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To Fu, Yuan’s piece is not dissimilar from the still lifes of Giorgio Morandi. Fu’s celestial bodies
encapsulate the constant back and forth between existence and death, earth and stars, time and
space. Fu’s human figures are presented without gender-defining signifiers or characteristics. The
subjects he incorporates function as symbols for things as yet undetermined—each piece casts a
spell of grounding silence—a way to bear witness to the passage of time. So that’s what the magic
touch of quantum is all about,” Fu, explains. “In this century, a lot of what we are doing is trying to
develop quantum technology based on these very complicated and weird concepts. That kind of
quantum information is actually stored in the flow of the supercurrent in a macroscopic observable. I
have spent years studying the symbiotic behaviour between shrimps and different fish underwater.
The water thus energized is a germ; it gives to life an inexhaustible rise. What emerges in his
paintings may appear to be landscapes, or figures, or ghosts as they dissipate into the background.
Even while producing the works, he attempts to dwell in a state of uncertainty through a delicate
interplay between transparency and opacity in his paint. Liang Fu (b. 1993, Sichuan, China) lives
and works in Paris, France. Even if we know the fundamental law that governs the interaction
between two particles, it’s very hard to deduce the properties when many, many particles are
simultaneously interacting with each other. Within the composition, a lonely, bearded man crouches
on a little wooden boat with a fishing rod, gazing at the wave-tossed water, full of expectation. He
received his BFA and MFA from National Fine Arts School of Nantes in Nantes, France. When we
wake up, we may try to recall them, but they ultimately slip away. His vases, bottles, bowls, and
flowers are delineated by their isolation, their existence articulated by the lack which envelopes
them. They are introvertedly engrossed and lost in thought as they fade in and out. To begin, he
produces his own mineral pigments with a watercolor binder, then switches to oil paint upon
completing the work to enhance, detail, and build on the possibilities that stem from the encounter of
the two mediums. In his work with ceramic, porcelain, and enamel, Fu plays the role of an alchemist,
manipulating earth, beeswax, water, and pigment to spur action within each material. Fu’s practice
centers around the intricate interplay of corporeal forms, geographical landscapes, and the passage of
time. To some extent, a lot of the technology that we currently have, like lasers, for example, they
are all based on weird quantum properties. I thank my PhD advisor Charlie Kane for his guidance
and mentoring, for his deep influence on my approach to research and choice of problems, and for
giving me a good start in my career. The grouper and moray eel have their dead skin, bacteria, and
parasites cleaned by the shrimps and wrasse, while at the same time the cleaner species receive
nutrients and protection from the fishes. The work of Paris-based Chinese artist Liang Fu is as if
someone has found those images, held on to them and transformed them in to art. They are a drop of
water in the river of the cosmos. He received his BFA and MFA from National Fine Arts School of
Nantes in Nantes, France. As theorists, we use paper and pencil to come up with ideas and then we
can test it in the lab.”. Liang Fu (b. 1993, Sichuan, China) lives and works in Paris, France. His
subtle interplay of colors and shapes, light and darkness, opacity and transparency, allows the
strength of the spiritual to reveal itself within the aura of the incarnate. When we wake up, we may
try to recall them, but they ultimately slip away. Deep blues contrasted with lighter hues betray
density and tease a transparent weightlessness, like the negatives of a photograph.
We are going to continue to explore more and more, for example, this weird superposition,
entanglement, etc. I am especially grateful to my parents who made every effort to secure the best
education possible for me. He works on the theory of topological insulators and topological
superconductors, with a focus on predicting and proposing their material realizations and
experimental signatures. But only in the 20th century did aluminum find its ideal use in airplanes
because it is very light. “It took more than 100 years to find a good use for something like
aluminum,” he says. Within the composition, a lonely, bearded man crouches on a little wooden boat
with a fishing rod, gazing at the wave-tossed water, full of expectation. The work of Paris-based
Chinese artist Liang Fu is as if someone has found those images, held on to them and transformed
them in to art. Combining a topological superconductor with error correction approach, we think we
have a robust platform for quantum information processing,” Fu says. To dream of power, all that is
needed is a drop imagined in depth. The subjects he incorporates function as symbols for things as
yet undetermined—each piece casts a spell of grounding silence—a way to bear witness to the
passage of time. To some extent, a lot of the technology that we currently have, like lasers, for
example, they are all based on weird quantum properties. I have spent years studying the symbiotic
behaviour between shrimps and different fish underwater. Occasionally the figures are headless
torsos frozen in flux, suspended in movement but propelling forward (or backward) in time and
space. Fu’s celestial bodies encapsulate the constant back and forth between existence and death,
earth and stars, time and space. That kind of quantum information is actually stored in the flow of
the supercurrent in a macroscopic observable. Super conduction is a state in which a material offers
no resistance and electrons flow freely, which happens at extremely low temperatures, and in
topological superconductivity, this property happens only along the surface of the material. The
grouper and moray eel have their dead skin, bacteria, and parasites cleaned by the shrimps and
wrasse, while at the same time the cleaner species receive nutrients and protection from the fishes.
This is an approach that I like a lot because it’s deeply tied with the study of materials.”. I owe a lot
to my collaborators and students, who have always shared their knowledge and insight with me. In
most materials, electrons repel each other, but in these superconducting materials at very low
temperatures, electrons join in what are called Cooper pairs. “Whether it’s topological or not relies
crucially on the internal structure of the Cooper pair. That is a surprise. We didn’t realize it was so
ideal before for this purpose,” he says. So back then, for this particular material, we proposed that it
may have certain types of internal symmetries for the Cooper pair. The APS Division of Condensed
Matter Physics elected Fu “for pioneering contributions to the theory of topological quantum
materials.”. Topology is a mathematical tool we use to study the quantum wave functions,” he
explains. They have two children, a son, 6, and a daughter, 3. Fu’s practice centers around the
intricate interplay of corporeal forms, geographical landscapes, and the passage of time. Fu’s
execution challenges us to fill-in the missing pieces, to pin-down an apparition, but ultimately we are
grasping at ghosts. They are introvertedly engrossed and lost in thought as they fade in and out.
What makes it a quantum property is that supercurrent can flow in a superposition of both clockwise
and counterclockwise. “That kind of a superpositioning is what we mean by quantum information.
He received his BFA and MFA from National Fine Arts School of Nantes in Nantes, France.
Superposition says two electrons can occupy the same space at the same time in contrast to classical
physics, which makes them mutually exclusive.
They are a drop of water in the river of the cosmos. Within the composition, a lonely, bearded man
crouches on a little wooden boat with a fishing rod, gazing at the wave-tossed water, full of
expectation. Fu’s human figures are presented without gender-defining signifiers or characteristics.
The photos I took are from different locations, showing a lively mutual symbiosis relationship. So
that’s what I mean by a macroscopic state that encodes quantum information. The New Horizons
award recognizes promising junior researchers who have already produced important work in
fundamental physics. Topology is a mathematical tool we use to study the quantum wave functions,”
he explains. Even if we know the fundamental law that governs the interaction between two
particles, it’s very hard to deduce the properties when many, many particles are simultaneously
interacting with each other. When we wake up, we may try to recall them, but they ultimately slip
away. All these are crucially linked to this weird quantum behavior. Deep blues contrasted with
lighter hues betray density and tease a transparent weightlessness, like the negatives of a photograph.
As theorists, we use paper and pencil to come up with ideas and then we can test it in the lab.”. To
some extent, a lot of the technology that we currently have, like lasers, for example, they are all
based on weird quantum properties. Memory, or its absence, is imbued within the sculptures, so that
they become relics of the accumulation of gestures that contributed to their creation. What makes it a
quantum property is that supercurrent can flow in a superposition of both clockwise and
counterclockwise. “That kind of a superpositioning is what we mean by quantum information. The
time it takes from discovering a new material to finding an application for this material can be very
long,” he suggests. We listed all possible symmetries and we found that three out of four possible
symmetries, if realized, will lead to a topological superconductor.” Since then, three separate
experiments tested the theory with the first two producing conflicting results. “Now this nuclear
magnetic resonance experiment has seen definitive evidence of a triplet Cooper pair,” Fu says. Liang
Fu (b. 1993, Sichuan, China) lives and works in Paris, France. The subjects he incorporates function
as symbols for things as yet undetermined—each piece casts a spell of grounding silence—a way to
bear witness to the passage of time. Using pigments on unprimed canvas, he begins with a diffusion
of colors, figures, and forms. The figurative dimensions of Fu’s subjects are blurred, blending interior
and exterior, visible and nonvisible, presence and absence. Qin, who has a PhD in mechanical
engineering, works for a company that makes numerical simulation software for computing
electromagnetic waves and fluid dynamics. One risks getting lost in this parallel universe, but is
guided through darkness and the unknown by the wise visions of these artists. Vijay and Hsieh
developed a mathematical solution, which they call the Majorana surface code, for correcting errors
in this system. “I have this very special type of system where if an error occurs on the qubit that I’m
not measuring, then the measurements of the other qubits will tell me what sort of error has
occurred,” Vijay says. (Hsieh is now a postdoc at the Kavli Institute for Theoretical Physics in Santa
Barbara, California.). Using the Schrodinger cat analogy, Fu explains: “The motivation for this
Majorana code is any time you want to observe the cat, whether it’s alive or dead — even if you
prepare the Schrodinger cat in a superposition between alive and dead — once you measure it, it’s
either alive or dead. To dream of power, all that is needed is a drop imagined in depth. The bodies
appear to function as if unobserved, left to their own devices, and completely alone. The APS
Division of Condensed Matter Physics elected Fu “for pioneering contributions to the theory of
topological quantum materials.”. Fu’s practice centers around the intricate interplay of corporeal
forms, geographical landscapes, and the passage of time. Before coming to MIT, he was a Junior
Fellow at Harvard University. When we wake up, we may try to recall them, but they ultimately slip
away.