A few hundred people in Manchester Cathedral.
Eyes closed; silent; sat quietly, standing still or walking slowly.
20 or so of the assembled, dressed in black, each at a position midway between pillars, sung and intoned according to a simple set of rules which, when unfurled at the rate of the singer’s breath, ebbed, flowed, combined and separated to form something that was neither ordered nor chaotic.
There are audio recordings, but they do not do the experience justice…
Super Critical Mass: Voices was, for me, one of the highlights of the Future Everything festival.
[An] immersive and meditative performance-installation that articulates both instrument and architecture, within which audiences can freely move about or sit and absorb.
[...] a contemporary take on a number of traditions including the orchestra, homogenous ensembles, sound installation, community arts, and public art practice.
Torn between jumping up and whooping and sitting in meditative silence, our end-of-performance round of applause was somewhat shell-shocked and muted. A moving experience with added computation, aleatory processes and people being really brave to stand singing with an unseen crowd flowing around them.