The scenario we witness in Pulverous does not conform to conventional patterns of behaviour; however, the actions are strangely recognisable. In fact, as with many other pieces by Mik, we can register sympathies between certain types of actions portrayed in his work and scenes that we regularly witness in the media. For example, in viewing Pulverous, writer Dominic van den Boogerd was reminded of the television images of social upheaval in Buenos Aires during the currency crisis of the late 1990s. The portrayal of violent actions in the media as spectacle (without communicating the underlying social context) is strangely mirrored in Mik’s scenarios, in which motivation and intention are forever absent. The footage in Pulverous is looped in such a way that the viewer has no awareness of the beginning or end of the scenario. Projected across a large panoramic screen the destructive scene appears to continue indefinitely creating what critic Daniel Birnbaum has described as an ‘elastic’ form of time forever caught in the present.