It is a film about that day that one can return to time and again, reminded of the feelings of that moment, and newly colored by whatever its painful tremors now might be. There is a particular weight that has been lent to The Disintegration Loops by the context in which the project developed and Basinski’s decision to shoot Disintegration Loop 1.1 in real time on September 11 2001. He’s far from the first person to work with tape loops or to explore the. Across the East River he listened that morning to music loosening itself from the plastic backing. Basinski does not aim at the provocative lengthiness of Warhol’s earlier film and proves that silence is not the only respectful sound that befits such great loss. The poems of Stephen Cramers dexterous, melodic new book The Disintegration Loops are made from music that comes from the unexpected. Of course, Basinski’s most influential work is undeniably The Disintegration Loops. It gives the scene a time and distance that would not last, as it became the flashpoint of global politics. Basinski’s film is not as technically inventive as some of these other examples, but as a record of such a historic event it avoids cloying sentimentality and the shock tactics of some documentary styles.
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