This work collects audio fragments drifting across social media, using articles published in The New York Times between January 1 and October 1, 2025 as a point of reference, and transforms these sounds into light to be fixed as photographs. Although online audio appears to be preserved, it is in fact an unstable entity—constantly in flux and easily disappearing.

The collected audio is analyzed using Max/MSP, and its amplitude is translated into digital signals that control the brightness of a light bulb. The flickering light is captured through long-exposure photography, rendering the invisible and temporal movement of sound as traces of light inscribed onto the photographic surface.

Each work is presented within a 500 × 500 mm frame, combining the photograph with a hashtag indicating the sound source and a waveform printed on thermal paper. Over time, the text and images printed on thermal paper inevitably fade and vanish. Within a single frame, two different temporalities of recording coexist: the photograph, which remains relatively stable, and the thermal paper, which is premised on disappearance.

In this work, framing functions as a device that transfers sounds drifting through the internet into the institutional archive of art. Yet within it, erasure is embedded alongside preservation, revealing that an archive can never be complete. Traversing sound, light, and paper as different media, the work visualizes the threshold where recording and forgetting, preservation and disappearance, continuously collide.