The piece is inspired by the relationship between religion and violence, exploring parallels between the two opposing sides of the current global east/west conflict. It draws on images and sounds taken from a few hours Television during summer 2006, acquired by Ben Burgess.

Mick Grierson on Revelation6:

“This was the last time I produced a piece that was born out of uncontrollable anger. At the time, the anger was twofold - first, I was angry that as a race we seem to be chained to faith, due to a total inability to comprehend the complexities of the universe, and secondly, that no-one wants to face up to this - because actually, we can’t. I’m a little more forgiving about the situation now. Mostly.”

Revelation6 was produced using Mick Grierson’s Mabuse prototype live audiovisual composition environment, and features Daniel Herbert on Oboe.

“These pieces were completed between 2002 and 2004. Each work is a real-time recording - all video and audio processing is performed, produced and controlled in real-time.

Beautiful Human Canon, is being shown here for the first time. This was my second real-time audiovisual performance (the first being the hour long performance, remoteControl (2001)), and very much inspired by Stan Brakhage. At the time, technical errors in the production degraded its quality and impact, resulting in the piece being archived after its first outing. It was originally performed in surround, but is being reproduced here in stereo. Looking back, I’m proud of this piece, as the real-time polyphonic time-stretching synthesis was a cool achievement back in 2002. Also, it’s a technique which is I really relate to as a composer, and one that I think represents my desired sound world perfectly.

Structure Interne and Third World Warhol, are much better known, both having had numerous outings at festivals and screenings in England and Europe. Structure Interne demonstrates abstraction through synthesis, whilst Third World Warhol concentrates on algorithmic audiovisual sampling techniques. Both pieces are deeply politically charged, despite the high level of abstraction.”

You can read more about the final two pieces in the NOISEFILM STORE.