The skin on her arms was like leather, wrinkly, so thin you could see the blood flow underneath thesurface. Ruption´s that reminded me of small universes or spider-like flowers leapt up and downher arms. She liked listening to the radio, or so I think. She was lying on the bed in the middle ofthe little house surrounded by trees. The massive furn wood dining table was tilted up against thewall, a defeeted gigant.Empty, empty, empty. Silent, silent, silent. The room was a shell, singing of what wasbefore time; a vase stood in the heart of the house, alabaster, smooth, cold holding thestill, distilled essence of emptiness, silence.-Virginia WoolfThe history of materiality can be expected because we have seen it. We can understand how it candisappear or slowly decay because we have at one point in time understood its presence. In mywork I have investigated how material and sound can help to define each other. My thoughts arethat the vase in this aspect is corpus, a recorder of its environment. The vase i.e. corpus stands forintimacy, connecting people in a home where everyday life occurs through communication. The oldvase has a presence, that presence vibrates of life that you can hint but not fully understand.Sound talks about the proportions between things in a different way by travelling between statesand time. How can we understand and access history that is invisible to the eye? GuglielmoMarconi (a pioneer in long-distance radio transmitting) believed that acoustic phenomena continuedto hang in the air. He thought of sounds as bodies of vibration whos decay extended to infinity.Marconi used a concept he called dead air, to describe silence. All sound that ever existed isaccessible to us if we know how to tune into it. What would the silence of the alabaster vase soundlike? In my examination work I have focused on sound to try and understand how it is connected tothe traces of life that are not written in history books.