Billy Roisz's TILT presents for us to see one example of such a state where something is out of whack and out of order, a constant source of new degrees of intensity. At first, there are four vertical gray elements: pulsing tubes, rods or wires that divide up the black picture. At the very beginning a kind of afterimage separates from the bundle to the far left, a bright-red vibrating shadow that then moves from one rod to the next. This feedback process continues until, after a kind of explosive overload, three flickering columns of red begin to settle between the gray tubes.
Billy Roisz's TILT presents for us to see one example of such a state where something is out of whack and out of order, a constant source of new degrees of intensity. At first, there are four vertical gray elements: pulsing tubes, rods or wires that divide up the black picture. At the very beginning a kind of afterimage separates from the bundle to the far left, a bright-red vibrating shadow that then moves from one rod to the next. This feedback process continues until, after a kind of explosive overload, three flickering columns of red begin to settle between the gray tubes.
DirectorBilly Roisz
