Abstract
ABSTRACT Ubiquitous music (ubimus) frameworks imply a flexible approach to the design, implementation and deployment of networked resources, featuring characteristics that challenge current conceptual groundings of music-making. As a potentially unifying place-holder for post-2020 musical practices enabled by ubiquitous technologies, musical stuff presents specific potentialities and caveats. We discuss the requirements for ubimus technological designs and analyze the possibilities and problems of adopting ‘stuff’ as a theoretical construct for ubimus endeavours. Several case scenarios tied to specific qualities are described, addressing aspects such as volatility, antirivalry, semantic strategies and fluidity, targeting the deterritorialization of resources and the application of aesthetic pliability. We highlight the challenges presented by the disruptive tendencies of fast or socially brittle technological change, with particular attention to the monetization of network assets. Stuff is proposed as nonrival, genre-neutral and pliable material for the development of a community-oriented musical internet.
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