎΡΠ΅Π±Π½Ρ Π·Π°Ρ
Π²Π°Π»Π½ΠΎΡΡ Π΄ΡΠ³ΡΡΠ΅ΠΌ ΠΏΠ°ΡΡΠ½Π΅ΡΠΈΠΌΠ° Π½Π° ΠΏΡΠΎΡΠ΅ΠΊΡΡ, ΠΊΠΎΡΠΈ ΡΡ ΡΠ²ΠΎΡΠΈΠΌ ΠΏΠΎΠΆΡΡΠ²ΠΎΠ²Π°Π½ΠΈΠΌ ΡΠ°Π΄ΠΎΠΌ Π΄ΠΎΠΏΡΠΈΠ½Π΅Π»ΠΈ
ΡΠ΅Π³ΠΎΠ²ΠΎΡ ΡΡΠΏΠ΅ΡΠ½ΠΎΡ ΡΠ΅Π°Π»ΠΈΠ·Π°ΡΠΈΡΠΈ.
Π Π°Π΄ΠΎΠ²ΠΈ ΠΎΠ±ΡΠ°Π²ΡΠ΅Π½ΠΈ Ρ ΡΡΠ±ΡΠΈΡΠΈ Varia Π±Π°Π²Π΅ ΡΠ΅ ΡΠ΅ΠΌΠ°ΠΌΠ° Π·Π½Π°ΡΠ°ΡΠ½ΠΈΠΌ Π·Π° Π½Π°ΡΡ ΡΡΠ΅Π΄ΠΈΠ½Ρ.
ΠΠ°ΡΠ° Π‘ΠΏΠ°ΡΠΈΡ ΠΏΠΈΡΠ΅ ΠΎ ΡΡΠ°ΡΡΡΡ ΠΎΠΏΠ΅ΡΡΠΊΠΎΠ³ ΡΠΌΠ΅ΡΠ½ΠΈΠΊΠ° ΠΈ ΡΠ°ΠΌΠΎΡΠΏΡΠ°Π²ΡΠ°ΡΡ Ρ ΠΠ°ΡΠΎΠ΄Π½ΠΎΠΌ ΠΏΠΎΠ·ΠΎΡΠΈΡΡΡ Ρ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Ρ ΡΠΎΠΊΠΎΠΌ ΠΎΡΠΌΠ΅ ΠΈ Π΄Π΅Π²Π΅ΡΠ΅ Π΄Π΅ΡΠ΅Π½ΠΈΡΠ΅ Π₯Π₯ Π²Π΅ΠΊΠ°, Π΄ΠΎΠΊ ΠΈΡΡΠΎΡΠΈΡΠ°ΡΠΈ ΠΠΎΡΡΠ΅ ΠΠ΅ΠΊΠΈΡ ΠΈ ΠΠΈΠ»ΠΎΡ ΠΠ°Π²Π»ΠΎΠ²ΠΈΡ ΠΎΡΠ²Π΅ΡΡΠ°Π²Π°ΡΡ Π΄Π΅Π»Π°ΡΠ½ΠΎΡΡ Π’Π΅ΠΎΡΠΈΠ»Π°ΠΊΡΠ° Π‘ΠΈΠΌΠΎΠΊΠ°ΡΠ΅. Π£ ΡΠΊΠ»ΠΎΠΏΡ Π½Π°ΡΡΠΎΡΠ°ΡΠ° Π΄Π° Ρ ΡΠ²Π°ΠΊΠΎΠΌ Π±ΡΠΎΡΡ ΡΠ°ΡΠΎΠΏΠΈΡΠ° ΠΏΠΎΡΠ²Π΅ΡΠΈΠΌΠΎ ΠΏΠ°ΠΆΡΡ Π΄Π΅Π»ΠΎΠ²Π°ΡΡ ΡΡΠΏΡΠΊΠΈΡ
Π°ΠΊΠ°Π΄Π΅ΠΌΠΈΠΊΠ°, Π‘Π΅Π»Π΅Π½Π° Π Π°ΠΊΠΎΡΠ΅Π²ΠΈΡ ΠΏΠΈΡΠ΅ ΠΎ ΡΠ΅ΡΡΡΠ°ΠΌΠ° ΠΡΠ±ΠΈΡΠΈ ΠΈ ΠΠ°Π½ΠΈΡΠΈ ΠΠ°Π½ΠΊΠΎΠ²ΠΈΡ ΠΈ ΡΠΈΡ
ΠΎΠ²ΠΎΠΌ ΠΎΠ΄Π½ΠΎΡΡ ΠΏΡΠ΅ΠΌΠ° ΠΏΡΠΈΠΌΠ΅Π½ΠΈ ΠΠ°Π±Π°Π½ΠΎΠ²Π΅ ΠΊΠΈΠ½Π΅ΡΠΎΠ³ΡΠ°ΡΠΈΡΠ΅. Π ΡΠ±ΡΠΈΠΊΠ° ΠΠ°ΡΡΠ½Π° ΠΊΡΠΈΡΠΈΠΊΠ° ΠΈ 3ΠΎΠ»Π΅ΠΌΠΈΠΊΠ° Π΄ΠΎΠ½ΠΎΡΠΈ ΡΠ΅ΡΠΈΡΠΈ ΠΎΡΠ²ΡΡΠ° Π½Π° Π½ΠΎΠ²Π΅ ΠΏΡΠ±Π»ΠΈΠΊΠ°ΡΠΈΡΠ΅, ΠΊΠ°ΠΎ ΠΈ ΠΠΈΡΠΌΠΎ ΡΡΠ΅Π΄Π½ΠΈΠΊΡ β ΠΊΠΎΠΌΠ΅Π½ΡΠ°Ρ Π½Π° ΡΠ΅ΠΌΠ°Ρ Π£ΡΠ±Π°Π½Π° Π·Π²ΡΡΠ½Π° Π΅ΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° (ΠΎΠ±ΡΠ°Π²ΡΠ΅Π½ Ρ Π±Ρ. 22 ΡΠ°ΡΠΎΠΏΠΈΡΠ° ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎ.ΠΈΡΠ°) ΠΎΠ΄ ΡΡΡΠ°Π½Π΅ ΡΠ°ΡΠ°Π΄Π½ΠΈΠΊΠ° ΠΠ½ΡΡΠΈΡΡΡΠ° Π·Π° Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΡ ΠΈ ΡΡΠ±Π°Π½ΠΈΠ·Π°ΠΌ Π‘ΡΠ±ΠΈΡΠ΅. ΠΡΠ°Π³ΠΎ Π½Π°ΠΌ ΡΠ΅ ΡΡΠΎ ΡΠ΅ΠΊΡΡΠΎΠ²ΠΈ ΠΎΠ±ΡΠ°Π²ΡΠ΅Π½ΠΈ Ρ ΡΠ°ΡΠΎΠΏΠΈΡΡ ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° Π΄ΠΎΠΏΠΈΡΡ Π΄ΠΎ ΡΠΈΡΠ°Π»Π°ΡΠ° ΠΈΠ· Π΄ΡΡΠ³ΠΈΡ
Π΄ΠΈΡΡΠΈΠΏΠ»ΠΈΠ½Π°, ΠΏΠΎΠ±ΡΡΡΡΡ ΡΠ΅Π°ΠΊΡΠΈΡΠ΅ ΠΈ ΠΏΠΎΠ΄ΡΡΠΈΡΡ Π΄Π°ΡΠ° ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°.
Π£ ΠΈΠΌΠ΅ ΡΠ΅Π΄Π°ΠΊΡΠΈΡΠ΅ ΠΈ ΡΠ²ΠΎΡΠ΅ Π»ΠΈΡΠ½ΠΎ, Π·Π°Ρ
Π²Π°ΡΡΡΠ΅ΠΌ ΡΠ΅ ΡΠ΅ΡΠ΅Π½Π·Π΅Π½ΡΠΈΠΌΠ° ΠΈΠ· Π‘ΡΠ±ΠΈΡΠ΅ ΠΈ ΠΈΠ½ΠΎΡΡΡΠ°Π½ΡΡΠ²Π°, ΠΊΠΎΡΠΈ ΡΡ Π΄Π°Π»ΠΈ Π²Π΅Π»ΠΈΠΊΠΈ Π±ΡΠΎΡ ΡΡΠ³Π΅ΡΡΠΈΡΠ° ΠΈ Π΄ΠΎΠΏΡΠΈΠ½Π΅Π»ΠΈ ΠΊΠΎΠ½Π°ΡΠ½ΠΎΠΌ ΡΠΎΠ±Π»ΠΈΡΠ°Π²Π°ΡΡ ΠΎΠ²ΠΎΠ³ Π±ΡΠΎΡΠ°. Π’Π°ΠΊΠΎΡΠ΅, Π·Π°Ρ
Π²Π°ΡΡΡΠ΅ΠΌ ΡΠ΅ Π»Π΅ΠΊΡΠΎΡΠΈΠΌΠ° ΠΠ²Π°Π½Ρ ΠΡΠ΄ΠΈΡΡ ΠΈ ΠΠΈΡΡΠ°Π½ΠΈ ΠΠ΅ΡΠΈΡ ΠΈ ΠΆΠ΅Π»ΠΈΠΌ Π΄ΠΎΠ±ΡΠΎΠ΄ΠΎΡΠ»ΠΈΡΡ Π½ΠΎΠ²ΠΎΠΌ ΡΠ»Π°Π½Ρ ΠΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½ΠΎΠ³ ΠΈΠ·Π΄Π°Π²Π°ΡΠΊΠΎΠ³ ΡΠ°Π²Π΅ΡΠ°, ΠΠ°Π½ΠΈΡΠ΅Π»ΠΈ Π¨. ΠΠ΅ΡΠ΄.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 β the Institute of Musicology SASA β 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 Helwegβs compositions, in parallel with Pierre Boulezβs discussion on music and technology written some forty years ago. Pianists Sonja LonΔar 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 βhearβ 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 ΔorΔe ΔekiΔ 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 RakoΔeviΔ 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 β 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).ΠΠ±ΡΠ°Π²ΡΠΈΠ²Π°ΡΠ΅ ΡΠ°ΡΠΎΠΏΠΈΡΠ° ΡΠΈΠ½Π°Π½ΡΠΈΡΡΠΊΠΈ ΡΡ ΠΏΠΎΠΌΠΎΠ³Π»ΠΈ ΠΠΈΠ½ΠΈΡΡΠ°ΡΡΡΠ²ΠΎ ΠΏΡΠΎΡΠ²Π΅ΡΠ΅, Π½Π°ΡΠΊΠ΅ ΠΈ ΡΠ΅Ρ
Π½ΠΎΠ»ΠΎΡΠΊΠΎΠ³ ΡΠ°Π·Π²ΠΎΡΠ°, ΠΠΈΠ½ΠΈΡΡΠ°ΡΡΡΠ²ΠΎ ΠΊΡΠ»ΡΡΡΠ΅ ΠΈ ΠΈΠ½ΡΠΎΡΠΌΠΈΡΠ°ΡΠ° Π Π΅ΠΏΡΠ±Π»ΠΈΠΊΠ΅ Π‘ΡΠ±ΠΈΡΠ΅ ΠΈ ΠΠ²ΡΠΎΠΏΡΠΊΠ° ΡΠ½ΠΈΡΠ° β ΠΏΡΠΎΠ³ΡΠ°ΠΌ ΠΡΠ΅Π°ΡΠΈΠ²Π½Π° ΠΠ²ΡΠΎΠΏΠ° / 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
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