DESCENDING TO THE BASEMENT of the Schaulager—Herzog & de Meuron’s sand-encrusted bunker with its slashing gash of a window—one was beset by a sound that seemed oddly antique, like that of typewriter keys or rotary phone dials: the whir and clatter of a film projector. It was apparent in that sound, now threatened with obsolescence, that Tacita Dean’s retrospective (organized by Theodora Vischer) was called “Analogue” for both polemical and nostalgic reasons. “Analogue, it seems, is a description,” the artist writes in the introduction to the exhibition catalogue, “a description, in