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ubimus2024: Ubiquitous Music Symposium 2024
University of Saint Joseph
Macao, Macao, October 31-November 2, 2024
Conference websitehttps://ubimus2024.fah.usj.edu.mo/
Submission linkhttps://easychair.org/conferences/?conf=ubimus2024
Abstract registration deadlineJune 18, 2024
Submission deadlineJune 18, 2024

Ubimus 2024 Macao will be hosted at the University of Saint Joseph, Macao (China). All relevant information for the conference are available on the official website https://ubimus2024.fah.usj.edu.mo/ . Submission of papers is NOT AVAILABLE ON EASYCHAIR, please submit to this link: https://ubimus2024.fah.usj.edu.mo/call-for-papers/

October 31, November 1 and 2, 2024, University of Saint Joseph campus, Macao S.A.R., China

Ubiquitous Music is an interdisciplinary research area that combines methodologies from music, computer science, education, creativity studies, human sciences and engineering. The Fourteenth Workshop/Symposium on Ubiquitous Music will be held from October 31st to November 2nd (3 days) at the University of Saint Joseph, Macao S.A.R. (China) in a hybrid format. 

Researchers working on ubiquitous music topics are invited to submit papers related to initial results or completed research projects. The symposium will adopt English (on-site conference, workshop and music strands). However, papers can be submitted in the accepted languages: Portuguese, Spanish, French, Chinese or English.

Further details about the conference, including travel and schedule information, are available via the University of Saint Joseph - Ubimus2024 conference webpage.

Submission Guidelines

All submissions must occur via the EAI Confyplus platform, with a deadline of June 18, 2024 (23:59 within your particular timezone).

All papers must be original and not simultaneously submitted to another journal or conference. The following paper categories are welcome:

Papers

Please submit your research as full papers or short papers (work-in-progress), with a maximum of 12 and 4 pages, respectively, including references and acknowledgements. Papers should adhere strictly to the Ubimus template .docx (access via this link) and be submitted as a PDF or as LaTEX, accessible via this link, submitted as a PDF. All submissions will be fully peer-reviewed in a double-blind process. Accepted papers will be published in the symposium proceedings and will be under consideration for Ubimus special issues and projects.

Workshops & Demonstrations

Workshop proposals can be submitted as a two-page PDF, with links to video and music if needed. Describe the infrastructure (space and technical requirements) you will need. A basic working setup will be provided by the organisers. Other materials should be brought by the proponents.

Music

Artists, composers and performers are invited to submit music proposals. Works must feature a strong connection with the workshop topics. Extended abstracts of no more than 2 pages detailing the artistic submission should be written in English, Portuguese or Spanish and submitted as PDF in Easychair using the Ubimus template.

Sonic materials and artistic media for review should be available for download through a link to a cloud service. The artistic submissions are not anonymous.  Please specify all requirements and setup time for the performance on a detailed technical document accompanying your submission. Please note that it is the responsibility of artists whose work involves performers to make their own arrangements in this regard. The conference will provide a stereo sound system and a 24-channel Ambisonics diffusion system for performances.

Technical Documentation One PDF document specifying the following information about the artistic submission:

  • Author name(s), and contact information
  • Title of the proposal
  • Program notes (up to 3 paragraphs)
  • Indication if the performance relates to a separate presentation in the technical program (in this case, please specify the title, authors and Easychair number of the separate submission)
  • Intended venue: performance, installation, etc.
  • Duration and instrumentation
  • Names of performers, if applicable
  • Composer/performer bios or a link to where these can be found online
  • Detailed description of technical requirements, including equipment and setup time
  • Stage plot and input list for live performances
  • Audio file(s) for evaluation of the submission. For multichannel submissions, please provide a stereo mix.
  • Video files (optional).

List of Topics

The symposium will explore topics which address ubiquitous music from perspectives including technological, design, social, creative/aesthetic, educational/pedagogical, and related contexts, such as: 

  • Ubiquitous music, accessibility and inclusion
  • DIY approaches electronics and design approaches for ubiquitous musical practices (including circuit bending, hardware hacking, DIY design in modular synthesis)
  • Web/mobile and app-based approaches to audio/ubiquitous music creation/performance/sharing of creative practice
  • Socially-engaged musical practices using ubiquitous music technologies (applied music/workshop-based and collaborative creative practice)
  • Everyday musical creativity and ubiquitous music
  • Liveness and/or models of communication in ubiquitous music
  • Improvisation and comprovisation in ubiquitous music
  • Creative computing and computational creativity in ubiquitous music
  • Ubiquitous music in music/audio education/pedagogies of ubiquitous music/audio practices
  • Embodied and/or ecological approaches to music/audio practices
  • Musical human-computer interaction (HCI) in ubiquitous music
  • Accessible/inclusive design in ubiquitous music
  • Networked/telematic performance/interaction/sharing of creative practice
  • Sonification, musification and auditory display in Ubimus
  • Ubiquitous, embedded and mobile computing in ubiquitous music (from Internet of Things (IoT) to Internet of Musical Things (IoMusT))
  • Ubimus approaches to web and mobile audio 
  • Ubiquitous music and concepts of musical practices
  • Music for climate action - a ubimus perspective
  • Artificial media and ubimus
  • Emergent AI for ubimus applications
  • Musical meanings and ubimus
  • Digital signal processing strategies in ubimus
  • Cross-cultural issues in ubimus
  • Aesthetic pliability and aural diversity in ubimus
  • The Internet of Musical Things (IoMusT); ubimus robotics; edge and dew computing

Organising Committee

  • Dr Alvaro Barbosa, University of Saint Joseph, Macao, China
  • Dr Gerald Estadieu, University of Saint Joseph, Macao, China 
  • Guido Kramann (TH Brandenburg, Germany)
  • Martin Koszolko (U. of Newcastle, Australia)
  • Damián Keller (NAP, UFAC/UFPB)
  • Victor Lazzarini (Maynooth, Ireland)
  • Joe Timoney (Maynooth, Ireland)
  • Leandro Costalonga (UFES, Brazil)
  • Marcello Messina (SFEDU, Russia)
  • PerMagnus Lindborg (City University, Hong Kong)
  • Daniel Howe, daniel@rednoise.org, (City University, Hong Kong)
  • QI Mengjie, Maggie, Central Conservatory of Music, China
  • Rongge Zheng

Venue

The conference will be held in The Macao Special Administrative Region of the People’s Republic of China, at the University of Saint Joseph’s main campus and partner venues. 

Contact

All questions about submissions should be emailed to ubimus2024@usj.edu.mo

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