Wool and Vinyl...

...simultaneously spinning natural and synthetic materials wool and vinyl - simultaneously spinning natural and synthetic materials.

Both. I have, partly to understand more clearly what we are dealing with here, begun spinning natural and synthetic materials simultaneously, in something approaching what I suspect was behind the report dug up by Kingsbury PI. The natural material I chose was unwashed and uncarded highland-grown white sheepswool. The synthetic was medium-density black vinyl, sourced from Ullapool area junior highland games indoor sales area, specifically N Young’s first solo album, and the seminal Warhorse album, both picked up for £2 a hank, along with More soundtrack original-ish pressing, early Queen, and ‘Taste’ (Rory Gallagher’s band). There was also a wealth of prog, in particular Yes albums, which I left. Said highland games included 1 male senior event (over 21 yr old dads), for which I narrowly ensured no photo-finish was required.
The spin-source I chose for closed loop natural material spinning was an Ashford dark-rosewood wheel fitted with jumbo flier for greater width flexibility. Foot-Action operated. The spin source for closed loop (if indeed a spiral-groove 45 counts as closed loop, as opposed to the rare continuous-play closed groove discs) was a black turntable circa 1995, I forget the manufacturer. Powered by mains electricity.

Both spins were started near-simultaneously, without any CERN-style hiccups. Spin was allowed to continued for some time (1-2 hours). The bobbin filled quickly with approx 4mm width off-white coarse wool cordage, and was emptied and refilled once. Apparatus were then shut down, again close to simultaneously. The scaremongers’ fears of adverse reactions between the two mediums producing an uncontrollable chain reaction of spin, were this time at least unfounded.
I recall while working with Sam Ting at MIT, the same feeling of quiet achievement quickly giving way to the desire just to get on with the next test…

The next process in this case was the dyeing of the natural spun material. For this I chose mixed lichens from the lichen repository out back of the facility building, along with solar-distilled and re-acidified streamwater, balsamic vinegar, sea salt and onion skins. After bringing to critical point temperature in heating chamber, I added the first skein of post-spin material, and reduced heat to low. Second skein was then added. The hue began a deep magenta from the lichens, then after a night cooling in the chamber, turning to a rusty orange. The material is now airing naturally on a medium to high humidity external sill. I will use said material soon and pass on further findings and conclusions.