Computers and Computing Cultures Research Papers (original) (raw)

Nowadays, quantum computing is one of the popular subjects in computer science. The quantum information, which was completed between 1920 and 1930 in general terms, then began to be combined with quantum physics and computer science with the development of computer technology. Theoretical quantum information in physics theoretically shows that it can work both as '' yes '' and '' no '' while working with the knowledge of '' yes '' and '' no '' while performing calculations of classical computers simply through 0 and 1. This calculation technique led scientists to join two sciences, physics and computer science, to create a new science. Quantum computing and quantum computers. Recent studies show that this is very serious. I. INTRODUCTION Quantum Computer is a computer system that operates by quantum mechanics laws. What is quantum mechanics? Quantum mechanics examines particles that bring this atom to the centre of a substance or atom, which is also present in very small levels of light [1]. They try to solve the movements of the particles and their communication with each other. However, how can this information be reflected in quantum computing and quantum computers? The smallest unit of information used in today's computers is called bit and QUBIT in quantum computers. From a physical point of view, the bit is a logical value prepared according to the binary numerical system. These values are; Yes / No, True / False, or simply 1/0. Computers have capacitors. We can say that information goes through these capacitors as well. The voltage difference between the surfaces of this Capacitor forms the bit information. Charged capacitor one represents zero if it is unloaded. According to the physical system to be used in quantum systems, qubit, different movements of light, different states of electrons can be called spin. Spin is the name of the movement of an electron that moves perfectly in a very short time at great speeds. At the same time, the qubit can also indicate energy levels of the atom. We can say that all systems that can be counted as two levels conforming to quantum laws carry a bit of information.

- by Abhijit Ghatak
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- Geology, Computer Science, Computers and Computing Cultures

The enclaves of post-industrial capitalism are surrounded by audiovisual panoramas that have emerged from European and American avant garde experiments in composition and multimedia experience. 1960s experiments in democratic media choice, exemplified by the work of John Cage, were transformed within the hyper consumerism of the 1980s, and are now consolidated as commerce within a contemporary algorithmic culture. This essay plots the emergence and commercialisation of interactive music and multimedia - from the 1960s American avant garde, to the globalisation of popular entertainment.
Visions of a panoptic media culture can appear as oppressive and dystopian, but all-encompassing media events designed by composers and artists during the 1960s were initially intended as participatory, democratic forms of art, in opposition to perceived fascist modes of top down communication. The practice of creating visual panoramas is not new, but American artists and composers associated with the counterculture used emerging technologies to create more fully panoptic and panaural multimedia experiences. John Cage and Lejaren Hiller’s 1969 event HPSCHD was designed to surround audience members with media choice, in order to encourage a sense of democratic participation. Media historian Fred Turner coined the term ‘democratic surround’ to describe these new experiences - performative, multi-image, multi-sound source environments, designed to model and produce a more democratic society. The commercial potential of an all encompassing, immersive media experience was quickly realised, and the primacy of reproducing experiences of democratic choice was replaced with a more total but constrained field of consumer choice. Contemporary mass media is directly connected to the democratic surrounds, but is also an expression of something different - a ‘commercial surround.’ We are surrounded by sound and vision but not in the way that John Cage or La Monte Young envisioned.
Our current field of panoptic and panaural choice has developed from the collision of avant garde compositional practice with technologies of visualisation and audio production that became more accessible during the postwar period. More than any other medium, video games most fully reproduce the encompassing ideal of the postwar American avant-garde, transfused with the relentless commercialism of the 1980s. Game sound and music is dynamic, it adapts in response to the actions of the player, creating uniquely individualised soundtracks never to be repeated again. Video games surround the player with choice too, but the impetus to design these enveloping audiovisual environments does not come from the confrontation with fascism - it comes from an overarching media and consumer culture. Avant garde experiments in participatory art, and interactive music in games share a genesis in the politics of media participation that developed after World War II, but also in the logic of consumerism and computerisation. The modularity and automation of new media that presents a panorama of uniquely individuated audience experiences is not new, but the meaning of media interaction has been radically transformed within a hyper consumerism that developed towards the end of the millennium.
By drawing these ideas together and placing them at an intersection between media modes and practices it is possible to understand interactive game music as a vector for ideological expression, where the concepts of ‘choice' and ‘participation’ are reimagined as components of contemporary multimedia consumer culture.

Information and Scholarship (IRIS). Brown's innovative computer environment is now widely recognized. At IRIS we are developing many new tools for teaching and learning. Because Brown is a liberal arts institution the tools that we are trying to develop are not confined to engineering or comput€r science but extend throughout the entire spectrum of the University curriculum. Some of the most enthusiastic users at Brown, actually some of the best academic computer specialists, are in humanities departments, such as Classics and English. Brown's IRIS has as part of its charge finding new ways to enhance research and learning through computer technology and information systems. We feel that intense computerization vrill have far-reaching social and educational consequences, and will eventually result in fundamental changes in the patterns of work in the institution. It will change social relationships at Brown, and will also alter basic definitions of teaching and learning there. Given these feeiings, the Office of Program Analysis was established as a self reflective component of our IRIS. Our charge is to conduct studies of the social, educational, and economic effects of the increased use of computers on campus. Research in the Office of Program Analysis is first concerned with analysis of the basic activity structures in higher education. Research focus centers on two areas: 1) institutions in the higher education environment and 2) work and social activity within the academic community. Secondly, OPA research is directed toward looking at change in these institutions and processes as they are affected by technologl,. We are discovering an interesting, unintended consequence of the study of change. We find that we are not only studying institutions and technological impact on those institutions. We are also studying epistemology-the very structure of knowledge itself. In a way it is not surprising that epistemology becomes the real basis for our studies, because if we are really serious about trying to develop new technologies for education we're also talking about changing the structure of knowledge. Thus we have to examine the original structure of knowledge before we can talk about changing it in any way. Our methodology combines quantitative methods rn'ith intensive ethnography. I'm an anthropologist by training, and our research designs include, alongside traditional surveys, participant observation, intensive interviews, and a great deai of self recording of time use and activities in "diaries" so that we're able to determine exactiy what it is that people are doing on a day-today , sometimes on an hourly basis. Many of our research designs are before-and-after studies. We're trying to record activity patterns before they change and then document them following technological intervention. In the case of educational soft'ivare, for instance, we try to look at a classroom situation