Whispering Glaciers — log
Hello world! This is Whispering Glaciers’ development log.
We will be sharing updates on our ongoing research, including insights about Svalbard, the planning of our field trip, artistic and design inspirations, the various testing phases of the project, personal reflections, and, of course, a detailed diary documenting our 10-day expedition in the Svalbard archipelago.
The Whispering Glaciers project takes inspiration from recent observations on the transformations taking place in Svalbard’s ecosystems. Studies suggest that Svalbard is warming four times faster than the global average and is experiencing a severe fast-ice decline. (Rantanen, M., Karpechko, A.Y., Lipponen, A. et al.) This change in weather not only affects the landscape but the ecosystem and the world as a whole.
In the coming years, Svalbard may undergo radical transformations. Sounds, shapes, textures, ecosystem dynamics, and other less visible phenomena could shift into something else. As a consequence, in recent years many have rushed to the archipelago, eager to experience its unique ecosystem before it changes forever.
Whispering Glaciers seeks to create an immersive experience that allows participants to explore the landscapes of the archipelago. This experience will attempt to bring them into close contact with the intricate shapes, textures, colours, ambient tones, and subtle, often inaudible sounds that define this fragile environment. Whispering Glaciers will look into balancing realistic visual representations with more abstract interpretations, challenging conventional perspectives shaped by wildlife films and cinematic portrayals of Svalbard.
Svalbard, Norway, MODIS Land Rapid Response Team, June 7, 2001
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Svalbard is a critical region for studying climate change due to its vast and diverse ice areas. These include glaciers, sea ice, permafrost, and icebergs, each playing a vital role in the global climate system. The total area of the islands is 62,248 km2, and, and, about 59 percent is covered by over 2,100 glaciers. Key types include tidewater glaciers, like Kongsbreen, which calve icebergs into fjords; valley glaciers, such as Longyearbreen; and large ice caps, like Austfonna. These polythermal glaciers contain both cold and temperate ice, influencing their dynamics and response to warming.
Sea ice around Svalbard varies seasonally, peaking in winter and retreating in summer. The extent of sea ice has declined in recent decades, impacting ecosystems and serving as a critical climate indicator. It provides a habitat for species like polar bears and Arctic cod, which are under threat as ice diminishes.
Permafrost, which underlies much of Svalbard, is thawing due to rising temperatures. This leads to infrastructure instability, carbon release, and hydrological changes. The ground ice within permafrost plays a key role in maintaining landscape stability.
Icebergs, originating from calving glaciers, are significant for marine ecosystems as they release nutrients while melting. However, they pose challenges for navigation and provide clues about environmental conditions through their shapes and melt rates.
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Kongsbreen glacier
Austfonna glacier (satelite view)
Austfonna glacier
Scheelebreen glacier, 2023
Borebreen glacier, August 2024
We recently came across the work of Dr. Richard Hann, a senior researcher at the Norwegian University of Science and Technology (NTNU), who specializes in icing on unmanned aerial vehicles. Dr. Hann has conducted extensive research on glaciers in Svalbard—such as Tunabreen, Borebreen, Vallåkrabreen, and Wahlenbergbreen—collecting aerial imagery and publishing photos on Kuula, along with 3D glacier models on Sketchfab.
His work is a great contribution to our field trip preparations, helping us in simulating various scenarios for our VR experience. We have begun importing some of his 3D models into Unreal to evaluate rendering quality and performance. These tests will provide deeper insights into the techniques and considerations for capturing glacier and ice imagery, both aerially via drones and from the ground.
To capture unique perspectives and access otherwise unreachable areas of the glaciers, we will be using two drones alongside ground cameras. The first step was selecting the best drones for the task. Since much of our glacier exploration will take place from a boat, one risk quickly became apparent—the possibility of a drone crashing into the water.
We were advised that if a drone went down, we would need to retrieve it from the freezing depths of the sea. This concern played a major role in our decision-making, leading us to choose the SwellPro Splash Drone 4—a waterproof drone capable of landing on water without issue. To complement it, we also acquired the DJI Mavic Pro 3 for its superior image quality. To mitigate the risk of losing it, we equipped it with a foam float system to prevent it from sinking in case of an accident.
Swellpro Splash Drone 4
French Alps, Aerial view, February 2025
Flying a drone is more complex than it seems. Before I could even start experimenting with it, I had to complete basic training and theoretical courses on drone regulations, pass a test, and ensure I was properly registered. Since I’m flying a drone in the UK, I had to register with the Drone & Model Aircraft Registration Service UK and obtain UK insurance. Additionally, because we’re operating drones in Svalbard, we also had to secure European insurance coverage.
Once all the paperwork was sorted, I finally got my hands on the DJI Mavic Pro 3 and made my first-ever drone takeoff in the French Alps. Over several days, I familiarized myself with the fundamental controls needed to fly safely. I practised takeoffs and landings in different conditions—both with and without snow—learning to launch and catch the drone by hand and maneuver it within tight spaces, simulating the challenges we might encounter in Svalbard.
After mastering these initial steps, I focused on the 360-degree tracking system, which enables the drone to follow and orbit a subject from any angle at varying speeds. This feature will be especially useful for scanning icebergs and other surfaces, allowing us to capture high-quality videos and images for our photogrammetry work.
With most of the preparations for our field trip and technical explorations slowing getting behind, it's time to refocus on the essentials—the experience we aim to create.
Given the current pace of rising temperatures, Svalbard is poised for radical change in the coming decades. Whispering Glaciers is, in this sense, an attempt to create an immersive, embodied exploration of Svalbard’s landscapes, shaped by our own lived experience during a 10-day expedition through the archipelago.
Our goal is to offer visitors an experience that allows them to freely explore Svalbard’s visual and acoustic environments as they exist in 2025—the Year of the Glacier. This experience functions as an experiential archive, centering on the landscapes of Svalbard. While the region is home to diverse wildlife, our focus remains on ice—its structures, textures, colors, and behaviors.
We are particularly drawn to capturing the subtle sounds that shape Svalbard’s sonic landscape. Through VR, we seek not only to allow the exploration of visual forms and textures but to amplify often-overlooked sounds—sounds that carry a profound connection to melting, transformation, and, ultimately, disappearance.
The current research is therefore focused on creating a space that allows us to admire the vastness, monumental beauty and uniqueness of such an environment but also reveals its subtle, delicate, and often imperceptible layers. At the same time, it seeks to capture its fleeting, transitional nature—a landscape on the brink of radical transformation or even disappearance.
The installation is expected to have two experiential spaces: 1) a large room with one or more video projections depicting different elements of Svalbard landscapes. 2) a VR experience in which we can explore, by moving in space, different sounds connected to different visual elements of the landscape (glaciers, icebergs, wide spaces covered by snow). The first space is more contemplative and passive, while the second space requires an active engagement, some exploratory investment and curiosity.
USYNLIG NISSE
(2022-23)
"USYNLIG NISSE" or "Invisible Gnome" is an Android smartphone game crafted with the purpose of improving our ability to blend seamlessly into natural environments while traversing its trails. Inspired by explorations and strolls in Norwegian forests, this experimental game is a direct response to the rising imprint of human presence and its detrimental effects on non-human ecosystems. Enhanced by an AI system and combined with Augmented Reality, the app possesses the capability to analyze and categorize various human-made sounds generated by the player during their expedition. Upon completing each trail, participants are rewarded with points and corresponding rewards in proportion to their concerted efforts to maintain discretion and harmonize with the natural surroundings.
USYNLIG NISSE is a work in progress, conceptualized and designed by Dr. Erik Geslin. Christian Kollbaer, a NUC alumni has also actively contributed as a Unity developer.
BBEE (2023)
"BBEE," or "Becoming Bee," is a PC and VR video game that invites players to step into the shoes—or rather, the wings—of a bee. This virtual experience offers a unique glimpse into a bee's challenging life amidst the Anthropocene era. While primarily designed for online gaming, its adaptability makes it suitable for exhibitions in museums, galleries, and other public spaces.
Guided by a bee's viewpoint, players immerse themselves in a day's labor within the microcosmic world of this vital insect. Visualized through intricate point clouds, this perspective reveals the bee's struggle to distinguish healthy plants from those tainted by pesticides. "BBEE" is intrinsically biocentric, drawing us to center our awareness on the existence of even the tiniest life forms. It confronts players with the striking reality of these creatures, presently imperilled due to human activities and lack of care.
BBEE is a work in progress, conceptualized and designed by Dr. Erik Geslin in collaboration with Dr. Filipe Pais.
Playmode
(2019—2023)
Early on, artists recognized the transformative power of play and began integrating it into their works for diverse purposes – from escapism and social construction to subversion and criticism of society, politics, and even gamification systems.
Playmode, a collective exhibition curated by Filipe Pais and Patrícia Gouveia, brings together a diverse range of artworks that explore social, political, environmental, and existential issues, viewed through the lens of games and playfulness. Featuring the contributions of over 40 international artists, the show made its debut at MAAT in Lisbon, Portugal, in 2019, and subsequently went on a journey to CCBB in Belo Horizonte (03.2022), Rio de Janeiro (07.2022), São Paulo (10.2022), and Brasília (02.2023), in Brazil. The two iterations of the exhibition attracted more than 245,000 visitors.
Among the showcased artworks, pieces like "Everything" by David O’reilly (2017), "Phone Story" by Molleindustria (2011), "San Andreas Streaming Deer Cam" by Brent Watanabe (2016), and "Huni Kuin" by Guilherme Meneses, Bobware, and Beya Xinã Bena, are deeply connected with the non-anthropocentric research strand at the core of CNAP. Hence, this show, and the research behind it, are one of the inspiring foundations of the CNAP.
Noroff School of Technology and Digital Media
Noroff Education AS, Tordenskjoldsgate 9
4612 Kristiansand S
Norway
Dr. Filipe Pais
filipe.pais@noroff.no
Website design by Joana Pestana and Nuno Maio
Dr. Erik Geslin
erik.geslin@noroff.no
Noroff School of
Technology and Digital Media
Noroff Education AS, Tordenskjoldsgate 9
4612 Kristiansand S
Norway
Dr. Filipe Pais
filipe.pais@noroff.no
Dr. Erik Geslin
erik.geslin@noroff.no
Website design by Joana Pestana and Nuno Maio