6/23/2023 0 Comments Tvb glitteratoBut then at the same time, the octopus is also probably colourblind. It also has thousands of colour-changing cells, called chromatophores, beneath its skin, meaning that it can generate any colour in these super quick, incredibly realistic camouflages. TVB: The octopus has some very interesting characteristics and properties, for example self-cannibalism, or the fact of having nine brains-it has a very particular form of intelligence. RC: It brings up so many questions and some really quite wild propositions, such as – what does it mean if we compare a squid and an octopus? Can we say all the things the octopus does (which the squid does not do) are extraterrestrial urges or behaviours? The octopus is one of the most interesting animals in existence, and of course, it’s also used as a metaphor for a million other things throughout history and in various cultures. The paper argues that the Cambrian explosion was partially caused by extra-terrestrial DNA. The scientific paper in question, Cause of Cambrian Explosion – Terrestrial or Cosmic? talks mostly about the cause of the Cambrian explosion – a sudden, massive increase in biodiversity 541 million years ago, in which almost all major animal groups started appearing in the fossil record. We’re really interested in this particular origin myth concerning outer space and ecology, for various reasons, but particularly because it features the octopus. Various panspermia theories have been around for decades now in the scientific community, but have largely been disproven. TVB: These theories are collectively referred to as ‘panspermia’, which is the idea that life on Earth originated from outer space. RC: Yes, Heavens is inspired by a sort of origin myth, a scientific hypothesis claiming the octopus was originally in fact a squid that was infected by a virus from outer space. LP: Heavens has an origin myth coded into it, right? Which is to say that it’s never about reporting as such, it’s about trying to capture something of the very particular moments or experiences of feeling ‘alive’ that we have either witnessed or staged, and where these moments come from. Revital Cohen: In terms of process, in many ways making the work is always a self-directed experience. What is ‘an experience’ for an animal? Can an octopus feel that it’s an octopus? Tuur Van Balen: With Heavens, which is currently in development, we have been thinking about the octopus as a radical other being – and about what constitutes animal consciousness. I wondered if you could speak a little about how these two works began to take shape for you? One research project can lead to various different kinds of outputs and objects. Part of the reason I wanted to speak about these two bodies of work, The Odds and Heavens, is because your work addresses economics, politics and so on in very complex ways. Lucia Pietroiusti: It’s lovely to have this conversation with you.
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