This is a terrible photograph of something it's impossible to capture in a still shot anyway - it's a strobing LED light which is rather blinding in the darkness where it lies. There doesn't seem much to it, so you look away quite quickly, and that's when something weird happens. As you look away, a ghostly image flashes into your vision so fast it's hard to be sure you haven't imagined it. But repeating the experiment proves it - for the LED is designed to project a face into your peripheral vision, meaning you only see it as you glance away. The face is, of course, that of SK himself, immediately recognisable once seen.
In fact, Kubrick's face (and in one case, whole body encased in snow), is another recurring them of the show. And why not? It's nice to be reminded of the man behind the lens.
The two rooms I enjoyed the most were, firstly, this one, by Doug Foster, which is not the slitscan sequence from 2001, but a modern version of it, and very beautiful it is too. Sitting on a bench in a dark room, it would be easy to while away a couple of hours in a trance in front of it.
What lifts this simple idea to something mesmerizing are the mirrors on either side of the projected images, leading to a curving infinite repetition on both sides as you gaze at Kubrick's work in progress. When the shots becomes those of Jews in the ghettos of Poland, and one thinks of the horror that befell many, many individuals, the weight of this infinite repetition starts to give a tremendously unsettling tone.
In brief, yes, if you're a Kubrick fan, and can make the trip to London easily enough, it's worth the time spent. While some pieces feel overly contrived and lacking power, many are successful, to me at least, and pleasingly develop ideas and emotions you feel while watching the films. That's surely the aim of a show like this. But I still want the Tour itself to come to London...