The Sound of Entanglement (2509.08892v1)

Abstract: The advent of quantum physics has revolutionized our understanding of the universe, replacing the deterministic framework of classical physics with a paradigm dominated by intrinsic randomness and quantum correlations. This shift has not only enabled groundbreaking technologies, such as quantum sensors, networks and computers, but has also unlocked entirely new possibilities for artistic expressions. In this paper, we explore the intersection of quantum mechanics and art, focusing on the use of quantum entanglement and inherent randomness as creative tools. Specifically, we present The Sound of Entanglement, a live musical performance driven by real-time measurements of entangled photons in a Bell test. By integrating the measured quantum correlations as a central compositional element and synchronizing live visuals with experimental data, the performance offers a unique and unrepeatable audiovisual experience that relies on quantum correlations which cannot be produced by any classical device. Through this fusion of science and art, we aim to provide a deeper appreciation of quantum phenomena while expanding the boundaries of creative expression.

• The paper presents a novel method mapping Bell test quantum correlations to control musical and visual elements in real time.
• Methodology employs entangled photon pairs and Python-driven data pipelines to synchronize low-latency quantum data with artistic outputs.
• Implications include enhanced public engagement with quantum physics and innovative pathways for generative, quantum-inspired art.

The Sound of Entanglement: Quantum Correlations as Artistic Medium

Introduction

"The Sound of Entanglement" presents a novel intersection of quantum physics and artistic expression, leveraging the non-classical correlations of entangled photons as a generative source for live musical and visual performance. The work operationalizes a Bell test experiment in real time, using the outcomes of quantum measurements to drive both compositional and visual elements. This approach moves beyond prior quantum-inspired or quantum-data-driven art by directly embedding the objective, non-deterministic randomness and entanglement-induced correlations of quantum mechanics into the structure of the performance. The project thus constitutes a rigorous instantiation of "quantum aleatoric music," where the degree of entanglement—quantified by the Bell $S$-value—becomes an explicit, audible, and visible parameter.

Figure 1: Sound of Entanglement world premiere at the New Cathedral in Linz, Austria, with the Bell setup centrally positioned and integrated into the visual projection.

Quantum Aleatoric Music: Conceptual Framework

Aleatoric music, historically rooted in the use of chance and indeterminacy, is extended in this work to the quantum domain. Unlike classical aleatoric techniques, which rely on subjective or pseudo-random processes, the performance utilizes the objective randomness of quantum measurement and the non-local correlations of entanglement. The experimental core is a Bell setup producing polarization-entangled photon pairs via spontaneous parametric downconversion. Measurement outcomes from spatially separated stations (Alice and Bob) are mapped in real time to musical motifs and visual parameters.

Figure 2: Schematic layout of the performance system, with the Bell experiment at the center, interfacing with both musicians and visual projection systems via networked communication.

The mapping from quantum measurement to artistic output is nontrivial: the composer must design transformations such that changes in the Bell $S$-value (e.g., from the quantum regime $S > 2$ to the classical regime $S \leq 2$) are perceptible in the musical and visual domains. This requires a deep understanding of both the experimental apparatus and the theoretical underpinnings of quantum nonlocality.

Experimental Implementation

Bell Test Apparatus

The experimental setup consists of a $405$ nm laser source generating entangled photon pairs at $810$ nm, directed to Alice and Bob via mirrors and half-wave plates. Each station randomly selects between two measurement settings, and the outcomes ($\pm1$) are time-stamped and correlated to ensure they originate from the same photon pair. The system achieves a measurement cycle of approximately $400$ ms, with sub-nanosecond coincidence timing.

Figure 3: Bell setup schematic, showing the entangled photon source, optical paths, measurement settings, and detectors for Alice and Bob.

Data Pipeline and Mapping

A Python daemon collects and time-stamps detection events, forwarding them via OSC over Ethernet to a Cycling '74 Max patch for musical mapping and to a TouchDesigner engine for real-time visual generation. The system architecture ensures low-latency, synchronized transmission of quantum data to both auditory and visual subsystems.

Figure 4: Software pipeline for the performance, illustrating the flow of quantum measurement data to both composition and visual generation engines.

Artistic Realizations

BruQner

The inaugural realization, "BruQner," was performed on two pipe organs, with each quantum measurement dictating the selection of one of eight precomposed motifs (four per performer). The motifs, derived from Bruckner's Perger Präludium, are chosen such that non-classical correlations (high $S$-value) yield polyrhythmic combinations, while classical correlations (low $S$-value) result in more conventional patterns.

Figure 5: Example set of eight motifs used in BruQner, with mapping designed to accentuate polyrhythmic structures under quantum correlations.

The performance achieved an $S$-value of approximately $2.45$, with a deliberate transition to a classically correlated section ($S < 2$) to make the difference audibly salient. Visuals, inspired by the geometry of entanglement (e.g., light cones from spontaneous parametric downconversion), were projected in three dimensions using haze and laser projectors, enveloping the audience within the quantum data stream.

Figure 6: Still from the BruQner documentary, showing the dynamic light cones projected above the audience, visually encoding the entanglement process.

8 Rooms

The subsequent composition, "8 Rooms," employs a different mapping: the mechanical clicks from the rotation of half-wave plates (synchronized to measurement events) are captured and processed as percussive elements. The form of the piece is governed by a two-dimensional quantum random walk, with each measurement outcome determining the direction and transition between "rooms," each with distinct musical and visual themes.

Figure 7: Types of echo patterns used as rhythmic bases in 8 Rooms, with each combination providing a unique foundation for improvisation.

Figure 8: Example layout of rooms for the performance, with the random walk determining transitions and musical themes.

Musicians improvise over room-specific material, guided by the evolving quantum random walk, while visuals render the accumulation of measurement events as dynamic, terrain-like landscapes. The mapping ensures that the degree and nature of quantum correlations directly influence both the musical structure and the visual aesthetics.

Figure 9: Visual performance for 8 Rooms, with real-time modulation of spectra and visual parameters by photon-measurement results.

Figure 10: 8 Rooms live performance at the Science Diplomacy Summit 2025, with the Bell setup and musicians on stage and visuals projected behind.

Theoretical and Practical Implications

The project demonstrates that quantum entanglement and nonlocality can serve as generative principles for artistic creation, not merely as sources of randomness but as structuring agents whose statistical properties are audibly and visually manifest. The explicit mapping of the Bell $S$-value to musical and visual parameters provides a direct, experiential interface to quantum phenomena, potentially serving as an educational tool and as a platform for further exploration of quantum-artistic synergies.

From a technical perspective, the work highlights the feasibility of integrating real-time quantum experiments with low-latency digital audio and visual systems, addressing challenges in synchronization, data transmission, and mapping design. The approach is extensible: alternative mappings, more complex quantum systems (e.g., higher-dimensional entanglement), and interactive audience participation are all plausible future directions.

Conclusion

"The Sound of Entanglement" establishes a rigorous framework for the use of quantum correlations as compositional and performative resources in art. By embedding a Bell test at the core of the performance, the work transcends prior quantum-inspired art, making the non-classical features of quantum mechanics directly perceptible. The project opens new avenues for both artistic practice and public engagement with quantum science, suggesting that the boundaries between scientific experiment and artistic performance can be productively dissolved. Future developments may include the use of more complex quantum systems, adaptive mappings, and broader integration with interactive and generative art forms.