I think in this small passage from Rhythmanalysis, Henri Lefebvre manages to flesh out a little of the teleology of change that I am interested in. He states:

Social times disclose diverse, contradictory possibilities: delays and early arrivals, reappearances (repetitions) of an (apparently) rich past, and revolutions that brusquely introduce a new content and sometimes change the form of society.  Historical times slow down or speed up, advance or regress, look forward or backward.. ..Objectively, for there to be change, a social group, a class or caste must intervene by imprinting a rhythm on an era, be it through force or an insinuating manner.  In the course of a crisis, in a critical situation, a group must designate itself as an innovator or producer of meaning.  And its acts must inscribe themselves on reality.    (14)

Another quote via the Microsound email list:

It should be possible to modify the Notify module such that it includes a comment creation link below published content. One problem I can see in this is that not all node types will have comment functionality - eg issues, which rather have "follow ups". Nonetheless, issue nodes also have comment functionality, so the distinction between the two needs to be discerned.

What is it that I am trying to repeat, to have again, to experience as though it were the same as the first? It is an experience, that sense of discovery, enlightenment, wonder and realisation that came with experiencing sensual opening. Connecting to the world through sound brought me closer to it and made me feel a part of it. It seems to me that great art, or my experience of particularly wonderful sound art, provides an experience that whilst inarticulable within language, is repeatable in practice. Al least, that is my contention. Why struggle endlessly with words to do what can be done with sound in a more meaningful and memorable way? What is that words are doing here, in this project that is essentially a practice dedicated to sounding out the art the makes us feel the world? Words make up a path, even if they don't make the scenery.

It's a fancy title to be sure, but it means little more than to refer to the "how" of the writing process. It seems that most writing techniques are heavily visual, especially word-processors which employ composition according to visual blocks of text. I shant be the first, as there is a whole field devoted to data sonification, but one of the uses of the loop network is to investigate writing acoustically. That is, using the loop network and my trusty handheld recording system, I hope to brainstorm aspects of theory using simultaneous spoken (and hence recorded) lines, which will then be reproduced and remixed as a multi-channel soundscape. In the event of remixing, I will transcribe the product, which will be edited and formatted for academic circulation.  If anything, this should prove an interesting studio exercise and hence learning experience and I have no doubt it will provide some insight into the theory to be remixed in a way that is fundamentally integrated with the practice I am concerned with.

 Deleuze on repetition:

...we can see that repetition is a necessary and justified conduct only in relation to that which cannot be replaced.  Repetition as a conduct and as a point of view concerns non-exchangeable and non-substitutable singularities.  Reflections, echoes, doubles and souls do not belong to the domain of resemblance or equivalence; and it is no more possible to exchange one's soul than it is to substitute real twins for one another.  If exchange is the criterion of generality, theft and gift are those of repetition.(1)

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. 

In The Soundscape, Schafer posits:

Sheer volume aside, the human sound which most closely approximates the internal combustion engine is the fart.  The analogies between the autombile and the anus are conspicuous.  First of all the exhaust pipe is placed at the rear, at the same position as the rectum in animals.  Cars are also stored in dirty and dark underground garages, beneath the haunches of the modern dwelling.  Freud says there are anal types.  There are probably also anal eras. (84)

In the project pages I have chosen to abstract the project components from physical descriptions of actual components and further apply the taxonomy parents.  The purpose of doing this is multiple.  Firstly, I have stated from the outset that taxonomy is to be applied to both the theoretical and practical components of the projects, and thus as test of its utility it seems fair that it should functionally be able to differentiate the differing elements of a project.  Also, I believe that this project is an attempt to apply repetition in the process of creating situated meaning.  In other words, by repeatedly applying the taxonomy to a maximum number of situations and contexts, an iterative and globally emergent meaning can occur that to me seems more robust and proven.  That is, the purpose of abstraction within the practical description is to make the abstract terminology and theory take on a greater practical significance, to gain concretion and hence weight.

what is a map? it is a transcription of a place. it is also a guide of how to get somewhere. the latter is the context in which I am using maps in this project. as such, I have promised a map of the acoustic ecology of the Internet and a map of my daily life. in the former, it must be said that the goal is the utilisation of the Internet to achieve some of the revolutionary potential within the scope of acoustic ecology. That is, how are we using the Internet and how can we use the Internet to achieve a goal of social change that integrates the concerns of acoustic ecology in the listed modes of repetition in daily social life.