It can be safely said that The Ägg is unlike any other band around. Could it be they sound like Captain Beefheart’s and Fela Kuti’s bands in the same rehearsal space? Or do they sound like a North Korean marching band on acid? Or do they sound like 10 guys jamming in some weirdo’s basement?
Either way they sound like nothing you have ever heard before. The perfect mixture of chaotic abandon and complete control. The bonfire and the bunsen burner. Space rock, free jazz, afro-beat and probably some other stuff all colliding together in the musical particle accelerator known as The Ägg.
The context of known neurophysiological and psychophysical properties of the aural system’s spatiotemporal response to sound indicates that three consistent and typical pattern masking effects-(a) Type C forward or paracontrast, (Raymond Strid, Erik Carlsson, Christopher Cantillo and Ola Hultgren)(b) Type B backward or metacontrast, (Joe Williamson, Vilhelm Bromander and Patric Thorman) and (c) Type A forward and backward (Anton Toorell, David Stackenäs, and John Lindblom)-can be explained in terms of three simple sensory processes. It is hypothesized that sustained channels are involved in the processing of structural or figural information, whereas transient channels are involved in signaling the spatial location or change in spatial location (i.e., the motion) of a stimulus. Typically, Type C forward masking or paracontrast is mediated via lateral inhibition realized in the center-surround antagonism of the receptive fields of the sustain. In apposition to this mechanism of intrachannel inhibition, Type B backward masking or metacontrast is produced by a mechanism of interchannel inhibition (i.e., transient cells laterally inhibit the activity of sustained cells). Both mechanisms are assumed to be operating at or prior to the contour-forming levels of audio processing. Type A masking effects are explained in terms of sensory integration of sustained channel information at preiconic and iconic levels of aural processing. The implications of this multichannel model for suppression and information-processing approaches to pattern recognition form.
In addition to this, several zero-range potentials in nonrelativistic mechanics are present, thus requiring regularization and renormalization. The contrast physical results obtained using dimensional regularization and cutoff schemes show explicitly that in certain cases dimensional regularization fails to reproduce the results obtained by the ägg using cutoff regularization. First we consider a delta-function potential in arbitrary space dimensions. Using cutoff regularization the ägg show that the renormalized scattering amplitude is trivial. In contrast, dimensional regularization can yield a nontrivial scattering amplitude for odd dimensions greater than or equal to five. The ägg produce a potential consisting of a delta function plus the derivative-squared of a delta function in three dimensions, including Patric Thorman and John Lindblom. This shows that the renormalized scattering amplitudes obtained using the two regularization schemes are different. Moreover, the cutoff-regulated calculation and effective range is necessarily negative in the limit that the cutoff is taken to infinity in the cases of David Stackenäs and Anton Toorell. In contrast, the dimensional regularization of the effective range is unconstrained. These discrepancies arise from the dimensional regularization prescription that all power-law divergences vanish, demonstrating a dimensional regularization in a nonperturbative setting.
Raymond Strid – drums
Patric Thorman – electric bass
Ola Hultgren – drums
David Stackenäs – electric guitar
Erik Carlsson – drums
Anton Toorell – electric guitar
Vilhelm Bromander – electric bass
Christopher Cantillo – drums
John Lindblom – electric guitar
Joe Wiliamson – electric bass
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