Satch Hoyt is a spiritualist, a believer in ritual and retention. As a visual artist and a musician, his diverse and multifaceted body of work—whether sculpture, sound installation, painting, musical performance, or musical recording—is united in its investigation into the ‘eternal Afro-sonic signifier’ and its movement across and amid the cultures, peoples, places, and times of the African Diaspora. Those four evocative words refer to the ‘mnemonic network of sound’ that was the sole companion of enslaved Africans during the forced migration of the Middle Passage against all the many odds. His sonic gesture constitutes a semi-acousmatic performance which features the sounds of incarcerated African musical instruments in European art collections. The sounds of these instruments were recorded during various UN-Muting interventions made in ethnographic museums such as The British Museum and The MARKK Museum Hamburg. Un-muting is an act of sonic restitution in which Hoyt also plays a selection of traditional African instruments from his own collection, plus processed electric flute, electric Sanza, and electric percussion, all accompanied with spoken word poetry.