Abstract
Free improvisation is a musical genre that defies traditional forms of music-making, defining itself by its absences, creating a particular environment that imposes challenges on those trying to learn it and to educators inspired to teach it. Ensemble practice is considered, by many improvisers, the most suitable method for practicing the genre. But should it be the only one? The article discusses different approaches to learning free improvisation, proposing the use of interactive musical systems as a feasible alternative to the problem, by presenting a custom-designed improvisation machine as a model example and preliminary evaluations of the system.

Abstract
In this article the authors expand on earlier research into human-machine improvisation. While previous work examined what it means to be a player, this paper investigates what it means to become one. Centering on the development of SoVo, a new system and paradigm combining Voyager and Somax2, the authors explore co-creative subjectivity in human-machine interaction. This inquiry establishes a framework for understanding ubiquitous, embodied, and evolving forms of musica co-creation. This study aligns with the ideals of ubiquitous music, framing music as an adaptive, interactive force integrated into the fabric of everyday life.

Abstract
This paper presents the ImproVision framework for ubiquitous creative human-machine interaction through nonverbal musical communication. The authors explore visual co-creativity through two case studies: one in which a pan, tilt, zoom (PTZ) camera interprets musician gestures to guide harmonic changes, acting as a robotic conductor; and another wherein gestures modulate parameters of Somax2, an AI improvisation agent. The authors underscore flexible, modular design and the importance of intuitive visual communication channels. Prospective future directions include refining the gesture toolkit and collecting data to better understand human-machine co-creativity. The authors’ findings contribute to a broader understanding of machine intelligence in augmenting human creativity, particularly in musical settings.

Abstract
This paper examines ubiquitous music through critical spatial theory, focusing on Kitchin and Dodge’s concept of code-space. The author analyzes how ubimus practices emerge through the mutual production of code, space, and social relations, revealing musical experiences as processes of spatial transduction where algorithmic systems and physica environments continuously reshape one another. Through case studies of responsive sonic environments, networked music performances, and the Internet of Musical. Things, the author demonstrates how this framework illuminates the contingent, relational nature of ubiquitous musical spaces. This approach bridges technological implementation with socio-spatia practices, offering new perspectives on how musical environments are experienced, produced, and transformed.

Abstract
As the field of ubiquitous music has matured and developed since its inception, it has turned its attention to the question of sonification and how sonification techniques might be used to create music from the many rich sources of data that both mediate and permeate our day-to-day lives. The system presented in this paper focuses on the sonification of synthetic virology data. The authors outline an approach to sonification that integrates agent-based modeling for music generation with waveshaping and granular synthesis techniques to render key components of a viral dataset in musical terms.

Abstract
This paper delves into the fascinating relationship between neuroscience and art by creating visual and sonic artworks inspired by EEG data generated from optical illusions. By capturing the brain’s electrical activity in response to carefully chosen optical illusions, this research transforms intricate neural data into engaging artistic expressions. The project showcases how EEG, with its ability to capture brain activity in real time, can act as a medium for artistic creativity, offering a tangible representation of the brain’s dynamic processes during visual perception. Using a custom interface, the recorded EEG signals are converted into visual and sonic objects, enabling viewers to interact with the EEG data in an artistic setting. The resulting artworks provide a unique insight into how the brain interprets visual stimuli, highlighting the subjective nature of perception and the creative possibilities that neuroimaging technologies offer.

Abstract
This article examines De tripas corazón, a project merging generative art with scientific data to visualize the gut-brain axis and emotional states. The project aims to use generative art as an innovative way to represent technical and scientific data to an audience. Dynamic visual and auditory portraits were created with Touchdesigner software and a Muse headband for real-time interaction; electroencephalography and DNA sequencing of colonic microbiota data were used to construct the portraits. This article highlights the versatility of generative art presenting physiological data as an immersive aesthetic experience.

Abstract
The Green Walks project, funded by the Economic and Social Research Council and US National Academy of Medicine, aimed to encourage people to engage with green spaces for improved mental health. Initially, it focused on developing a tool to help people find green spaces within walking distance. However, through the development of a Green View Index in Cambridge, UK, the project found that the main barrier wasn’t distance but rather a ack of awareness of the green spaces that already existed. The projects focus has since shifted to help people recognize the “green” surrounding them, even in urban environments, through photographic practices, artful interaction, and community engagement.

Abstract
Latent Ecologies of the Mind is an interdisciplinary project that leverages real-time neurofeedback, hyperscanning, and generative AI to project physiological signals into digital ecosystems. This approach creates participatory environments where cognitive states dynamically shape ecological narratives. Central to this work is the concept of the ecotone—a fertile interface where distinct systems meet—here reimagined as a space for shared congnitive and ecological transformation. The paper contributes (i) conceptua propositions about ecotones of the mind and shared embodiment and (ii) design mappings from physiology to ecological representations. This perspective points toward how integrating biosignals, AI, and ecological metaphors can inspire new forms of relational awareness, offering innovative pathways for nurturing personal and planetary well-being.

Abstract
Bees and humans are separated by over 600 million years of evolution, yet we share similarities in communication, cooperation, and mathematical ability Recently, the authors conducted a series of tests to determine the numerical and mathematical capacities of comparatively miniature bee brains. These experiments led the authors to question whether mathematics could be a model for communication with alien life, informed by popular science fiction ideas and prior communication efforts. The authors discuss the possibility that if humans, bees, and other nonhuman animals possess or can acquire numerical concepts, whether mathematics could be a model for a universal language.

Abstract
The authors explore how memorial art can use innovative forms to deal with collective trauma and promote the development of social inclusion. By examining three different forms of memorial art, it focuses on the method of creating space for marginalized groups in the process of collective healing. The concept of creating space for marginalized groups in collective healing is realized through the mixed commemorative form of integrating physical and digital elements. It is presented as community-led workshops with long-term participation mechanisms, real-time virtua commemorative activities, and immersive interactive devices. The authors redefine traditional commemoration in reference to the methods used by marginalized groups, which can ensure that, after the global health crisis, all kinds of stories and experiences can be presented.