A cage, a naked TV tube, a composition made of wire mesh, a stopped clock and ink stains. A situation where video, a conveyor of hypnotic information, has been trapped in a cage like a lifeless electronic bird. Even with the cage’s door open, time, the guardian par excellence, prevents any attempt of the half-dead bird to escape. Our “Uirapuru” bird, which is larger than the cage’s door, would not be able to exit anyway, and in this grey scenario its inert product stands out, soiling the cage’s floor with its colored feces. Wrapped around itself, its transparent brain is content to be static, turned off, with no attractions coming up next. The attraction is the present time. The stopped clock. Time turned off. The pause for reading. The proposal of myriad readings. Allegory or fiction? The ludic. The critique. The playfulness, the game of icons. Semiotic decoupage of a static three-dimensional composition. A glimpse: complicity or indignation? The inversion of situations! The bird outside the cage, observing its owner who finds himself in the cage, the former feeding the latter with information from its extremely powerful cannon, its colors, its language, its content. An arsenal. And all of this is limited by a “cage.” Such is the proposition of Mauro Cícero, art editor, visual communicator and video maker.