ABSTRACT
As M.I. Franklin (2005) points out in Resounding International Relations, we live in a globalised economy where sounds are composed, remixed, performed, and listened to within and across national borders. Audiences, artists, politicians, and corporate financiers who are convening in these multifaceted spaces, both online and offline, fill and link social and cultural spaces at fibre-optic speeds, in real time and in time-shifting modes. They are doing so both as individualised listening experiences through headphones and when composing, as well as through communal experience in proximity or on screen via live link-ups or social networks.
