Upload
katinatu
View
220
Download
0
Embed Size (px)
Citation preview
7/31/2019 Dissertation Steampunk Main Body (Part 3)
1/52
Chapter one
1.0 Introduction
The aim of this research is to explore the Steampunk community through a discourse with
its members. Authentic voices of Steampunk members have been gathered to explore
aspects of participation and common practices. This involves the community aspect of
Steampunk and why it is important in terms of individual values. It further describes the
impact of the Victorian aesthetic on Steampunk dress and music style and explores to
which extent the style embeds and conveys communal and individual values. In this
chapter, the study critiques the Steampunk phenomenon and gives reasons why it is
important to explore this community. The data this research is constructed from has been
derived from interviews with participants which are part of the community, observations
and online research.
The theory generation or theory after approach that aims to develop a theory based on the
collected data (Wolcott: 1992 in Punch, 1998, p.16) was chosen as this study explored the
community based on the views of the participants. The narratives have been analysed using
coding to suggest themes emerging from the data. This is described in detail in chapter
two, the methods chapter. The results in the form of unedited transcripts can be found in
the appendices.
1
7/31/2019 Dissertation Steampunk Main Body (Part 3)
2/52
In chapter three this study critically analyses the literature suggested by the analysis of the
participants stories. For this reason this dissertation is combining the literature review with
the discussion.
1.1 Contextualizing Steampunk
Steampunk is fundamentally a postmodern movement (Pagliassotti, 2009) where nostalgia
leads it back to an era when Britain was glamorous and craftsmanship and great inventions
like the steam-engine had earned Britains status as the precursor of the industrial
revolution. However, the Steampunk community strongly distances itself from
colonialism, racism and the ongoing exploitation of the lower classes (Steampunk
Magazine 7, 2010). Steampunks attach great importance to the creation of unique styles
and the combination of contemporary technology with handcrafted Victorian quality and
beauty. Materials like brass, wood and leather are preferred to the lifeless, sterile designs of
today. Steampunk taste is marked through a preference for complexity and ornamentation
instead of todays simplicity and minimalism (Pagliassotti, 2009).
2
7/31/2019 Dissertation Steampunk Main Body (Part 3)
3/52
Imagine a world that fuses Victorian aesthetic and fictional Victorian apparatuses like
Captain Nemos Nautilus from Jules Vernes (1870) book Twenty Thousand Leagues
Under The Seaand The Time Travellers time machine in the eponymous novel by H.G.
Wells (1895) and applies it to todays world. A world that is seen through the eyes of a
Victorian with technology of today powered by steam, as if the internal combustion engine
had never been invented and where everything is possible. Steampunk is foremost an
aesthetic that inspired authors like William Gibson and Bruce Sterlings (1992), The
Difference Engine. The novel is set in an alternate nineteenth century where steam driven
computers have been developed and determine the lives of the protagonists.
This aesthetic had been incorporated into a genre by the first Steampunk authors and
adopted by the media. It was the author K.W Jeter that coined the term Steampunk. In a
letter to the science fiction magazine Locus he writes:
Personally, I think Victorian fantasies are going to be the next big thing,
as long as we can come up with a fitting collective term for Powers, Blaylock and
myself. Something based on the appropriate technology of the era; likesteampunks, []
(Remy, 2006)
Especially in America craftsmen and hobbyists have taken a shine to the modification of
computers and other daily items to make them appear like they have been invented in the
19th century, which achieves a look of brass and wood with the functionality of modern day
items.
3
7/31/2019 Dissertation Steampunk Main Body (Part 3)
4/52
This crafting is called tinkering, implying that it is rather non for profit, but several
Steampunks make a living from the sale of their creations.
Several Steampunks have created modern day vehicles that are powered my batteries and
let of steam as a show aspect, as the picture P1 in the appendix shows (Automotto, 2009).
Hobbyists let their imagination run wild and there seem to be no limits with creations like
the Steampunk tree house in Oakland, Tennessee (P2) and the Never was Haul (P3)
which is:
A self-propelled, 3-story Victorian house on wheels, and the home of the TravelingAcademy of Unnatural Sciences, an intrepid group of explorers who are using steam-
powered engines to circumnavigate the globe (Makerfair, 2008)
All seem to have been inspired by Jules Vernes literature or rather the Disney productions
of his novels.
Dressing up in Victorian wear with a science fictional look added to it through the wearing
of goggles and tubes seems strange to us but is completely normal to Steampunks at such
events, as the picture P4 in the appendix shows.
4
7/31/2019 Dissertation Steampunk Main Body (Part 3)
5/52
1.2 Steampunk and the Entertainment Industry
Cosplay, which is the merging of the words costume and play and basically means to attend
an event while wearing a costume, plays a big part in the Steampunk culture which can be
seen at Science Fiction Conventions and other events alike. There, Steampunks follow
their enjoyment of role-playing. Science fiction and Anime fans have adopted the
Steampunk aesthetic which can now be seen at several conventions like the California
Steampunk Convention in Sunnyvale, California (Slatt, 2008). Steampunk is often
associated with Cyberpunk and shares a similar fan base and the rebellion theme with
Cyberpunks and Goths which still especially influence Steampunk musicians (Steampunk
Magazine 7, 2010).
Eastern influences can be heard in the music by Sunday Driver together with a certain
theatricality the Steampunk scene is developing through its typical role play. The band is
one of many bands that have been influenced by the Steampunk aesthetic and whose music
is widely enjoyed by the Steampunk community. (Steampunk Magazine 2010, p. 54-56) As
only the spectacular aesthetic side of the movement is known to the public through movies,
broadcasts and other forms of media a study that explored the movement and its members,
experiences and expectations seemed sensible.
5
7/31/2019 Dissertation Steampunk Main Body (Part 3)
6/52
Therefore the aim of this research is to explore the phenomenon of Steampunk by critically
analyzing the authentic voices of members of the Steampunk community. The next chapter
explains how this research was carried out, and critiques the main methods.
Chapter Two: Methodology
2.1 Choice of Paradigm
This research aims to gain an insight into the world of the Steampunk community in the
UK. This study uses a qualitative approach rather than a quantitative one. Qualitative
research generates richer and more varied data that is dependent on the participants views.
The researcher is part of research and shapes the research through his own analysis. The
collected data comes in form of authentic narratives from participants. The research is
interpretive because Steampunk members are interpreting their own stories and their
membership of the community. Additionally the researcher interprets the data. A
quantitative approach that involves the measurement of variables and favours a scientific
study (Punch, 1998, p.59) was neglected as it would not have offered individual in depth
perceptions of the community I wanted to gather.
6
7/31/2019 Dissertation Steampunk Main Body (Part 3)
7/52
2.2 Choice of research method
Two types of research were used for this study: the interview (individual and group
interviews, face-to-face and online), and participant observation. Having decided that this
study would take a qualitative approach, the next decision was over the choice of method.
The interview was chosen as the best method because it is a very good way of accessing
peoples perceptions, meanings, definitions of situations and constructions of reality
(Punch, 1998). The definition of an interview is asking questions and receiving answers
(Punch, 2005, p.169). A semi-structured interview approach was selected (Fontana and
Fray in Punch, 1998:175)with a fewpre-planned open ended questions that explored the
areas I was interested in like the dress style and the participants views on Steampunk
music. This offered the participants enough freedom to present their views in detail and
made for richer information than any questionnaire could have offered. The questions for
the group interview and the online interview were pre-planned and standardized to make
the coding easier. The individual interviews were less structured and followed the pace and
direction of the interviewees. The questions were chosen to explore the participants views
on the areas of interest. The wording and timing were chosen spontaneously so that the
interview could rather take the form of a conversation. I formulated clear and substantively
relevant questions that were interconnected in so far as they were based on participation in
the Steampunk community.
7
7/31/2019 Dissertation Steampunk Main Body (Part 3)
8/52
The first six interviews were carried out on the 21st of February 2010 at the King Charles
Arms pub in Oxford, opposite the Museum of the History of Science, where the Steampunk
members were visiting an exhibition of Steampunk. I arrived at the restaurant that was
chosen by the group to greet the first members. I acclimatised with the group, in form of a
tea and informal conversations to build trust and gathered data through observation.
The first interview was taken in form of a formal, semi-structured group interview with
four participants. Some open ended questions were prepared before the interview and
allowed the participants to talk spontaneously. After the interview I joined the whole group
that consisted of around 15 members at the last viewing of the Steampunk Exhibition. At
the exhibition two further single unstructured and informal interviews took place and I
continued with participant observation.
Another individual interview and participant observation were carried out on the 3 rd of
March in London at the flat of the founder of a Steampunk band. The interview was
unstructured and open ended like the individual interviews in Oxford.
Three online interviews took place after the interviews. The advantage of online interviews
is that in a globalized world I could interview Steampunk members in other countries,
triangulating with data gained in Oxford and London.
8
7/31/2019 Dissertation Steampunk Main Body (Part 3)
9/52
Richer data in form of other members views, who could not be interviewed in the given
timeframe, was gathered through questioning members of the brassgoggle.com forum, a
Steampunk community forum.
Further data was obtained through participant observation which required direct
involvement as a participant in peoples daily lives (Jorgenson, 1997) to enrich the
found data and to learn about interaction within the community. (I looked at the exhibition
with the Steampunk members, interacting with them).
All interviews, the Oxford and the London interviews were digitally recorded to be able to
observe while gathering the interview data. For both events I dressed in semi-formal wear
as both casual wear and the Victorian wear were felt to be inadequate, since I am not a
member of the subculture but wanted to show enough respect.
2.3. Sampling
The first sample was comprised of participants who were randomly chosen. (Punch, 1998,
p.105) It was taken at the Steampunk Exhibition at the Museum of the History of Science
on its last day on the 21th of February. I had arranged to interview them via the
brassgoggle.com forum. This was an opportunity to observe and interview the participants
in a natural environment and which made everyone feel at ease.
9
7/31/2019 Dissertation Steampunk Main Body (Part 3)
10/52
The second sample of two Steampunk participants was chosen to gather the artists views
and experiences of the community. To explore the views of musicians within the
Steampunk community another interview was arranged via e-mail with a chosen
Steampunk band in London, which I shall call Clockmakers. The founder of the band
invited me to an informal gathering with the band and friends. This took place at a band
members flat in London on the 6th of March 2010. This again was seen as the most suitable
environment since it offered the comfort of the participants own home. The researcher
took part in the gathering and had dinner with the participants.
2.4. Introducing the Participants
The following names are not the participants names but have been chosen instead of letters
to eliminate confusion too many letters might cause.
Oxford Interviewees:
Patrickis a male lawyer in his late 40s that is a big Science Fiction fan.
Andrea and Ramona are female students in their early 20s.
Jeremy is a male charity worker in his mid-20s.
Jonathan is male and in his early 30s. He started out as a bricolour (Strauss, 1989) and
is now a Steampunk artist that sells his work online and whose artwork was exhibited at the
Steampunk exhibition in Oxford.Hannah is a female postgraduate music student and musician, perceived to be in her late
40s.
10
7/31/2019 Dissertation Steampunk Main Body (Part 3)
11/52
London Interviewee:
George is a male foreign exchange executive in his mid-20s and founder of a Steampunk
band.
He is involved in a number of projects and crafts jewellery in his leisure time.
Internet Interviewees :( these are forumnames, Z is an unknown member of the forum)
Dnbsdizzy : female, US citizen , mid 30s , Steampunk artist
Vernian Process: male, US citizen, between 30 and 35, Steampunk artist and DJ
Z: male, under 19
2.5. Data Analysis
After transcribing the data the Researcher coded the data in form of a content analysis.
Main themes were identified that emerged from the respondents answers (Kumar, 2005).
These main themes are values, style, bricolage, the media and music.
The verbatim responses can be found in the results section. The full interview transcripts
are to be found in the appendices.
2.6. Limitations
Being in the role of an observer and interviewer which the group was aware off singled the
researcher out. The response would have been a different one would the researcher have
been a member of the subculture like Sarah Thornton in her study of the dance culture(Sarah Thornton, 1995). However the group seemed friendly and happy to welcome
someone that was interested in their culture.
11
7/31/2019 Dissertation Steampunk Main Body (Part 3)
12/52
However, as the study is based on a group of participants and their views it cannot be
generalized and used as an overall study of the Steampunk subculture. Therefore, any
research findings relate only to the subjects involved, at the time and space the research is
carried out. (Veal, 1992, p.36) If the study would be based on the opinions and
experiences of a different sample, the outcome of the study would differ. The reliability of
qualitative research is therefore impossible to measure and the validity relies on the
participants own interpretations. Issues of validity and reliability have been tried to resolve
by choosing a number of interviewees and conducting further online research to ground the
findings. My own interpretation of the observations and interviews has also shaped the
study. A different researcher may come to different conclusions based on their level of
knowledge, status and role within society. As a German student that belongs to the middle
classes I take an anti-establishment approach. I tried to be neutral but a certain enthusiasm
for the maker culture of Steampunk has further formed my views.
2.7. Results:
2.7.1 Participant Observation:
The Oxford interviews:
The members that arrived early and before the researcher gave her a warm welcome.The rest of the group arrives later and everyone is immersed in conversations and the socalled tinkerers behold and compare each others pieces of work.
1.00 pm: Whileeveryone is ordering lunch general conversations about future and formergatherings together with planned projects are maintained throughout.
12
7/31/2019 Dissertation Steampunk Main Body (Part 3)
13/52
The group talks about gatherings at the Asylum (a Steampunk event in Lincoln)
The interview takes place in the tea room next door, everyone seems to feel relaxed and in
a good mood.2.00 pm: The whole group head off to the exhibitionwhere further interviews take place.
4.00 pm : Peter Bennett is holding a speech to thank for the involvement of theSteampunks and wishes everyone a great time
5.00 pm-8.00 pm Everyone has dinner at the restaurant we met at, at the beginning.
The Researcher talks with other Steampunks which are all dressed in individual styles thatseem to comprise of bought and made things.
A transsexual woman tells the researcher that it has been like a jigsaw puzzle falling intoplace when
She found out that she was a Steampunk over someone mentioning the term.
She said that she felt very welcome.
The London Interview:
8.00 pm the researcher arrives at the participants flat where a gathering of the bandmembers and friends takes place and is being welcomed by the founder of the band.
A lot of the friends are also business partners that are involved in the bands project.
The newest part of the project is an online card game that works like tic-tac-toe in
Victorian aesthetic. At least 15 puppets are hanging on the wall. They look like thecharacters the members of the members of the band are playing. The band members are alldressed in their stage costume and the chocolatier as the character of this band is called iscooking for everyone. It is a very friendly gathering where everyone seems is interested inthe others thoughts and opinions. It is easy to imagine that this is a fertile ground forcreative ideas.
9.00 pm: A beautiful woman in an Arabian costume enters the flat and is being introducedas playwright that plans to write stories for the band or rather media group.
9.30 pm: During dinner the interview with the composer of the band takes place.
He seems very enthusiastic about the whole project and talks about the importance of the
percussion instrument the band built themselves. [This was not included in this study basedon the limited time frame that did not allow for the transcription]
9.45 pm: The interviewwith the founder of the band takes place. He seems relaxed andenthusiastic amid his friends.
13
7/31/2019 Dissertation Steampunk Main Body (Part 3)
14/52
2.7.2. Interview excerpts: (the full interviews can be found in the appendices)
These have been coded and classified under main themes:
Values:
You said earlier that you liked the politics of it as well.
Please tell me more about it.
George: We are certainly very wealthy as people, you know, through the information we
can access and the way we can communicate. So what the movement is really celebrating isthat we should take advantage of this time and live the way we want to live. Dont acceptwhat you are given and make things the way you want! For me part of this is also the anti-copyright and intellectual property movement.
Hannah: Its not just about the way you dress; its about the whole ethos of it. It is aboutpoliteness and manners and respecting each other and being friendly and welcoming. Allthose things are really important and both Robert and I bemoan the impersonality ofmodern society. Things get a bit impersonal. We like good manners and personal attention,handmade things and in that way I hope Steampunk wont become commercial. On theother hand, if people are taking on those values, being polite and so forth, I think that is a
good thing.
7. Are there certain values you feel you share with other Steampunks?
Patrick: Yes in general there is a great common courtesy as you see and great humanbanter.Well-spoken and to be patient and understanding in regards to persons who like to find outabout it, that may one day decide to join. You take the time to explain and are interested.You make sure you are a good representative of your subculture.
dnbsdizzy: The maker spirit, Steampunks create! That is the best thing about this culture,the creativity, the "I can make that! philosophy
Z: Respect for everyone except those with no respect, but treat them civilly, a desire not toconform to the mainstream, to be original.
Style:
14
7/31/2019 Dissertation Steampunk Main Body (Part 3)
15/52
Patrick: Oh I come from the check tradition so Ive always had several hats and suits
From my point of view its not much of a change.For me its just to add accessories Its not a costume for me.
Ramona: I think even considering that there is an alternative.Not wearing whatever everyone else is, is always a good start.
Dnbsdizzy: I make pretty much everything I wear, I take inspiration from the Victorianera, the middle east, India and just any sort of cool vintage thing that feels Steampunk tome
Vernian Process: I know that Steampunk fans like to glue gears and silly shit to their
clothes. IMHO (in my honest opinion) a real Steampunk outfit would just be a Neo-Victorian one.
Z: I know that a lot of Steampunk clothing is a very mainstream twist on the originalVictorian ideals. For instance, a Steampunk hoodie, while it may have art that is of aSteampunk vein on it, is not Steampunk to me. To me, a Steampunk piece of clothing is analtered or original vintage piece that would fit in during Victorian times or possibly in afantasy novel like "Warlord of the Air
What does wearing the goggles and other items mean to you?
Is it more the tinkering aspect of them or that they are what differentiates someone as
Steampunk?
Jeremy (e-mail sent after interview): I'd say from what I've seen that the goggles are thequintessential accessory which helps define the Steampunk genre. Its the first hint thatwe're not just dressing in Victoriana, and suggests something which goes a little deeper[]
Suggesting that the goggles are what defines Steampunk would be a little limiting as thereare many facets to this culture; the clothing being the most easily recognisable for peoplewho aren't very familiar with the genre as a whole. I suppose the goggles help tie in withthe romanticised notions of Steampunks being inventors, tinkers or airship captains, but Iwould imagine that would be an individuals evaluation.
Pike (brassgoggles.co.uk, 2010): I think the best explanation I heard for the goggles loveis that it means you're always prepared to get your hands dirty and tinker with something ifyou have to-- you never know when you might need a good pair of goggles for something.I'm quite fond of that explanation cause it's a rather steampunkish one to me! That said, I
15
7/31/2019 Dissertation Steampunk Main Body (Part 3)
16/52
by no means consider the goggles a mandatory accessory. But they also don't come off tome as superfluous or anything.
Bricolage
When you do your projects, do you use recyclable material?
Patrick: it depends. If it is something I am not quite happy with I will break it down andrecycle and reuse.If it is something I am happy with it stays.
So do you use old materials and new technology together?
Patrick: Well the camera is a 1950s camera [] and obviously the inside is the iphone.I just had the idea to make such a case for the i-phone and it was just a question of whatyou really need
Jeremy: Igot these straps from a local shoe and belt maker and the goggles are obviouslybought.Everything else originates from a trip to the DIY store.This used to be a piece ofplastic pipe.I havent gotten further than this.Well I put lenses into the goggles frame, thats why they are wobbly.
Ramona: Some pieces from Primark can look quite Steampunk, like this jacket.
It can really, if you combine it with other things.So part of the joy is to Steampunk something that is already there.
Where did you get your clothing from?
Hannah: All over the place.This is a black coat and I had it for years and then I modified it.Here, I sew this all on myself.I made some of the jewelry and the hat is collected from bits and pieces. []
Where do you get your materials from?
Hannah: We were really lucky. We bought the contents of a watchmakers store, so wegot watch faces and clock parts and gears and cogs. There were just thousands of suchthings in boxes and we have just been making stuff from them ever since. Its also going tothings like car-boot-sales and finding unusual things and putting them together in unusualways
16
7/31/2019 Dissertation Steampunk Main Body (Part 3)
17/52
Media:
Would you welcome it to become more mainstream?
Jonathan: Itsone of those things. Whenever a subculture goes mainstream its a doubleissue. On the one hand more people start to hear about it and more people start to join in. Itis very much a the more the merrier subculture. On the other hand it can becomecommercialized and that ruins it. Commercialism does ruin subcultures. I am not anti-commercialist. I dont think it ruins everything like some, but it definitely ruinssubcultures. If you go into that area of the exhibition you see creations of people that aretotally different and everyone respects it. What I do is very different from what friends dobut we both accept that and appreciate that. If it becomes mainstream you get people whosay, That is not mainstream, this is. That is what happened with Goth and Punk and soforth. Also with more people it tends to mean more control. More commercialism can meanthat people stop branching out and do just one thing and that would be a shame because ifeveryone does their own thing it stays interesting.
What effect do the media have on Steampunk in your opinion?
dnbsdizzy: The media are helping drive Steampunk to more mainstream recognition, but itis not changing the spirit of the movement just giving it more exposure.
Y: It just makes it more well known.
Z: Generally, a negative one. However, if a piece of media brings new people who aregenuinely interested in Steampunk, then it must be good.
17
7/31/2019 Dissertation Steampunk Main Body (Part 3)
18/52
Music:
Would you say there is certain instrumentation in terms of Steampunk music?
Patrick: Not really, its whatever people think it is. Id say there is an aspect of classicalmusic that would certainly fit within that. []
What was the cause for you to create Steampunk music?
6. What is your perception of Steampunk music?
Dnbsdizzy: I think that music is Steampunk if it has a vintage feel, or Steampunk lyrics, orfeels Steampunk to the person making it. If the lyrics or tune tells a Steampunk story, or
feels Victorian
Vernian Process: It varies from artist to artist. But an overlying theme is the use of old
world styles, mixed with modern genres of rock and electronic music.
Z: Very difficult to say, I would say any music that either describes a scene or life duringVictorian times or of a victorian-esque theme, or, a song that would have played in themore bawdy and rowdy inns of London!
18
7/31/2019 Dissertation Steampunk Main Body (Part 3)
19/52
Chapter Three: Literature Review and Discussion
Having transcribed and analysed the interviews in the form of coding with ten Steampunk
members, in this chapter, five concepts emerged. These concepts are: values, style,
bricolage, the media and music. However, certain debates also emerged: whether
Steampunk is a community or a subculture, a culture or counterculture. In addition,
relevant data emerged about how a person becomes a member of the Steampunk
community.
3.1: The Subculture / Culture Debate
In the 21st century a community can be understood as a self-organized network of people
with common agenda, cause, or interest, who collaborate by sharing ideas, information, and
other resources. (Businessdictionary.com) With regard to virtual communities who are
based on online forums and discuss topics of mutual concern this is certainly true for the
Steampunk community. This Steampunk collective emerged from the first Steampunk
blogs and mailing lists as Vernian Process points out.
Vernian Process: In 2003 Steampunk was still a rather obscure corner of the
internet, and the only other Steampunk I knew at the time that is still active wasCory from the "Voyages Extraordinaire" blog. He and I were in the very first
Steampunk themed mailing list as far backas 1997. So basically when I startedVP, I got to see the Steampunk fandom slowly grow and become what it is today.
After its emergence through online discourses on literature, the community soon developed
into a group of people that distinguished itself from the mainstream culture through its
19
7/31/2019 Dissertation Steampunk Main Body (Part 3)
20/52
interest in the Victorian era and the preference for Victorian aesthetic and dress style. Most
of the communication started on the internet where a debate about how to define the
community started. This debate was mirrored in the participants views of the group they
share interests with. On the question what Steampunk meant to them participants answers
showed similarities and variations as the fallowing responses display.
Patrick: Its not just a literary genre or a fashion move or musical sub-genre. Its
all sorts of different things. Its a whole culture in and of itself and it is accessible
from the mainstream. We make no mystery about it. Everything we do, perform act
or say [] its just an image which is us. Also in my case, because I am quiteprepared to use my name on things []
Jonathan:[]I do get involved in the whole Steampunk subculture. That means
I look after bands and see what they are doing. It is also seeing where Steampunk
goes next because there is always something there. Its a good community to live
in. With Steampunk the makers influence the music and the music influences themakers. That is the same you get in all subcultures. All the art influences other
forms of art. That is the way we grow. The other thing with Steampunk is that it is a
look and not a genre. [..]Its a melting pot.
dnbsdizzy: Steampunk is taking inspiration from the past and applying to
both the future and today Its the ultimate recycling subculture from thriftstore shopping to reusing old type writer keys. It's the DIY Sci- fi crafters
dream
These views show that Steampunk is far more than an aesthetic to its members and a lot of
the communitys members see it as distinct from the wider culture or mainstream culture.
When I speak of mainstream culture it is meant as a simplification of the rest of the
population outside of the subculture. There is no opaque mass of people, just individuals
that congregate on shared ideas and practices. Especially members of a community that see
20
7/31/2019 Dissertation Steampunk Main Body (Part 3)
21/52
themselves as members of a subculture stress their distinctiveness to the wider culture and
their otherness. Subcultures are groups of people who share the same norms and values as
mainstream society but have adopted an own set of norms for reasons the members can
relate to. Subcultural theories stem from ecological concepts of delinquency that were
studied by the Chicago School of sociology in the 1940s.
The scholars of The Centre for Contemporary Cultural Studies in Birmingham, namely
Clarke, Hall, Jefferson and Roberts appropriated the term but continued to look at working-
class groups with tight boundaries that adhered to particular actions or were bound to
specific places. The centre was interested in exploring the extraordinary diversity of human
behaviour and understood groups that share [...] activities, values, the use of certain
material artefacts and territorial spaces that signify their differentiation from the wider
culture. (Clarke et al, 1993).
The violent clashes and rivals with other subcultures were the main reason to study the
subcultures otherness and dissidence with the dominant and parent cultures as well as the
consumption of certain materials and artefacts. Clarke stresses their shared norms with the
parent culture, the culture they are a subset of and notes that they can either develop their
own identity or be a strand of the parent culture. Although dress, undertakings and
recreational activities as well as a different life-style set them apart from their parent-
culture essential life-experiences are still being shared.
21
7/31/2019 Dissertation Steampunk Main Body (Part 3)
22/52
If that parent culture, the subculture exists within, is the dominant culture sociologists
speak of a counter culture (Clarke et al, 1993). The dominant culture is the one controlling
institutions such as educational and business establishments, together with regulating the
law and the political process. Additionally, the dominant culture forms the established
values, practices and customs and believes which then become the norms of society. The
dominant culture is usually but not essentially the majority of people. Since the
industrialisation, due to expanded education and accumulation of wealth the middle classes
influence grew, which have since been the dominating class. It was concluded from
observations regarding their form of conduct, behaviour and use of language as well as
their professions that all participants belong to the middle classes. Dru Pagliassotti (2009)
that has conducted some research of the Steampunk community summarizes them as
middle class Anglo-European and Japanese movement that is predominantly male
dominated. Most members of the forum shared a preference for a use of proper English
and were articulate. Members that do not adhere to the proper form of conduct are
reminded of the right etiquette when posting. Some forum members react downright hostile
as this excerpt of one of the forum communications shows.
Toxickun: - i was told to come browes here if im ever gonna become more like asteampunk... ....but what exactly am i looking for ._. (I purposefully left thegrammar and spelling mistakes for comparison)
elshoggotho: First of all, grammar. It helps a lot with understanding what you'retalking about, second of all, manners. It's considered rude when you post thingswhile you could be lurking and reading threads. There are quite a few stickies,which would be a great start.
22
7/31/2019 Dissertation Steampunk Main Body (Part 3)
23/52
Seriously, you come off as someone who doesn't give much on other people'sopinions. You should adjust your attitude if you intend to stay for long []
Reverend Panic: Oh dear, oh dear. A weeaboo has stumbled pon our board?Fetch ma raygun.
This common value for a proper etiquette is mirrored in the results of the interviews.
Katina: Are there certain values you feel you share with other Steampunks?
Patrick: Yes in general there is a great common courtesy as you see and greathuman banter. Well-spoken and to be patient and understanding in regards topersons who like to find out about it, that may one day decide to join. You take the
time to explain and are interested. You make sure you are a good representative ofyour subculture.
dnbsdizzy: The maker spirit, Steampunks create! That is the best thing about thisculture, the creativity, the "I can make that! philosophy
Z: Respect for everyone except those with no respect, but treat them civilly, adesire not to conform to the mainstream, to be original.
Members of the Steampunk culture do not only regard politeness and respectful behaviour
as highly valuable, creativity and individuality is also cherished by all participants. These
shared values bind the community and elevate it from the wider culture, especially in
regards to being original. This preference for individuality shows the nature of a modern
subculture or counterculture, as we have established that all participants belong to the
dominant class. Clarke (1976) points out the rather diffuse and less group- centred
character of a counterculture. The members tend to be more individual but embrace
common values and practices. Yet this counterculture is not directly attacking the
institutions that reproduce the ideologies of the dominant culture, as the hippie
counterculture did.
23
7/31/2019 Dissertation Steampunk Main Body (Part 3)
24/52
The movement this counterculture is leading is not marked through open protest. It is rather
a reform within. Steampunk is embracing technology and trying to put it to good use.
George, the interviewee that is the founder of the Steampunk band pointed out its
implementation of the open source internet technologies. Within open source individuals
create content to share with other members. This forms a community of makers and
inspires other community makers. Recognition for their ideas is more important to the
individual than being financially rewarded for their ideas. These ideas are licenced under
creative commons, as is the Steampunk magazine that is created by members of the
subculture. Creative commons bypasses copyright law, which some of the individuals of
the community perceive to slow down innovation. It makes it easy to share content without
having to ask for the creators permission. Most community members make their living
from their day jobs and creating Steampunk related artefacts is their chosen leisure activity.
However there are also Steampunks who sell their created items and some entrepreneurs
that have bought into the Steampunk subculture. They profit from being a subculture
member and are usually costume makers, venue owners or craftsmen. Inspiration plays a
huge part in this maker culture. The community works together to create a better version,
as Patrick points out.
Patrick: In general a plagiarist wont research things properly. They will take the
first thing which is available.
Someone that just rips it off entirely, thats reprehensible. When we post thingson the forum for criticism and critique and suggestions its because we are trying
to make a better version that is truer to our original version and sometimes that
requires a bit of objectivity from a third party.
24
7/31/2019 Dissertation Steampunk Main Body (Part 3)
25/52
However the hobbyists still have to adhere to certain etiquette where the original creatorshould be named to demonstrate respect and honour the individual and the original idea.
Togetherness and community are cherished and produce something of value to the whole
culture. Through their posted creations and helpful comments individuals form a group of
enthusiasts that are highly involved in the subculture. Being a creative member of a
subculture and involved in projects bestows someone with social status or subcultural
capital as Sarah Thornton (1995) calls the knowledge and commodities acquired by
members of a subculture.
Thornton coined her subcultural capital after Bourdiers (1998) theories of cultural capital.
It is knowledge that is accumulated through upbringing and education and bestows
individuals with social status. In a system where cultural hierarchies correspond to social
ones it acts as a means to distinguish between classes and is mainly attributed to taste.
Subcultural capital elevates an individual within a subculture. The individuals importance
within the subculture rises and other members will treat the individual with more respect.
Individuals like venue owners, creators or musicians define and create subcultural capital.
The knowledge and commodities take a new shape in the hands of the individual and
enrich the subculture.
25
7/31/2019 Dissertation Steampunk Main Body (Part 3)
26/52
3.2. Steampunk Style
The reform within is reflected by the Steampunk aesthetic. Dylan Fox (2010, p.4), one of
the writers of the Steampunk magazine points out, that the path of least resistance for
Steampunk is to become an aesthetic, a memo devoid of meaning. To a Steampunk
member style is first and foremost a tool of expression. As Umberto Eco (1973) points out,
i speak through my clothes outfits can be used as a tool to express ones ideology.
Ideology is the worldview of individuals and can be understood as a set of ideas that
determine our actions and goals in life. Sarah Thornton (1995, p.10) points out that,
Subcultual ideologies are means by which youth imagine their own and other
social groups [and] assert their distinctive character.
Style is used as a means to assert that one is not an anonymous member of an
homogeneous mass and is therefore an expression of ones identity and individualism
(ibid). Within a subculture style can be used by individuals to show the belonging to that
particular subculture and ones identification with the subcultures values and ideology. The
meaning of style for the members of a subculture has been extensively studied by Dick
Hebdige (1979). He looked at punk, Rastafarian and hippie subcultures, amongst others, to
examine the meaning of style for these groups. He observed the potential of style as a tool
to provoke and disturb through being a violation of authorized codes (Hebdige, 1979,
pp.91). Like the other members of the CCS, Clarke, Hall and Jefferson, Hebdige
predominantly studied deviant youth groups that attracted the attention of the media due to
26
7/31/2019 Dissertation Steampunk Main Body (Part 3)
27/52
their flamboyant style, like the punks and teddy boys. Hebdige (1979) saw subcultural
style as a distinctive uniform or a defining artifact that is visible and symbols the
belonging to the subculture. For him the members of the subculture dress in a coherent
style that is determined by the norms of the group. This style is obviously fabricated and
declares the group different from the wider culture. Their spectacular nature opposes the
the tendency of the mainstream culture to masquerade as nature (Barthes, 1972), to blend
in with the rest. These interview extracts show the Steampunk members views on the style
of clothing they link with Steampunk.
Katina: What do you know about Steampunk clothing?
Patrick: Oh I come from the check tradition so Ive always had several hatsand suits and was wearing a watch. From my point of view its not much of achange. Just a few bits like the camera case. For me its just to add accessories,otherwise my main clothing. It is not a costume for me.
Jeremy (e-mail sent after interview): I'd say from what I've seen that the gogglesare the quintessential accessory which helps define the Steampunk genre. Its thefirst hint that we're not just dressing in Victoriana, and suggests something whichgoes a little deeper [] Suggesting that the goggles are what defines Steampunkwould be a little limiting as there are many facets to this culture; the clothingbeing the most easily recognisable for people who aren't very familiar with thegenre as a whole. I suppose the goggles help tie in with the romanticised notionsof Steampunks being inventors, tinkers or airship captains, but I would imagine thatwould be an individuals evaluation.
Dnbsdizzy: I make pretty much everything I wear, I take inspiration from theVictorian era, the middle east, India and just any sort of cool vintage thing that
feels Steampunk to me
27
7/31/2019 Dissertation Steampunk Main Body (Part 3)
28/52
The neo-Victorian style is quite popular amongst Steampunks but cannot be seen as a
uniform, as Hebdige (1979) saw the subcultural style. I interviewed a few members of the
subculture to find out if the goggles are a main element of the Steampunk style. The
responses were very similar to Jeremys. Most members own a crafted pair of goggles they
will wear at gatherings but it is not seen as a necessary item that defines someone as
Steampunk. Some members wear Steampunk accessories on a daily basis like hats,
Victorian watches and check suits. The whole attire is then often worn at Steampunk
gatherings or conventions. At gatherings Steampunks show their individuality and
creativity through a combination of gothic and vintage wear together with own creations.
This can be ascribed to a lot of Goths that have entered the subculture due to their
preference for the Victorian aesthetic. Steampunks preference for an individual to a
cohesive style is consistent with the observations of David Muggleton (2000) and Sarah
Thornton (1995). Within his study of punk, Muggleton came to the conclusion that taste
and style are individualized amongst his participants. It is characteristic to oneself rather
than determined by the norms of the group. Thorntons study of the British club culture in
the 1990s showed that participants had the tendency of playing up the heterogeneity of the
crowd they associated themselves with (Thornton, 1992, p.99). Muggleton (2000, p.75)
takes the stand that contemporary subcultures are therefore essentially liminal and as such
characterised as much by ambiguity and diversity as by coherence and definition.
3.3. Bricolage:
28
7/31/2019 Dissertation Steampunk Main Body (Part 3)
29/52
Steampunks enjoy transforming items of today through giving them a touch of Victorian
aesthetic. The research shows that although some of the participants that enjoy this activity
may have a technical background, most are hobbyists that enjoy crafting as a leisure
activity. The creation process is quite individual for every member as these interview
excerpts show.
Katina: Where do you get your materials from?
Hannah: All over the place. This is a black coat and I had it for years and then I
modified it. Here, I sew this all on myself. I made someof the jewellery and thehat is collected from bits and pieces. I created some of the badges like the
eyeballs there. The suit is Jet Phoenix and it has got metal buckles on. She is a
gothic designer. The tights are from eBay and these are charity shop brand new Doc
Martins. I got them half price, 40 from Barnados. It is just a mixture of thingsand I make a lot of jewellery myself. I sell gear and lots of watch parts out of
brass.I polish them and make them nice and shiny.
We were really lucky. We bought the contents of a watchmakers store,
so we got watch faces and clock parts and gears and cogs.
There were just thousands of such things in boxes and we have just beenmaking stuff from them ever since.Its also going to things like car-boot-sales and finding unusual thingsand putting them together in unusual ways.
Dnbsdizzy: I make pretty much everything I wear, I take inspiration from theVictorian era, the middle east, India and just any sort of cool vintage thing that feelsSteampunk to me
Katina: What materials do you use for your projects and where do you get them
from?
Dnbsdizzy: thrift stores, antique stores or made from scratch. I use skeleton keys,watch parts, old tribal jewellery, velvets, brocades; old leather jackets anything thatcan be refashioned
29
7/31/2019 Dissertation Steampunk Main Body (Part 3)
30/52
Jeremy: I got these straps from a local shoe and belt maker and the goggles areobviously bought. Everything else originates from a trip to the DIY store.This used to be a piece of plastic pipe.
I havent gotten further than this.Well I put lenses into the goggles frame, thats why they are wobbly.
The concept of the bricoleur (Levi Strauss, 1969) has been used by Hebdige (1979) to
contextualise the DIY culture of the punk subculture. The punk suffix in Steampunk is
certainly no coincidence. It shall be used to explain the importance of the tinkering activity
of Steampunks. Strauss uses it to describe someone who crafts with devious means, It is
seen as the reordering and re-contextualisation of objects to communicate fresh meanings
within a total system of significations (Clarke et al, 1993, p.177). The items which are
used within the activity of bricolage are artefacts with prior meanings. Object and meaning
create signs which take their significance from the culture they have been created in (ibid).
Through every assembling of objects the characteristic dialog is changed. When the
bricoleur relocates this object to use for his means, the significance changes and a different
message is conveyed. Objects are being used which carry meanings of valued life-styles
and are transformed into a pattern that carries new meanings. A bricoleur makes due with
whatever he has at hand. He collects and retains artefacts on a principle that they may at
some point in time be suitable for the next project (Strauss, 1969, p.17). Steampunks, as a
result from the interviews, derive their objects from car boot sales, E-bay second hand
stores and markets like Hannah and Dnbsdizzy. Especially clockwork pieces and faces, as
Hannah uses them, are widely used to create jewellery and decorate laptops and cases.
30
7/31/2019 Dissertation Steampunk Main Body (Part 3)
31/52
Even mainstream articles are appropriated and transformed into a new style. Hannah,
Jeremy and Dnbsdizzy show the creativity so typical for the bricoleur, when they transform
items that were intended for other uses like the skeleton keys Dnbsdizzy uses or Hannahs
use of eyeballs that carry connotations of childish playfulness. It shows that it does not
have to be brass or wood to fall within Steampunk. It is a celebration of ones
individualism that elevates oneself from the mainstream culture and at the same time
symbolizes the belonging to the subculture and the intrinsic values. Especially Jeremys
view shows the hidden values behind the style.
Jeremy: I think typically people have become uncomfortable by being led, rather than
taking initiative
In the modern world objects need to be flexible and functional to compete with each other.
Baudrillard (cited in Kellner, 1989) notes that modern objects have noticeably been
stripped of their depth, representation character and individual style. Objects have an
artificial character through the choice of cheap materials like plastic and unnatural colours
which make them loose their decorative character. Consumption, credit and advertisement
have resulted in the emergence of new moralities based on amusement and indulgence
rather than productivity. One can speak of a fun society that has been debased in their
values and objectified. Consumers buy into a whole series of products that are unable to
fulfil their true needs. (Jameson quoted in Kellner, 1989, p.6) senses that no society has
31
7/31/2019 Dissertation Steampunk Main Body (Part 3)
32/52
ever been saturated with signs and messages like this one. Priest (2009) gives details of
Steampunks philosophy of salvage and customization which she views as a criticism of
the consumer culture and the predictability of mass production. In a time when everyone
wears the same brands and styles Steampunk offers a refreshing new view on
customization, which is fun and which everyone can get involved in. This is the punk in
Steampunk, the violation of the code; the code that means to buy into the commodity
culture of today. It means using broken items and items from a long gone era to show that
there is another way and that endless consumption does not fulfil true needs. Steampunk is
herewith taking a political stand and invests in sustainability and creativity, in a world that
is calamitously unsustainable (Sterling, 2008). The Steampunk magazine calls on its
readers to choose the Steampunk culture as a way of life rather than just to dress up at
conventions. (Steampunk magazine 7, p. 35) It calls on everyone that is interested in
Steampunk to send his or her articles, novels and poems and creates a communal piece of
work often taking a political stand. This shows the politics of Steampunk which are
inherent in the style.
Steampunks take the view that functional items should be beautiful and therefore modify
them to meet their understanding of beauty. The return to the pre-mass production and pre
technology society of the 19th century marks the reminiscence to the subjective values of
objects and their decorative purposes. Freud (quoted in Kellner, 1989, p.7) understood the
creation of the object world as a projection of subjective impulses and wishes which
32
7/31/2019 Dissertation Steampunk Main Body (Part 3)
33/52
endow the consumption led society with new values and behaviours, not only in relation to
objects but also to other people. With our modern world in perspective this shows that
subjects are being objectified by modern society.
Relationships are worthless and replaceable like the cheap mass produced objects
consumers purchase. Steampunk appreciate in depth conversations and cherish the
relationships within the community. Particularly Hannahs interview makes this clear. She
notes both Robert and I bemoan the impersonality of modern society, showing that the
appreciation of real and personal relationships is one of the values our fast lived society has
lost.
However, not every member is aware of the subcultural ideology and values within
Steampunk. This is dependent on the individuals commitment to the subculture. Some
individuals can be part of a number of subcultures based on the activities they enjoy. This
trend has been noted by a number of sociologists like Muggleton (2000) that are involved
in post-subcultural studies. These studies have criticised subcultural theories of the CCCS
which are no longer applicable within our modern society.
3.4. Introduction to the Steampunk Subculture
33
7/31/2019 Dissertation Steampunk Main Body (Part 3)
34/52
Subcultural studies often neglected how and why an individual enters a subculture. The
views and experiences of some of the participants should help us understand what made
them enter the Steampunk subculture.
Katina: How did you first get in contact with Steampunk?
dnbsdizzy: I started reading Jules Verne, the invisible man and
Sherlock Holms as a kid; I always liked Victorian things, and went
through a Victorian Goth phase before figuring out there was
a name for the things I loved
George: Well, I had an interest into the genre before even being aware of it andfinding the name was very important to me. It made me find people with similar
interests that were into what I was into.
Katina: What does Steampunk mean to you?
Z: To me it means a few things. Firstly: The refusal to allow corporations to
control our purchasing habits and sell us generic items. Secondly: It means livinglife with some of the etiquette and manners that the Victorian/Edwardian peoples
possessed, obviously without racism etc. Thirdly: A great community filled with
interesting people willing to help others at all times!
The interviews showed a lot of similarities. Most participants already had an interest in
either the literature side or the Steampunk aesthetic. As for George and Dnbsdizzy the
community offers a way to get together with likeminded people that share ones interests. It
is also a way to express ones personal desires and creativity that cannot be expressed
through ones occupation. It is a space where an individual can be liberal and choose his
form of conduct, as Zs interview shows. As social animals we are in need of natural
surroundings in company we appreciate and which shares our values. Kaplan (1975)
34
7/31/2019 Dissertation Steampunk Main Body (Part 3)
35/52
explains leisure as a relatively self-determined activity that falls into ones economically
free time and which is psychologically pleasant in anticipation and recollection. It therefore
shapes our emotional experiences and is a celebration of human values as Aristotles
shows in Politics and Metaphysics. This togetherness within a subculture which shares a
set of values further forms the individuals identity. At the same time the communal
identity of the subculture is shaped. Consenting with the norms of the group rewards the
individual with respect (Cohen, 1955, p. 47). A new reference group has been found that
can be used for individual development, as it shapes the individuals identity. Community
and finding creative and active people that are willing to help is of high value to
Steampunks. In her study of club cultures Thornton (1996, p.111) describes the
significance of the club culture members affinity with other members that unites them. A
few of the participants like George noted that finding the name was very important. All
members of society want to be full-fledged members of a group as Cohen (1955)
proposes. Such labels then act as membership cards as does the dress style of a subculture.
The importance of the label for a member of a modern and slightly mysterious subculture
like Steampunk can also be seen in the possibility to summarize the culture. The label
comprehends the subcultures values, the communitys knowledge and practices, which
makes further research into the culture possible. Typing Steampunk into Google opens a
whole world of possibilities and knowledge an individual has at his disposal. Steampunk as
a very open subculture is particularly avid to facilitate the entrance of new members.
35
7/31/2019 Dissertation Steampunk Main Body (Part 3)
36/52
As a movement Steampunk tries to offer a good example through its DIY customization
practices and values of community.
3.5. The Media
Steampunk members have seen the media as both a tool that exposes the subculture and
gives it more recognition amongst the public and as an apparatus that can destroy a
subculture. .
Jonathan: Itsone of those things. Whenever a subculture goes mainstream its adouble issue.On the one hand more people start to hear about it and more peoplestart to join in. It is very much a the more the merrier subculture. On the otherhand it can become commercialized and that ruins it. Commercialism does ruinsubcultures. I am not anti-commercialist. I dont think it ruins everything like some,but it definitely ruins subcultures. If you go into that area of the exhibition yousee creations of people that are totally different and everyone respects it. What I dois very different from what friends do but we both accept that and appreciate that. Ifit becomes mainstream you get people who say, That is not mainstream, this is.That is what happened with Goth and Punk and so forth. Also with more people ittends to mean more control. More commercialism can mean that people stopbranching out and do just one thing and that would be a shame because if everyonedoes their own thing it stays interesting.
So are you trying to protect it in a way?
Jonathan: I think a few of us are. A lot of subcultures protect themselves bybecoming elitist. That is their protection method. Its like we are only a small groupso nobody can ruin it. We dont want to do that because we want everyone to getinvolved so the way to protect. It is to be very open. It is the opposite. Its you cantsteal something that is available to everyone.
What effect do the media have on Steampunk in your opinion?
36
7/31/2019 Dissertation Steampunk Main Body (Part 3)
37/52
dnbsdizzy: The media are helping drive Steampunk to more mainstreamrecognition, but it is not changing the spirit of the movement just giving it moreexposure.
Z: Generally, a negative one. However, if a piece of media brings new people who aregenuinely interested in Steampunk, then it must be good.
For Jonathan, Steampunk is a melting pot where everyone inspires each other. He stresses
that should it become mainstream it will be more controlled. He further notes that
commercialism ruins subcultures. The exploitation by the media can cause a destruction
of the subculture. In fact the news media can strip down and dislocate the subcultures
style to convey their own meaning in their attempt to market it (Clarke et al, 1993). The
items do not only lose their original significance, the quality is also diminished as mass
production has to be cost-effective. The style becomes devoid of the specific-life context
and is being appropriated by other groups that do not attach the same values and meanings
to the style. As a result of that, the deviance of the style that used to signify the subculture
and distinguish it from the mainstream is lost.
Members of the subculture and writers of the Steampunk magazine alike have
acknowledged thatSteampunk has already been incorporated into the mainstream through
the media. Especially movies like Alice in Wonderland and Sherlock Holmes have brought
the Victorian fashion into the public eye.
37
7/31/2019 Dissertation Steampunk Main Body (Part 3)
38/52
Designers then incorporated the new trend into their runway fashion. From there it is
usually copied, mass produced; soon to be available in high street stores. Once ready-made
Steampunk clothing is available the subculture has the option to create new styles, which
the DIY culture should not have a problem with. However Bulloff, a writer for the
Steampunk magazine (2010, p. 33) notes that some have expressed their concerns, the
media may assimilate and bastardize Steampunk fashion. What further destroys the
creative means of the subculture is the resulting concentration on one style. As Jonathan
notes, people stop to branch out and invest in the popular style due to the public interest.
Once it is lowered to a passing trend the subcultural style loses its importance as a means to
signify otherness. A solution to this problem in terms of style is presented by the
Steampunk magazine. Bulloff (2010), points out that the only way to save Steampunk
fashion from being consumed and pitched away is to, ironically, casualize it. It calls on
its readers to incorporate bits and pieces into the daily work wear and use it as a way of
being. This again is embracing the customisation of clothing as a way to fight mass
production and may make the fashion industry bypass the Steampunk aesthetic and look for
trends elsewhere. The role of the Steampunk magazine shows that not all media means the
kiss of death for a Subculture. As Thornton (1996) notes, the media plays an important role
in circulating subcultural capital. Subcultures are based around consumption, which
included media consumption. Magazines that are written by members of the subculture
define and distribute cultural knowledge and its coverage shows the community what is in
or out of fashion. Even mainstream movies and mainstream media coverage have mediated
38
7/31/2019 Dissertation Steampunk Main Body (Part 3)
39/52
subcultural knowledge. Without TV shows like The Wild Wild West (1965) and movies
like Chitty Chitty Bang Bang (1968) some of the Steampunk members would not have
entered the subculture, like Vernian Process.
Vernian Process: I've been a fan of Steampunk literature and other media since I was 7years old watching re-runs of the Wild Wild West with my dad in the early 80's.
Media coverage, as the participants rightly pointed out, can have both assimilating and
exposing powers. It is certainly right that it draws more people in as well which can then
inspire the community with their creativity. All members of the subculture seem to inspire
each other and not just the tinkerers. Musicians and dress makers alike are part of the
creative process.
Jonathan: [] the makers influence the music and the music influences the makers []
3.6. Steampunk Music
The role of music as tool for creating identity has been generally neglected within the
subcultural studies. However, Hebdige (1979) noted its integral importance to the
homology of the subcultural elements. Homology is the suitability of the values, lifestyles
and the individual experience that build a cultural whole. Music is theorized to express and
underline the values of the group. Sarah Thornton (1996, p. 19) notes the importance of
music for the British youth and that their leisure activities and identities revolve around it.
39
7/31/2019 Dissertation Steampunk Main Body (Part 3)
40/52
It is a means to claim space through filling it with music. Although the Steampunk
subculture used to be based around the Steampunk aesthetic, the subculture soon
incorporated music. Musicians which were involved in the subculture incorporated their
visions of Steampunk music. Today a number of bands can be grouped under Steampunk
and it is starting to become an established subgenre. However perceptions vary what is
considered Steampunk music, which suits the openness of the subculture. The following
interview extracts show some of the participants individual opinions of Steampunk music.
Katina: What is your perception of Steampunk music?
Dnbsdizzy: I think that music is Steampunk if it has a vintage feel, or Steampunk lyrics, orfeels Steampunk to the person making it. If the lyrics or tune tells a Steampunk story, or
feels Victorian.
I want to feel a sense of the past, be it Victorian ballroom, raucous barrooms or the deck of
an airship, I want to be transported by the lyrics and music to another place. I also tendto like the bands which use an eclectic array of instruments. Exotic percussion, strings,
wind instruments, etc. Not to say one can't make Steampunk music with just guitar, drums,and bass, but it's not as easy for me to get put into the Steampunk mood when the music
I'm hearing is more or less straight-up alternative/punk rock. That's just my personal taste.
Y: It varies from artist to artist. But an overlying theme is the use of old world styles,
mixed with modern genres of rock and electronic music.
Z: Very difficult to say, I would say any music that eitherdescribes a scene or life during
Victorian times or of a victorian-esque theme, or, a song that would have played in the
more bawdy and rowdy inns of London!
The responses show that there are no set boundaries that define the music as Steampunk
music. A feeling of the old Victorian times through the use of instrumentation and
40
7/31/2019 Dissertation Steampunk Main Body (Part 3)
41/52
language is often attributed to Steampunk music. A lot of the songs the subculture
perceives as authentic tell stories and conjure a sense of an imagined past as Dnbsdizzys
response shows. The majority of the songs are rather dark and share the themes of
alienation and dehumanisation with the electronic music that has been affected by the
cyberpunk movement (Collins, 2005). Brown (2003, pp. 215) explains the appropriation
process music undergoes within a subculture. As music is a pre-existing commercial object
the dominant class has already inscribed it with meaning. Here again within the act of
bricolage the object is appropriated, transformed and rearranged. The musical object that
has a potential fit with the values of the subcultures inscribed meaning is undermined and
fused with the focal concerns and experiences of the group. The alienation and
dehumanisation themes of the cyberpunk music must have struck a chord with
Steampunks. This might be the feeling of being helpless within the modern world, of not
being able to change society despite the you can do it attitude of Steampunk.
Punk music that is also close to the heart of Steampunk has its place within the
culture through bands like Abney Park. Certain theatricality has been added to the stage
show of almost all the bands with band members dressing up in Steampunk attire and
engaging in the typical role play. Here the stage persona of the artists can be the one of a
magician or a scientist amongst others. Dressing up and seeing a performance of artists that
all wear Steampunk attire makes the whole performance even more authentic.
41
7/31/2019 Dissertation Steampunk Main Body (Part 3)
42/52
It gives the audience the possibility to play a part in the performance, if only an imagined
one. The the founder of the band Vernian Process (2010) points out, the roots of the style.
They are novels by Jules Verne and other early Steampunk writers.Those were of a rather
dark and cynical nature with cyberpunk tales finding an entrance into the scene which
seems to be the main reason the electronic cyberpunk music has been appropriated by
Steampunks.
In terms of instrumentation Steampunk artists can be creative and mix electronic
sounds with classical chamber music, which is more apt to the original era. As derived
from the interviews Steampunk fans tend to have a very eclectic taste in music. They listen
to a variety of styles and not just to bands that fall under Steampunk. With the steadily flux
of the counter-culture the members tastes direct what it contains. As Patrick aptly
formulates, its what people think it is. Bennett (1999) claims that music tastes have a
tendency to undergo processes of individual selection and examination instead of
communal standardisation, which stresses the individuality a counterculture is identified
through. Musicians can and will be inspired by the scene and aesthetic integrating their
own set of ideas. George, the founder of the Steampunk band, went even a step further. He
created a whole media group of his band incorporating role-play, which is typical within
Steampunk. The project is based on a play by a writer he hired with the band members
taking on the participants roles in the play. A puppeteer has been engaged that creates
puppets based on stories that derive from the play. The stories will be filmed and put online
for customers to stream, and artefacts of that world as George points out can be purchased
42
7/31/2019 Dissertation Steampunk Main Body (Part 3)
43/52
from the page. One of two songs the band released so far tell stories of an apprentice that
has been betrayed by this boss and seeks revenge. The other is about a loving husband that
loses his wife and brings her back to life through replacing her heart with a machine,
conjuring up memories of Frankenstein. This again shows the rather dystopian character,
however the machine is the saviour in this story.
43
7/31/2019 Dissertation Steampunk Main Body (Part 3)
44/52
Conclusion:
This study has introduced the reader to the world of Steampunk. It has offered an insight
into the values Steampunk members share and the practices they engage in. First-hand
information was derived from face-to-face and online interviews of participants that are
members of the subculture. The research has shown the possible importance of the
Steampunk culture for the wider culture, through the focal concerns it embraces and the
innovation factor it poses. This conclusion summarizes the importance of the Steampunk
culture and shows why I think the subculture is of importance to the entertainment
industry. The welcoming of Georges entrepreneurialism although it could be seen as
buying into the subculture shows the openness to the new media. Steampunks are happy to
share their wealth of creativity with the wider culture, as long as it is not taken away from
them. It has been shown that hierarchies do not exist in Steampunk as such. Nevertheless,
subcultural capital in form of knowledge and skills can make a member attain more respect
amongst fellow Steampunks. Material objects like artefacts and music are being organised
into distinctive styles that express the groups totality. The values and life-styles fit with
the style and musical form and express and reinforce the groups focal concerns. The
interviews showed that important values amongst others are creativity, an active nature and
respectful and behaviour. Openness and friendliness are also cherished amongst Steampunk
members.
44
7/31/2019 Dissertation Steampunk Main Body (Part 3)
45/52
Individuals choose to enter the subculture based on their existing interests that link with the
interests of Steampunks. The membership aspect of finding the name or label is quite
important to them and offers a means to convey ones belonging to the subculture. Aspects
of group life and individuality are exhibited online, which is due to the open nature of
Steampunks and offers new entrants a way to see what this subculture is about before
joining it.
The research established that individualism plays an enormous part in Steampunk, due to
consisting of creative middle class individuals. The DIY culture is a way of saying no to
blind consumption and mass production by customising everyday outfits and technical
objects. Steampunk is embracing new technology but gives it a touch of quality and
aesthetic of the Victorian era. Steampunks take a stand and do not want to continue to live
in a world of cheap commodities without character. Steampunks certainly do not want to
live in an impersonal world where relationships are meaningless. They celebrate
togetherness and community through musical festivals and gatherings where they wear
Steampunk attire and respectfully socialize with each other. This way Steampunk may soon
not just be a pretty way of coping with the truth that our society is helpless and
constrained by the rigid and greedy oil-industry (Sterling, 2008) that leads us in a world
where we are pure objects that consume and produce.
45
7/31/2019 Dissertation Steampunk Main Body (Part 3)
46/52
The Steampunk spirit that is embracing the open source movement is enriching the wider
culture and more and more people are being drawn to its maker culture. They may not
dress up in Steampunk wear but they incorporate the Steampunk values. At least that is the
plan the Steampunk magazine seems to have for Steampunk (Steampunk magazine, 2010)
The music enjoyed by Steampunks is expressing and reinforcing the values of the group
and spreading the word. With the internet as the facilitator a world can be reached by
Steampunk artists and entrepreneurs like George. It enables a steady communication and an
aggregation of information that are at the communitys disposal. As a culture of digital
natives Steampunks may show the wider culture that being led and passive is not the way
out of this cheap consumer culture. It shows that the solution lies in being active, of taking
the technology that is now widely available, as Gorge said in the interview, get together
and become involved. There is nothing stopping us from living out our creativity and
coming up with solutions to existing problems. These solutions can then be broadcasted
and tried out around the globe. The entertainment world of Steampunk is set to grow even
further with a large number of possibilities. That Steampunks embrace commodities like
movies and TV shows with a Steampunk character or aesthetic offers the culture industry
the possibility to see it as a possible market. However it should not try to assimilate it. The
key is to understand the values of the Steampunk culture and to nourish it instead of trying
to exploit it as it. This would only destroy a possible market.
46
7/31/2019 Dissertation Steampunk Main Body (Part 3)
47/52
Steampunks are inspired by current blockbusters and incorporate new ideas into their
projects. The community talks about movies and music that may be of interest to other
Steampunks, which my research of the Steampunk forum showed. This offers marketers a
great way for community marketing. What could be a better way to market than through
fans that become brand ambassadors? The forum can be a great tool to start to introduce
new products to the subculture without alienating it. The Steampunk forum alone is worth a
research study and it is impossible to show all areas of culture Steampunk has had an
impact on.
I have purposefully left out postmodern theories like nostalgia and pastiche, which are
worth researching into. As this research aimed at introducing Steampunk and informing the
reader about the involved practices and Steampunks place in the wider culture the research
did not go into great detail. It can be seen as a surface study that sparks the readers interest
and invites people to conduct further research in various contexts. It could be used as the
starting point of a before- and- after study (Kumar, 2005) and would require another
participant observation and interviews of the same sample. The response may have offered
more reliability if the researcher would have been a member of the subculture like Sarah
Thornton in her study of the dance culture (Sarah Thornton, 1995). However the group
welcomed the researcher and their opinions seemed open and honest. A different sample
however would have probably shown different findings. If I could do this study more
thoroughly I would start with attending a Steampunk festival, to see the interaction of the
47
7/31/2019 Dissertation Steampunk Main Body (Part 3)
48/52
members when the music plays. This way I could purely rely on my observations at the two
gatherings and the interpretations of the participants.
48
7/31/2019 Dissertation Steampunk Main Body (Part 3)
49/52
Reference List:
Barthes, R. (1972)Mythologies London: Paladin
Bennett, A. (1999) Subcultures or neo-tribes? Rethinking the relationship between youth,
style and musical taste. Sociology Vol. 33 No. 3 August 1999: 599617
Botelo, A (2008) Steampunk dance style creation Available from:http://www.annabotelho.com/?p=534 ] [Accessed: 15/04/10]
Bourdieu, P. (1998)Distinction:A Social Critque of the Judgement of Taste. London:
Routledge
Brown, A. ( 2003)Heavy Metal and Subcultural Theory: A Paradigmatic Case of
Neglect? London: Polity Press
Cohen, A.(1955) Delinquent Boys: The Culture of the Gang, New York: The Free Press
Collins, K. (2005) .Dead Channel Surfing: the commonalities between cyberpunk
literature and industrial music. Cambridge: Cambridge University Press
Clarke (1976)Folk Devils and Moral Panics London: Greenwood Press
Gelder, K. and Thornton, S. (1997). The Subcultures Reader. London: RoutledgeGibson, W. and Sterling, B. (1992) The Difference Engine Surrey: Gower Publishing
Hashpaul (2009)Battery powered Whirlygig Emoto Steampunk scooterAvailable from:
http://www.automotto.org/entry/battery-powered-whirlygig-emoto-steampunk-scooter/ ][Accessed: 12/04/10]
Hebdige. D. (1979).Subculture: The Meaning of Style. London: Methuen
Jameson (1991)Postmodernism, or , The cultural logic of late capitalism. London:Duke
University Press
Kellner, D. (1989).Jean Baudrillard: From Marxism to Postmodernism and Beyond.
London: Polity
49
http://www.annabotelho.com/?p=534http://www.automotto.org/entry/battery-powered-whirlygig-emoto-steampunk-scooter/http://www.annabotelho.com/?p=534http://www.automotto.org/entry/battery-powered-whirlygig-emoto-steampunk-scooter/7/31/2019 Dissertation Steampunk Main Body (Part 3)
50/52
Kumar, R. (2005)Research Methodology: A Step-by-Step Guide for Beginners 2nd ed.
London: Sage Publishing
Maker Faire (2008)Neverwas Haul[online] n.a. [Available from: http://www.makairfair.com?12232.1.htm
Muggleton, D. (2002) .The Post Subcultures Reader. Oxford: Berg
Pagliassotti, D. (2009) Does Steampunk have an Ideology? [online] Wordpress (2010)Available from:http://drupagliassotti.com/2009/02/13/does-steampunk-have-an-ideology/
[Accessed:26/03/10]
Pagliassotti, D. (2009)Does Steampunk have Politics? [online] [Available
from:http://drupagliassotti.com/2009/02/11/does-steampunk-have-politics/] [Accessed
27/03/10]
Priest (2009) Steampunk: What it is, why I came to like it, and why I think itll stick around[online][Available from: http://theclockworkcentury.com/?p=165] [Accessed:03/04/10]
Punch, K. (1998)Introduction to Social Research: Quantitative & Qualitative Approaches.
London: Sage
Remy, J. (2006) All Sorts of Punk [Available from:http://diewachen.com/2007/08/all-
sorts-of-punk.html ] [Accessed on: 18/03/10]
Slatt, J. (2008) The California Steampunk Convention. [online] [Available from:http://steampunkworkshop.com/the-california-steampunk-convention ] [Accessed:
26/04/10]
Strauss, L (1989) .The Savage Mind. 5th ed .. London : Weidenfeld and Nicolson
Sterling, B. (2008) The Users Guide to Steampunk [online] [Available from:
http://adam.shand.net/iki/library/the_users_guide_to_steampunk.html ] Accessed:07/04/10]
Thornton, S. (1996) Club Cultures: Music, Media and Subcultural CapitalLondon: Polity
PressVerne, J. (1870) Captain Nemo Paris: Hetzel
Umberto Eco (1973)Philosophy, semiotics, and the work of fiction London: Polity
50
http://drupagliassotti.com/2009/02/13/does-steampunk-have-an-ideology/http://theclockworkcentury.com/?p=165http://diewachen.com/2007/08/all-sorts-of-punk.htmlhttp://diewachen.com/2007/08/all-sorts-of-punk.htmlhttp://diewachen.com/2007/08/all-sorts-of-punk.htmlhttp://steampunkworkshop.com/the-california-steampunk-conventionhttp://steampunkworkshop.com/the-california-steampunk-conventionhttp://adam.shand.net/iki/library/the_users_guide_to_steampunk.htmlhttp://drupagliassotti.com/2009/02/13/does-steampunk-have-an-ideology/http://theclockworkcentury.com/?p=165http://diewachen.com/2007/08/all-sorts-of-punk.htmlhttp://diewachen.com/2007/08/all-sorts-of-punk.htmlhttp://steampunkworkshop.com/the-california-steampunk-conventionhttp://adam.shand.net/iki/library/the_users_guide_to_steampunk.html7/31/2019 Dissertation Steampunk Main Body (Part 3)
51/52
Wasserman, (n. d.) The SteampunkTree House :An Oakland based large-scale installation
project[online] Available from: http://www.steamtreehouse.com/Home.html]
Accessed:20/03/10]Wells, H.G. (1895) Twenty Thousand Leagues Under the Sea London: Schuster
Bibliography:
De Certeau, M. (1984).The Practice of Everyday Life. London: University of California
Press
Dery, M. (1996)Escape velocity: Cyberculture at the end of the century. London: Hodder
& Stoughton
De Saussure, F. (1990) Course in General Linguistics 2nd ed. London: Duckworth
Ebare, S. (2004) Digital music and subculture: Sharing files, sharing styles [online]
http:// firstmonday.org/issues/issuep_2/ebare/index.html] [Accessed 04/04/10]
Frith, S. and Goodwin, A. (1996) On RecordLondon: Routledge
Frith, S (1998) .Performing Rites:Evaluating Popular Music. Oxford: Oxford University
Press
Giddens, A. (1993)Modernity and Self-identity: Self and Society in the Late Modern Age
2nd ed. Cambridge: Polity Press
Goffman, E. (1959) .The Presentation of Self in Everyday Life. London: Penguin Books
Leary, T (1994). Chaos & Cyber Culture. Berkley, CA: Ronin Publishing
Lewin, P., J and Patrick W. (2007) "Reconceptualising Punk through Ideology and
Authenticity". Conference Papers--American Sociological Association. 2007 AnnualMeeting,
Longhurst, B (2000)Popular Music & Society London: Polity Press
51
http://www.steamtreehouse.com/Home.htmlhttp://www.steamtreehouse.com/Home.html7/31/2019 Dissertation Steampunk Main Body (Part 3)
52/52
zm, A. (1995) The Representation of the Working Class and Masculinity and Alan
Sillitoe's Saturday Night and Sunday Morning[online]Hacettepe University Journal of
English Language and Literature (1995)[
Available from:http://www.members.tripod.com/~warlight/AYTUL.html ] [Accessed:16/04/10]
Saperia, E. (2010) The Clockwork Quartet[online] Saperia, E. (2010) [Available from:
http://www.clockworkquartet.com/characters.php [Accessed on: 23/04/10]
Stahl , G. (1999) Still Winning Space?: Updating Subcultural Theory [online] [Available
from: http://www.rochester.edu/in_visible_culture/issue 2/stahl.html
Storey, J. (2009) .Cultural Theory and Popular Culture: A Reader. London: Pearson
Toxickun (2010) Bleh someone told me to come here=w= [online] Available from:http://brassgoggles.co.uk/forum/index.php/topic,22847.0.html [Accessed 03/03/10]
Wakefield, N. (1990).Postmodernism: The Twilight of the Real. London: Pluto Press
Ward, M. (2010) Steampunks gather for great e