CONCEPT

Sounds surrounding us have their own encrypted language. We all have particular associations when we hear sounds on the streets; security system alarms, radio jingles, etc. Electronic environments offer us an even more variable and sophisticated encoding language, supplemented with 'globally understandable' sounds (windows-start-up and shut-down sounds...). 

"Acoustic spaces can create different subjectivities; they open possibilities and potentials, particularly on an aesthetic and informational level that can help us feel our way through the spaces we are opening up and moving into".  [Erik Davis]

What made early air-radio exciting was its openness - its indefinite, unknown space. 
What makes cyber-radios exciting is the possibility of opening up new dimensions and communication through them. Co-broadcasts offer a variety of structures and broadcast tactics with feedback mechanisms (distributed audio servers, live copying and re-mixing of real audio live-streams, connections between net.radio and the ether, etc....).
Chaos created by sounds looping-and-mixing into cyberspace constitutes a quality in itself.  There is a great opportunity in acoustic space to combine the chaos element with content, turning the notions about closeness and openness, objectivity and subjectivity, upside down, to attempt to get a balance of the 'closed' and 'open' environments.

Electronic environments can make acoustic spaces endlessly permeable, mobile and ubiquitous. But the tactical use of networked electronic sound environments also allows the creation of personalised audio spaces, audiophonic anti-propaganda, auditory neutralisers of the unquestioned acoustic spaces of coercion. The tactical potential can work both ways.