Made Antarctic Waves
aim for Antarctic Waves was to offer a unique collection of creative
tools for making music inspired by the important scientific work being
explored in Antarctica.
between science and music was made by using as its unifying principle
the concept of waves.
Waves represent :
* the methods used by scientists to both measure and understand Antarctica
* the ways in which we both make and hear (and sometimes see) music
* a series of metaphors connecting this scientific work with musical
Waves extends the notion of visualising data. Scientists who need to
understand complex data sets are familiar with the idea of representing
data graphically and sometimes dynamically. Recent developments in hardware
and software have provided a new range of powerful software tools for
visualising data. We wanted to take this idea one sense further and
design software that enables the user to musicalise data allowing
us to hear data as well as see it.
MAKING MUSIC SECTION
Our starting point in each of the five areas was to talk to scientists
at British Antarctic Survey who explained in detail both what they were
researching and why. To illustrate this we were shown a variety of types
of data - images, sounds,and mostly - numbers. After talking through
the underlying story or issue that we wished to take on, we began to
mock up the storyboard for each area, including the relationship between
music and science, the fundamental musical device being explored and
how to make the interfaces both interactive and fun.
In some cases like the Ocean Life and Whistler section, we tried to
replicate the research processes that the scientists undertake. So in
the Whistler section, the act of listening to a length of audio recording
and selecting areas of interesting musical activity is actually very
close to the scientists listening to hours and hours of material, listening
for interesting triggered emmissions. The Ocean Life section represents
the real life method of collecting data on ocean life by including a
boat. The data that the equipment on the boat generates in response
to matter in the water, is used to paint a data picture of the range
of life that exists in the water in the interface. The use of the vertical
line underneath the boat to calculate the dominance of a particular
colour/life form, works togethr with the movement of the boat in a straight
nautical line to transform the changes of life over time and distance,
into changes of volume. It was a perfect opportunity to use volume as
a musical device (which is sometimes underated and underused). It enables
to us to avoid the rigidity of a set rhythmical pattern and introduce
changes in volume and therefore changes in the perceived and real active
dynamic of the material.
Very early on in the production we discussed what the musical outcome
of the data should sound like. After talking to a series of composers,
we felt that we should move on from the MIDI sounds that we were using
in order to test the musicalisation processes, and create new bespoke
sounds. By using source sounds collected/recorded at the Antarctic and
editing, combining and manipulating them into our own set of sounds,
we felt that Antarctic Waves didn't create any obvious relationships
with one type of music or culture. This was a very important issue for
us as we wanted to people to use Antarctic Waves to create any kind
of music in any kind of musical style and not feel that by using 'violins'
that it was for creating classical music, or 'sitar' so that it was
for creating Indian music. We were spoilt for choice with a wide range
of extraordinary sounds recorded by the British Antarctic Survey and
have used albatross croaks, seal barks, water, wind and so on - some
sounds that have to be heard to be believed!
This area has been through 42 different versions and developmental stages,
and is the area that we started first and finished last. Game -play,
and sound manipulation were the main factors undergoing constant change.
We also had extensive feedback from our Albatross scientist who guided
us on what we could say in relation to the declining population of Albatrosses
and what we couldn't - we had to ensure that we drew the right conclusions
from eating patterns and the presence of longline fishing.
version of the Albatross area was created in order to sort out the mapping
of satellite data from the Albatrosses flight trips onto a suitable
map of the earth surface - there being a few different ways to do this
and each with their own complications. This now unused version proved
to be so much fun to play as an instrument in its own right, that we
will soon be adding it onto this website for you to have a go - watch
to the Sky
This is one of the most-played areas of Antarctic Waves. The simple
correlation equating dark colours with low pitches and light colours
with high pitches has created an area with fairly immediate musical
feedback. Each photograph shows roughly 500Km of sky above Antarctica,
and includes a range of phenomena - wide patches of starry sky, denser
patches of the Milky Way and very light coloured but dense patches of
the aurora. This in itself is an enormous wealth of creative material,
but adding fifty two other sky images to sequence and display changes
in the sky over time, creates a fundamental parallel with how music
changes over time. The four instruments that are available in this area
are all options for each of the four earcons. This decision means that
students can play with ideas of unison and polyphony, using the difference
in instrumental timbre to help to differentiate between different lines
of musical activity.
The Composing Guides were written by Duncan Chapman and Gabi Braun.
The composing ideas that surround each of the five areas in the Making
Music section, were written to embrace both structured and abstract
ideas, a range of age ranges and abilities and a range of instrumental
and digital resources. This complex intention was realised by talking
through the specific composing possibilities that each of the five interfaces
offer and by creating more ideas than were included in the final version.
Comparing the range of ideas and how they were illustrated across each
section allowed us to boost or limit the five until we felt a balance
which is aimed at students, and the Teachers' Notes were carefully written
to set expectations appropriately about both the mechanics of the software
and effective classroom use as well as approaches to composition. In
association with our Education Advisor John Stephens, we included sections
on organisation, development, assessment and achievement of work. These
areas work in parallel with the concise Composing Guide Plan, the Glossary
of terms, the Schemes of Work and Specifications for 14 - 19 year olds.
In all of these areas, we have advised that using Antarctic Waves could
really benefit from joint teaching or at least from input by a science
or geography teacher. Whilst we feel that all of the information needed
about the science that underpins the five main areas in the Making Music
section is present in the respective introductions, we are confident
that this resource is a good opportunity to foster and develop teacher
relations across curricular subjects.