Ecologically Grounded Creative Practices in Ubiquitous Music

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Ecologically Grounded Creative Practices in
Ubiquitous Music
D A M I Á N K E L L E R * and V I C T O R L A Z Z A R I N I * *
*
Amazon Center for Music Research – NAP, Federal University of Acre, Rio Branco, AC, Brazil
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Maynooth University, Maynooth, Co. Kildare, Ireland  Upload  EN  Sign In Join
Emails: dkeller@ccrma.stanford.edu; victor.lazzarini@nuim.ie
 Home Instrumentally oriented and individualistic approaches theoretical models and arguing for empirically groun
dominate the current perspectives on musical interaction and ded creativity-centred design techniques.
technologically oriented composition. A view that focuses on
Moving towards an organic methodology for sound
 Saved the broad aspects of creativity support is proposed as a viable
art (as idealised in the 1930s by Edgard Varèse), sonic
theoretical and methodological alternative: ubiquitous music
practice. This article summarises several ndings in ubiquitous
eco-compositional approaches propose creative action
music research, pointing to new theoretical frameworks that as by-products of action-perception cycles. The
 Bestsellers tackle the volatile and distributed creativity factors involved in eco-compositional perspective rests on the empirica
musical activities that take place outside of traditional venues, evidence provided by embedded-embodied cognition
involving the audience as an active creative partner. A new (Gibson 1979; Varela 1992; HutchinsCrevativty &
1995, 2010)
 Books 51356403 Role Focused OD Techweekbuchares The 6 Myths Of
de nition of ubiquitous music is proposed encompassing four
Fostering ActivitiesReport
Rather than abstract manipulation of symbols, com
Rethinking Desi… Interventions May2017… Creativity Innovation in a… ColNameIED Sh… Innovation Ppt…
components related to the human and the material resources, position is thought as interaction among agents and
 Audiobooks
the emergent properties of musical activities and the design objects (Keller 1998, 1999). Eco-compositional activity
strategies involved in supporting distributed decision making. engages in the exploration of local resources as key
We highlight the application of embedded-embodied cognition
creative ingredients (Burtner 2005). Similar to the
 Snapshots in creative practice, arguing for the adoption of an ecologically
grounded framework as an alternative to the mainstream
soundscape compositional approach (Truax 2002)
it incorporates place as a creativity factor highlighting
anthropocentric and disembodied acoustic-instrumental the interaction with the environment as one of the
 Magazines paradigms. We discuss the relevance of the new materialist
concepts of ecologies and meshworks within artistic creative central aspects of the creative process (Rhodes 1961)
practice, highlighting the implications of the emergent The open-ended creative methods adopted by eco
 Documents creativity support methods for context-based composition. composers have helped to turn musicians (Nance 2007
and audience (Keller 2000) into active participants o
the creative process. This increased reliance on (1) socia
 Sheet Music
1. INTRODUCTION interaction, (2) everyday settings, and (3) the open
ended, exploratory activities have underscored the lim
This article summarises several ndings in ubiquitous itations of the existing toolset for creativity support.
music (ubimus) research that underline the need for new During the rst decade of the twenty- rst century
theoretical frameworks to handle the volatile and dis- several composers started a search for methods to
tributed creativity factors involved in creative music- handle action-perception cycles within their composi
making (Keller, Lazzarini and Pimenta 2014a). As tional practice. Barrett (2000), Opie and Brown (2006
pointed out by Rudi (2015), there has been a paradigm developed data-extraction techniques that provided
shift in technologically based creative practices. Con- tools to deal with the complexity of the local sonic
trasting with the historical electroacoustic music ten
trasting with the historical electroacoustic music ten-
dencies, the
Related titles artistic value of recent technology-based resources for musical purposes.
Sign InBurtner
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explored the usage of synthesis techniques in externa
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music is not necessarily determined by experts (Rudi  Upload  EN 
settings as sources of creativity, coining the concept of
2015: 36), blurring the lines ‘between composer, audi- socio-synthesis. Di Scipio (2008) employed a venue’
ence, composition, performance and mediation’. acoustical properties to increase the available resour
 Home Musical activities that take place outside of traditional ces for performance-based compositional systems
venues and that feature the audience as an active crea- Nance (2007) proposed the use of aural scores as a way
tive partner demand design techniques that are not
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currently supported by mainstream musical interaction
to increase the openness of instrumental works. Cádiz
approaches.1 We discuss recent advances in ubimus (2012) employed ecologically based synthesis method
in the context of orchestral works and Aliel and
research, highlighting the limitations of the current Fornari (2014) applied these techniques in remot
 Bestsellers
1
See Wessel and Wright (2002) or Tanaka (2009) for examples of improvisatory performances. Basanta (2010) and
current views in musical interaction. the Capasso + Keller + Tinajero Collective (Capasso
 Books 51356403 Role Focused OD Techweekbuchares The 6 Myths Of Fostering ActivitiesReport
Organised Sound 22(1): 61 – 72 © Cambridge University Press, 2017.
Crevativty &
doi:10.1017/S135577181600034
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62 Damián Keller
Damián Keller and
and Victor
Victor Lazzarini
Lazzarini
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 Home
 Saved Figure 1. Revised model of the xed use of material resources in sonic ecologies (the two states re ect pre- an
intervention status).
 Bestsellers
Keller and Tinajero 1999,, 2000
Keller and Tinajero 1999 2000,, 2012
2012,, 2014
2014) made use
) made use yielding behavioural adjustments to new cond
of ecologically based interaction techniques to enhance Compositional strategies that apply a strict sep
Compositional strategies that apply a strict sep
 Books 51356403 the creative participatory potential of their installation
the creative participatory potential of
Role Focused OD Techweekbuchares their installation
The 6 Myths Of between the decision-making process and the e
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This article tackles the application of an ecologically examples of this approach are provided both
acousmatic practices
acousmatic practices (Wishart
(Wishart 2009
2009) and by trad
) and by trad
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base
ba sed
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e pr
prob
oblelem
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distributed and socially grounded manifestations of supp
ppor
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ng soundscape composition (Westerkamp 1989)
musical creativity. The remaining sections are struc- sonic ecologies are classi ed as xed xed (Figure 1
(Figure 1))
 Magazines tured as follows. First, we present two updated models When
Whe n the creati
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sonic
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These se mod
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con-- processes that depend on the local resources, th
ceptuall basi
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with three as
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pects of soni
of sonic creat
c creative
ive ecologies are labelled adaptive. The mismatch b
 Documents
practices: the material, the cognitive and the social the eco-niche and the creative procedures se
fact
factor
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limitations of a recent community-constructed de
tion of ubiquitous music phenomena. This de ni-
nition is years, Barry Truax and other soundscape com
parsed
par sed int
into
o fou
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compon ponent
ents,
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encomp
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human factors, the material resources, the properties two separ
separate
ate real
realms
ms (Tr
(Truax
uax 2002).
2002). The inte
that
tha t eme
emerge
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ing the cre creati
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ve act
activi
ivitie
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s and the installation The Urban Corridor (Keller, Capas
design
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s tha
that t fos
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ter cre
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ve out
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comes es – Wilson 2002 2002;; Kel
Keller
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Pimenta et al
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2009)) s
including both creative processes and products. The Download With Free Trialan alternative path by creating a setting that e
nal sec
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ecolog
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framew
mework
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within
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ubiqui
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making on context-based creative practice. s mus
music-
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g p g g j
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2002). Event densities and timbre pro
2002 ). Event densities and timbre pro les depen
2. MODELLIN
MODELLING ECOLOGI
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on community behaviour and on the compos
MAKING
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The relationships between the material resources and the material dimension is driven by the partic
 Saved the ecological niche in music-making activities have

been addressed in (Keller 2012
been addressed in (Keller 2012) and (Keller, Lazzaini
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and Pimenta 2014b
and Pimenta 2014b). From an ecologically grounded
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behavi ours impact the son
pact the sonic outco
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me, what we s
perspe
per specti
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two
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proc
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representative musical projects of the late twentieth determines the material resources of the piece
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century: xed and adaptive usage of material resour- the same time the piece also shapes the eco
ces. These two strategies emerge from the relationships
ces. These two strategies emerge from the relationships These processes cannot be separated. Their dy
 Books 51356403 established between the creative potential of the local
Role Focused OD Techweekbuchares The 6 Myths Of can be described as an
Fostering ActivitiesReport Crevativty & : a
adaptive sonic ecology
settings and the decision-making processes that impact
settings and the decision-making processes that
the choice of material resources. These relationshipsimpact where agents and objects interact producing a c
sonic by-product that depends on local mater
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actions to introduce more resources into the ecological d’Inverno (
Inverno (2012
2012) strip the creative cycle down
) strip the creative cycle down
niche.
niche. Shi
Shift
ft com
combin
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two
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mer ope
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. Columbia University Libraries, on 31 May 2017 at 02:52:44, subject to the Cambridge Core terms of use, available at
 Sheet Music https:/www.cambridge.org/core/terms.. https://doi.org/10.1017/S1355771816000340
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Ecologically Grounded Creative Practices in Ubiquitous Music 63

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Figure 2. Revised model of the adaptive use of material and behavioural resources in sonic ecologies.
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properties arising from interactions among materia
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of selection of the available resources. The generation- resour
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sentative musical works of the late twentieth century support creative activities, yielding dynamic relation
sugges
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2014c,, 2015c; Keller
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interactions can be described by three operations on Otero and Costalonga 2015b
Otero and Costalonga 2015b). ).
the mate
material
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, in Jones et al. 2012 2012 social . This means that the material resources are no
. This means that the material resources are no
nomenclature); constrain, when the pool of resources limited by the experiential knowledge of a single crea
gets smaller; and shift, when a qualitative change of tor. Knowledge is accumulated and distributed among
tor. Knowledge is accumulated and
You're Reading a Preview distributed among
 Sheet Music
resources is involved (or impose). Jones and coauthors all the agents participating in the creative act, some
propose the no operation label, when the resources are Unlock full access with a free trial.
times conforming a community of practice (Wenger
unmodi ed. 2010).
2010 ). The social aspects of creativity highlight the
The introduction of the nil operator, suggested by
operator, suggested by need to consider the distributed nature of the agents
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the lack of change in the resource pool is consistent involved in the creative act. The stereotype of the
with the incubation stage proposed by Wallas (1926
with the incubation stage proposed by Wallas ( 1926)) genius-composer working in his studio – isolated from isolated from
and lat
later
er inc
incorp
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orated
ted by mos
most t mus
musica
ical l cre
creati
ativit
vityy the hustle of mundane distractions – is currently being
is currently being
models (cf. reviews in Keller et al. 2014b). 2014b). This is challenged
chall enged by ubiquubiquitou
itous s musi
musical
cal pract
practices ices (Kel
(Kelle
le
usually described as time spent away from the creative et al. 2014a
et al. 2014a). The situated methods that have emerged
). The situated methods that have emerged
i i B i h di h f i f l i ll dd i i l
activity. But given the recent ndings on the function from ecologically grounded creative practices t wel
of the default mental network
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ways that stay active despite the lack of conscious research (Lima et al. 2012; Pimenta et al. 2014
research (Lima et al. 2012; Pimenta et al. 2014). While
). While
processes which are usually linked to the area of the the generation-evaluation model was developed keep
pre-frontal cortex (Beaty et al. 2015
pre-frontal cortex (Beaty et al. 2015)) – it is very likely
it is very likely ing in mind a single participant, ecologically grounded
ing in mind a single participant, ecologically grounded
 Home
that activities that have no impact on the material practices have traditionally targeted the integration o
 Saved resources, such as sleeping or doing physical activity,

provide an opportunity for recon guring the cognitive the audience as an active shaper of the artistic experi
ence (Keller and Capasso 2006
ence (Keller and Capasso 2006; Basanta
; Basanta 2010
2010; Burtne
; Burtne
resources devoted to the creative act. Hence, a more 2011; Keller et al.
2011 ; Keller et al. 2014d
2014d). Thus implying that a
). Thus implying that a revised
revised
accurate depiction of the nil operator is the reduction noti
no tion
on of ag
agen
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nececess
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conscious processes,
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enhancing the role of
role of socially distributed resources involved in community
 Bestsellers the implicit cognitive resources. based creative phenomena.
Despite Jones and his coauthors ’ acknowledgement So far, we have dealt with two instances of the
of the
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distributed agents and resources. There are two aspects decisio
deci sion-m
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procescess
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to be considered. On the one hand, as multiple studies Therefore, they do not necessarily depend on the loca
have
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resour
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Adaptiptive
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sonic
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ecolog
logies
ies are
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proposals (Keller 1999,
1999, 2000;
2000; Burtner 2005;
2005; Keller habitats where agents and objects interact producing
and Capa
Capasso
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64 Damián Keller
Damián Keller and
and Victor
Victor Lazzarini
Lazzarini
material and behavioural resources. Recent develop- projects that make use of environmental feat
material and behavioural resources. Recent develop projects that make use of environmental feat
ments in ecologically grounded creative practices may constrain the behaviours of the agents or to ge
Related titles expand
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frontiers ubiqu
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Thus, it might be useful to revisit the de nition of modelling proposes creative heuristics – that i
ubimus while considering the latest tendencies in eco- sion helpers – that are based on the objects
 Home logically grounded creative practices. behaviours in terrestrial settings (Keller 1999 1999,,
These heuristics have been applied in sound sy
(Kell
(Ke ller
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ax 1998;
1998; KelKeller
ler and Ber
Berger
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3. PUSHING
PUSHING THE
THE DEFINITION
DEFINITION OF
OF Burtner 2005
Burtner 2005; Di Scipio
; Di Scipio 2008
2008), haptics design (B
), haptics design (B
UBIQUITOUS MUSIC FORWARD and Adcock 2002
and Adcock 2002; Castle, Adcock and Barrass
; Castle, Adcock and Barrass
interaction design (Keller et al. 2002 2002; Basanta
; Basanta
 Bestsellers A community
comm unity-cons
-construct
tructed
ed de nit
nition
ion of ubi
ubiqui
quitou
music proposes that the study of ubimus targets tous
sys-s Keller et al. 2010
2010; ; Keller et al. 2011),
composition (Nance 2007; 2007; O’Callaghan
2011), instru
Callaghan 2013
tems of 1) human agents and 2) material resources that
environmen
envir onmental tal data extraction
extraction and soni cat
3) afford musical activities through 4) creative support
 Books 51356403 Role Focused OD Techweekbuchares The 6 Myths Of
(Keller et al. 2014a
(Keller et al. 2014a). Let us deal with each of the
). Let us deal with each of the
artistic purposes (Barrett 2000
artistic purposes (Barrett Crevativty &
2000; Opie and Brow
; Opie and Brow
Rethinking Desi… tools
Interventions May2017… Creativity Innovation in a…
Gomes et
Gome ColNameIED Sh…
s et al. 2014
2014;; Con
Connornorss 2015
2015). Innovation Ppt…
). All
All these tech
four components of this de nition separately before we
make use of local resources
make use of l ocal resources providing open app
 Audiobooks tackle the implications of the ecologically grounded
to sonic organisation. They highlight the em
perspective within the context of ubimus research.
qualities
quali ties of behav
behavioura
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patterns
rns acros
across
s mod
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some times explo
exploring
ring contr
contradict
adictions
ions and par
3.1. Human
Human agents
agents through the expansion of the sonic properties
world events. Thus, we could classify the ubim
 Magazines Component 1 of the de nition refers to the factors that tems that make heavy use of environmental fea
tems that make heavy use of environmental fea
shaped hominid evolution. Two of the currently most multimodal ecologies.
in uent
uential
ial pers
perspect
pectives
ives on evol
evoluti
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on theo
theory
ry are the
 Documents
social brain hypothesis (Shultz and Dunbar 2007
social brain hypothesis (Shultz and Dunbar 2007) and
) and
the niche construction theory (Odling-Smee, Laland 3.3. Relation
Relational al properties
properties
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 Sheet Music and Feldman 2003
and Feldman 2003). The former highlights the impor-
). The former highlights the impor- Both component 1 and component 2 interact to
tance of social interaction mechanisms for survival.
compone
comp onent nt 3 – aff
afford
ordance
ances.s. The conc
concept
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affor
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Apparent
Appa rently,
ly, the abil
ability
ity to perc
perceive
eive and pre
predict
dict the that is, opportunities for action provided by the f
intentions of others may have been one of the key of the environment as perceived by the active ag
demands of early hominid interactions that required a coined by psychologist Gibson (1977
coined by psychologist Gibson ( 1977), has a ve
), has a ve
high investment of cognitive resources. The latter the- tradition of use and misuse. Particularly in the
ory stresses the impact of the organisms on the local human – computer interaction (Norman 1988/
computer interaction (Norman 1988/ 2
environment – leading to the formation of the ecologi- has fostered multiple confusions. Norman’s pers
–
cal niches and the environmental pressures on beha- implies that somehow affordances could be de
viour that may have demanded increasingly re ned and attached to objects or that material prope
y gy and attached to objects or that material prope
cognitive mechanisms to cope with uncertain condi- objects could be equated to social usage of
Related titles tions. Both approaches have gathered strong evidence
Search   Upload  EN 2010 for a critical discussion
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(see Keller et al. 2010
(see Keller et al. for a critical discussion
from diversi ed elds, including biology, paleontology, implications of the concept of affordance for c
anthropology, social psychology and cognitive science. practice). Affordances remain problematic until
 Home These theories have several implications on creative For this reason, we have opted to adopt the mo
practice. As suggested by Emmerson in 2001, installa- tral label relational properties for the design q
tion art provides an ideal venue to experim
tion art provides an ideal venue to experiment with the
ent with the that emerge from inte interact
raction
ion (Ke
(Kelle
ller
r et al.
 Saved social factors underlying group behaviours (Emmerson 2015c). So far, we have identi
2015c ). So far, we have identi ed three types
2001). Interactions encompass visual, sonic and tactile
2001 ). Interactions encompass visual, sonic and tactile tional properties: material, social and formal. M
cues produced by the agents’ behaviours and impacting relational properties arise from the interaction
the beha
behaviou
vioural
ral res
resourc
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es. Giv
Given
en that ecol
ecologi
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physic al objects
objects. . Social relational
relational propert
properties
ies
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grounded
grou nded crea
creativtive
e prac
practic
tices
es have focu
focused
sed on soci
social
al from interactions among agents. And formal rel
interac
interaction
tion (Ke
(Kelle
llerr et al. 2002
2002;; Ke
Kell
ller
er and Ca
Capas
passoso 2006
2006;; properties include cognitive simulations and con
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2010 Connors Techweekbuchares
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2015 ), it ma kessThe 6 Myths Of
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operations handled through of Crevativty &
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this type of ubimus systems as . (Wilson 2002).
2002). Hen
Hence,
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formal
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are
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synchronous interactions.
3.2. Materia
Material l resources
resources
A longitudinal design study was implemen
 Snapshots Component 2 of the de nition of ubimus systems – determine how relational properties can be sup
material resources – is hig highli
hlight
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ed by the cre
creati
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Ecologically Grounded Creative Practices in Ubiquitous Music 65
creative coder
creative coders
s behaviours
behaviours. . Part
Participan
icipants ts were con-
tact
tacted
ed vi
via
a th
the
e co
codi
ding
ng comm
commun unitityy’s ma
maili
iling
ng lis
lists,
ts,
g y g ,
including users of the visual programming language
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Max/MSP and of the Processing language forum as Sign In Join
well as members of the Computer Arts Society list.
Figu
Fi re 3. Asy
gure Asynch
nchron
ronous
ous dec
decisi
ision-
on-mak
making
ing sup suppor
port t in Thirty-nine respondents completed the survey. Bown ’s
to 1.0: audiovisual sketches.
Pala to 1.0 analysis yielded four main topics: 1) time-demands
 Home of spe
speci
ci c act
activi
ivitie
ties;
s; 2) sou
source
rces s of kno
knowlewledge
dge and
approa
app roache
ches
s to pro
proble
blem-s
m-solvolving
ing; ; 3) app
approaroaches
ches to
processes (Keller et al. 2014d
processes (Keller et al. 2014d). This ten-month design
). This ten-month design exploration; and 4) information-seeking versus intui-
 Saved
study targeted the observation of the creative processes
study targeted the observation of the creative processes tive styles of working. The results of this study suggest
of a video-artist, a sculptor and a composer, while that the usage of complex tools was centred around
working on the multimedia installation Pala Pala to/Pala-
t o/Pala- epistemic (exploratory) activities. Generative tools and
ta/Home-on-stilts
t a/Home-on-stilts 1.0 1.0 (Capasso et al.
(Capasso et al. 2012
2012) (see Movie
) (see Movie abstract visualisation tools seem to be at the core of
 Bestsellers example 1, featuring an excerpt of the audiovisual the support of exploratory actions. Given the users ’
material). Asynchronous, ubiquitous group activities preference for batch processing, asynchronous support
preference for batch processing, asynchronous support
were carried out by the three subjects through light- appear
app ears
s to be more
mor e access
acc essibl
ible e than
tha n synchr
syn chrono
onous us
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off-the-s
the-shelf
helf infrastru
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Techweekbuchares The 6 Myths Of
cture. . Data was
Data was extracted
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ActivitiesReport
ndings complement the
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from a virtual forum and a le repository. The analysis conclu
con clusio
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Pala to t o 1.
1.00 study:
study: rat
rather
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thann
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altern
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on, explor
exploratoratory y actio
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focusing
focus ing exclu
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y on perf
performa
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creativity support systems should foster the increase of
iented d task
tasks,
s,
and product-oriented action. Technological support creative potentials through exploratory activities that
was incincorp
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ted thr
throug
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demand and – trial
trial – target high-level conceptual relationships.
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assessmen
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3.4. Ubimus
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develo
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The fourth component of the ubimus de nition stems
of sonic material and video footage, and three 5x8x3 from the inc
the incorpor
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n of creativi tivity as
ty as a relev
relevant
ant targe
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 Documents metre raw-wood sculptures. for technological support (through creativity support
The procedures underlying the Pala t o 1.0 study are
Pala to 1.0 tools). Human – computer interaction research in this
computer interaction research in this
summarised in Figure 3
summarised in Figure 3. Given the collective character
. Given the collective character You're Reading a Preview
area
ar ea wa
was s pi
pion
oneeeere
red
d by Ed Edmomond nds
s an
and d Fi
Fiscsche
herr
 Sheet Music of the endeavour, a common reference system becomes (Edmonds et al. 1995
(Edmonds et al. 1995). Creativity support has recently
). Creativity support has recently
a requirement. Well-grounded local decisions can only gained impetus through the emerging area of Infor-
be made if the stakeholders have access to the status of mat mation
ion Tec
Techno
hnologlogy
y CrCreat
eative
ive PraPracti
ctices
ces (Mi
(Mitch
tchell
ell,,
the other participants’ activities. Local data, in this Inouye and
Download With Free TrialBlumentha
Blum enthal l 2003
2003; ; Shneiderma
Shnei derman n 2007
2007). ).
case
cas e rep
repres
resent
entati
ations
ons of sou
sounds
nds and foo footag
tage,
e, wer
weree Shneiderman et al. (2005 (2005) ) have suggested that the
shared through volatile resources – in the form of development of creativity support tools can provide a
audiovisual (AV) sketches – to increase the
to increase the exibility new focus to human – computer computer interaction research.
of the exchange (Keller et al. 2014d
of the exchange (Keller et al. 2014d; ; Keller, Miletto But tools as the central concepts of a research agenda
and Ot Otero
ero 2015a).
2015a). Th The e AV sk sket
etch
ches
es prprovovidided
ed a on creativity may be problematic. The investment on
tempor
tem poral
al ref
refere
erence
nce sys
system
tem for the asy asynch
nchronronous
ous isolated tools may prove to be effective when dealing
decision-making process Overall the results indicated with well-de ned problems This strategy suits the tel-
decision making process. Overall, the results indicated with well de ned problems. This strategy suits the tel
that social relational properties and material relational
that social relational properties and material relational eological
eologi cal techn
techniques
iques (Fan
(Fantauzza
tauzzacof
cof n an
and
d Ro
Rogegers
rs
Related titles Search 
properties do not abide by the same mechanisms. The  Upload  EN 
2013) in which the target of the procedure is de
2013 ) in which the target of the procedure is de Sign In ned Join
temporal investment on formal relational properties before the start of the activity. In this scenario, the
(related to re ective activities) was very high when design and the choice of the tool do not impact the
compared to product-oriented activities. This points to de nit
nition
ion of the epi
epist
stemi
emic
c tar
target
get. . How
Howeve
ever,
r, mo
most
st
 Home
a gap in musical interaction research. While most of artistic endeavours not only demand the solution of
the main
mainstrea
stream
m develo
developmen
pment t has targ
targeted
eted musi
musical
cal both unde ned and clearly de ned problems, but may
instruments and musical performance systems (Wessel also challenge established worldviews (Donald 2006
also challenge established worldviews (Donald 2006).
).
 Saved
and Wright 2002
and Wright 2002; Tanaka
; Tanaka 2009
2009), it seems that a better
), it seems that a better For this reason, artistic activity has been described as
strate
strategy
gy to boo
boost
st cre
creati
ative
ve pot
potent
ential
ials
s inv
involv
olves
es the self-re ective (Hamman
ective (Hamman 2002 2002; Donald
; Donald 2006
2006). In other
). In other
support of exploratory and re ective activities. words, the objectives of the activity are established
Within
Wit hin the con
contex
text
t of com
comput
putati
ationa
onally
lly ass
assist
isted
ed during the act rather than a priori. The support of
 Bestsellers
artistic practices, Bown (2014
( 2014) discusses the implica-
) discusses the implica- exploratory creative activity may demand more uid
tions of adopting complex tools for creative activities. method
met hods s tha
than
n tho
those
se pro
provid
vided
ed by the tel
teleol
eologi
ogical
cal
He conducted a questionnaire-based study to probe approach.
 Books 51356403 Role Focused OD Techweekbuchares The 6 Myths Of Fostering ActivitiesReport Crevativty &
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 Magazines
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66 Damián Keller
Damián Keller and
and Victor
Victor Lazzarini
Lazzarini
Another factor fostering a conceptual change in the providing a path for the development of ubiquitous
fourth component of the ubimus de nition involves the music
music eco
ecosys
system
tems
s bas
based
ed on st
standa
andard
rd web bro
brows
wser
er
t i f t t T h l i l t f t h l O th d id t f th
support t inf
suppor infras
rastru
tructu
cture.
re. Tec
Techno
hnologlogicical
al sup
suppor
port t for tech
technol
nologogy.
y. On th the e do
down
wn siside
de, , su
supp
ppor
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t fo
for
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Related titlespervasive musical activities increases the dif
 Ubimus systems se in al 
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design task on several fronts. may case
ca all l br
brow
owse ser-
r-ba
basesed
d so
soft
ftwa
ware
re de
devevelo
lopm
pmentent
enhance the users’ creative potential by providing access system
sys tems. s. Thi
This s ave
avenue
nue of resresear
earch
ch emp
emphas
hasise
ises
s the
to previously unavailable material and social resources. interrelated character of ubiquitous musical interac-
 Home But a more intensive usage of resources can introduce
uninte
uni ntende
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compl plexi
exitie
ties,
s, nar
narro
rowi
wingng the acc
access
ess to a sm
small
all
tions featuring support both for audio processing and
for rapid user interface prototyping. Hence, it may
userr bas
use base.
e. Thu
Thus, s, one
onechal
challen
lenge
ge fac
faceded by ubi
ubimus
musdesdesig
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al alt
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ve to the tootools
ls
 Saved is to provide intuitive tools for diverse creative tasks. designed for musical performance and based on sim-
Furthermore, custom-made, special purpose hardware plistic acoustic-instrumental concepts.
interfaces – such as those proposed by the tangible user
such as those proposed by the tangible user An important dimension of the emerging ubimus
interface design approaches (Fitzmaurice et al. 1995 1995;; ecosystems has ourished under the Maker Movement
 Bestsellers Ishii, Mazalek and Lee 2001
Ishii, Mazalek and Lee 2001)) – may ful
may ful l the require- (Dougherty 2012
(Dougherty 2012), ), the do-it-yourself (DIY) interven-
ments of tran
transpare
sparency
ncy and natur
naturalnes
alness s redu
reducing
cing the tions. Much of the context under which ubimus has
cognitive load of complex tasks. But they do not guar- been considered, as far as the supporting hardware is
 Books 51356403 Role Focused OD Techweekbuchares The 6 Myths Of con
antee wide accessibility. In this case, the catch lies in the concer Fostering
cerned
ned, , is bas ed on ActivitiesReport
based the use of exi
existiCrevativty &
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ng manu-
man u-
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Interventions May2017… Creativity
cult to Innovation in a… ColNameIED Sh…
factured technology (off-the-shelf devices), sometimes Innovation Ppt…
distribute and maintain. As a consequence, th
distribute and mai ntain. As a consequence, the user e user base repurposed through software or hardware modi ca-
 Audiobooks is narrowed by the increased costs of the hardware. tions for application-speci c needs. This can be seen in
A pro
promimisin
sing g pro
propos
posal
al to tac
tackle
kle thithis
s iss
issue
ue inv
involv
olves
es a number of projects reported in the ubimus literature
repurposing – that is, usi using
ng exi
existsting
ing tec
technhnolo
ology
gy for (Flores et al. 2010
2010; ; McGlynn, Lazzarini and Delap
 Snapshots creative ends. Flores et al. (2010
creative ends. Flores et al. ( 2010) target personal mobile
) target personal mobile 2012; van Troyer
2012 ; van Troyer 2014 2014). ). By bringing the dimension
devices as platforms for ubimus support. Lazzarini et al. of DIDIY Y el elec
ectr
tron
onicics
s pl
plat
atfo
form
rms
s ininto
to th
the
e ub
ubimimus
us
(2012
2012) introduce a sound synthesis platform for mobile
) introduce a sound synthesis platform for mobile playground, designers are able to tap into a much
 Magazines
devices based on the widely used musical programming wider source of technology solutions. In fact, many of
language Csound. Despite the enhanced support for the initial ideas that motivated ubicomp (Weiser 1995
the initial ideas that motivated ubicomp (Weiser 1995))
mobile devices, the ubimus initiative still faces a chal- become more tangible, as custom-made devices seam-
 Documents
lenge related to the sustainability of its technological lessly fuse with our surroundings.
infra-
infra-str
struct
ucture
ure. . Sof
Softwa
tware
re deve
develop
lopmen
ment t mak
makes You're Reading a Preview
es sense
sen se As we integrate multiple objects into the ubimus
when
wh en th
ther
ere e is ststab
able
le ha
hard
rdwa
ware
re babase
se av
avai
aila
labl
ble
e fo
forr ecosystems, a key potential of embedded technologies
 Sheet Music
deployment. The fast renewal cycle of mobile devices Unlock full access with a free trial.
becomes evident: we can take advantage of the internet
makes it dif cult to support sustainable musical prac- infrastructure to offer connectivity over a wide area.
tices. Hence, rather than targeting devices or instru- Small computing units can be remotely controlled, to
ments, ubimus design may require concepts that can gather data and to interact with people and other
handle
han dle perm
permane anentnt cha
changes
ngesinin the und
underlerlyin
yingg tec
techno
hnologlogy.
y. objects in the environment. This brings the possibility
Lazzarini and coauthors (2014b) propose the itera- of fun
functi
ctiona
onal l ext
extens
ension
ions
s thr
throug
ough h ubi
ubimus
mus devdevice
ices.
s.
tive implementation of ubimus ubimus ecosystems. Ubimus Combinati
Comb inations
ons of custcustomise
omised d hardw
hardware are and ready
ready--
ecosystems function as technological hubs t
function as technological hubs that support hat support made components can cooperate in systems where
the integration of audio and interaction tools. These there is effectively no separation of computing devices
ecosystems can be recon gured according to the needs and peripherals. Kevin Ashton has coined the term the
and peripherals. Kevin Ashton has coined the term the
of the use
users
rs thr
throug
ough rap
h rapid
id pro
protot
totypi
yping
ng tec
techni
hnique
ques.
s. As a Internet of Things (IoT) to describe this trend (von
Related titlescase study, Lazzarini et al. (
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case study, Lazzarini et al. (2014a
2014a) report the devel-
) report the devel-  Upload 
Kranenburg and Bassi 2012
Kranenburg and Bassi EN ). ‘ IoT will be composed of
2012). Sign In Join
opment PNaCl Csound. PNaCl Csound provides an trillions of devices. While it is unlikely that all devices
environment that can be employed for the develop- will be connected in a mesh [...] the number of inter-
ment of a variety of ubimus applications on standard connected object will outnumber by several orders of
 Home internet browsers. It is based on a well-understood, magnitude the current internet’ (von Kranenburg and
domain-speci c language that features a wide-ranging Bassi 2012:
2012: 4). Thi
This
s mas
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e, het
hetero
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s inf
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 Saved opcodes). Thus, while it supports the prototyping of action while it introduces several challenges for design.
action while it introduces several challenges for design.
reasonably complex audio processing applications, it Increased energy usage (von Kranenburg and Bassi
can also bene t from a large library of code from the 2012) and potential increase of waste point to zero-
2012 ) and potential increase of waste point to zero-
various pre-existing catalogues of Csound algorithms. entropy (or self-suf cient) devices act as design targets.
 Bestsellers The Csound PNaCl environment features a relatively Shared communication protocols will be required for
low-latency performance and incorporates the know- full integration. Another issue that has to be addressed
full integration. Another issue that has to be addressed
how developed over thirty years of Csound usage, is a use
user-c
r-cent
entred
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approa
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Ecologically Grounded Creative Practices in Ubiquitous Music

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