Welcome to the Asylum

On a beautiful long weekend at the end of August, I experienced my very first major steampunk event.

Image © Joe Slatter
Image © Joe Slatter

The Asylum Steampunk Festival – so-named because of the converted mental asylum that forms one of its key venues – takes place every year in Lincoln, and is the largest and longest-running event of its kind in the UK. I went to learn more about the musical acts performing there, and also to steep myself in the subculture, for context.

Image © Stitches of Time
Image © Stitches of Time

When I tell people about going to a steampunk festival, the first question from many people’s lips is ‘what did you wear’? Alas, I spent the Asylum as a civilian in jeans and t-shirts (and occasionally a flaming red rain parka, to combat the weekend showers). I wasn’t the only person underdressed for the occasion, but the extent of the costumes ranged from a simple pair of brass goggles to a dress inspired by Gothic cathedrals (pictured). No one’s attire really felt out of place, and no one was excluded from an event based on what they were wearing. Of course, those with especially fabulous costumes had a harder time than the rest getting from place to place, since everyone wanted to take their picture.

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Some scheduling decisions were tougher than others.

There was no shortage of things to do and see at the Asylum festival, and most of the daytime features were free to wristband holders. There were crafting workshops and live performances, galleries, exhibitions, and markets, competitions and roleplaying events. Many of these involved the participation of the attending steampunks, who had signed up for particular events in advance or been selected to participate because they had won an event at another convention. In one event, participants raced the wheeled contraptions they had built down the castle promenade.

Behold my giant slice of 'Steampunk Cake' (with absinthe-flavoured icing).
Behold my giant slice of ‘Steampunk Cake’ (with absinthe-flavoured icing).

In addition to the steampunk vendors who had come to Lincoln specially for the festival, the city’s regular shops had gone out of their way to appeal to the steampunk community. In some shops this meant a steampunk-themed window display. Others offered special discounts to wristband holders. Many food vendors had steampunk-themed cakes, drinks, and other treats. Favourite flavours were absinthe (aniseed), lemon, and gin.

The city itself was no slouch. Within a very small radius were a castle, a cathedral, a lovely old town and more modern shopping area (separated from each other by the mother of all hills), as well as a myriad other historical buildings and attractions.

I also very much enjoyed the evening concerts I attended at the Engine Shed – an appropriately named venue for the occasion. I got to experience the bands I had been researching for the past few months up close, and discover some new bands in the process. I will definitely be picking up albums by Frenchy and the Punk for my own collection, and Before Victoria is now at the top of my research list.

The Engine Shed – steampunks not pictured.
The Engine Shed – steampunks not pictured.

In addition to the research on steampunk music I originally went to Lincoln to conduct, I came back from the Asylum with a few things to mull over.

The first thing that struck me about the festival was the age of the attendees. Specifically, the steampunk community is older than I had expected. The vast majority of the steampunks at the Asylum seemed to be somewhere between 40 and 60, though there were also a good number of attendees outside of that age range as well. It was pretty spectacular to see a 60-year-old, moustachioed gentleman in a pith helmet walking around the same events as a 12-year-old steampunk Rey. Having been to very few events of this kind, I can’t comment on whether this age distribution is usual or not (let me know if you can!).

img_6403Other features and themes that stood out for me over the weekend had do with steampunk’s traditional bone of contention: its glorification of colonial and imperial imagery. One workshop I attended, given by crafter and copyright lawyer Peter Harrow, discussed the challenges inherent in adapting Star Wars characters to the steampunk aesthetic. This is something that happens quite frequently, as creative fans bring their love of one world into another. The sculptures Harrow displayed during the workshop, however, all shared a rather disturbing theme that was largely glossed over – a bell jar containing the shrunken head of Jar Jar Binks, an Ewok-skin rug, the mounted head of a Sand Person, wearing a Foreign Legion fez.

img_6405These sculptures attempt humour by tapping into the strong (and often negative) feelings Star Wars fans have for these characters, but in doing so they also strongly evoke tribal and colonial imagery. This representation of natives as trophies a long time ago, in a galaxy far, far away has two effects. It glorifies the Imperial Army responsible for taking the trophies in the Star Wars universe, and associates it with the imperial British army responsible for oppressing native peoples in our own universe.

On several occasions present-day politics also came to the forefront at the Asylum. Many of the political opinions voiced at the festival came from left-leaning, anti-royalist, and anti-imperialist steampunks, particularly at the musical concerts. It was clear that not everyone shared these views, however. When Marc Burrows, frontman for Before Victoria, described Princess Charlotte as being ‘like Kate Middleton except she had a point’, boos could be heard throughout the audience. These quickly turned to laughter as Burrows added, ‘uh oh – if you’re booing that, you’re really not going to like this next song’.

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At the Queen’s Parade (an event where steampunk societies could march together and present themselves to a Queen Victoria impersonator at Lincoln Castle), the organisers stopped to offer a word on ‘all the people in uniform serving today’, which may well have rubbed some of the non-British participants the wrong way. These were all grouped under a banner naming them ‘The Most Honourable Legion of Extraordinary Foreigners’, with the tongue-in-cheek subtitle ‘We are not asylum seekers – we’ve already found The Asylum!’.

And, of course, it wouldn’t be a steampunk festival without copious amounts of tea (another colonial product). There was tea drinking, tea duelling, and even a tea referendum, to answer the burning question: ‘Milk: Before or After’? (‘Milk After’ was the eventual winner, to the dismay of many a ‘Milk Before’ steampunk).

The most civil of all referenda?
The most civil of all referenda?

For me, despite the many sights to see and issues to ponder, the real highlight of the festival was the warm, polite atmosphere that prevailed. Everyone seemed cheerful and enthusiastic, and genuinely accepting of the wide range of ‘doing’ steampunk practiced by those in attendance. Whatever the issues on the table, it always felt like there was space to discuss them civilly and honestly. I would certainly go again, and I may even get the chance: next year it will overlap with the British Association for Victorian Studies conference, ‘Victorians Unbound’.

I may have to pack my parasol and pith helmet this time.

Image © Chahinez Loup‎
Image © Chahinez Loup‎

Approaching Posthumanism and the Posthuman

10361037_362677803934481_7106296992558793837_nAs I write this post I’m sitting at Starbucks in Amsterdam Schiphol Airport, waiting for my flight to Switzerland to start boarding. I’ll be at the Approaching Posthumanism and the Posthuman conference in Geneva from 4-6 June, presenting a paper on monsters in remix culture, mingling with the other international attendees, and listening to what promises to be a lot of interesting papers. The conference website describes the event as follows:

The aim of this conference is both to explore the multiple ways in which posthumanism in its various configurations questions, complicates, destabilizes, and “haunts” humanism and the human, as well as to discuss theoretical approaches to posthumanism and/or the posthuman. In addition to inhabiting a wide range of literary periods, genres, and media, posthumanism can also be said to blur the seemingly well-defined borders between humanities disciplines, lending itself to interdisciplinary approaches involving literary and cultural studies, media studies, animal studies, and fields like the digital, medical, and environmental humanities, as well as drawing from multiple theoretical frameworks such as feminism, gender studies, queer theory, race theory, disability studies, postcolonial studies, psychoanalysis, and deconstruction.

On June 6th there’s also a PhD workshop with each of the keynote speakers. I’m hoping it will be a productive three days.

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My paper (which I’m still putting the finishing touches on) is called ‘Cannibalising History and Reanimating the Monster in Contemporary Remix Culture’, and will hopefully provoke some interesting discussion. Here’s the abstract:

This examination of revisionist history and remix culture in present-day popular narrative focuses on the current prevalence of monster mashups: twenty-first-century parodies and pastiches of nineteenth-century Gothic across various media. Examples include the recent novel-as-mashup craze (beginning with Pride and Prejudice and Zombies in 2009), the Showtime TV series Penny Dreadful (2014), and the crypto-zoological portrait art of Travis Louie. Drawing on familiar time periods, places, and people, these narratives enable audiences to see the past as something playful and malleable, and are part of a wider ‘neo-historical’ reformulation and appropriation of the past in popular culture. In this paper, I explore why these mashups are so prevalent in twenty-first-century culture, and how they reformulate nineteenth-century humanist ideas to fit present-day perspectives on identity, memory, and history. I also suggest how this phenomenon exists at the centre of emerging tensions between posthumanism and humanism, currently theorised by movements like new materialism.

The impulse to move ‘beyond’ the classical humanism and humanities potentially creates a number of problems. How can we imagine something completely outside the human, when our entire experience is framed in human terms? And how do we safeguard against creating either a dangerously narrow or a uselessly broad definition of the human in our attempts to outline its opposite? Using a past that is technically both unalterable and behind us to move forward is a complicated endeavour, particularly in a time so obsessed with declaring that past dead and buried. Naturally resistant to such binary conceptualisations (human/inhuman, present/past, etc.), monster mashups project present-day multiplicities of identity and history onto the more stable fictions of the past. They create wilfully ‘false’ ruptures in history and subtly incorporate those ruptures into public memory, allowing readers to actively view and shape present perspectives through the lens of past ones.

In any case it’s my last conference presentation of the 2014-2015 academic year – it will be a relief to get back to my thesis next week. I’ll post a copy of my presentation slides here once I get back, and in the meantime you can follow my conference experience on Twitter.

[EDIT 07/06/2015: you can now find a copy of my slides at the link below, in PDF form, or on Academia.edu]

Approaching Posthumanism and the Posthuman