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Page 8- The Michigan Daily - Wednesday, April 8, 1987
Alinder speaks on
Adams' work
By Wendy Kaplan
The map is not the territory.
This wise, if not obvious,
notion permeates several fields of
study- philosophy and linguistics,
to name two. As S. I. Hayakawa, a
linguist and former U.S. Senator,
pointed out, a map is only a
representation of a particular
territory. Likewise, a word is an
arbitrary symbol for an object or an
idea.
The same notion can also be
applied to art. A photograph, for
example, is not so different from a
map or a word in this respect. It
represents a captured emotion. It is
not reality.
So asserted Ansel Adams, the
famous photographer who is best
remembered for his environmental
and landscape photography.
Adams's work will be put on
display and discussed Wednesday
night by Mary Street Alinder,
Adams's chief assistant from1979
until his death in 1982. The lecture,
entitled "Ansel Adams: The
Development Of His Vision," is
sponsored by the University of
Michigan Museum of Art.
Alinder, a writer from California
and a University alumnus, began
lecturing on Adams's work in 1982
after his death. Adams and Alinder
published over forty books
together. Adams contributed the
visual content and Alinder provided
the edit. In addition, she collabor-
ated on Adams's autobiography,
which spent seven weeks on The
New York Times bestseller list, and
is currently compiling a collection
of letters written by the famous
photographer.
For this lecture series, Alinder
examined thousands of negatives
and put together an historical look
at Adams's work, beginning with
his childhood. What the writer
wants to reveal is "the breadth of
Ansel's work." She says Adams is
known primarily for his
photographs of mountains in the
western United States. Yet, his
"vision" has been widely neglected:
"I want to trace his vision all die
way through," she said intently.
"There is so much creativity, hard
work, expression, and visualization
in his photographs."
Ansel Adams worked -as a com -
mercial photographer from 1930
until 1971. During that period, he.
also immersed himself in teaching,
lobbying for environmental causes,
and using his photography to
demonstrate social injustice. Adams
exposed the Unites States's version.
of the concentration camp in his:
book, "Born Equal And Free." The.
photography depicted the way in'
which Japanese-Americans were
treated during World War II in this
country. The book was Adams's
way of protesting that which he felt
should be remedied.
In addition, Adams spent much
of his time lobbying for environ-
mental causes. He was the first
environmentalist with whom
President Reagan agreed to speak.
"He wasn't just a talker. He tried to
do something," said Alinder.
The lecture includes slides made
from original prints and recordings
of Adams as classical musician,
which is a rarity in itself. Said
Alinder, whose tone of voice
shows complete admiration for the
artist, "Ansel fought for the
recognition of photography. He
continued to give until a couple of
days before his death." She added
quickly, "This lecture is very much
Ansel."
The lecture will meet on
Wednesday evening at 8 p.m. in
Angell Hall Auditorium A. It's
free.
Ansel Adams' "Silverton," 1957, is among the works Mary Street Alinder will discuss tonight at 8 p.m. at Angell Hall, Auditorium A.
Books
Mayonnaise and
Origin of Life
by Harold J. Morowitz
Berkeley Books
$3.95, softcover
the
Hospital Practice, a relatively
leisure-time reading journal for
medical residents, nurses and other
health professionals. The scope of
these articles, 51 of which are
reprinted here, ranges from evolu -
tion and social psychology to
dentistry and mathematics.
Morowitz delights in choosing
topics from nooks and crannies
throughout the social/natural
Harold J. Morowitz is a
professor of molecular biophysics
and biochemistry at Yale. He also
writes "science interest" stories for
science monolith - the medicinal
properties of garlic, Yale's Foucault
pendulum, cetology in Moby Dick,
and the evolution of the umbilicus,
commonly known as the belly
button. Confined to around 2000-
2500 words per article, Morowitz
has evolved a pattern of conveying
his message in an entertaining yet
informative manner. First, he lays
out the product of a modicum of
book/journal research, always sure
to drop a few numbers or comment
on "experimental technique." Then,
he spices the verse with a few Latin
or literary quotations and references,
and frequently ties the whole piece
together with a personal remini -
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scence.
In this area of "soft" science
writing, Morowitz is joined by
Lewis Thomas (Lives of a Cell),
Stephen Jay Gould, and a few
others. Morowitz tends to be more
chatty than these two, and draws
from a more varied sphere of topics.
Like Thomas and Gould, Morowitz
relies strongly on a historical base,
often concentrating on famous and
not-so-famous past scientists.
Mini-biographies are presented on
Charles Darwin, paleontologists
John Bell Hatcher and Pierre
Teilhard de Chardin, ancient
philosopher Empedocles, homeo -
path Christian Hahnemann, physi -
cist Christian Huygens, and others.
Surprisingly, considering their
source, these discourses have
relatively little purely medical
content. Actually, my favorite piece
detailed the statistical frequency of
major composers' works in musical
performances inthe year 1958. The
winner? Mozart, with a 6.1%
listening share.
-Ben Ticho
4
Long live the, King
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(Continued from Page 7)
knew somebody was listening. But
it's more the exposure that faded.
I've always thought and hoped that
eventually we could have what
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programming our music consist -
ently. Maybe that could happen
now.
D: You've said that country is
"the white man's blues."
K: (laughs) That's right. I'm
from Indianola MIssissippi and we
used to call country the white
man's blues and what I played black
man's blues. But we've all crossed
over from time to time. In fact, I
just recently played in London with
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When I first learned to play and
read music I was playing country
because there was no 'blues' written
down at the time. So I was really
playing country before blues; "You
are My Sunshine" and things like
that before "Three O Clock Blues."
D: You've had a lot of accom p-
lishments over the years. Is there
any one which really stands out?
K: There's so many nice things
which have happenned to me that
it's hard to say just one thing.
I never dreamed I would win a
grammy and I have several. I have
three honorary doctorates, from
Tougaloo College, Yale University,
and the Berklee School of Music.
They're very, very dear to me. And
lastly, getting inducted into the
Rock and Roll Hall of Fame. That
was something.
These are the important land
marks in my career, in my life, and
nothing can ever erase them. I feel
very lucky that my children and
grandchildren will have that. I'm
very honored that when I leave the
world there will always be these
things to remember me by.
D: I don't think you'll ever be
forgotten. If people know one
bluesman, they know B.B. KIng.
K: (laughs) Thank you. I hope
they say good things.
B.B. king appears this Friday;
April 10, at the Michigan Theater
for two shows, at 8 and 10:30 p.m.
Reserved seats are $16.50 and
$12.50 and available at the box'"
office, all Ticketmaster locations,
Schoolkid's Records and PJ's Used
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Hey Now, Hey Now
No matter what your musical
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4
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