DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.21216#0036
Joan's activity during unrest on the Stanford University campus (private manu-
script), an event otherwise absent in writings about Baez. But Ms. Henderson's
aim in writing was not to draw a political lifeline. Rather,it was to convey what
the Struggle Mountain years (the late '60's to early 70's) were like, Struggle
Mountain being where Baez, her husband David Harris and various friends resi-
ded. The mentioning of the events at Stanford University is connected with the
Photographie Session with Baez to be held on the same day for Look magazine.
Baez does not like being photographed and has said that she is unphotogenic,
but she has been often caught by the camera. Can there be such a thing as a
Photographie lifeline? This is the question posed in the next section.
C. A Lifeline Made from Photographs?
As we have seen by considering Baez' comments and songs in the London con-
certs not all autobiographical documents need be in written form. There is also
an oral tradition. A tape recording of a person telling of their life, or a filmed
aecount of the same event, be it for television or movie theaters, constitute
autobiographical documents. The main medium of these documents is also
words. Gestures and facial expression certainly play a role in film, inflection,
tone of voice, and non-verbal vocalization (for example laughter) add to the
Information in both film and tape. But words are paramount. Is it possible to
draw a lifeline without using words as the main medium? Would a photo album
consisting of photographics of a person over a period of years also be a lifeline?
Only if it is in chronological order? The selection of which photographs should
be kept in such an album is already an Interpretation of the past. In the case of a
person making their own album, they are saying: This is the way I want to be
remembered. This snapshot from a series of snapshots is nearest to how I want
people to see me in this Situation. But if the photos are arranged heiter skelter
is it still a life line? Whatever arrangement there is to the album is part of the
way the collector (presuming only one person has put in the pictures) sees the
life depicted in the album. Of course the pictures themselves reflect not only
those depicted but the person who did the photography as well. Does the ar-
rangement of framed family photographs on a wall in Baez' Irving room make
up a lifeline (as for example shown in Ligney, 1981 p. 26) or does this Stretch
the term to absurdity? Sequence in a linear sense is missing, and lifeline does
refer to a linear sequence. This in turn is based upon a coneeption of time which
31
script), an event otherwise absent in writings about Baez. But Ms. Henderson's
aim in writing was not to draw a political lifeline. Rather,it was to convey what
the Struggle Mountain years (the late '60's to early 70's) were like, Struggle
Mountain being where Baez, her husband David Harris and various friends resi-
ded. The mentioning of the events at Stanford University is connected with the
Photographie Session with Baez to be held on the same day for Look magazine.
Baez does not like being photographed and has said that she is unphotogenic,
but she has been often caught by the camera. Can there be such a thing as a
Photographie lifeline? This is the question posed in the next section.
C. A Lifeline Made from Photographs?
As we have seen by considering Baez' comments and songs in the London con-
certs not all autobiographical documents need be in written form. There is also
an oral tradition. A tape recording of a person telling of their life, or a filmed
aecount of the same event, be it for television or movie theaters, constitute
autobiographical documents. The main medium of these documents is also
words. Gestures and facial expression certainly play a role in film, inflection,
tone of voice, and non-verbal vocalization (for example laughter) add to the
Information in both film and tape. But words are paramount. Is it possible to
draw a lifeline without using words as the main medium? Would a photo album
consisting of photographics of a person over a period of years also be a lifeline?
Only if it is in chronological order? The selection of which photographs should
be kept in such an album is already an Interpretation of the past. In the case of a
person making their own album, they are saying: This is the way I want to be
remembered. This snapshot from a series of snapshots is nearest to how I want
people to see me in this Situation. But if the photos are arranged heiter skelter
is it still a life line? Whatever arrangement there is to the album is part of the
way the collector (presuming only one person has put in the pictures) sees the
life depicted in the album. Of course the pictures themselves reflect not only
those depicted but the person who did the photography as well. Does the ar-
rangement of framed family photographs on a wall in Baez' Irving room make
up a lifeline (as for example shown in Ligney, 1981 p. 26) or does this Stretch
the term to absurdity? Sequence in a linear sense is missing, and lifeline does
refer to a linear sequence. This in turn is based upon a coneeption of time which
31