Live Sound Work

An improvised rite of noise, texture, and embodied resonance. Tape loops transmuted to gold. Hypnotic repetition. The operator and witnesses drawn into shared knowing.

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A photo of SPLASTEEN. — Fig. 1: Operator

A photo of a modular synthesizer. — Fig. 2: The Machine

Status: Engaged // Output: Live

Abjuration

The sound washes over the room. You are synchronized with the ritual.

"Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibility of men."

— Luigi Russolo, The Art of Noises (1913)

"Noise is a resonance that interferes with the message. But in a world of forced messages, noise is the only honest signal."

— Hillel Schwartz, Making Noise (2011)

"What is noise? It is the scream of the world which refuses to be music until we find its secret order."

— Pierre Schaeffer, À la recherche d'une musique concrète (1952)

Operator's Manual

Rev. 2026

§1 Musique Concrète

§1.1 Acousmatic Composition: Creating music specifically for presentation via hidden loudspeakers to encourage focus on the sonic properties.
§1.2 Transposition: Changing the playback speed of a recording. This shifts both the pitch and the duration to alter its character and grain.
§1.3 Montage: Cutting, rearranging, and splicing fragments of recorded sound to build a composition.
§1.4 Sound Objects: (Objet Sonore) Recorded sound fragments that are treated as independent musical entities.
§1.5 Morphology: Studying the internal structure and temporal shape of a sound, from its initial attack through its body to its eventual decay.

"I want to tell auditory stories through the music of the future."

— SPLASTEEN

Enter the Archive

Pieces, series notes, and samples.