Урбанистический звуковой дизайн понимается центром CRESSON как количественно-качественное сплавление экоакустики, феноменологии городской повседневности, урбанистического планирования, акустического дизайна и ограничивающих принципов менеджмента шума окружающей среды в соединение защитных, активных и креативных действий по звуковому проектированию городов и моделированию звуковых идентичностей

Bain is a vibration artist. He repurposes military and police research into infrasonic and ultrasonic weaponry intended as crowd control devices in order to create an ethico-aesthetic intervention into the resonant frequency of objects and the built environment. He deploys infrasound, that is, sounds at frequencies below the threshold of hearing, to investigate the unpredictable eff ects on movement, sensation, and
mood.

For example, a typical occurrence related to vibration is its eff ect on the
vestibular system and the sense of orientation in which balance can be modulated so that suddenly your perception is, as Bain describes it, that of “surfing the architectural plane.” As opposed to a sound artist, he describes the sonic effects of his work as side effects, or artifacts, merely an expression of a more fundamental subsonic vibrational ecology. Bain seeks to tap into a “secret world of sound resident within materials. Using multiple oscillators . . . it becomes more like an additive synthesis type of production.” He unleashes the contagiousness of vibration in the production of a “‘transient architecture’ that describes a system of infection where action modulates form . . . where stability disintegrates” and effects are “re- injected into the walls of the ‘host’ site” in a “translation of sorts, one building’s sound infecting another.”

Steve Goodman, "Sonic Warfare"

If the built environment is frozen music, then the freeze occurs in both the
folding of tectonics into architectonics and of vibration into organized sound or music. Architecture is designed to withstand a spectrum of vibrational strains, from the accident of the earthquake to the infrasonic infrastructure produced by hydraulic channels, ventilation shafts, and reverberations of passing traffic. A bass materialism or vernacular seismology returns the vibrational event of liquefaction back to the city. It promotes an anarchitecture that is no longer merely deconstructive in style, but rather experiments with sonic liquefaction, where interior and exterior and discreet entities are unfolded onto a continuum of differential vibration. The concrete ripples and pulses with invisible vortical force fields. Objects become vectorial, simultaneously projectile and contagious,
defying gravity, sliding across horizontal surfaces. The air becomes heavy, and metal screams under the torque. Liquids become turbulent; vortices emerge. But aside from these physical interventions, this anarchitecture also modulates affective tonality and mutates ambience.

Steve Goodman, "Sonic Warfare"

Our proposal is a map, scale 1:1. The map will contain sets of ideal objects (our city options), gates, some boundaries of paths, sudden echoes, some performance left at footprints in the actual city, and some instruments of measurement.

We say Anywhere City, instilling a statement about our realm in which the proposal will grow: the city is a shadow, a telephone line, a corner, the will looking for a place; this city is everywhere and does not wait for occasions. It is the city that is making itself up all the time in the minds and bodies.

Our inquiry is about the applicability of some processes of imagination to the physical world; is an experiment between an inner space in which thinking, dreaming, ideation processes take place and the real space of the city.

Anywhere City, proposal

Exploring acoustics, perceptual psychology, architecture, and computer technology, Synaptic Islands creates a space where the listener becomes the vibrating instrument in a transformed environment... The music in Synaptic Islands reinforces additional tones consciously and cultivates interplays between tones that originate in the ears, the brain and the room — this can be thought of as perceptual geography.

Perceptual geography seeks ways of composing in which tones, originating within human anatomy, exist in their own right by becoming perceptually more than an accident of acoustic tones in the room, resulting in a conscious interplay between them. Synaptic Islands explores thye way sound infiltrates the ear and our bodies by using the architectural characteristics of the Information Center (Tokushima, 1992)