The current taxonomy can be viewed as a pretty, relative weighted index here. Otherwise, you can follow the ongoing explanation of taxonomy terms by clicking here.  

Since I have to begin somewhere, and I want to get there via this taxonomy, I'll start with the obvious; an important step in any research praxis. That is, I'll start searching. As far as the internet goes, as a public space and circle of distribution and consumption, the most accessable search for me remains Google. I won't envangelise; it's enough for now to say that it's built into my browser on the toolbar. If my taxonomy is to stand as an effective and sytemic method of organisation, then it needs to be helpful in atucally finding and organising content. So, starting from today, I'll be routinely searching the web using a combination of the varying lingual forms of "sound" and one or more of the child taxonomy terms.

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.

circulation

-- audition -- consumption -- conversation -- currency -- distribution -- ecology -- life -- listening communities -- macroscale -- memetics -- transit

cycles

-- domesticity -- everyday -- habit -- habitats -- habituation -- habitus -- labour -- mesostructure -- programming -- sequencing

feedback

-- consciousness -- critical response -- dialog -- interpretation -- knowledge -- learning -- meaning -- mediation -- noise

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.

a project plan for the development of this site as an operational base for the looplog project.

The thesis of looplog is made up of the combined books of the modes of the loop network.  These modes can be considered

• modes of practice of an acoustic/soundscape artist
• schema of classification of the soundscape and acoustic phenomena observable within the soundscape (domains of observation)
• aspects of place responsible for the production of the soundscape
• modes of being of the listening subject

The modes of the loop network can also be considered a taxonomy for organising and indexing existing research undertaken on acoustic ecology.

The aim is to collect a database of recordings of acoustic phenomena whilst in Korea.  It is my hope to link these samples to a map driven interface.  The samples are to be collected according to interests in aspects of place, cultural identity, and most importantly, reflection or illustration of the modes of the loop network.To this end, the field recordings are primarily a series of phonographic studies.  They are also to be used as the basis for extended composition experiments using mulitchannel techniques to trace the differing modes of the loop network as present in an individual recording. 

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.

Practice is a method of meditation on the subject - that of a perceiving subject immersed and emerging from a network of circular relations. Therefore, the modes of the loop network must also be considered as modes of practice. Practice is thinking and acting through a problem rather than about it.