My col­lab­o­ra­tors recon­struct­ed sound mem­o­ries from their past by cre­at­ing audio record­ings based on aur­al mem­o­ries from child­hood. I then com­pose with the mem­o­ries, and use them to dri­ve through met­al, adding more lay­ers to the fil­ter­ing process. I am con­front­ed with my own lis­ten­ing mem­o­ries through their expe­ri­ences and sto­ries of their mem­o­ry dig­ging process. We hear dif­fer­ent sig­nals, sym­bols, and codes accord­ing to our lis­ten­ing his­to­ry. I fil­ter these son­ic mem­o­ries through my con­scious­ness, and again through the nat­ur­al reverb of the met­al. The met­al sheets are res­onators for the trans­duc­ers that are play­ing the mem­o­ry. The met­al acts as a nat­ur­al spring reverb to ampli­fy­ing the mem­o­ries. Reverb is the per­sis­tence of sound after it is pro­duced and is cre­at­ed when a sound sig­nal is reflect­ed. This caus­es numer­ous reflec­tions to build up and then decay as the sound is absorbed by the sur­faces of objects in the space. The choice of met­al sig­ni­fies the longevi­ty of the mechan­i­cal mem­o­ry after it is record­ed. Reverb also effects intel­li­gi­bil­i­ty of sounds, rep­re­sent­ing the lucid­i­ty of the mem­o­ry over time. The mem­o­ry col­lages start at vary­ing lengths, and play on loops. This allows the mem­o­ries to stack in dif­fer­ent con­fig­u­ra­tions, sim­i­lar to how our inter­per­son­al asso­ci­a­tions with mem­o­ry and sound change over time. The com­pos­er Pauline Oliv­eros states that when we are lis­ten­ing there is a con­tin­u­al inter­play with the per­cep­tion of the moment com­pared with our remem­bered expe­ri­ence. She rec­og­nized that in order to expe­ri­ence the present moment we must con­front mem­o­ry, and we do with the aid of a record­ing. Instal­la­tion