I’m Jo Kennedy. I live in Todmorden, West Yorkshire. This blog documents a sound art project I’m undertaking over the next few months, based on an imagined rewilding of my local South Pennine moorland. The piece will use field recordings and the human voice.
I’ve started to put together the visual material for the piece, using video footage I’ve taken in various local locations over the last few months. These early, draft ‘segments’ – which I’m posting on Vimeo (see below) – are subject to further iteration but serve as some initial building blocks. They will be paired with …
Introduction In CM’s blog ‘How did the moors of the Central Pennines come into existence’ (11th Sept 2018) she describes how the plants and animals that might have been present in the landscape 10,000 years ago had largely been replaced by others 5000 years later, and again, 5000 years after that. That is to say, the environment …
A post by CM SHAW The open moorland on the tops of the hills in the Calderdale area were formed by a combination of environmental, biological and human factors, over the past 10,000 years. Humans have been present throughout this time and brought about extensive deforestation of the landscape, especially from about 4500 to …
For any questions or more information on this project, you can contact me (Jo Kennedy) at firstname.lastname@example.org
This page includes links to useful resources and information I’ve found on the topics of rewilding, ecological sound art, and connecting with nature
and – from the above website, their resources page – https://www.rewildingbritain.org.uk/our-work/resources/
a Nature Connectedness Research Blog by Prof. Miles Richardson
From the Ecosono website: “Experimental sound art and environmental preservation meet through the actions and publications of EcoSono. By involving the arts in environmentalism with the assistance of science, EcoSono hopes to cultivate a close and productive relationship between people and the places they inhabit.”
An international association of affiliated organisations and individuals who share a common concern for the state of the world’s soundscapes. WFAE’s affiliated UK organisation is the UK and Ireland Soundscape Community (UKISC)
Feral, By George Monbiot. Published by Penguin Press, 2013
The Moorlands of England and Wales, by I. G. Simmonds. Published by Edinburgh University Press, 2003
The Book of Nature and Music, edited by Marta Ulvaeus and David Rothenberg. Published by Wesleyan University Press, 2009
In the Field: The Art of Field Recording. Edited by Cathy Lane and Angus Carlyle. Published by Uniformbooks, 2011
From BBC iPlayer “Our romantic attachment to the idea of wildwood, the impossibility of ever getting back to some primeval grove, and the possibilities opening up about the health and wellbeing of future forests, are debated by Rana Mitter with ecologist and conservationist, Keith Kirby, who knew and worked with the late Oliver Rackham (1939-2015)”
Examples of Ecological Sound Art
This body of work, including a CD but also a book printed on black paper with black text, documents the impact of the oil industry on an Ecuadorian rainforest . Early tracks on the CD are composed with natural sounds, but as at the CD progresses the tracks start to include and are finally dominated by sounds from the destruction of the habitat at its replacement with an oil plant.
The artist placed 28 speakers in a river bed in Chile from which all the water had been illegally abstracted. She amplified the sound of another river under threat of damming (for hydro-electricity) through the speakers, thus bringing the sound of the old river back to the local community.
A performed piece addressing bee colony decline, using field recordings from participating beekeepers, and a score for vocalists, string instruments, organ and laptops. The above website provides more information on the development of the piece.