Garston Wood is now a fragment of a once much large hunting forest that covered the chalk high grounds and downlands of the Cranborne Chase. The wood has been coppiced for over a 1000 years, and within it lies a much older remnant of settlement, Mistleberry Fort an unfinished Iron Age Hill Fort now covered by Hazel and Oaks, Bluebells and Garlic. The woods are home to variety of bird and butterfly species including Nightingales and Turtle Doves.

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"you cannot have a chorus of one" they said

inherently of the multitude, chorus' are assemblages of waves and social behavioural response. A period of time(ings) (between the cochlea and an imaginative response) producing the possibility of reproductions for lifeforms; the passing on of their matter, as well as their social relations.

They are as such neither non-living - nor living.
They perform as such neither in the categorised present, nor a past, nor a future. But as all of these simultaneously.

They trouble the late liberal recognitions that demand those distinction as a foundation in structuring any political response or form of accountability. 

How then might a chorus be accounted for? What forms of acoustic justice (as writer Brandon Labelle might refer to) would be required to express the dimensions that compile it.

For they express across the coming together of disperate geographies, climates, bodies, improvisational and intergenerational pedagogical experiences. And simultaneously disfigure interior / exterior boundaries, of the bodies and the spaces they seeps into. 

And as these live streams re-circuit those experiences into the many cochlea's and affective responses of Reveil's listeners around the world, they too become part of its thick expression.

A thickness of embodied interaction, one that implicates all of these practices, knowledges and desires 
 
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