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Time-Savers: Bertram Brooker and the Politics of Time and Material Culture” Adam Lauder December 7, 2015

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Time-Savers: Bertram Brooker and the Politics of Time and Material Culture” Adam Lauder December 7, 2015 REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES IMAGINATIONS JOURNAL OF CROSS_CULTURAL IMAGE STUDIES | REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE Publication details, including open access policy and instructions for contributors: http://imaginations.csj.ualberta.ca “Time-Savers: Bertram Brooker and the Politics of Time and Material Culture” Adam Lauder December 7, 2015 To Cite this Article: Lauder, Adam. “Time-Savers: Bertram Brooker and the Politics of Time and Material Culture” Imaginations 6:2 (2015): Web (date accessed) 126-145. DOI: 10.17742/IMAGE. CCN.6-2.13 To Link to this article: http://dx.doi.org/10.17742/IMAGE.CCN.6-2.13 The copyright for each article belongs to the author and has been published in this journal under a Creative Commons Attribution NonCommercial NoDerivatives 3.0 license that allows others to share for non-commercial purposes the work with an acknowledgement of the work’s authorship and initial publication in this journal. The content of this article represents the author’s original work and any third-party content, either image or text, has been included under the Fair Dealing exception in the Canadian Copyright Act, or the author has provided the required publication permissions. TIME-SAVERS: BERTRAM BROOKER AND THE POLITICS OF TIME AND MATERIAL CULTURE ADAM LAUDER Résumé Abstract Les écrits et les oeuvres en art visuel tardifs de Bertram The late writings and visual art of Bertram Brooker Brooker (1888-1955) représentent un pont inédit entre (1888-1955) represent an overlooked bridge between le discours du moderniste anglais Wyndham Lewis sur the space-time discourse of British modernist Wyndham l’espace-temps et la Toronto School of Communication. Lewis and the Toronto School of Communication. La production multidisciplinaire de cet artiste et The Canadian artist-advertiser’s multidisciplinary publicitaire qui s’étend des années 1930 jusqu’au milieu production of the 1930s through the mid-1950s revisits des années 1950 revisite en effet son intérêt plus ancien his earlier thematization of Bergsonian concepts of pour les concepts bergsoniens de durée et de flux, tel qu’il duration and “flux” in abstract canvases and articles for avait exprimé en des tableaux abstraits et des articles Marketing magazine of the 1920s. Yet his illustrations for durant les années 1920 pour le magazine Marketing. The Canadian Forum and the unpublished manuscript Ses illustrations pour The Canadian Forum et son The Brave Voices (ca. 1953-55) reveal a fresh awareness manuscrit non-publié intitulé The Brave Voice (ca. 1953- of the limits of the Bergsonian paradigm as well as a 55) révèlent une conscience nouvelle des limites du deepening recognition of its implications as a critique of paradigme bergsonien ainsi qu’une reconnaissance très modernity following the stock market crash of 1929. vive de son potentiel critique face à la modernité aux lendemains du crash boursier de 1929. Introduction he art and advertising of Bertram Brooker (1888-1955) stands at the head of a distinctively Canadian discourse on the “politics of time” and material culture (see Antliff). Even prior to purchasing the Toronto-based Market- Ting magazine in November 1924, Brooker had initiated a critical dialogue with dominant advertising culture in the pages of the leading American trade paper, Printers’ Ink, that built upon the arguments of Henri Bergson. Drawing on the French philosopher’s popular texts “Laughter” and Creative Evolution, Brooker pitted the “flux” of Bergson’s non-rational conception of temporality as durée against the static, spatial bias of American “reason-why” copy and its behaviour- ist construction of consumer subjectivity (see Surrey, “Making Orders”; Surrey, “Are Statistics”; Spane, “Make Advertising”; Johnston; Luff; Lauder, “It’s Alive!”). In retrospect, this dualistic framework can be recognized as having set the stage for Canadian political economist Harold Innis’s subsequent “plea for time” in the face of what he viewed as a neo-imperialistic American culture industry in the 1950s. Brooker’s innovative advertising writings and cubo-futurist visual art and graphic designs of the 1920s celebrated qualitative “becoming” in a fashion re- calling the earlier Bergsonian modernisms of European Futurist, Vorticist, and Rhythmist movements, but adapted to the struggle for Canadian cultural and economic sovereignty (c.f. Brooker, “How American”; see also Dyer, “Why We Buy”; Love, “C.N.R.”). http://dx.doi.org/10.17742/IMAGE.CCN.6-2.13 ADAM LAUDER Biography rooker was a British-born multimedia modernist whose diverse achievements negotiated avant-garde developments in This article examines a related but as of yet BEurope and the growing influence of the American largely overlooked dimension of the Toronto culture industry from a distinctly Canadian artist-advertiser’s writings and visual art: namely position of marginality. After emigrating with his their harnessing of Bergsonian constructions family to Portage la Prairie, Manitoba in 1905, the of temporality to critique the institutions and future artist-advertiser worked as a timekeeper for instruments of modernity, particularly the media of the Grand Trunk Pacific Railway prior to opening communication. Clearing a path for the analyses of a cinema with his brother in nearby Neepawa. space subsequently articulated by Toronto School This experience as a movie house operator likely theorists including Innis and Marshall McLuhan, acted as a catalyst for the scenarios he penned Brooker’s post-1929 graphic designs, visual art, in 1912-13 that were adapted into a series of and writings revisit his earlier valorization of flux silent films by the Brooklyn-based Vitagraph to explore the limits of media and modernization. Company of America, starring Maurice Costello Some of the strategies developed by the artist- as the eponymous sleuth Lambert Chase (see advertiser to mount this critical project resonate Lauder, “It’s Alive!” 96, 104n93). Brooker’s early with the earlier experiments of the Canadian-born participation in film culture likely contributed to British artist-author Wyndham Lewis. However, his later exploration of time-based forms in his in stark contrast to the ultra-conservative political texts and visual art. In parallel with this activity trajectory Lewis pursued during the same period, as a screenwriter, Brooker undertook work as a the 1930s saw Brooker increasingly seize upon the journalist and commercial artist for a variety of socialist potential of Bergsonian temporality as a prairie papers, eventually becoming Promotion meditation on the plight of those left behind by Manager for the Winnipeg Free Press. He also technological progress amidst the deprivations of wrote a regular humour and traffic column for the the Great Depression. Subsequently, in the 1940s latter publication, “Gasograms by Honk,” whose and 1950s, Brooker’s writings revisited Bergson’s free-ranging musings on art and current events theories, but in a speculative vein that reveals a anticipated the studied scattershot quality of deepening awareness of the dangers implied by McLuhan’s analyses. unchecked spatial ambitions. In 1921, Brooker moved to Toronto to work as a This article performs the first close reading of regular contributor to the advertising trade paper specific artifacts of material culture produced by Marketing and Business Management, which he Brooker during the 1930s, notably illustrations later purchased. In 1923, Marketing published published in the socialist magazine The Canadian Brooker’s first monograph, Subconscious Selling. Forum, as well as the late unpublished manuscript, This recently rediscovered title applied techniques The Brave Voices (ca. 1953-55)—a magisterial of “autosuggestion” developed by the French summa of his Bergsonian insights on media pharmacist Émile Coué—progenitor of the and modernity. This assessment of Brooker’s popular mantra “Day by day, in every way, I’m meditations on the shifting politics of time and getting better and better” (Brooks 28)—to practical material culture spanning the Depression years problems in salesmanship (see Lauder, “Bertram through the postwar period will also provide Brooker’s Practice-based Advertising Theory”). an opportunity to test Gregory Betts’s recent The text is significant, in part, for its adaptation characterization of Brooker as a “Canadian of Bergsonian concepts and vocabulary to its Vorticist” (see Avant-garde 215-16). presentation of Couéist psychology for a non- specialist audience. This Bergsonian inflection set the stage for Brooker’s full-fledged writings on Bergson for Marketing and other journals later in the decade. As editor and publisher of Marketing from 1924 until the close of 1927, ISSUE 6-2, 2015 · 127 TIME-SAVERS: BERTRAM BROOKER AND THE POLITICS OF TIME AND MATERIAL CULTURE “Service Products” and the Ambivalent Politics of Time-Saving Brooker explored a Bergsonian “metaphysics of Electric power, equally available in the farm- media” (Crocker), experimenting with synesthetic house and the Executive Suite, permits any alternatives to established print conventions that place to be a centre, and does not require large also responded to the radio craze thæat swept aggregations. This reverse pattern appeared Canadian consumers beginning in 1922 (see Weir). quite early in electrical ‘labour-saving’ devices, Brooker’s multimodal media investigations in the whether toaster or washing machine or vacuum pages of Marketing identify him as a key precursor cleaner.
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