Call for Submissions – Special Issue:Crossroads in Ubiquitous Music and Data Sonification


Guest Editors:
Victor Lazzarini (Maynooth University, Ireland)
Damián Keller (NAP, Federal University of Acre, Brazil)
Stephen Barrass (Sonification.com, Australia)


Ubiquitous Music Group (g-ubimus)
International Community for Auditory Display (ICAD.org)


Focus: cross-disciplinary approaches to computer music research and musical creativity coming from ubiquitous music perspectives and sonification research.


Ubiquitous music aims to empower participation in new kinds of musical experiences that explore the creative potential of converging forms of social interaction, mobile and distributed technologies, and innovative music making practices. Playing, listening, and composing are intertwined with a larger set of social interactions and within a broader context where the music is a by-product of extra-musical interactions and activities.


Data sonification is the mapping of data into sound for scientific and engineering applications such as data analysis and process monitoring. The increase in ubiquitous computing has lead to a broadening of sonification experiments to applications that include museums, transport networks and electric vehicles. These experiments have raised awareness of the need to consider the aesthetic experience for the general public listening over extended periods in complex auditory environments. Many sonifications have been criticised for sounding unpleasant, and annoyance with audio alarms in medical equipment, industrial monitoring systems and office workplaces is an unsolved problem. The need for long term acceptance by a wide range of people will be critical for the uptake of sonification in driverless cars, hospitals, sports and games, the internet of things and urban systems.


This special issue of the Journal of Computer Music explores the Crossroads between Ubiquitous Music and Data Sonification and how their different perspectives, techniques and experiments can inform each other. Can the compositional strategies of ubiquitous music transfer to ubiquitous sonification ? In the other direction how can the functional aspects data sonification influence compositional strategies in Ubiquitous Music ?What are the overlaps between eco-composition methods in Ubiquitous Music and Sonic Information Design for urban environments in data sonification ? Is the concept of everyday musical creativity, coined within ubimus research, applicable to sonic information design? How can the ubimus and sonic information design strategies to improve personal well-being be integrated and enhanced? What are the negative implications of everyday soundscapes and how can these two theoretical and methodological perspectives help to identify and engage with these issues? How does the push toward innovative music making fostered by the ubimus initiatives be incorporated into sonic information research?


This edited volume of the Computer Music Journal will feature expanded materials from the IX Workshop on Ubiquitous Music (UbiMus 2020) to be held at Porto Seguro, Brazil, and from a potential workshop on Ubiquitous Music and Data Sonification to be proposed for the International Conference on Auditory Display in 2020.

Submissions will deal with aspects of sonic composition, sonification, sonic information design, human-computer interaction, educational applications and computer-based research focused on design and creativity. We plan on a balanced selection of theoretical, methodological and applied results, highlighting the artistic potential of ubimus practice and sonic information design. The target public are researchers in computer music, data sonification, interaction design, psychology, social sciences, and educational technologies. The editorial text will include a survey of the intersection of research between both the ubimus and ICAD communities carried out between 2015 and 2020 so that readers of the CMJ can have access to recent developments in the field.


Suggested topics:

  • Design, Methods, Technology, Algorithms, Processes, Systems
  • Theory, Aesthetics, Aims, Ideas, Analysis
  • Experience, Audience, Phenomena, Evaluation, Examples, Case Studies
  • Lay-Musician Interaction, Musification, Performance, Installations, Everyday Creativity, Education, Musicking and IoMusT
  • Imaginings, Speculation, Futures, Challenges
    Submissions should follow all CMJ author guidelines (http://www.mitpressjournals.org/page/sub/comj).