“Finitas Contagens para Infinitas Variações” (Finite counts for Infinite Variations) is a durational performance based on the process of constructing the gender of an individual not adjusted to a fixed unit. The action is a retelling of Bruce McLean’s “Pose Work for Plinths” (1971). In the space, we see modules on which the performer remains, a microphone, two pedals (looper and delay) and a sound amplifier. The performer poses incessantly on the plinth and counts in amplified voice each one of the postures erected there, avoiding repetitions of corporal compositions, varying voice tones and impulses in his grimaces. He influences and is influenced by external and internal stimuli. The loopers are triggered during each count, gradually recording the tangle of numbers that add up and gradually become noise.