Make Magazine profiled the incomparable steampunk maker Jake von Slatt; he's got all kinds of great stuff to relate:
Two past mistakes you’ve learned the most from:
1. Propane is very flammable and eyebrows are important to the appearance of your face.
2. A school bus is very heavy and asphalt cannot be relied on to support it when jacking.
Bonus: Stay out of the plane of rotation. I lost the tip of my right pinky finger to the lift-fan of a hovercraft when I was 16.
This jacket is a wonderful mystery to me; found upon the tumblrs, and seemingly sprung from the ether. Do you know where it came from?
Margaret Killjoy sez, "Steampunk Magazine #9 is out and available for order. The pdf is up as well. New orders and pre-orders will be going out this weekend! 118 ad-free, Creative-Commons pages of steampunk mad science, lifestyle, fiction, and history. Including an interview with Cory Doctorow and how to make hydrogen airships out of condoms."
Kaja and Phil Foglio have launched a Kickstarter to fund the printing of volume 12 of the wonderful Girl Genius webcomic, and to reprint the older books. These are multi-award-winning, independent steampunk delights, and $30 gets you "an actual, dead-tree, SOFTCOVER copy of Girl Genius Volume 12: Agatha Heterodyne and the Siege of Mechanicsburg. 192 pages in full color. Shipped to you by means of one of the largest government agencies on Earth!"
Printing the actual books is our biggest single expense. The first print run of a typical volume costs in excess of US$25,000. If that seems high, you must remember that we print eight thousand of them, and they usually run to around 120 pages. Our latest volume, number 12, will be even more expensive, as it comes in at 192 pages, and we’ll be printing nine thousand of them, because eight thousand wasn’t enough last time. Exciting? Yes, but one can’t pay the printer with excitement.
We also have to ship the books. Actually, we have to ship them twice. Once from the printer to the fulfillment center, and once again from the fulfillment center to the customer. And whether a book is shrink–wrapped with thousands of its friends onto a pallet and loaded into a truck, or carefully packaged for individual shipping, several thousand pounds of books cost serious money to transport.
It's got a short fuse on it because they want to get the books in hand in time for San Diego Comic-Con. Act now! Read the rest
Hey, Portlandians! Brian David Johnson and James H Carrott are doing a talk and signing for their new book, Vintage Tomorrows: A Historian And A Futurist Journey Through Steampunk Into The Future of Technology, a fascinating look at the historical significance of steampunk, and an exploration of what the popularity of steampunk today's means about tomorrow's technology, at the Cedar Hills Crossing Powell's on March 25 at 7PM.
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Steampunk, a mashup in its own right, has gone mainstream, with music videos from the likes of Nicki Minaj; America’s Next Top Model photo shoots; and Prada’s Fall/Winter menswear collection featuring haute couture, steampunk style. Some steampunk fans revile this celebrity. But James H. Carrott, co-author of Vintage Tomorrows, says that’s just how cultural change happens. “Things get appropriated; they affect the culture in some way or another, and the people who are at the heart of trying to make that change move onto the next key idea.”
So what is steampunk, exactly, and why should we care? Carrott, a cultural historian, says “steampunk is playing with the past.” The world that steampunk envisions is a mad-inventor’s collection of 21st century-inspired contraptions, powered by steam and driven by gears. It’s a whole new past; one that has a lot to say about the futures we want to see.
In Vintage Tomorrows, Intel’s resident futurist Brian David Johnson (@IntelFuturist) joins Carrott (@CultHistorian) in a globe-spanning journey to dig beyond definitions and into the heart of this growing subculture. Through interviews with experts such as Margaret Atwood, China Miéville, William Gibson, Cory Doctorow, Bruce Sterling, and James Gleick, this book looks into steampunk’s vision of old-world craftsmen making beautiful hand-tooled gadgets, and what it means for our age of disposable technology.
Nick Harkaway's essay "The Steampunk Movement is Good and Important" does a good job of answering charges that steampunk is cover for racism or colonialism, and does an even better job of explaining the attraction of steampunk technological visions to a modern artist:
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Just as it would be tragic to ignore the advantages and consolations of the cognitive - and those who denigrate it in favour of a romanticised understanding of the instinctual or the mystical slander themselves - so equally it is idle and spurious to contend that we are cognitive entities riding around in bony control centres in our skulls, peeping out through windows in the face. We are not just brains with mobile life support. The emerging understanding of embodied cognition is the last nail in the coffin of that idea. We are bodies which think, and we’re at home with Steampunk because it is an ethos of design and creativity which acknowledges the humanly physical, that which we can understand with our fingers. It values our bounded selves, whose world is the middle earth between the flea and the horizon line in which objects obey Newton and relativity is barely more than an academic interest. It is a cognitively limited and incomplete sort of place. In terms of our senses, though, it’s all there is, and Steampunk is about being able to have the wonders of technology while still valuing, acknowledging and respecting that restricted view.
From that one central aspect of its identity, Steampunk mounts a challenge to grey-black plastic industrial design, to the faux-sanitised world of consumer technology and to techno-/neo-colonialism.