Ubiquitous Computing meets Ubiquitous Music

Ubiquitous Computing meets Ubiquitous Musi

Prototyping of Ubiquitous Music Ecosystems

This paper focuses the prototyping stage of the design cycle of ubiquitous music (ubimus) ecosystems. We present three case studies of prototype deployments for creative musical activities. The first case exemplifies a ubimus system for synchronous musical interaction using a hybrid Java-JavaScript development platform, mow3s-ecolab. The second case study makes use of the HTML5 Web Audio library to implement a loop-based sequencer. The third prototype - an HTML-controlled sine-wave oscillator - provides an example of using the Chromium open-source sand-boxing technology Portable Native Client (PNaCl) platform for audio programming on the web. This new approach involved porting the Csound language and audio engine to the PNaCl web technology. The Csound PNaCl environment provides programming tools for ubiquitous audio applications that go beyond the HTML5 Web Audio framework. The limitations and advantages of the three approaches proposed - the hybrid Java/- JavaScript environment, the HTML5 audio library and the Csound PNaCl infrastructure - are discussed in the context of rapid prototyping of ubimus ecosystems

Patterns of Musical Interaction with Computing Devices

In line with the efforts from the Ubiquitous Music Group, our research identified recurring patterns of interaction between humans and computing devices in existing music software and hardware. These four kinds of repeatedly implemented musical interactions are being documented in the form of interaction design patterns, providing an alternative taxonomy of interaction types, suitable for musical and computational developments in ubiquitous music research. In this paper we briefly describe the meaning of patterns in design fields. We also defend the use of interaction patterns in the design of ubiquitous music systems, and present the four proto-patterns proposed in our research. We intend with this paper to foster discussions at this 3rd Ubimus workshop, which can lead to refinement and improvement of the proposed interaction design patterns

The Ubimus Symposium in 2022, peeking into the musical past

Twelve years, twelve events. Despite the well-established tradition of our community to get together, share results and challenge partners with unexpected new threads, this year opens a new stage. After much discussion, the Ubiquitous Music Group decided to take up Teresa Connor’s proposal and coined a new name for our event, The Ubiquitous Music Symposium. Following the nice experiences of hybrid and remote events held in Porto Seguro, Bahia, Brazil in 2020 and Porto, Portugal, in 2021, this year our community decided to fully embrace the remote modality. The event was hosted by our partners at the State University of Paraná (Unespar), located in Curitiba, Brazil, under the able coordination of Felipe de Almeida Ribeiro

Editorial: Ecologically Grounded Creative Practices and Ubiquitous Music: Interaction and Environment

This issue of 'Organised Sound' includes articles on ubiquitous music and related concepts and practices. Ubiquitous music (ubimus) Footnote1 is an approach to music-making which operates at the intersection between diverse technologies (often networked or otherwise modular) and social, interactive and enactive musical and/or sonic practices. Although ubimus may apply a variety of theories and methods, one well-established approach which we foregrounded in this issue’s call involves ecological, embodied, embedded and distributed models of cognition and creativity, sometimes termed 4E cognition (Malinin Reference Malinin2019). In ubimus, this conceptual grounding is complemented by various enactive and socially engaged methods, including participatory, accessible, inclusive and community-oriented approaches to technological design.Rather than a genre, a style or a particular artistic aesthetic, ubimus may be understood as a collection of frameworks that aim to expand musical thinking through creatively oriented practices. A first wave of ubimus proposals (2007–2014) was driven by several motivations: the expansion of musical deployments with a particular emphasis on the development of internet-based resources, the incorporation of everyday settings (such as various transitional spaces, network-based artistic venues and domestic contexts), and the inclusion of a wide range of participant profiles, highlighting the specific demands of support for casual interaction featuring subjects with heterogeneous characteristics (Keller et al. Reference Keller, Flores, Pimenta, Capasso and Tinajero2011; Lima, Keller, Pimenta, Lazzarini and Miletto Reference Lima, Keller, Pimenta, Lazzarini and Miletto2012; Miletto, Pimenta, Bouchet, Sansonnet and Keller Reference Miletto, Pimenta, Bouchet, Sansonnet and Keller2011).The articles featured in this thematic issue exemplify the expanded subject matter and methods of second-wave ubimus. As noted earlier, whilst a diverse body of artistic practices such as that found in ubimus has the potential to challenge any single theoretical framework, we can discern a common ground across themes of participatory and distributed models of creativity (Aliel et al, this issue; Koszolko and Studley, this issue), the foregrounding of networked communications (McConville, this issue), and strategies for, and situations of, co-creation (Koszolko and Studley, this issue; Brown, this issue). Seeking to unify these ideas, we argue that they can be broadly considered to be ‘ecological’ groupings, not simply in terms of the use of environmental materials (though this does occur in some cases), but also in terms of conceptualising musical and sonic activities, Footnote2 their social context and the technologies which connect them, as exhibiting shared features and inter-dependencies (Keller and Lazzarini Reference Keller and Lazzarini2017a)

The Smart Stage: Designing 3D interaction metaphors for immersive and ubiquitous music systems

This conceptual paper describes a work in progress in the process of design and implementation of the Smart Stage, an interactive music system prototype for collaborative musical creativity in immersive and ubiquitous environments. This system is intended to have a low entry barrier, thus more forgiving to users with lesser experience or knowledge in music, and it is designed with affordances to support intuitive progress in improvisational performance in a collaborative setting. We present a preliminary technical overview of the system and a first case study of a 3D interaction metaphor for granular synthesis, developed for this environment.Innovation Agency (Agência de Inovação, ADI, Portugal) and Quadro de Referência Estratégico Nacional (QREN, Portugal): VisualYzARt: Visual programming framework for augmented reality and ubiquitous natural user interfaces (QREN-ADI ref: 23201) and COMPETE - Programa Operacional Factores de Competitividade (POFC

Exploring the potential of mobile technology for creating music collaboratively

We will present the first prototype of a framework that supports collaborative music creation activities using short distance-location aware mobile technology. In order to explore the corresponding design space we are planning to run a series of workshops with practitioners to elicit knowledge, find likes and dislikes. Such activities will frame the creation of new features.This is part of a long-term goal to explore how mobile technologies can enable the emergence of ubiquitous music activities

Proceedings of the Ubiquitous Music Symposium - ubimus2022

Following the nice experiences of hybrid and remote events held in Porto Seguro, Bahia, Brazil in 2020 and Porto, Portugal, in 2021, this year our community decided to fully embrace the remote modality. The event was hosted by our partners at the State University of Paraná (Unespar), located in Curitiba, Brazil, under the able coordination of Felipe de Almeida Ribeir