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Marshall Mcluhan and the Arts MOHAMMAD SALEMY

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Marshall Mcluhan and the Arts MOHAMMAD SALEMY 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 CONTRIBUTORS ADAM LAUDER AND JAQUELINE MCLEOD ROGERS Publication details, including open access policy ELENA LAMBERTI and instructions for contributors: ALEXANDER KUSKIS ADINA BALINT http://imaginations.csj.ualberta.ca JESSICA JACOBSON-KONEFALL MAY CHEW DAINA WARREN TOM MCGLYNN HENRY ADAM SVEC ISSUE 8-3 KENNETH R. ALLAN Marshall McLuhan and the Arts MOHAMMAD SALEMY JODY BERLAND MARSHALL AND THE MCLUHAN Editorial Team: Brent Ryan Bellamy, Dominique Laurent, Andriko GARY GENOSKO Lozowy, Tara Milbrandt, Carrie Smith-Prei, and Sheena Wilson December 6, 2017 REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES MARSHALL MCLUHAN ARTS AND THE ARTS ISSUE 8-3, 2017 To cite this article: Genosko, Gary. “The Designscapes of Harley Parker: Print and Built Environments.” Imaginations 8:3 (2017): Web (date accessed) 153-164. DOI: 10.17742/IMAGE.MA.8.3.11 To link to this article: http://dx.doi.org/10.17742/IMAGE.MA.8.3.11 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. THE DESIGNSCAPES OF HARLEY PARKER: PRINT AND BUILT ENVIRONMENTS GARY GENOSKO Abstract | In this paper I present two views of Harley Parker, Resume | Dans cet essai je présenterai deux perspectives de Marshall McLuhan’s longstanding collaborator. In the frst I Harley Parker, qui pour un longtemps collaboré avec Mar- underline how Parker’s training in the arts as a typograph- shall MacLuhan. Premièrement, j’explique comment Parker ic designer was put to work on the print projects for which a utilisé son training typographique pour le travail dont il est he is best known, namely, on the original series of Explora- plus connu, le journal Explorations. Je dirais que son travail tions. I debate the claim that his work on Explorations 8 was sur l’Explorations est original et son propre en utilisant l’his- not his own, and in this phase of argument I draw upon the toire des autres designers notables à Toronto, spécifquement, legacy of other notable designers working in Toronto, name- les producteurs de Flexitype, Allan R. Fleming de Cooper & ly, Allan R. Fleming of Cooper & Beatty Inc., the developers Beatty Inc. Deuxièmement, je désire à resituer le connexion and promoters of Flexitype. Second, I resituate Parker’s link entre Parker et l’exposition au musée d’art et le performance to installation and performance art in Canada by following au Canada, par suivais la ligne de son fls, Blake Parker, et the line established by his eldest son Blake Parker as resi- la groupe musique expérimentale d’Intersystems. Pendant dent poet of the experimental electronic band Intersystems, 1967-68, cette groupe a performé dans un labyrinthe psy- whose activities in 1967-68 included installations and perfor- chédélique, Te Mind Excursion, durant l’évènement du Per- mances at Perception 67 on the University of Toronto cam- ception 67 à l’Université de Toronto. Le Hall de Fossiles de pus. Te Mind Excursion psychedelic maze had its debut a Harley Parker au Musée Royale d’Ontario a ouvert en jan- few weeks afer Harley Parker’s Hall of Fossils opened at the vier et quelques semaines plus tard Te Mind Excursion a Royal Ontario Museum and marks the group’s origin proper. ouvert. Le groupe d’Intersystems a commencé avec cet évène- Te connection between father and son is explored through ment. J’explore les relations entre père et fls par voie des in- the infuences of elder Parker’s artistic proclivities as a paint- fuences artistiques de Harley, et son collègue MacLuhan, et er, typographer, exhibition designer, critic, his collaborations la combinaison la culture de psychédélique et l’art kinésique. with Marshall McLuhan, and the blend of McLuhan’s ideas, Ces idées ont animé d’Intersystems. psychedelia, and kinetic art that animated Intersystems. ISSUE 8-3, 2017 · 153 THE DESIGNSCAPES OF HARLEY PARKER arley Parker’s core career accomplish- ment was as Display Chief in art and archaeology at the Royal Ontario Mu- Hseum (1957-67). He was co-conspirator and collaborator with Marshall McLuhan on print projects, journals, books, and flms. Parker was visiting professor at Fordham University (1967- 68) during McLuhan’s visiting research chair, and later held the post of William A. Kern In- stitute Professor of Communications at the Rochester Institute of Technology (1973-74). From 1967 to 1975 Parker was a Research As- sociate at McLuhan’s Centre for Culture and Technology at University of Toronto. However, he had worked out a non-stipendiary cross-ap- pointment with the Centre as early as 1963, the year of its establishment. In this paper I situate the contributions of Parker along two connecting para-academic corridors of the Toronto School, focusing on graphical art and sound experimentation. Te frst refers to his design of McLuhan’s semi- nal communications journal Explorations, in particular, issue number 8 from October 1957 Fig. 1. Harley Parker and Marshall McLuhan, “Because print is a patterkiller,” section 12, in Explorations 8, (Figs. 1 and 2). Although a few of the earli- ed. Marshall McLuhan and Edmund Carpenter (1955; er issues involved Parker in several tentative repr., Eugene, OR: Wipf & Stock, 2016): n.p. © Estate Of Marshall McLuhan. © Estate Of Harley Parker. Used with experiments with the spatiality of the print- permission. ed page and the plasticity of then new typo- graphic methods, it was not until issue 8 that of Spaces”). However, it is productive to isolate the results became substantive and infuenced two events in the aforementioned months in the look and feel of an entire issue. Transiting order to solidify this observation. Te connec- from the page to the built environment, Parker tion I make here is between the Parkerian page would become a trailblazer in museum instal- and performance spaces in which his son, poet lation, as his masterpiece of museum display, Blake Parker, participated through his mem- the Hall of Invertebrate Fossils at the ROM, at- bership in the electronic music group Intersys- tests. Students of Parker’s role in the Toronto tems, with specifc reference to installations of School have observed that “perhaps the most the group’s Mind Excursion structure, which literal application of Parker’s design theories debuted in the same year as the elder Parker’s was made by the Toronto art-and-music col- opening of the Hall of Fossils. His agile move- lective Intersystems, which included Parker’s ment from print to installation and back again son, the poet Blake Parker” (Lauder, “A Clash REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES ISSUE 8-3, 2017 · 154 GARY GENOSKO McLuhan’s collaborations. Schnapp and Mi- chaels reconstruct the history of the creation of Te Medium is the Massage and War and Peace in the Global Village as experimental “inventory books” and properly remedy the erasure of the team’s eforts, that is, the roles of co-author and corporate communications consultant Fiore and publishing coordinator Agel, not to men- tion details about McLuhan’s own participa- tion. No matter how non-bookish these books appeared, in examining the layout and printing decisions as well as underlining the diferences in de-bookifcation undertaken in Massage in contrast to the more lineal and textual War and Peace, Schnapp and Michaels enable us to aug- ment earlier critical statements, such as by Don Teall, who disparaged the Agel-Fiore books as “corporate art” (Electric Age 103). Teall includ- ed in this category McLuhan’s collaborations with Parker on the books Trough the Vanish- ing Point and Counterblast. Yet he made an ex- ception when it came to the long-established afnity of Parker for McLuhan’s penchant for James Joyce—War and Peace is afer all shaped by the quotes from Finnegans Wake in its mar- Fig. 2. Harley Parker and Marshall McLuhan, gins—which required a prefatory note and rec- “We are back in acoustic space,” section 14, from Explorations 8, ed. Marshall McLuhan and ognition of hidden collaborator Eric McLu- Edmund Carpenter (1955; repr., Eugene, OR: Wipf & han’s role in decoding the ten thunders. Tis Stock, 2016): n.p. © Estate Of Marshall McLuhan. © Estate Of Harley Parker. Used with permission. made a diference for Teall: “the collabora- tion with Parker seems more successful than solidifes Harley Parker’s legacy within the To- that with Fiore, possibly because Parker has ronto School. worked closely with McLuhan for years and shares the same interests in Joyce, in various Part 1. The Colophon Caper contemporary movements, in the visual arts, and in cinema” (Medium is the RearView Mir- Te kind of questions that Jefrey T. Schnapp ror 155). It was Teall who originally coined the and Adam Michaels ask in Electric Information term “concrete essay” to describe the collab- Age Book—about McLuhan’s picture books orative books noted above, including the way with Jerome Agel and Quentin Fiore with re- in which War and Peace achieved the “tech- gard to role clarifcation in collaborative pro- nique of marginalia” that McLuhan had har- duction and the technomateriality of publish- bored since publishing Te Gutenberg Galaxy, ing—may similarly be asked of Parker and opening a space for greater consideration of ISSUE 8-3, 2017 · 155 THE DESIGNSCAPES OF HARLEY PARKER the collaborators themselves and the techno- Parker was specifcally acknowledged on the material processes of these books’ production.
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