A text has its limits—its beginning and its end—but this does not mean that material storytelling is contained. Designing and writing a text is somehow delayed vis-à-vis storied matter, which plots itself ceaselessly. The term I use—‘trajectory’—is very vivid in terms of conveying the mechanism of selecting a fragment of material storytelling to be related and described. I selected three trajectories, determined by three culturally constituted contexts: the laboratory trajectory, the gallery trajectory, and the academic trajectory. These contexts worked as theatres where material stories were performed/enacted before they were written down. Without the contexts, making a choice of what should be described would be very tricky.