It's interesting that the process of optimizing performance of a machine is called tuning. It holds true for automobiles as much as it does for computers designed for audio composition work.

Regardless, I've been conducting some more tests under Linux to see if I can get stable and reliable performance for a long time frame loop-network system. I was having troubles with the kernel and Jack, the audio routing software, which was leading to audio drop-outs. From here on in it just gets more technical, so if that doesn't interest you then I bid you farewell.  Just take this important message. Without the persistent networks of practice enabled by the internet, I could not in any way have made these refinements, and would remain at a loss as to how to tackle the problems I was having.

This is just a quick list of points related to the notion of loop clusters. I think primarily my interest in examining acoustic phenomena is this notion, which certainly has its correlates in other fields, such as the notion of semantic constellations forwarded by Susan Hardy in her book Networks of Meaning.  I need to expand on this greatly but these notes are a start. So in short, loop clusters should:

express both acoustic objects and events

Essentially a place for discussing the rationale, design imperatives and function of setting up a podcast for making available audio documentation of the composition experiments of this project. The podcast can then be attached to the project or provided as an external playlist, whichever is easier to manage.

This stems for an earlier question and a problem I have been considering for some time.  When dealing with multi-channel soundscape systems, and indeed multi-phonic acoustic experiences, how does one mediate those experiences and experiments within a broader circulation network so as to provide a modicum of currency to the work, and of course, receive feedback?

I'm currently in the process of deciding which linux distribution I will use as the basis for the loop network. In order to do this, I need to have a single computer setup for multibooting between various distros to compare and contrast. I have used Fedora Core since FC1, and prior to that learned what little I know about linux from a Red Hat 7.2 book with included CD that was being sold for blowout price. I have my main internet machine which hosts my tasks database setup with FC5 and the Planet CCRMA low-latency enabled preemptive kernel, which has some really great performance.

I've just added some nodes to import data from the tasks database on a regular schedule, so it should make the workflow between the two environments run complete. A quick test run has successfully imported one entry for each of the modes of repetition. From here on in I can start importing and editing more complete and coherent tasks so that they are updated on the website soon after I have updated them on the computer in the studio.

This project is a collector for all issues and releases related to building a soundscape system. What is a soundscape system? In the context of looplog it is the studio based computer system used for experimenting with the notions of the loop network. In other words, the studio within which all composition work can take place. This includes issues concerning both the software and hardware used in building the loop network. It is distinct from but closely related to the composition project, mainly along lines of technicality and aesthetics.

Just a fancy title for ideas collected over time for possible user interfaces to audio composition environments. Mostly based on the multi-tracking paradigm, but no reason for it to be that way.

What is it that I am trying to do with technology?

Firstly, in the process of building some sort of multi channel dispersion system, I am playing with sound in a very spatial sense.  What am I trying to achieve in doing this?  Really, what I have always had I'm mind is synthesizing soundscapes indeed the soundscape) from a systemic viewpoint.  That is, from a compositional viewpoint I am interested not in producing compositions per se but defining and constructing a system which produces an ongoing soundscape that interrogates the very functional principals of soundscape - the way in which it is created and way in which it is experienced, the way in which it is perceived and the way in which it is recognized.  That is, I am looking to setup a system in a space and leave it there such that I can interact with the system in an ongoing manner to learn about the relationship between the functional modes of repetition as they can be employed in a systematic, compositional and constructive manner.  The content itself is not of interest so much as is the ability to investigate the modes of repetition through the content and to use the modes of repetition to generate content.

Up until now the development of Looplog has been dependent on progress on the initial stages of the learning curve of the software on which Looplog is based. Now that I've gotten somewhat of an understanding of what is going on here, I feel I can safely start making a more reconsidered approach to how Looplog works for my practice and how it works as my practice.  The upcoming release of Drupal 5 offers a perfect opportunity to do this, as I will have to upgrade the site when this occurs.  As such, I think the move to 5.0 will be a big one, but will represent the final incarnation of the site, and subsequently the final representation of my practice, as I head into the assessment stage of my PhD project.