In Glasgow, Anne Bean and Richard Wilson worked with the musician Chris Gladwin, the film-maker Miyako Narita and the extraordinary improvisations of Rembrandt, the parrot. Using Spooky Drums, the recording by Baby Dodds (Paul Burwell’s favourite drummer), as an underlying score, lacerated and splintered by other ‘voices’, live and on recordings, along with Rembrandt’s image and sound imploding on glass screens, as flames from propane blow torches were applied to the back.