Proceedings of the 10Th Workshop on Ubiquitous Music (Ubimus 2020) Ariane Stolfi, Leandro Costalonga, Marcello Messina, Damián Keller, Luzilei Aliel
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Proceedings of the 10th Workshop on Ubiquitous Music (UbiMus 2020) Ariane Stolfi, Leandro Costalonga, Marcello Messina, Damián Keller, Luzilei Aliel To cite this version: Ariane Stolfi, Leandro Costalonga, Marcello Messina, Damián Keller, Luzilei Aliel. Proceedings of the 10th Workshop on Ubiquitous Music (UbiMus 2020). g-ubimus, 2020, 978-65-00-10188-1. hal- 02997201 HAL Id: hal-02997201 https://hal.archives-ouvertes.fr/hal-02997201 Submitted on 10 Nov 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - ShareAlike| 4.0 International License Proceedings of the 10th Workshop on Ubiquitous Music (UbiMus 2020) Anais do X Workshop de Música Ubíqua (UbiMus 2020) November 9-13, 2020 Edited by Ariane Stolfi Leandro Costalonga Marcello Messina Damián Keller Luzilei Aliel Proceedings of the 10th Workshop on Ubiquitous Music (UbiMus 2020) Anais do X Workshop de Música Ubíqua (UbiMus 2020) ISBN 978-65-00-10188-1 http://ubimus.inf.poa.ifrs.edu.br/ CC BY-NC-SA, 2020 g-ubimus Porto Seguro 2020 Organization General chairs Ariane de Souza Stolfi, Universidade Federal do Sul da Bahia (UFSB) Leandro L. Costalonga, Universidade Federal do Espírito Santo (UFES) Papers Marcello Messina, Universidade Federal da Paraíba (UFPB) Damián Keller, Universidade Federal do Acre (NAP/UFAC) Maria Helena de Lima, Universidade Federal do Rio Grande do Sul (UFRGS) Artistic sessions Luzilei Aliel, Universidade de São Paulo (USP) Daniel Puig, Universidade Federal do Sul da Bahia (UFSB) Public liaison Evandro Miletto, Instituto Federal de Ciência e Tecnologia do Rio Grande do Sul (IFRS) Leonardo Souza, Universidade Federal do Sul da Bahia (UFSB) Contents Editorial Ubiquitous music making in COVID-19 times Damián Keller, Leandro Costalonga, Marcello Messina…………………………………........3 Keynote The ubiquity of guitar effects to sound processing Joseph Timoney……………………………………………………………………………....17 Pesquisa e aplicações em música ubíqua no campo educacional Maria Helena de Lima………………………………………………………………………..18 Papers Of renouncing to do something grandiose Guido Kramann……………………………………………………………………………....21 The potential role of Internet of Musical Things in therapeutic applications Joseph Timoney, Azeema Yaseen, Damien McEvoy………………………………………..36 Musical Smart City: Perspectives on ubiquitous sonification Pedro Sarmento, Ove Holmqvist, Mathieu Barthet…………………………………………..48 Everyday use of the Internet of Musical Things: Intersections with ubiquitous music Rômulo Vieira, Flávio Schiavoni, Mathieu Barthet………………………………………….60 RoboMus: Robotic musicians synchronization Higor Camporez, Jair Silva, Leandro Costalonga, Helder Rocha…………………………....72 Interactivity/interpassivity and presence/absence in the Ntrallazzu cycle Marcello Messina, Leonardo Feichas………………………………………………………...84 Tapetes Musicais Inteligentes: um artefato musical computacional ubíquo para apoiar a educação básica Thiago Santos, Denise Filippo, Mariano Pimentel…………………………………………..97 Can pipes-and-filters architecture help creativity in music? Rômulo Vieira, Flávio Schiavoni…………………………………………………………...109 Experiments on technology-assisted free improvisational practices with an ensemble of saxophones Miguel Clemente, Manuel Falleiros, Tiago Tavares, José Fornari…………………………121 Comprovisação e interação leigo-músico nas práticas criativas cognitivo-ecológicas: The Maxwell Demon Luzilei Aliel, Damián Keller………………………………………………………………..133 A ferramenta SoundSphere no contexto da exploração e da criação sonora: Um estudo de caso de música ubíqua dentro da sala de aula Ivan Simurra, Damián Keller, Brendah Freitas, Jeú Ferreira, César Leite, Marlon Teixeira, William Ramon Barbosa Bessa……………………………………………………………..149 Features extraction and segmentation for an assistive musical interface Higor Camporez, Yasmin Freitas, Jair Silva, Leandro Costalonga, Helder Rocha……...….161 Artistic Presentations Contracapas for remote double-bass and effects: Creative semantic anchoring, corpus linguistics and remote interaction Marcello Messina, Carlos Mario Gómez Mejía…………………………………………….173 Lyapunov Time Experiment Luzilei Aliel, Daniel Oliveira……………………………………………………………….175 inFracta: Dialogue processes in a multimodal environment Thales Roel P. Pessanha, Guilherme Zanchetta, Thiago Rossi Roque, Lucas Bertoloto Pereira, Gabrielly Lima de Oliveira, Bruna Pinheiro, Renata Paulino,Tiago Fernandes Tavares…...177 Playsound Agora Ariane Stolfi………………………………………………………………………………...178 EDITORIAL Ubiquitous Music Making in COVID-19 Times 12 3 124 Damián Keller , Leandro Costalonga , Marcello Messina 1 Amazon Center for Music Research (NAP) Rio Branco – AC – Brazil 2 Universidade Federal do Acre (UFAC) Rio Branco – AC – Brazil 3 Universidade Federal do Espírito Santo (UFES) São Mateus – ES – Brazil 4 Universidade Federal da Paraíba (UFPB) João Pessoa – PB – Brazil [email protected], [email protected], [email protected] 1 Introduction Picture a world with no mobility. Planes are landed. Urban transportation stopped. Large gatherings are non-existent and everybody is at home. That’s 2020, today. Most countries have reduced social interactions to a minimum. Food markets, drugstores and gas stations remain open. But shopping malls, cinemas, coffee shops and pubs have closed their doors for the foreseeable future. The Covid-19 pandemic is among us, ready to strike the most vulnerable and sometimes also the healthy, rich and posh. Covid-19 impacts every social strata. This is a key difference between this disease and the plagues that have been taking lives in the peripheral countries for decades. Pulmonary and respiratory diseases are among the leading causes of death worldwide. But according to the WHO1 (2018), the so-called Group I conditions (communicable diseases, maternal conditions arising during pregnancy and childbirth, and nutritional deficiencies) are particularly devastating among the low-income populations. Until today, music making has predominantly been done through face-to-face, synchronous interactions. While it is true that some forms of music making ⎼ for instance, studio post-production or karaoké ⎼ rely on resources that are prepared offline, the implicit target of musical activity is to make sound together, if possible in person and at the same time. The current pandemic has turned the traditional forms of music making into high-risk and in some cases potentially deadly activities. So is music making becoming an activity for a select elite, secluded from the mundane buzz and divorced from community exchanges, again? The answer from the ubimus community is a strong no! 1 WHO (2018). The top 10 causes of death. Geneva, Switzerland: The World Health Organization. https://www.who.int/news-room/fact-sheets/detail/the-top-10-causes-of-death 3 Ubimus research has targeted both more accessible forms of music making and a search for new modalities of artistic practice. These endeavors entail a deep understanding of the underlying creative phenomena ⎼ both the ones approached by disciplines such as musicology or music cognition and the emerging forms of creativity tied to the intense deployment of technology and involving the adaptive and opportunistic utilization of resources found in everyday settings (i.e., little-c music - Keller and Lima 2016). As in other fast growing fields, there is a tendency to incorporate technological resources without the support of a firm experimental evidence or a consistent theoretical scaffolding. Take for instance the recent emergence of the Internet of Musical Things. This proposal was formulated in parallel by Turchet and Barthet (2017) and Keller and Lazzarini (2017). After several exchanges in the ubimus community, the various acronyms were dropped (IoMT, IoMUT, etc.) and the label IoMusT was adopted.2 There are two issues worth mentioning here. The ties of the Internet of Things (IoT) with ubimus are explicit. Nevertheless, it is not yet clear whether the creative ubimus activities enabled by the IoT infrastructure can be labelled simply IoMusT. Turchet et al. (2018) attempt an inclusive definition of the term. But the examples provided unveil a bias toward a subset of long-standing forms of music making, strongly tied to the hegemonic acoustic-instrumental paradigm. Granted, ubimus is given a place as a form of music making that enables the exploration of the resources of the IoMusT. But part of the recent ubimus contributions to creative musical practices are not supported by the proposed IoMusT functionalities. Why is this so? Ubimus has pushed the meaning of music making beyond the passive adoption of the technological infrastructure, initially designed around the use of musical instruments. Some IoMusT proposals enforce an early definition of ubimus, laid out by Pimenta et al. (2009). These proposals involve the deployment of tools rather than the development of the creative potential enabled by multiple forms of interaction among cognitive, social and material resources. Hence, they imply a narrow interpretation