This paper explores participatory and socially engaged practices in ubiquitous music (ubimus). We discuss recent advances that target timbre as their focus while incorporating semantic strategies for knowledge transfer among participants. Creative Semantic Anchoring (ASC from the original in Portuguese) is a creative-action metaphor that shows promising preliminary results in collaborative asynchronous activities. Given its grounding in local resources and its support for explicit knowledge, ASC features a good potential to boost socially distributed knowledge. We discuss three strategies that consolidate and expand this approach within ubiquitous music and propose the label Radical ASC. We investigate the implications of this framework through the analysis of two artistic projects: Atravessamentos and Ntrallazzu.
<p>The purpose of this article is the comparative study of monuments in<br />Cobija (Bolivia) and Rio Branco (Brazil), unearthing the contentious national narratives that each of these two Amazonian border cities sustains as a result of the historical dispute over control of the region that today composes the southern part of the Brazilian state of Acre. We explore the different ways in which monuments on both sides of the border draw on narratives of national pride that allude to this conflict.</p>
This paper explores the emerging initiatives in ubiquitous music research that employ anticipatory systems. We provide a short introduction to the ubimus field, highlighting the differences with other technologically based approaches to music making. One of the objectives of ubimus research is to expand the range of the stakeholders that participate in creative music making. This is achieved through the development of metaphors for creative action by means of sociotechnical systems that target creativity, including ecologically based creative practices, interaction aesthetics, computational thinking and dialogics applied to music. Another objective entails a push for new forms of music making through the reappropriation of extant technologies or through the design and deployment of new behavioral, material or social resources tailored for ubiquitous music ecologies. Nevertheless, so far, few projects have considered the future creative actions as an object of research. This is the aim of anticipatory ubiquitous music.
Situated in the Mesoregion of the Acre River, Plácido de Castro is a small municipality in the Brazilian state of Acre. In 2015, with the consent of the authorities, a group of people of Huni Kuin ethnicity occupied an abandoned, state-owned piece of land in the municipal territory, namely, the Parque Ecológico. For two years, the Huni Kuin group has lived in the Parque Ecológico, decontaminating and revalorising the land. Afterwards the Huni Kuin have been gradually dispossessed of the occupied land via various coercive actions, some of which were backed by the authorities. In this paper, the authors draw upon media releases as well as an interview with Hunk Kuin cacique Mapu, in order to signify the events in terms of a violent performance of settler colonialism in the face of the legitimate reclamation of Indigenous sovereignty over Brazilian land. In particular, they look at the ways in which political authorities, police forces, social services, and the broader non-Indigenous society unanimously cooperate towards the total effacement of Indigenous bodies, communities, and subjectivities from the land.
Musical work. See audio and pdf files. [editor's note]
The next generation dual-phase (liquid/gas) xenon Time Projection Chamber (TPC) Dark Matter detectors will require a total mass of LXe on the multi-tonne scale to reach the desired sensitivity to WIMP-nucleon interactions. One natural and effective way to increase the target mass is to build a TPC with larger cross-sectional area and longer drift distance. Construction and operation of such a detector leads to many new issues and technological challenges which need to be addressed. One example is that the cooling system has to to be efficient and reliable to handle the large volume of Xe gas which has to be continuously purified to reduce signal loss over time. Another major challenge for a tonne-scale detector is the requirement of very high voltage (50 − 100 kV across 1 m) to generate a suitable drift field inside the TPC. A prototype facility, the XENON1T Demonstrator, has been built at Columbia University to study these and other challenges related to the construction and operation of a multi-tonne scale detector. The facility was built to enable TPCs of varying drift length to be tested, each optimized to study a different problem to demonstrate a different technological solution.
Part of the recent developments in Ubiquitous Music (ubimus) research involve the proposal of the Internet of Musical Stuff (IoMuSt) as an expansion and complement to the Internet of Musical Things (IoMusT). The transition from IoMusT to IoMuSt entails a critique of blockchain and non-fungible tokens (NFTs) as technologies for allotment, disciplination and regimentation of formerly open and freely accessible artistic web content. In brief, the replacement of the operative concepts constructed around “things” with strategies based on “stuff” highlights the underlying interconnected processes and factors that impact interaction and usage, pointing to resources that become disposable and valueless within an objectified and monetized musical internet. This conceptual and methodological turn allows us to deal with distributed-creativity phenomena in marginalized spaces, highlighting the role of resources that are widely reproducible, fluid and ever-changing. In this paper, we address IoMuSt-based responses to issues such as the artificial production of scarcity associated with the application of NFTs. The selected musical examples showcase the meshwork of dynamic relationships that characterizes ubimus research. In particular, we focus on a comprovisation project involving VOIP visual communication through Skype, Meet and Zoom, a ubimus experience involving a Telegram chatbot and a set of musical experiments enabled by an online tool for remote live patching.
INTRODUCTION:In this paper we discuss concepts and practices that point to a new field of ubiquitous music (ubimus) research centered on domestic settings. OBJECTIVES: The objective of this paper is to document and share a preliminary study of the use of taste as a trigger for creative decisions and a comparative study of creative music making done at home and in transitional settings. METHODS: Groundwork in this area encompasses the design, implementation and deployment of ubimus systems. Key aspects include sonic resources and metaphors for creative action based on multimodality. RESULTS: The results indicate that unpredictable sonic environments foster originality but may compromise the subjects' creative performance -reducing their level of engagement and fun and the possibilities for collaboration, while increasing the cognitive demands of the activity. Home seems to furnish a positive context as long as the objective is not to increase the originality of the outcomes. CONCLUSION: The effectiveness of taste as a scaffold for creative decisions was partially confirmed, demanding further studies. These results have implications for both the artistic aspects of sound making and the everyday usage of sound for distant socializing in domestic settings, posing renewed challenges to the ongoing STEAM initiatives.
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