Stuart Bender, after formal training in the arts, including experience in ethnic and modern dance, radio broadcasting, painting and drawing, turned to video art in the early 80s. In his early works he experimented visually with special effects and editing techniques, while thematically he was concerned with socialization and cultural belief systems. Bender's work has been screened internationally, including the Bonn Videonale, the European Media Arts Festival, the Fine Arts Museum of Long Island and the USA Film and Video Festival.

Angelo Funicelli is a native of New York, where he pursued his early musical studies both privately and under scholarship of the Manhattan School of Music. In 1988 Funicelli was invited to be a National Endowment for the Arts Visiting Composer in the Electronic Music Studios at the California Institute of the Arts.

The parallels between much of the musical aesthetic of the 20th century and the vocabularies of video art mandate extensive partnership between serious composers and video artists. The fluidity that is so integral to both video art and serious 20th century music matches the forms perfectly to create a new music drama that breaks the link with 19th century formulas of narrative and musical structure.

Computer generated music, in its endless plasticity, its access to infinite sonorities, its abilities for suggestion, for implication and for physical response is equalled in the computer imaging capabilities of video, with its limitless potential for abstraction, for touching on an idea and moving on, for manipulating documented "real world" imagery and for creating non-referential images.

The Greeks, when they couldn't afford a one-on-one consultation with the Sibyl, would choose a fixed prophecy by lot, and apply it to their own situations. With the help of an obliging computer technology, we offer this random access concept in "Seven Prophecies".