In J.G. Ballard’s 1962 short story “The Singing Statues,” he envisioned a future where sculptures, powered by “senso-cells,” respond to surrounding vibrations, creating a lively interaction between human presence and art. This concept is brought to life in Feel the Sound at the Barbican, an immersive, multisensory experience designed to broaden our understanding of listening beyond mere hearing. Unlike Ballard’s portrayal, where such art is exclusive and manipulated for the elite, the Barbican fosters a more inclusive atmosphere, allowing exhibits to engage uniquely with visitors while providing a sonic haven in these unpredictable times.
Throughout the exhibit, attendees are encouraged to engage actively with the artworks. It’s not only about looking and listening; visitors can touch, tilt, squeeze, sit, sing, strike poses, and even dance. The focus shifts to the potential of sound. For instance, Your Inner Symphony, a project by Kinda Studios and Nexus, invites participants to scan their hands, translating physiological responses into vibrant, pulsating visuals. Evan Ifekoya’s Resonant Frequencies exposes visitors to frequencies believed to promote healing, which can be felt on a vibrating bench and seen rippling through water.
An “Embodied Listening Playground” enhances this physical sense of sound. Stepping onto Jan St Werner’s Vibraceptional Plate sends low-frequency vibrations reverberating through our bodies, creating a loop that defies conventional perceptions of space and time. Reaching toward the ceiling activates the cloth “udders” of Amor Muñoz’s Chimera, Expanded Bodies, connecting bodily rhythms—like heartbeat and respiration—with pods housing non-human entities, triggering sounds that blur the lines between human and non-human.
While most works offer abstract interactions, two notable pieces present more human representations. Holly Herndon’s AI avatar performs a rendition of Dolly Parton’s “Jolene” against a backdrop of shifting barnyard visuals in the video Jolene (feat. Holly+). Using a deepfake tool, this work explores the complexities of authorship in the age of AI, as the impeccable vocals raise questions about creativity and ownership.
The installation Resonance Continuum by the transmedia collective Elsewhere in India features a temple-like structure displaying ancient South Asian imagery. Participants engage in the ritual of ringing a cowbell, a gesture that opens gateways within the artwork. Masked humanoid figures mimic our dance poses, playing Indian music when we succeed. This interaction prompts reflections on whether we are guiding these beings or vice versa, embodying a hopeful vision for the future intertwined with cultural heritage.
Innovation in cultural preservation appears in the “Sonic Machines Playground.” Alejandra Cárdenas and Tatiana Heuman’s Near and Remote Memory Activation Practices showcases traditional South American sound-making tools, transforming them into evolving entities through hydraulic systems. By interacting with the installation, we produce gentle sounds. Ei Wada’s Electric Fan Harp reimagines household fans as instruments that respond to light, creating eerie melodies as we shine torches, merging urban folk elements with technology.
While some abstract works might evoke skepticism reminiscent of Ballard’s elitist patron, two installations offer a comforting return to harmonies. UN/BOUND features a holographic choir performance by Trans Voices, the UK’s foremost trans+ vocal collective, creating a spatial listening experience that invites audience participation. The style deftly blends ancient and contemporary, offering a sense of timeless freedom.
In Forever Frequencies, created by Domestic Data Streamers, visitors can commission unique compositions generated from memories, music, and dreams. These pieces are performed through mechanical music-box movements, merging personal narratives with musical innovation. The collective emphasizes a responsible approach to AI, showcasing their commitment to leveraging technology for positive community impact.
Moving deeper into the Barbican’s unsettling underground car park, Max Cooper’s Reflections of Being blurs the lines between signage and art, capturing the responses of a community posed with the question: “What do you want to express that you feel you can’t in everyday life?” As we navigate through projections, we become part of the artwork, our silhouettes merging with the shadows.
Rounding a corner, we find Joyride by Temporary Pleasure, featuring four retrofitted cars blaring different club music styles amid vibrant lighting. Initially perceived as competitors, these sound systems become a celebration of diverse subcultures and unity, turning Car Park 5 into a welcoming space. Throughout Feel the Sound, even amidst technological exploration and connections with the non-human, a distinctly human essence is palpable.
Peter Maber is the Head of Faculty and an Associate Professor in English at Northeastern University London, currently researching the relationship between poets and painters from the early twentieth century to today.
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