Codified Sonic Territories: Understanding Ubiquitous Music through Critical Spatial Theory

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 physical 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-spatial practices, offering new perspectives on how musical environments are experienced, produced, and transformed.