Podcasts about vampyroteuthis

The vampire squid (Vampyroteuthis infernalis) might sound scary, but it's more like a soft-bodied floating Christmas tree than a blood-sucking creature of the night. This deep-sea creature has some out-of-the-box defensive strategies: it shoots a cloud of glowing mucus to disarm its predators and tries to camouflage itself by turning itself into a pineapple. Nicola Toki joins Jesse to teach us about this not-so terrifying creature.

Apoie o canal: https://apoia.se/podcastdaraphus. Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html. Os tentáculos sangrentos da Natureza (Anfiteatro do Esquecimento - ep. 13) “A árvore que emociona alguns até as lágrimas é vista por outros como um obstáculo verde. E muitos percebem na natureza apenas o grotesco e o ridículo… a maioria sequer percebe a existência da natureza. Mas aos olhos do homem imaginativo, a natureza é a imaginação mesma." (William Blake) As narrativas fantásticas voltadas ao horror e ao terror possuem, compreensivelmente, uma forte tendência ao improviso, ao império dos instintos. Mas existe, claro aqueles que pensam de forma diferente – elaboradas projeções visionárias de universos densos como pesadelo brotam de criadores que optaram por um terror/horror que surge da percepção meditada de uma realidade de infinito desespero. Façamos, aqui, um elogio a esses criadores infatigáveis que, muitas vezes, optam pela razão belicosa, deixando de lado o tedioso instinto ancestral do medo primitivo. De fato, eles percebem que nada é mais terrível que o apavoramento de feitio humano. Aqui, alinhavamos alguns desses demiurgos e suas obras perturbadoras: “Bile Negra” de Oscar Nestarez, “The Friendly Examiner” de Louis Marvick e “Salt Flowers from the Years of Drought” de Colin Insole. Indicações: - Flusser, Vilém; Bec, Louis. Vampyroteuthis infernalis. São Paulo: Annablume, 2011 (http://www.annablume.com.br/loja/product_info.php?products_id=1629&osCsid=labfzzqwge). - Insole, Colin. Salt Flowers from the Years of Drought. Bucharest: Mount Abraxas, 2020. - Marvick, Louis. The Friendly Examiner. Vol. 1. Düsseldorf: Zagava, 2018 (https://www.zagava.de/shop/the-friendly-examiner-i?edition=8&versions=33). - Nestarez, Oscar. Bile Negra. São Paulo: Pyro, 2017. - Wells, H. G. Paisagens Apocalípticas. Natal: Sol Negro, 2014 (http://solnegroeditora.blogspot.com/p/blog-page_20.html). Música: Etude Opus 2 No 1 Exzel Music Publishing (freemusicpublicdomain.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ Nosso podcast também está disponível nas seguintes plataformas: - Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs - Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4 - Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D

Pour cette fiction présentée dans le 4ème  épisode de Bio Is The New Black, nous étions dans le studio d’enregistrement de l’Institut Supérieur des Arts de Toulouse (IsdaT), accueillis par Claude Tisseyre, en compagnie du comédien Raphaël Caire. Nous avons produit cette fiction à partir d’une conférence-performance donnée lors du festival du poulpe édition 2019 à Marseille. Le texte de la fiction radiophonique a été co-écrit avec Anthony Masure. Ce podcast fait état d’une recherche effectuée dans les archives de Vilém Flusser à l’Université des arts de Berlin, nous vous livrons une fiction philosophique du théoricien des médias Vilém Flusser et de l’artiste para-naturaliste Louis Bec : Le Vampyroteuthis Infernalis. Ce projet n’aurait pas été possible sans la précieuse aide d’Anita Jori, chercheure superviseure de la Vilém Flusser archive. Retrouvez l'Edition écrite numérique du podcast : ici.

Pour ce bonus de Bio Is The New Black diffusée dans l’émission CPU Carré Petit, Utile de radio FMR, nous vous proposons une adaptation anglaise de la création radiophonique du vampyroteuthis infernalis.  La lecture du texte est interprétée par Wayne Blackwood. L’origine de cette création est une conférence-performance donnée lors du festival du poulpe édition 2019 à Marseille. 

La documentation et les liens de cette émission sont sur http://cpu.pm/0138 . Cette release fait partie de la série “Bio is the new Black”. Dans cette release : Des vampires des abysses, de l’épistémologie fabulatoire, une histoire d’amitié et une performance les pieds dans l’eau. Chapitres : Paillasse du design : Introduction à la création radiophonique sur le vampy — (1:14) Légende :…

Pour cet épisode de Bio Is The New Black, nous étions dans le studio d’enregistrement de l’Institut Supérieur des Arts de Toulouse (IsdaT), accueillis par Claude Tisseyre, en compagnie du comédien Raphaël Caire. Nous avons produit cette fiction à partir d’une conférence-performance donnée lors du festival du poulpe édition 2019 à Marseille. Le texte de la fiction radiophonique a été co-écrit avec Anthony Masure. Ce podcast fait état d’une recherche effectuée dans les archives de Vilém Flusser à l’Université des arts de Berlin, nous vous livrons une fiction philosophique du théoricien des médias Vilém Flusser et de l’artiste para-naturaliste Louis Bec : Le Vampyroteuthis Infernalis. Ce projet n’aurait pas été possible sans la précieuse aide d’Anita Jori, chercheure superviseure de la Vilém Flusser archive.  Cette émission est diffusée sur radio FMR dans le programme CPU. Edition écrite numérique du podcast : ici. Dans cette release de CPU : de l’épistémologie fabulatoire des vampires des abysses une histoire d’amitié une performance les pieds dans l’eau L'équipe aujourd'hui : Elise Rigot, Raphaël Caire, Claude Tisseyre et DaScritch

In a left podcast team-up, Dean and Matt from The Magnificast join the spinegang to talk about squid, phenomenology and much more besides. Listen to The Magnificast here: https://soundcloud.com/themagnificast Follow Dean: https://twitter.com/DeanDettloff Follow Matt: https://twitter.com/spookymachines . . . If you like what we do, make sure to comment and leave us a rating. You can follow us on Twitter: twitter.com/HorrorVanguard To support the show and get access to full Arcane Book Club of Horrors episodes, check out our Patreon: www.patreon.com/horrorvanguard

This week we're going all goth in April for the vampire squid and the vampire bat. They're so awesome I want to die. The vampire squid looking all menacing even though it's barely a foot long. "I love you, vampire bat!!" "I love you too, Kate." Thanks for listening! We now have a Patreon if you'd like to subscribe! Rewards include patron-only episodes and stickers! Show transcript: Welcome to Strange Animals Podcast. I’m your host, Kate Shaw. I thought about waiting to run this episode in October, but that’s a really long way away. So we’ll have Halloween in April and talk about the vampire squid and the vampire bat. The vampire squid has one of the coolest Latin names going, Vampyroteuthis infernalis, which means “vampire squid from hell.” It’s a deep-sea squid and until recently, not a lot was known about it. It was discovered in 1903 and originally classified as an octopus. Its body is about six inches long [15 cm], with another six inches or so of tentacles, which are connected with webbing called a cloak. Actually I’m not sure if scientists refer to this as a cloak, but if you’ve called your animal the vampire squid from hell, you can’t complain if podcasters, for instance, refer to web-connected octopus legs as a cloak. So is it an octopus or a squid? It’s both, in a way. The vampire squid is the last surviving member of its own order, Vampyromorphida, which shares similarities with both. The vampire squid’s color varies from deep red to velvety black. The inside of its cloak is black and the parts of its legs inside the cloak are studded with spines. Its beak is white. Basically the only thing this little guy needs to be the world’s ultimate goth is a collection of Morrissey albums. It lives in the lightless depths of the ocean below 3,000 feet [914 meters]. There’s not a lot of oxygen down there so there aren’t very many predators. The vampire squid doesn’t need oxygen because it’s a vampire—or at least it can live and breathe just fine with oxygen saturations as little as 3%. Its metabolic rate is the lowest of any cephalopod. The vampire squid doesn’t move a lot. It drifts gently, aided in buoyance because its gelatinous tissues are roughly the same density as seawater. Adults have two small fins sticking out from their mantle, which they flap to propel them through the water. If something threatens a vampire squid, it brings its legs up to expose the spiny insides of its cloak and hide its body. If something really threatens a vampire squid, even though it doesn’t have ink sacs, it can eject a cloud of bioluminescent mucus, and can flash its photophores in a dazzling display of lights. These photophores are concentrated on the outside tips of its arms. If the end of an arm is bitten off, the vampire squid can regenerate it. So we have a creepy-looking, if small, cephalopod that lives in the deep, deep sea called a vampire squid. WHAT. DOES. IT. EAT? I hate to disappoint you, but the vampire squid eats crap. In fact, it eats the crap of animals that eat crap. There’s not a lot of food in the ocean depths. Mostly there’s just a constant rain of fish poop, algae, bits of scales and jellyfish, and other waste. Lots of little creatures live on this stuff and their poop joins the rain of barely-food that makes it down to the abyssal depths where the vampire squid waits. The squid had two retractable filaments—not the same thing as the two feeding tentacles true squids have, but used for feeding. The filaments are extremely long, much longer than the vampire squid itself. It extends the filaments, organic detritus falls from above and sticks to them, and the vampire squid rolls the detritus up with mucus from its arm tentacles into little sticky balls and pops the balls into its mouth. That’s not very goth. Or it might be incredibly goth, actually. Most cephalopods only spawn once before they die. A 2015 paper in Current Biology reports that the vampire squid a...

Jason talks glow-in-the-dark mice, sparkly swimming, vampire squid from hell (Vampyroteuthis infernalis), angler-fish, bioluminescent goo and the Nobel Prize. We learn that luciferin+ luciferase+ oxygen= LIGHT.

Mit dem Buch „Vampyroteuthis infernalis“ von Vilém Flusser und Louis Bec begibt sich Markus zu einer fremdartigen Kreatur in die Tiefsee. Benjamin feiert (ab 48:55)  die von Performancekünstler Jonathan Meese proklamierte „Diktatur der Kunst“. Ab 1:32:20 gibt es einen Nachklapp. Folge 026 – jetzt abspielen  

Bodenlos – Vilém Flusser und die Künste | Podiumsdiskussion Im Rahmen der Ausstellung »Bodenlos – Vilém Flusser und die Künste« laden wir zum offenen Dialog, anstatt zu einer Reihe von Monologen. Denn bei Flusser ist das Thema der Bodenlosigkeit verbunden mit der errungenen Freiheit einer Verantwortung im Dialog. Fr, 14.08.2015 Kunst und Künstler waren zentral für die Entwicklung von Vilém Flussers Kommunikologie. Daher stellt die zweite Gesprächsrunde zwei Künstler vor, die mit Flusser selbst intensiv zusammengearbeitet haben, Louis Bec und Fred Forest, sowie eine zeitgenössische Künstlerin der Generation der speculative anatomists, Pinar Yoldas, die von Flussers Werk stark beeinflusst ist, insbesondere von seiner Zusammenarbeit mit Louis Bec zu »Vampyroteuthis infernalis«. Bei der zweiten Gesprächsrunde mit dabei sind • Louis Bec (Mitautor von »Vampyroteuthis infernalis« (1993)) • Fred Forest • Pinar Yoldas Respondent: Marcel René Marbuger (u.a. Autor von »Flusser und die Kunst« (2011)) Moderation: Baruch Gottlieb

Bodenlos – Vilém Flusser und die Künste | Podiumsdiskussion Im Rahmen der Ausstellung »Bodenlos – Vilém Flusser und die Künste« laden wir zum offenen Dialog, anstatt zu einer Reihe von Monologen. Denn bei Flusser ist das Thema der Bodenlosigkeit verbunden mit der errungenen Freiheit einer Verantwortung im Dialog. Fr, 14.08.2015 Kunst und Künstler waren zentral für die Entwicklung von Vilém Flussers Kommunikologie. Daher stellt die zweite Gesprächsrunde zwei Künstler vor, die mit Flusser selbst intensiv zusammengearbeitet haben, Louis Bec und Fred Forest, sowie eine zeitgenössische Künstlerin der Generation der speculative anatomists, Pinar Yoldas, die von Flussers Werk stark beeinflusst ist, insbesondere von seiner Zusammenarbeit mit Louis Bec zu »Vampyroteuthis infernalis«. Bei der zweiten Gesprächsrunde mit dabei sind • Louis Bec (Mitautor von »Vampyroteuthis infernalis« (1993)) • Fred Forest • Pinar Yoldas Respondent: Marcel René Marbuger (u.a. Autor von »Flusser und die Kunst« (2011)) Moderation: Baruch Gottlieb

En 1903, el biólogo alemán Carl Chun, en un viaje de exploración de los fondos marinos a bordo del Valdavia, pescó a una profundidad de 1.400 metros en el golfo de Guinea un extraño cefalópodo gelatinoso, de color rojizo, pico blanco y grandes ojos rojos, con dos pequeñas aletas, y con los tentáculos unidos por una membrana de color púrpura negruzco en su interior, al que por su aspecto bautizó con el nombre de Vampyroteuthis infernalis, “el calamar-vampiro infernal”.