In seeking to distinguish between sound objects and sound events, Schafer relates the placement of events.

When we focus on individual sounds in order to consider their associative meanings, I propose to call them sound events, to avoid a confusion with sound objects, which are the laboratory specimens.  This is in line with the dictionary definition of event as "something that occurs in a certain place during a particular interval of time"--in other words, a context is implied.(131)

The focus on context is precisely the role of meta-data, which is precisely the aim of the semantic web.  Thus, any data produced in the studio, the artist's laboratory, though originating as sound objects, can be progressively placed, or composed in place, by the inclusion of place meta-data.  One of the most common techniques on the Internet for encoding place meta-data is that of geotagging.  A good example of this in action can be found at the freesound website.  Geotagging and audio meta-data turns audio objects into audio events by relating their occurrence to a place and time. 

For me, the questions arises, what happens when we start to recombine such acoustic events.  A similar question, are there common characteristics of acoustic events that allow us to synthesis acoustic events that sound placed, or sound, as though they authentically belong to a place and thus, by continuation, fit in with the soundscape and acoustic ecology of a given field of observation.

Schafer continues:

The soundscape is a field of interactions, even particularized into its component sound events.  To determine the way sounds affect and change another (and us) in field situations is immeasurably more difficult a task than to chop up individual sounds in a laboratory, but this is the important and novel theme now lying before the soundscape researcher.(131)

I would take this further to say that the soundscape artist is a hybrid of these two techniques, and yet a third category.  The soundscape artist not only analyses and chops up sounds, but analyses soundscapes in the wild for the cues to acoustic place that allow them to reconstitute a sense of place in their work.  In the laboratory they can thus use an understanding of the technicalities of acoustic objects and the rules of composition of acoustic events (via research the soundscape, acoustic ecology and their inherent sensitivity to place) to create a bottom up synthesis, as detailed by Manuel De Landa (perhaps it was not De Landa, need to check).