Wave Magazine

November 2020

Science Music Humans Culture

Our magazine is called wave. Within it we are going to explore the meaning of waves and the different aspects it can cover. The main sections of the magazine are going to be scientific waves, music waves, human waves and a cultural wave.

Within the magazine we want to incorporate wave as a shape within the typography and layouts.

Within the science section we are going to look at imagery that focuses on scientific waves, including seismic waves, wave energy and wavelengths.

Under music waves we are going to look at sound waves and genres like vapor-ware. Within the cultural waves we are going to focus on waves as a social/cultural movement. We will end the magazine with a section on waves created by the human body such as the wave as a greeting or waves as a dance. To keep consistency within the magazine we are going to limit ourselves by using the same font throughout the magazine and incorporate the color blue in each spread.

Wave Equation

his creates a wave pattern that begins to travel along the medium from particle to particle. The frequency at which each individual particle vibrates is equal to the frequency at which the source vibrates.

Similarly, the period of vibration of each individual particle in the medium is equal to the period of vibration of the source. In one period, the source is able to displace the first particle upwards from rest, back to rest, downwards from rest, and finally back to rest. This complete back-and-forth movement constitutes one complete wave cycle

WAV E - L E N G T H E Q U A T I O N

A wave is a disturbance which transmits energy from one place to another without any bulk motion. The ordinary motion of a ball though the art, or a car along a street, involves a single object going from point A to B. This disturbance is produced when a source vibrates. The frequency at which the object vibrate is equal to the frequency each particle will vibrate. The wave equation is the mathematical relationship between speed (v), wavelength () and frequency (f).

Wave Energy

T I D A L WAV E P R O C E S S

Wave energy is a renewable energy source that uses the kinetic energy of waves to turn turbines to create energy.

Wave power converts the peridoic up and down movemnt of the ocean waves.

This kinectic energy is created when wind blows on the surface of the ocean/sea to create waves. These waves can travel long distances across open ocean , with little energy loss till it hits land, which causes the waves to break.

The energy the wave creates depends on where the wave break and the time of year. Two other major factors are the strength of the wind and the unitruptted distance the wave travels. The technolgoy used to convert the kinetic energy of the wave is similar to that of tidal energy and hydroelectic power,. The kinectic energy is used to turn a turbine which is then connected to a genrator that produces the energy,

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Electromagnetic radiation, is a form of energy emitted by moving charged particles.

The travel space like a wave, and emits a electric field component.

These waves oscilate perpendicularly top and in phase with one another.

The creation of all electromagnetic waves begins with charged particles. These particles created an electromagnetic field, creating ripples. Once in motion the lactic and magnetic fields created by a charged particle are self- perpetuating -time dependent changes in one field.

Electromagnetic waves are ubiquitous in nature (i.e., light) and used in modern technology—AM and FM radio, cordless and cellular phones, garage door openers, wireless networks, radar, microwave ovens, These and many more such devices use electromagnetic waves to transmit data and signals.

Electromagnetic waves are ubiquitous in nature (i.e., light) and used in modern technology —AM and FM radio, cordless and cellular phones, garage door openers, wireless net works, radar, microwave ovens, etc.

These and many more such devices use electromagnetic waves to

VISIB LE LIGH T Light radiates from a source in waves. Each wave has two parts; an electric part, and a magnetic part.

That’s why light is called Electromagnetic Radiation.

Our brains interpret light waves by assigning different colors to the different wavelengths, but much of the light in the Universe travels with wavelengths too short or too long for the human eye to detect. The longest wavelengths are the infrared, microwave, and radio portions of the spectrum. The shortest wavelengths of the spectrum are the ultraviolet, x-ray, and gamma radiation.

The visible portion is a very small part of the electromagnetic spectrum.

The wavelengths are usually measured in billionths of a meter (nanometers), or 10 billionths of a meter (Ångströms). The distance is from the peak of one wave to the peak of the next. Humans can see wavelengths from about 700 nm, which appears dark red, to about 400 nm, which appears violet. The light with short wavelengths (violet) carries more energy than the light with long wavelengths (red).

WHITE LIGHT BEING REFRACTED BY PRISM

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Image by Peter Saville for Joy Divsion, Text by Jef f Ogiba for VICE

Talking Heads Elvis Costello The Police Blondie Eur ythmics Duran Duran Tears for Fears Depeche Mode T h e C a r s F r a n k i e G o e s To H o l l y w o o d a - h a B - 5 2 ’s T h e P s y c h e d e l i c F u r s T h e P r e t e n d e r s M e n a t Wo r k I N X S The Fixx Devo Bananarama Culture Club A Flock of Seagulls Simple Minds Thompson Twins XTC Spandau Ballet Pet Shop Boys ABC Thomas Dolby Moder n English The Human League Squeeze Adam Ant Howard Jones Soft Cell Berlin Talk Talk Level 42 The Jam G a r y N u m a n When punk rock music swept corners of the globe in N e w O r d e r 1977, the departure of the phenomenon occurred OMD J o e almost as quickly as it arrived. In as early as 1978, J a c k s o n U l t r a v o x a “new wave of music” had begun to take over the E r a s u r e M i d n i g h t O i l airwaves. “New Wave” was a rebound back to a N a k e d E y e s popular sound that punk rockers originally swore N i k K e r s h a w against. Since New Wave was the pioneer of the B o o m t o w n Rats D e x y ’ s various waves of music to come, it quickly became M i d n i g h t R u n n e r s T h e more of an umbrella term for an alternative post- M o t e l s punk sound. Post-punk and New Wave are not Planet P necessarily the same sound, although bands such P r o j e c t The E n g l i s h as Public Image Limited and Wire could be con- B e a t sidered both New Wave and post-punk based on M a d n e s s Split Enz the sounds of their various albums. New Wave G e n e r a l also became a label used to describe preppy mu- P u b l i c A n i m o t i o n sic fans of the mid 80’s. Some people say that the T h e Call Paul Y o u n g infamous “US” Festivals held in San Berdino, Cal- M i s s i n g ifornia marked the rise and fall of popular New P e r s o n s W a l l Wave music. The First Fest included greats such as o f Vo o d o o Til T u e s d a y The Ramones, Talking Heads, The Kinks, and The T h e V a p o r s Heaven 1 7 Cars. Saturday, May 28th, 1983 became ironi- T h e D r e a m cally known as “New Wave Day.” Groups such A c a d e m y as INXS and Men at Work performed convincing F a l c o D e a d O r A l i v e M e n fans that New Wave had taken a new direction. W i t h o u t H a t s B i g C o u n t r y B r o n s k i B e a t T h e H o o t e r s T h e G o G o ’s R e a l L i f e T h e B u g g l e s B o w Wo w Wo w T h e T u b e s P e t e r Schilling Oingo Boingo Kajagoogoo Swing Out Sister G r a h a m P a r k e r & t h e R u m o u r T i m b u k 3 Wa n g C h u n g The Members Mr. Mister Frida Gene Loves Jezebel The Power Station The Specials The Plimsouls Infor mation Society Arcadia Haircut 100 The Church China Crisis Icehouse Tom Tom Club The Sisters of Mercy Ian Dur y & The Blockheads Big Audio Dynamite Visage

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The New New Wave?

Wave Music

venn overlap of pretty much all of our electronic and hip hop collections and playlists, yet it’s something distinct and special The spacy 808 beat swag of trap, the subby rumbles and halftime pace of dubstep, the dense emotion of sad boy rap, the icy melancholy of witch house, the sci-fi savoir faire of instrumental grime, the loose formula-free experimentalism of the LA beat scene and the synthetic aesthetic of vapor wave… If any of those genres have touched you, wave will, too.

I m a g e b y Wa v e m o b , T e x t f r o m H i g h s n o b i e t y

Every once in a while, a genre will rise from the murky musical swamp of sounds and styles and grab you by the short and curlies, and right now, that genre is wave music.

Based largely on Soundcloud for now, it contains elements of dubstep, jungle, house, techno and hip-hop, but it has merged into a distinct new genre. A DIY community born on the internet that’s gradually taking up IRL space across Europe and the US, wave music is on the rise. Chances are it’s in your musical DNA already: wave sits in the

Curling wave at Sandy Beach, Hawaii Surfer Gerry Lopez Rocky Point, Oahu, Hawaii, 1971

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A w a v e b e g i n s to break when it moves into shallow water where the depth is less than half of its wavelength.

The wave’s e n e r g y is now compressed into a smaller area of water, causing it to become long bo dy of water steeper and eventu- curl ing into an ally toppling over. ar ched form and In the ocean, there breaking on th e are two major types shore of breaking waves: plungers and spillers.

When waves e n counter a steeply sloped bottom, they crash violently, forming plungers.

On more gently sloped coastlines, waves tend to pour over themselves, forming spillers. For surfers, riding a spiller provides a long, smooth ride but riding a plunger results in a fast and exciting, but often more dangerous ride. surfers typically paddle out from the beach through the breaking waves to the surf line.

A w a v e b e g i n s to break when it moves into shallow water where the depth is less than half of its wavelength. The wave’s e n e r g y i s n o w compressed into a smaller area of water, causing it to become A wave begins to break when it moves into half of its wavelength. Te r g y i s

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Finger waves are a classic. Before we get into the how-to of the sleek, S-shaped style, it’s time for a quick history lesson: Finger waves are synonymous with the 1920s. One of my most prominent memories of when my mom taught me about the 20s is the black and white photograph of Josephine Baker, who was a celebrated singer and dancer and the first Black entertainer to star in a motion picture. Not only was she a beauty and style icon, but she was also a civil rights activist who was known for refusing to perform at segregated clubs in the United States. The style remained popular until the ‘30s and later re-emerged in the ‘90s, with stars like Missy Elliott, Lil’ Kim, Halle Berry, and Nia Long wearing the sleek ‘do on red carpets, in music videos, and on film. Now that you have some historical context, let’s get into how we can create this look at home. You may have to dedicate some time to practice your technique, but we think you’ll be a pro in no time. One thing to note about this style is it typically works best on relaxed, fine-textured, or straight cropped hair. However, there are always exceptions to the rules, as you can see with this beautiful bob styled by Nikki Nelms on Janelle Monae, or the cornrowed finger waves Kim Kimble created for Beyoncé. Finger waves were developed in the 1920s to add style to, and soften the hard appearance of, the bobbed hairstyles that became very popular during the flapper period.

Many Hollywood movie stars wore the latest finger waves which contributed to the popularity and evolution of this style.

FINGER WAVING is the shaping or moulding of hair while wet into “s”-shaped curved undulations with the fingers and comb. These waves, when dried without being disturbed, will fall into deep waves. Finger waving differs from marcel waving in that there are no heated irons used on the hair. Not only naturally curly or permanently waved hair can be finger waved, but it is equally successful on straight hair.

The popularity of the hairstyle led to the invention of an improved comb by Paul Compan for hairdressers to more efficiently create the waves.[8]

Hairstyle in which curls are combed and flattened out, creating a ripple-like pattern

Top left: Herb Ritts Bottom left:

The waving of the hand is a nonverbal gesture that has an unclear origin but is said to have dated back to as far as the 18th century[3][irrelevant citation] however, it was not called waving and was not used as saying “hello”, or “goodbye.” The original gesture of waving was saluting. Prior to the 18th century, knights removed the guard of their helmets to show their identity, following with a salute to show they come in peace; saluting is also used to show others that they are not armed with weapons.

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Getty Images, Portrait of a Beauty Queen Waving Princess Margaret (1930 - 2002)

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Deena Dikeman Leaving and Waving 2009

A group of female hikers wave goodbye before setting off on a walking holiday. (Photo by E. Dean/Topical Press Agency/Getty Images)

ave The F r W N e h n c e w

The French New Wave was a film movement from the 1950s and 60s and one of the most influential in cinema history. Also known as “Nouvelle Vague,” it gave birth to a new kind of cinema that was highly self-aware and revolutionary to mainstream filmmaking. A group of French critics, who wrote for the journal, Cahiers du Cinema, believed films had lost their ability to capture true human emotion and “lacked sincerity.” They felt the films were out of step with how people actually live.

For decades, mainstream filmmaking, especially from Hollywood, set the standards and “rules” on how to make a film. The French filmmakers understood those rules...and then threw them out the window. The smaller, lightweight cameras were often “freed” from the tripod and handheld, giving a new life and energy to their films.

Non-linear and fragmented editing became another major and exciting contribution. For decades, each Shot A led logically into Shot B, leaving no gaps in the information to keep the audience from being confused. Now, in these French films, logic became a secondary concern.

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961 ,1 There were quite a few notable French film directors who were part of the movement, including Francois Truffaut, Jean-Luc Godard, Claude Chabrol, Eric Rohmer, Jacques Rivette, Louis Malle, Alain Resnais, Agnes Varda, and Jacques Demy. Their films were characterized by rejecting film traditions.

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This iconic composition comes from the golden age of Japanese woodblock printmaking. The image depicts an enormous wave threatening three boats off the coast in the Sagami Bay while Mount Fuji rises in the background.

Sometimes assumed to be a tsunami, the wave is more likely to be a large rogue wave. The series depicts the area and activities around Mount Fuji under varying conditions. Throughout the series are dramatic uses of Berlin blue pigment.

Given that the series was very popular when it was produced, printing continued until the woodblocks started to show significant wear. It is likely that the original woodblocks printed around 5,000 copies.Because many original impressions have been lost, in wars, earthquakes, fires and other natural disasters, few early impressions survive in which the lines of the woodblocks were still sharp at the time of printing. The remaining prints and subsequent reproductions vary considerably in quality and condition.

Outside Japan original impressions of the print are in many Western collections, including the Metropolitan Museum of Art, the British Museum, and the Art Institute of Chicago.

S EP H M D O R ALLO J TU M WILLIA

Turner is the sublime artist based on close observatio Others were used as studi enlivened by a thick appli

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t of the sea. In the 1830s and 1840s Turner made dozens of watercolours and oil paintings on of the sea from the shore. He developed some of these sketches into exhibited pictures. ies for larger paintings or left unfinished. He used a palette of cool greys, blues and greens, ication of white to evoke the spray of the crashing waves.

ential maritime motif – the wave. It was a phenomenon that Turner had attempted to hes throughout his working life and which had been a defining aspect of his public ning. The hoard of canvases that Turner produced, the anonymous, unrelenting churn of the deep self-reflection.

background: Waves Breaking on a Lee Shore at Margate (Study for ‘Rockets and Blue Lights’), 1840.

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