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Absolute Music, Mechanical Reproduction$
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Arved Ashby

Print publication date: 2010

Print ISBN-13: 9780520264793

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520264793.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 16 October 2019

Photo/phono/porno

Photo/phono/porno

Chapter:
(p.194) 6. Photo/phono/porno
Source:
Absolute Music, Mechanical Reproduction
Author(s):

Arved Ashby

Publisher:
University of California Press
DOI:10.1525/california/9780520264793.003.0007

This chapter discusses who and what a recording represents, determining whether a recording can change the very nature of music, and studying photography theory and the technologies of depiction. It then examines the independent photographic image of the self, which is clearly marked as a complication of identity, and also compares recordings to photographs, describing recording as a documentation of a composer's intentions. The photographic aspects of records, the reality invoked by recordings, visual recordings, sound recordings, and high fidelity are other concepts discussed here.

Keywords:   recording, nature of music, photography theory, technologies of depiction, photographic image, identity, high fidelity

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