the project module is useful in its present form but has some serious shortcomings. the first of these are that it has no way to easily collect a projects components as separate sub-projects. that is to say, whilst a project has components defined at the meta-level, these do not exist as manipulable or displayable objects at the content level. in other words, if the components of a project are defined at the meta-level in the project node, it would be highly useful to organise the project as follows project>components>issues but this still doesn't solve the problem i have with the soundscape studies project, and that is, the use of the project module is designed to make the process open to criticism and feedback to enable a more transparent praxis.

I'm having trouble fitting silence in with the taxonomy.  One thing is clear, and that is that silence lies in the loopholes.  If people are silent to you, you are kept out of the loop (of communication, of the circulation of information, and ultimately, of being together successfully).  Silence is also a way out of the system, a time for reflection and escape.  It is no surprise that it is in the best interests of the system to keep us invested in the system, and therefore, immersed in the noise of it all.  It is a matter of control.  But we should be careful not to assign intention where it ultimately cannot be found.  A system, by definition, cannot possess intentionality even if its operations result in the global emergence of apparent intentionality.

simultaneous muting of mainstream at a specific point. capture sub-loops of stream and disperse the loops throughout the system. the stream can re-enter the daydream sporadically, in a filtered, processed or time-distorted manner.

The purposes of my writing this paper are multiple. Firstly, my intent is to communicate a certain hypothesis about the formation of the soundscape, the operation of the acoustic artist in the soundscape, and the use of the Internet in bringing these happenings to the attention of the broader public, and in doing so, hopefully raise the general level of awareness about the concerns of not just soundscape artists but the WFAE in general.  To that end, I intend to present not so much a map of the acoustic ecology of the web, as much as this poses an interesting and important project, but a map Acoustic Ecology ON the web - how Acoustic Ecology, the WFAE and soundscape research and practice in general is both representing itself and being represented on the Internet.  I wish to finally propose a shift away from traditional media thinking to what is being often touted as the web 2.0 model.  The is about thinking of the Internet as  a marketplace of ideas. (spin).

Politicians who listen to the people are a different breed to the visionaries - those who often look down as much as look ahead. Feedback, however, operates much more powerfully within an acoustic culture simply because it is efficient to hear complaints, or rather, more proactive to complain. As such, problems can be heard as they start - long before their consequences can be seen.

All is the voice, oscillating in space, circulating through places, and with the reinforcement of righteous feedback, creating revolution in the cycles of the everyday.

The linearity of time is effected by an apparently relative stasis of the cycles of everyday. Everything is turning, but together, at a predictably constant rate, to effect a globally emergent pulse. A constant pulse forms a linearity of observation through a linearity of observed change.

If the conservative ideal rate of change tends to zero, what of the progressive? 

A voice, in origination, passes through a circulation network, which in turn operates potentially on the voice through feedback loops. That is, operational nodes within the circulation network effectively comment upon, pass evaluative judgments back upon the voice. Feedback occurs when those judgments are received by the speaker and enter into new vocalisations (or the computations/machinations thereof).

Of course, any given node within a circulation network can effectively silence a voice from operating within or passing through that node if the voice does not seemingly conform to some degree of feedback from that node.  ¨No, we won play your song on the radio - itś not good enough¨.