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SWS22 2021

Xeno Walk

Montreal, QC, Canada
no
French, English, and Spanish

Sub-collection

Activism or Protest

Sub-collection · 54 items
Sub-collection

Augmented Reality

Sub-collection · 28 items

gender

1 sub-collections · 40 items
Sub-collection

Participatory

Sub-collection · 52 items

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I am a creative producer and participatory media artist, intrigued by the possibility of being at the point where the physical and the virtual meet.

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Sound walk

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Sub-collection

Activism or Protest

Sub-collection · 54 items
Sub-collection

Augmented Reality

Sub-collection · 28 items

gender

1 sub-collections · 40 items
Sub-collection

Participatory

Sub-collection · 52 items

Related

walkingevent

Bristol Story Trails

The Story Trails app and local performers will guide you through an immersive tour of Bristol as you travel through time and space to experience the city in new and magical ways.

Andrew Stuck
url

Richard White

I am a creative producer and participatory media artist, intrigued by the possibility of being at the point where the physical and the virtual meet.

Curated news

Russian artists create secret exhibits to avoid arrest, as in Soviet times – The Washington Post

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Sound walk

Yuen Po Street

A stereo field recording of the Yuen Po Street Bird Market, Hong Kong

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Sound walk
Xeno Walk is an Augmented Reality audio walk featuring the voices and sound works by activists and sound producers who embrace the collage as a tool of aural exploration and urban agency.

Xeno Walk is an Augmented Reality (AR) audio walk of the voices of activists and sound producers who embrace the collage as a tool of militancy. The sound walk features the sonic artworks of #VIVAS, a Latin America-based collective producing sound works from a field recordings database of political demonstrations, and Viv Corringham’s Shadow Walks. The sound interviews feature the voices of the sound artists and members of Collage Féministes & Féminicides Montreal and Paris, reflecting on their embodied experiences, activist efforts, and reflections on gender politics in connection with the public space. The AR walk’s design was conceived as an aural collage mixing participants’ soundtracks, interviews, and the physical location soundscapes. The augmented audio is activated through the listener’s walk, using the cellphone geolocation to trigger the sounds in the selected routes.

The sound walk was produced with the AR sound creator’s app Echoes. In this sound walk, the listener hears the interviews in symbolic relation to the urban terrain. The interviews are presented in three different languages, Spanish, English and French. The path of each interview is visualized in a digital map through the app interface, displaying the soundtracks and each collective interview. The listener can experience this walk using headphones; however, this AR project is meant to be heard as a collective soundwalk with two or more persons using Bluetooth speakers. For the premiere of this project, the artist organized three different aural participatory performances, sonically occupying the streets with the amplification of these voices and soundtracks.
This research-creation project premiered in the Fall of 2021.
The AR audio walk was designed to be launched and presented as three participatory sound walks in the group exhibition, Calling Planet Earth!, an event organized by Undefined FM Radio and Pop Montreal. The Augmented Reality sound walk is currently on virtual display at the intersection of Van Horne Staketpark and Champs des possibles in the Mile-End in Montreal.

Credits

Hosted by: Pop Montreal 2021

APA style reference

Gutiérrez, A. (2021). Xeno Walk. walk · listen · create. https://walklistencreate.org/walkingpiece/xeno-walk/

pedestrian acts

By de Certeau: In “Walking in the City”, de Certeau conceives pedestrianism as a practice that is performed in the public space, whose architecture and behavioural habits substantially determine the way we walk. For de Certeau, the spatial order “organises an ensemble of possibilities (e.g. by a place in which one can move) and interdictions (e.g. by a wall that prevents one from going further)” and the walker “actualises some of these possibilities” by performing within its rules and limitations. “In that way,” says de Certeau, “he makes them exist as well as emerge.” Thus, pedestrians, as they walk conforming to the possibilities that are brought about by the spatial order of the city, constantly repeat and re-produce that spatial order, in a way ensuring its continuity. But, a pedestrian could also invent other possibilities. According to de Certeau, “the crossing, drifting away, or improvisation of walking privilege, transform or abandon spatial elements.” Hence, the pedestrians could, to a certain extent, elude the discipline of the spatial order of the city. Instead of repeating and re-producing the possibilities that are allowed, they can deviate, digress, drift away, depart, contravene, disrupt, subvert, or resist them. These acts, as he calls them, are pedestrian acts.

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