This audiovisual experiment follows the journey of a snail through three very different aural environments, the sounds of which are designed to evoke the senses of taste, touch and smell. It is a direct response to theories of cinematic embodiment such as those of Vivian Sobchack, Laura Marks and Jennifer Barker; which although valuable, prioritise image over sound. My aim was to use sound to extend ideas around the haptic, embodiment and sense memories to include all of the senses. I chose the snail because it is an interesting representation of corporeality that embodies all of the senses: it relies mostly on its olfactory and gustatory system, as well as its sense of touch. It can see, but not very well, and although it cannot technically hear, it feels sound waves through its flesh, which resonate deep inside its body. I chose sounds for the snail that I felt had a haptic quality to them, then broadened this idea to attend to other elements within the frame: a blade of grass, a drop of dew, among other things, assigning sounds to these objects and making subtle adjustments to their spatiality by panning their associated sounds slightly left or right, depending on where they were located within the frame.