Conceptualizing the Maker: Empowering Personal Identity through Creative Appropriation

Conceptualizing the Maker
Empowering Personal Identity through Creative Appropriation

Binaebi Akah, Master’s Candidate
Advised by Dr Shaowen Bardzell

Indiana University
School of Informatics and Computing
Human Computer Interaction Design
May 2010

Dedication

This is dedicated to the two persons who gave me the
curiosity, talent, intelligence, tenacity, and quirkiness to
pull off this project, my parents. I know without their
support and encouragement, I would not have succeeding
in completing my graduate degree.

And to my siblings; you guys are crazy in so many
awesome ways. Remember what Barney the Dinosaur used
to say? “‘Be careful’ means ‘I love you.’”

Contents
Abstract 12

1. Introduction 14 2. Theoretical Foundations 25

From End User to Maker 16 Identity 26

Motivations 17 Everyday Definitions 27

Why should you care? 17 Academic Definitions 29

What will you get out of this? 18 Working Definition of Identity 31

Why is Appropriation Important? 18 Appropriation 31

Why Steampunk? 20 Everyday Definitions 31

Social Constructivism 24 Human-computer Interaction Definitions 35

Beliefs 25 Working Definition of Appropriation 38

Overview 38

3. Triangulating the Maker 40 4. Theorizing the Maker 97

Case Study: Steampunk 42 Supporting the Maker 99

Autoethnography 44 Discussion and Contribution 101

Steampunk Interviews 50 Reflections 102

Summary of Findings 71 Acknowledgments 103

Case Study: Appropriation in the Wild 72 References 108

Bodily Appropriation 72

Appropriation of the Everyday 74

Appropriation, Steampunk-style 77

Summary of Findings 94

“Products can be more than the sum of the
functions they perform. Their real value
can be in fulfilling people’s emotional
needs, and one of the most important
needs of all is to establish one’s self-image
and one’s place in the world.”
Donald Norman, 2005

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Abstract
This research thesis discusses the design of artifacts. This is done in an
attempt to conceptually explore the relationship between designers and
users, suggesting that users have far more agency on “finished” designs than
designers perhaps acknowledge. This work suggests that users are makers.
The world of today’s technological artifacts is homogenized, as exemplified
by all Apple products which look and act the same when shipped from the
factory. Not only are the artifacts homogenized, but they are proprietary;
they are designed to discourage an exploration of the parts and pieces. Once
bought, however, an artifact’s biography is determined by its owner, owners,
and/or user.
The appropriation of an artifact, i.e. the adoption of an artifact so it fits an
individual’s life-world and identity, and therefore the community life-world
and identity the individual belongs to, is difficult to pinpoint. The result of
an act of appropriation, however, is not so difficult to distinguish.
How does one know when an artifact has been appropriated? Are there
artifacts that encourage/discourage appropriation? What is the difference


between everyday appropriation, and creative appropriation? Does this
difference empower personally identifiable technological gadgets?
This research thesis attempts to define an existing subset of end users
as makers. These makers bridge the gaps between technological gadgets,
creative appropriation, and identity through their bricolage of hacking,
crafting, online tutorials, and the materials and knowledge ready at hand.
Further, in studying makers this thesis refers to the exploding online and
offline culture of Steampunk as a case study.
The physical aesthetics of Steampunk-appropriated technology rebel against
our always-connected-with-my-super-high-tech-homogenized-gadget culture
by finding inspiration in the past. Specifically, the Victorian era, when
industrialization did not mean homogenized yet.
What can the field of Human-computer Interaction learn from the
Steampunk makers? What will you, as an interaction designer, do to
empower and facilitate such personally identifiable creative acts?

What will you, as an interaction designer, do to make
appropriation possible?
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1 Introduction


Technology as we know it is meant to ease the burden, As with anything, there are varying degrees of
as it were, of daily living. We are accustomed to using appropriation. For some, appropriation merely means to
technology, even at its simplest form (a hammer, perhaps), “adapt and integrate” into one’s “everyday life” (Carroll).
to solve our problems. We have cell phones that connect For others, appropriation means “unpacking” the
us to loved ones, co-workers, clients. Our calculators object into its “constituent parts or functions” and then
compute simple math as well as integrals and derivatives. creatively “customizing” the object so that “the user has
Our global positioning units tell us where we are, where transformed the shape” (Carroll).
we are heading, and where our desired destination is in
relation to these two pieces of information. While both ends of the spectrum are interesting, the act
of creative appropriation is most intriguing because of
Technology, when put in this light, is wonderful. the sometime immense amount of energy required to
accomplish it. The creative act of appropriation, emphasis
Technology solves our problems and does it faster than on the verb act, becomes a creation of the self, rather than
we could without it. Yet, we are dissatisfied with the the other. The other, in this case, is the designer/design
technology we have. It is never fast enough, feels good team behind the artifact.
enough, or accomplishes exactly what we want. And so, we
reject it, hoping the next iteration will save us. “Once you modify something, you personalize it. And I
mean personalize in a rather true sense. It’s no longer the
That is, those of us without a connection to our creation of some other, but of one’s self ” (Rosner).
technology reject it, hoping the next iteration will save
us. There are a number of us who, rather than looking In varying degrees, we are all a part of a tradition in
for the next best thing, are satisfied instead to develop which we “are driven to customize their artifacts and build
relationships with our existing technology. We appropriate things;” it is not enough to simply accept artifacts as they
the technology in our lives to suit our own purposes, are sometimes, we instead spend “copious amounts of time
rather than relying on the next iteration designed by some tinkering” (Buechley).
other to get a little closer to what we actually want.
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“According to the ethical motive for user participation, people have a moral
right to influence their own destiny, and users have a right to influence
technological decisions affecting their private and professional life.”
Bergvall-Kåreborn and Ståhlbrost, 2008

Yet, certain artifacts are more likely to be appropriated, Bergvall-Kåreborn and Ståhlbrost introduce the
and certain persons are more likely to creatively and “discourse” of the user in terms of computing technology
explicitly appropriate. began in the 1970s, where the user was a “victim.” In the
1980s, the user became a “competent practitioner” before
shifting to a “serious professional” in the 1990s,” and a
From End User to Maker “source of inspiration” in the new millennium.

Walk with me a moment as I trek this journey of No designer can design the perfect design; to have a
understanding the ever-changing relationship between perfect design, we would need perfect users. Given that
designers, end users, and artifacts. we interaction designers happen to design for people and
people are not perfect, I am sad to say that this endeavor
As it stands, designers have a limited understanding of designing the perfect design is, while noble, futile.
of their end users. This is not for a lack of trying;
participatory design, ethnography-inspired study, This thesis takes the ever-changing view of the user a
contextual inquiry, and the like do not exist without step further. Not only should the user be considered an
reason. These methods have been incorporated into the “inspiration,” the user should also be recognized for who
interaction design community over the years in its quest they are, the lay-designer, or, as I like to say, the maker.
to understand the role of the user.


Motivations Why should you care?
Having grown up in a do-it-yourself household where if Not to be alarmist, but it seems to me as though designers
something broke you were expected to attempt to fix it are too far hidden from the practicalities of their designs,
before buying its replacement, I am disappointed by the and some users are tired of it. Shapiro puts it quite nicely,
current trajectory of the design of technological artifacts. in fact:
It is growing increasingly difficult, if not impossible,
to repair the artifacts in my life. What if I don’t want “As computing becomes mundane, so too
to repair something that is broken, but simply alter the do its designers, and it is harder to see why
physicality of the artifact, or alter the configuration of a or how they should be able to exercise more
menu so it makes sense to me, rather than following some leverage for change than anyone else.”
arbitrary configuration by some designer?
Do you want to lose your credibility as an interaction
We all have things we would like to change in order to designer simply because the realm of your designs is now
make the artifacts in our lives work better for us. This, “mundane,” and your users are questioning why you get to
then, is the inspirational source for this study. make the decisions?

The fact remains that we all appropriate the artifacts I would prefer instead to give the users their fair due,
in our lives, digital or analogue, consciously or and recognize that they are “intelligent, creative, and
subconsciously. This is an interesting research area because productive contributors to communities, organizations,
of its relationship with personal identity, and the influence and society if they are equipped with the right tools”
a designer has over the personal identity of the end user. (Bergvall-Kåreborn and Ståhlbrost).

The tools, in this case, are our designed artifact, whether
it is a laptop, keyboard, email client, or cell phone menu.

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What will you get out of this? Why is Appropriation Important?
As I mentioned before, we interaction designers simply First, one must admit that “in all human cultures,
cannot share the “life worlds or world views” of our material artifacts are social communicators” (Mackay).
users due to the knowledge we have of the technology of It is unavoidable to judge another person based on their
our designs; we are “limited in the extent to which [we] clothing, what shoes they wear, etc.
are capable of understanding each others’ experiences”
(Bergvall-Kåreborn and Ståhlbrost). The same goes for our This is not to say that this judgment is negative, per se, it
users in terms of understanding the designer’s life world. is merely a level of understanding a person based on the
artifacts they choose to wear. Should one visit the home
By keeping this in mind, and seeing your end user as a of a friend, there is an added layer of understanding into
maker, you will not have to determine the “use-before-use the personality, morals, etc, of said friend. The color
as suggested by Redström (Ehn). This is the impossible of the walls, the style of chairs, the types of kitchen
task I spoke of earlier, where interaction design utilizes utensils, are all indicators of the person and their preferred
participatory design as a way to “meet the unattainable understanding of their surrounding world.
design challenge of fully anticipating use before actual
use” (Ehn). Let’s lift some of the burden from our There are many who feel they “might as well have a
shoulders as designers by deferring some of the design relationship with the items” with which they surround
until after the design, and place decisions in the hands of themselves (Rosner). As Norman says,
our users.
…Products can be more than the sum of the
functions they perform. Their real value can be
in fulfilling people’s emotional needs, and one
of the most important needs of all is to establish
one’s self-image and one’s place in the world.


It is not enough to have artifacts in
one’s life, as found by Odom et al.
People “desire to develop a strong
attachment to particular digital
things such as laptops” (Odom).
In order to engage digital material
artifacts, people have turned to such
do-it-yourself activities as “IKEA
hacking,” where one “takes something
off-the-shelf, alters it to fit [one’s]
needs—to be more personal, to
make a statement, to improve it
better than mass marketing could”
to provide interaction designers with a theory that will provide the basis for
(Rosner). The importance behind
designs that make appropriation possible.
this is that through this “hacking,”
i.e. appropriation, the object is “no I am not advocating that we make our designs easier to appropriate, only that
longer the creation of some other, but we should not make our designs impossible to appropriate.
of one’s self ” (Rosner).
Appropriation happens in multiple realms, from bodily appropriation
This is the subject of this capstone: (piercings, tattoos), to appropriation of everyday items (furniture, buttons,
to study the overlap between identity etc), to the extreme creative appropriation of digital material artifacts, and the
and appropriation, to empower the case study of this capstone, Steampunk.
user to make him- or herself through
the design concept. In studying Steampunk, informally speaking, is a “cultural movement” that is “much more
identity and appropriation, I mean than just an aesthetic,” it’s “also about being more deeply connected to what

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you create” (Poeter). It began as a literary movement in We are in the midst of a tinkerer-maker revolution
the 1980s as an “outgrowth” of the futuristic Cyberpunk; where everyone from amateur geeks to world-class
an “antiquated re-imagining of Cyberpunk set 100 years artists are sharing a common spirit of creative energy.
in the past rather than 100 years in the future” (Gross, The DIY attitude is one of play, experimentation,
C). Please refer to the literature review section for a more and an appreciation for an intellectual landscape
formal definition. of possibility and undefined paths (Diana).

This is a preliminary answer to the question “why does
the do-it-yourself movement exist today?” After all, it is
Why Steampunk? more convenient and possibly even more practical to buy
Steampunk is a “non-luddite critique of technology” a finished product. Yet, stores like Lowes, JoAnn Fabrics,
(Catastrophone). Persons involved in the Steampunk and Hobby Lobby; television shows like Design on a
movement, also known as Steampunks, are “dialing down Dime, Trading Spaces, and Carter Can; and websites like
their digital existence in favor of embracing physical Etsy, IKEA Hacker, and Instructables, are all flourishing.
materialization as a route to creative satisfaction” (Hell). Why is this?
This has a direct relation to the do-it-yourself movement
Informally speaking, I often hear it is the “bad economy,”
as discovered in the field of human-computer interaction,
and this explains why people are doing more on their own.
where it was noted that:
This is both true and untrue… it is still much cheaper
to buy clothing than to make it from a yard of fabric in

This is the subject of this capstone: to study the overlap
between identity and appropriation, to empower the user
to make him- or herself through the design concept.

the United States, for instance, and I have the receipts
to prove it. So while I am sure that finances are always a
“The user autonomy […] is
factor, I contend that a large portion of the do-it-yourself connected to the very individual,
movement exists because it is in people’s nature to have a social, cultural and emotional
certain “creative energy” (Diana). value of the artifacts and perhaps
I contend that people want a certain number of artifacts
suggests that the designer
that are personal, meaningful, unique, and with a story. should look at ways in which to
After all, for an object to be “relevant to human life,” it leave space in the design for the
must be “interpreted” in order to “play a part in a human consumers’ own interpretation,
narrative” (Harré). People like to have a certain number rather than design a piece to
of artifacts that they keep for “so long” that they are
be used only as directed by the
“perceived as having personality, soul, charcter, and is
loved and cared for” (Battarbee).
designer. For example, enabling
the user to personalize an object
People are more than “just problem solvers;” we are or adapt the way it is used.”
“creatures of boundless curiosity” (Paulos). More than
that, there are certain people, do-it-yourselfers, also Lacey, 2009
known as “makers,” who “find resonance with materials
and people” (Silver).

Echoing Lacey, I feel human-computer interaction
designers can learn from the creative act of appropriation
by studying Steampunks, a conveniently enthusiastic

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group of do-it-yourselfers who are prolific online through By studying Steampunks, how they define themselves, and
blogs, forums, and merchant websites to name a few. their relationships with the artifacts they choose to (and
not to) appropriate, I will identify key characteristics of
Steampunk has multiple connotations with fashion, that encourage appropriation, and develop a framework
fiction, music, and technological physical aesthetics, based on these characteristics.
among others (Ratt). I am focusing on the latter. The
technological aesthetics of Steampunk rebel against our The ideas I present are not meant as a formula for
always-connected-with-my-super-high-tech-homogenized- appropriation. Instead, they are meant as a starting point
gadget culture by finding inspiration in the past, for designers to think about the artifacts they design, and
specifically, the Victorian era, when industrialization the potential they provide for user appropriation.
did not mean homogenized yet. Why do people join this
movement, and how? What is their creative process? How
does this creative act of appropriation reflect, influence,
and potentially define their sense of self?

With all this said, my goal with this project is to provide a
foundation for understanding technological appropriation
by studying the motives behind the act of creative
appropriation within the Steampunk movement.


2 Prior Work


The underlying assumption guiding this research is that Social Constructivism
people desire to be attached to artifacts. There are varying
levels of desire, attachment, and the relationship between I was once asked how I define myself and if my self-
them, and depend completely on the person, their history, perception had any bearing on how I perceived the world.
culture, etc.
The simple answer is, of course, yes.
Despite this variance, designers need to be aware that
I see myself as a maker, an artist, a writer, a designer,
there is a need for people to feel a connection with the
and an engineer. I believe this order greatly impacts how
artifacts brought into their life-worlds.
I understand the world. I tend to see every event as a
In this way, the topic of appropriation is suited for narrative, which I can then extract something beautiful
a human-centered research project. When someone or ugly from it that provides insight into a design I may
appropriates an artifact, it speaks to the level of someday implement.
connection felt. But how can we know when someone
I realize, however, that how I see the world is not how
has appropriated an object, why, if they are aware of it,
others see it. In fact, the way I see the world is entirely
and how it reflects/influences their sense of self and/or
dependent on me; on my history, emotions, and
personal identity?
perceptions. How I understand the world is a foreign set
Additionally, this research assumes that all persons are of concepts to those around me, and vice versa.
creative, with the caveat that there are as many types of
This capstone project is based in social constructivism. As
creativity as there are people. Because of this, and the
mentioned in the Creswell text, I “seek understanding of
aforementioned assumption, much of the research for
the world” in which I “live and work” (Creswell). Meaning
this project will be qualitative, based firmly in a social
is “constructed” by humans as they “engage with the world
constructivist understanding of the information gathered.
they are interpreting,” and it is important to “understand
the context” (Creswell). I am using a social constructivist


approach because it provides “sensitivity to the importance That said, I believe quite firmly that the insights gathered
of both technological and social issues and the interaction from a study of physical artifacts can inform and/or
between the two” (Carroll). inspire designs based in the digital realm.

Beliefs Theoretical Foundations
“You live in a fantasy world, where every The term “appropriation” is generally used in terms
day is a musical and inanimate artifacts of finances and property, relating to illegal possession.
speak back to you.” – Jacqueline Akah Within human-computer interaction, however, it has
been used as a positive reflection of users relating to
The quote above is an anecdote in which my mother
the technology in their lives. Not only is it a positive
informed me that I am not of this world. You see,
phenomenon, it seems to be a desired outcome of
I anthropomorphize everything. Rest assured, I am
technological design.
not psychotic, nor am I schizophrenic. I treasure my
engagement with the world around me. It is not enough The benefits are obvious from a business standpoint:
for me to simply exist; I need to have explicit relationships design a product, interface, etc, that allows and encourages
with the artifacts and persons in my life. I need to be able a potential customer/user to relate to it, see themselves in
to touch an artifact and register the sensation. it, allow it to reflect how they see themselves and in turn
allow it to influence how they see themselves…
Therefore, this project was guided by the belief that I,
as a tactile person, care more about physical artifacts It is a powerful thing, to feel an artifact reflects and
than digital artifacts, and that these artifacts have (or influences how one sees oneself. If a company can tap into
develop) personalities. As such, I focused on the act that experience then they have possibly created a customer
of appropriating physical technology, rather than the for life. Additionally, the customer is able to take pride in,
ephemeral digital artifacts hidden behind the LCD screen. and feel empowered and encouraged by, the product.
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With this in mind, how do I define this ephemeral Identity, in its simplest form, is how we define our
phrase, personal identity? What do I mean when I refer sense of self defines how we see and/or interpret and/
to one’s ‘sense of self?’ How does this definition relate to or comprehend the world around us. Identity colors our
appropriation, and my case study of Steampunk? actions and scopes our interests. Identity and sense of
self are large, they “contain multitudes,” to loosely quote
This literature review section is divided into the following Whitman. However, I have come to realize that identity is
sections: identity, appropriation, and Steampunk. Within in no way the same thing as sense of self.
each section, I review pertinent resources and definitions
in order to build my working definitions, which will, Identity is a representation of that self, but not necessarily
once coupled with interviews and observations, help me the self itself.
crystallize a design theory/framework about identity and
the appropriation of technology.

Identity
According to my research, identity is a hot topic in the
psychology, sociology, anthropology, folklore, and other
related realms of study. As such, I have no intention of
launching into a ground-breaking study about identity
and technology. I am happy to rely on those who have
come before me; they have a much stronger understanding I approached defining identity from two angles, the
of identity and its importance. established everyday definition, and the established
academic definitions. The everyday definition establishes a
good working definition to then understand the technical

use within psychology, anthropology, and folklore papers, is recognizable as a member of a group. (3) The
which led to my definition of identity. quality or condition of being the same as something
else. (4) The distinct personality of an individual
regarded as a persisting entity; individuality. (5)
Everyday Definitions Information, such as an identification number,
used to establish or prove a person’s individuality,
When the general public wants to understand what as in providing access to a credit account.
identity means, where do they turn? Being a member
of the general public myself, I turned to what I always This definition emphasizes the importance of
turn to when in doubt about the meaning of a word: the “distinction,” that is, a recognizable attribute about a
dictionary. Given my experience with dictionaries, I have person which makes them different from others. It is, I
realized that the definition varies depending on the source. assume, the way that helps us “identify” one another as
separate persons in the first place.
To triangulate the everyday definition of identity, I
referenced the online Free Dictionary, Merriam-Webster, Merriam-Webster2: (1a) Sameness of essential
the Oxford English Dictionary, and Wikipedia. or generic character in different instances.
(1b) Sameness in all that constitutes the
Below are my findings followed with a discussion behind objective reality of a thing: oneness. (2a) The
why that particular definition relates personal identity and distinguishing character or personality of an
appropriation. The emphasis is mine. individual: individuality. (2b) The relation
established by psychological identification.
Free Dictionary1: (1) The collective aspect of the set
of characteristics by which a thing is definitively To have an “identity,” one must be an “individual” with at
recognizable or known. (2) The set of behavioral least one “distinguishing characteristic or personality.”
or personal characteristics by which an individual

1 http://www.thefreedictionary.com/identity 2 http://www.merriam-webster.com/dictionary/identity
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Oxford English Dictionary3: (1) The quality Why is this important? Because it showcases that even if a
or condition of being the same in substance, person acts one way in a certain environment, e.g. work,
composition, nature, properties, or in particular and a completely different way in another situation, e.g.
qualities under consideration; absolute or essential home, they are the same person. The characteristics may
sameness; oneness; absolute identity, that asserted in change depending on the environment, yet, there is still
the metaphysical doctrine of Schelling that mind and the matter that the person defines him- or herself as him-
matter are phenomenal modifications of the same or herself, and not anyone else.
substance. (2) The sameness of a person or thing
at all times or in all circumstances; the condition Wikipedia4 (philosophy): identity (also called
or fact that a person or thing is itself and not sameness) is whatever makes an entity definable
something else; individuality, personality; personal and recognizable, in terms of possessing a set
identity (in Psychology), the condition or fact of of qualities or characteristics that distinguish
remaining the same person throughout the various it from entities of a different type. Identity is
phases of existence; continuity of the personality. whatever makes something same or different.

Through the Oxford English Dictionary, we finally get The pattern these definitions form is that there must
an explicit reference to personal identity, describing it as be some definite, recognizable detail, particular,
the simple fact of “remaining the same person,” that is, a characteristic, etc, that allows us to say, without a doubt,
certain “continuity of personality.” that he is he, she is she, and that this he-and-she is not
another he-and-she.

Wikipedia 5 (social science): an umbrella term
3 http://dictionary.oed.com/cgi/entry/50111220?query_type=word&qu
used throughout the social sciences to describe
eryword=identity&first=1&max_to_show=10&sort_type=alpha&result_

place=1&search_id=om2G-HMcDAB-17104&hilite=50111220

4 http://en.wikipedia.org/wiki/Identity_%28philosophy%29

5 http://en.wikipedia.org/wiki/Identity_%28social_science%29

an individual’s comprehension of him or had a different identity from the one you in fact
herself as a discrete, separate entity. have—and one that you might have for a while
and then lose: you could acquire a new individual
Identity is about the individual. Identity is about the identity, or perhaps even get by without one.
unique properties, qualities, characteristics that make one
an autonomous entity. This is an interesting concept, because it shows that we
define our own sense of identity. It is not only what makes
you unique (that is, the unique properties, qualities, and
Academic Definitions characteristics that make one an autonomous entity),
but also how you interpret these properties, values, and
According to the following academic definitions, there are convictions to define your identity.
a number of theories about personal identity, one’s sense
of self, etc. If discussing the self, in particular, Leary lists the different
uses in the magazine Self and Identity, as shown below:
Stanford Encyclopedia of Philosophy6: Your identity
in this sense consists roughly of what makes you 1. Self as synonym for person,
unique as an individual and different from 2. Self as synonym for personality,
others. Or it is the way you see or define yourself,
3. Self as self-as-knower, I-self, self-as-subject,
or the network of values and convictions that
structure your life. This individual identity is a 4. Self-as-known, me-self, self-as-object; i.e. the
property (or set of properties). Presumably it is perceptions, thoughts, beliefs, evaluations and
one you have only contingently—you might have feelings people have about themselves, and
5. Self as decision-maker and doer, the
agentic ghost in the machine.
6 http://plato.stanford.edu/entries/identity-personal/
In the instance of this capstone, I will be utilizing the

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fourth definition, in which I will discuss self-as-known, interdependent identity. What is a community? It could
or the self-as-object. I am interested in the perceptions, be considered a collection of individuals, in the way that
thoughts, beliefs, evaluations, and feelings people have “personal identity is shaped from experiences that are
about themselves than in their personality, etc. unique to the individual as well as from those common to
a collection of individuals” (Oring).
According to Markus and Kitayama, the self has two major
“constructuals,” you can have an “independent” view of It seems to me that identity must be and is interdependent
the self, or an “interdependent” view of self, which can as well as independent. When alone, I think, see, and
“influence” and “determine” the “very nature of existence.” interpret myself and my actions in one way. However,
The differences between these two constructuals are once in a social setting (i.e. I am no longer completely
essentially (as found in a summary table on pg 230): alone), I interpret my thoughts and actions in relation
to how I assume others may interpret them. As
• Independent: internally-defined through thoughts such, my identity and understanding of myself shifts
and feelings, separate from social context, bounded interdependently with the persons surrounding me.
and stable, determined to be unique, etc
That said, I agree that identity is a collection of
• Interdependent: externally-defined through status characteristics, skills, qualities, etc, that make one an
and relationships, connected with social context, entity, as with the common definitions. Since I also agree
flexible and variable, determined to fit in, etc with the academic definitions about interdependency,
especially as we are never truly alone but are members of
That is to say, it is just as important to study the
the culture in which we live, my definition of identity
independent identity as it is to study the interdependent
must keep this in mind.
identity. In order to do this, it is important to look at
the community that the individual belongs to, in order There is something to be said about having a collection
to determine the influences that help determine the of qualities, experiences, etc, which are unique to an
individual but also to a community of individuals, as

Oring states. After all, “collective identity,” or the identity See the next page for a representation of this definition.
of a community of individuals, is simply those “aspects With this definition of identity in mind, how do the
of personal identity” derived from “experiences and artifacts in our lives reflect and influence it? Why do we
expressions common to a group,” where the group is the choose these artifacts? What does it mean to appropriate?
“intersection of personal identities and has no existence
apart from the psyche of particular individuals (Oring).
Appropriation
Working Definition of Identity As with my definition of identity, I approached defining
appropriation for this study from two angles, the everyday
While writing this paper it was suggested that I read definition, and the definition used by the field of human-
Hebdige and Turkle’s thoughts on the matter of identity computer interaction. The everyday definition establishes
and technology. They are on my reading list, but in the a good working definition to then understand the
meantime, I need a working definition of identity. technical use within human-computer interaction papers,
which led me to my definition of appropriation.
I am mainly focused on personal identity, rather than
individual identity or communal identity, though they
do have influencing roles. I do believe identity is about
Everyday Definitions
being unique, yet influenced by the community/culture.
Therefore, my working definition of identity is: Similar to my method for defining identity, I triangulated
definitions from Dictionary.com, the online Free
Identity is the unique set of experiences, qualities,
Dictionary, Merriam-Webster, the Oxford English
characteristics, thoughts, behaviors, etc, that
Dictionary, Wikipedia, and Wiktionary, in order to
recognizably define an individual or collection of
understand what it means to appropriate an object.
individuals, and the relationships between them.

| 31

Below are my findings followed with a discussion behind person’s personal identity? Are there ever appropriated
why that particular definition relates personal identity and artifacts which do not influence/reflect personal identity?
appropriation. The emphasis is mine.
Free Dictionary:8 (1) To take for one’s own use, esp
Dictionary.com7: adj (1) Suitable or fitting for illegally or without permission. (2) (Economics,
a particular purpose, person, occasion, etc. (2) Accounting & Finance / Banking & Finance) To put
Belonging to or peculiar to a person. v (3) aside (funds, etc.) for a particular purpose or person.
To set apart, authorize, or legislate for some
specific purpose or use. (4) To take to or for This definition is important because it highlights the
oneself; take possession of. (5) To take without importance of the individual taking possession of an
permission or consent; seize; expropriate. artifact without permission. Whose permission? In the
(6) To steal, esp. to commit petty theft. everyday sense, it is perhaps the permission of the ‘original
owner’ of the artifact. In terms of design, however, I read
This definition of appropriation directly relates to the this to mean the designer of the artifact.
individual, and therefore must be included in the factors
contributing to my definition of appropriation. This That is, appropriation means to take an object for “one’s
definition brought the following questions to mind: does own use” to use as one chooses “without the permission”
it mean that by taking possession of an object, the object of the original designer, and disregarding the designer’s
becomes particular to that person? If it does become intent. It is not to say that the designer forgot anything
particular to that person, does this reflect a portion of said in the design, it is only to state that the user “understands

7 http://dictionary.reference.com/browse/appropriate?db=luna 8 http://www.thefreedictionary.com/appropriate

| 33

and is comfortable enough with the technology to use it in to another as an appendage. Obs. (6) To devote,
their own way” (Dix). set apart, or assign to a special purpose or use.
Const. to, for. (7) To assign or attribute as properly
Merriam-Webster:9 (1) To take exclusive possession pertaining to; to attribute specially or exclusively.
of: annex. (2) To set apart for or assign to arch. (8) To make, or select as, appropriate or
a particular purpose or use. (3) To take or suitable to; to suit. arch. (9) To make proper,
make use of without authority or right. to fashion suitably. (So Fr. approprier.) Obs.

Merriam-Webster’s definition marks the importance of The Oxford English Dictionary (OED) begins to repeat
redefining an object by “adapting” the “technology in some of the aforementioned definitions, primarily because
ways never envisaged by the designers, or even deliberately the OED goes into the etymology and multiple definitions
subverting the designer’s intentions” (Dix). of the word. It is the one of the most thorough resources
in terms of word definitions. Therefore, it helps solidify
Oxford English Dictionary 10: (1) To make (a thing)
the idea that appropriation is about making the object
the private property of any one, to make it over
particular to a person, that it includes taking possession,
to him as his own; to set apart. (2) Const. to
and that it requires making the object suitable to a person.
oneself: = next. (3) Hence ellipt. To take possession
of for one’s own, to take to oneself. (4) Eccl. To Wikipedia11: Appropriation is the act of taking
annex (a benefice) to some religious corporation, as possession of or assigning purpose to properties
its property. (5) To allot, annex, or attach a thing or ideas and is important in many topics.

Again, we have a definition where appropriation means
9 http://www.merriam-webster.com/dictionary/appropriate

10 http://dictionary.oed.com/cgi/entry/50010959?query_type=word&que
11 http://en.wikipedia.org/wiki/Appropriation
ryword=appropriate&first=1&max_to_show=10&sort_type=alpha&result_

place=2&search_id=YR1Y-4QkcEy-10313&hilite=50010959


assigning (or reassigning) the purpose of an object as it design: appropriation as temporal experience, and
suits the owner. appropriation as adaptability.

Wiktionary12: v (1) To make suitable; to suit.
Appropriation as Temporal Experience
— William Paley. (2) To take to one’s self in
Based on readings from Adhe, McCarthy and Wright, and
exclusion of others; to claim or use as by an
Wakkary and Maestri, one can think of appropriation as
exclusive right. (3) To set apart for, or assign
the amount of time spent with an object. All three papers
to, a particular person or use, in exclusion of all
suggest there must be some sort of meaningful interaction
others. (4) To annex, as a benefice, to a spiritual
or experience with the object.
corporation, as its property. –Blackstone.
Adhe suggests the interaction/experience needs to
Wiktionary’s definition is an excellent clarification
be positive, whereas the other two papers make no
because it refers to the “exclusive” right one has to take
distinction. Indeed, not only does “the process of
an object in a way that “suits” one’s needs. I would like to
appropriation require pleasurable experiences,” the paper
extrapolate this to more than how one needs, but also how
also asserts that the “appropriation process is part of a
one wants, and how one chooses to see and interact with
biography of goods. It is part of the biography of the
the world.
products from the moment of purchase” (Ahde).

McCarthy and Wright seem to have a similar definition,
Human-computer Interaction Definitions saying that appropriation means “making an experience
our own by relating it to our sense of self, our personal
There are two major ideas of appropriation that I have
history, and our anticipated future.”
found within the field of human-computer interaction
Wakkary and Maestri reference McCarthy and Wright by
12 http://en.wiktionary.org/wiki/appropriate

| 35

saying “we mean the remaking of something through a use know that technology has become the users’ own,
that becomes personal, framed within our understanding not simply what the designer gave to them.”
of our situation and our anticipated future.”
March, Jacobs, and Salvador say that their focus for
appropriation is on “openness, transparency and
Appropriation as Adaptability
adaptability.” Similarly, Salovaara says appropriation is
Appropriation as adaptability and appropriation as
when “users invent ways to use technology for purposes
temporal experience are inextricably intertwined, therefore
that they had not been considered before.”
I do not want to say that the following quotations on
adaptability are in contrast to temporal experience. With these two definitions in place, I have to first say that
I do not believe one must have a positive experience in
At the same time, however, their motivations are slightly
order to appropriate an object. While a positive experience
different. One cannot learn to adapt an object without
helps, I feel one can appropriate something even under
spending time with it, and without having an experience
negative circumstances.
which suggests adaptation is an option.
For instance, how many of us hold on to our ‘lemon’ cars,
As mentioned before, Dix has a definition which relates to
perhaps, because of memorable road trips with family/
some of the everyday definitions of appropriation.
friends, etc? Perhaps it was the first car we ever learned to
“These improvisations and adaptations around drive, even though the bottom is rusted out. It does not
technology are not a sign of failure, things the matter if the car is decrepit. In our mind, it is still that
designer forgot, but show that the technology has shiny car our parents gave to us, or the first car we could
been domesticated, that the users understand afford to buy with our own money.
and are comfortable enough with the technology
In that way, I agree with McCarthy and Wright in saying
to use it in their own ways. At this point we
that appropriation is when we “relate [the object] to our
sense of self, our personal history.” In order to appropriate,


the object must become a part of one’s personal narrative. As mentioned in my approach and methods section, I
recognize that one can appropriate material (physical) and
And how does one do that, exactly? Because it is not immaterial (digital) artifacts, yet, I choose to focus on the
enough to simply bring the object into one’s life. That is physical because of the interesting and interactive dynamic
not appropriation. That is possession. that occurs through creative appropriation.

Appropriation, then, is when one uses the object “in their
own way,” as according to Dix. It is when one “adapts,” as
per March, Jacobs, and Salvador, the object to one’s life/ Overview
task/style/etc. I especially like Salovaara’s appropriation,
I began my research by reviewing existing literature. I
i.e. using the object for something it hadn’t been
read articles on appropriation, creativity, do-it-yourself,
“considered before.”
hacking, modification, enjoyment, and identity.

It seems this is a fairly new trend in the interaction design
Working Definition of Appropriation field, as many of these papers, especially in terms of
creativity, do-it-yourself, hacking, and modification, were
Therefore, by pulling keywords and phrases from the
published in and around the 2009 SIGCHI conference.
everyday and ACM definitions, I posit:
I looked at multiple styles, methods, and mediums of
Appropriation is the act of adapting an object to
appropriation to understand the creative process behind
oneself in a way that not only redefines the object,
the act. I allowed anything from body tattoos to the re-
but also relates the object to one’s sense of self.
imagining of computer keyboards to inspire and inform
The previous page is a representation of this definition. my understanding of how and why people appropriate.

In order to understand how do-it-yourselfers and creative
persons perceive themselves, the artifacts in their lives,

and the relationship between the two, I utilized direct and resource for the actual creatives and do-it-yourselfers,
indirect user research. as they gave me the opportunity to study the artifacts
created, and how the creator introduced the artifact to
In terms of direct user research, I performed potential customers.
autoethnography, as I am a member of the creative,
do-it-yourself population with an interest in historical Essentially every conversation I had about this project
artifacts and modern technology. I appropriated safety turned into a design session, especially if it occurred
goggles, bead containers, super glue and acrylic paint to in my bedroom where my whiteboard was available for
create my own set of (fake) Steampunk-styled goggles. frenzied writing. I learned a lot from the questions people
I collected clothing, keys, wrenches, brooches, etc, to asked me, as they revealed my own assumptions and
create a Halloween costume where I adopted a Steampunk understanding of the world. Aside from conversations,
researcher-scientist-explorer-extraordinaire persona. I utilized card sorting and affinity diagramming to help
scope the opportunity space of this project, and my
I utilized my elective ceramics course to explore the visual literature review, down to a manageable arena.
aesthetic of Steampunk by reimagining a sewing machine
in the style, and by creating an imaginary machine, The Although more literature could be read, more exemplars
Lazarus, whose purpose was to transform Jell-O into found, and more user research conducted, what I have
Jell-O cupcakes. accomplished helps frame the opportunity space for a
theory about appropriation, identity, and artifacts. The
For indirect research, I scoured online blogs, forums, hope is that this theory will lead to designs that exemplify
Etsy merchant websites, and the independent Steampunk the theory, and provide a framework for fellow designers.
Magazine for articles. The blogs, forums, and magazine
articles proved to be a wonderful introduction to the
Steampunk movement, as well as how the self-described
Steampunks commented on themselves and the artifacts
in their lives. The Etsy merchant websites were a great
| 39

3 Triangulating the Maker


To begin my user research, I used an indirect approach Utilizing Google Alerts to scour the internet for any
by looking at blogs and the independent, volunteer-run, article relating to the term “Steampunk,” I found potential
Steampunk Magazine, for two reasons. interview subjects from the following websites:

First, because this community of Steampunks is prolific • http://brassgoggles.co.uk/blog/
online; they write how-to articles, discuss how they • http://www.crabfu.com/
found Steampunk, what it means to them, encourage
• http://www.drupagliassotti.com/
others to join the fold, and to spread the word of the
newest creative venture that has taken everyone by storm, • http://www.ericfreitas.com/
among others. The persons involved in the blogs and • http://www.exoskeletoncabaret.com/
magazine tend to be a mixture of Steampunks from expert • http://herrdoktors.blogspot.com/
technicians to novice do-it-yourselfers. Due to the cosplay
• http://steampunkscholar.blogspot.com/
nature of Steampunk, there is a level of semi-anonymity
from either the Steampunk’s costume name, or associated • http://www.steampunkmagazine.com/
online identity. • http://www.steampunkworkshop.com/
From my indirect user research, I determined the
Second, due to the open nature of the blog posts, blog
Steampunks I wanted to speak to and observe belonged to
comments, and magazine articles, I felt that scouring
the following categories:
these sources would give me a meaty understanding of the
Steampunk community and movement, which would help • Artist: Skilled in imaginative, non-functioning
me situate my role in the community, as a do-it-yourselfer art meant for personal satisfaction
and as a researcher. It provided a solid foundation to
• Cosplayer: Skilled in creating imaginative fashion,
inform my primary research, by providing information
assuming a fictional identity while dressing the part
that helped me determine the type of questions I wanted
to ask the Steampunks who would allow me to interview • Commentator: Interested in reporting trends, new
and observe them. projects; the “town criers” of the community
| 41

• Inventor: Skilled in imaginative, ringing a bell? How about Casper? Phillip Pullman’s His
potentially functioning art meant for Dark Materials trilogy? The Prestige?”
experimentation and/or exploration
There is no one “true” definition of Steampunk, so it
• Merchant: Interested in receiving
is not surprising that when I speak of it, no one knows
payment for services and/or products
exactly what I am talking about. There is a general
• Scholar: Interested in studying the consensus of when and how the term was created,
phenomenon of Steampunk itself however. It began, firstly, as a literary movement in the
My holistic understanding of the Steampunk community 1980s. K.W. Jeter, a “pioneer Cyberpunk author,” wrote in
helped inform my autoethnography studies and direct user 1987 that,
research, consisting of interviews.
Personally, I think Victorian fantasies are
going to be the next big thing, as long as we
can come up with a fitting collective term
Case Study: Steampunk
for Powers, Blaylock, and myself. Something
When mentioning Steampunk to someone who has never based on the appropriate technology of the era;
heard of it, I tend to receive blank looks. “Stream-punk?” like ‘steampunks,’ perhaps… (Gross, C).
they ask, their brows furrowed. After a brief explanation
which generally includes some mention of brass goggles, According to Cory Gross, Steampunk is an “antiquated
mad scientists, dirigibles, and corsets, I sometimes receive re-imagining of Cyberpunk set 100 years in the past rather
a dawning expression as the other half of the conversation than 100 years in the future.” This is the literary tradition,
exclaims, “Oh, you mean Victorian Punk.” perhaps, but what about the burgeoning movement that is
“only chartable through mid-2006?” (Poeter). According
“No,” I sigh, “Steampunk. Think… um… League of to the Steampunk Magazine, it is a “non-luddite critique
Extraordinary Gentlemen, or Wild Wild West. No? Not of technology” (Catastrophone).


The Steampunk Magazine, an Steampunk machines are real, breathing,
independent, volunteer-run magazine
coughing, struggling and rumbling parts of the
highlighting fiction, how-to articles,
music and movie reviews, etc,
world. …Too much of what passes as Steampunk
identifies with the “punk” as much as denies the punk, in all of its guises.
with the “steam” technology.
Punk—the fuse for lighting cannons.
Some claim that Steampunk is a way
of “creating sublime awe within an
Punk—the downtrodden and dirty. Punk—
apathetic, overly connected, jaded the aggressive, do-it-yourself ethic.
culture” (Hell). Still others say that
Catastrophone, 2007
it is “popular now because people
are unconsciously realizing that the
way we live has already died. We The Arts and Crafts Movement of Morris wished, to create “a thing of
are sleepwalking” and too reliant on the 19th Century was a rebuttal beauty and a joy forever” (Verbeek).
technology (Sterling). to the dangers of “standardization Luckily for Steampunks, they are
and mechanization,” from both an “equipped with a number of creative
In this way, Steampunk is, in “aesthetic and social” standpoint tools and approaches” that the Arts
fact, a “non-luddite critique of (Verbeek). The point of the and Crafts movers and shakers never
technology.” It is, for the crafters, do- movement was to “produce artifacts could have imagined, such as “design
it-yourselfers, and inventors drawn that were both useful and beautiful” software, fabricators, Instructables
to the aesthetic, a “counterculture (Verbeek). In this way, the crafters, videos, websites, wikis, cellphones,
Arts and Crafts Movement in a 21st do-it-yourselfers, and inventors who search engines and Etsy.com”
Century guise” (Sterling). utilize the Steampunk aesthetics (Sterling).
to redefine modern computing
technology are doing just as William
| 43

I look at the crafting aspects of Steampunk because to Steampunk. This is why Steampunk is fascinating. It
“learning, creativity, practical problem-solving, perception, is a “physical, hands-on subculture,” which, as I said in
and action are central” to understanding the process of my Prior Work section, is highly important to me as a
appropriation, and all these concepts are necessary to tactile person. Is the fact that these creative appropriations
accomplish a Steampunk technological appropriation. occur on physical artifacts an important insight? I am not
(Salovaara). sure. But I do know that I love the fact that the “lifestyle
encourages people to think creatively” (Bulloff ).
Appropriation, from a completely aesthetic Steampunk
standpoint, critiques the current designs of technology
because it uses “a shiny, polished chromium surface” that
Autoethnography
looks “worn out with the first scratch,” as opposed to a
material that may “become more beautiful when it has In terms of doing primary design research, I utilized
been used for some time,” like “leather” (Verbeek). my sketch book to work through my thoughts in the
form of sketchnotes, as found in the appendix. I also
By appropriating artifacts, i.e. by making these artifacts performed autoethnography, which, as described by Spry,
personal, we are less likely to throw them away in search is a “self-narrative that critiques the situatedness of self
of something newer and better. This is what draws me with others in social contexts.” This fits in with my social

“Steampunk’s key lessons are not about the past.
They are about the instability and obsolescence of
our own times. A host of artifacts and services that
we see each day all around us are not sustainable.”
Sterling, 2009

constructivist understanding of the world, for, as Duncan
said, there is “no one right form of knowledge, and
multiple viewpoints are acknowledged and valued.”

This autoethnography was performed during my third
semester as a graduate student in the Human Computer
Interaction Design program at Indiana University. I was
taking my first ceramics course, a design theory course, I
was an assistant instructor and a mentor for the first year
students. I wanted to dive into the Steampunk culture,
and, taking my own advice to the first year students, spent
much of my time photo-documenting my process and
blogging my thoughts.

I chose to do autoethnography because I am already
involved in the crafting and DIY movements that also
define a large portion of the Steampunk population. By
adapting my interest in historical fashion, science fiction,
and DIY crafting, I hoped to gain additional insights into
the overlap between the act of appropriation and identity
through my experiences.

I read every available Steampunk Magazine issue, which
is the independent, self-proclaimed magazine of the
Steampunk culture. This was familiarize myself with
the “big names” in the culture, the vernacular, interests,
| 45

From doing this activity, I realized
that I relied on the knowledge I
had in order to create the goggles.
That is to say, I gathered materials
I was familiar with, and utilized my
previous knowledge of crafting in
order to create me goggles. Therefore,
it seems that what a person brings to
the object that is to be appropriated
(safety goggles and bead containers in
this instance) is paramount.

Creative appropriation
and concerns of the individuals and gathered the following materials and utilizes existing knowledge.
community. Funnily enough, it turns transformed them into a set of fake
out I had far more in common than Steampunk goggles. It also seems to me as though
with the Steampunks than I thought.
• Safety goggles
• Bead containers
Do-it-yourself • Super glue

To situate myself in the Steampunk • Acrylic paint
do-it-yourself creative movement, I • Time


appropriation is very much the role of Lady Almyra Gunn, for some semblance of truth. I am
something that can be taught. I grew Steampunk Researcher, Scientist, and an explorer, because I do not know
up in a household where we built Explorer Extraordinaire. where this capstone project is taking
anything we absolutely could not buy, me. So, even though I was playing a
in order to save money. This included This exercise was to determine character, that character was still very
office furniture, kitchen tables, media what it felt like to play the role of a much me.
centers, etc. Having grown up in Steampunk. The majority of clothing
a firmly established do-it-yourself for the costume was pulled from Role-playing allows for
household, I have been unafraid my closet, as I tend to own a lot of creative freedom because
to try new things by using familiar military-style jackets, vests, etc. As it bypasses social norms.
patterns from previous projects. I such, I felt comfortable even though
I was playing a role. I did buy some In addition to the above insight,
recognize this same trait in my three
vintage lockets and old keys to cosplay is just plain fun. And who
younger siblings.
dangle from my costume, and used doesn’t like to have fun?
Creative appropriation is a childhood gift from my father,
not intrinsic to a certain a Nigerian purse, to solidify my
personality, it can be taught. explorer role. Creative Aesthetic Modification

Why did I choose the role of a I used my elective ceramics course
researcher, scientist, and explorer? I to explore the Steampunk visual
Costume Play (Cosplay)
chose that multi-faceted role because aesthetic by imagining how a sewing
Another facet of the Steampunk that is who I am. I am a researcher machine would look. While painting
movement is costume-play, also on the hunt of Steampunks because the machine, I imagined where it
known as cosplay. I put my fake they creatively appropriate. I am would rust due to water exposure,
Steampunk goggles to use for my a scientist, because I like to find where the pipes would have to run in
Halloween costume, where I assumed patterns and be rigorous in my hunt order to keep the steam moving, etc.
| 47

Obviously, this machine does not
actually work, since it is ceramic, i.e.
glass. That said, it was fun pushing
my imagination to see what I could
come up with while maintaining a
recognizable shape and function.

It is a rewarding challenge to
create something that retains
a recognizable aspect.

There is a lot of care, struggle,
frustration, and patience that goes
into creative works. It is because of
the struggle that it means something
in the long-run. I have memories of
my sewing machine cracking straight
down the middle, the terror and
panic that ensued, and the resulting
relief and pride that came from
solving the problem.

Problems are tolerable if
there is a perceived solution.

| 49

Picture on page 49 is my non-functioning machine I • It is a rewarding challenge to create something
dubbed The Lazarus, whose sole purpose is to transform that retains a recognizable shape and function.
Jell-O into Jell-O cupcakes, a dessert my mother and I • Problems are tolerable if there
make for any and every celebratory occasion. While this is a perceived solution.
machine does not work and is not based off any existing
• Creative appropriation puts oneself into the object.
machine, it has significant meaning to me.

• It is the first ceramics project that went as planned.
Steampunk Interviews
• It is meant to serve the dessert that
makes me think of my mother. I wanted a nice mix of persons who could give me their
individual thoughts and opinions in order to get the
• It is a very Binaebi-distinct design, because
heartbeat of the Steampunk culture. I attempted to
the handles, “pipes,” lettering, etc, are motifs
contact each of the following Steampunk categories:
found in my other artwork pieces.
• Creative appropriation puts oneself into the object. • Artist: Skilled in imaginative, non-functioning
The insights I gathered, therefore, from my art meant for personal satisfaction
autoethnographic exercises, as listed. • Cosplayer: Skilled in creating imaginative fashion,
assuming a fictional identity while dressing the part
• Creative appropriation utilizes existing
• Commentator: Interested in reporting trends, new
knowledge from the creative appropriator.
projects; the “town criers” of the community
• Creative appropriation is not intrinsic to
• Inventor: Skilled in imaginative,
a certain personality, it can be taught.
potentially functioning art meant for
• Role-playing allows for creative freedom experimentation and/or exploration
because it rejects social norms.
• Merchant: Interested in receiving
payment for services and/or products

• Scholar: Interested in studying the interview took anywhere from half an hour to two
phenomenon of Steampunk itself hours, depending on the interview subject’s interest and
Unfortunately, due to the limited time period of the study, availability. I had hoped to get some observations, but
I was only able to get in contact with artists, cosplayers, it wasn’t possible given my location, and my interview
inventors, and merchants. subjects’ availability.

Information was gathered using interviews. Interviews I engaged in semi-structured interviews, meaning there
took place over Gtalk, Skype, phone, or in-person, was a list of questions available, but the structure was
whichever was most convenient for the subject. The primarily conversational. Each interview began with
| 51

general questions about the subject’s understanding and
interpretation of Steampunk, how they came to that
conclusion, etc. From there, I asked about the subject’s
role in the Steampunk culture.

Since the subject was an artist, cosplayer, inventor, and/
or merchant, then the interview discussed tools, projects,
materials, etc, how it related to the subject’s understanding
and interpretation of Steampunk, and how it helped the
subject define their personal identity, if it did.

I recorded the interviews using audio recording tools,
and/or video recording software. I also took sketchnotes
and asked for copies of any documentation the subject
collected about their creative process.

When I had completed the nine interviews, I applied
grounded theory to the information. I used grounded
theory because I didn’t want to label the information as I
thought they should be, rather, I wanted the information
to speak for itself.

I pulled out the relevant quotations, one quote per index
card. I then sorted the cards according to the perceived
topic, creating a large affinity diagram to determine the
emergent topics. I didn’t trust my first round, however,


because I went to abstract too quickly. This was worrisome topics pulled from these affinity diagram exercises are how
because I didn’t want to miss an important emergent I have organized the direct quotes from the interviews.
topic because of my bias in knowing too much about the
Steampunk culture, the theory of personal identity, and Each interview subject had a slant on Steampunk, making,
the HCI understanding of appropriation. personal identity, etc, specific to their personal history. I
didn’t want to discount any topics that would come from
To combat this bias, I did another affinity diagram looking at the overall interview, and not just the words
exercise with the same cards, this time having my younger that were spoken. With the quotes organized, I went back
brother read each card and sort it according to topic. to my original notes from the interviews and asked the
Because he didn’t have the bias I had, the topics were more holistic question, “What is this about?”
varied, more comprehensive, and more inclusive. The


I sketched out the holistic emergent topics from each With all this said, I’d like to analyze the intertextuality of
interview onto an 18” by 24” piece of paper. The topics what the interview subjects said. The categories for the
were interrelated, as represented by the arrows. Each topic quotes were as follows, listed from most-to-least discussed:
was coded with a number, the number representing the
number of arrows pointing to/from the topic. Community; learning/sharing/problem-solving;
unique/individual (story); drawn to unique
With each topic so coded, I typed them into a spreadsheet. things; creative tools; mechanical comprehension;
The spreadsheet was organized with the rows being the craft vs. art vs. …?; inspirational source; what
topics, and the columns being the numbers corresponding is Steampunk?; material knowledge; creativity;
to each interview subject. the importance of DOING; discovery;
creative process; negative use of “punk”.
I totaled the numbers per topic. The top 25 topics
were chosen as being the most relevant to this study. I The names have been changed to preserve anonymity.
put each topic onto a sticky note, and created another
affinity diagram of the top 25 topics, only to discover
that the central theme of the interviews came down to the
question, “What if?”

This seems like an obvious question, something not worth “The thread that connects us
noting, right? I argue that this is a different kind of what is that we didn’t discover what
if, because its topic of interest is modern computing
technology. What if I didn’t have to leave the computer
to be interested in, we just
as it was when I bought it? What if I wanted to have a got a name for our interest.”
computer as imagined by the Victorians? What if I like
velvets and hardwood detailing? Walt W.

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To give you some context to the selected quotations, I Community
have listed the anonymous names with their self-selected There was an emphasis on the importance of sharing.
categorization, which I happen to agree with, as well as According to Mary, it’s “rare to find someone with like
how long they estimate being an explicit member of the interests,” especially when, as put by Margaret, “we live
Steampunk community. isolated lives now.” The common thread among all the
interviews was the fact that the Steampunks tended to
I say explicit because it of the Steampunks I spoke to, feel disconnected from their neighbors and co-workers.
they all felt they had been doing some sort of Steampunk With the shared Steampunk interest, there is a “feeling of
variation for most of their creative lives, but now have a exploration,” a “point of discussion.”
name to go with it.

Name Category Duration
Herman M. Merchant Three years
Louisa A. Cosplayer Two years
Lucy M. Cosplayer Eight months
Edgar P. Inventor/Merchant Three years (unofficially Eighteen years)
Mary S. Artist/Merchant Six months
Harriet S. Cosplayer/Merchant One year
Margaret F. Artist (digital) Three years
Charlotte B. Cosplayer Two years
Walt W. Inventor/Artist Three years (unofficially Thirty-Six years)

*Those of you who have guessed at my naming structure get a cookie for being a fellow nerd.


Edgar: “The Steampunk community is Edgar: “If the true Steampunk fans think
open, friendly. You can’t have Steampunk you’re a poser, you’ve lost credibility.”
without science fiction nerds, freaks, geeks,
weirdos… all together, they’re cool.” Margaret: “I want to know what others are doing,
and that they know what I’m doing. I like to
Mary: “This is a rich culture of know that what I’m doing isn’t in a vacuum.”
artists, actors, tinkerers.”

“People are learning they have talent.”
Edgar P.

Margaret: “I don’t know my neighbors… Until searching for Steampunk online, many of my
it would be weird to knock on their interview subjects were doing these modifications/
door and speak to them.” creations because these topics of science fiction, alternative
histories, Victorian interpretations, modifications, etc,
Walt: “If I could only keep one thing, it would were interesting, rather than trendy.
be the friends I’ve made while doing this.”
Margaret: “I just want to connect. You
It was through their involvement with the online can get involved in Steampunk without
Steampunk community that encouraged the Steampunks making your life more complicated.”
to be “deliberate” rather than “casual” about their
“modifications.”
| 57

“[Today’s tech] is so boring-looking!”
Lucy M.

There are elitists within the community, but they were An interesting insight from all of this is that the internet
dismissed by my interview subjects. brought these people together; they are from all over the
Western world and tinker in their homes and garages. It
Edgar: “There aren’t many Steampunk elitists. was made clear to me by almost every interview subject
They take the fun out of Steampunk!” that without the internet, he or she never would have
known about Steampunk. Why would they? It’s a spin-off
My interview subjects also spoke about outside opinions
of a niche literary genre that was popular in the 1980s.
about the Steampunk community, and how it is more
accepting of Steampunk than other communities and
cultures perceived as “niche.” Learning/sharing/problem-solving
This could be considered a sub-topic to the community
Edgar: “When together, Steampunks topic. This topic is important because the Steampunk
are cool to everyone; not a menace community is peopled with tinkerers, yes, but tinkerers
the way society sees Goth.” who share their process. This is where we begin to see
delineation between crafters, artists, and makers, which I
Walt: “We’re loners. We like autonomy. We will go into a bit later in this paper.
don’t want to be in charge, we just want to be.”
Margaret: “My hobby is to read how-to articles
Edgar: “Even if people don’t love online. ...Steampunk is full of people saying ‘hey,
Steampunk, they tend not to shun it.” do this. See how I did this.’ ...I’m not the kind of
person to make something and keep it to myself.”


Harriet: “I’m always interested Charlotte: “I have a tendency to learn trades that
to see what others make.” aren’t viable anymore. By teaching, I get to feed
off the conversation of another’s creativity.”
There is a feedback loop within the community that
comes from sharing techniques. This loop is fostered and Margaret: “It wasn’t until I saw someone else
encouraged by Steampunks, as is this pervasive mood of do it that I thought I could learn to do it.”
exploration, innovation, and experimentation. This is
why the blogs, forums, and websites are imperative to the Louisa: “You can tell what the good
explosion and nurturing of Steampunk; it requires the ideas are because everyone does it.”
interest of people who want to learn and do more.
Edgar: “You are not evolving as an artist
Walt: “Showing your technique comes from unless you are teaching someone else.”
open source geek and maker culture.”
Mary: “When you teach someone, you open their
Harriet: “I like that, I’m gonna eyes creatively. …I make things to teach/publish
try that, I’m gonna do it.” so others are excited to make, teach, create.”

“It’s sad that the computer is this lump of beige plastic and metal.
It should look like its importance.”
Walt W.
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Through Steampunk’s online presence, those new to the Edgar: “I do everything I can to make [my
culture and community are able to discover things about designs] fantastic because my name is on it.
themselves as they read, experience, and absorb available These contraptions describe my personality.”
information and projects.
Mary: “This is completely personal. This is
The Steampunk community is about empowering others unique to me, means something to me.”
to utilize the talents and skills they have at hand to make
something of which they are proud. Whether speaking about a Steampunk modification
they or someone else made, or speaking about a found
Victorian era artifact, there is an emphasis on the story
Unique/individual (story)
behind the artifact. My interview subjects said this didn’t
My interview subjects spoke of the importance of items
happen with bought, unmodified artifacts because no one
being “personal” to them, and unique. Now, given that
questioned its existence.
they were all members of Western culture, there was a
heavy emphasis on individuality that I wouldn’t, perhaps, Herman: “With Victorian things,
see in Eastern culture according to my research on everything has a story!”
personal identity.
Edgar: “I put a lot of thought into what
Louisa: “People like taking stuff and I build. There’s a story behind my design
making it their own thing, being individual. and people want to know more.”
Steampunk goggles are like snowflakes,
they’re always different, always intricate.” Harriet.: “It’s not just clothing and
fabric. There’s a story there.”
Lucy: “You really don’t have individual
aesthetics in real life.” Not only is Steampunk about making artifacts meaningful
due to the time spent in the modifications, it is also about
the ability to be someone else, very like the cosplay I did

in my autoethnography study. Steampunk allowed my interpretations and therefore encourages Steampunks
interview subjects to be themselves, but a skewed version personal interests.
of themselves, a version which emphasized a particular
aspect of their personality or history that they didn’t feel Drawn to unique things
comfortable emphasizing every day. This topic relates directly to the previous one, because it
is a collection of thoughts on taking an existing artifact
Louisa: “Steampunk accepts me, it’s an ultra-
and altering it in some way because it makes it interesting/
cool version of me. I’m a chemist, so I made
intriguing. There is an explicit act my interview subjects
a character inspired by Marie Curie.”
are taking in seeing the artifact not as a finished product,
Lucy: “I love the military style, but as a creative resource.
it fits my tomboy look.”
Herman: “It doesn’t have to be the
Edgar: “[My designs] bring out the kid in me.” way it was when you bought it.”

Harriet: “I’m sure most Steampunks wouldn’t Louisa: “It’s about what it could be, not what it
call themselves designers, but when you create is. I’m always thinking in the back of my head…
something your personality comes out and finding replacements from traditional use.”
it is fun to see what they come up with.”
Lucy: “It’s nice to see reinterpretations of things.”
Charlotte: “I fall into the explorer, grungy, gypsy
Edgar: “’That’s junk.’ ‘But it isn’t
arm of Steampunk. It’s a way for me to bring my
to me, it’s potential art.’”
passion for historical clothing into everyday life.”
Margaret: “I want to take this and
The idea of making items unique and individual
transform it into something else.”
is prevalent in the Steampunk community due to
its patchwork history. Steampunk accepts multiple
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Charlotte: “I love anachronistic things I found these quotes particularly interesting because
not in any particular time.” I know many designers who would argue that the
Apple products are “pretty,” that they look like their
It was mentioned that there exists a disconnect between “importance.” While these products are sleek and modern,
people and the artifacts in their lives these days. We are they are homogenized, which counteracts the idea that
surrounded by items that have little meaning to us, and there is a beauty in “organic” designs.
don’t look their importance to our lives.
Organic in this instance can be taken to mean unique,
Herman: “We no longer have [traditional] individual, idiosyncratic, etc. Something is lost in the
craftsmanship, beauty of objects. People may not design of technology because they are clones.
be able to verbalize, vocalize… but are attracted
to these solutions because they are elegant.”
Creative tools
Edgar: “Organic and beautiful means Because I spoke to artists, inventors, etc, it was important
something to the race of people.” to establish what the Steampunks considered their tool
set. There were traditional and surprising answers to
Harriet: “Things that we use this question which reveals a lot about the Steampunk
should be pretty, too.” community. Mainly, that everything is a creative resource
and therefore can be considered a creative tool.
Walt: “Increasingly, technology is your
connection with friends, family, media; the Louisa: “I like to work with my hands.
way culture makes its way into your home. Your biggest tool is your imagination.
It’s sad that the computer is this lump of And glue. Lots of glue.”
beige plastic and metal. It should look like
its importance. You spend so much time with
technology and stuff; you want it to be pretty.”


Edgar: “I use mostly hand tools. I made my tools Mechanical comprehension
by hand. I’ve used them since I was a teenager. Handwork ties back to the idea of mechanical
My mentor told me ‘these are the only tools you’ll comprehension. For example, when you see a hammer, you
need,’ and for the most part, he was right.” pick it up, feel the heft. You know you pick it up by the
handle because it looks as though it would fit your hand.
Mary: “I love having a hammer in hand.” You notice the weight of the hammer head, which hints at
the hammer’s use.
Margaret: “My favorite tool is the internet.
It’s like my second brain. My least Herman: “The romance of ‘I can better
favorite tool is commercialism. Because understand this’ than current tech; people
of money, people are afraid to share.” are yearning for something they can hold
and understand. Modern tech is slim,
There is an emphasis on this sort of bricoleur mindset, i.e.
mini… you don’t understand the tech,
the idea of utilizing existing and available knowledge and
it’s not like being powered by steam. By
materials to create a satisfactory artifact.
looking at something from the steam age,
There is also an emphasis on handwork, the idea of you can get an idea of how it works.”
making something physically so one is able to react to
Margaret: “I can’t groc a computer. I can’t
the physicality of the artifact. The tangibility factor is
conceptualize how a computer chip works. But I
in contrast to digital creativity, where the materials and
can conceptualize a watch, and it’s amazing. We’re
properties are abstracted behind a monitor screen.
looking at working with our hands as a romantic
The Steampunks I spoke to wanted to engage with their thing because we no longer do it regularly.”
materials on an intimate level which they felt was lacking
The Steampunks I spoke to mention the annoyance and
in the creative computing world.
frustration that comes from not having the ability to, in
essence, study current technology the way one can study
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a hammer. As mentioned in the capstone of one of my Inspirational source
peers, Matt Snyder, it is important to be able to unpack a Many of the Steampunks admitted that the internet
design into its parts. lets them do “anything” and is a “lifesaver” because of
the aforementioned sharing that comes with the maker
Craft vs. Art vs. …? methodology. The community sharing of methods,
Interestingly, the Steampunks I spoke to were very specific tools, and inspirational sources influences individual
when I asked them what they call what they do, is it craft, Steampunks, and vice versa.
is it art, it is something else? I’ve split their answers into
It was mentioned that inspiration comes from an
three subsections to highlight the differences, the italicized
“amalgamation of everything” Steampunks have seen, and
emphasis is mine.
that there is something wonderfully fun about “layering
The last column of this table showcases the importance creativity atop the everyday.” In terms of Steampunk,
of previously mentioned topics: community, learning, the Victorian era, and more specifically, the Industrial
sharing, problem-solving, etc. This bit of information is Revolution, Walt emphasized that this era was “all about
where I began to hone in on the idea of the user-maker, how you make things.”
which eventually became simply, the maker.


Craft Art Make
Harriet: “Craft is the Harriet: “Why do you Margaret: “I craft, but I have aspirations
creative process applied always need a reason to say I make. Craft is for yourself.
to something physical, to do something? Some It’s not make until someone else
something useful. I art is just because the sees it. To say you are a maker, you
prefer the term ‘craft.’ artist felt like it.” need to pass on your knowledge in a
It’s more hands-on.” consumable, understandable manner.”

Margaret “Crafting Mary: “By making Walt: “I call what I do making. The
used to have a bad [Steampunk] jewelry, goal is in the time spent, not in the
reputation. Homemade I can wear it around, end product. And then the sharing.”
meant you didn’t have rather than hiding
enough money.” it at home.”

Charlotte: “Craft doesn’t Lucy: “I can’t afford
encompass all that I do.” to make art.”

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We are in the midst of a similar revolution due to What is Steampunk?
ever-escalating issues with the world economy, an Simply put, Steampunk is “kind of like Mad Max
overabundance of homogenized technology, and a meets Jane Austen,” as said by Mary. It is a “romantic
disconnect with the artifacts in our lives. We as people interpretation of the Industrial Age,” according to
want to know where our artifacts come from, and feel Margaret, a “futuristic technological interpretation of the
connected to them. past,” according to Lucy.

It may not be technology for everyone, as shown by If there is anything this section should emphasize, it is, as
my peer Charles Page; his artifacts orbit around his Mary explained, that Steampunk as a style isn’t “new, the
passion for sports, and so he collects and admires sports name is new.”
paraphernalia. He selects certain jerseys because of specific
players. As the jersey becomes imbued with his passion, Steampunk as a style, community, ethos, etc, “reaches
it allows him to feel connected to the player. By wearing out to everyone,” according to Edgar, due to its bricoleur
the jersey, it is as if he is one step closer to the player, and mentality because it’s “really all about what you bring,
therefore the game. your version, what you understand about it.” Louisa
emphasized that Steampunk is a “self-selecting moniker.”
Similarly, I argue that technological artifacts (i.e. sports
jerseys by my analogy) can be imbued with our individual Material knowledge
passions, allowing us to feel connected to the “game,” “Your technique, materials, and style determine
whether that game be connecting with family, friends, the artifacts you create.” — Mary S.
professional peers, etc.
As mentioned before, Steampunk is a hodgepodge of
creativity, inspiration, and making. The emphasis is on
what a person brings to Steampunk, rather than what
Steampunk can give the person.


“I would like Steampunk’s definition to be a community.
People who feel they don’t quite fit, but there’s an enjoyment
in not fitting, together.”
Walt W.

Therefore, the material knowledge varies from person to Many of the Steampunks spoke of the importance of
person. Many of the Steampunks I spoke to, however, creativity during their time while not at their day-jobs.
discussed using found objects as a preference over bought Walt spoke of how his “real job is boring, I didn’t want to
objects (Louisa, Mary, and Walt). do it, I fell into it more than anything.” For him, being in
his workshop is “therapy;” he can “work and concentrate
Found objects are affordable. There is a freedom to make and having something tangible” that he can show to other
something new out of something perhaps completely people. The fact that he can pick up his artifact and show
unrelated to the end design because the found object it to others who can hold it and physically understand the
wasn’t financially valuable in the first place. It’s like Walt work that went into it is key.
said, “I always tell people break it until you make it. Pull
something out of the trash, experiment with it, rip out Digital artifacts don’t have the same sense of wonder and
parts until you know how to fix it.” experience that a physical artifact has, but that doesn’t
mean we can’t design for this sort of showing off, as it
Creativity were, in mind.
“Being in information technology, I help
Louisa explained “if you only do one thing, you get
everyone else make stuff and be productive
bored,” and that is why she dips her hand into multiple
and have something tangible.” — Walt W.
crafts. Mary supported this claim by saying that “play and
| 67

creativity are appealing” to people because it is a way for This is why Chad Camara, one of my peers, designed
people to have fun and express themselves. Further, Mary a way for World of Warcraft players to strengthen
said that “beauty expresses the self, while creativity is in their community by acknowledging the importance of
the working.” screenshots (i.e. photographs) in a digital world.

This is why Emily Allen designed an iPhone application
The importance of DOING
for the future, where teen diabetics can take a blood
Everyone but the merchant spoke of the importance of
sample and not suffer the social stigma.
doing, and doing it yourself. It was mentioned that “going
the easy route,” i.e. buying something premade, or simply This is why Lynn Dombrowski is talking about the
choosing an easier method for creating something, “isn’t importance of digital memories in the form of photos, and
as fun, not as creative.” Lucy said she loved the challenge why digital photos are not merely files and data, but visual
of determining her “resources, time, and skill,” because triggers for our personal histories.
it isn’t something her occupation requires. Harriet had
the great point that “anyone who is passionate about Sure, I am speaking of technological artifacts and how
something and can’t buy it is going to try to make it.” we can empower our users, a.k.a. makers, to at least have
the possibility to appropriate our designs. But when it
This is key to so many things. This is why I went to comes down to it, this entire thesis is about passion. The
graduate school, for instance, because I wasn’t seeing the passion to do something, anything. The passion to create a
human element in my software programming curriculum. change. The passion to make a contribution to the world.

“If I was alone on a desert island, I think I’d be doing something.”
Margaret F.


Discovery
When I speak of discovery as a topic of discussion, I by the way, and I suggest you check it out), and Broken
mean to say the discovery as Steampunk as a community, Gears. She admitted, however, that because she is new to
culture, aesthetic. In terms of business, Edgar told me the community, she still feels like she is “on the outside
that there are three definite categories in which merchants watching in.” When I asked her why she felt that way, it’s
group themselves: modification, building, and assembly. because she hasn’t had the time to “do” anything, to “make
Due to the proliferation of Steampunk blogs, forums, and anything” for her cosplay.
other communities, these merchants are able to advertise
their wares to people who had no idea Steampunk existed. So again, it’s the realization that there are others in the
world who are interested in the same sorts of topics and
Margaret admitted that before she realized there was a activities that make Steampunk what it is. Only through
Steampunk movement, she “loved gears, airships, and sharing of one’s activities are others able to see it and say,
the movie Castle in the Sky,” so finding Steampunk was “wait, I like this stuff too, we should totally be friends.”
a natural fit for her. Louisa said she became interested in
Steampunk from her anime cosplay, because her friends
were starting to do Steampunk interpretations of their
favorite anime characters.

Lucy found Steampunk through online webcomics such
as Babbage and Lovelace (a hilariously nerdy webcomic,

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Creative process
The collective creative processes
of my nine Steampunks can be
summarized in the simple flow that
I drew. I encapsulated “bug in my
ear” for Charlotte, “seeing something
interesting” for Margaret, and
“drawing” for Edgar into inspiration.
Research encapsulates looking for
and gathering materials, surfing the
internet, etc.

I especially liked Walt’s creative
process, as it begins when he finds
something that “suggests what it
wants to be,” because he thinks the
“blank page is intimidating.” For
him, he likes to build off existing
Negative use of “punk”
The Steampunks who know of the ‘what if this happened?’” Herman
designs because it gives him a starting
history of the punk ethos, however, seemed to agree, stating that being a
point. Edgar’s process includes the
seem to rebel against the use of punk punk is about being a rebel, and he,
sharing his creative process to “prove”
within the Steampunk community. therefore, was more into the “steam
he isn’t a “poser” pretending to be a
“Punk,” said Harriet,” is about part of it.” To him, being a punk/
“true” Steampunk inventor.
screwing the establishment, not about rebel is bad for his business, and not

an appropriate indicator of his personality or interest, 5. Steampunks use familiar materials and
which I found interesting. After all, Herman spends to facilitate their creative projects.
a good deal of his money converting his technology’s 6. Steampunks reference online communities to
physical appearance to seem Victorian. To me, this speaks faciliatate the use of new tools and materials.
of rebelling against the modern understanding of what
7. Steampunks draw inspiration from
is beautiful technology, or simply, what is beautiful and
the mundane and beautiful.
desirous in the home.
8. Steampunks believe in doing
things with their hands.

Summary of Findings 9. Steampunks revel in the fact that there is a
community of persons with which they can
In summary, I feel the important aspects to pull from my reference, admire, and become friends.
interviews are the following:

1. Certain Steampunks belong to the
Maker culture, or aspire to belong.
2. Steampunks miss the days when they had
more control over the objects in their lives.
3. Steampunks are talented, and enjoy
sharing their talents with others.
4. Steampunks like items to be individualized,
and more than that, personalized.

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Case Study: Appropriation in the Wild
The scope of my data included 33 magazine articles
analyzed, 68 blog posts examined, and 12 Deviant Art
artist galleries, 20 Flickr groups, and 11 Etsy merchant
websites viewed. To gain insight from the exemplars
chosen, I followed Fleming’s model of artifact study
because it studies the relationship culture and individuals
have with artifacts, and vice versa. The Fleming framework
for artifact analysis is two-fold: classification and analysis.

The five-point classification consists of the artifact’s 3. Appropriation, Steampunk-style:
properties: history, material, construction, design, and identity by modifying technology
function. The four-point analysis consists of a cultural
understanding: identification, evaluation based on values
of the present culture, cultural analysis using on selected
Bodily Appropriation
aspects of the artifact’s culture, and interpretation. Contrariwise, a blog collecting the photos and stories of
persons who get literary tattoos, has collected, at the time
I looked at Steampunk technological appropriations, but
of writing this paper, sixteen different versions of Kurt
also at unexpected examples of appropriation, organized
Vonnegut’s famous “so it goes.”
into these categories:
The story associated with the tattoo shown above13
1. Bodily appropriation: identity by
explains it was created by the wearer and his friend. The
tattooing the human body
image is a “triangle consisting of rock, scissors, and paper,
2. Appropriation of the everyday: identity
by repurposing everyday artifacts 13 http://www.contrariwise.org/tag/so-it-goes/

representing cycles of success and failure, gain and loss, the tattoo which references the childhood decision game,
power and weakness, etc. Nothing is ever absolute.” speaking to their steadfast relationship.

This tattoo, in comparison to other “so it goes” tattoos, The significance of this tattoo is that while the message is
has additional meaning because it was designed between “nothing is ever absolute,” the tattoo itself is, in a manner,
friends, whereas other tattoos are only the words of absolute by the nature of its existence. The tattoo is a
Vonnegut’s prose. That said, the fact that there are so reminder that “nothing is ever absolute” is, perhaps, the
many renditions of the “so it goes” tattoo speaks to the one absolute.
cultural significance of Vonnegut’s words in the United
States. Additionally, there is the fact that the two friends Through tattooing, the wearer has appropriated his elbow.
chose the game “rock, paper, scissors” to represent “failure, He has done so by adapting the elbow, an innocuous joint,
loss, gain/loss, and power/weakness.” Two friends designed to himself in a way that not only redefines the elbow,
| 73

wearer accompanying the photo. However, knowing the
entire prose of the poem reveals, perhaps, that the wearer
is used to being the supportive friend/family member who
also needs a shoulder to cry on every now and then.

The photo does not do a very good job showing where the
tattoo is located, but again, its existence says something
but also relates the elbow to his identity; to his thoughts, about the wearer’s identity, and changes the wearer in a
beliefs, qualities, characteristics, etc, that define him. way relates to his/her identity.

Another Contrariwise find, the literary tattoo shown
above14 is an excerpt from Charles Bukowski’s poem 462-
Appropriation of the Everyday
0614, reading: “When the phone rings / I too would like
to hear words / that might ease / some of this.” Design Sponge, a blog dedicated to “reviews, articles,
features, rant and raves on all things design related,” often
The poem is about the troubling reality Bukowski finds
showcases the creative ways people use everyday artifacts
himself, now published and well-known, when admirers
to reflect their personal style. The image on the next page
phone him asking for his secret. His poem is about his
shows how someone has taken toilet paper rolls to make
readers, who contact him for words of wisdom, and it
wall art for their living room15.
tears him apart, for he too “would like to hear words that
might ease some of this.” This everyday appropriation of the toilet paper roll
showcases how creative persons tend to see art materials in
In comparison to other tattoos, there is no story of the

14 http://www.contrariwise.org/2009/09/28/462-0614/ 15 http://www.designspongeonline.com/2009/11/diy-project-toilet-paper-

roll-wall-art.html

Through adapting the chair, he redefined it to become
slick, modern, “high society,” reflecting Will’s identity.

Ran Hwang’s work, showcased on page 75, utilizes
everyday materials such as push-pins and buttons to create
massive wall-sized art pieces17. The purpose in using
anything, from the most mundane (toilet paper rolls), to everyday materials, she says, is to use “materials related to
the most sophisticated (computer monitors). the fashion world.”

Why toilet paper rolls? Because they are always in supply, It is pointillism, but rather than using tiny dots of paint,
easy to work with, and allow the do-it-yourselfer to Hwang uses buttons and push-pins. She takes innocuous
recycle. By appropriating the toilet paper roll into wall art, items and creates impressive works of art that amaze and
the artist redefines it as an art material. In the process, the
17 http://curbly.com/diy-maven/posts/7672-ran-hwang-s-button-and-push-
artist creates a piece reflecting the importance of recycling,
pin-art
which in turn relates the art piece to the artist’s identity.

Another Design Sponge find showcases the work of a man
with an old library chair16 he bought for $15 (right).

By applying paint, stenciling, and wooden veneer, he used
his do-it-yourself skills to update the chair and reflect his
personal style. What might have been considered an old
chair to throw away, or a chair to leave as a finished piece,
the artist, Will, used the chair as unfinished material.

16 http://www.designspongeonline.com/2009/12/before-after-wills-chair-

autumns-office.html
| 75

inspire, causing the viewer to rethink their relationship (Odom). Rather than the chrome of modern computing,
with similar items. Steampunk harkens back to brass and cherry wood, which
encourages a “more enduring human-artifact relationship
The most important thing in terms of these everyday and potentially slow our disposal of digital things”
appropriations is, again, the act of creation, of creativity. because it “improves a product’s appearance in ways that
Of adapting materials that would not normally be communicate its age and usage in dignified ways, which
considered fodder for creative projects in order to reflect its owner(s) may take pride in” (Odom).
the creative/do-it-yourself identity and potentially
influence future projects. Pictured on page 78 is a bracelet created by the Etsy
merchant 19 Moons. It was listed in the “handmade”
section of the online marketplace, with the following
Appropriation, Steampunk-style description (emphasis mine):

And now, we come to the exemplars that really inspired “Constructed entirely of vintage elements, this is
the direction of this capstone project: Steampunk! As an authentic time capsule and eco-friendly, too.
mentioned before, Steampunk has a very specific aesthetic
of brass and wood, with a sort of addiction to cog A partial 1940s-era Ruby jeweled watch
wheels, gears, screws, and clocks. The exemplars in this movement is collaged with genuine WWII
section include everything from jewelry to keyboards, all winged paratrooper balloon emblem and
following that same aesthetic and imagination of “the path clock/watch gears. This in turn is set onto
not taken” (Gross, C). a vintage clock like brass wheel, telling of
frozen times past, or distant future.
The materials used in the Steampunk style of
appropriation are pleasing and seem classic precisely All are mounted on a vintage brass cuff
because they are “perceived to improve rather than bracelet of Art Nouveau style. The patina
deteriorate with age” because they are natural materials on the clock dial and movement attest to

| 77

Bulloff ’s interview where a Steampunk explained
(emphasis mine),

“I feel as though the heart of Steampunk lies
in its ability to grasp at what works in a set
of moral and societal values and bring them
to the forefront. For example, the DIY culture
of anti-mass production is truly inspiring. I
love holding something in my hands that I
know a lot of time and thought went into.”

This, additionally, supports my suspicion that “physical
touch matters” more than many human-computer
interaction designers think (Norman). If designers want
true age, beautifully ravaged by time. This to create artifacts that encourage appropriation, and
unique piece would not be out of place in therefore empower their users to find themselves in the
the world of Dr. Who or HG Wells.” appropriated object, there needs to be more than one level
of interaction, i.e. sight, touch, weight, etc. As mentioned
As mentioned by the merchant, this is a cuff bracelet made by Ratt (emphasis mine), “it is the physical nature of
in the Steampunk visual aesthetic. It is “eco-friendly” in Steampunk that attracted us to it in the first place,
its reuse of “vintage” i.e. 1940s-era clock watch parts, however we first heard of it. We love machines that we
reflecting the growing sustainability movement within can see, feel, and hear. We are amazed by artifacts but are
Steampunk (Sterling). The description reveals the pride unimpressed by ‘high technology.’”
that goes into the making of this bracelet, supporting
One might argue that the Steampunk style of
appropriation is nothing more than customization. It

is a surface change to meet the
requirements of a specific user,
who just so happens to belong to a
community where many individuals
prefer that same set of requirements. has been appropriated,
Perhaps this is true. because its use has been
changed in a way the
However, customization doesn’t original designer never
necessarily have the same meaning, could have imagined.
or deep level of meaning, the way I
imply appropriation does, because This USB device was
appropriation, the way I have defined created by Will Rockwell, an Etsy metal that tends to age well. It
it, insists that it is the act of adapting merchant.18 As he describes it, the is handcrafted, first, because the
the object to oneself in a way that drive is a “4 GB flash memory,” and creator said as much in the original
redefines the object and relates it to while it “looks like something that description. Second, one can guess it
one’s sense of self. came out of Captain Nemo’s vest was handmade because it is imperfect,
pocket, I assure you this drive has not and rejoices in its imperfections.
While the Steampunk appropriation been underwater. This is a one-of-a-
is, perhaps, a very specific style of kind art object, hand made of brass One cannot argue “handmade
customization, it is still appropriation and copper.” artifacts” do not take a “significant”
due to the fact it is changing the amount of “time and skill to
interaction with the technological It uses brass rather than silver or create” (Rosner). In fact, I believe
object. The USB drive on this page, chrome, precisely because it is a it is because the handcrafted object
for instance, will elicit a different “physically embodies the skill and
sort of interaction that the typical 18 http://www.etsy.com/listing/29791237/
USB drive. In this way, the device steampunk-pocket-memory-usb-4gb-flash
| 79

time involved in its production” that such Steampunk-
appropriated items are popular.

I sincerely believe handcrafted artifacts are “charged” with
the “history, narratives, and memories of their creators
as well as the people with whom they interact,” and that
this encourages appropriation (Rosner). The ability to
interpret an object, where the interpretation comes from
one’s life-world and therefore is highly personal, enables
appropriation where the object is redefined in a way that
reflects one’s identity.

What is the USB drive saying about its creator? It says to
me that the owner/creator wants to ensure that he takes
careful care of the drive. Additionally, it implies that
the creator wants to ensure that he does not replace this
drive soon. The fact that he put time into customizing a components and monitor in a wooden box made to seem
case, appropriating the aesthetics so that it changed his like a stage, as the 4:3 widescreen ratio is a remediation of
behavior to what one might argue is a disposable storage the Victorian stage.
unit, suggests as much.
The top and bottom of the housing are junkyard pieces
Pictured in this spread is an “all-in-one Victorian personal which Slatt painted to suit his style, which is ornate and
computer,”19 assembled by the Steampunk inventor meticulous. The stage motif continues with side curtains
Jake von Slatt (a pseudonym). He housed the computer made of black fabric with gold floral detailing. The

19 http://steampunkworkshop.com/victorian-all-one-pc


side supports are soldered brass, a Pictured is the appropriation of the system by hand painting a
popular alloy used in Steampunk the 1980s Nintendo Gameboy gothic font to resemble Victorian
appropriations for its ability to age system, made for Deviant Artist typography, and assembled gears,
well. The base is knick-knack shelving ViperSneeker’s Steampunk costume20. washers, and a little fan to simulate
found at the local dump, reflecting She painted the casing gold, relabeled the clockwork machinery of the
Slatt’s interest in sustainability and Victorian era.
20 http://vipersneeker.deviantart.com/art/
up-cycling.
Steampunk-Gameboy-110513331


According to the Deviant page, the system still works,
revealing the care and delicacy ViperSneeker took to
appropriate it. That she appropriated a 20-year-old
gaming system reflects her affection, and identification,
with it—even when using a Steampunk costume persona.

A similar appropriation is shown in top right, where
Deviant Artist Arph appropriated a Nerf Maverick toy
gun21. Inset is an image of the original toy. The attention
to detail is indicative of Arph’s artistic identity.

He used a Dremel tool to inscribe the flourishes into side,
and took the time to paint and stain each chamber of the
revolver cylinder. He reveals his historical knowledge of
guns by simulating leather detailing on the handle, and
representing a flint cock at the top of the gun.

Bottom right is a fully-encased CD player by Deviant
Artist Zuntaras22. The interaction in using the player has
become intimate because it requires the user to manipulate
it by hand, which suggests Zuntaras’ relationship with
music. By winding the hand crank on the right, Zuntaras
has an active role in turning on the player.

21 http://arph.deviantart.com/art/Dame-a-Sin-135071974

22 http://zuntaras.deviantart.com/art/Steampunk-CD-player-3-78537715
| 83

The water spigot and associated gauge control and report
the volume level, respectively. There are three horns which
rotate at their base to direct the stereo sound. To switch
CD tracks, Zuntaras must lift the lid of the cabinet and
flip an iron lever.

Computer Keyboards

Because I’m looking at the role personal identity plays working in his lab can help change the world by having
in appropriation, and vice versa, I will now do a case mastery over his machines.”
study of a particular subset of Steampunk appropriations,
Von Slatt is, as Charlotte from my interviews would say,
keyboards. I begin my keyboard artifact analysis by
is a maker. A maker, according to Charlotte, is more than
looking at the Steampunk inventor/artist who seems to
a crafter because of their willingness to be open with their
inspire almost everyone else, Jake von Slatt. A little bit of
process; to teach, to encourage feedback and discussion.
background, first.

It would be one thing for von Slatt to make his beautiful
“Meet Mr. Steampunk” inventions and keep them to himself and his family. It’s
According to an article in Wired, von Slatt (a pseudonym) an entirely different thing now that he’s put them online,
is an “IT professional, managing Beowulf clusters for a documented his process so others can replicate it and alter
small research firm outside of Boston.” Von Slatt describes it to suit their personal style.
himself as a “Steampunk mechanical hacker” who believes
the “do-it-yourself and Steampunk movements are driven According to von Slatt, he went into this modification
by the same obsession: the idea that a single mad engineer knowing he wanted to build a functioning keyboard that
was nice enough quality to use every day.

Identification After removing the keys, von Slatt cut off the “skirt” that
According to the write-up, this keyboard is made of the surrounds the key post by using a dremmel tool, and
original IBM Model M “Clicky” keyboard base, brass sanded the edges so that the key post is flat enough for
plating, keyboard keys, brass-rimmed buttons, photo a keyboard keys to be glued to it. It is this level of detail
paper to cover the buttons, felt, translucent acetate, G.E. that we can expect from von Slatt. He used gaffer’s tape to
Silicon II Window and Door Sealant, gaffer’s tape, clear deaden the sound of the keys clattering against the plastic,
lacquer, and black spray paint. and lined the top of the keyboard with black felt to cover
the beige plastic of the keyboard bed, I assume.

Evaluation The base of the keyboard is made of brass plate, which,
It’s fairly obvious to anyone looking at this keyboard while being the favorite of Steampunks, seems to be a
modification that not only is von Slatt a tinkerer, he metal that von Slatt has liked for years, as said in his
knows what he is doing. Not only does he know what he Wired Science interview. As with other Steampunks, von
is doing, but he is able to describe and explain what he is Slatt seems to have been interested in such metals and
doing so others can replicate his process. aesthetics before there was such a term as Steampunk.

For example, the reason why he chose the Model M Contrary to the true Victorian aesthetic, which we tend
keyboard was because it has “removable key caps and the to see as an egregious amount of decoration, von Slatt
under-cap has a flat surface ideal for affixing a new key wanted the design of the keyboard to be “simple and
top.” What can we learn from this as designers? Perhaps clean.” The resulting design actually takes up less space
that it is okay if we make artifacts that our users can pull than the original model.
apart without ruining the functionality? It should be
noted that even though the key caps were removable with The key faces are a mixture of typewriter keys and print-
a screwdriver, von Slatt took care to do it properly. outs for the function keys. As the typewriter didn’t have

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the corresponding mappings for our function keys (1 –
12), von Slatt typed roman numerals on photo paper and
glued them to brass-edged buttons he found. The extra
spaces from the larger keys (enter, backspace, caps lock,
etc) were covered with the left-over holes from the felt.

Cultural Analysis
Everyone, and I mean everyone, in the Steampunk
community knows about Jake von Slatt. What he does,
and what he shows on his website, is gospel, as it were.
What, for him, are fun experiments to be shared with
others have become inspirational sources for those who and a knowledge of how to take
never knew they could have keyboards and LCD monitors it apart without destroying the
that fit their preferred style. He is using the typical actual functionality. There is also the fact that, being
materials of brass and typewriter keys, yet, also throwing an IT manager of Beowolf clusters, the keyboard is his
in felt, LEDs, other pieces of equipment and technology livelihood. He no doubt works at a keyboard every day,
that he knew how to work and manage, made a keyboard and why shouldn’t a professional of his caliber have a nice
completely suited to his purposes and personality. instrument with which to work?

Interpretation The Wooden Instructable
First, why choose a keyboard to modify? Von Slatt had Now this is an interesting keyboard modification above…
the keyboard, I assume, since 1989 based on the fact it’s entirely made of wood, with handmade brass keys! The
that he also knew the exact model of machine that came creator stated briefly on the Instructable page that he was
with the keyboard. There was history with the keyboard, “tired of the ever present brass frame.”


What other material was prevalent in Victorian designs, wooden frame, and lack of any indications that it could,
and subsequently Steampunk? Wood, of course. potentially, be steam-powered.

I haven’t been able to find a lot about this creator, The keyboard is made from an old-styled mechanical
username Phirzcol on Instructables. Phirzcol’s profile on keyboard; one of the commenters suggested a keyboard
Instructables states this is his only instructable since he from 1995 or earlier. The 1/16th inch thick hardwood
joined the website in 2007. He doesn’t have a personal was steamed for softening, and then glued to the original
website, but plans on having one soon. Phirzcol’s interests plastic frame with a quick dry glue. The steaming was
include “electronics, internet, hardware hacking, diy, done in order to mold the wood to the plastic. The keys
science and fantasy fiction, steampunk, and anything you were handmade from brass tubes, metal tube cutter,
can make at home with few tools.” printed numbers and letters, cyanoacrylate for the glue,
and a polymer resin.
This is my assumption (a fairly safe one, at that) based on
the fact that Phirzcol has been a member of Instructables
Evaluation
since 2007 and lists DIY and hacking as interests: Phirzcol
This guy knows what he is doing, and is able to give
belongs to the DIY, user-creator arm of Steampunk that I
instructions for people to replicate his work. Phirzcol
find so intriguing. Let’s analyze the keyboard with this bit
not only made an entire set of keys by hand by cutting
of information about the creator, shall we?
brass tubes to the correct height, printing out numbers
and letters, capping off one end of the brass tube with a
Identification wooden circle and then filling the tube with a resin. He
This is a superficial modification of a computer keyboard, bent wood by steaming it, applying a glue, and fitting it to
that is, the modification changes the look and feel of the the original keyboard frame. He then drilled the key holes
keyboard, but not the function. The style of modification from the back, using the plastic frame as a guide. This is
is declared to be Steampunk by the creator, though, to not, perhaps, the most beautiful Steampunk keyboard, but
me, it simply seems more organic, perhaps because of the a lot of time and ingenuity went into its inception.
| 87

Phirzcol knew what others were doing for their “That’s a pretty good idea. You do that for your project. I
modifications, and decided to do things differently. Is this like mine.”
because he knew a different way to get the same effect? Is
it because he didn’t have the same materials or resources Interpretation
as other modders? Is it because he likes to be different, Once again the ability to pull the original artifact apart
and do things in a unique way? I feel it’s probably a without destroying its function is the first step to the
combination of all three. personalized appropriation. If we are to empower our
user-makers with our designs, therefore, I feel we need
Cultural Analysis to design for dis-assembly in some form or fashion. One
Though this was posted in 2007, it seems those who part of appropriation, at least in the manner I’m studying,
commented on this instructable were familiar enough with requires a feeling of “I can try this, and I won’t break it,”
Steampunk keyboard modifications that they asked why or, “I can try this, and maybe I’ll break it, but I probably
Phirzcol didn’t use existing keys from a typewriter, rather won’t. Let’s find out…”
than making his own.

While commenters expressed their admiration for his The Remington
dedication, they seemed confused. Why create an entirely On the next page is the “Remington keyboard,” created
new key, if typewriters exist and can be put to use? Why by Quentin, a maker in Paris, France. According to the
put so much time into that particular part of the project? blog writeup at Of Small Wonders and Great Wanders,
Why not add wooden detailing, or add little mechanical Quentin has been interested in the Victorian era for quite
flags that pop up and down depending on the different some time. He mentions Houdini, Tesla, Art Nouveau,
special function keys chosen (caps lock, num lock, etc). etc, calling the era “rich,” “creative,” “dynamic,” etc.

Phirzcol’s answer to many of these questions is simply, As with other Steampunks, Quentin was intrigued by the
“just personal artistic preference.” I interpret this as, idea of “the future that never was,” and “retro-futurism.”
It wasn’t until he began looking online, however, that he

and DIY arm of Steampunk. It’s not enough to try to
replicate what someone has done previously, whether
it is because you don’t have the same tools, materials,
knowledge, etc.

The fact is that no matter how you try to replicate what
someone else does, it will never be an exact replica because
you are not that person. You are you, and therefore, you
will do things differently. You will flourish your paint
discovered the term Steampunk and the varied associations brush with a different flick of the wrist, etc.
with it. I’d like to use Quentin’s words to show how he
responded to Jake von Slatt’s keyboard; emphasis mine: Identification
This is a keyboard that belongs to a Remington typewriter.
That’s how I discovered Mr. Von Slatt’s
It has been modified with leather, brass buttons, brass
creations and especially his “steampunk
tubing, other metal embellishments, and what looks like
keyboard“, a brilliant idea with great appeal
gold paint beneath the leather.
to the geek living inside of me (I hear him
sometimes at night, screaming insults to me in
php language… it’s hard you know). Inspired Evaluation
by his work I decided to try it, but of course According to the writeup, this is the first time Quentin
without copying his original (first because I has attempted such a modification. Quentin must have
don’t have any workshop and any of Von Slatt’s had some experience working with leather previously,
tools, second because imitation is pointless, you because it is known to be a difficult material to work with
always have to, at least, add your own touch!). due to its inflexibility and general unwieldy nature. The
brass and metal embellishments are a nod to the Victorian
This is a pervading attitude within the DIY community, aesthetic as admired through Tesla, Houdini, etc.
| 89

The name of the keyboard has more than one meaning, where the anonymous commenter stated the modification
especially to those with some historical interest. True, as didn’t look very good. Responses included:
Quentin mentioned, the keyboard is a Remington brand.
However, there is also the Remington arms company, a • Isorobot: “Great job! looks more rustic than Von

separate entity, as well as the company which produced Slatt’s. More of a laboratory or field use model than
both Remington guns and typewriters. I suspect the style the parlor room models!”
of the keyboard modification is a nod to the historical
• Datamancer: “It’s a great mod, especially for a first
context of the keyboard itself.
project.”

Cultural Analysis • Zupakomputer: “It looks great, don’t listen to that
This is a perfect example of how Steampunks inspire insulter – I doubt they typed their ‘comment’ out on
one another. Here we have Quentin, a blogger who was anything other than a standard keyboard.”
so inspired by von Slatt’s work, and so empowered and
emboldened by von Slatt’s explanation of how he did his • Anonymous: “Excellent work, especially for a first

modification, that Quentin thought, “Hey, he did it, I can project, as for the first Anonymous – the maker of
too.” Yet, Quentin didn’t have the same tools or materials the Remington stated he wasn’t copying any other
as von Slatt for the modification, which didn’t deter him, keyboard, comparing it is not fair.”
I suspect, because he was confident in his ability to adapt
• David: “Hey good job, I think it’s great that you
von Slatt’s detailed instructions.
came up with your own design. I’m not as talented,
There are multiple comments on the Of Small Wonders but I can copy so, I’m working on recreating Von
and Great Wanders blog entry describing the keyboard Slatt’s design myself. It takes quite a bit of time!!”
modification. Most are encouraging, though there is one


Interpretation
It seems the community aspect of the DIY arm of
Steampunk is integral to the creation of such artifacts,
especially similar modifications like keyboards. Not only
do individuals inspire one another, but the modification
of one will color the modification of another.

For example, Quentin’s modification looked like a “field-
use model” rather than the more typical “parlor room”
models one usually sees with Steampunk keyboard
modifications. Did this inspire other styles?

The explicit explanations from von Slatt’s modification The Wooden European
empowered and enabled Quentin to do his modification. Here we have another wooden Steampunk modification
What can we learn from this as designers? Perhaps if we of a keyboard, this one from Marcus in Germany. I can’t
provide the rationale behind our designs, it will allow our seem to find much information about this modder. I know
more advanced makers to interpret, adapt, and/or alter the he’s a reader of Jake von Slatt’s Steampunk Workshop
design to their particular style. website because that’s where I found this modification,
and that he had made a comment about a different
When these advanced makers explain what they did and method for creating typewriter-style keys for the keyboard.
why they did it on their blogs, intermediate and beginner I take this to mean Marcus is a problem-solver, as are
makers will feel inspired and enabled to do something most user-makers, and that he is worried about cost. As
similar, but at their level. At least, it’s a theory I have, he said on Steampunk Workshop, there are only “so many
based on what I’m seeing from the emerging communal typewriters in the world,” and not many are available on
relationships between Steampunk keyboard makers. eBay in Europe.

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Identification
This modification is made using “fancy brass fasteners” 7. Place label inside the brass fasteners
with the gems taken out for the key frames, paper, 8. Insert brass fastener inside keyboard key leg
polycarbonate sheet to protect the key printouts,
9. Replace key leg into keyboard frame
cardboard, an 80-yr-old wooden picture frame, three
And this was the process for every key on the keyboard!
analog displays for the status lights, a brown shoelace to
That’s dedication, as far as I’m concerned. From the
cover the power cord, and fabric.
pictures I’ve seen, some keys look a little more neatly done
than others, which makes me wonder whether Marcus got
Evaluation
tired of the process. Too much repetition can equate to
This is one of the few keyboards that I’ve seen where
boredom, I’ve found in my interview analysis.
Marcus really focused on the analog metaphor. It wasn’t
enough to convert the keys to a typewriter style, even It seemed important to Marcus to represent the implied
the status lights had to be converted to analog gauges to age of the keyboard modification. Rather than using
indicate on/off. This keyboard is a representation of the wooden molding and making it look old, he found old
maker’s dedication. For example, the method for creating furniture spare parts and fitted them together to encase
the keyboard keys is as follows: the keyboard frame.

1. Remove the key I’m unsure why this particular fabric was used, as to my
2. Cut off the key skirt in the manner eye, it doesn’t necessarily go with the analog gauges and
described by Von Slatt wooden frame. I would have gone with a deep velvet,
perhaps, or some other material that would more closely
3. Remove gems from brass fasteners
complement the dark stain of the wooden frame. I think
4. Print new key labels
it’s the hue of the green that gets me, but then, I’m very
5. Paste new labels to cardboard backing picky about colors.
6. Cover new labels with polycarbonate sheet

Cultural Analysis
I originally found this on Jake von Slatt’s Steampunk say that without the internet Steampunk wouldn’t exist,
Workshop, as it seems von Slatt is the go-to man for such because people involved with Steampunk have always been
modifications, or at least for sharing modifications. I interested in these topics… now they have a singular term
suspect this is because von Slatt shares his process and is to describe their varied interests.
very open and welcoming to other ideas and processes,
especially when compared to Datamancer, another well- Interpretation
known technology modder. What is the meaning behind this modification? Well,
it’s hard to say without speaking to Marcus so I’d like to
This isn’t to say that Datamancer isn’t open and
reference something from my interview with Walt which
welcoming at all, but this is simply to say that von Slatt
relates, I think. Walt mentioned that so much of how we
encourages discussion by posting to a blog, whereas
interact with the outside world, family, friends, etc, is
Datamancer has only recently created a blog and instead
through technology (our computers). As such, shouldn’t
posts to static HTML pages.
the metaphorical importance of our technology physically
look its importance?
Additionally, von Slatt doesn’t provide “DIY keyboard
kits,” and Datamancer does.
Walt said that it’s “sad” to see this “beige lump of plastic
and metal” whose ugliness doesn’t properly represent their
That said, Marcus has posted his process to a German
feelings about it, that being their connection to family,
forum named OffRoad Cult, and seemed very open to
friends, and culture.
answering questions about his process. He posted pictures
as he went along so others could follow and perhaps
With this in mind, I’m beginning to see that particular
determine where they would differ.
opinion in these modifications. People want their
computers and technology to physically represent the
The existence of the internet and its community is a huge
emotional or psychological importance. Not only that,
contributing factor to Steampunk’s existence. This isn’t to
| 93

but they want their technology to better represent their Constraints are good, right? We need to embrace
identity, how they interact with the technology, etc. constraints? So let’s embrace cost and disassembly. It
might be a step in the right direction, it might not. We
I find it fascinating that people are making these won’t know until we try.
modifications. Why keyboards, I wonder? Perhaps because
it’s easier to modify a keyboard in comparison to a
monitor or laptop keyboard. There are pieces to pull apart
Summary of Findings
and scrutinize.
There are six main ideas I have pulled from the artifact
There are tons of functioning keyboards in the dump analysis that go into conceptualizing the maker:
or Goodwill or in our basements to pull apart and
experiment with, without fear of ruining the keyboard 1. Affordability
we are currently using with our machines. As mentioned 2. Experimentation
by my interview subjects, people are more likely to
3. Learning
experiment with materials that don’t cost an arm and a leg.
4. Modification
So what can we, as designers, learn from this? Again, I like 5. Suggestion
the idea of designing for disassembly. Design something
6. Transparency
that can be taken apart in some fashion without destroying
the functionality or meaning.

If we’re attempting to empower our user-makers to make
personally identifiable appropriations, and making designs
that our user-makers can use, interpret, alter, adapt, and
explore, somehow we need to bring down the cost, as well.


artifacts so they can try different methods without
Can we design for affordability? outright breaking the artifact.
In terms of affordability, it seems if the original artifact
does not cost a lot of money, people feel freed to use them Can we design for learning?
as creative resources. Examples of this include the toilet Experimentation cannot happen without the by-product
paper rolls, push pins, buttons, and chair in the everyday of learning. Through failure we learn from our mistakes
appropriation section, as well as the 1980s computer and improve for the next time around. That said, is it
keyboards in the Steampunk appropriation section. possible for us as designers to create artifacts that facilitate
Affordability is important because it ensures there isn’t a this relationship?
lot of initial investment to keep the designed artifact as-is.

Can we design for modification?
The user’s investment into the artifact occurs with the
This is not to say that we ought to make modification
time and energy spent by using the artifact as a creative
easier, as that takes away some of the pride that goes into
resource when making it into something else, something
an unexpected modification such as Steampunk. However,
more personal to the user.
artifacts like Apple products are designed to discourage
modification at the very least.
Can we design for experimentation?
Experimentation is important because it acknowledges the I’d like to reference the Maker Manifesto from Make
importance of success and failure. Steampunks spend a Magazine, where it begins with the simple line, “If you
great deal of time using the trial-and-error methodology. can’t open it, you don’t own it.”23 There is nothing to say
that even if we don’t make modification easy we can’t make
Trial-and-error is used because it is fun, challenging, and
it possible.
oftentimes the only method available to accomplish the
desired style. If we want to empower our users to become
makers, we need to give them an “in” to our designed 23 http://makezine.com/04/ownyourown/

| 95

Can we design for suggestion? There needs to be more transparency when it comes to
As mentioned by Walt, sometimes he will see an artifact technological artifacts, whether hardware or software.
in the trash bin and it will suggest that it wants to be I shouldn’t have to click through menus if I want to
something else. I don’t know how much we can design personalize/customize the features and appearance of my
ahead of time to encourage such thoughts, as it really computer, for instance. The Windows 7 operating system
depends on the maker involved with the artifact. finally realized the benefit of making the preferences menu
easily accessible: one right click on the desktop and I can
By using familiar, organic shapes and metaphors in our customize to my heart’s content. Now admittedly, I would
technological designs, however, we may at least provide still need to know to right click to get to the preferences.
the basis for our user’s imagination.
This is preferable over the former click path: Start »
Can we design for transparency? Control Panel » Personlization » ... Have I lost you yet?
Sometimes all I have to do is look at an artifact and I
understand how it works. This seems to be happening less
frequently the more I surround myself with technological
artifacts, and it disturbs me.

When I look at a painting, I see the brush strokes and
understand how it came together. I may not be able to
replicate the process to the exact same artifact, but I can
put my brush to canvas and try. When I see a ceramic
sculpture, I can imagine the sculptor’s hands smoothing
the clay with a tool; I may not have the materials and tools
to do it myself, but I get the gist of it.


4 Theorizing the Maker


In popular culture, designers are often seen as no different
“Designers are seen as from artists. The assumption is that we see ourselves as
creative people, often the creative genius, the keepers of design thinking, as my
peers Matt Snyder, Chad Camara, and Burr Walker might
indistinguishable say. But we know this is not true for a growing number
from artists.” of designers who recognize and encourage the value of
working in teams.
Gross 2007
We designers use the methods, tools, and philosophies
available to us in order to navigate a murky design space.
In navigating this design space, we utilize a design process
to create an artifact.

We struggle, doing our best to design for clients and users
who we may or may not meet. Sometimes we have clients
who know exactly what they want and we still don’t get
it right. Sometimes we have users who have no idea what
they want, and they expect us to figure it out. To have
perfect designs, we need perfect users.

As we will never have perfect users because there are no
perfect people, we will never have perfect designs. Despite
how dour this sounds, having an imperfect design can be a
really good thing, especially if our goal is to empower our
users to recognize they are makers/lay-designers in their
own right. So what do we do?

I’d like to argue that we empower makers to take ownership Supporting the Maker
of our designs. Makers, like designers, recognize that an
as-is design is good enough for the masses, but not good With all of this in mind I am sure you are wondering,
enough for the individual. “this is fine, but how am I expected to do such things?” I
recognize that I am suggesting a radical idea to consider
As shown in the artifact study, makers see technological the user not simply as a consumer of our designs and
artifacts as “creative resources” (Wakkary). By utilizing to instead consider them a designer-after-the-design, as
their existing knowledge to interpret, alter, adapt, and it were. By doing so, I am“fundamentally challenging
explore, makers are able to appropriate an artifact. conceptions of design as a profession and of what it means
to be a designer” (Albinson).
How do we augment the maker’s existing knowledge?
It might help if we provide the materials used in our Never fear, your position as a designer isn’t challenged the
designed artifact, for, as Gross said, “knowledge of way you may think it is, and in order to convince you of
materials is fundamental to making.” We need to create that, turn your attention to participatory design.
artifacts that encourage the “unpacking” of their “parts or
functions” (Carroll). Participatory design gained steam—like that pun?—during
the 1980s as an “ethical motive for user participation,”
How do we encourage makers to take that first scary because “people have a moral right to influence their own
step to alter the artifact? They need to feel as if they can destiny, and users have a right to influence technological
interpret the artifact, emotionally or through beliefs decisions affecting their private and professional life”
(Janlert and Stolterman). We need to create artifacts (Bergvall-Kåreborn). To do this, users were brought to
made of materials that improve rather than deteriorate “participate in the design process,” and “given influence”
with age (Beuchley). We need to “create spaces for play” so that the “focus” of participatory design is to “strengthen
(Galloway). the position of the users” (Bergvall-Kåreborn).

By strengthening the role of the user, some designers have
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“We need to realize that people are intelligent, creative, and
productive contributors to communities, organizations, and
society if they are equipped with the right tools.”

Bergvall-Kåreborn 2008

questions what their role becomes. The fact of the matter
is that designers are still needed in the world, and that the
bringing in of users to the design process helps designers.
Let’s face it, users and designers do not and cannot share
“life worlds or world views” due to their knowledge and
experiences (Bergvall-Kåreborn).

Therefore, designers and users are “limited in the extent
to which they are capable of understanding each others’
experiences” (Bergvall-Kåreborn). I argue that we don’t
need to understand each others’ experiences as much as
we need to recognize that we cannot design for every
situation. Rather, by providing openings to the user, we
encourage them to continue our design so that it works
for their particular need. What I am speaking of is design-
after-design (Ehn).


Discussion and Contribution This shouldn’t be frightening but exciting as it encourages
us to ask the questions as listed by Ehn:

“How is design and use related? Who to
design for and with? Where, when and with
what means? How does a design project
Because participatory design lacks an “in-depth analysis and design processes align human and non-
of current work practices,” designers have adopted human resources to move the object of
ethnographic methodologies to cover the resulting blind design forward, to support the emergence,
spots (Davies). This is wonderful work that we should translation and performance of this object?”
continue to do, I feel.
The contribution of this work is to encourage designers
However, we should not feel as though we’ve failed if our to take full advantage of the creativity of our users and
design fails to do everything we hoped even after all of our encourage them to be makers. To do so, we need to alter
ethnographic research and participatory design sessions. our design thinking. Design-after-design occurs whether
we recognize it or not. If we do recognize its existence, I
Designers “work in variation” and have no “influence on
feel an entire world of possibilities open.
the adoption and appropriation of artifacts” (Bredies).

“Once a professionally designed artifact is
released into society, designers have no influence
on how their work will be socially adopted.”
Bredies 2008

| 101

Reflections

I’m not even sure where to begin in terms of personal This project helped me find myself, after having been lost
reflections for this project. I began thinking I would for so long I didn’t even know I was lost in the first place.
design something for nurses, and wanted a case study for I am a maker and a bricoleur. I am a Steampunk, and an
appropriation of technology… which somehow led me to interaction designer. I am a researcher, and a student. I
this radical idea that users are not users, but are, in fact, am a scientist, and an artist. I’m a jack of all trades and a
makers who we as designers should respect. Funny how master of some and this project made it explicit to me that
things work out. the world is my creative resource.

This project opened my eyes to the world of passionate For that, I am grateful.
research, something I’ve always had an interest in, but
never real guidance.

This project occurred during a very difficult time in my
life where I was struggling with health and personal issues,
and it was my refuge. Because of this project, I was able to
explore the Steampunk space through my ceramics class,
of all things.


Acknowledgments

DR SHAOWEN BARDZELL – I thought I was a bit crazy To my instructors and faculty
to follow this idea about Steampunk, but you assured
me that the topic was valid and had a place in Human It doesn’t matter whether I discussed this project with
Computer Interaction Design. You have supported and you explicitly, simply learning from you and having
pushed me, challenged my thinking, and helped me find discussions outside of class informed my thinking in ways
my place in this world. I can’t articulate.

Thank you for advising me through this thick design Dr Jeffrey Bardzell, Dr Eli Blevis, Christyl Boger, Annie
space. Thank you for being a kindred spirit. Campbell, Dr Martin Siegel, Dr Erik Stolterman, and
Samrat Upadhyay.
LYNN DOMBROWSKI – You taught me I am a spatial
learner, so that’s pretty cool. Let’s face it, I wouldn’t have
gotten through graduate school without you. You’ve
pushed and consoled me. You kept me laughing.

You’ve been my best friend, my best critic, and my best
roommate. Thank you. P.S. That’s what she said.

| 103

To my classmates To the Steampunks
Thank you for participating in design sessions with me, Thank you for taking the time to speak with me and allow
at all hours of the day and night. Without your help me to use your experiences and artifacts to inform my
and willingness to listen to my rambling mind dumps, I theory and provide its supporting legs.
wouldn’t have made it this far. It’s because of you that I
sound like I have anything worth saying. Thank you for Jean Campbell, Kimberly King, Liz Lutgendorff, Joey
being my design guinea pigs. Marsocci, Lindsey Robbins, Bruce Rosenbaum, Sean
Slattery, and Ann Uland.
Casey Addy, Thomas Baker, Robert Begley, Rachel Bolton,
Chad Camara, Jessica Falkenthal, Cheng Fan, Ammar And thank you to the unnamed Steampunks whose
Halabi, Nathaniel Husted, Gopinaath Kannabiran, openness, passion, and creativity inspired this project in
Robert Kariuki, Bobak Kechavarzi, Lorelei Kelly, Vidya the first place.
Palaniswamy, Dane Petersen, Ben Serrette, Matt Snyder,
I didn’t know it when I began this project, but it turns
Jennifer Terrel, and David Warren.
out, I’m one of you. Thank you for helping me see that.


Biography

Binaebi Akah was the Art-English-History student in high
school. She went into Computer Science and Engineering
for her Bachelors of Science degree at The Ohio State
University, a paradigm shift her parents never understood.
Akah also pursued an English minor, covering poetry,
folklore, American Literature, business communication,
and technical writing.

Another paradigm shift occurred when Akah went into
Human Computer Interaction Design for her Masters of
Science at Indiana University. She pushed the boundaries
of her curriculum by taking Fiction Writing and Advanced
Ceramics for her electives.

These courses solidified her personal position on
Interaction Design, that being “making is thinking.”

Akah is a Maker. She lives in a world of office, art, and
cooking supplies, and books. So very many books.

You can reach her at http://siriomi.com.

| 107

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All photos taken by Binaebi Akah unless noted otherwise.

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