Abstract
Ansel Adams pointed to an analogy between photography and music, in particular to similarities between, on the one hand, negatives and prints in photography, and, on the other hand, scores and performances in classical music. Dawn M. Wilson uses her ‘multi-stage view’ of photography to (among other things) make the analogy more precise. She also invites others to expand on the analogy. In this piece I do so by, first, discussing darkness in photography and silence in music; and, second, covers or versions in music and in photography.
| Original language | English |
|---|---|
| Pages (from-to) | 83-98 |
| Journal | Debates in Aesthetics |
| Volume | 18 |
| Issue number | 2 |
| Publication status | Published - Dec 2024 |
Bibliographical note
This paper benefitted from funding for a project on photography from Hong Kong’s Research Grants Council and was discussed at an online symposium organized by Claire Anscomb in January 2023; I am indebted to the symposiasts, in particular to Claire, and to Dawn Wilson, whose article on Adams was a ‘target article’ at the symposium. The paper was also presented at The Higher Seminar in Aesthetics at Uppsala and I am grateful for comments and suggestions from participants, in particular, Elisabeth Schellekens, Guy Dammann, Paisley Livingston, Jeremy Page, Axel Rudolphi, and Nick Wiltsher. Written comments from Ben Blumson, Raf De Clercq and Paisley Livingston on a draft of the paper, and email correspondence with Roy Sorensen, helped a lot. Thanks also to two anonymous referees for the journal.UN SDGs
This output contributes to the following UN Sustainable Development Goals (SDGs)
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SDG 4 Quality Education -
SDG 10 Reduced Inequalities -
SDG 11 Sustainable Cities and Communities
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