Commentary: Bryce Peake Department of Anthropology, University of Oregon Abstract: This commentary critically reframes the concept of circulation in terms of time, defining the dislocation of space that occurs with media—defined as technology taken to be a social phenomenon—as an occurrence that creates, and is a result of, simultaneous streams of temporal flow. Counter to narratives that claim for technology and media's radical altering of subjectivity, I suggest that this notion of temporality was already present in cultural understandings of memory and monuments in the landscape. Circulation is predominantly thought about by anthropologists in terms of objects moving through space: media from Bollywood in the US hipster‘s DVD player, art moving between communities and museums, and cell phones linking Annapolis to Athens, Zion to Zimbabwe in the circulation of information. In what follows, however, I would like to think differently about circulation; I wish to consider temporal circulation, or the ways in which places are the locus of multiple simultaneous temporalities. This overlaps with a consideration of the temporal circulation of ideas in our own discipline today, as circulation harkens to notions of diffusionism (see Giddens 1990 and Jameson 1981) and other prior theoretical constructs. In bringing these parallel thoughts together, I will argue that what seems new is in many instances a resurfacing of an old problem in anthropology, which warrants a re-substantiation of old theories to create new solutions. I do so in order to a) bring new perspective into our conversations of circulation; and b) move towards (re)imaging problems implicated in circulation‘s ‗crisis of space‘ in creative and emancipative ways. My goal is not to ‗answer‘ these critiques and ideas; rather, it is to pose new questions– or, in this case, pose old questions for new materials– intended to shape the readers‘ experience of interrogating circulation throughout the journal. My research in Andalucía 1 focuses on the ways in which contemporary media ecology – defined as the sum total of digital media in an experienced space – affects people‘s embodied experience of landscapes, particularly the cultural construction of subjectivity vis-à-vis consumed sound and the clashes that come with embodying public sound symbols in different ways across cultural communities. On Main Street, Gibraltar, sound and its technology circulate freely in space, often with little hindrance besides other sounds and noises. This includes the sounds of Llanito being spoken on the streets, music from department stores that promotes hip and vibrant ‗club‘ scenes, shops with ‗exotic‘ sounds that attract tourists seeking ‗The Other‘ and the ‗Authentic‘, TV screens that imply sounds through the showing of photos of the Rock of Gibraltar and WWII monuments, etc. Moreover, there are other sonic experiences, including the silent ‗living statue‘ street performers depicting Roman-esque Saints and Sultans of ‗Arabia‘, bandoneón players