This paper explores participatory and socially engaged practices in ubiquitous music (ubimus). We discuss recent advances that target timbre as their focus while incorporating semantic strategies for knowledge transfer among participants. Creative Semantic Anchoring (ASC from the original in Portuguese) is a creative-action metaphor that shows promising preliminary results in collaborative asynchronous activities. Given its grounding in local resources and its support for explicit knowledge, ASC features a good potential to boost socially distributed knowledge. We discuss three strategies that consolidate and expand this approach within ubiquitous music and propose the label Radical ASC. We investigate the implications of this framework through the analysis of two artistic projects: Atravessamentos and Ntrallazzu.

<p>The purpose of this article is the comparative study of monuments in<br />Cobija (Bolivia) and Rio Branco (Brazil), unearthing the contentious national narratives that each of these two Amazonian border cities sustains as a result of the historical dispute over control of the region that today composes the southern part of the Brazilian state of Acre. We explore the different ways in which monuments on both sides of the border draw on narratives of national pride that allude to this conflict.</p>

Situated in the Mesoregion of the Acre River, Plácido de Castro is a small municipality in the Brazilian state of Acre. In 2015, with the consent of the authorities, a group of people of Huni Kuin ethnicity occupied an abandoned, state-owned piece of land in the municipal territory, namely, the Parque Ecológico. For two years, the Huni Kuin group has lived in the Parque Ecológico, decontaminating and revalorising the land. Afterwards the Huni Kuin have been gradually dispossessed of the occupied land via various coercive actions, some of which were backed by the authorities. In this paper, the authors draw upon media releases as well as an interview with Hunk Kuin cacique Mapu, in order to signify the events in terms of a violent performance of settler colonialism in the face of the legitimate reclamation of Indigenous sovereignty over Brazilian land. In particular, they look at the ways in which political authorities, police forces, social services, and the broader non-Indigenous society unanimously cooperate towards the total effacement of Indigenous bodies, communities, and subjectivities from the land.

This paper explores the emerging initiatives in ubiquitous music research that employ anticipatory systems. We provide a short introduction to the ubimus field, highlighting the differences with other technologically based approaches to music making. One of the objectives of ubimus research is to expand the range of the stakeholders that participate in creative music making. This is achieved through the development of metaphors for creative action by means of sociotechnical systems that target creativity, including ecologically based creative practices, interaction aesthetics, computational thinking and dialogics applied to music. Another objective entails a push for new forms of music making through the reappropriation of extant technologies or through the design and deployment of new behavioral, material or social resources tailored for ubiquitous music ecologies. Nevertheless, so far, few projects have considered the future creative actions as an object of research. This is the aim of anticipatory ubiquitous music.