
Damián KellerUniversidade Federal do Acre - Universidade Federal da Paraíba
Damián Keller
DMA
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108
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Introduction
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April 2014 - April 2014
March 2011 - March 2012
September 2005 - September 2006
Publications
Publications (108)
This study is among the first that attempt to define a methodology for creativity-centred software design in educational contexts, more specifically for musical activities in ubiquitous settings. We propose and apply a set of design techniques – the Ubimus Planning and the Ubimus
Design protocols – as alternatives to experimental procedures that le...
Current musical practices point to convergent research trends that bring together eco-composition, cooperative composition, mobile music and networked music. We present results of three compositional studies devised to test three musical interaction metaphors for ubiquitous computing contexts: the cup metaphor, time tagging and spatial tagging. The...
This paper has two main objectives: (i) to discuss essential concepts of the ecological approach to composition, proposing the term eco-composition as a common reference for theoretical perspectives and compositional techniques; and (ii) to present the multimedia piece Vivir sin después , realised within the context of the Paititi Project .
Followi...
Through an ecological approach to creative practice (henceforth ecomprovisation), this project deals with the expansion of the creative strategies applicable to everyday contexts. Within ubiquitous music (ubimus), we target the convergence of sonification methods with the application of ecological models within the context of comprovisation. These...
A recent initiative within ubimus research contemplates the development of an internet of musical stuff (IoMuSt) as a concept that interacts with and expands the pre-existing rubric of the internet of musical things (IoMusT). Opposed to the ontological fixedness of things, stuff is pliable, fairly amorphous, changeable depending on usage, context-r...
O artigo explora a criatividade musical no contexto cotidiano, fora de ambientes musicais especializados. O estudo foca a participação de pessoas leigas em música utilizando tecnologias e processos criativos no seu dia a dia. Com base na música ubíqua (ubimus) e visando a inclusão de leigos em atividades criativas, o artigo discute a criatividade m...
This contribution engages with the relationships between field deployments and conceptual underpinnings of ubiquitous music (ubimus) research, to establish a dialog with speculative design. Three cases serve as triggers for a conceptual exercise that points to common threads among ubimus endeavors within three active areas of second-wave ubimus inv...
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...
Relatamos as estratégias e os procedimentos adotados no desenvolvimento do Programa de musicoterapia para profissionais da saúde (PROMUS). A proposta insere-se no contexto das iniciativas ubimus que visam o incentivo ao bem-estar através da disponibilização e o estudo do impacto do suporte tecnológico em contextos cotidianos. Em particular, atentam...
Editorial para o dossê “Ubimus, Gastrossônica e Bem-estar” ocorrido de forma online em 2022 via Universidade Estadual do Paraná. Editores convidados: Damián Keller (Universidade Federal do Acre, Universidade Federal da Paraíba, Brasil), Tereza Raquel Alcântara-Silva (Universidade Federal de Goiás, Brasil), Bruno Mesz (Universidad Nacional de Tres d...
The reconstruction of tools and artworks belonging to the origins of music computing unveils the dynamics of distributed knowledge underlying some of the major breakthroughs that took place during the analogue-digital transition of the 1950s and 1960s. We document the implementation of two musical replicas, the Computer Suite for Little Boy and For...
We explore a new conceptual framework for interaction design in the context of ubiquitous musical activities, banging interaction. Our proposal entails a shift of focus from instruments, tools or device-oriented approaches to a timbre-led design practice that targets the potential relationships between sonic and multimodal qualities and the local a...
We introduce a new perspective for musical interaction tailored to a specific class of sonic resources: impact sounds. Our work is informed by the field of ubiquitous music (ubimus) and engages with the demands of artistic practices. Through a series of deployments of a low-cost and highly flexible network-based prototype, the Dynamic Drum Collecti...
As a subcategory of the blockchain technology that underwrites cryptocurrencies, NFTs are prominently targeting the market of multimedia digital art. In this chapter, we revisit the concept of IoMusT within the context of the current attempts to monetize the web contents through the use of NFTs. Recent literature on musicology, cultural studies and...
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, disciplina...
The Editorial Board of the INSAM Journal of Contemporary Music, Art and Technology decided that both issues of 2022 will be dedicated to one main theme, namely, “Fighting for the attention: Music and art on social media”. We can say that this call for papers went very successfully, as we are now presenting to you INSAM Journal No. 9. In a year whic...
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 prom...
Within the context of the initiatives targeting ubimus interaction metaphors, we demonstrate a camera-based gesture recognition system that enables individual and col-laborative virtual control of percussion aiming at both co-located and distributed collective music making. We highlight three features of this tool: i) a calibration mode featuring t...
INTRODUCTION: In this paper we discuss concepts and practices that point to a new field of ubiquitous music (ubimus)research centered on domestic settings.OBJECTIVES: The objective of this paper is to document and share a preliminary study of the use of taste as a trigger forcreative decisions and a comparative study of creative music making done a...
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 music...
The 11th UbiMus — Ubiquitous Music Workshop (https://dei.fe.up.pt/ubimus/) was held at the Center for High Artistic Performance, the house of the Orquestra Jazz Matosinhos (OJM) in Portugal, during September 6–8, 2021. It was organized by the Sound and Music Computing (SMC) Group of the Faculty of Engineering, University of Porto and INESC TEC, Por...
We report the results of a study involving twenty subjects doing musical activities in transitional settings, supported by an ecology of tools based on the metaphor for creative action Sound Sphere. The Sound Sphere Ecology (SFS) is a set of web-based tools, loosely organized around audio mixing and processing tasks. It employs verbal strategies fo...
This paper outlines and documents a new metaphor for creativity support, creative semantic anchoring(ASC). Creative semantic anchoring involves the verbal grounding of sonic materials to achieve collective aesthetic decisions or to facilitate the transfer of musical knowledge. The strategy is especially useful for sonic classes linked to the daily...
We describe the development of a new ubiquitous music metaphor for creative action involving the use of hand gestures, Handy. The metaphor was deployed through two proof-of-concept, low-cost prototypes based either on motion sensors connected to an embedded micro-controller (Handy H) or by repurposing the webcam of a portable computer (Handy S). Th...
This special volume features a selection of proposals that prompted positive and extensive discussions within the context of the Ubiquitous Music Workshop held at the Federal University of São João del Rei, MG, Brazil. In its eighth edition and featuring contributions from a host of international participants, this event provided a demonstration of...
We approach the analysis of the dynamics of knowledge transfer and decision-making in ecologically grounded creative practice through a longitudinal study of the exchange processes involved in the elaboration of the installation InMesh 1.0. The paper outlines a theoretical framework for the analysis of knowledge transfer mechanisms in ubiquitous mu...
O presente projeto estuda a efetividade da modelagem e da tablatura no ensino do violão mediado por tecnologia, utilizando procedimentos experimentais com o objetivo de subsidiar a eleição, o design e o desenvolvimento de ambientes musicais educativos. Dentro deste contexto, 41 participantes realizaram exercícios musicais através de três meios digi...
The Internet of Musical Things (IoMusT) is an emerging research field positioned at the intersection of Internet of Things, new interfaces for musical expression, ubiquitous music, humancomputer interaction, artificial intelligence, and participatory art. From a computer science perspective, IoMusT refers to the networks of computing devices embedd...
Neste ensaio focamos as formas-pensamento que embasam o conceito de Gelassenheit (HEIDEGGER, 1966) nas práticas criativas fundamentadas na cognição ecológica. Heidegger categoriza as formas-pensamento em dois casos: o pensamento calculista e o pensamento meditativo. No primeiro a tecnologia é usada como um fetiche. No segundo o pensamento humano pr...
Apresentamos e discutimos resultados de duas aplicações do enfoque cognitivo-ecológico em música ubíqua: no design de interação e no design instrucional. A descrição dos procedimentos utilizados na validação da metáfora da listra visa analisar as limitações e as vantagens da aplicação da perspectiva ecológica no desenvolvimento de recursos tecnoló...
Descrevemos aqui ações e abordagens em ensino e pesquisa em ubimus no contexto da Educação Básica, desenvolvidas no Colégio de Aplicação da UFRGS, envolvendo a participação de alunos do Ensino Médio através do Programas de Bolsa em Iniciação Científica modalidade Júnior implementadas no Colégio de Aplicação da UFRGS, bem como os trabalhos desenvol...
[Nota do editor] Editorial dos artigos apresentador no Ubimus 2018.
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...
This paper aims to expand the research on ecological synthesis models (KELLER, 1999) through the inclu- sion of improvisation practice. We propose a formalization of creative processes in sonic improvisatory-compositio- nal environments (targeting comprovisation), based on ecologically grounded creative practices. Our approach en- tails the use of...
This is the second part of a discussion on the challenges of a second decade of ubimus research. I discuss the issues involved in supporting knowledge transfer in musical activities. I lay out and exemplify the concept of metaphor for creative action. I summarize the results of three studies employing the time tagging metaphor, configuring an effec...
Pervasive computing technologies are providing opportunities and challenges for new musical practices and are offering greater access to musical interactions for people at all levels of musical experience. In this chapter we review theoretical insights and practical experiences of taking advantage of these opportunities and meeting these challenges...
We tackle the theoretical implications of an emergent field of study, ubiquitous music (ubimus). Striving to place musical research within the wider field of creativity studies, this paper covers theoretical background and critical discussions of three music creativity models - a model proposed by Mannis (2014), the In-group, Out-group model (MDF -...
This paper aims to expand the research on ecological synthesis (Keller, 1999) through the inclusion of improvisation practice. We propose a formalization of creative processes in sonic improvisatory-compositional environments (targeting comprovisation), based on ecologically grounded creative practices. Our approach entails the use of socio-ecologi...
The authors cover recent advances in ecologically grounded creative practice, highlighting performative strategies in instrumental writing. They address techniques adopted in ecocomposition and propose an expansion of the available resources by introducing a new method: creative semantic anchoring. The underlying concepts are presented and a case s...
This article presents contributions from the emerging and multidisciplinary research field of Ubiquitous Music (Ubimus) for creative studies and educational practices. Ubimus research focuses on music making in everyday settings, employing creativity-centred design strategies to support creative experiences within artistic and educational endeavour...
Instrumentally oriented and individualistic approaches dominate the current perspectives on musical interaction and technologically oriented composition. A view that focuses on the broad aspects of creativity support is proposed as a viable theoretical and methodological alternative: ubiquitous music practice. This article summarises several findin...
The concept of everyday musical creativity is related to non-professional musical activities carried out in venues not intended for artistic practice. Everyday musical creativity demands technological support to provide access to musical resources by non-musicians and by musicians engaging in musical activities in domestic and public spaces. This c...
In this paper three methodological approaches to creativity-centered design are identified: the computational approach, the dialogical perspective and the ecologically grounded framework. These methods relate to the current definition of ubiquitous music (ubimus). Both social and material factors that shape creative musical phenomena within ubiquit...
The authors discuss a series of experimental studies targeting ubiquitous musical activities. The studies explore the application of time tagging as an aesthetically oriented interaction design metaphor. A new support mechanism is proposed: the stripe. The stripe works as an entry point to the sound data providing a functional unit that features bo...
This paper focuses on the prototyping stage of the design cycle of ubiquitous music ecosystems. The authors present three case studies of prototype deployments for creative musical activities. The first case exemplifies a ubimus system for synchronous musical interaction using a hybrid Java-JavaScript development platform, mow3s-ecolab. The second...
In this paper we describe a set of creativity-centered design methods, including strategies for interaction, signal processing, planning, prototyping and assessment. These were applied in the development of a prototype for mixing in mobile devices, which was assessed in an exploratory field study. We briefly discuss the implications of this experie...
Analisamos os resultados de dois estudos experimentais em música ubíqua, envolvendo atividades criativas em ambientes públicos (um centro comercial, uma rua movimentada e um espaço com predominância de sons de animais) e em ambientes privados (o lar de cada participante e um estúdio para trabalho de áudio). Os resultados mostram o impacto do local...
Nos últimos anos, nosso grupo tem se envolvido em um esforço multidisciplinar para investigar o potencial criativo de formas convergentes de interação social, tecnologias móveis e distribuídas e atividades artísticas fundamentadas no uso de tecnologias. Nós propomos a adoção do termo "Música Ubíqua" (ubimus) para definir práticas que empoderam os p...
This paper describes the combination of two high-level audio and music programming systems, Faust and Csound. The latter is a MUSIC N-derived language, with a large set of unit generators, and a long history of development. The former is a purely functional language designed to describe audio processing algorithms that can be compiled into a variet...
In this paper we propose aesthetic heuristics as an area of study within ubiquitous music research. Initially we discuss the motivations for narrowing the focus of the experimental variables involved in creativity-centred design studies. Then we place aesthetic heuristics within the current efforts toward designs for creativity support, highlightin...
CODES is a web-based cooperative musical prototyping environment where musical novices can participate in music experimentation, collective music creation, (music) knowledge sharing, and entertainment, by means of creating musical prototypes (MPs) through a combination of basic sound patterns. MPs can be shared and cooperatively edited by several u...
We present results of two studies that address creative decision making through the usage of local resources. Adopting an opportunistic design approach (Buxton 2007; Botero et al. 2010; Visser 1994), both studies use off-the-shelf infrastructure to identify support strategies that deserve further implementation efforts. Both studies yielded complet...
Several researchers (Kendall, 1995; Truax, 1992) have noted that decorrelation occurs as a by-product of granular synthesis (GS). Decorrelation between grain streams is responsible, for instance, for the unique stereo and panning effects that have been achieved under GS transformation. The correlation measure itself, however, is not generally expli...
Two recent approaches to interaction design have good potential to address creative practice in everyday settings: interaction aesthetics and ubiquitous music. We discuss the theoretical and methodological issues raised by both perspectives and highlight the similarities and differences among the two approaches. Through the analysis of a series of...
This chapter describes the combination of two high-level audio and music programming systems, Faust and Csound. The latter is a MUSIC N-derived language, with a large set of unit generators and a long history of development. The former is a purely functional language designed to describe audio processing algorithms that can be compiled into a varie...
In this chapter we describe a set of creativity-centred design methods including strategies for interaction, signal processing, planning, prototyping and creativity assessment. Social, material and procedural requirements were gathered through a ten-subject planning design study. Based on these results, an interaction metaphor—time tagging—was deve...
We place Ubiquitous Music research within the context of current creativity theories. Given the ongoing theoretical discussion on the relevance of domain-specific or general approaches to creativity, this chapter covers general creativity frameworks and music-oriented models. First, we introduce the creativity factors, magnitudes and constructs tha...
This paper focuses the prototyping stage of the design cycle of ubiq-uitous music (ubimus) ecosystems. We present three case studies of prototype deployments for creative musical activities. The first case exemplifies a ubimus system for synchronous musical interaction using a hybrid Java-JavaScript de-velopment platform, mow3s-ecolab. The second c...
We present results of a ten-month design study targeting the observation of creative artistic practice by a video-ar tist, a sculptor and a composer. The study yielded the multimedia installation Palafito/Palafita/Home-on-stilts 1.0, featuring 19:30 minutes of sonic material and video footage, and three 5x8x3-meter raw-wood sculptures. This paper...
Taking as a point of departure recent theoretical advances in Interaction Design and Human-Computer Interaction (Löwgren 2009), we discuss a body of knowledge gathered in Ubiquitous Music practices (Keller et al. 2011a) during the last six years. New concepts and methods have been proposed to describe aspects of the ideation and materialization of...
Texto em memória de Conrado Silva (1940-2014). [nota do editor]
In line with the efforts from the Ubiquitous Music Group, our research identified recurring patterns of interaction between humans and computing devices in existing music software and hardware. These four kinds of repeatedly implemented musical interactions are being documented in the form of interaction design patterns, providing an alternative ta...
This is the first monograph dedicated to this interdisciplinary research area, combining the views of music, computer science, education, creativity studies, psychology, and engineering. The contributions include introductions to ubiquitous music research, featuring theory, applications, and technological development, and descriptions of permanent...
People have always found music significant in their lives, whether for enjoyment in listening, performing, or creating. However, music making in modern life tends to be restricted to the domain of the professional artists, instrumentalists, and singers. Since the advent of Web 2.0 and Rich Internet Applications, the authors’ research group has been...