Skip to main content
×
×
Home

Ecologically Grounded Creative Practices in Ubiquitous Music

  • Damián Keller (a1) and Victor Lazzarini (a2)
Abstract

Instrumentally oriented and individualistic approaches dominate the current perspectives on musical interaction and technologically oriented composition. A view that focuses on the broad aspects of creativity support is proposed as a viable theoretical and methodological alternative: ubiquitous music practice. This article summarises several findings in ubiquitous music research, pointing to new theoretical frameworks that tackle the volatile and distributed creativity factors involved in musical activities that take place outside of traditional venues, involving the audience as an active creative partner. A new definition of ubiquitous music is proposed encompassing four components related to the human and the material resources, the emergent properties of musical activities and the design strategies involved in supporting distributed decision making. We highlight the application of embedded-embodied cognition in creative practice, arguing for the adoption of an ecologically grounded framework as an alternative to the mainstream anthropocentric and disembodied acoustic-instrumental paradigms. We discuss the relevance of the new materialist concepts of ecologies and meshworks within artistic creative practice, highlighting the implications of the emergent creativity support methods for context-based composition.

Copyright
Corresponding author
References
Hide All
Aliel, L. and Fornari, J. 2014. Destino Pirilampo Project: A Study on Meta-Soundscape Composition in Ubiquitous Music (Projeto destino pirilampo: um estudo sobre a composição de meta-soundscapes em música ubíqua). Música Hodie 14(1): 105121.
Barrass, S. and Adcock, M. 2002. Interactive Granular Synthesis of Haptic Contact Sounds. In Proceedings of the Audio Engineering Society Conference: 22nd International Conference: Virtual, Synthetic, and Entertainment Audio. Espoo, Finland, 15–17 June.
Barrett, N. 2000. A Compositional Methodology Based on Data Extracted from Natural Phenomena. In Proceedings of the International Computer Music Conference (ICMC 2000. Ann Arbor, MI: MPublishing, University of Michigan Library.
Basanta, A. 2010. Syntax as Sign: The Use of Ecological Models within a Semiotic Approach to Electroacoustic Composition. Organised Sound 15(2): 125132.
Beaty, R. E., Benedek, M., Kaufman, B. S. and Silvia, P. J. 2015. Default and Executive Network Coupling Supports Creative Idea Production. Scientific Reports 5(10964).
Bernardo, F., Pestana, P. and Martins, L. 2015. The Smart Stage: Designing 3D Interaction Metaphors for Immersive and Ubiquitous Music Systems. In Proceedings of the International Conference on New Music Concepts (ICNMC 2015). Treviso, Italy: ICNMC.
Bown, O. 2014. Empirically Grounding the Evaluation of Creative Systems: Incorporating Interaction Design. In Proceedings of the Fifth International Conference on Computational Creativity (ICCC 2014). Libjubljana, Slovenia: ICCC.
Brown, A. R. 2015. Engaging in a Sound Musicianship. In G. E. McPherson (ed.) The Child as Musician: A Handbook of Musical Development. Oxford: Oxford University Press.
Burtner, M. 2005. Ecoacoustic and Shamanic Technologies for Multimedia Composition and Performance. Organised Sound 10(1): 319.
Burtner, M. 2011. EcoSono: Adventures in Interactive Ecoacoustics in the World. Organised Sound 16(3): 234244.
Cádiz, R. F. 2012. Musical Creation in the Post-Digital Era (Creación musical en la era postdigital). Aisthesis 52: 449475.
Castle, G., Adcock, M. and Barrass, S. 2002. Integrated Modal and Granular Synthesis of Haptic Tapping and Scraping Sounds. In S. A. Wall, B. Riedel, A. Crossan and M. R. McGee (eds.) Eurohaptics 2002 Conference Proceedings. University of Edinburgh, July.
Connors, T. M. 2015. Audiovisual Installation as Ecological Performativity. In Proceedings of the Create World Conference 2015. Brisbane, Australia: Griffith University.
Di Scipio, A. 2008. Émergence du Son, Son d’emergence: Essai d’épistémologie Expérimentale par un Compositeur. Intellectica 48–9: 221249.
Di Scipio, A. 2014. The Place and Meaning of Computing in a Sound Relationship of Man, Machines, and Environment. In Proceedings of the ICMC|SMC|2014. Athens, Greece: ICMA.
Donald, M. 2006. Art and Cognitive Evolution. In M. Turner (ed.) The Artful Mind. Oxford: Oxford University Press.
Dougherty, D. 2012. The Maker Movement. Innovations 7(3): 1114.
Edmonds, E., Fischer, G., Mountford, S. J., Nake, F., Riecken, D. and Spence, R. 1995. Creativity Interacting with Computers. In Proceedings of the ACM CHI Conference on Human Factors in Computing Systems (CHI ‘95). Denver, Colorado, 7–11 May.
Emmerson, S. 2001. From Dance! to ‘Dance’: Distance and Digits. Computer Music Journal 25(1): 1320.
Evans, J. S. B. T. and Stanovich, K. E. 2013. Dual-Process Theories of Higher Cognition: Advancing the Debate. Perspectives on Psychological Science 8(3): 223241.
Fantauzzacoffin, J. and Rogers, J. D. 2013. Considering Patterns of Creative Work Process in Creativity Support. In Proceedings of the ACM CHI Conference on Human Factors in Computing Systems (CHI’13), Paris, France, 27 April–2 May.
Fitzmaurice, G., Ishii, H. and Buxton, W. 1995. Bricks: Laying the Foundations for Graspable User Interfaces. In Proceedings of the ACM SIGCHI Conference on Human Factors in Computing Systems (CHI’95). Denver, Colorado, 7–11 May.
Flores, L. V., Pimenta, M. S. and Keller, D. 2010. Patterns for the Design of Musical Interaction with Everyday Mobile Devices. In Proceedings of the 9th Brazilian Symposium on Human Factors in Computing Systems, Belo Horizonte, MG.
Flores, L. V., Pimenta, M. S. and Keller, D. 2014. Patterns of Musical Interaction with Computing Devices. Cadernos de Informática 8(2): 6881.
Gibson, J. J. 1977. The Theory of Affordances. In R. Shaw and J. Bransford (eds.) Perceiving, Acting, and Knowing: Toward an Ecological Psychology. Mahwah, NJ: Lawrence Erlbaum Associates.
Gibson, J. J. 1979. The Ecological Approach to Visual Perception. Boston, MA: Houghton Mifflin.
Glăveanu, V. P. 2013. Rewriting the Language of Creativity: The Five A’s Framework. Review of General Psychology 17(1): 6981.
Gomes, J., Pinho, N., Lopes, F., Costa, G., Dias, R., Tudela, D. and Barbosa, Á. 2014. Capture and Transformation of Urban Soundscape Data for Artistic Creation. Journal of Science and Technology of the Arts 6(1): 97109.
Hamman, M. 2002. From Technical to Technological: The Imperative of Technology in Experimental Music Composition. Perspectives of New Music 40(1): 92120.
Hutchins, E. 1995. Cognition in the Wild. Cambridge, MA: MIT Press.
Hutchins, E. 2010. Cognitive Ecology. Topics in Cognitive Science 2(4): 705715.
Ishii, H., Mazalek, A. and Lee, J. 2001. Bottles as a Minimal Interface to Access Digital Information. In Extended Abstracts on Human Factors in Computing Systems (CHI ‘01). New York: ACM.
Jones, D., Brown, A. R. and d’Inverno, M. 2012. The Extended Composer. In J. McCormack and M. d’Inverno (eds.) Computers and Creativity. Berlin and Heidelberg: Springer.
Keller, D. 1999. touch’n’go: Ecological Models in Composition. Master of Fine Arts thesis, Burnaby, BC: Simon Fraser University. www.sfu.ca/sonic-studio/srs/EcoModelsComposition/Title.html.
Keller, D. 2000. Compositional Processes from an Ecological Perspective. Leonardo Music Journal 10: 5560.
Keller, D. 2012. Sonic Ecologies. In A. R. Brown (ed.) Sound Musicianship: Understanding the Crafts of Music. Newcastle upon Tyne, UK: Cambridge Scholars.
Keller, D., Barreiro, D. L., Queiroz, M. and Pimenta, M. S. 2010. Anchoring in Ubiquitous Musical Activities. In Proceedings of the International Computer Music Conference. Ann Arbor, MI: MPublishing, University of Michigan Library.
Keller, D. and Berger, J. 2001. Everyday Sounds: Synthesis Parameters and Perceptual Correlates. In Proceedings of the VIII Brazilian Symposium on Computer Music (SBCM 2001). http://gsd.ime.usp.br/~lku/site-sbcm/2001/.
Keller, D. and Capasso, A. 2006. New Concepts and Techniques in Eco-Composition. Organised Sound 11(1): 5562.
Keller, D., Capasso, A. and Wilson, S. R. 2002. Urban Corridor: Accumulation and Interaction as Form-Bearing Processes. In Proceedings of the International Computer Music Conference (ICMC 2002. Ann Arbor, MI: MPublishing, University of Michigan Library.
Keller, D., Flores, L. V., Pimenta, M. S., Capasso, A. and Tinajero, P. 2011. Convergent Trends Toward Ubiquitous Music. Journal of New Music Research 40(3): 265276.
Keller, D., Lazzarini, V. and Pimenta, M. S. 2014a. Ubiquitous Music. Vol. XXVIII. Berlin and Heidelberg: Springer International.
Keller, D., Lazzarini, V. and Pimenta, M. S. 2014b. Ubimus Through the Lens of Creativity Theories. In D. Keller, V. Lazzarini and M. S. Pimenta (eds.) Ubiquitous Music. Berlin and Heidelberg: Springer International.
Keller, D., Miletto, E. M. and Otero, N. 2015a. Creative Surrogates: Supporting Decision-Making in Ubiquitous Musical Activities. In Proceedings of the 3rd International Conference on Computation, Communication, Aesthetics and X (xCoAx 2015). Glasgow, Scotland: xCoAx.
Keller, D., Otero, N. and Costalonga, L. 2015b. Aesthetic Heuristics in Ubimus. In Proceedings of the Electronic Visualisation and the Arts Conference (EVA 2015). London: BCS, Computer Arts Society Specialist Group.
Keller, D., Otero, N., Lazzarini, V., Pimenta, M. S., Lima, M. H., Johann, M. and Costalonga, L. 2014c. Relational Properties in Interaction Aesthetics: The Ubiquitous Music Turn. In K. Ng, J. P. Bowen and S. McDaid (eds.) Proceedings of the Electronic Visualisation and the Arts Conference (EVA 2014). London: BCS, Computer Arts Society Specialist Group.
Keller, D., Otero, N., Lazzarini, V., Pimenta, M. S., Lima, M. H., Johann, M. and Costalonga, L. 2015c. Interaction Aesthetics and Ubiquitous Music. In N. Zagalo and P. Blanco (eds.) Creativity in the Digital Age. Berlin and Heidelberg: Springer.
Keller, D., Timoney, J., Costalonga, L., Capasso, A., Tinajero, P., Lazzarini, V., Pimenta, M. S., Lima, M. H. and Johann, M. 2014d. Ecologically Grounded Multimodal Design: The Palafito 1.0 Study. Proceedings of the International Computer Music Conference (ICMC 2014).0 Athens: ICMA.
Keller, D. and Truax, B. 1998. Ecologically Based Granular Synthesis. In Proceedings of the International Computer Music Conference. Ann Arbor, MI: MPublishing, University of Michigan Library.
Lazzarini, V., Costello, E., Yi, S. and ffitch, J. 2014a. Development Tools for Ubiquitous Music on the World Wide Web. In D. Keller, V. Lazzarini and M. S. Pimenta (eds.) Ubiquitous Music. Berlin and Heidelberg: Springer.
Lazzarini, V., Keller, D., Pimenta, M. and Timoney, J. 2014b. Ubiquitous Music Ecosystems: Faust Programs in Csound. In D. Keller, V. Lazzarini and M. S. Pimenta (eds.) Ubiquitous Music. Berlin and Heidelberg: Springer.
Lazzarini, V., Timoney, J. and Byrne, S. 2015. Embedded Sound Synthesis. In Proceedings of the Linux Audio Conference 2015. Mainz, Germany: Johannes Gutenberg University.
Lazzarini, V., Yi, S., Timoney, J., Keller, D. and Pimenta, M. S. 2012. The Mobile Csound Platform. In Proceedings of the International Computer Music Conference. Ann Arbor, MI: MPublishing, University of Michigan Library.
Lima, M. H., Keller, D., Pimenta, M. S., Lazzarini, V. and Miletto, E. M. 2012. Creativity-Centred Design for Ubiquitous Musical Activities: Two Case Studies. Journal of Music, Technology and Education 5(2): 195222.
McGlynn, P., Lazzarini, V. and Delap, G. 2012. Recontextualizing the Multi-Touch Surface. In G. Essl, B. Gillespie, M. Gurevich and S. O’Modhrain (eds.) Proceedings of the International Conference on New Interfaces for Musical Expression. Ann Arbor, Michigan: University of Michigan.
McGraw, G. and Hofstadter, D. 1993. Perception and Creation of Diverse Alphabetic Styles. AISB Quarterly 85: 4249.
Mitchell, W. J., Inouye, A. S. and Blumenthal, M. S. 2003. Beyond Productivity: Information Technology, Innovation, and Creativity. Washington, DC: National Academies Press.
Nance, R. W. 2007. Compositional Explorations of Plastic Sound. Doctoral thesis in Music, De Montfort University, UK.
Norman, D. A. 1988/2002. The Design of Everyday Things. New York: Basic Books.
O’Callaghan, J. 2013. Orchestration of Ecology, as Ecology. In Proceedings of the Music and Ecologies of Sound Conference 2013, Paris. http://goo.gl/86emp9.
Odling-Smee, F., Laland, K. and Feldman, M. 2003. Niche Construction: The Neglected Process in Evolution. Princeton, NJ: Princeton University Press.
Opie, T. and Brown, A. 2006. An Introduction to Eco-Structuralism. In Proceedings of the International Computer Music Conference (ICMC 2006), New Orleans, LA, 6–11 November.
Pimenta, M. S., Flores, L. V., Capasso, A., Tinajero, P. and Keller, D. 2009. Ubiquitous Music: Concept and Metaphors. In R. R. A. Farias, M. Queiroz and D. Keller (eds.) Proceedings of the XII Brazilian Symposium on Computer Music (SBCM 2009). Recife, PE: SBC.
Pimenta, M. S., Keller, D., Flores, L. V., Lima, M. H. and Lazzarini, V. 2014. Methods in Creativity-Centred Design for Ubiquitous Musical Activities. In D. Keller, V. Lazzarini and M. S. Pimenta (eds.) Ubiquitous Music. Heidelberg and Berlin: Springer.
Rhodes, M. 1961. An Analysis of Creativity. The Phi Delta Kappan 42: 305311.
Ribeiro Netto, A., Castheloge, L., Oliosi, A., Mateus, A., Costalonga, L. and Coura, D. 2015. Memory Tree: Multimedia Interactive Installation (Árvore das Memórias: Instalação Multimídia Interativa). In Proceedings of the XV Brazilian Symposium on Computer Music (SBCM 2015, Campinas, São Paulo, 23–25 November.
Rudi, J. (2015). Past and Current Tendencies in Technology-Based Music. Organised Sound 20(1): 3036.
Shneiderman, B. 2007. Creativity Support Tools: Accelerating Discovery and Innovation. Communications of the ACM 50(12): 2032.
Shneiderman, B., Fischer, G., Czerwinski, M., Myers, B. and Resnick, M. 2005. Creativity Support Tools: A Workshop Sponsored by the National Science Foundation [Technical Report]. Washington, DC: National Science Foundation.
Shultz, S. and Dunbar, R. 2007. The Evolution of the Social Brain: Anthropoid Primates Contrast with Other Vertebrates. Proceedings of the Royal Society of London B: Biological Sciences 274(1624): 24292436.
Tanaka, A. 2009. Sensor-Based Musical Instruments and Interactive Music. In R. T. Dean (ed.) The Oxford Handbook of Computer Music. New York: Oxford University Press.
Truax, B. 2002. Genres and Techniques of Soundscape Composition as Developed at Simon Fraser University. Organised Sound 7(1): 514.
Truax, B. 2015. Paradigm Shifts and Electroacoustic Music: Some Personal Reflections. Organised Sound 20(1): 105110.
van Kranenburg, R. and Bassi, A. 2012. IoT Challenges. Communications in Mobile Computing 1(1): 9.
van Troyer, A. 2014. Repertoire Remix in the Context of Festival City. In D. Keller, V. Lazzarini and M. S. Pimenta (eds.) Ubiquitous Music. Berlin and Heidelberg: Springer.
Varela, F. J. 1992. Whence Perceptual Meaning? A Cartography of Current Ideas. In F. J. Varela and J.-P. Dupuy (eds.) Understanding Origins. Amsterdam, Netherlands: Springer.
Von Foerster, H. 2003. Understanding Understanding: Essays on Cybernetics and Cognition. New York: Springer-Verlag.
Wallas, G. 1926. The Art of Thought. New York: Harcourt, Brace and Company.
Weiser, M. 1995. The Computer for the 21st Century. In R. M. Baecker, J. Grudin, W. A. S. Buxton and S. Greenberg (eds.) Human-Computer Interaction. San Francisco, CA: Morgan Kaufmann.
Wenger, E. 2010. Communities of Practice and Social Learning Systems: The Career of a Concept. In C. Blackmore (ed.) Social Learning Systems and Communities of Practice. London: Springer.
Wessel, D. and Wright, M. 2002. Problems and Prospects for Intimate Musical Control of Computers. Computer Music Journal 26(3): 1122.
Wilson, M. 2002. Six Views of Embodied Cognition. Psychonomic Bulletin & Review 9(4): 625636.
Wishart, T. 2009. Computer Music: Some Reflections. In R. T. Dean (ed.) The Oxford Handbook of Computer Music, 151160. New York: Oxford University Press.
Westerkamp, H. 1989. Kits Beach Soundwalk [Spoken voice and two-channel tape]. Montreal: Empreintes Digitales, CD.
Capasso, A., Keller, D. and Tinajero, P. 1999. The Trade/Oro por Baratijas. [Installation]. Boulder, CO: CU Art Galleries.
Capasso, A., Keller, D. and Tinajero, P. 2000. The Urban Corridor/Corredor Urbano. [Ubiquitous Music Work]. Boulder, CO: CU Art Galleries.
Capasso, A., Keller, D. and Tinajero, P. 2012. Palafito/Palafita/Home-on-stilts 1.0. [Ubiquitous Music Work]. New York, NY: Floor4Art.
Capasso, A., Keller, D. and Tinajero, P. 2014. InMesh 1.0/Enmarañados 1.0/Emaranhados 1.0. [Ubiquitous Music Work]. New York: MediaNoche Gallery.
Keller, D. 1998. “... soretes de punta.” [8-channel Tape]. New Westminster, BC: earsay productions. https://earsaymusic.bandcamp.com/track/soretes-de-punta (accessed 8 August 2016).
Recommend this journal

Email your librarian or administrator to recommend adding this journal to your organisation's collection.

Organised Sound
  • ISSN: 1355-7718
  • EISSN: 1469-8153
  • URL: /core/journals/organised-sound
Please enter your name
Please enter a valid email address
Who would you like to send this to? *
×
Type Description Title
VIDEO
Supplementary materials

Keller and Lazzarinic supplementary material
Video

 Video (166.6 MB)
166.6 MB

Metrics

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Abstract views

Total abstract views: 0 *
Loading metrics...

* Views captured on Cambridge Core between <date>. This data will be updated every 24 hours.

Usage data cannot currently be displayed