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Call for Submissions - Volume 28, Number 3
Issue thematic title : Ecologically Grounded Creative Practices and Ubiquitous Music: Interaction and Environment
Date of Publication : December 2023
Publishers : Cambridge University Press
Issue co-ordinators : Damián Keller, NAP, Federal University of Acre
Victor Lazzarini, Maynooth University
Brian Bridges, Ulster University
Email for correspondence with issue coordinators: [email protected]
Deadline for submission : 15 January 2023
Ubiquitous music (ubimus) seeks to address the intersection between contemporary modular and networked approaches to music/sound creation (e.g., mobile devices, modular synthesis, and IoT (internet of things)) and emerging social, interactive and enactive perspectives on music making. Thus, ubimus research may employ a variety of theories, but, in particular, focuses on ecological, embodied, embedded and distributed models of cognition and creativity, and its practices involve various enactive (participatory, accessible, inclusive and community-oriented) approaches to design.
The diverse platforms, methods and theoretical perspectives of ubimus are unified by an agenda which seeks the integration of musical creativity with expanded and pliable conceptions of sonic activity, listening, embodied interaction and multimodality. Indeed, such ‘sensory turns’ find parallels in the recent sonic turn in the arts and humanities (Cobussen, Meelberg and Truax 2017), making ubimus and related research well suited to diverse discourses at the interface between the arts and technology.
Through the current ubiquity of technological tools which can be applied to creative ends, and the broad dissemination of associate techniques in a variety of fora, previously excluded groups are now actively participating in music creation. How is this affecting the scope and content of the new sonic practices which have emerged from this wider distribution of skills and technologies? Do we need new models to discuss the relationships between tools, creators and musics in the context of such distributed practices, away from the discourses of virtuosity and specialism borne of legacy acoustic instrument models?
The ubimus imperative of a holistic view of musical experience and technological design can trace its roots to concepts such as Varèse’s organised sound, Schafer’s soundscape, Feld’s acoustemology, Small’s musicking and Landy’s sound-based music, all of which provide framing whereby a variety of sonic-oriented practices are seen to converge. Ubimus also finds common ground with emerging currents in human-computer interaction, including the embodied turn, third-wave approaches, multimodal and sonic interaction, immersive, augmented and locative media, and the emerging aesthetic and creativity-oriented perspectives on interaction design.
The connections between ubimus and current conceptions of socially motivated and materially grounded interaction further points to the consideration of music as an ecosystem; a site for the meeting of people, technologies and situated resources for creative activities and experiences. The modularity of such approaches also references another aspect of music’s materiality and associated questions of environmental sustainability: that of the challenge of reusing and reconfiguring older hardware to support new practices.
This edited volume of Organised Sound will include expanded materials from the Eleventh and Twelfth Workshops on Ubiquitous Music (UbiMus 2021, held in Porto, and UbiMus 2022, to be held in Curitiba). We equally invite independent submissions which approach the intersection between ecologically grounded creativity and ubimus as an interface or ecosystem: a site for creative technologies, methodologies and frameworks that fosters the emergence of new musical practices.
Suggested themes include, but are not restricted to:
Furthermore, as always, submissions unrelated to the theme but relevant to the journal’s areas of focus are welcome at any time.
SUBMISSION DEADLINE: 15 January 2023
SUBMISSION FORMAT:
Notes for Contributors including how to submit on Scholar One and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: https://www.cambridge.org/core/journals/organised-sound/information/instructions-contributors (and download the pdf)
General queries should be sent to: [email protected], not to the guest editors.
Hard copy of articles and images and other material (e.g., sound and audio-visual files, etc. – normally max. 15’ sound files or 8’ movie files), both only when requested, should be submitted to:
Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.
Accepted articles will be published online via FirstView after copy editing prior to the paper version of the journal’s publication.
Editor: Leigh Landy; Associate Editor: James Andean
Founding Editors: Ross Kirk, Tony Myatt and Richard Orton†
Regional Editors: Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse International Editorial Board: Marc Battier, Manuella Blackburn, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi
References
Bennett, J., 2010. Vibrant matter: A political ecology of things. Duke University Press.
Cobussen, M., Meelberg, V and Truax, B., 2017. The Routledge Companion to Sounding Art. London: Routledge.
Feld, S., 1994. From ethnomusicology to echo-muse-ecology: Reading R. Murray Schafer in the Papua New Guinea rainforest. The Soundscape Newsletter, 8(6), pp.9-13.
Landy, L., 2007. Understanding the art of sound organization. Cambridge, Mass.: MIT Press.
Lazzarini, V., Keller, D., Otero, N. and Turchet, L. eds., 2020. Ubiquitous Music Ecologies. London: Routledge.
Keller, D. and Lazzarini, V., 2017. Ecologically grounded creative practices in ubiquitous music. Organised Sound, 22(1), p.61.
Schafer, R.M., 1977. The tuning of the world. New York, NY: Knopf,
Small, C., 1998. Musicking: The meanings of performing and listening. Wesleyan University Press.
UbiMus 2021. Eleventh Workshop on Ubiquitous Music, Porto, Portugal. https://dei.fe.up.pt/ubimus/
Varèse, E. and Wen-Chung, C., 1966. The Liberation of Sound. Perspectives of New Music, 5(1), pp.11-19.