Unlike
the classical bits of data in a computer, which are decidedly either a zero or a one, qubits hover in an indecisive fog somewhere between these two values.
Such states differ from
classical bits of information in a computer, recorded as either a 0 or 1; a quantum bit is both 0 and 1 at the same time.
Not exact matches
When I was doing brand management at Coca - Cola, I became a
bit indoctrinated into the
classical sales and marketing way
of things, which is very data driven.
But any
classical theists who admit that their belief is only the most plausible conclusion based on the evidence available must regard this difficulty as another
bit of evidence against their idea.
Saying the European renaisance was BECAUSE
of arab influence might be exagerating the case a
bit, but what is true is they generally came into contact with
classical greek philosophy through Arab translations because in Europe most
of the copies
of those texts had been lost.
Classical mechanistic science said the world was made
of bits of matter organized into bigger
bits.
(See the Problem
of Evil in Process Theism and
Classical Free - Will Theism by William Hasker; Traditional Free Will Theodicy and Process Theodicy: Hasker's Claim for Parity; «
Bitten to Death by Ducks»: A Reply to Griffin; On Hasker's Defense
of his Parity Claim by David Ray Griffin (see www.religion-online.org.)
Along with dualistic mythology several developments in scientific thought since the seventeenth century have contributed to the exorcism
of mind from nature: first, there is the cosmography
of classical (Newtonian) physics picturing our world as composed
of inanimate, unconscious
bits of «matter» needing only the brute laws
of inertia to explain their action; second, the Darwinian theory
of evolution with its emphasis on chance, waste and the apparent «impersonality»
of natural selection; third, the laws
of thermodynamics (and particularly the second law) with the allied cosmological interpretation that our universe is running out
of energy available to sustain life, evolution and human consciousness; fourth, the geological and astronomical disclosure
of enormous tracts
of apparently lifeless space and matter in the universe; fifth, the recent suggestions that life may be reducible to an inanimate chemical basis; and, finally, perhaps most shocking
of all, the suspicion that mind may be explained exhaustively in terms
of mindless brain chemistry.
Classical physics carved the universe up into
bits of substances called particles, each one independent
of its neighbors.
The
bits of matter in the
classical picture
of physical reality are incapable
of being taken up into any sensitive salvific scheme.
Though firm at initial first
bite the cake begins to melt away into this wonderfully buttery, vanilla, orange
classical symphony
of flavors.
A few years ago when my kids were a
bit younger, I chose to incorporate much
of the Charlotte Mason method into our homeschool, so
of course this lead me to resources which supported the method (like
classical music, poetry books, nature study journals).
My kids especially love that each year contains work in each
of the science disciplines (many
classical - approach history programs do biology one year, chemistry the next, etc.) The format is not step - by - step, so this curriculum requires a
bit more planning than some others, but it's well worth the effort.
There has been a
bit of a debate waging over the past week about «
classical (or economic) liberals versus social liberals,» partly due to the launch
of the Social Liberal Forum and exacerbated by a recent editorial in Liberator Magazine.
And with 5 qubits — each a unit
of quantum information, similar to a digital
bit in
classical computers — IBM's machine isn't in the top tier
of quantum machines.
So, if Alice measures the black hole's spin before and after dropping the qubit, the change in the spin is analogous to a
bit of classical information transmitted by Bob from within the black hole to Alice outside.
All
classical information - processing machines are subject to these laws — and because information seems to be rattling back and forth in our brains, do the laws
of information mean that our thoughts are reducible to
bits and bytes?
Quantum computers could revolutionize the way we tackle problems that stump even the best
classical computers, which store and process their data as «
bits» — essentially a series
of switches that can be either on or off.
In
classical computers,
bits of information exist in one
of only two states: zero or one.
Unlike a digital
bit in a
classical computer, which can take the form
of either 0 or 1, a qubit can be both zero and one simultaneously, throwing open the door to vastly more powerful computation.
Unlike
classical computers, where the basic unit
of information, the
bit, is either 0 or 1, qubits can be 0, 1, or any mathematical superposition
of both, allowing for more complex operations.
The big advantage
of quantum
bits, and the point
of developing them, is they contain more information than a
classical bit — meaning quantum computers can use them, in theory, to solve super complicated equations much faster than a normal computer could.
A
classical computer has a memory made up
of bits (units
of information), where each
bit represents either a one or a zero.
Unlike
classical computer
bits, which utilize a binary system
of two possible states (e.g., zero / one), a qubit can also use a superposition
of both states (zero and one) as a single state.
As in
classical computing, a quantum
bit (qubit) can have a value
of 0 or 1.
Traditional «
classical»
bits measure the amount
of physical resources you need to encode a message.
«So there is plenty
of space to intersperse the key
classical components such as interconnects, control electrodes and readout devices, while retaining the precise atom - like nature
of the quantum
bit.»
These machines, which are still in the earliest stages
of development, exploit the physics
of objects that can be in multiple states at once, encoding information in «qubits», rather than in the on / off state
of classical bits.
«This conditional phase shift is the prerequisite for the implementation
of a truth table assigning output signals to any combination
of input
bits in a deterministic way, similar to a
classical logic gate.,» Dr. Stephan Ritter explains.
In contrast to
classical bits, these «quantum
bits» can be in a coherent superposition
of both states.
Confidently cinematic in
classical and modern terms, layered with subtleties but also a straight - ahead, crowd - pleasing comedy, with more witty lines and
bits of visual imagination than a dozen regular movies, O Brother is where thou shouldst be.
During his first few decades as an actor, Bill Macy took whatever was readily available: poetry - reading jobs, movie
bits, comedy - record gigs (he's the operatic cabdriver in the
classical music lampoon The Wurst
of PDQ Bach) and off - Broadway stage assignments.
Based on a true story, the life
of a petty criminal
of the Casanova variety (romance the ladies and steal their jewels) who becomes the head
of the police in Napoleonic France, A Scandal in Paris is as effervescent a
bit of classical Hollywood storytelling as ever there was.
There's a little
bit of biographical information (she gives a a nice tour
of the music school she spent 15 years growing up at, we see her packing her luggage) but mostly it's only interesting for her performances: Most
of a Korngold Violin Concerto, a rehearsal
of a Mozart Sonata for Piano and Violin, a really cool performance at a bar that's experimenting with
classical music concerts in a club setting.
«Jaffa to Stamboul» is a really lovely piece with a charming melody heard initially for solo duduk over soaring strings; «Arrival» turns the tables a
bit, with choppy strings providing real urgency, rhythmic accompaniment from percussion seeing the pace growing; then «The Orient Express» offers a full - on romantic musical portrait
of classical train travel, full
of buzz and energy and beauty, with a wonderful theme introduced (barely heard again, sadly).
We had to figure out,
bit by
bit, how to create a continuity between two worlds
of Ireland and America — but also how the film aesthetically should become more
classical as it was going on, as [Saoirse Ronan's] character [Eilis] was developing.
Newly minted Oscar nominee James Franco caused a
bit of a ripple in the blogosphere the other day by casually slighting «The Social Network» — claiming the film fails to deal with the communication revolution that (to his mind) it's supposed to be about, and further suggesting that its approach is too «
classical» (read: conservative)-LSB-...]
The gameplay itself is very smooth, hardly lags, and is reminiscent
of both
classical (yet expanded) Nintendo games, namely Mario and a little
bit of Zelda mixed in.
The story
of Clytemnestra is told in
bits and pieces across several play cycles from the
Classical period, and before.
You may have noticed I'm usually tweeting one killer
bit or another
of contemporary
classical music as it streams across the effluvia from NPR affiliate Q2 Music in New York.
So I think that show inspired my music selection for Moon Dark — I wanted something with a
bit of modern rock mixed into the
classical music, and it really did give the trailer a unique voice and sensual drive.
Awesome mix
of classical orchestra, with a touch
of Russian inspiration and a myriad
of metal
bits and electrical stuff.
As a drummer in a metal girl band, (members consisting
of Rinko, Mani, Shuumi, Kia and Erii,) your job is to drum to the beat
of classical songs that have been rockified and there is quite a
bit to learn.
Mixed Reviews at New Istanbul Fair — Reports from exhibitors and collectors at the new All Arts Istanbul fair revealed a
bit of puzzlement at the combination
of traditional Turkish crafts and
classical artworks, which sold well overall, and edgier contemporary art.
At first, I found it a
bit dissonant as
classical concert audiences are considered to be sophisticated but, perhaps, one never knows whether a madman will run on the stage damaging the keys with a hammer, in the same vein as the vandal who damaged Barnett Newman's work, «Who's Afraid
of Red, Yellow and Blue III», with a Stanley knife.
Art Slant Chicago Art Talk Chicago Bad at Sports
Bite and Smile Brian Dickie
of COT Bridgeport International Carrie Secrist Gallery Chainsaw Calligraphy Chicago Art Blog Chicago Art Department Chicago Art Examiner Chicago Art Journal Chicago Artists Resource Chicago Art Map Chicago Art Review Chicago
Classical Music Chicago Comedy Examiner Chicago Cultural Center Chicago Daily Views Chicago Film Examiner Chicago Film Archives Chicago Gallery News Chicago Uncommon Collaboraction Contemporary Art Space Co-op Image Group Co-Prosperity Sphere Chicago Urban Art Society Creative Control Defibrillator Devening Projects Digressions DIY Film ebersmoore The Exhibition Agency The Flatiron Project F newsmagazine The Gallery Crawl... Galerie F The Gaudy God Happy Dog Gallery HollywoodChicago Homeroom Chicago I, Homunculus Hyde Park Artcenter Blog InCUBATE Joyce Owens: Artist on Art J - Pointe Julius Caesar Kasia Kay Gallery Kavi Gupta Gallery Rob Kozlowski Lookingglass Theatre Blog Lumpen Blog Marquee Mess Hall N'DIGO Neoteric Art NewcityArt NewcityFilm NewcityStage Not If But When Noun and Verb On Film On the Make Onstage Peanut Gallery Peregrine Program Performink The Poor Choices Show Pop Up Art Loop The Post Family The Recycled Film Reversible Eye Rhona Hoffman Gallery Roots & Culture Gallery SAIC Blog The Seen Sharkforum Sisterman Vintage Site
of Big Shoulders Sixty Inches From Center Soleil's To - Do's Sometimes Store Steppenwolf.blog Stop Go Stop Storefront Rebellion TOC Blog Theater for the Future Theatre in Chicago The Franklin The Mission The Theater Loop Thomas Robertello Gallery threewalls Time Tells Tony Wight Gallery Uncommon Photographers The Unscene Chicago The Visualist Vocalo Western Exhibitions What's Going On?
That means that wild experimentation is not on offer, and even the more punk galleries, such as Berlin's Galerie Buchholz and New York's Maccarone, have organized more
classical presentations
of paintings, sculpture and a
bit of photography, streamlined and saleable.
You know, when you see all
of this together,» he says
of the
classical works around us, «it can kind
of become a
bit... heavy.»
Seeking the relief
of a more
classical dryness, Pollock in 1951 and 1952 reduced his palette to black and white and returned to the firmer unities
of his first style, emphasizing draftsmanship and making his blacks
bite vehemently into the unsized canvas like an engraver's line.
It may be a
bit simplistic, but in thinking about the circularity
of the attribution studies (a point I agree with), I tend to think in terms
of two
of the
classical logical fallacies.