New visit to our friends of Anglia Rusklin University in Cambridge and NOVARS in Manchester.

The plan was double: introducing noTours to the Music Technology Department of the Anglia Ruskin University and presenting the new features of our platform to NOVARS composers.

After meeting Bronac Ferran, who has invited us to start a noTours project in the context of Visualise in Cambridge,  I introduced noTours to Tom Hall and Till Bovermann (artist visiting the department and developing an interesting project using Beta Blocker). I had the opportunity of making some demos that you see in the photos (by Till). I always had the support of Julio d´Escrivan that is the real iniciator of all these things happening in Cambridge.

I am so glad that the Southampton based composer Benjamin Mawson came and shared with us some of his work. Benjamin composes digital music that could not be played by humans, focusing on virtual environments and spatialization of sound sources.  I think we soon will organize something together!

The plan for the moment in Cambridge is the composition of a soundwalk in collaboration with the Music Technology Department and his students. The process will follow our methodology: workshop+production+exhibition.

Julio and me (just like pilgrims) arrived Manchester on Wednesday evening. He had to play and premiere some of his live electronics works and I was going to meet some NOVARS composers that I worked with last June. I introduced some of the improvements that Horacio and me have done in the last months. Many of them were actually requests from these composers so we kind of closed the circle.

The visit was again amazing. Incredible people working there. The conclusion was that we wanted to work more together (let´s see how…).

the Milena principle collective is presenting noTours in the E-Culture Fair of Hasselt during 16th and 17th of November. The idea is the reconstruction of the walk produced in S.M.A.K. Ghent in the vecinity of the Fair. Audience is called to walk with us for enjoying the experience and discover noTours.

e-culture fair 2011 trailer from E culture fair 2011 on Vimeo.

Full information (in Flemish) can we found at E-Culture Fair website.

noTours is an official “Artist in Residence” from 17/10 until 8/11 in Laboral, Centro de Arte y Creación Industrial in Gijón – Asturies – Spain.

This “Artist in Residence” period finishes with an encounter at the same center with other developers, artists, creatives, etc working on the same field. Dates are from November the 1st until the 5th.

As LABoral says:

Locative audio consists in the capacity to locate a sound in a physical space and reproduce it when the users –equipped with a smartphone or any other device that has GPS and an audio file player – find themselves in the designated place. Although it is quite clear that its usefulness is wide-ranging –from tourist guides to even navigation aids for the blind– the aim of this project is to develop sound and narrative art works through the meeting of producers, sound artists and writers.

http://www.laboralcentrodearte.org/en/actividades/narrativas-espaciales

This Geolocated Audio meeting has a resident wiki (although it is all in Spanish).

From our noTours perspective this Artist in Residence is another official public support for the further development of the tool and its projection to new uses.  Our objectives for this period is fixing some parts of the code and developing a new layer of abstraction that could allow the development of complex narratives (let´s say geolocated audiogames). By the moment our expectations for arising this targets are very optimistic.

noTours White Walk (2011) from enrique tomas on Vimeo.

This year´s Manchester Mantis Festival was dedicated to the concept of  ‘Sonic Meta-­‐ontology‘, encapsulating a number or newly created compositions, sonic events, plus binaural and ambisonics field-­‐recording trip
compositions across the City of Manchester and the North West of England. ‘Manchester’s Sonic Meta-­‐ontology‘ explores whether there is really such thing as a ‘Manchester sound’ and if so, what is it, can we experience it, and can we understand it? Substantive empirical investigation takes place in partnership with local agents and artists in the region, who are looking into the creation, identity, and survival of the real truth of Manchester’s Sound.

Fancy to know your city through sounds rather than visuals? Then this event was for you.

Six MANTIS composers and NOVARS Resident Artists have joined forces to create the first ever MANTIS Audioguide Tour with out platform: noTours!
 

This prototype experience (hopefully more to come!) have presented a number or compositions and soundwalks across Manchester’s city centre.

Let me giving you some more details about these works:

Peterloo (2011) Mark Pilkington (audioguide version)
A 5.1 acoustmatic piece based on the historic event that happened in Manchester UK in 1819. The piece is a sonic reflection of the events that unfolded on that fateful day in August. A peaceful social protest of 60,000 people gathered at St. Peters field Manchester to represent to the nation that ordinary people had the right and ability to discuss social reform issues in public. A political standpoint for citizenship, that would inspire a change that would give people the right to vote for political change. Unfortunately what transpired was a miscarriage of justice in which the local authority ordered troops to disperse the crowd resulting in the Peterloo Massacre in which 15
people lost their lives and 300 people were injured. The piece is in-­‐respect to the people who died on that day and the effects it had on changing the face of political balance within the UK as we know it today. With the help of historian Robert Poole, University of Cumbria and the Peoples Museum Manchester, I have managed to acquire historical factual information in order to accurately convey the sound events as they happened. The sonic material are transformations of recordings made at the recent students protest that happened in Manchester 2011.

“Poetry and literature will come to you, by moving yourself through the world.”

After our soundwalk in Ghent I asked the poet Geert Vermeire, active partner in the project, to describe his experience while creating and listening the geolocated poetry walk.  The next lines (by Geert) condense his thoughts.

noTour Gent, geolocated poetry

Poems and literature are gateways to other worlds, they move you to other places via the mind. noTours is inversing this.  Poetry and literature will come to you, by moving yourself through the environment.

Audio of the walk:

— Which project have you developed in Ghent?

We created (no)Tour Gent. It is a pilot project for S.M.A.K., the City Museum of Contemporary Art in Ghent, Belgium and is created by the Milena principle and Escoitar.org (Stefaan van Biesen, Geert Vermeire and Enrique Tomas).  The project involves creative contributions of teenagers with workshops about locative media, sounds and artistic interventions in the urban environment.

– Can you describe noTours?

noTours is an application for Android smartphones with a web based software platform that allows you to attribute sounds to locations by using GPS technology. The application and contents with sounds and gps references are downloaded on your personal device. Sound recordings are activated when you approach the locations. Once you switch on the device you only need to walk. You are surrounded by soundscapes which come and go according to your movement through the city or the landscape.

– Can you describe the work a little more?

This project is a pilot of a new way of working with noTours, including as well creative writing. Workshops with young people lead to soundwalks realized in cooperation with writers, visual artists and sound artists.

The walk made for S.M.A.K. is a sound experience based on geolocated poetry. This approach transcends working with layers of (imaginary) narratives. It uses the urban landscape as a surface on which site specific poetry is written. All of this in the atmosphere of the dérive, spontaneous walking and exploration of the environment through augmented reality.

The inauguration of the sound walk in Ghent was as well combined with performances by visual artists (WIT/ Stefaan van Biesen, Margot Dieleman and Eric Windey) about writing and sound. These performances were actions in complete silence by the artists walking without a predefined route through the park. It was a visual counterbalance to listening to poetry and to soundscapes. Voices, sounds and in situ created images interacted together and spread their poetic layers on the surrounding environment.

– After your experience, what do you expect for the future?

Our intention is to offer more workshops and more soundwalks in the near future, in which the relation between poetry, image and sound, will be developed and elaborated, using noTours as a creative tool.

Various scenarios can lead to a poetic exploration of a city or the environment. The presence of poetry becomes a physical experience with the voices of poets you can almost touch wherever you are. Letters about or stories related with the presence of historical or actual poets on certain places, next to their poems, letters or other literary texts written at or about certain locations can be heard at the exact spot. During listening you can fully enjoy and observe the environment. The device activates the sounds and texts connected with the location, just by approaching.  A cooperation with sound artists or composers leads to a multidimensional hearing experience which transforms the walk as well to an artistic event.

– Why did you work in Ghent?

Ghent was one of the first European cities bringing poetry in the urban environment. The city created a poetry route with 20 poems as early as in 2000, a joint initiative by the Flemish Poetry Center and S.M.A.K. The visualization of the poetry in the streets was conceived by artists. Approach was to relate design and presentation of the poems in an interaction with the environment. Geert Vermeire, one of the creators of (no)Tour Ghent, joined the project team at an early stage, and created an artistic walk within this project. In cooperation with Graffiti,  a major national association for youth and culture, S.M.A.K. and the Flemish Poetry Center he designed various artistic and interactive walks inspired by the dérive and and by listening experiences throughout the city, adding 15 more site specific poems to the route, all written by teenagers.  The experience was about walking, spontaneous interaction with the city, exploring an interior world and the urban environment by using the senses and by listening, withpoetry as a living medium and in a dynamic dialogue with sound and image.  These walks were inaugurated in 2001 and are still going on.

The project (no)Tour Gent in 2011 explores new approaches to and broadens the horizon of this older format, continuing the tradition and the innovative attitude of S.M.A.K. Interdisciplinary projects connecting ‘word and image’ and their pioneering in art projects in the public space made the museum famous throughout Europe.

S.M.A.K. City Museum of Contemporary Art & Citadel Park Ghent.

An art educative project by the Milena principle/WIT (Geert Vermeire, Stefaan van Biesen, Margot Dieleman, Eric Windey) and Escoitar.org.

Stefaan van Biesen (the Milena principle/WIT) gathers around 10 am seven children, enjoying the sunshine, on the steps of the museum. It is clear that they already know each other and they day begins with happy talking around the tables in the hall, where the electronic material is displayed.

On the program in the morning they get an introduction in the recording and editing of sounds, although only one computer is available. Because of this and the relatively short time – though the biggest distraction is especially because of each other – they were soon looking forward to make recordings and soundscapes. A short visit to the museum opens with the one-liner of guard Ronny: “Do you have a ticketjeee?”. Filip also shows us his musical tricks. Stefaans adds a beat on the words of Filip, animating the children. Then the children brainstorm individually. Ideas, words, sounds raise spontaneously, ready to use for their soundscape. Sound is connected with origami and soon small boats and small kites float through the entrance hall. When they are finished with playing they get a brief explanation of what will happen in the
afternoon and lunch arrives (too early).

At 1:20 p.m. the children wait already, shouting that the artists are late.In fact two more artists (Eric and Margot) join the team and arrive together with Filip. The latter gives a creative tour of the exhibition of Macchi and Sailstorfer. Both exhibitions are very accessible for a child’s imagination and the creativity of the children is set in motion without effort.

About forty-five minutes later the group is going to the park to search for sounds to be used in the end result: an appealing sound walk with soundscapes. First of all, the children let float some of their paper boats with words and ideas. The sound of the water and the ducks are recorded. It was asked to the children to bring their mobile phone to make recordings. Not every child had a phone, so they learned to listen and together with the others they make recordings. The first sound that fascinates them is the gasp of an old dog. And so everything started. The next appealing sound that reaches the ears of the children is the bell of the ice cream cart, all are tempted. Stefaan invites all the children for an ice cream.

Afterwards the children continue their exploration of sounds and discover their own voice. Original melodies and rhythms are resonating through the afternoon. After the walk we return to the hall of the museum to listen to the recorded sounds. The children choose their favorite sounds and out of lack of time, the team will create soundscapes with this material later and integrate it in a sound walk. The children will return to listen to it on on Heritage Day on May 1st. Until next week!

Report : Nina Beghin, trainee of the Public Programme, S.M.A.K.  translated by Geert Vermeire.

You can see a graphical report (in Flemish) in this pdf.

All this in collaboration with The Milena Principle and SMAK.

In our workshops we start presenting the project noTours in the context of our experience (now for 5 years) in Escoitar.org. During 3 or 4 days we introduce our students to the use of microphones and recording devices, even building their own binaural and contact mikes. And we don´t forget the theoritical aspects lecturing about the soundwalks format and introducing what are called called aural studies.

The final objective of the workshop is composing a noTours soundwalk with the students, while they understand the practical and phenomenological issues and concepts of our field.

In Tallin our workshop was organized by the National Contemporany Art Museum KUMU in collaboration with the Art Academy of Tallinn. Our students were mainly undergraduate Bachelors and some teachers of the Music Academy and the Faculty of Humanities (Anthropology).

After introducing our project we went straight to the point of testing the experience of noTours, going out for walking although the weather conditions were really against us. We discussed a lot about the soundscape of Tallinn. Their soundmarks and remarkable noises. In particular descriptions of sounds of trams, sirens of boats, people talking loud, parties, etc. That together with silent landscapes, birds, the sound of wind and coast. In particular, we talked a lot about the importance of traditional choirs in Estonia. It looked to be a powerful way of conducting their national identity.

The second day we introduced them to the particularities of microphones and devices for recording. They even constructed their own binaural and contact microphones used for taking the sound of footprints on the snow. As it is so unexpensive (5€ each) everyone could solder his/her own and get one. This was in particular something that was good appreciated by the students.

For recording we compared our equipment (Zoom H4n, Foxtex, AT Figure 8 mikes and soundman binaural) with the cheap microphones soldered in the workshop. Students were happy discovering that their microphones were not so bad comparing with professional ones (in particular comparing the price).

Si they started to record sounds in the gardens of Kadriorg, where KUMU is located. There was around a meter of snow in the ground. Sound was really dry because of the absortion of snow. But they took good recordings of footsteps, birds, children playing, etc. They understood the issues of recording (wind, expectations of sounds, inmersion in sound using headphones, etc).

Finally they explained their ideas for personal noTours. For example a fragmented soundwalk simulating taking trams in the garden. Trams that are bringing you to invisible stations, connecting with other stations that bring you to other unexpected places. A really cool idea.

The next day they were testing the noTours again, editing their soundwalks and continuing with their projects. It was nice to test our editor with more students. We discovered possible uses and issues of the interface that we never found. So students became beta testers and collaborators of the development of our project. They also had to work a little editing their recorded sounds. They understood working with dynamic ranges, adjusting the amplitude, removing noises, using plugins, etc. In resume, they learnt sound edition in a couple of hours.

What we found really interesting of this workshop and all we are doing is that students really get the idea of what is listening in an extended way. Connecting sound and place, and time. Secondly, the interface for the contents is really direct: walking. The idea of interface dissapearing. Making it invisible. Making the user behaviours conduct the art work. There are no screen to control. No faders or knobs. Just people movements.
They can easy project their ideas, emotions into the project. There is no need for technical skills.It is more a matter of having the enough sensibility for listening and choosing sounds. And this is what we look forward during the workshops.

noTours has recently arrived Tallinn for starting the production of a new geolocalized soundwalk in the context of the exhibition Gateways (opening in May 2011 at KUMU).

We would like to link to the official website of the exhibition Gateways and copying some lines of the curatorial statement by Sabine Himmelsbach. Stay tuned.

http://www.goethe.de/ins/ee/prj/gtw/enindex.htm

The exhibition gateways. Art and Networked Culture presents artists whose work deals with the changed conditions of an interconnected world that increasingly is transmitted through media. The artistic works presented here use various means to tackle the theme of gateways that open to realms of action and experience in our digitally interconnected culture.

Mobility and connectivity are significant aspects and characteristics of our modern networked society; laptops and smart phones are the dominant accessories of the age of information. They offer constant and ubiquitous connection and access to a globalized digital network of data and information that overlays our reality like a second skin and that also influences our perception of the real objects surrounding us. Linked with GPS, RFID, GIS and other geographic information systems, mobile technologies enable us to temporally meld real space and virtual space. Data retrieval is accomplished directly on site and provides information on exact geographical location, products and much more. The Internet, too, has developed into one of the most important participatory media, next to the mobile phone. The catchphrase “Web 2.0” attempts to sum up the changes that have turned the Internet into a medium whose content increasingly is generated by users, and where people connect and exchange ideas in global online-communities. The name of the game is “participate!” And for years now, an ever-growing global online community has been busy uploading photographs and videos on online portals, announcing activities or expressing opinions through blogs or Twitter, or carrying on virtual financial transactions through online markets. Computer games, Second Life or online portals like Facebook or Myspace offer opportunities for global networking. The Internet culture, with its space- and community-building potential, is crucial to our society today.

The gateways exhibition presents works that deal with communication and networking, and that reflect a global Internet culture through the societal changes introduced by digital media. One aspect of the exhibition will comprise an examination of the reconfiguration of public space through the increasing overlap of the informational sphere and geographical space. Artists are pushing the envelope of locative media, testing their potential to provide gateways into spaces and communities and to identify alternative ways of networking beyond a largely consumer-oriented society. Mobile technologies are used in unexpected ways to render the invisible data network visible and tangible. These artistic interventions are not limited to data visualizations of a virtual space, but rather provide an opportunity to reveal suppressed knowledge – as a gateway to information.

Through the raising of various questions, a portrait emerges of how this increased networking influences our actions, our perceptions and our experiences of the world. The artistic confrontation with the significance of digitalization in society is not primarily about a reflection of technology per se, but rather about the consideration of its impact as a socio-economic phenomenon. Thus, along with the question about changing space and the increased layering of information, the question about the development of the self – which also exists through and within existing networks – comes to the fore. French philosopher Michel Serres says that new systems of communication lead to new ways of being human. How does a human being behave in a changed world where, the term “privacy” takes on a new meaning and where personal networks and digital links contribute fundamentally toward the individualized world in which we live? In a networked culture, information is not so much the product of discreet data processing units as it is the experience of networked relationships between them.

”Gateways” means access – access to spaces, to information, to data networks or communities. In computer science, a “gateway” is a switching apparatus for converting data, as an interface between various types of networks, digitally transcoding various media. The works shown in the exhibition thematize – in a manner analogous to the digital function of transmission – the transcoding or even translation of data and its evaluation in new contexts of meaning. The artistic positions on display use the opportunities of local and global networking to create access to information and to actively intervene in political and social developments. Media art in the 21st century thus does not limit itself to media forms, but rather reflects the importance of new technologies for societal and social change in a world increasingly influenced by media. The exhibition will present these concepts through a variety of artistic formats – from screen-based or Internet-based installations to interactive or sculptural environments, from the use of locative media to audio-guided walks, and more.

The gateways exhibition presents new forms of art and experimental works through which a young generation of artists in Europe – using a wide variety of media formats, including electronic networks and mobile technologies – encourages active public participation and conveys new experiences of perception. Thus the exhibition will extend beyond the KUMU Art Museum into the urban space of Tallinn, with interventionist happenings, audio-visual installations, walks or other formats.

gateways
Kunst und vernetzte Kultur / Art and Networked Culture
13 May to 25 September 2011

[Bera - Navarra - Spain]

noTours-adiBera at ERTZ Festival [September 10-18,2010]

http://www.ertza.net/eng_index.html

“To come down to my own experience, my companion and I, for I sometimes have a companion, take pleasure in fancying ourselves knights of a new, or rather an old, order–not Equestrians or Chevaliers, not Ritters or Riders, but Walkers, a still more ancient and honorable class, I trust. The Chivalric and heroic spirit which once belonged to the Rider seems now to reside in, or perchance to have subsided into, the Walker–not the Knight, but Walker, Errant. He is a sort of fourth estate, outside of Church and State and People.”

Henry D. Thoreau, The Art of Walking, 1841.

Description

According to Michel de Certeau our cities are texts written by those who travel on their habitual itinearies. Keeping away from a pan-optic model of cities, usually visual, geometric and frontal and many times designed by urbanists, it appears a need for elaborating new sensible routes that could question our urban layouts as an univocal space. We need tools and attitudes for developing new ways of interference with our urban environment.

Escoitar.org, in collaboration with the projects  Soinumapa and Adibera, proposes a rediscovering of the streets of Bera, focusing on the value of sound as a proposition of knowledge to our societies. From a theoretical approach to the listening experience, this project aims to configure a new cartography condensed in the form of a sound walk.

For us, whe should become Adibera (Adi=attention, bera=sensible), keeping sensible to habitual knowledge and examinating our environment guided only by our human senses. Then, each one of us will be able to elaborate our own village, street, district: we will conquer all those habitual landscapes. We will fill them with personal details, establishing many personal marks and rediscovering those other invisible.

Far away from the propositon of a formal audioguide, we offer you building a collaborative map that could embrace all our memories, impressions, echoes, etc… of our territory.

noTours-adiBera is a project in collaboration by noTours [Escoitar.org] and adiBera [Festival Ertz].

Hardware/Web noTours: Chiu Longina

Software: Enrique Tomás, Berio Molina y Horacio González

Concept, documentation: Juan-Gil López

Technical Assistant Bera > Xavier Balderas

Contents Bera> Adibera & Soinumapa: Jakoba Errekondo, Alex Mendizabal, Juan José Aranguren, Xabier Erkizia, Iñigo Telletxea, Asier Gogortza

Special Thanks to everybody helping us in Bera!

Some Press Links: Diario Vasco and more at Diario Vasco

Según las leyendas más conocidas, después de la Primera Guerra en el Cielo, muchos ángeles fueron expulsados, convirtiéndose así en ángeles caídos. El ángel caído más reconocido por la historia es Lucifer; aunque esta palabra nunca se usa para referirse a un ángel caído dentro de la Biblia. Una de las pocas estatuas del mundo que hacen referencia a este ser está en los Jardines del Parque de El Retiro. Esa será la clave de este paseo sonoro que Escoitar.org propone.

Hace unos días el Ángel Caído representado en la estatua, bello, con alas desplegadas y contorsionado, consiguió liberarse de las serpientes diabólicas que enroscaban su cuerpo. Este hermoso y aterrador ser, con rostro crispado por su grito de desesperación, ha dejado de mirar al cielo con recelo, ha esquivado el rayo que pretendía partirlo y ahora vaga errante por El Retiro, con sus alas abiertas, buscando al paseante.

Se manifiesta a través del sonido y esa “Caja de Pandora” que los visitantes llevarán en sus manos (las audioguías noTours) son la puerta que le dará vida, su espacio para manifestarse. Él y su séquito de moscas entregarán las claves para resolver un misterio; hablará con el visitante, le susurrará al oído, tratará de poseerte. Sólo existe un modo de evitar esta infeliz tragedia: resolviendo el acertijo.

Del 22 de abril al 30 de junio en la “Colina de las Ciencias”. Parque del Buen Retiro, Madrid.

FICHA TÉCNICA DEL PROYECTO

TÍTULO: noTours [El Ángel]
DIRECCIÓN: Escoitar.org
PRODUCCIÓN: La Casa Encendida
TEXTO: Escoitar.org
SOFTWARE: Android | Pure Data | noTours [Augmented Aurality]
HARDWARE: Smartphone Acer Liquid A1 | TetraQiq (micrófono ambisónico de fabricación propia), micrófonos binaurales Soundman, Tascam, Fostex FR2-LE + Audio-Technica BP-4029 Microphone, HI-MD RZ-01, Edirol R-09, Tascam HD-P2 + Rhode NT-4 Microphone
REALIZACIÓN: Marzo/Abril 2010
FORMATO: Smartphone | GPS | Brújula Digital + Ambisonic/Binaural Sound
DISEÑO SOFTWARE+HARDWARE: Enrique Tomás + Chiu Longina
PROCESO DE DOCUMENTACIÓN: Juan-Gil López
AUDIO: Juan-Gil López, Enrique Tomás y Chiu Longina
VOZ: Juan-Gil López
AUDIO-CITAS: John Milton, Jorge Luis Borges, Leopoldo María Panero, Rainer María Rilke, Rafael Alberti y Ricardo Alberto Nieto.
WEB DEL PROYECTO: http://www.notours.org/

Mapa
Con las audioguías se entregará un mapa en el que se pueden ver los espacios del paseo sonoro que contienen audio. Todos los jardines del Paseo del Duque Fernan Núñez suenan. Si el visitante sale de esos espacios las Audioguías avisan acústicamente.
Ver noTours en El Retiro en un mapa más grande

DESCARGAR DOCUMENTACIÓN DEL PROYECTO:
Información sobre el proceso de construcción del proyecto (PDF)
+Información

DESCARGAR LA OBRA SONORA COMPLETA (mp3/256kbps/150 megas)
(Se requiere contraseña. Puedes conseguirla haciendo el paseo por El Retiro y resolviendo el acertijo)

EL ÁNGEL
Augmented Aurality
by Escoitar.org

Oh you, the wisest and fairest of the Angels,
God betrayed by destiny and deprived of praise,

Oh Satan, take pity on my long misery!

Oh Prince of Exile, you who have been wronged
And who vanquished always rise up again more strong,

Oh Satan, take pity on my long misery!

Charles Baudelaire

Gardens are enclosed spaces, like scars that do nothing but reminding us of a permanent injury, the primal longing for a moment, the back to an utopian balance. Plots that in different cultures have played ritual roles, as transits, where two worlds intersect, the human and the divine, two sides, as Rilke insists in his Elegies, they take place inparallel, ”The eternal current carries two realms of all ages and always takes them and chokes the sound in both. “Marks traced onthe floor, legible as a text, places built for retirement and to fill our senses but which often gives us a way to the picturesque and the sublime, the beautiful to the scary to the awe and ecstasy. Havens where bright lights  and casted shadows that inevitably accompany us, sometimes inhospitable taken by the fog, stirred by the wind and always populated by many small noises.

As in The Garden of Forking Paths by Borges, El Angel is a winding maze of temporary sounds accentuated by the events that surround us,”an incomplete picture, a story made of stories, an immersive story built with words and sounds composed from the territory and a drift between paragraphs of different authors and references to many gardens behind which lurks just one. It is a real but imaginary wanderproduced as an organic narrative that gives us the common misperception of space, a walk accompanied by one that relies on constant tension on the circular pedestal of the Buen Retiro Garden and now wanders with us between streets, banks and lakes.

For ”El Angel” Escoitar.org has produced the noTours application, which formats will make this audio guide stroll through geolocated gardens (using GPS technology and Digital Compass + and production of binaural 3D audio). Pure sensory experience pleasure. Looking for El Angel.

Some moments of the production period of  ”El Ángel” – a collective exhibition at  ARTe SONoro, Casa Encendida, April 2010.

Created with Admarket’s flickrSLiDR.

Documentación fotográfica de la presentación de noTours en la Facultad de Bellas Artes de Bilbao en noviembre de 2009. Mikel Arce (responsable de la asignatura “El Hecho Sonoro” de la facultad) organizó la presentación como un encuentro entre Soinupama.net y Escoitar.org.

En el encuentro “ESCOITAR-SOINUMAPA” se presentó la primera versión de noTours. Ocurrió en la Facultad de Bellas Artes de la UPV/EHU, organizado por Mikel Arce.

Xabier Erkizia y Chiu Longina presentaron Escoitar y Soinumapa y Oier Iruretagoiena, Berio Molina y Horacio González presentaron los motores software de ambos proyectos.