Killbox has a Flickr Set on Clockpunk related images. Aesthetically pleasing and would definitely put a smile on any Clockpunker’s face.
Archive for the 'Theme' Category
Tags: Clockpunk, Clocks, flickr, gears, pictures
Tags: Clockpunk, Da Vinci, da vinci automata
I have finally given into the temptation, Da Vinci Automata is now on the Facebook under the current alias (what else Da Vinci Automata). I have also created a Clock group on the Facebook. Here’s the link to the profile and a link to the group. Add me if you get a chance. It can be a good place to get all the Clockpunkers together. Keep clocking!
Tags: academic, alternative history, Clockpunk, da vinci automata, masters, science fiction
(Image Source: Little Clock Shop)
Great news for Clockpunkers! This blog, Da Vinci Automata, was mentioned in a master’s thesis on network neutrality by Tayfun Uslu. A link to one of his video presentation is given below. The presentation “focuses on the fundamentals of the Network Neutrality debates. The subject requires the analysis of historical, social, technological, economical and policy related developments.”
Henry Jenkins (via BoingBoing) has an essay on the origins of Retrofuturism and Steampunk. Jenkins explains the origins of retro-futurism in the essay and besides it has a stamp of approval by Cory Doctorow so its highly recommended. Here is an excerpt.
From the start, however, science fiction has also functioned as a genre which enabled us to reflect upon the past. Time travel stories, such as H.G. Well’s “The Time Machine,” were among the first science fiction stories written, even though the metaphor of traveling back into history fit rather poorly within the rationalist scientific discourse that otherwise defined early science fiction as a genre. To tell such stories, one had to shed the idea that the genre was governed by reasonable and plausible extrapolation based on known science. Time travel stories, such as Orson Scott Card’s PastWatch or Sterling’s “Mozart in Mirrorshades,” (also published in the Mirrorshades collection), continue to have currency. A second strand of science fiction, alternative history, takes us back to key historical turning points and asks what if scenarios, imaging how the world might have taken a very different shape if the outcomes had been different; alternative future stories, thus, imagine what would happen if the South had won the Civil War, if the United States had not entered World War II, or if Stalin had continued to dominate the Soviet Union down to the present day. A third strand of science fiction seeks to extrapolate based not on contemporary understandings of science but rather on earlier historical formulations, constructing science fiction stories based on ancient Greek, early modern, or Victorian conceptions of science. The term, “steampunk,” was coined to refer to science fiction which built on Victorian society and technology, a genre inspired as much by contemporary representations of the works of Jules Verne and H.G. Wells, as by anything actually produced during the late 19th century. Sterling and Gibson’s The Difference Engine, explores what might have happened if Charles Babbage’s experiments had been successful, paving the way for a pre-20th century version of the digital revolution. Finally, retrofuturism takes earlier science fiction as its raw materials, revisiting mid-20th century constructions of the future from a more contemporary perspective. For the purposes of this essay, I will be focusing on works that mobilize the iconography that emerged through Hugo Gernsback’s pulp science fiction magazines, through Alex Raymond’s Flash Gordon comic strip, through films like Just Imagine and Things to Come, and through the 1939 New York World’s Fair, among other sources, but there are other retrofuturist works – for example, Christian Gossett’s comic book series, Red Star, which built on Soviet science fiction and socialist utopian literature – that revisit other historical constructions of the future. These various subgenres suggest that science fiction may be as effective as a genre for imagining the past as it is as a genre for projecting the future or commenting on the present and the key point is that its social commentary works by reading one time period against another.
Check out the full essay here.
Rob MacD posted an insightful comment about the origin of the term Clockpunk. I am replicating the entire comment bellow. Thanks Rob for info, we really appreciate it. Happy Clocking everyone!
I just searched the archives of Pyramid, the online gaming magazine by the publishers of GURPS. Ken Hite talks about “clockpunk wonderment, from ninja war-kites to ironclad Korean turtle-ships” in a column on “alternate Pearl Harbors” from Dec 7, 2001.
In the Dec 21 2001 issue, both Chad Underkoffler and William Stoddard use the term.
(Those links will only work properly for Pyramid subscribers.)
I wouldn’t be at all surprised if Ken (or any one of these guys) improvised the word on his own which is not to say nobody else had used it before. “Blank”-punk has been an easy and standard kind of neologism in the gaming community and around GURPS in particular since at least GURPS Cthulhupunk (1995).
I have been trying to find out the origins of the word Clockpunk aka the first mention of this work. Most likely it was impromptu but it would be nice to see when and where it was first mentioned. Most likely it must have been somewhere in GURPS. Can you people please help?
Here is Jay Lake’s somewhat humorous take on Clockpunk. (Don’t forget to read the comments.)
princejvstin has given me the term “clockpunk”, which he apparently got from a GURPS supplement originally. That being said, I’m thinking the world is crying for a Clockpunk Manifesto. (The world just doesn’t know this yet.)
I will now entertain suggestions for resolutions to be included in the Clockpunk Manifesto. I plan to nail it to the door of a bookstore at some point.