Hostname: page-component-745bb68f8f-lrblm Total loading time: 0 Render date: 2025-01-19T00:27:04.456Z Has data issue: false hasContentIssue false
  • English
  • Français

Ecologically Grounded Creative Practices in Ubiquitous Music

Published online by Cambridge University Press:  07 March 2017

Damián Keller  and
Victor Lazzarini
Damián Keller*
Affiliation:
Amazon Center for Music Research – NAP, Federal University of Acre, Rio Branco, AC, Brazil
Victor Lazzarini*
Affiliation:
Maynooth University, Maynooth, Co. Kildare, Ireland
*
Emails: [email protected]; [email protected]
Emails: [email protected]; [email protected]
Get access Rights & Permissions [Opens in a new window]

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.

Type
Articles
Information
Organised Sound , Volume 22 , Special Issue 1: Context-based Composition , April 2017 , pp. 61 - 72
Copyright
© Cambridge University Press 2017 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

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): 105–121.Google Scholar
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.Google Scholar
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.Google Scholar
Basanta, A. 2010. Syntax as Sign: The Use of Ecological Models within a Semiotic Approach to Electroacoustic Composition. Organised Sound 15(2): 125–132.Google Scholar
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).Google Scholar
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.Google Scholar
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.Google Scholar
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.Google Scholar
Burtner, M. 2005. Ecoacoustic and Shamanic Technologies for Multimedia Composition and Performance. Organised Sound 10(1): 3–19.Google Scholar
Burtner, M. 2011. EcoSono: Adventures in Interactive Ecoacoustics in the World. Organised Sound 16(3): 234–244.Google Scholar
Cádiz, R. F. 2012. Musical Creation in the Post-Digital Era (Creación musical en la era postdigital). Aisthesis 52: 449–475.Google Scholar
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.Google Scholar
Connors, T. M. 2015. Audiovisual Installation as Ecological Performativity. In Proceedings of the Create World Conference 2015. Brisbane, Australia: Griffith University.Google Scholar
Di Scipio, A. 2008. Émergence du Son, Son d’emergence: Essai d’épistémologie Expérimentale par un Compositeur. Intellectica 48–9: 221–249.Google Scholar
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.Google Scholar
Donald, M. 2006. Art and Cognitive Evolution. In M. Turner (ed.) The Artful Mind. Oxford: Oxford University Press.Google Scholar
Dougherty, D. 2012. The Maker Movement. Innovations 7(3): 11–14.Google Scholar
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.CrossRefGoogle Scholar
Emmerson, S. 2001. From Dance! to ‘Dance’: Distance and Digits. Computer Music Journal 25(1): 13–20.Google Scholar
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): 223–241.Google Scholar
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.Google Scholar
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.Google Scholar
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.CrossRefGoogle Scholar
Flores, L. V., Pimenta, M. S. and Keller, D. 2014. Patterns of Musical Interaction with Computing Devices. Cadernos de Informática 8(2): 68–81.Google Scholar
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.Google Scholar
Gibson, J. J. 1979. The Ecological Approach to Visual Perception. Boston, MA: Houghton Mifflin.Google Scholar
Glăveanu, V. P. 2013. Rewriting the Language of Creativity: The Five A’s Framework. Review of General Psychology 17(1): 69–81.Google Scholar
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): 97–109.Google Scholar
Hamman, M. 2002. From Technical to Technological: The Imperative of Technology in Experimental Music Composition. Perspectives of New Music 40(1): 92–120.Google Scholar
Hutchins, E. 1995. Cognition in the Wild. Cambridge, MA: MIT Press.Google Scholar
Hutchins, E. 2010. Cognitive Ecology. Topics in Cognitive Science 2(4): 705–715.Google Scholar
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.Google Scholar
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.Google Scholar
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.Google Scholar
Keller, D. 2000. Compositional Processes from an Ecological Perspective. Leonardo Music Journal 10: 55–60.Google Scholar
Keller, D. 2012. Sonic Ecologies. In A. R. Brown (ed.) Sound Musicianship: Understanding the Crafts of Music. Newcastle upon Tyne, UK: Cambridge Scholars.Google Scholar
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.Google Scholar
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/.Google Scholar
Keller, D. and Capasso, A. 2006. New Concepts and Techniques in Eco-Composition. Organised Sound 11(1): 55–62.Google Scholar
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.Google Scholar
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): 265–276.Google Scholar
Keller, D., Lazzarini, V. and Pimenta, M. S. 2014a. Ubiquitous Music. Vol. XXVIII. Berlin and Heidelberg: Springer International.Google Scholar
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.Google Scholar
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.Google Scholar
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.Google Scholar
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.Google Scholar
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.Google Scholar
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.Google Scholar
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.Google Scholar
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.Google Scholar
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.Google Scholar
Lazzarini, V., Timoney, J. and Byrne, S. 2015. Embedded Sound Synthesis. In Proceedings of the Linux Audio Conference 2015. Mainz, Germany: Johannes Gutenberg University.Google Scholar
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.Google Scholar
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): 195–222.Google Scholar
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.Google Scholar
McGraw, G. and Hofstadter, D. 1993. Perception and Creation of Diverse Alphabetic Styles. AISB Quarterly 85: 42–49.Google Scholar
Mitchell, W. J., Inouye, A. S. and Blumenthal, M. S. 2003. Beyond Productivity: Information Technology, Innovation, and Creativity. Washington, DC: National Academies Press.Google Scholar
Nance, R. W. 2007. Compositional Explorations of Plastic Sound. Doctoral thesis in Music, De Montfort University, UK.Google Scholar
Norman, D. A. 1988/2002. The Design of Everyday Things. New York: Basic Books.Google Scholar
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.Google Scholar
Odling-Smee, F., Laland, K. and Feldman, M. 2003. Niche Construction: The Neglected Process in Evolution. Princeton, NJ: Princeton University Press.Google Scholar
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.Google Scholar
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.Google Scholar
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.Google Scholar
Rhodes, M. 1961. An Analysis of Creativity. The Phi Delta Kappan 42: 305–311.Google Scholar
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.Google Scholar
Rudi, J. (2015). Past and Current Tendencies in Technology-Based Music. Organised Sound 20(1): 30–36.Google Scholar
Shneiderman, B. 2007. Creativity Support Tools: Accelerating Discovery and Innovation. Communications of the ACM 50(12): 20–32.Google Scholar
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.Google Scholar
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): 2429–2436.Google Scholar
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.Google Scholar
Truax, B. 2002. Genres and Techniques of Soundscape Composition as Developed at Simon Fraser University. Organised Sound 7(1): 5–14.Google Scholar
Truax, B. 2015. Paradigm Shifts and Electroacoustic Music: Some Personal Reflections. Organised Sound 20(1): 105–110.Google Scholar
van Kranenburg, R. and Bassi, A. 2012. IoT Challenges. Communications in Mobile Computing 1(1): 9.Google Scholar
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.Google Scholar
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.Google Scholar
Von Foerster, H. 2003. Understanding Understanding: Essays on Cybernetics and Cognition. New York: Springer-Verlag.CrossRefGoogle Scholar
Wallas, G. 1926. The Art of Thought. New York: Harcourt, Brace and Company.Google Scholar
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.Google Scholar
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.Google Scholar
Wessel, D. and Wright, M. 2002. Problems and Prospects for Intimate Musical Control of Computers. Computer Music Journal 26(3): 11–22.Google Scholar
Wilson, M. 2002. Six Views of Embodied Cognition. Psychonomic Bulletin & Review 9(4): 625–636.Google Scholar
Wishart, T. 2009. Computer Music: Some Reflections. In R. T. Dean (ed.) The Oxford Handbook of Computer Music, 151–160. New York: Oxford University Press.Google Scholar

Discography

Westerkamp, H. 1989. Kits Beach Soundwalk [Spoken voice and two-channel tape]. Montreal: Empreintes Digitales, CD.Google Scholar
Capasso, A., Keller, D. and Tinajero, P. 1999. The Trade/Oro por Baratijas. [Installation]. Boulder, CO: CU Art Galleries.Google Scholar
Capasso, A., Keller, D. and Tinajero, P. 2000. The Urban Corridor/Corredor Urbano. [Ubiquitous Music Work]. Boulder, CO: CU Art Galleries.Google Scholar
Capasso, A., Keller, D. and Tinajero, P. 2012. Palafito/Palafita/Home-on-stilts 1.0. [Ubiquitous Music Work]. New York, NY: Floor4Art.Google Scholar
Capasso, A., Keller, D. and Tinajero, P. 2014. InMesh 1.0/Enmarañados 1.0/Emaranhados 1.0. [Ubiquitous Music Work]. New York: MediaNoche Gallery.Google Scholar
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).Google Scholar

Keller and Lazzarinic supplementary material

Video

Download Keller and Lazzarinic supplementary material(Video)
Video 166.6 MB