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○●   Increasing participation (eg via affordable, easy to use streamboxes)
○●   Increasing diversity of the network, including habitats / soundscapes from the global south (eg through North South colaborations - can be more technical barriers; may need funding)
○●   Benefits to streamers: a platform, exposure, networking, contacts
○●   Benefits to the network: a resource for researchers, artists, activists - think about the value for different groups and what each expects to learn / gain (eg feedback exercise with 2016 soundcamps)
○●   A role for regional / national networks eg with Wildlife Trusts in UK
○●   An enabling framework / partnerships to extend and support a global network eg via UNESCO / Biosphere Soundscapes
○●   Building on local ways of working with sound and ecology in practice and in place (as in Cyberforest since 1995; Locus Sonus since 2005; Jasper Ridge; Jupiter Research Foundation - could be useful to share / exchange / document experiences eg The Live Audio Archive in preparation)
○●   Ask: what do people get from participation in a project such as Cyberforest (as technicians, scientists, artists, audience): what can we learn from that / how can it inform our practice
○●   From Cyberforest we learn the central importance of people engaging with the landscape / soundscape in creative ways. Ask what are the best models (technical, organisational..) to support that engagement and potentialy widen it to new participants and audiences.