SONAR SEA
The acoustic experience of the Baltic Sea dynamics
Elin Stampe
Sonar Sea
The acoustic experience of the Baltic Sea dynamics Elin Stampe
Degree of Master of Fine Arts in Design – Spatial Design Konstfack – University of Arts, Crafts and Design Supervisor degree project: Rebecca Ahlstedt Examiner degree project: Kristina Fridh Supervisor report: Maria Perers
Examiner report: Tor Lindstrand Spring 2021
ABSTRACT
This thesis project aims to discuss the conditions and importance of water as a dynamic body in our environment, as water is affecting life on Earth on all levels. By focusing on the Baltic Sea, a sensitive body of water, I am exploring the acoustic characters of the sea dynamics through sound recordings at three bays in the Stockholm Archipelago. How can an acoustic exploration of the Baltic Sea dynamics mediate a sensitive relationship to our marine environments? Sound defines environments and gives indications of their current state. In this project, I intertwine an artistic approach involving our senses with scientific research of measuring to further an understanding of the relationship between humans and nature. The project explores water and sound in two parts, first as a method for listening to the sea, second as a spatial composition created for a sensory experience of the sea’s endless motion. It is my hope that my installation can stir emotions and create an understanding for the environmental challenges facing the Baltic Sea and inspire action towards prosperous natural environments where we live with and not apart from nature.
TABLE OF CONTENTS
Acknowledgements 5
Introduction 6
Design Process 8
Part 1 – Listening to the Sea 8
- Designing the Floating Jelly
- Field Recordings
- Acoustic Ecology
Part 2 – Emitting Pulses 13
- Catalyser
- Oscillating Membrane
- Sensory Experience
Proposal 21 Composing Water Dynamics
Conclusion 24
References 30
Recordings from the Baltic Sea 31
ACKNOWLEDGEMENTS
Firstly, I would like to thank the association Baltic Deepwater Life, especially the executive secretary Björn Bernau, for our conversations about the future of the Baltic Sea and for allowing me to take part in their important work towards a healthy sea. I hope for more conversations about water dynamics in the future and I also see a possible collaboration with them where art and science can merge.
I would also like to thank Evelina Dovsten, artist and former Konstfack student, for your knowledge and skill in glass blowing and for the collaboration with creating the glass membranes at Gustavsbergs Glashytta.
Thank you to Fox Belysning for lending me spotlights to complete the atmosphere of the installation.
A special thanks to Niklas Billström, teacher in sound design at Konstfack, for guiding me in the world of sound and acoustics and for being a sounding-board for whenever I have had questions.
Finally, I would like to thank Rebecca Ahlstedt, senior lecturer at Konstfack and main tutor of this degree project, for so many great insights and encouragement. It has been wonderful to have you as a tutor!
INTRODUCTION
Water is one of our most vital elements and as it flows it facilitates the being and becoming of life on Earth. Like all bodies of water, the sea manifests itself in a pulsating sequence as
currents travel through its layers, creating expanding and contracting motions. Life itself began in the sea, but today the marine environment is neglected to benefit the human way of life.
As we have become disconnected from natural environments, we have also become distant to the consequences of collective actions. Today, we are beginning to see evidence that some of the Earth’s subsystems are moving outside their stable Holocene state, according to Johan Rockström, professor in environmental science with emphasis on water resources and global sustainability. This includes the rapid changes in the Hydrosphere, the combined mass of all water on Earth, such as melting ice, sea level rise and decrease of fresh water. (Rockström 2009) The water system is sensitive and as geologist Stephen Mojzsis states, “In the age of humans we need to understand the relationship between water and life, because our very existence depends on it.” (Vetenskapens värld 2021)
Oceans form the largest part of the Hydrosphere, 70% of the Earth’s surface consist of liquid water. Published in 1950, The Sea Aorund Us is an extraordinary book by marine biologist Rachel Carson that has inspired this project. She writes about the many layers and dimensions of the sea and how it is affecting life on all levels. In particular, Carson describes the relation to the Earth’s climate as the great stabiliser and regulator of temperatures and the close relation between climate and the pattern of ocean circulation. The oceans play an important role for our climate as they have been absorbing the heat caused by human impact, but it is a relationship that has come to be more and more unstable. (Kihlberg 2021)
The Baltic Sea is a body of water that is sensitive to climate change, which during the 20th century has been affected with ecological and biological strain. (Baltic Deepwater Life 2020) This specific body of water is where my degree project and explorations start. The sea is a source for livelihood and recreation, but it also consists of a network of waterways that is highly occupied. According to the association Baltic Deepwater Life, the conditions for the Baltic Sea has worsened due to eutrophication and oxygen deficiency. In other words, it is a sea that is slowly suffocating due to the low inflows, slow cycle of water currents and high
rates of phosphorous and nitrogen.
“In order to understand the Baltic Sea we need to understand the processes that control the flows and the conditions that are affecting it.” (Baltic Deepwater Life 2020) My project is a contribution to the understanding of the importance of the seas and the oceans, which natural historian David Attenborough summarizes: “A functional ocean is vital for the health of our planet and humanity.” (Attenborough 2019)
The Baltic Sea, to me, represents our place in the world and how we can live with rather than apart from nature. Water is a dynamic body in constant flux. In this project, I intertwine an artistic approach involving our senses with scientific research of measuring to further an
understanding of the relationship between humans and nature. As philosopher Astrida Neimanis states, “Water connects the human scale to other scales of life, both unfathomable and
imperceptible. We are all bodies of water, in the constitutional, the genealogical, and the geographical sense.” (Neimanis 2012)
The project includes two different parts connected to each other through the study and application of sound in water, hydroacoustics. This involves passive acoustics, which is listening for sounds, and active acoustics, which is emitting pulses of sound and listening for the echo. In the first part, I am exploring how I can listen to and record the Baltic Sea
dynamics through a sensory object at three different locations in the Stockholm Archipelago.
In the second part, pulses are produced in a spatial audio-visual composition in an attempt to create emotional attachment and understanding for the sea as a necessary body within our lived environment.
With this project I want to address the conditions and importance of water as a dynamic body in our environment and embody the sea around us to help influence environmental understan- dings and behaviours towards how we treat and perceive nature. In this way, I am influenced by the work and words of Andrea Polli, “Artists have the opportunity to create works that have an emotional impact and through touching the emotions of the audience, this work can affect environmental understanding and therefore behaviour.” (Bianchi & Manzo 2016) I believe that I as a spatial designer can create spaces that connect us to other worlds.
So, how can an acoustic exploration of the Baltic Sea dynamics mediate a sensitive relationship to our marine environments?
DESIGN PROCESS
Part 1 – Listening to the Sea
Designing the Floating Jelly
Drawing on Rachel Carson, I research ways of working with the sea dynamics and acoustics:
Carson continues, “From the deck of a vessel you may look down, hour after hour, on the shimmering discs of jellyfish, their gently pulsating bells dotting the surface as far as you can see.” (Carson 1950)
Scientists believe that the Moon Jellyfish thrives in areas that are affected by human activity as the result of overfishing, ocean warming, and pollution reduce their predators. As the human activity in the oceans increase so does the Moon Jelly. (Oceana 2002) It seems that our
relationship to the sea is somewhat intertwined with the life of this species. To learn more about the ocean, I choose to explore it through the qualities of the jellyfish as my companion species, a term I am borrowing from professor Donna Haraway. In Staying with the Trouble, she deals with nature and other species as kinships, something we must create relationships to as she explains, “We become with each other or not at all.” (Haraway 2016)
With a body consisting of almost 98% water, the Moon Jellyfish somewhat embodies the sea.
The species lives on the coasts of the Baltic Sea and travels with the currents in rhythmic pulsations. The Latin name Aurelia Aurita means attentive or hearing well, and this acoustic sensibility is something I am influenced by when making my audio recording object made to travel with the surface currents and trace the sounds of the sea (Fig 1).
For the sea’s children nothing is so important as the fluidity of their world. It is water that they breathe; water that brings them food; water through which they see, by filtered sunshine from which first the red rays, then the greens, and finally the pulses have been strained; water through which they sense vibrations equivalent to sound. And indeed it is nothing more or less than sea water, in all its varying conditions of temperature, saltiness, and pressure, that forms the invisible barriers that confine each marine type within a special zone of life… (Hessler 2018, p.157, my italics)
In following the jellyfish, Carson continues to guide me: “The more one looks, the more the name of the game of living and dying on earth is a convoluted multispecies affair that goes by the name of symbiosis, the yoking together of companion species, at table together.”(Carson 1950, p.124)
I search for materials that can resemble the body of the Moon Jellyfish. I am fascinated by the viscosity of its body, its liquid, jellylike, watery structure. The materiality of silicone has almost the same feeling and I therefore choose to create the audio recording membrane in this
material. I construct the shell of the Floating Jelly by creating a mould in plaster from a semi-large Pilates ball and then brush layers of silicone inside the mould. To make it float in water, I must insert air which makes the membrane more fragile, almost as an organ of its own.
To attach the sensory tentacles, or hydrophones, I drape a thin net around its body. I am then using the Floating Jelly during field recordings.
Fig 1 Drawing of the Floating Jelly inspired by the features of the Moon Jellyfish.
Field Recordings
During the process I am in contact with the association Baltic Deepwater Life, which works to save the life of the Baltic Sea and increase public awareness by presenting a large amount of data to create more knowledge about the dynamics of the sea. They are planning to execute marine measurements in the larger bays of Stockholm Archipelago to chart what affects the Baltic Sea such as the production of algae, ocean currents, salinity, nitrogen, phosphorus and more. (Baltic Deepwater Life 2020) I think it would be interesting to combine their scientific and data-based measurements with measures with focus on phenomenology and the expe- rience of water. Two of the bays where Baltic Deepwater Life will make measurements are Nämdöfjärden and Mysingen. I am therefore choosing these two bays as part of the locations and base of my project, where I am also placing out the audio recording membrane. The third location is Krabbfjärden, situated outside of Torö, a part of the Baltic Sea that I have a personal connection to, with waters I have spent a lot of summers swimming in and staying close by (Fig 2).
As I am placing out the audio recording membrane, I want to capture the sound of the sea and highlight its moving dynamics. I am tracing the layers of the sea with the hydrophones attached to the Floating Jelly. The process of field recordings is exciting and interesting. At the locations I can listen to underwater sounds live through headphones connected to the hydrophones in the water. At some point a boat emerge and disappears and this creates a drilling noise which somewhat pierces through the sea. In that moment I feel a deeper connection to the waters, I am hearing what the sea is hearing, and I can somewhat imagine what it would feel like to stay below the surface.
Acoustic Ecology
Sound in its physical sense is the phenomenon of waves of vibrating particles, but when connected to a specific environment it defines the environment and gives indications of its current state. During the process I am asking how one can explain the constant movements and shifts that occur in the sea? Can I hear how the sea is doing?
The soundscape’s impact on ecosystems and human impact on soundscapes are central in the research agenda of what is called Acoustic Ecology. (Pasoulas 2020) Acoustic Ecology is the study of the relationship between living beings and their environment mediated through sound.
NÄMDÖFJÄRDEN
MYSINGEN
KRABBFJÄRDEN
THE BALTIC SEA
Fig 2 Field Recordings with the Floating Jelly at three bays in the Stockholm Archipelago.
A key figure within this field of art and science is the composer Raymond Murray Schafer who introduced the concept of soundscapes in the 1960’s. He suggests that acoustic ecology or acoustic design implies to regard the soundscape of the world as a huge composition where we are simultaneously audience, performers and composers. (Schafer 1994) The work of the environmental artist Andrea Polli, as mentioned earlier, is based on this field of knowledge as a way of raising awareness of environmental issues and expressing scientific data through the sense of hearing. (Bianchi & Manzo 2016) This world of art and science informs and activates my project.
Temperature, humidity as well as other weather properties contribute to changes in the sonic environment. When recording at Nämdöfjärden and Mysingen, it is windy and about 4 degrees in the water. The wind contributes to the sound of pouring and moving water, which is picked up by the hydrophones. During field recordings at Krabbfjärden, the sound of boats emerging and disappearing is very present, and as I go further out with a rowing boat, it starts to rain. The rain becomes very present as a sound source above the surface, but below I can only hear the stillness and some clicking sound that I think is the sound of fish.
The time I spend at each location varies and therefore I am only receiving a brief understan- ding of what is called Keynote Sounds for each bay and water environment. Keynote sounds are the frequently heard sounds in an environment, a background sound of some sort. There is also a difference in the ambient noise level depending on if the soundscape is hi-fi or lo-fi.
The environments where I am recording at can be described as hi-fi soundscapes, with low ambient noise levels, which allows the listener to hear farther into the distance. (Shafer 1994) Below the surface of the sea there is naturally a quieter sound landscape, therefore the noise of boats emerging and disappearing creates a stronger disturbance and unwelcome presence in the landscape. To use the words of R. Murray Shafer, “In the quiet ambiance of the hi-fi
soundscape even the slightest disturbance can communicate vital or interesting information.”
(Shafer 1994)
This intensity of human created sounds interfering with the soundscape, becoming part of the natural environment, is something I want to work with in the embodiment of the sea dynamics.
I am not using data or translating data into a sound experience. I am on the other hand trying to compose the sea dynamics though sound via impulses that mimic the sea, something I am continuing with in Part 2.
Part 2 – Emitting Pulses
Parallel to listening to and recording the sea, I am working with a design process to create a performative space for experiencing the sea dynamics. In furthering my method of how to create this space I work with three steps of motion in relation to sound: Catalyser, oscillating membrane and sensory experience.
Catalyser
The sea dynamics is affected by numerous forces and factors, contributing to the flow of water, such as salinity, temperature, density, gravitation, friction, wind and more. I take special inte- rest in the salinity and temperature shifts occurring in the Baltic Sea. The density of the water is a function of this relationship and differs depending on location and depth. (Lännergren 2019) In my method, I start to investigate how these parameters could be translated into a spatiali- ty that could be experienced. I set up rules for what catalysers I will investigate as actions of performance. Returning to the Moon Jellyfish and the sequence of water, which is constantly shifting form and becoming, I search for a pulsating motion that could help describing the dynamics of the sea. As a method, I work with verbs to find this sequence such as pressure and release, expand and contract, push and pull. I work with these verbs as model sketches,
drawings and with water as material (Fig 3, 4, 5).
Fig 3 Illustrations of water flows.
Fig 5 Selection of model sketches from design process. Elaborating on structure and catalyser.
In relation to finding the structure of the space, I want to investigate water as a sensorial element and how the human body can experience water as something physical. Sound is
something we experience internally and as I read more of the work by Rachel Carson, I find my way to work with sound as vibrations and vibrations as movement. The technique of emitting pulses in water is also called Sonar, or sound navigation and ranging, where soundwaves are sent out and reflected in the sea water.
I continue my explorations with sound and strings. I want to explore how sound can be trans- ported from one source to another, starting with a simple test with a tin can telephone. I search for ways of producing sound and, after talking to Niklas Billström who teaches sound design at Konstfack, I discover something called surface transducers, a small speaker that vibrates when in contact with a surface. Together with Niklas, I try out different materials that could become an amplifier of the sound from the surface transducers (Fig 6). These tests with sound and the initial idea of sound travelling from one place to another, via a string, is something I continue working with as structure and experience.
Fig 6 Exploration with sound on different surfaces.
Oscillating Membrane
I continue my design process in exploring what material that could vibrate with the sound impulses, carry water indoors and at the same time resemble the sea. After a few model tests with materials that could become containers or membranes for the liquid water I decide on working with glass. The glass becomes a membrane that exist between the water and the viewer in the installation but also the membrane that manifests the vibrations of the Baltic Sea.
To construct the glass, I contact former Konstfack student and glass artist Evelina Dovsten.
Together we design the membranes that are describing the layers of the sea. The glasses are paired together and connected with a metal string. The top membrane, shaped like a plate, is referring to the sea surface but also created to spread the sound from the transducers. The bottom membrane, shaped like a drop, resembles water in its smallest entity and works as a weight and container of water indoors.
The process of designing and creating the glass membranes is exciting and rewarding. I feel that Evelina and I instantly come to an understanding of what shapes I am looking for and we manage to combine our two professions in a nice way. Glass and silicone come from the same family of silica that also comes from sand, which in turn is entangled with the ocean. The process of working with glass, as first a liquid material that moves until it cools down into shape, makes me think of the different stages and circulation of water (Fig 7). The glass membranes perform as resonating objects. Carrying the resonance of the sea.
Fig 7 Evelina Dovsten blowing the glass membranes at Gustavsbergs Glashytta.
Sensory Experience
The third element of the performative space is the focus on sensory experience and how to encounter our inner worlds. Sound is a way of enhancing and understanding the world we live in or the world we cannot reach. Listening to environmental sound is key to how we experience and understand the world around us and unlike the visual, sound becomes internal and sensible to our whole bodies. (Bianchi & Manzo 2016)
I believe that there is a way of deeper connection to our surroundings through sound. In Horisonten finns alltid kvar, philosopher Jonna Bornemark writes about the active and passive listening in relation to our own judgement. The listening judgement is both active and passive which she explains, inspires action. Bornemark also describes the sensation of wonderment.
She calls it a specific type of not knowing and that the wonderment we feel when looking at a starry sky, not knowing what the universe carries, gives us pleasure. (Bornemark 2020) I believe that the sea gives us wonderment in the same manner. It is part of our world, yet we cannot reach or experience its deepest parts. It is a living body with a flow of its own. To use the words of Rachel Carson: “Most of the slopes are below the zone of surface wave action, yet the moving water masses of the ocean currents press against them in their coastwise
passage; the pulse of the tide beats against them; they feel the surge of the deep internal waves.” (Carson 1950, p.60) I search for a dramaturgy or sequence of sounds that can embody this flow. Therefore, I work with both high and low frequency sounds to shift the focus from light surface sounds to darker sounds from the deeper layers of the sea.
Fig 8 Illustration of two different bodies of water. Reflecting on the human relationship to the sea.
PROPOSAL
Composing Water Dynamics
Sonar Sea is a spatial composition and an acoustic exploration of three bays in the Baltic Sea.
By exploring water from a sensory perspective, I want to embody the sea around us and raise questions about how we perceive and treat natural environments. The movement of water is a continuous pulsating flow resonating through space, time and body. When composing the space, it is not about composing sound itself, rather how the different materials and layers of the installation perform as a whole. The listening and experiencing body is part of the space and adds a layer of resonance that appears between space and body. This in-between space can be seen as an atmosphere, where body and space interact. As the sound impulses are emitted, they are travelling through the space and reflected in the viewer. The sound produced on the glass membranes are the recordings from the three bays in the Baltic Sea, presented together in a timeline where the tracks interlace in different sequences (Fig 9).
Since the sound of the sea is present in the space, I thought it also would be interesting to bring in the materiality of liquid water, to add another layer to the installation. Therefore, the lower membranes, contain water from Nämdöfjärden, Mysingen and Krabbfjärden. By listening to and being with the sounds of the ocean I want to create an experience of closeness and intimacy. I believe that it is possible to get an understanding of the well-being of the sea by listening to its movements and shifts. “The sound of climate change has been, in many science and art venues, the sound of ice melting, calving. But we should also listen to storm surges, to waves inundating living cities, towns, and, of course, settlements in low-lying atolls.” (Hessler 2018, p.216) The feeling of staying below the surface is enhanced by using small spotlights from Fox Belysning. The movement of shadows create a subtle effect as the glass are reflected on the walls and floor.
Sound Nämdöfjärden Sound Mysingen
Sound Krabbfjärden
Fig 9 Drawing of Spatial Composition and scale model 1:20.
CONCLUSION
To summarize, throughout this thesis project I have received a closer understanding for how I as a spatial designer can work with environmental issues and performative spaces in the future.
I continue to believe that an artistic approach can have impact on larger existential questions and together with scientific facts guide us in changing behaviours and understand and perceive the world from new angles. During the process, I have learned more about my design method, why it is important to materialize and test my ideas in order to move forward. The part of not knowing is essential to be creative and fully engaged in the process. I have also realised the importance of having conversations with others and, through these conversations, the project has become more focused and extended at the same time. The possibility of engaging people outside of Konstfack, such as Baltic Deepwater Life, has made the project richer and more interesting.
The overall response towards the installation has been positive, many of the visitors have described it as soothing, comforting and a space one wants to spend time in. I think that the project has succeeded in creating a space to experience life in the sea and as an installation that touches upon many senses. However, I believe that the condition and problems of the Baltic Sea did not come across as strong as I hoped as the surface transducers produce a quite delicate sound and the overall atmosphere becomes light rather than heavy. Drawing on what Andrea Polli states, I want to touch upon emotions that might change behaviours and our approach to nature. It is my hope that part of this project has succeeded in doing so since I also believe that there are many ways of facing the same issue.
The conversation with Baltic Deepwater Life continues and my hope is that together we can create a space where art and science meet. I believe that their marine measurements of the dynamics of the Baltic Sea together with a performative space can engage people in issues concerning our marine environments. Maybe the space in this way becomes pedagogical as the narrative tells a story about the sea in a different way than straightforward facts.
Furthermore, I believe that, coming from a textile background, I have a textile approach to materiality and spatiality. This approach to me includes words such as changeable, light, tactile, expanding and repetition. I think that working with glass as material and dimension in the installation is based on these ideas of materiality. The function and the fragility of the glass as membrane and what it represents is important as a layer in the final spatial composition.
In addition, thoughts I had during my bachelor’s degree project about body, space and
choreography have followed me into this master’s thesis. I have an interest in the viewer, how the body is connected to, perceiving and experiencing the space around it. With this spatial composition and installation, I want to capture the being of water as force, phenomenon and body and relate it to our human bodies and by doing so, try to get closer in understanding the relationship between water and life. An unexpected experience I had, being in the finished installation, was that the movement of my own body created small air flows that produced movement in the membranes. I think this adds another interesting and unexpected layer to the performativity of the installation.
The being of nature is constantly moving and shifting as is the essence I am searching for as a spatial designer. I think there is a need for performative spaces in the field of Spatial Design.
We need to talk more about the experience of and perhaps less about how to organise and construct space. The space created for activation, the transformative space, spaces for
contemplation and somewhat undefined situations where body, space and time affect each other and depend on each other interest me. Water as being, body and landscape add to these ideas of performative spaces, a topic I most definitely will continue to explore in the future.
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RECORDINGS FROM THE BALTIC SEA
https://soundcloud.com/user-795545491/namdofjarden-24032021-mixdown https://soundcloud.com/user-795545491/krabbfjarden-27032021-mixdown https://soundcloud.com/user-795545491/mysingen-10042021-mixdown
