asunder (syntagma) is music, in the tradition of Spahlinger’s musica impura, about music as translation: that is, music about reduction, simulation, and impossibility as the basis of communication. Simulated “field recordings,” largely synthetic in nature and centered on auratically charged material (bells, voices, natural ambience), alternate with flute “translations,” in which the real-world sonic phenomena of the field recordings are transfigured, vis-à-vis the flute’s fixed performance practice, into an extremely lossy analogue. This process of quantization occurs three times, and then is reversed—in a second section in which the flute, through a violent accumulation of quanta (sending noisy shivers through the live-electronics), attempts to return to the continuous (the uninterrupted flow of the field recording realm).