“Like a chameleon it assimilates itself to the environment in which it is heard. As one of TMP organizers, Barry Weisblat, points out, in industrial areas the tones sound mechanical as if coming from a factory, in grassy areas like the buzzing of crickets, and so on. The sound can be listened to for its own sake, to enjoy it or scrutinize it, but more importantly it functions as a mimic and/or frame of other sounds. It is the sound that underlines and articulates other sounds.
It intends to be as ephemeral as possible, yet as corporeal as possible vis-à-vis the urban space. For being ephemeral and corporeal is the very premise, perhaps the sine qua non, to begin a search for the virtual territory or the alternative way of being in over-gentrified public space.”