Then man mimics automation. Degradation on tape looped into shades of loss (subtractive) voids not too dissimilar from the Bolero¹ in Ravel (additive). Man interprets machine and all things death against the drone rising. Listen for it. Delirium re-integrating but the end of all syncopation. Living datum deconstructed. 'dlp 1.1', Live at the MET (42:34) from Basinski's The Disintergration Loops, recast and orchestrated by Maxim Moston and performed by the Wordless Music Orchestra². Conducted by Ryan McAdams. The will of a loop prefiguring the will to loop.
'Bolero'. For good measure.
- The ostinato drum phrase repeated on snares, unwavering, forms the solid backdrop from which two melodic phrases are juxtaposed, reiterated, accentuated, emerging from voids, until crescendo reintegrates in Ravel’s Bolero. Basinski (his technology, the analog signature captured) disintegrates, diminuendo, but I see no difference: one is a movement outward, the other a movement inward (or vice versa, if one prefers), but both a movement against some datum — a question of scale/momentum. Possibly.
- 'Remembering September 11' at the Metropolitan Museum of Art's Temple of Dendur from NPR Classical's 'Deceptive Cadence' series (09/11/2011).