19.01.2001 We met today for an extended tutorial - 10.30 - 2.30

A. to review my suggestions to two texts - the first and second half of the draft of facsicule 2,

and

B. to anticipate the future development of Facsicule 3.

C The need to be consistent in the hierarchy of information in a footnote and in the Reference List. I want to record how well the project is going, how ambitious is its structure and appropriate its combination of traditional and non-traditional modes of study, and your industry so far in the project. You have established a good working system to control researches with the use of text, text and image, insert, Glossary and footnotes. We discussed various Case Studies. I urged you to make greater reference to the critical observations in the facsicules as the source of your artist's books. .................

1. the system of delivering texts by email in Quark, for me to amend and return in marked hard copy form appears to work well.

2. a schedule of meetings - with Jonathan in the near future, and with both supervisors before the end of the academic year.

3. recent sources - the Faber Book of Smoking, reading tough guy fiction and following cigarette references in Chandler - the woman who can catch a fag in her mouth.

4. the structure of the F2 is now reallotted to provide

• constant reference to the role of the image and a reminder that this is the American context.

• as complete a version as is practicable, bearing in mind that other facsicules will cause readjustment of the text later • the account of the larger issues within the American Tobacco Industry, the gradual narrowing of the focus, and the culmination in the logical extension of some of the precepts established (usually the absurd - see F3)

• the gatefold to be re-titled to make clear its context

• the text will accommodate references to it

• the insertion of a concentrated piece of analysis of just one image ACTION JB to decide on one strong example to which the reader can refer back

• the plan to establish the sequence - the first paragraph to explain intent (the who of smoking, the where of smoking, the how of smoking) - the analysis of one image for its visual strategies - the establishment of the phenomenal - the exercise of comparing it with another similar product - the pack of gum - the characteristics of gum, the comparison and contrast with cigarettes - the advertisement that includes both (Beech Nut)

• I gave you stats from Moscowitz on Tobacco and Gum (Everybody's Business) for judicious inclusion.

FACSICULE 3 We looked through the established key word and phrase structure for this facsicule. You were initially concerned that the sections had no perceived structure, but, in the light of what we achieved in F 2, we saw the need for another gatefold to reflect the distinction between 2 sorts of anxieties, serious and superficial. We designed a folding structure to place grave issues that made people feel helpless on the outside of the polyptych, and a range of anxieties that were piffling on the inside, with the implication that they could have been generated to distract the consumer (your own particular favourite - Mr Skimpy Wiring). Given F2 and its last remarks on the economic condition of the US after 1945 , the F3 would

• begin with a selective introduction to US postwar anxiety in a condition of affluence (The Age of Anxiety, The Age of Uncertainty - JKGalbraith) and a general statement on the anxieties of the humanist/liberal in the period.

• You would then define anxiety and how it is generated in visual terms - allowing a greater scope of cultural reference here (Darwin Expressions, makeup for theatre, physiognomy, portraiture etc)

• You would then describe critically strategies of reassurance in text and images

• there would be a possibility (as in F2) of defining the particular type of humour involved - and tracing the logical conclusion of this type to your own artist's book I mentioned the songs and sketches of Tom Lehrer, seen as black humour.

• We saw great profit of asserting a good comparison here (as gum in G2) establishing a set of comparative illustrations from the period in American culture before the rise of the large manufacturing conglomerate, and the establishment of the advertising industry.

ACTION - CM to stat examples of anxiety images from 1880 - 1900, with a particular regard for throats, hair, and above all the visual conventions of creating anxieties, and the visual antidotes - reassurance.

ACTION JB to allocate the various key phrases and thoughts to this new plan. Our next meeting might well be to review F2 in its completed form and assess how well the material on anxiety fits the plan made today. I will get a selection of works on early American advertising for your perusal. I will get the envelopes I have prepared for you on Themes of Anxiety in advertising. This theme would chime well with your later analogies about the Huckster and Patent Medicine Vendor (Levine painting too) We agreed that the overall preparatory systems are working well, all elements of the thesis coming together. In advance of another designed book I brought reference material on the Ripley's Believe it or Not feature, a well judged development in its use of fact and fantasy. RECOMMENDED READING early US advertising

• Clarence Hornung, Handbook of Early American Advertising Art, Dover NY 1947

• Susan Strasser, Satisfaction Guaranteed, The Making of the American Mass Market, Pantheon, NY 1989

• S.J.Broner (ed) Consuming Visions Accumulation and Display of Goods in America 1880 - 1920, Norton Ny 1989

• Daniel Pope The Making of Modern Advertising, Basic Books NY 1983 no pictures good text

• Gerald Carson, One for a Man, Two for a Horse, Doubleday NY 1961

• my video The History of Cornflakes