This piece of work both uses and rejects documentary imagery and context, while applying an MTV style editing collage to music soundtracks. By using familiar news and documentary imagery, and stylistic devices such as subliminal messaging, and the ? authoritative seemingly 'objective' voice of script on screen, the viewer is seduced into and out of what is normally an extremely structured and familiar format. Right wing TV and journalism, politics, typically take the form of didacticism, as do the forms of advertisements and marketing. Unusually, Wargasm experiments with a form of didactic liberalism. Working with archetypes, information structures, and cross referenced imagery, built up meaning breaks down. Quoting from philosophy, eastern thought, political writers such as Chomsky, and edited in a series of short ad breaks, it brings the viewer to a strange sense of cognitive dissonance and reaction. Cognitive dissonance is further produced by the juxtaposition of emotional music, factual directives, and seemingly 'objective' imagery. This is the common audiovisual syntax of the modern media, and by using it in an equally sophisticated but quietly subversive manner, the viewer is given a new perspective on the construction of war and its poor cousin terrorism. Wargasm is a new piece created by Burnett-Rose which not only looks at the idea that war is terrorism, but also that the state is terrorist, that western civilisation is by nature terroristic, and that empathy is the only possible solution to a problem created by our own governments and collusion with inequality in a global system.

The text is on the walls is an important part of the work, as the final 'deconstruction' of the war discourse is the threatening and bare boned 'i kill you' on the screen. The words are the visual, conceptual and emotional 'punchline' to the piece. Their actual meaning only revealed properly as the qualifying words 'i kill you' appear on the screen.