“A computer is filmed from the inside and outside by two webcams; the images are transferred to the Internet. The computer to foam gets images of its own destruction from a website and shows these, while still being functional, via projection to the audience. Who cannot attend the performance, observes the action on the Internet.” This is the “testing arrangement” of the architect Thomas Kienzl, which G.R.A.M. (Graz) reinterprets by analogy with the new interpretation (2003) of the Rudolf Schwarzkogler-action “musikalische komödie für’s fernsehen (farbfernsehen)” (“musical comedy for television (colour television)”) (sound, cut: reMI, Graz/Berlin/Utrecht). G.R.A.M. links the destruction of a computer through PU-foam to videos, showing beheadings of hostages through Islamist religious warriors, published via the Internet: a triangle between committer, victim and consumer (audience) evolves. The (original) action also happens in the virtual, public space: a man-machine-production as loop: that’s how modern terror functions. The title of the video ALLHAMDULEILAH stems from the Persian and means “thank God”.