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Impulse Archaeology

Impulse Archaeology

Eldon Garnet
Copyright Date: 2005
Pages: 290
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  • Book Info
    Impulse Archaeology
    Book Description:

    Impulse Archaeologyhonours this important period in Canadian art and cultural history, recalling the early influence of like-minded publications from New York and the import of French theorists and European artists and writers into North America.

    eISBN: 978-1-4426-2759-8
    Subjects: Anthropology

Table of Contents

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  1. Front Matter
    (pp. [i]-[vi])
  2. Table of Contents
    (pp. [vii]-[ix])
  3. It Will Happen
    (pp. 1-6)
    Eldon Garnet

    History? But who remembers in honest detail. What I wanted to provide was not a chronological historical description, but a rough explanation of who it was that producedImpulse.However, that direction always led directly back to me: and I didn’t know if I was ready yet to write my autobiography, to let you know what actually transpired: all the sordid details. And, although there might be some denial here, I was never an egomaniac. I remember one glossy magazine out of Los Angeles calledEgoZine,which only published material about the editor.Impulsemay have been my vision, but...

  4. Shapeshifter
    (pp. 7-7)
    Donna Lypchuk

    I was only twenty years old when I first got my hands on a copy ofImpulsemagazine. An image on the cover caught my eye ... that of a young woman with tousled black hair and fierce black eyes floundering in a swimming pool. Her black fetish high heels were caught in the tulle of her ball gown, and a rescue pitchfork was prodding her pale green flesh. Being somewhat new in town and somewhat in awe of the glamour of evil in general, I thought, ‘Now these are the kind of people I’d like to hang around with...

  5. Reviewing Impulse
    (pp. 8-8)
    Bruce Mau

    ReviewingImpulseagain, it’s just such an incredibly astute cultural survey.

    Anything like this has a particular feeling for what’s going on. When you see who’s in it, from J.G. Ballard and Maurice Blanchot to Hans Haacke, there’s an incredibly tight consistency in terms of what’s going on, what exists.

    It’s just a very particular viewpoint that wasn’t being produced very much. One thing that I was really struck by is how much we’re missing this now. This kind of sensibility is not floating around much these days.

    I remember when this stuff happened, because it was really striking. People...

  6. Savouring
    (pp. 9-9)
    Janet Bellotto

    It is difficult to grapple with the historization of things; it’s slippery.

    If we are going to talk aboutImpulse,then what it did was come full circle: born as a literary outlet and put to bed with a one word / one page concept. On a random jolt atImpulsememories, the first impression rekindled by most is the square format; its succulent covers; text jumping off the page; stories contained and embedded in a time of utter decadence.Impulse– ‘the magazine of art and culture” – juxtaposed its content with current discourse networks and social formations. It aligned itself...

  7. My Old Impulses
    (pp. 10-11)
    Judith Doyle

    Impulsepublishes primary expression by artists and writers, not reviews or commentary’ – (our editorial mantra). Don’t writeaboutthings or make pitches – justdosomething for us. Advocating the social function of art was one of my roles, but also wanting a writerly emphasis amidst art designers. And we all shared a documentary impulse. But we cared most about this idea of primacy, of new art in magazine format. And if magazine-specific artworks don’t have a magazine anymore, at least some of our editorial obsessions have residual impact now.

    Since emotional robots are being discussed at the moment (to be...

  8. Impulse
    (pp. 12-12)
    Mark Kingwell

    First, consider the names, the conjuring all-star syllables of an art-historical moment: William Burroughs, Georges Bataille, Michel Foucault, Wim Wenders, William Gibson – and that was in just one issue, Winter 1989. It was the first number after one of several design realignments, the magazine now smaller and slicker than before but no less vibrant. Impulse changed its shape, but it never stopped shaping the discourse. For a decade and more, it gathered the names together, the names, big and small, of art, film, fiction, design, philosophy, and everything in between. Wedged inside its bright covers, on coated paper sharply...

  9. Mixmaster
    (pp. 13-13)
    Chris Kraus

    The first smart thing that Eldon Garnet did when he redesigned theImpulseformat to a glossy square in 1978 was to stop publishing Canadians. Before that, the received wisdom of ‘international’ magazines and journals produced in far-flung outposts like Australia, South Africa, and Canada was to round up a few strong international names in hopes that they’d legitimize and bolster up the local product. It’s not as if Canadians weren’t in the magazine, they were, but the magazine was completely international. The glossy square defined the magazine, and the magazine defined the ’80s.

    Concurrently an artist, editor, and writer,...

  10. Impluse: A Personal Peregrination through the Years of Its Life
    (pp. 14-14)
    Gary Michael Dault

    When I first came uponImpulse,many years ago, it was a small literary magazine, presided over first by writer Peter Such (who initiated it in 1971) and, not long afterwards, by the mercurial, hydra-headed Eldon Garnet. Garnet was himself a poet then – and still is, if you think of the valences of primary making in any medium as incarnating the poetic – and a good one too. But despite Ezra Pound’s early modernist admonishment to ‘make it new’ and Garnet’s on-going willingness to try his best, poetry was a more or less conventional art, and, as a poet, Garnet’s sensibility...

  11. ‘It is difficult to tell if a magazine is in or out of control’
    (pp. 15-16)
    David Liss

    ‘It is difficult to tell if a magazine is in or out of control.’ Surprisingly, this phrase is from a subscription ad in the Summer 1985 issue of the magazineImpulse.I say surprisingly because I find it hard to imagine that, in our current era of focused mandates, targeted demographics, and streamlined efficiency, a magazine editor would consider such an ambiguous statement to be a selling point. Hardly the affirmation of academic sobriety that would impress today's granting agencies and certainly not a branding strategy to instil confidence in potential advertisers or investors.

    That same issue contains, among others,...

  12. Canadian Press
    (pp. 17-17)
    Patti Hearst
  13. Drawings
    (pp. 18-19)
    Patti Smith
  14. Larry Dubin’s Music
    (pp. 20-21)
    Michael Snow
  15. Blondie: A Toronto Conversation
    (pp. 22-23)
    Lola Michael
  16. Site
    (pp. 24-27)
    James Wines
  17. Andy Warhol Interview
    (pp. 28-28)
    Eldon Garnet
  18. The Curse of Big Job
    (pp. 29-31)
    Chris Burden
  19. Baby Dolls
    (pp. 32-33)
    Rodney Werden
  20. Once Living in a Healthy State of Paranoia
    (pp. 34-36)
    Tom Sherman and Robin Collyer
  21. Mr. Leather
    (pp. 37-37)
    Shelagh Alexander
  22. DEVO Interview
    (pp. 38-39)
    P.L. Noble
  23. Buckminster Fuller Interview
    (pp. 40-43)
  24. Rich People
    (pp. 44-44)
    John Brown
  25. Vehicles
    (pp. 45-48)
    Krzystof Wodiczko
  26. Zero Time Data Hideout: Alain Robbe-Grillet Interview
    (pp. 49-52)
    Willoughby Sharp
  27. Violence and Representation
    (pp. 53-54)
    Philip Monk
  28. Nina Hagen Interview
    (pp. 55-57)
    Patrick Mata and Cece Cole
  29. Ramps
    (pp. 58-61)
    Tom Dean
  30. Rebel Without a Car
    (pp. 62-64)
    Donna Lypchuk
  31. Case A-7
    (pp. 65-65)
    Chris Dewdney
  32. In Search of Inspiration
    (pp. 66-69)
    Matt Cohen
  33. Shark Bait
    (pp. 70-70)
    Gerard Malanga
  34. Russ Meyer Interview
    (pp. 71-73)
    Lorne Fromer
  35. KRAFTWERK Interview
    (pp. 74-78)
    Fred Gaysek and Andrew James Paterson
  36. Transcript
    (pp. 79-81)
    Judith Doyle
  37. Of Virgins and Saints
    (pp. 82-84)
    Eduardo Galeano
  38. Diary Excerpt
    (pp. 85-85)
    Lisa Baumgardner
  39. Diary of a Masochist
    (pp. 86-88)
    Lynne Tillman
  40. David Cronenberg Interview
    (pp. 89-93)
    Eldon Garnet, James Dunn and David Cronenberg
  41. Fear of the Albany Mall
    (pp. 94-95)
    James Wines
  42. The Victim’s Ball
    (pp. 96-98)
    John Bentley Mays
  43. The New Alliance
    (pp. 99-102)
    Sylvère Lotringer and Félix Guattari
  44. John Kenneth Galbraith Interview
    (pp. 103-105)
    David Lake
  45. Correct Sadist
    (pp. 106-108)
    Terence Sellers
  46. Nuclear Implosion
    (pp. 109-113)
    Jean Baudrillard
  47. Excerpts from the Memoirs of Baron Wilhelm von Gloeden
    (pp. 114-117)
    Roger Peyrefitte
  48. Photographs
    (pp. 118-120)
    Joel-Peter Witkin
  49. Voici Alcan
    (pp. 121-123)
    Hans Haacke
  50. The Right Time
    (pp. 124-126)
    Maurice Blanchot
  51. Framing Death: Fadi Mitri Interview
    (pp. 127-129)
    Sylvère Lotringer
  52. Self Portrait
    (pp. 130-130)
    General Idea
  53. WARHEADS 3rd Nuclear Powers Composite
    (pp. 131-131)
    Nancy Burson
  54. I Saw on tv ...
    (pp. 132-133)
    Nancy Johnson
  55. Scenes of World War III
    (pp. 134-137)
    Kathy Acker
  56. The Child in the Bubble
    (pp. 138-139)
    Jean Baudrillard
  57. Coma
    (pp. 140-140)
    Pierre Guyota
  58. I Shot Mussolini
    (pp. 141-143)
    Eldon Garnet
  59. Miami Police Force
    (pp. 144-147)
    Brian Weil
  60. The Managed Landscape
    (pp. 148-151)
    Alexander Wilson
  61. The Site of an Imaginary History
    (pp. 152-154)
    Dot Tuer
  62. The Orillia Opera
    (pp. 155-159)
    David Burgess
  63. Jocasta
    (pp. 160-162)
  64. Small Diary of Suppression
    (pp. 163-165)
    Jeanne Randolph
  65. Bodies Lie In ...
    (pp. 166-166)
    Jenny Holzer
  66. Tony Schwartz: Electronic Persuasion
    (pp. 167-170)
    Eldon Garnet
    (pp. 171-171)
    Jenny Holzer
  68. Thank You Comrade Stalin for Our Happy Childhood
    (pp. 172-173)
    Komar and Melamid
  69. Funktionsumfahig
    (pp. 174-174)
    Astrid Klein
  70. Speed-Space: Paul Virilio Interview
    (pp. 175-179)
    PAUL VIRILIO and Chris Dercon
  71. Tunisian Fever
    (pp. 180-182)
    Albert Russo
  72. The Duplex Planet
    (pp. 183-183)
    David Greenberger
  73. Shopping for the Real
    (pp. 184-185)
    Brian Boigon
  74. Men Who Don’t Drive
    (pp. 186-187)
    Andrew James Paterson
  75. Fredric Jameson Interview
    (pp. 188-189)
    Andrea Ward and FREDERIC JAMESON
  76. Certain Words
    (pp. 190-190)
    Nicole Brossard
  77. Panic God
    (pp. 191-191)
    Arthur and Marilouise Kroker
  78. The Executioner’s Beautiful Daughter
    (pp. 192-194)
    Angela Carter
  79. John Waters Interview
    (pp. 195-197)
    Donna Lypchuck and John Waters
  80. Three Months of Distance
    (pp. 198-199)
    Christian Boltanski
  81. The Slut of the Normandy Coast
    (pp. 200-202)
    Marguerite Duras
  82. Impulse Interview
    (pp. 203-203)
    J.G. Ballard
  83. Conventional Warfare
    (pp. 204-205)
    Geoff Pevere
  84. I Talked about God with Antonin Artaud
    (pp. 206-208)
    Sylvère Lotringer and JACQUES LATREMOLIERE
  85. Radio Interview
    (pp. 209-212)
    Michel Foucault
  86. Blade Runner
    (pp. 213-219)
  87. William Gibson Interview
    (pp. 220-223)
    Doug Walker
  88. Coexistence?
    (pp. 224-227)
    Leon Golub
  89. Laocoon
    (pp. 228-232)
    Simon Watney
  90. safe
    (pp. 233-234)
    Carolyn White
  91. Cannibal Woman
    (pp. 235-236)
    Ron Geyshick
  92. Vanitas Wheel
    (pp. 237-238)
    Robert Flack
  93. Mimetism and Psychasthenia
    (pp. 239-241)
    Roger Caillois
  94. The Black Dog
    (pp. 242-243)
    Joyce Wieland
  95. Ash Dome
    (pp. 244-245)
    David Nash
  96. Of Natural Crystals
    (pp. 246-247)
    Francis Ponge
  97. HA! HA!
    (pp. 248-249)
    Susan Speigel
  98. Northrop Frye Interview
    (pp. 250-253)
    Christopher Webber
  99. Hell
    (pp. 254-255)
    Tom Dean
  100. Tiger Terry
    (pp. 256-257)
  101. William Burroughs Interview
    (pp. 258-263)
    Eldon Garnet and William Burroughs
  102. Enough.
    (pp. 264-264)
    Louise Lawler
  103. Impulse Index
    (pp. 265-271)
  104. Back Matter
    (pp. 272-272)