Dissertation Steampunk Main Body (Part 3)

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    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.

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    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).

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    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.

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    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.

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    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.

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    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.

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    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.

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    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.

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    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.

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    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.

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    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.

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    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.

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    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.

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    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:

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    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

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    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

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    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.

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    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!

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    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

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    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

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    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.

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    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.

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    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.

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    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.

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    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.

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    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

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    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

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    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:

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    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

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    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.

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    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

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    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

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    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

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    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)

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    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.

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    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?

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    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.

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    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

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    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.

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    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

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    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.

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    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

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    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.

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    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.

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    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.

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    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.

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    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

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    members when the music plays. This way I could purely rely on my observations at the two

    gatherings and the interpretations of the participants.

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