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katherinestasaph:

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claudefelixfloor:

711kid:

what the fuck

this is the scariest shit i’ve ever seen in my life

This is so cool. Eat Otomo Yoshihide’s heart out.

I’m used to associating this sort of heavy creepy distortion type audio as being achieved by internal studio mixing. Picking sections, warping them, reversing, repeating, all that sort of thing done with the board tools and programming suites. I didn’t stop to think that the same sort of effects could be achieved PHYSICALLY by fucking with the playback tools and the storage mediums themelves. It’s incredibly clever, especially when they introduce the cut-apart and reconstructed vinyl platters, it becomes the audio equivalent of cut-paste collaging or magnetic poetry. It takes something as ethereal and insubstantial as music, and makes it as tangible as sculpture.

I really wanna start fucking with vinyl live now. Hack the fuck out of old mediums forever~

remember the days when people made “experimental” music by recording their messing about with just this sort of physical media fuckery in the, what was it, ’70s, right? this fills me with nostalgia for the dreams of old futures.

Context:

[Camilla] Sørensen and [Greta] Christensen met at Copenhagen’s Royal Danish Art Academy in 2001 while studying sculpture, and decided to collaborate on a series of soundscapes. After exploring a shared interest in Hammond organs, they decided that there was little interest in learning how to play a traditional instrument. Using vinyl was convenient as it was readily available from Copenhagen’s charity shops, and interesting as a sculptural item. “In a very sculptural sense, the sound is directly connected to the material alongside the recorded material, which has its own time and its own history,” Christensen says. “The record as an object that you can work with very directly and manipulate. We turn it into something new.”
 
After relocating to Berlin in 2003, the duo began performing and came upon their moniker by accident. “At a flyer for one of the shows,” Sørensen relates, “we saw a description written underneath our names of what we do: vinyl terror. We added the horror just because we were two – so one could be the terror and one could be the horror.” I press them: which member is the terror and which is the horror? They pause and think carefully over their response, before deciding that there is a bit of both in each of them.

Wow

the-science-llama

the-science-llama:

Cephalopods - Chameleons of the Sea

Cuttlefish, Octopus and Squid all have pigment cells - called chromatophores - consisting of yellow, red and brown pigments which allow them to change their appearance. There are up to 200 of these cells per square millimeter and each of them are controlled through muscle contractions - instead of hormones like other marine organisms - allowing them to consciously control them.

When signaling to change colors, the chromatophores can be rapidly expanded and then relaxed to hide the pigments and can even stay camouflaged while asleep. Chromatophores, however, only one type of cells. Other cells are layered below, made of white and iridescent pigments to reflect other wavelengths of light like blue and green.

Using all of these pigments, the cephalopods typically use 3 major pattern types; Uniform, Mottle (small light/dark splotches) and Disruptive. One of the coolest patterns is the Passing Cloud pattern which is used to hypnotize their prey. Among all of these amazing attributes, they can also change their skin texture voluntarily to match the object they are trying to hide next to and they do this through visual perception rather than touch.

Videos:
Insane in the Chromatophores - playing the chromatophores to a beat 
Octopus Camouflage 
Passing Cloud Pattern
Info:
Chromatophore Signaling
Cuttlefish - DiscoveryNetworks

Images: 1, 2

that pigmented skin!