Edições anteriores

  • The Journal of Ubiquitous Music
    v. 1 n. 1 (2024)

    O Journal of Ubiquitous Music (j-ubimus) é orientado para o avanço do conhecimento sobre práticas e pesquisas em música ubíqua. Este projeto editorial, sediado pelo Programa de Pós-Graduação em Artes da Universidade Federal do Espírito Santo,  também está vinculado ao Simpósio de Música Ubíqua (UbiMus). Artigos selecionados desse evento podem ser convidados a liderarem um volume. Portanto, cada volume do j-ubimus é concebido de forma a acomodar um artigo central complementado por outros artigos que fazem referência e/ou complementam os temas abordados.

    Para o primeiro volume, o conselho editorial selecionou os artigos 

    DIY musical instruments: From Handmade Electronic Circuits to Microcontrollers and Digital Fabrication - Andrew R. Brown · John Ferguson

    A Commentary on DIY musical instruments: From Handmade Electronic Circuits to Microcontrollers and Digital Fabrication - Joseph Timoney

    DIWhy and How: Commentary on “DIY musical instruments” - Brown and Ferguson Alex Hofmann

    Eröffnung von Comprovization für Laien Ein Erfahrungsbericht - Guido Kramann

    DIY Musical Instruments and Communities: From Handmade Electronic Circuits to Microcontrollers and Digital Fabrication - Nicolo Merendino

     Nosso objetivo é produzir um periódico inclusivo e multilíngue; portanto, encorajamos envios em português, espanhol, francês, italiano ou inglês. 

     

  • Journal of Ubiquitous Music
    v. 2 n. 1 (2026)

    Journal of Ubiquitous Music - Volume II

    Managing Editors: André Sonoda, Luzilei Aliel, Carlos Mario Gómez Mejía

    Developmental Editor: Marcello Messina

    Senior Advisors: Damián Keller, Leandro Costalonga 

    Ubiquitous music research stands at the crossroads of multiple forces that have shaped the ways of thinking, designing, and deploying technological resources for post2020 music-making. For us, the 2020 milestone is particularly significant because the period of the covid-19 pandemic highlighted the brittleness of the support infrastructure for musical interaction and the fragility of key 20th-century approaches to musical thought. The pandemic tsunami brought into focus the proposals laid out during the first wave of ubimus initiatives (2007-2014), suggesting that several of the emerging threads could be consolidated as sociotechnical frameworks. It is interesting to revisit some of the observations made by ubimus researchers in April 2020, when the lasting consequences of the pandemic period on artistic and educational practices were not as clear as today.