Hidden Layers

The "liquefaction of the liquid" is taken to such extremes that as soon as the guttural singing of Mopcut begins, the image space is overcome with spectral flutters and untenable fluctuations.

Who’s Afraid of RGB can be interpreted as a condensation of the romantic movie, drama, and melodrama. The black-and-white film Who’s Afraid of Virginia Woolf? is mirrored in nine eyes and superimposed with the colors red, green, and blue. Paralleling her previous treatment of the horror film and the road movie, Who's Afraid Of RGB subjects the genres of romantic movies, dramas, and melodramas to Roiszian compression.

Flickering and pulsating, spitting and swallowing at the same time. The screen becomes a vibrating membrane; colours, shapes, beats and sounds a psychedelic whirlpool. A short, fast-paced audiovisual ode to the hypnotic power of colour and vertigo.

‘Surge’ places us somewhere between figuration and abstraction: its displayed forms defy full visual comprehension, as they stretch and snap in strict accordance with the complex beats and sheets of sound created by schtum.

A video which exudes a great deal of freshness, all of it in yellow/ black/white and possessing the flair of a research project, an undertaking which seems to demonstrate unfamiliarity with both conventions and norms, not to mention fashions. Occupied primarily with itself and all attention concentrated on it - how the setting will develop itself - a dance of symbols and sounds, refreshingly unintentional and without any kind of obligation to arrive at a predefined aesthetic goal. And to the extent that familiar paths are avoided, a fascinating dialogue between sounds and images is in a sense born of itself, from the material.

Whenever there´s music The Devil kicks He don´t allow music By the river Styx

This video was released at erstwhile record in 2006 on the DVD AVVA - gdansk queen AVVA is Toshimaru Nakamura on No-Input-Board & Billy Roisz on Video-Mixing-Boards.

The random choreography of colorful, flashing screen signals that sink back into black has its appeal.

An experimental audiovisual collaboration using audio and video mixing boards.

In film and related audiovisual forms according to Michel Chion the relationship between sound and image is primarily vertical, and the former tends to play a secondary role. This same applies, though inversely, to music videos, in which the musical structure sets the rhythm of the editing and all motion in general, regardless of the freedom of the images themselves. blinq questions such audio-visual relationships in a radical way. Billy Roisz had 10 musicians from Austria, Germany and Japan produce short electronic sound files. These fragments, some lasting only a few seconds, were then transformed into visual patterns by means of feedback loops which function as electro-acoustic impulses and then further manipulated.

Billy Roisz taps into our sensual pleasures with this experimental interpretation of Hieronymus Bosch’s iconic triptych The Garden of Earthly Delights. The largely abstract landscape, stemming from both analogue equipment and ‘deep dreaming’ – a generative AI technique based on neural networks – ranges from paradisiacal to hellish. Combined with the chirping, ticking and pounding soundtrack, in which field recordings have also been incorporated, the temptation is almost impossible to resist.

MY KINGDOM FOR A LULLABY # 4 Basic musical material such as feedback, various sound spectrums, etc. and a live performance of »visual music,» translated into digital images.

elesyn 15.625 goes back to the fundaments of electronic sound and image synthesis—the electromagnetic signals, their frequencies, amplitudes which are the basis for colours, lines, tone pitch, movement and dynamics. Moving images and music are generated by "simple" forms of signal routing like acoustical and optical feedback, radio waves, bended circuits. The result is a very colourful - in the visual as well as in the the aural sense of the meaning - diorama of "electric synaesthesia" or the idea thereof.