Infinite Possibilities (Particle 1)

Released September 6th 2024

Quantum entanglement is one of the bizarre phenomena found when considering the quantum realm. When two or more particles link up through interaction in a certain way, no matter how far apart they are in space, their states remain linked, sharing a common, unified quantum state. Observations of one of the particles can automatically provide information about the other entangled particles, regardless of the distance between them, and any action to one of these particles will invariably impact the others in the entangled system.

I think of these albums as subsystems or particles, no matter when, how or distance while listening, the observer, in this case the listener, will invariably impact the listening experience of one or the two albums.

In order to listen to both albums together, line up the track 01 Unified quantum state from ROOM40 and track 01 Instantaneous knowledge from Erototox Decodings in your DAW, and adjust volume accordingly. You can do the same with tracks 02 from each album. If you do not have a DAW, download audacity, it’s free.

Quantum mechanics unfolds an intricate realm of limitless possibilities and probabilities, eluding easy definition. It paints a picture of the universe vastly different from our perceptible reality. What captivates me is the lens through which I perceive sound, akin to the principles of quantum physics—I don’t merely hear the audible, but rather, I extract elements to construct novel auditory experiences

My profound interest in science, particularly quantum mechanics, originates around 2008-2009 during a resurgence of enthusiasm for string theory, (10-33cm released on ROOM40) hinting at the prospect of a comprehensive theory of everything. The notion of existing within 11 dimensions, as opposed to our familiar four, held a mesmerizing allure.

Lacking a background in quantum mechanics intensified the challenge of my exploration, yet I stayed attuned to emerging theories, albeit at a surface level due to time constraints. The advent of the pandemic granted me the opportunity to immerse myself in the intricacies of quantum mechanics, with a particular focus on the bizarre phenomenon of quantum entanglement, which stands as one of the most enigmatic aspects of modern physics, alongside gravity.

Embarking on this intellectual journey presented a steep learning curve, leaving me in a state of bewilderment for the initial six months. Yet, amid the confusion, I gleaned a profound insight: the intrinsic nature of probabilities within quantum mechanics means that feeling adrift and perplexed isn’t a hindrance but rather an advantage. It becomes a preparation for the myriad possibilities and uncertainties that define this captivating and eccentric realm.

Moving forward to 2021 brings me to the four sources of inspiration for the Entanglement project: the fluidity of time, the principle of entanglement, the Copenhagen interpretation and many worlds interpretation. Three iterations have been created so far with visual artist Markus Heckmann: Entanglement AV, Entanglement XR, Entanglement Dome and finally, a fourth one, a series of four albums entitled “ Entangled quantum states”.

Finally, I leave you with this quote : ““Bohm believed the reason subatomic particles are able to remain in contact with one another regardless of the distance separating them is not because they are sending some sort of mysterious signal back and forth, but because their separateness is an illusion.”

Infinite Probabilities (Particle 2)


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Released May 10th 2024 on ROOM40

Infinite Probabilities (Particle 2)

Quantum mechanics unfolds an intricate realm of limitless possibilities and probabilities, eluding easy definition. It paints a picture of the universe vastly different from our perceptible reality. What captivates me is the lens through which I perceive sound, akin to the principles of quantum physics—I don’t merely hear the audible, but rather, I extract elements to construct novel auditory experiences.

My profound interest in science, particularly quantum mechanics, originates around 2008-2009 during a resurgence of enthusiasm for string theory, (10-33cm released on ROOM40) hinting at the prospect of a comprehensive theory of everything. The notion of existing within 11 dimensions, as opposed to our familiar four, held a mesmerizing allure.

Lacking a background in quantum mechanics intensified the challenge of my exploration, yet I stayed attuned to emerging theories, albeit at a surface level due to time constraints. The advent of the pandemic granted me the opportunity to immerse myself in the intricacies of quantum mechanics, with a particular focus on the bizarre phenomenon of quantum entanglement, which stands as one of the most enigmatic aspects of modern physics, alongside gravity.

Embarking on this intellectual journey presented a steep learning curve, leaving me in a state of bewilderment for the initial six months. Yet, amid the confusion, I gleaned a profound insight: the intrinsic nature of probabilities within quantum mechanics means that feeling adrift and perplexed isn’t a hindrance but rather an advantage. It becomes a preparation for the myriad possibilities and uncertainties that define this captivating and eccentric realm.

Moving forward to 2021 brings me to the four sources of inspiration for the Entanglement project: the fluidity of time, the principle of entanglement, the Copenhagen interpretation and many worlds interpretation. Three iterations have been created so far with visual artist Markus Heckmann: Entanglement AV, Entanglement XR, Entanglement Dome and finally, a fourth one, a series of four albums entitled “ Entangled quantum states”.

Finally, I leave you with this quote : ““Bohm believed the reason subatomic particles are able to remain in contact with one another regardless of the distance separating them is not because they are sending some sort of mysterious signal back and forth, but because their separateness is an illusion.” 

credits

releases May 10, 2024

France Jobin – Field recordings, sound processing, composition

All sounds recorded at various locations in Europe, Japan and South America, at MESS (Melbourne Electronic Sound Studio) and at EMS (Elektronmusikstudion, Stockholm).
Cover image: Markus Heckmann

Special thx to Lawrence English, Chandra Shukla, Markus Heckmann, Sebastián Duque Mesa – MSc in physics, Richard Hodgskin-Brown – PhD student, my mentor during my studies of Quantum Physics.

© 2023 France Jobin / p 2021 Touch Music/Fairwood Music UK Ltd

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© all rights reserved

A Sequence of Moments in Time

Releases in June 2023 on Granny Records – Greece

All sounds recorded in Montreal including the Korg Poly 800,
The Buchla 200 at Elektronmusikstudion, Stockholm

credits

releases June 15, 2023

Written & produced by France Jobin
© 2023 France Jobin / p 2023 Touch Music/Fairwood Music UK Ltd Mastered by Yannis Tsirikoglou
Design & Artwork by Yorgos Vourlidas
Edition of 80 copies | CS | granny 37

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© all rights reserved

Hues

Releases on Superpang April 24 2021

Track Titles: 

1- #A2A4A6

2- #F6E36B

3-  #FFFFFF

Hues is the result of “listening” to the colours I use in the sounds I create. For this reason, I felt it important to choose the colours for the design of the album cover since each colour represents a track.

What I found interesting in researching the hexadecimal numeral system is that it is a system made up of 16 symbols, using the decimal numbers and six extra symbols. There are no numerical symbols that represent values greater than nine, so letters taken from the English alphabet are used, specifically A, B, C, D, E and F as A = 10, B = 11, C = 12, D = 13, E = 14, and F = 15.

Computers only have on and off, called a binary digit (or bit, for short). A binary number is just a string of zeros and ones: 11011011, for example.

In the 1960’s, engineers would group 3 bits at a time (much like large decimal numbers are grouped in threes, like the number 123,456,789. Three bits, each being on or off, can represent the eight numbers from 0 to 7: 000 = 0; 001 = 1; 010 = 2; 011 = 3; 100 = 4; 101 = 5; 110 = 6 and 111 = 7.

Grouping of three’s is how this album came to be, I hope you enjoy listening to the colours grey, yellow, and white.

All sounds recorded at various locations in Europe, Japan and South America, at MESS (Melbourne Electronic Sound Studio) and at EMS (Elektronmusikstudion, Stockholm).

France Jobin – Field recordings, sound processing, composition

© 2021 France Jobin / p 2021 Touch Music/Fairwood Music UK Ltd 

credits

released April 24, 2021

design: Joe Gilmore

Hues

Released on Superpang April 24 2021

Listen:

Hues is the result of “listening” to the colours I use in the sounds I create. For this reason, I felt it important to choose the colours for the design of the album cover since each colour represents a track.

What I found interesting in researching the hexadecimal numeral system is that it is a system made up of 16 symbols, using the decimal numbers and six extra symbols. There are no numerical symbols that represent values greater than nine, so letters taken from the English alphabet are used, specifically A, B, C, D, E and F as A = 10, B = 11, C = 12, D = 13, E = 14, and F = 15.

Computers only have on and off, called a binary digit (or bit, for short). A binary number is just a string of zeros and ones: 11011011, for example.

In the 1960’s, engineers would group 3 bits at a time (much like large decimal numbers are grouped in threes, like the number 123,456,789. Three bits, each being on or off, can represent the eight numbers from 0 to 7: 000 = 0; 001 = 1; 010 = 2; 011 = 3; 100 = 4; 101 = 5; 110 = 6 and 111 = 7.

Grouping of three’s is how this album came to be, I hope you enjoy listening to the colours grey, yellow, and white.

All sounds recorded at various locations in Europe, Japan and South America, at MESS (Melbourne Electronic Sound Studio) and at EMS (Elektronmusikstudion, Stockholm).

France Jobin – Field recordings, sound processing, composition

© 2021 France Jobin / p 2021 Touch Music/Fairwood Music UK Ltd 

credits

released April 24, 2021

design: Joe Gilmore

The fluidity of time does not exist

Released on ROOM40 April 2nd 2021

Time is mysterious; I never realized how much until I studied it in the context of Quantum Physics. The mystery stems from a common-sense way of thinking – that the present moment, which we call “now” is not fixed but moves constantly in the direction of future. This is what we refer to as the flow of time.

The common-sense concept of time is as follows: Imagine a line with an arrow pointing towards the right, each point on the line represent a fixed moment, a triangle drawn with the tip touching the line represents the continuous moving point, the present moment. It is supposed to move from left to right. Some believe particular events as being fixed, and the line itself as moving past them so that moments from the future sweep past the present moment to become past moments. Thinking of time as a line simply implies a sequence of points at different positions, so any moving point can be thought of as a sequence of motionless “snapshot” versions of itself, at each moment. It is similar to a sequence of still photos, projected onto a screen. Collectively, the images are moving but individually, the image never changes.

This idea that the present moment seems to be moving forward in time is defined relative to our consciousness. But our consciousness however, cannot do that. Nothing can move from one moment to another, To exist at all at a particular moment means to exist forever. Our consciousness exists in all our (waking) moments. We do not experience time flowing, or passing. What we experience are differences between our present perceptions and our present memories of past perceptions. We interpret those difference correctly, as evidence that the universe changes with time. We also interpret them incorrectly, as evidence that our consciousness, or the present, is something that moves through time.

The passing of time is intrinsic to the world; it is born of the world itself, out of the relations between quantum events that are the world, and that themselves generate their own time.

The fluidity of time does not exist, is my attempt to put this concept into sound, creating a piece of music, which itself is created within a span of time…. 

credits

All sounds recorded at various locations in Europe and South America.

Image : Mark Hogben
Design: Lawrence English
Mastering: Lawrence English

The passing of time is intrinsic to the world; it is born of the world itself, out of the relations between quantum events that are the world, and that themselves generate their own time.

The fluidity of time does not exist, is my attempt to put this concept into sound, creating a piece of music, which itself is created within a span of time…. 

Special thanks to: Lawrence English and Mark Hogben for their constant support and, Richard Hodgskin-Brown – PhD student, my mentor during my studies of Quantum Physics.

© 2021 France Jobin / p 2021 Touch Music/Fairwood Music UK Ltd

#evenmoresynthporn

EP03 France Jobin is a lover of wires, electronics and sine tones. She has something special to share on ROOM40

This photo serves as clear evidence of my early fascination with all things cables, connections and electricity. To this day, I have nurtured this obsession with childlike wonder.

When Lawrence English and Robin Fox extended the invitation to travel to Australia, an invitation which included a coast to coast tour and a residency at MESS in Melbourne, I could not resist!

Upon arriving at MESS, I simply became overwhelmed by the amount and diversity of the collection of synths and electronic instruments. There it was, the entire history of synth, drum machines and modulars in front of me, delight! Which one will I start with? It’s complicated.

I opted to work the synths that I am unfamiliar with, therefore adding a nice learning curve to the experience but also, an opportunity to observe and learn how the technicalities and programming evolved over the years.

I strived to remain true to each synth, I did not have a compositional intent, but rather preferred to let each synth’s personality shine through and hope I manage to earn their respect in the process.

An enormous thank you to Lawrence English, Robin Fox, Byron Scullin and Matthew Watson and everyone at MESS for their kind support.

released September 4, 2020

all rights reserved

#moresynthporn on ROOM40


EP02 France Jobin is a lover of wires, electronics and sine tones. She has something special to share on ROOM40!

“This photo serves as clear evidence of my early fascination with all things cables, connections and electricity. To this day, I have nurtured this obsession with childlike wonder.

When Lawrence English and Robin Fox extended the invitation to travel to Australia, an invitation which included a coast to coast tour and a residency at MESS in Melbourne, I could not resist!

Upon arriving at MESS, I simply became overwhelmed by the amount and diversity of the collection of synths and electronic instruments. There it was, the entire history of synth, drum machines and modulars in front of me, delight! Which one will I start with? It’s complicated.

I opted to work the synths that I am unfamiliar with, therefore adding a nice learning curve to the experience but also, an opportunity to observe and learn how the technicalities and programming evolved over the years.

The 7 pieces included in the 3 ep’s are the result of recorded live improvisations during which I familiarized myself with these wonderful electronic instruments.

I strived to remain true to each synth, I did not have a compositional intent, but rather preferred to let each synth’s personality shine through and hope I manage to earn their respect in the process.

An enormous thank you to Lawrence English, Robin Fox, Byron Scullin and Matthew Watson and everyone at MESS for their kind support.”

credits

released August 7, 2020

All sounds recorded at MESS (Melbourne Electronic Sound Studio) using the Sequential Circuits Prophet 10, and the Mellotron Mini.

license

all rights reserved