ubimus2022: The Ubiquitous Music Symposium State University of Paraná (Unespar) Curitiba, PR, Brazil, June 22-24, 2022 |
Conference website | https://ubimus2022.unespar.edu.br/ |
Submission link | https://easychair.org/conferences/?conf=ubimus2022 |
Submission deadline | May 1, 2022 |
Submission Guidelines
Ubiquitous Music is an interdisciplinary research area that combines methodologies from music, computer science, education, creativity studies, human sciences and engineering. The Twelfth Ubiquitous Music Symposium (formerly known as the Workshop on Ubiquitous Music) will be held from June 22 to 24 in Curitiba, PR, Brazil. Researchers working on ubiquitous music topics are invited to submit artistic and educational products, initial research ideas and complete research outcomes. The workshop will adopt Portuguese, Spanish and English as working languages and will feature both in-place and remote activities.. Selected papers will be included in the ongoing ubimus editorial projects according to the targeted themes: Vortex (ubimus, gastrosonics and well-being), Organised Sound (ecologically grounded creative practice and sound art) and the Handbook of Ubiquitous Music (second-wave ubimus research reports written in English).
++ Call for Papers: Please submit your research as full papers or short papers (work-in-progress), with a maximum of 12 or 4 pages, respectively, including references and acknowledgements. Papers may be written in English, Portuguese, Spanish, French or German; should adhere strictly to the ubimus template and be submitted as a PDF. All submissions will be peer-reviewed in a double-blind process. Please, remove identification of authors and all self-references from the submitted text. Accepted papers will be published in the workshop proceedings and will be under consideration for the special issues.
++ Call for Workshops: Submit workshop proposals as a two-page PDF, with links to video and music. Describe the infrastructure you will need. A basic working setup will be provided by the organizers. Other materials should be brought by the proponents.
++ Call for Music: Artists, composers and performers are invited to submit music proposals encompassing electroacoustic, instrumental, computational, web-based, mobile-based, DIY, DIT resources that employ either emerging, cutting-edge technologies or vintage and archaeologically oriented technologies. Online streaming proposals should also feature a fixed-media backup. A two-page summary of the artwork concepts and methods (see suggested topics above), and a detailed description of the technical requirements should be submitted as PDF. Please note that artistic submissions are not required to be anonymous. Use the template files for manuscript preparation. Media examples should be made available for electronic download as a single ZIP or RAR file, through a cloud-based data platform (e.g., google drive, dropbox, etc.). Media files must use codecs readily played by widely used software. Do not upload files to the submission system, links are enough.
Examples of artistic resources:
- Stereo or four-channel electroacoustic formats
- Live electronics, distributed computer processing, mobile platforms
- Acoustic musical instruments, voice, robotics, distributed or in-place dynamic scoring
- Multisensory and multimedia artworks and installations, featuring tastes, smells, tactile textures, visuals and sounds.
Technical description:
- One PDF document specifying the following information about the artistic submission:
- Author name(s), and contact information
- Title of the proposal
- Program notes (up to 3 paragraphs)
- Indication if the performance relates to a separate presentation in the technical program (in this case, please specify the title, authors and Easychair number of the separate submission)
- Intended venue: performance, installation, etc.
- Duration and instrumentation
- Names of performers, if applicable
- Composer / performer bios or a link to where these can be found online
- Detailed description of technical requirements, including equipment and setup time
- Stage plot and input list for live performances
- All performer scores (if applicable)
- Audio file(s) for evaluation of the submission. For multichannel submissions, please provide a stereo mix.
- Video files (optional).
++ Special Session: The Philosophy of Ubiquitous Music. Guido Kramann (Technical University of Brandenburg), Helena Lima (CAp, Federal University of Rio Grande do Sul)
After over a decade of ubiquitous music practice, it is perhaps time to ask how ubimus may be theoretically grounded. There have been various perspectives that served as motivators for ubimus practice and that connected ubimus to existing traditions of thought. However, we lack a coherent picture of concepts that emerge from Ubiquitous Music itself. This thread is a first step toward a Ubiquitous Music philosophy. Possible topics include:
- What is and what is not ubiquitous music?
- What ontological proposals empower the ubiquitous music movement?
- Is ubiquitous music changing the way we live? How is this related to philosophy?
- Does ubiquitous music practice change our understanding of ourselves, of animate and inanimate beings, of social contexts, of music making?
- Could ubimus foster and shape human well-being? How is this related to its conceptual groundings?
Submissions are also welcome on established ways of thinking ubimus, such as ubimus metaphors for interaction, models for creativity and the philosophical groundings of comprovisational approaches.
List of Topics
- Ecologically grounded creative practice (special issue)
- Ubimus approaches to web audio
- Everyday musical creativity
- Ubiquitous technologies: changes in musical goals and practices
- Ubimus improvisation and comprovisation
- Embedded and mobile computing in ubimus
- The Internet of Musical Things (IoMusT); ubimus robotics; edge and dew computing
- Computational creativity in ubimus
- Lay-musician interaction
- Sonification, musication and auditory display in ubimus
- Timbre interaction in ubimus
- Domestic ubimus
- Ethics in ubimus (panel)
- Ubimus, well-being and health (special issue)
- Collaborative and dialogic ubimus practices in educational contexts
- Gastrosonics (special issue)
- Ubimus, sound and politics
- Ubimus philosophy (special session)
Committees
Organizing committee
- General chairs: Damián Keller, Leandro Costalonga
- Local chair: Felipe de Almeida Ribeiro
- Papers chairs: Damián Keller, Marcello Messina, Maria Helena de Lima
- Artistic chairs: Carlos Gómez, Luzilei Aliel, Felipe de Almeida Ribeiro
- Online activities chairs: Victor Lazzarini, Gilberto Bernardes
Publication (selected proposals)
- Vortex Journal
- Organised Sound
- Handbook of Ubiquitous Music
Venue
State University of Parana (Unespar), Curitiba, PR, Brazil.
Contact
ubimus2022(at)easychair.org