To probe this “steady procedure,” I learned to cast the test cubes myself, while collecting objects discarded in the march toward mechanization—rounded-head nails formed by heat, metal offcuts scored by blades—and embedding them back into the traditional process. Abandoned parts and the unchanging regimen of quality control are juxtaposed within the same cube, as if sealing “institutional residue” inside “production routine.” I document the factory’s transformation through photographs and design a photobook with the same volume as the cube 1000 cubic centimeter, aligning reading with the object at the level of scale. Finally, I present the works atop an infrared-triggered concrete vibrating machine: when the motor roars to life, images and objects overlap in tremor; in the clamor of progress, past people and things stand in silent contention—“The years pass, and still you pour.”