INTRODUCTION
pso.Net is a mechanical sonneteer, a device which constructs sonic vignettes from actual auditory circumstances. Its stanza and verse, couplet and quatrain, assonance and accentuation, are drawn from the abstract audio environment of the radio spectrum. pso.Net's muse resides in the hybrid space of radio and the internet.

pso.Net's acoustic poetry is created from the manifold data transmitted on the radio frequencies of specific geographical locations. It eavesdrops on the airwaves, records auditory happenings, and through a specially designed software ".Net", evolves this radio-activity into a concrete poetical stream.

BACKGROUND
Technology now enables new forms of spatial, rhythmic and tonal juxtapositions within sound environments, and advances in algorithmic and chaos driven approaches to sound composition, have prompted a paradigm shift within the field of experimental sound art. r a d i o q u a l i a  has taken a critical approach to these soft and hardware progressions, examining new forms of construction from a hypothetical and experimental perspective, in a continuous attempt to unravel the complex ribbon of machine intelligence and artificially generated forms. The questions for us are, how to fuse the chaos engine of the machine, with the poetic nerve centre of the artist? How to create a productive tension between intention and error?

In past projects r a d i o q u a l i a have analysed notions of emerging sound through the creation of reticulated sound robots (gl^tch.bot), self-generating online audio programs (self.extracting. radio), chaotic distribution vehicles (ge mm a), and sound installations, functioning as engines of audiometric renewal (e Q). For 'Sound Drifting',  r a d i o q u a l i a  built on these experiences, creating a new device to help define the notion of generative sound.

pso.Net posits "the apparatus as interstice"(1) Its poetics are comprised of system loops, resonances and repetitions, which camouflage radio data in complex foldings of modular sound. This sound artifice furthers the supposition that radio, like all communications media, is a dimension of conversation, or even an adjunct of language. pso.Net depicts radio as the process and mechanics of communications itself. In conversation with all the discrete manifestations of 'Sound Drifting', pso.Net created a new conduit of communication, an agent which listened, translated and imparted its own variation of sound events, as a nonsensical cybernetic elegy.

IMPLEMENTATION
For 'Sound Drifting', pso.Net listened in on the radiowaves both Amsterdam (the Netherlands) and Adelaide (Australia) - the two cities which represent the physical and virtual residence of  r a d i o q u a l i a. It aimed to fold the world-map, by creating a mutual language of gibberish between the two cities. The distinct tongues and cultures of both cities were embodied in the differing complexions of each city's radio spectrum.

pso.Net involved a radio receiver in each city automatically scanning the radio spectrum, and feeding back particles of sound into a software ".Net". These sounds were then broken apart by the software and rephrased into a continuous, randomised radiophonic verse, which preserved the fleeting reality of both locations, while invoking a new cross-lingual lyric. The resulting sonic rhyme was then streamed live on the internet using Real Networks streaming media software. The live stream was picked up in Linz and formed a component of the 'Sound Drifting' installation. Online audiences could also listen to the live stream via the pso.Net website (archived at <http://www.radioqualia.net/psonet>), which further explored the concept of language through a hypertextual writing exercise.

A hybrid of art (broadcasted music), language (the human voice), and abstraction (the static emptiness of the space in between stations), pso.Net was a metrical object of espionage, translation, and transmission.