en Cuevana 3. In a completely dark gymnasium, Louis Hock unspooled dozens of feet of 16mm color print stock along the different dimensions of the space, laying equal lengths of gnarly twine on top of it. One brief flash of the gymnasiums lights later, the resulting film functions as an abstract map of the location, a record of a performance, and an unusual meditation on the objecthood of film. The image, a vertical, negative shadow of the twines presence, unspools over time, with occasional bursts of sound that occur when the twine image slides over into the soundtrack area of the film.