Carlos Mario Gómez Mejía’s research while affiliated with Federal University of Paraíba and other places

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Publications (4)


Figura 1 / Escena extraída de Atravessamentos, versión 4.
Figura 2 / Generación de una lista de recursos mixtos. Con base en la documentación de Brent (2010, 2), el patch fue implementado por los autores.
Figura 3 / Ejemplo de patch que emula el romper de objetos sólidos (figura recuperada de Delle Monache et al. 2008, 43) y que fue utilizado en los clusters de Atravessamentos.
Estrategias creativas ecológicas en ubimus y su relación con los contextos cotidianos: implicaciones de la obra Atravessamentos
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June 2023

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36 Reads

Resonancias Revista de investigación musical

Carlos Mario Gómez Mejía

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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.

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Ubiquitous Music, Untokenizable Resources and Creative-Action Metaphors: Introducing the Internet of Musical Stuff (IoMuSt)

January 2023

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24 Reads

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3 Citations

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 digital economics helps us analyze the attempts to produce scarcity within systems of digital exchanges. We contend that the NFT initiative involves a massive reification of non-material resources whose transition into the status of “things” may set yet another barrier to creative music making. As a resistance strategy, we propose a reconfiguration of the IoMusT as IoMuSt — the Internet of Musical Stuff. “Stuff” is fluid, malleable, unfixable and pecuniarily irrelevant. Thus, it may be invulnerable to an assigned ownership or market value. Rather than focusing on devices, paid services or monetized assets, IoMuSt conceives its ecosystems in terms of interconnected processes, actions and support-mechanisms that yield socially responsible, sustainable and open creativity-oriented engagements. We exemplify the concept of IoMuSt through four ubimus examples. These practices are based on volatile and antirivalrous resources, in other words, the resources only available during the activity and they gain social value through unrestricted sharing. They are also untokenizable, insofar as they benefit from an unlimited reproducibility. In contrast, NFTs rely on scarcity secured through the deployment of social labels such as “ownership”, “the real thing” “market value”. The validity of these social labels in blockchain is guaranteed by energyexpensive calculations that not only preclude the flourishing of creative ecosystems, they also represent a risk for the existence of life on the planet.



Contracapas for remote double bass and effects: Creative Semantic Anchoring, Corpus Linguistics and Remote Interaction

November 2020

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36 Reads

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2 Citations

Creative semantic anchoring (ACS) is based on the use of verbal indicators in order to facilitate creative processes. Previous research within the g-ubimus, and in particular by the Amazon Center for Music Research, has focussed on the interpretative study of Flausino Valle’s work, based in turn on the compilation of a a set of methodological tools called Interpretative Tokens (in Portuguese, “Fichas Interpretativas” ) [Feichas 2015; Keller e Feichas 2018; Keller et al 2020]. The interpretative tokens were created by Leonardo Feichas in order to help musicians perform the extended techniques called for in Valle’s scores. In general, the results have shown an enhanced response to notated material thanks to the help of verbal clarifications. Now, our proposed piece Contracapas takes verbal cues and textual tokens as a starting point in order to initiate a process that transcends notation and redimensions the discursive hegemony of “the score” as an ultimate and nonnegotiable source of musical “truth”. While Keller et al (2010) enumerate “the score” as part of a set of “social paraphernalia” that potentially “breaks down in the context of ubiquitous music” (Keller et al 2010: 320), Nicholas Cook also recognises the disproportionate hegemony of the score in the context of musicological investigations [Cook 2009; cf. also Costa, Brito and Ciacchi 2018].

Citations (3)


... The exploration of distributed resources encouraged by second-wave ubimus practices demands phenomenologically flexible constructs, such as the Internet of Musical Stuff -IoMuSt (Messina et al. 2022a;Messina et al 2022b;Messina et al 2023). Provisionally, musical stuff can be defined as a phenomenologically oriented shuffle of pliable entities that enable distributed creative activities, employing resources of the musical internet. ...

Reference:

The Internet of Musical Stuff:
Ubiquitous Music, Untokenizable Resources and Creative-Action Metaphors: Introducing the Internet of Musical Stuff (IoMuSt)

... The exploration of distributed resources encouraged by second-wave ubimus practices demands phenomenologically flexible constructs, such as the Internet of Musical Stuff -IoMuSt (Messina et al. 2022a;Messina et al 2022b;Messina et al 2023). Provisionally, musical stuff can be defined as a phenomenologically oriented shuffle of pliable entities that enable distributed creative activities, employing resources of the musical internet. ...

A Internet do Bagulho Musical (Internet of Musical Stuff) - IoMuSt

... A first ubimus experience involved the deployment of a set of methodological tools called Interpretative Tokens (in Portuguese, Fichas Interpretativas) to advance the study of semantic elements associated to extended techniques with special attention to the work by Flausino Valle (Keller and Feichas 2018;Messina, Feichas and Ribeiro, 2021). Derived ubimus interventions have turned to the live-coding tool Orca , documented as a series of original comprovisational pieces (Messina and Aliel, 2019;Messina and Mejía, 2020). Simurra et al. (2023) introduced the concept of Radical ASC. ...

Contracapas for remote double bass and effects: Creative Semantic Anchoring, Corpus Linguistics and Remote Interaction