Tag Archives: steampunk

The SDCC Files: Arturo’s Collected Coverage

By Arturo R. García

This year, we expanded our coverage at San Diego Comic-Con to bring you more panels, more interviews, and more images from pop culture’s weekend-long prom. Kicking us off: a roundup of all but one of the panels I attended, in Storified form. I’ll have a recap of Rep. John Lewis’ (D-GA) appearance on Wednesday, along with some extra material.

 

Also, to clarify one item from the Black Panel recap, there really was a “Black Spider-Man” there who was not cosplaying Miles Morales. He was ahead of me in the line to ask questions of the panel:

The Racialicious San Diego Comic Con Preview: Thursday + Friday

By Kendra James

Well, it’s that time of year again!

Under the cut you’ll find the panels and presentations for Thursday and Friday at San Diego Comic Con 2013. Arturo and I will be live-tweeting panels throughout the four days (follow the official Racialicious account @Racialicious, Art @aboynamedart, and myself @wriglied to stay on top of things), and providing wrap ups and pictures afterwards. Asterisked events indicate things we’re definitely planning on attending, while the others are recommendations that just look interesting or fun.

If you’re just planning on wandering around and you happen to see either of us don’t hesitate to say hello! For my part, I’ll be the exhausted looking Black girl dressed as either a Captain America USO girl, a Teen Wolf lacrosse player, Maxine from Batman Beyond, or Indiana Jones.

Let us know in the comments if you have questions for specific panels via the comments, and stay tuned for Saturday and Sunday programming coming later today.

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Visiting Academia: Roger Williams University Lecture, “Re-Racing Steampunk: Race, Memory, And Retrofuturism’

Flier for the author’s appearance at Roger Williams University.

By Guest Contributor Ay-leen The Peacemaker, cross-posted from Beyond Victoriana

Visiting Roger Williams University last Tuesday was an amazing opportunity and a great pleasure to present there. Dr. Jeffrey Meriwether, along with professors Laura D’Amore, Charlotte Carrington, Sargon Donabed, and Debra Mulligan were all immensely welcoming and kind.

That morning, Dr. D’Amore picked me up from the Inn, and she explained that the university has started a new social-justice initiative to embrace the historical impact of its founder. That fall, they had their Social Justice Week to initiate conversations across campus. The History department in particular wanted to contribute to this new venture in innovative ways; hence, the invitation to speak at their campus.

During my visit, I gave presentations to Dr. Carrington’s American History (where they just started a unit on African-Americans during the American War for Independence) and Dr. Donabed’s History of Religion courses (where they are currently studying Western perceptions of indigenous practices versus indigenous perspectives themselves).  Afterward, I held “office hours” in the department lounge for students to come and talk about steampunk and ended up having a long, involved discussions about cosplay, Legend of Korra, and Fullmetal Alchemist. Then came my public lecture at 5PM — and look, I have evidence that it happened!

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Racist Things Steampunks Are Not Immune To: Looking For Other People’s Hurt To Be Offended By

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Image Credit: Zyllan Fotografia.

 

By Guest Contributor Jha; originally published as part of the series “Racist Things Steampunks Are Not Immune To” at Silver Goggles

So, this morning I woke up to two emails about the exact same thing: Some nonsense-filled thread talking about “how to not offend people” when it comes to multicultural steampunk. And a cursory glance through the emails proved to me once more how impossible it is to talk to white people who don’t want to change their minds about what offensiveness is and what not to do.

While I am certainly pleased that there are people who are aware of the racial implications of what they do–even in some fuzzy way that they can’t articulate–I am also aware that there are a ton of people, shall I say, “looking for offense,” or rather, the chance to be aghast by some perceived limitation of their actions and options. There are white fans of steampunk who will set up strawman arguments about how fans of color actively look for offense (e.g. racism and appropriation), so much so that other poor folks are walking on eggshells every time they move.

“I can’t wear a pith helmet,” they will whine, “because then it would be colonialist and thus offensive!”

“I can’t wear a kimono,” another set will whine, “because then it would offend Asian people!”

“I can’t incorporate gypsy styles,” some more will whine, “because then I’d be accused of appropriation!”

Can we even consider the absurdity of these statements?

Steampunk POC: Nivi Hicks (African-American, Spanish, Lebanese)

Nivi Hicks of SLC, Utah. All images courtesy of Nivi Hicks.

By Guest Contributor Jaymee Goh, cross-posted from Silver Goggles

It’s the first Friday of the month, all over again! Time for another steampunk POC interview, and today, Nivi Hicks of Salt Lake City, UT, claims the spotlight! Nivi’s been seen in her Bombay steampunk outfit, and her style threads influences from South Asia and the Middle East. She’s also one of the organizers of SaltCity Steamfest. Without further ado, Nivi Hicks!

How do you do steampunk? Or how do you steampunk or how do you participate in steampunk? Or what steampunk media do you do (lit, fashion, events)?
I’m a steampunk enthusiast and supporter within my community here in Utah. Events, fashions, icons–you name it, I try to support it. I’ve even taken up the reigns with a group of fellow steampunkians to create Utah’s first ever Steampunk Convention, SaltCity Steamfest. Eventually, I would like to expand into fashion as a model more.

When asked “what is steampunk?!” what do *you* say? 
My escape that lets me dress pretty without having to live to a cookie-cutter expectation (like cosplay can do). It’s what happens when you take the industrial revolution, lengthen it, add steroids, a more exciting history and technical output, some lace, and fantasy–va-la!
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Victorianism Without Victoria: On Mexican Steampunk

By Guest Contributor Hodson, cross-posted from Beyond Victoriana

Note: This article is also available to read in Spanish on El Investigador’s website / Este artículo está disponible para leer en español. Thanks go out to El Investigador’s Editor-in-Chief Araceli Rodríguez, and magazine writers Hodson and Miguel for their time and effort in getting this piece together for Beyond Victoriana.

There are many reasons why the Victorian era is considered the Golden Age of the British Empire. Not only the economic and social stability came at a time where social inequalities were as big as scientific advances, but the huge explosion of advances in production, communications, and transportation allowed the existence of a global colonial government facilitated by the ability to improve the response time of all regional governments.

At a time when the great modern empires grew and spread across five continents populated by man, Victorianism quickly became the spirit of the time. The idea of progress and mastery of time through greater efficiency in transport and production was a constant among all the nations of the world, and those who had the power to launch big technology and conquest ventures had secured a bright future in the international area.

The Victorian era was undoubtedly the light bulb that shines light upon this century. It was the time when big government combined a vision of the future and the present into an immediate moment that inspired prosperity and development.

For those living in First World countries, it is easy to imagine a glorious past that never ceased to be, and it is done through an alternate technologically advanced reality. Whether it’s a world of steam or of world war, to imagine that moment of past glory is not a particularly difficult endeavor.

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Racist Things Steampunks Are Not Immune To: Dysconscious Racism

"Planetary Alignment," by Julie Dillon. Courtesy: Digital-art-gallery.com

By Guest Contributor Jaymee Goh, cross-posted from Silver Goggles

Dysconcious racism is a term coined by Joyce E King (in the Journal of Negro Education, Spring 1991, JSTOR, but you can get it through Google, too) as “the uncritical habit of mind (i.e., perceptions, attitudes, assumptions, and beliefs) that justifies inequity and exploitation by accepting the existing order of things as given.” It’s pretty much the reason why Moff’s Law exists as a comment policy on pretty much any blog that seeks to analyse pop culture.

You know when people say stupid sh-t like, “there will ALWAYS be racism,” or “people have ALWAYS been prejudiced towards one another” and “human beings are just like that”? And, like, what the fuck kind of argument are you going to have with that kind of statement, anyway? It’s not like there’s any kind of untruth to them; it’s just that it’s a really f-cking lazy thing to say and absolves people of any responsibility to actually think and address the problem of, you know, RACISM!

Dysconscious racism in steampunk is part of a larger attitude of escapism, usually exhibited by people who just think steampunk (and other kinds of fiction) is a fantasy, and whenever you try to engage with them about the political implications of their very problematic ish (whether it’s literature or world-building or whatever), they get their “Why Do You Have To Be So Political About This?” tantrums on and “Suddenly The World Is Ruined and it is Totally Your Fault” because you brought it up, so there.

On another note, dysconscious racism can include the refusal to consider the ins and outs of racism, and a lot of grouching about “being made to feel guilty.” Sometimes, some effort is made to engage, but there’s a lot of tip-toeing around the actual problem, a lot of stumbling around, and rather than have an actual conversation, we all sit around making vague statements about why racism still exists. Which, FYI, doesn’t actually help any.

Anti-racism is a conscious thing. It has to be cultivated as conscious habit. We grow up with so many unexamined assumptions and with poor education systems that cannot possibly cover the length and breadth of the world. Sometimes, our own education systems don’t even cover the ins and outs of our own countries’ histories (and seeing as how schools are as form of state apparatus to mold citizens that comply with state expectations, it’s no wonder!), so it’s easy to grow up not realizing all these histories.

Dysconscious racism, then, is sort of a default state of mind for a lot of people who refuse to develop the critical thinking skills needed to actively combat racism. There’re only so many ways to combat dysconscious racism, and unless the person exhibiting it is willing to give thinking a try, there’s really not much you can do, except reiterate, over and over, “racism can be fixed. Racism is not a natural state of being. Racism is not here to stay. Racism is taught, not intrinsic to humanity,” and hope they gradually internalize that.

 

Excerpt: Monique Poirier previews her vision for Native American steampunk

Native Science understands that nature is technology – a compost pile is a massively-tested super-applicable multifaceted waste management system resulting from four billion years of research and development where you put food waste in and get high-yield fertilizer out and the whole process is carbon neutral!

I imagine a Steampunk North America (Turtle Island) in which the buffalo population wasn’t deliberately eradicated for genocidal purposes and which thus still enjoys the resources of vast areas of tall grass prairie (you need buffalo to have prairie as much as you need prairie to have buffalo because many seeds will not germinate correctly or thrive without passing through a buffalo’s digestive system unless human intervention is applied). I imagine a Turtle Island in which deforestation is severely curtailed and vast areas of old-growth forest are deliberatly maintained. I imagine city architecture utilizing rammed-earth walls and green roofs on large communal buildings, and time-tested local building technologies on smaller, private residences. I imagine populous cities designed for walkability and communal pedestrian culture. I imagine a North America in which the Black Hills are not defaced with gigantic carved graffiti of doofy white dudes.

By the 19th century in my alternate timeline, Turtle Island has a thriving, technologically advanced pan-Indian culture, a collective of independent nations with distinct regionalisms that has a UN-like organization to engage with the global community. A group of nations that meets Europe as equals and trades technology and cultural influences as such.

- From “Musing About Native Steampunk”