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.
In this post I present the finished version of Rewilding, along with some reflections on my compositional journey, the piece’s construction and its final form. For the best viewing experience, and if your internet connection and computer will allow, click on the cog on the right side of the vimeo play bar and choose 1080p from …
As discussed in other posts my intention was to include vocals as part of this creative project. As well as the sound walk (see January 20 post) I also invited several people to a small workshop. This took place one February evening at Magic City café, Todmorden. It was an opportunity to share the draft audio-visual piece …
I’ve been working on the soundtrack for the piece, listening to and editing field recordings and matching them with the visual material. Here is a working draft for the first few minutes, representing the moors as they are now, and prior to any re-wilding. Pylons, turbines, tussocks, rough pasture and managed grouse moor. Some of …
For any questions or more information on this project, you can contact me (Jo Kennedy) at email@example.com
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.