-2.20 (2003)

The material's esthetics collide with the soundtrack, which evokes the sluggish nature of the mechanical. One material screeches into another, this becomes a kind of tentative probing which is superimposed with layers of electronic noises. The spectrum of acoustic atmospheres ranges from long before the record album was invented to its current renaissance. Vaudeville shot through with elements of contemporary electronic noise. Earthy sounds, swelling and subsiding movements, gradual stops, standstills, returns and repetitions. Looped audio messages from the loudspeaker's horn which are brought into the present. Billy Roisz has on this acoustic foundation erected a visual monument to the disk which has fascinated several generations with both its contents and its form.