작은 흔적 이야기

Tiny Trace Stories는 다양한 사물, 장소, 손, 시간 또는 현상 사이에서 현실 세계의 10가지 교차점을 탐색하는 미니 오디오 이야기의 선집입니다.

그것이 당신이 알아야 할 전부입니다. 이 경험은 듣기를 위한 것이며 개체 사파리에서 조각난 오디오 로그로 즐기십시오.

들을 수 없다면 아래에서 읽을 수도 있습니다. 이야기는 또한 작은 인공물을 만들거나 수집했습니다. 가능하다면 관찰의 정적 속성입니다.

이것은 진행중인 프로젝트이며 곧 더 많은 미니 스토리가 추가될 예정입니다.

좋아, 즐겨!

1. 무는 문

당신은 문을 통과하여 계속 걷고 있습니다. 왜냐하면 당신에게 움직임의 초점은 문턱에 대해 생각하는 것이 아니라 다음 공간에 도달하는 것이기 때문입니다. 아마도 미래의 어느 시점에서 당신은 학교 문이나 어린 시절 침실 문과 같이 잠시 동안 통과했던 문을 좋게 생각할 것입니다. 그러나 일상 생활에서 그것은 어디에나 있고, 평범하며, 어쩌면 당신의 주의에 약간 투명할 수도 있습니다. 하지만 이 말을 들으면서 마음의 눈을 사로잡았던 그 문, 이 문은 당신이 떠나온 공간과 당신이 알지 못하는 방식으로 상호작용합니다. 가장 좋은 점은 특히 맞춤 제작되지 않은 경우 문이 바닥의 표면을 먹어치우고 수직이 바닥의 수평으로 과도하게 늘어나면서 원호를 묘사한다는 것입니다. 그들은 몇 년 동안 서로 풀을 뜯고,

Polly North가 읽음

2. 따로 만들어진 두 가지의 교집합

언젠가 본 적이 있는 이 아치가 있었다.

자체적으로 지원했는지 여부는 잘 기억나지 않습니다. 그러나 고풍스러운 유럽 도심의 모든 아치형 통로와 마찬가지로 완만한 경사면에 창백한 치장 벽토가 있고 양쪽에 단층 건물이 있어 아스팔트 거리에서 입방체 석재가 있는 골목으로 그림 같은 전환을 만듭니다.

내가 가장 좋아하는 관찰이자 혼란스러운 순간은 매끄러운 형상에 배달 트럭이 접근했을 때였습니다. 아치는 물품을 공급하기 위한 안전한 통로처럼 보이지 않았습니다. 언뜻보기에는 트럭이 맞지 않는 것처럼 보였습니다!

운전자의 자신감이 당신을 편안하게 만들었고 실제로 아치 길을 보는 시간을 보냈습니다. 그러면 당신은 그것을 볼 수 있습니다!

물론 성공에 대한 자신의 정의에 따라 성공적인 이전 여정이 있었을 것입니다. 같은 트럭이든 다른 트럭이든 상관없이 두 개의 안정적인 홈이 아치 밑의 깊이를 가로질러 가로질러 두 개의 새로운 날카로운 모양을 뺍니다.

그리고 그 이전의 가능한 차량들처럼 트럭은 부서진 아치와 함께 헐거운 석고 속으로 뛰어들었습니다. 자세히 살펴보면 아치가 웃고 있는 경우 모서리 모양의 이 두 개의 긴 물린 부분은 미용적으로 추가된 보조개입니다.

이 주름에서 우리는 두 물체뿐만 아니라 교차하는 두 세계를 관찰할 수 있습니다. 서로의 작품을 고려하지 않고 자신만의 작품을 만들어가는 메이커의 세계. 그리고 여기, 아마도 같은 세계에서 창작물이 사용되는 여러 위치 중 하나에서 그들은 만나기 위해 오고, 의도적이든 아니든, 서로를 위한 공간을 만듭니다.

3. 원스퀘어

Take one square metre of surface, somewhere … maybe in a valley, where the sun shines brightly on it and makes the grass glisten. Observe a very small strand of water slalom through. Imagine some hoofs treading lightly the place, on their way to drink water. Ten years pass from this arbitrary point in time, and a human footstep lays for the first time on this square foot. It’s followed by other steps, and the grass becomes less glistening and less tall. The water takes a different course, and under the feet of more and more clothed toes, the grass decomposes. The dirt becomes firm, and before you know it, the square metre is crossed so often by living beings that the motion happening on top of it becomes a typical quality of the static surface.

The square had a city grow around it, now having its neighbouring square metres look the same: flattened out to no tell signs of the former valley.

It has laid soaked in rain water, as well as underwater.

It has sanded down countless plastic shoes.

Ice cream was dropped, and made its way in between the tiles in a most structured mess.

A gum was dropped, stepped, pressed, rained, dried and darkened with time and walks. They are finally cleaning it next week, alongside the other hundreds of dark rubbery spots around the block.

ne break up happened on this square metre, in between the two hundred and one first kisses. It’s close to an unpopular traffic light waiting spot, since it lasts on average four seconds longer than all the street lights in the neighbourhood. The average visiting time of this square metre is of two seconds and three quarters.

This square metre now sees more walked kilometres than one individual has to travel on a busy day with a lot of errands.

4. Eat the Fork

A desert sits quietly on a plate. It would be weird if its noise level was any different. A fork approaches, but very briskly stops at a few centimetres above the tasty, silent, sweet. It just hovers above.

If the slice of cake had a personality, it would be yearning for the fork to plunge into the salty caramel cream atop. But it does not. The fork levitates steadily above the dessert; of course, with a human attached at its other end.

A dark coloured flake lands on the cake. One tap, two taps, three taps, and the dessert is evenly sifted with fine cocoa dust. If the cake would have had external stimuli for light levels, it would have not noticed the sifter above the fork.

The sifter retracts, leaving exposed to the neon light the cake and the fork covered in cocoa. The fork moves too, uncovering from underneath a zone of naked cream, as one would get if they went to the beach alone and had to put sunscreen on their own back; Or had an unfortunate article of clothing shading a very irregular shape while sleeping outside. The cake travels a distance far longer than it could traverse on its own, but much shorter than the one done by the ingredients it is made of. In small pieces, the slice disappears.

The shadow takes another form post consumption; not the one of the fork just ingested, but the absence of the cake in the plate, in the shape of an elongated square of missing cocoa.

5. Stand Still Spinning

Some clay is spinning in a controlled pivot on a potter’s wheel. To the best knowledge and capacity of the potter, the block is without bubbles. Should one look at the clay from further away, they can’t know if the clay is spinning or not. The mound looks similar in all qualities: round, solid, heavy bottomed, whether in motion or not. Its state is given away only by listening to the nature of the electric wheel.

The potter brings something close to the outer edge of the mound. A line. An outline on the edge of a solid material. Slowly, the outline starts colliding with the clay.

Each radial slice of the whole reacts more or less in the same manner to the foreign object pressing on its surface. With time they accommodate more with one another, until both can exist without opposition to the forces that brought them together.

With precision, the object pressed against the clay is retracted, and the clay preserves in all instances the outline. The foreign object has now defined both the section and total geometry of the shape. And just like before, you can look at the clay as either static, or in motion.

6. Staircase to a Flying Carpet

They glide together slowly on the concrete runway. Him in a neon orange jacket, it oddly on wheels and mobile. It’s like an odd pair of figure skates.

The captain just announced cross-check which from an average amount of experience, you presume to mean you will depart soon.

You watched till now, and you watch more still, out of the airplane window at the boy who moves a three dimensional combination of a vehicle and the staircase. His hands grip firmly on metal handlebars at the heel of the stair. In slow pivots, he directs it into a new position which will offer safe passage to the travellers from the anonymous flight to your left.

Damn! What a great pondering device for our necessities of circulation. Think about it.

You have this moving access point for moving, flying airplanes, in just the right spot, for just the right amount of time so that passengers can get onboard, of just the right airplane. This staircase is the last appendix of a complete building made for circulation.

This is how you come to meet halfway, metaphorically speaking of course, the process of air travelling. As boarding can’t be done any lower, and you need to start from some point to get higher up in the air.

For a brief moment, you get to use a mobile access point that will hold your steps until you can meet up with the airplane. This neon vested individual, in the routine of his job, makes poetry by getting away of circulation into circulation, and that’s pretty cool.

And this rise and fall in your path leads you to the airplane which was most likely 10,000 meters in the air, while you were taking your shoes off. But now, at last, your earth shoes, get to meet the literal flying carpet that is found inside the cabin.

To me, this object is no less than a jewel it’s made from and for circulation, it’s still a staircase by all means. And that’s what makes it great. But I just think that it’s one of humankind’s greatest functional sculptures. You just know it’s that good when people don’t even bat an eye that it’s an art piece.

Read by Andreea Samoilă

7. Persistent Shadows

When I was little, I saw on TV an opening ceremony for a sporting event, where the athletes walked into the stadium, and stepped on trays with inks. As they walked onto the track covered in a vast white canvas, their lack of choreography led to the various colours in the trays blending; Making big, broad strokes of movement: such as you see in a bank of fish, or a flock of birds at sunset.

My very young mind was completely blown away by the spectacle of motion that was drawing under the shoes of the athletes. It was remarkable and …(pause+confusion) not real?

I remember it as the 2000 Olympics opening, quite clearly! But then again, I was four at the time.

Upon revisiting archives and videos, this happening is nowhere to be found, but present in other forms in artworks and everyday life.

I see it now in all entry ways to construction sites, where fine parts of the walls make it out into the street in the form of footsteps. Or in the bus station in the thin layer of snow, clearly showing the impatience of their maker.

They are like persistent shadows, which you get to see only once the foot leaves the surface. They visualise circulation, making prominent the routes and interests of people. They give you time to think about time.

I admire this past existent, or nonexistent, event; for stretching out such a big carpet to absorb footsteps, and I cherish now seeing floors have the same quality.

Story no. 8 is still in the works.

9. The chamber of a film

It is wondrous and awe inspiring to think of how many types of objects of storage we have created, made to have their volume expand and contract depending on the qualities of the stored object .

But it is still easy enough to identify my favourite type of storage: the one that hosts short bursts of light.

This chamber has thin film that eroded with your smile, your face, and your Sunday afternoon. It is completely in the dark, except for the short moments when you press a shutter. I can’t think of anything we trap quite as quickly as light. Or of anything so sensitive, that anyway survives by staying dark in a small, small, portable room.

I shamefully had a film sit inside of my camera for more than a year.

I wondered how stale the air inside was.

But when the film was finally full, enough time elapsed for me to forget how I used the camera, and that I had to push the release lever.

The film snapped inside. The camera did not finally take a big breath by opening its door and leaving fresh air inside. That moment had to wait a bit more.

If by any chance you break the film inside of the camera, a bigger dark room can swallow your portable one, and have two skilled hands find and retrieve your film. In the dark and just by touch.

This made me think of the hermetically sealed factories for phones; where no dust may enter, so all employees enter just by stretching inwards a bubble gum-like film, turning it into corridors, clothes, and eventually gloves.

The same happens with the film inside a camera, by placing it in a bigger, dark object of storage, you allow safe passage for the undeveloped film to move from one space to another.

If you think of it, the further away from windows, and as much inwards as possible, the better the odds of finding a dark place where your film will not absorb new objects and walls. You could even say the optimal place to recoil a film is at the heart of a building.

I can gladly say that all the pictures on that film have been saved. Photographs now retell what things, places and faces this object of storage was safely holding inside.

Read by Ana Purcari.

10. Expansion

Two foolishly young lovers go for a walk. They leave the city behind and tread a narrow path among trees. They have a conversation about pies, and what they should eat that night. Every now and then, they observe tree trunks marked with the names of other exhibitionist lovers.

They approach a beech tree and examine the bark. The tree is of a consistent brown, with small twigs popping out underneath the fully grown branches.

The lovers find an area to their liking and take out a swiss knife. One carves out a letter, and then the other takes their turn. Chips of bark pile up at the lovers’ feet. They make a plus sign in between the two names and kiss. They look at their work for another moment, and then go on with their walk.

The bark seeps new resin into the freshly exposed tissue. A few days later, the web of cells dries out in the summer wind. More days pass and the bark softens just slightly around the sharp corners of the letters.

The forest stands in sun and rain. All pairs of names scattered around hibernate under thin layers of windswept snow. They hold each other warm.

매년 나무 껍질이 늘어납니다. 그것은 이름을 따라 당깁니다. 글자의 가장자리가 부드러워집니다. 한때 가벼우면서도 가느다란 조각이 이제는 부풀려져 서로 만지고 있습니다. 더하기 기호는 더 이상 나머지 문자와 구별할 수 없으며 이제 에칭을 하나의 긴 이름으로 관찰합니다.

그들은 나무 껍질이 수십 년 동안 자라는 방법을 처방했습니다.

이제 그들의 사랑은 그들이 조각한 초기 모양의 크기로 확장되었습니다.

Jakob D'herde가 읽었습니다.

앞으로 더 많은 이야기를…