An audio event is an acoustic happening specified according to time and space. Whilst usually a field recording, it could be a studio recording attempting to recreate the specific place or historical details of a sounding.

This node is a descriptor for a sound producing or modifying object. It could be an object within the studio (including software and hardware) or an actual physical sound producing object within a soundscape. Sound Objects are by definition abstract and generalised descriptors and do not contain specifics such as time/date and location information.

all nodes have time information such as date created and date updated entered into the database by Drupal by default. Extra date data is needed in the following instances:Projects-from and to dates for the projects timeline-dates for the undertaking of data collecting in the following content types: -audio (specific date and time recorded (from and to) -equipment

you have to call regsvr32 wineaso.dll as the user you want to use wine withYou have to call "winecfg" first and in the audio tab: enable alsa disable oss disable jackRegarding environment variables: these are a standard way in Unix-like systems to change specific behaviour, search paths or other configuration data, not at compile time but at run time of a program. To set it temporarily, type in your shell the commands from above, e.g. Code: export ASIO_INPUTS=4 (or ASIO_OUTPUTS=) and after that, run any program using wineasio from that shell. To have it setup permanently, add the same line to the bottom of your ~/.bashrc file and restart X.

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spin is those operations which attempt to distort, by the repetitive force, the linkage between precept and perception/recognition

sedimentation of order by associations over time rahter than linearisation through timedrag and drop and cut and paste methodologies allow large scale and rapid restructuring of contentalso allows more fine grained granularisation of content to be managed more easily through centralised interfacesthe enforcement of structure in writing becomes less important and can be added after the fact. the focus is instead on conceptual objects (or quantified representations of event), their associations (or the set of loopholes or external contingencies within the object which in turn allow arbitrary couplings to objects with similar points of interaction) and that set of associations and objects which together form the event of observation of an object (objects and relations cognised as an object of higher order)with audio, the objects generally connect to any object with in/outlet allowing for audio and control signal flows. with text, each object has a unique set of variable in/outlets (smeantic loopholes) (poosibily represtable via tagging whereby objects with multiuple coupled tages have a higher degree of uniformity and hence bear semantic similarity as an object and tend towards repepetition.an object netwrok produces an event of observation. the event network is the set of object networks that produce all events equalised by a common set of constraintsso if one has five loops whose definitions provide for a common set of five tags (semantic in/outlets) how does one establish experiential order and priority (or wieght) in terms of the linearity of reading?one doesn't always of course as film for example can use multiple screens or regions to establish simultenity. audio of course uses polyphony. text can use dense poetic language to establish mutiplicity or multicolumn layouts.

objects are loops that is to say they are observationally closed (self-contained) yet contain loopholes (points(?) of interaction with a background)objects networks produce eventual outcomesif the eventual outcome of a given object network is the production of the loops of that network then that network is alive or at least possesses the capacity for self-creaiton that by the definition of living-systems provided through M&V autopoiesis the project is an attempt to apply the event/object network as a common practical framework and abstraction of practice for the purpose of theorisation with regards to textual composition (writing), soundscape observation, definition and composition and studio based or performance based sonic art composition (and/or improvisation).