Sound experience in the Vilnius ghetto "Putty" is a sound journey through the territory of the former Vilnius ghetto and the cracking bends of memories of the Holocaust. The sound map of the journey is made up of musical fragments specially created for each space, and the direction of movement is drawn by the voices of four Holocaust survivors who moved from their native Vilnius to Israel after the war, recorded by the creators of "Glaisto" in conversations in Tel Aviv, Jerusalem and Haifa, in May 2019. Frida Sohat (b. 1929) was imprisoned in the Vilnius ghetto, Klooga (Estonia) and Štuthof (Poland) concentration camps. He moved to Israel in 1957 because he wanted to meet his father, who survived the war. Joshua Zak (b. 1929) left Vilnius and settled in Haifa, where he became a professor of physics at the Israel Institute of Technology (Technion). in 1989 discovered the Z(k) - Zak phase, for which in 2014 awarded the prestigious Wigner medal. Sore Voloshin (1928–2020) was the only survivor from a family of more than 50 people in Vilnius. She was the cousin of Ichchok Rudaševskis, the author of the young diary of the Vilnius ghetto, who was killed in Paneriai. Baruch Shub (1924-2020) was a participant in the Jewish underground movement during the war. After moving to Israel, he became a flight engineer. Until the end of his life, he lectured on anti-Semitism and was a member of various public organizations. The sound document, as an artifact of memory, is the main axis of the work, around which musical interpretations of the streets, courtyards, corridors, apartments, halls, and other spaces of the former Vilnius ghetto are spread. The fragments of interviews heard in them lose the function of a purely oral narration - the audio events recorded in the recordings offer themes for choirs or electronic compositions, individual stories take on the characteristics of arias, voices are integrated into soundscapes and become full-fledged means of musical expression. Everything is complemented by abundantly used binaural recordings, which give the sounds in the headphones an impression of reality. This is how the unique aesthetics of the musical narrative of "Putty" is born, the dynamic Gesamtkunstwerk of today, in which the viewer's body and its movement in space also become important. The work balances between moving "back to those times" and returning "to today". Exploring the limits of the possibilities of such a move, first of all - in their own heads, the creative group does not hide from the fact that they are moving through today's Vilnius - rapidly changing, painted and beautified, covered with construction grids, and in some places still waiting for a fresh layer of putty. The creators, who accompany the audience in camera groups, invite them to look together at what is hidden under the plaster and to ponder important questions: are there limits to the understanding of the Holocaust? Where does memory end and imagination begin (if this divide is possible at all)? In what forms does something that was almost completely destroyed during the war return (or could it return)?