is a myth to which sacrifice is made both in terms of routine suffering inflicted
by "research" and in the surrender of personal and temporary beliefs to a contrived
and steadfast authoritarian consensus "reality". From cliterectomy and lobotomy
to subliminal manipulation and slaughterhouse pornography, the Nocturnal Emissions
throw back the images both direct and metaphorical that cajole people's consent
to an exploitative system. Bleeding Images is unique in its selectivity
and sophisticated independence of approach and brings together in one video package
both music and visuals from their extensive campaign archive.
AYERS: "You could say that it was my interest in experimental film that led me
into making music in the first place. I had been making experimental and visionary
films since I was about 12 years old.
AYERS: "The first version of this was a 16mm film that we premiered at an all-nighter at the Ritzy Cinema in Brixton for Election night, the second time Thatcher got in. There was a big screen live video display of the election results as they came in, over which we projected a distorted cutup of slaughterhouses, plastic surgery operations, nuclear explosions, wartime atrocities. We did a live show in front of it with miked-up toy beagles, vacuum cleaners, etc. The video is re-edited and colourised and has a different soundtrack."
Nocturnal Emissions videos were distributed in the USA by Fresh Sounds of Lawrence Kansas, a company owned by one of William Burroughs' assistants. Even the Good Times are Bad and The Foetal Grave of Progress were screened at British Film and Video 1980-1985, The New Pluralism at the Tate Gallery, Millbank, London, April 1985. They also went on national tour as part of an Arts Council show. Copies of these videos may be found in the archive of the Institute of Contemporary Arts in London.
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