Jodie Saunders 

sonic debris


Dartmoor is host to several large abandoned granite quarries. In these startling reverberant hollows – with present-time uses such as military training, tourism and a one-time Bear Grylls TV show – I am listening, making sonic, written & drawn observations. Granite from these quarries journeyed on to become part of HM Prison Dartmoor, as well as further afield to become New Scotland Yard’s façade, London Bridge and Nelson’s Column. I am unfolding, in writing, a mix of historical, environmental, folkloric and mythological stories from these sites and investigating the stories and sounds that could be held in granite. Recording in quarries, I am conscious of parallels with extractivism in sound art – from ideas of sound ‘capture’, storage and placement in new contexts, to the mined materials included in recording technologies. The recent and ongoing Right to Roam campaign, fighting for rights of access to Dartmoor, will be woven into my listening and personal response to the site

Jodie Saunders explores ‘Tentacular Listening’ – listening as an attentive, embodied and essential way of being. Past projects have investigated feminist sonic histories/stories – as in Lyneham Collection (2020) & invisible:indivisible (2022). ‘In the Mind’s Ear’ (2021) asked questions around underwater listening and the effects of human-generated sound on underwater beings. In ‘Tentacular Listening’ (2022), she collaborated with Emma Somerville in a BSL conversation exploring listening and vibration.

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