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Steampunk and Nineteenth-Century Digital Humanities - Literary Retrofuturisms, Media Archaeologies, Alternate Histories (Paperback)
Loot Price: R1,272
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Steampunk and Nineteenth-Century Digital Humanities - Literary Retrofuturisms, Media Archaeologies, Alternate Histories (Paperback)
Series: Routledge Interdisciplinary Perspectives on Literature
Expected to ship within 12 - 17 working days
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Steampunk is more than a fandom, a literary genre, or an aesthetic.
It is a research methodology turning history inside out to search
for alternatives to the progressive technological boosterism sold
to us by Silicon Valley. This book turns to steampunk's quirky
temporalities to embrace diverse genealogies of the digital
humanities and to unite their methodologies with nineteenth-century
literature and media archaeology. The result is nineteenth-century
digital humanities, a retrofuturist approach in which readings of
steampunk novels like William Gibson and Bruce Sterling's The
Difference Engine and Ken Liu's The Grace of Kings collide with
nineteenth-century technological histories like Charles Babbage's
use of the difference engine to enhance worker productivity and
Isabella Bird's spirit photography of alternate history China.
Along the way, Steampunk and Nineteenth-Century Digital Humanities
considers steampunk as a public form of digital humanities
scholarship and activism, examining projects like Kinetic Steam
Works's reconstruction of Henri Giffard's 1852 steam-powered
airship, Jake von Slatt's use of James Wimshurst's 1880 designs to
create an electric influence machine, and the queer steampunk
activism of fans appearing at conventions around the globe.
Steampunk as a digital humanities practice of repurposing reacts to
the growing sense of multiple non-human temporalities mediating our
human histories: microtemporal electricities flowing through our
computer circuits, mechanical oscillations marking our work days,
geological stratifications and cosmic drifts extending time into
the millions and billions of years. Excavating the entangled,
anachronistic layers of steampunk practice from video games like
Bioshock Infinite to marine trash floating off the shore of Los
Angeles and repurposed by media artist Claudio Garzon into
steampunk submarines, Steampunk and Nineteenth-Century Digital
Humanities
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