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cultural contexts. Despite these common themes, there are three ubimus design
concepts that have not been considered within aesthetically informed trends: cre-
ative potentials, distributed creativity, and everyday creativity. Let us review the
convergent approaches fi rst and we will tackle the differences afterwards.
Engagement has surfaced as one of the constructs that impact creativity outcomes
(Bryan-Kinns 2011 ; Brown and Dillon 2007 ; Keller et al. 2011b ). This factor is
particularly relevant when the activities involve intense social interaction (Pimenta
et al. 2012 ). Engagement may encompass multiple mechanisms related to personal
(Keller and Capasso 2000 ) and social aspects of the creative activity (Lima et al.
2012 ).
The study of temporal patterns of behavior has gained increased relevance in the
context of creative activity. Eaglestone et al. ( 2008 ) and Shneiderman ( 2007 ) have
proposed longitudinal studies as the method of choice to capture design require-
ments that are not addressed in short, task-focused experimental studies. Activity-
based computing (Bardram 2005 ; Bødker and Klokmose 2011 ) may provide
conceptual tools to tackle aspects of the interaction support involved in creative
activity. Characterizing creative activities has become one of the major goals of the
experimental ubimus research program (Keller et al. 2010 ).
Alternative forms of design and innovative material combinations were already
present in ecocompositional practices (Keller 2000 ) but have gained new strength
with the introduction of the technique of repurposing within ubiquitous music sys-
tems design (Flores et al. 2010 , 2014 ). Multimodality (Keller 2004 ) also seems to
be an emerging common theme that may be further developed by the exploration of
aesthetically informed design qualities. A quality that shows promise for creative
musical applications is ambiguity (Gaver et al. 2003 ). The semantic content of
musical products is usually open to multiple interpretations. These interpretations
depend on the personal history of interactions with everyday sounds (Keller 2004 ;
Keller and Capasso 2000 ). Therefore, the function and emergent properties of ubiq-
uitous musical experiences open opportunities to explore ambiguous design. This
goal may separate the ubimus research agenda from the utilitarian objectives laid
out by sonic interaction design (Serafi n et al. 2011 ). An aesthetic ubimus experience
involves not only new materials or combinations of materials; it also provides new
forms of engagement.
User identities, cultural contexts, and traditions have been partially explored
within the domain of ubiquitous music design. Brazilian creativity traits were intro-
duced in interaction design by Pimenta et al. ( 2012 ). This line of research may be
expanded through cross-cultural and ethnographic studies, although the current
emphasis seems to be on the impact of user identities on aspects of everyday cre-
ativity. In other words, rather than applying large-scale comparative studies indicat-
ing general cultural traits, everyday creativity may demand detailed
micro-observations of creative activities in ecologically valid contexts.
Ubiquitous music research may provide a contribution to interaction aesthetics
by expanding the design goals to account for creative potentials (DiLiello and
Houghton 2008 ). While existing approaches - synthesized in Redström ( 2007 ) -
propose alternative forms of design and innovative material combinations to obtain
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