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"An ongoing project that started life during a one week residency at the Soundfjord Gallery. My proposal was as follows: A letter written to the journal IEEE in 1969 suggests the curious possibility of clay sound recordings from antiquity. Claiming to have evidence, an enigmatic scholar named Richard G. Woodbridge III outlines a hypothesis: sound, by causing a shimmering of airwaves, leaves traces on materials the waves break upon; wet paint, for example, or the soft, wet clay spun by a potter. Using suitable technology a contemporary listener might hear these traces, so allowing a rehearing of whatever sonic activity was occurring in that original impact of sound wave and substance."