Part of the recent developments in Ubiquitous Music (ubimus) research involve the proposal of the Internet of Musical Stuff (IoMuSt) as an expansion and complement to the Internet of Musical Things (IoMusT). The transition from IoMusT to IoMuSt entails a critique of blockchain and non-fungible tokens (NFTs) as technologies for allotment, disciplination and regimentation of formerly open and freely accessible artistic web content. In brief, the replacement of the operative concepts constructed around “things” with strategies based on “stuff” highlights the underlying interconnected processes and factors that impact interaction and usage, pointing to resources that become disposable and valueless within an objectified and monetized musical internet. This conceptual and methodological turn allows us to deal with distributed-creativity phenomena in marginalized spaces, highlighting the role of resources that are widely reproducible, fluid and ever-changing. In this paper, we address IoMuSt-based responses to issues such as the artificial production of scarcity associated with the application of NFTs. The selected musical examples showcase the meshwork of dynamic relationships that characterizes ubimus research. In particular, we focus on a comprovisation project involving VOIP visual communication through Skype, Meet and Zoom, a ubimus experience involving a Telegram chatbot and a set of musical experiments enabled by an online tool for remote live patching.

Las prácticas creativas basadas en cognición ecológica conforman una de las líneas consolidadas dentro de la investigación en música ubicua (ubimus). Su fuerte relación con los recursos locales y su perspectiva relacional hacen de este enfoque una herramienta propicia para ampliar las posibilidades creativas del uso de sonidos ambientales. En este trabajo analizamos los resultados de un proyecto artístico multimodal realizado a partir de materiales visuales y sonoros locales, situados en la Amazonia Occidental y trabajados a través de soporte tecnológico en modalidad asíncrona. La videodanza Atravessamentos es analizada como estudio de caso de la aplicación de técnicas de síntesis y manipulación de audio, y como estrategia intermodal y multimodal, incluyendo las disonancias cognitivas, la organización de densidades texturales, el modelado ecológico y las relaciones miméticas. Se destaca la utilización de cuadrículas biofónicas para establecer sistemas de referencia espaciales y temporales que facilitan las decisiones estéticas colaborativas.

We tackle the philosophical implications of post-2020 music practices. To situate our discussion, we address pending issues in current definitions of music-making. Our analysis indicates that post-2020 definitions of music should feature sonic information and events, framed through social interactions and through the material grounding of the musical activity. Ubiquitous music (ubimus) furnishes a promising playing field for the emerging aspects of creative music-thinking. New frameworks that encompass the dynamic, multimodal and situated characteristics of music while skewing an anthropocentric perspective on creativity may provide meaningful targets for ubimus research toward a new notion of musicality. Three artistic projects serve to exemplify key aspects of this proposal: Atravessamentos, Memory Tree and Lyapunov Time. We address the philosophical implications of these artistic endeavors toward the construction of ubimus philosophical frameworks.