As an inquiry into motherhood, “Family Sounds” involves a site-responsive approach to the superimposition of an internal childhood landscape onto the defunct Fort Tilden military base. It includes self-reflexive research referencing quantum nonlocality, interpretive movement, and the manipulation of physical material to align intention with action as evolved ritual. To start, I visited my childhood home in central Pennsylvania and collected audio samples like gunshots, piano, flute, and conversation. I also collected materials from an old family barn such as safety nets, camouflage burlap, industrial velcro, and vinyl pieces. I used these materials to construct a giant robe, and from the audio samples I melded a multilayered soundscape as a way to create a tethered telepathic multigenerational connection. During the performance I blinded myself under the giant robe and bent my psyche into the constructed auditory and kinesthetic dimensions where I psychically “post-scribe” childhood memories as a way to explore motherhood. One challenge of working this way is that documentation and integration of non-language data uncovered along the way becomes difficult as perceptions expand beyond the framework of linear languages.