Deuxièmement, l’appel affectif de l’album illustre la notion de chronolibido de Martin Hägglund. Premièrement, l'appareil technologique responsable de sa création reflète les concepts derridéens d'espacement et d'auto-immunité. RésuméĬet article analyse l’album The Disintegration Loops (2002), de William Basinski, et soutient que son interprétation esthétique de la temporalité et de la finitude est pertinente au regard de la relation entre technologie et perception humaine du temps pour trois raisons. Together, these three dimensions make The Disintegrations Loops an object that allows for an empirical grounding of the discussed theorizations of time and media. Hansen has described as twenty-first-century media. Third, the music gives rise to a temporal media experience that exists at odds with the media experience afforded by what Mark B.N. Second, the album’s affective appeal illustrates Martin Hägglund’s notion of chronolibido. First, the technological apparatus responsible for its creation mirrors the Derridean concepts of the spacing of time and autoimmunity. This paper analyzes William Basinski’s album The Disintegration Loops (2002) and argues that its aesthetic rendition of temporality and finitude is relevant in view of the relation between technology and the human perception of time for three reasons.
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