en Cuevana 3. A several-second passage depicting a woman's agitated face is repeated in a loop that decomposes, distorts and reassembles her expression and gesture into an image of masochistic violence, whipped by gusts of voice synthesizer-induced, destroyed sound. The author appropriates the videotape and, through jerks of fast-forwarding and rewinding, it disintegrates the temporality not only of the original shot but also of the event depicted.