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Special track on Musical Meanings in Ubimus/ Significados Musicais em Ubimus

EAI ArtsIT 2023 will be held as an on-site conference and, if needed,
accepted authors who are unable to attend the event in person will be given the option to present remotely.

Call for Papers for a Special Track on Musical Meanings in Ubimus/
Significados Musicais em Ubimus

This special track welcomes papers in English, Portuguese, Spanish and Italian!


The special track Musical Meanings in Ubimus aims to explore the potential of evidence-based music making research to broaden the scope of conceptual work in musical meaning. Ubiquitous music (ubimus) approaches have a potential to contribute to this exchange because they do not start from the delimitation of pre-established genres or styles. Ubimus is characterized by its aesthetic pliability, aiming to challenge the conceptual limitations on musical experiences. The proposal covers various aspects, including the relationships between anthropological and ethnological techniques and ubimus research, ubimus archeologies, musicological aspects of ubimus research, and theoretical and technical contributions to the development of domestic ubimus. The call also highlights the impact of the post pandemic context on musical practices and meanings, the limitations and contributions of musical meaning theories to ubimus philosophical approaches, decolonial musical thinking, and musical meanings based on the relationships between environment, activities, and ubimus ecosystems from the perspective of ecologically grounded creative practices.

Significados Musicais em Ubimus (Portuguese)

A special track “Significados Musicais em Ubimus” tem como objetivo explorar o potencial da pesquisa baseada em evidências na criação musical para ampliar o escopo do trabalho conceitual em relação ao significado musical. As abordagens de música ubíqua (ubimus) têm o potencial de contribuir para essa troca, pois não partem da delimitação de gêneros ou estilos pré-estabelecidos. O ubimus é caracterizado por sua maleabilidade estética, buscando desafiar as limitações conceituais das experiências musicais. A proposta abrange diversos aspectos, incluindo as relações entre técnicas antropológicas e etnológicas e a pesquisa ubimus, arqueologias ubimus, aspectos musicológicos da pesquisa ubimus e contribuições teóricas e técnicas para o desenvolvimento do ubimus doméstico. A chamada também destaca o impacto do contexto pós-pandêmico nas práticas musicais e nos significados, as limitações e contribuições das teorias de significado musical para as abordagens filosóficas do ubimus, o pensamento musical decolonial e os significados musicais com base nas relações entre ambiente, atividades e ecossistemas ubimus, sob a perspectiva de práticas criativas ecologicamente fundamentadas.

Track Chairs:

Damián Keller
NAP, Universidade Federal do Acre, Universidade Federal da Paraíba, Brazil

Luzilei Aliel
NAP, Universidade Federal do Acre, Universidade Federal da Paraíba, Brazil

Micael Antunes
Universidade de Campinas, Brazil

Submit paper


We welcome contributions from the following fields:

  • Ubiquitous music, accessibility and inclusion
  • DIY approaches to electronics and design from ubimus perspectives (including circuit bending, hardware hacking, DIY design in analogue modular synthesis)
  • Web and mobile developments for ubiquitous music creation, performance and sharing
  • Socially engaged ubimus practices (applied design, workshop-based or collaborative creativity)
  • Everyday musical creativity and ubiquitous music
  • Liveness, quasi-synchronicity and other models of communication in ubiquitous music
  • Improvisation and comprovisation in ubiquitous music
  • Creative computing and computational creativity in ubiquitous music
  • Ubimus perspectives in education and pedagogies for ubimus artistic practice
  • 4E approaches to ubimus (embodied, embedded, enactive and ecological)
  • Ubimus human-computer interaction
  • Accessible and inclusive design in ubiquitous music
  • Networked and telematic formats from a ubimus perspective
  • Sonification, musification and auditory display in ubimus
  • Ubiquitous, embedded and mobile platforms in ubiquitous music (including Internet of Things (IoT), Internet of Musical Things (IoMusT) and Internet of Musical Stuff (IoMuSt))
  • Ubiquitous music artistic practices


  • Música ubíqua, acessibilidade e inclusão
  • Abordagens DIY (“faça você mesmo”) e design para práticas musicais ubíquas (incluindo circuit bending, hacking de hardware e design DIY em síntese modular analógica)
  • Abordagens em rede e móveis para criação, performances e compartilhamento de práticas criativas em música ubíqua
  • Práticas musicais socialmente engajadas utilizando tecnologias de música ubíqua (música aplicada a oficinas e no contexto de práticas criativas colaborativas)
  • Criatividade musical cotidiana e música ubíqua
  • Liveness, quase sincronicidade e outros modelos de comunicação em música ubíqua
  • Improvisação e comprovisação em música ubíqua
  • Computação criativa e criatividade computacional em música ubíqua
  • Música ubíqua em educação musical/práticas pedagógicas de música/áudio ubíquo
  • Abordagens 4E (corporizadas, incorporadas, enativas e ecológicas)em ubimus
  • Interação humano-computador musical (HCI) em música ubíqua
  • Design acessível e inclusivo em música ubíqua
  • Performance, interação e compartilhamento de práticas criativas em redes telemáticas
  • Sonificação, musificação e display auditivo em Ubimus
  • Computação ubíqua, embarcada e móvel em música ubíqua (Internet das Coisas (IoT), Internet das Coisas Musicais (IoMusT) e Internet do Bagulho Musical (IoMuSt))
  • Práticas artísticas em música ubíqua


The articles from Brazilian and South American students who participate in this Special Track at a reduced fee may be selected for publication in the Rotura journal. Therefore, submissions are accepted in Portuguese, English, Italian and Spanish.

If the author prefers publication in the Springer Proceedings volume, they will need to separately register and specify their request, submitting an article in English as per the requirements of the other Special Tracks.

All registered papers (in English only) will be submitted for publishing by Springer and made available through SpringerLink Digital Library: ArtsIT Conference Proceedings.

ArtsIT proceedings are indexed in leading indexing services, such as Web of Science, Compendex, Scopus, DBLP, EU Digital Library, Google Scholar, IO-Port, MathSciNet, Inspec, and Zentralblatt MATH.

All accepted authors are eligible to submit an extended version in a fast track of:

Additional publication opportunities:

Paper submission

Papers should be submitted through EAI ‘Confy+‘ system, and have to comply with the Springer format (see Author’s kit section).

  • Regular papers should be up to 12-15+ pages in length.
  • Short papers should be 6-11 pages in length.

All conference papers undergo a thorough peer review process prior to the final decision and publication. This process is facilitated by experts in the Technical Program Committee during a dedicated conference period. Standard peer review is enhanced by EAI Community Review which allows EAI members to bid to review specific papers. All review assignments are ultimately decided by the responsible Technical Program Committee Members while the Technical Program Committee Chair is responsible for the final acceptance selection. You can learn more about Community Review here.

Important dates

Paper Submission deadline
1 September 2023
Notification deadline
20 September 2023
Camera-ready deadline
20 October 2023
Start of Conference
27 November 2023
End of Conference
29 November 2023