title: Steampunk: The Inner Workings

authors: Smith, Garth Michael Parker

subjects: Steampunk

abstract: Steampunk, as a literary genre and cultural phenomena, is a relatively recent innovation that is increasingly receiving critical attention. From the proto-steampunk of Jules Verne and H.G. Wells, through the novels of its acknowledged founding fathers K.W. Jeter, Tim Powers and James Blaylock, to contemporary works by China Miéville, Cherie Priest and Paul Di Filipo, steampunk has been plagued by the lack of a unifying definition. Every author, academic and critic has their own definition of it, which may share similarities with others, but none of them can agree on the core ingredients of the genre.

Related to the important task of defining steampunk is the need to answer the question: 'Is steampunk a literary genre?' In many respects, steampunk has moved beyond the literary world. Fashion, art and sub-cultures have all embraced steampunk as a style, an aesthetic, a way of life and even a philosophy. This could be the reason for the inability to find a single unifying definition of steampunk.

This thesis will argue that, rather than a genre, steampunk is best understood as an aesthetic which can be applied, like any aesthetic, to any literary genre to produce a work that is steampunk-inflected, such as science fiction steampunk, alternate history steampunk, steampunk fantasy, historical steampunk, steampunk romance or gothic steampunk. After evaluating both scholarly and popular definitions of steampunk I will explore four key aspects of the steampunk aesthetic: the neo-Victorian tropes which dominate steampunk texts; the relationship between magic and science in the steampunk universe; the places and people who inhabit steampunk worlds; and the revolutionary message of most steampunk creations. Throughout my discussion will focus primarily on a range of texts acknowledged as steampunk: Michael Moorcock’s The Warlord of the Air (1971), K. W. Jeter’s Infernal Devices (1987), Tim Powers’ The Anubis Gates (1983), William Gibson and Bruce Sterling’s The Difference Engine (1991), Paul Di Filippo’s The Steampunk Trilogy (1995), Neal Stephenson’s The Diamond Age (1995), Gail Carriger’s ‘Parasol Protectorate’ series (2009 – current), Mark Hodder’s ‘Burton and Swinburne’ series (2010 – current), Arcanum: Of Steamworks and Magick Obscura by Troika Games and Runic Games’ Torchlight (2009) and Torchlight 2 (2011).

text: Steampunk: The Inner Workings Steampunk, as a literary genre and cultural phenomena, is a relatively recent innovation that is increasingly receiving critical attention. From the proto-steampunk of Jules Verne and H.G. Wells, through the novels of its acknowledged founding fathers K.W. Jeter, Tim Powers and James Blaylock, to contemporary works by China Miéville, Cherie Priest and Paul Di Filipo, steampunk has been plagued by the lack of a unifying definition. Every author, academic and critic has their own definition of it, which may share similarities with others, but none of them can agree on the core ingredients of the genre.

Related to the important task of defining steampunk is the need to answer the question: 'Is steampunk a literary genre?' In many respects, steampunk has moved beyond the literary world. Fashion, art and sub-cultures have all embraced steampunk as a style, an aesthetic, a way of life and even a philosophy. This could be the reason for the inability to find a single unifying definition of steampunk.

This thesis will argue that, rather than a genre, steampunk is best understood as an aesthetic which can be applied, like any aesthetic, to any literary genre to produce a work that is steampunk-inflected, such as science fiction steampunk, alternate history steampunk, steampunk fantasy, historical steampunk, steampunk romance or gothic steampunk. After evaluating both scholarly and popular definitions of steampunk I will explore four key aspects of the steampunk aesthetic: the neo-Victorian tropes which dominate steampunk texts; the relationship between magic and science in the steampunk universe; the places and people who inhabit steampunk worlds; and the revolutionary message of most steampunk creations. Throughout my discussion will focus primarily on a range of texts acknowledged as steampunk: Michael Moorcock’s The Warlord of the Air (1971), K. W. Jeter’s Infernal Devices (1987), Tim Powers’ The Anubis Gates (1983), William Gibson and Bruce Sterling’s The Difference Engine (1991), Paul Di Filippo’s The Steampunk Trilogy (1995), Neal Stephenson’s The Diamond Age (1995), Gail Carriger’s ‘Parasol Protectorate’ series (2009 – current), Mark Hodder’s ‘Burton and Swinburne’ series (2010 – current), Arcanum: Of Steamworks and Magick Obscura by Troika Games and Runic Games’ Torchlight (2009) and Torchlight 2 (2011).

year: 2013

title: Decoding the emotional valence of future thoughts

authors: Devitt, Aleea L.

abstract: Affective future thinking allows us to prepare for future outcomes, but we know little about neural representation of emotional future simulations. We used a multi-voxel pattern analysis to determine whether patterns of neural activity can reliably distinguish between positive and negative future simulations. Neural patterning in the anterior cingulate and ventromedial prefrontal cortices distinguished positive from negative future simulations, indicating that these regions code for the emotional valence of future events. These results support prior findings that anterior medial regions contain representations of emotions across various stimuli, and contribute to identifying potential rewarding outcomes of future events. More broadly, these results demonstrate that the phenomenological features of future thinking can be decoded using neural activity.

text: Decoding the emotional valence of future thoughts Affective future thinking allows us to prepare for future outcomes, but we know little about neural representation of emotional future simulations. We used a multi-voxel pattern analysis to determine whether patterns of neural activity can reliably distinguish between positive and negative future simulations. Neural patterning in the anterior cingulate and ventromedial prefrontal cortices distinguished positive from negative future simulations, indicating that these regions code for the emotional valence of future events. These results support prior findings that anterior medial regions contain representations of emotions across various stimuli, and contribute to identifying potential rewarding outcomes of future events. More broadly, these results demonstrate that the phenomenological features of future thinking can be decoded using neural activity.

year: 2021

title: Mental health inpatient services: Improving our understanding of the needs of Maori when acutely unwell

authors: Wharewera-Mika, Julie

subjects: Maori

abstract: There are many possible explanations for the pattern of Maori overrepresentation in mental health acute services. This research project focuses on how services can optimally meet the needs of Maori to improve outcomes. This doctoral research in progress is about claiming space for Maori to have a voice in identifying factors that contribute to recovery and Whanau Ora, and offering recommendations to improve the effectiveness of existing services to better meet the needs of Maori Tangata Whaiora and Whanau.

text: Mental health inpatient services: Improving our understanding of the needs of Maori when acutely unwell There are many possible explanations for the pattern of Maori overrepresentation in mental health acute services. This research project focuses on how services can optimally meet the needs of Maori to improve outcomes. This doctoral research in progress is about claiming space for Maori to have a voice in identifying factors that contribute to recovery and Whanau Ora, and offering recommendations to improve the effectiveness of existing services to better meet the needs of Maori Tangata Whaiora and Whanau.

year: 2008