Table of Contents

  1. Series page
  2. Title page
  3. Copyright page
  4. Acknowledgments
  5. 1 Introduction
  6. 2 Frameworks for Technology and Communities of Alterity
  7. 3 The Death and Life of Great Online Subcultures: An Analysis of Body Modification Ezine
  8. 4 They Came from the Basement: Tactics of Secrecy in New Brunswick’s Underground Punk Community
  9. 5 Fight for Your Platform to Party: Brooklyn Drag and the Battle for a Queerer Facebook
  10. 6 Countercultural Values for Theory and in Design
  11. Appendix: Methodological Notes
  12. References
  13. Index

List of Tables

  1. Table 5.1
  2. Table A.1 Interviewees from BME
  3. Table A.2 Interviewees from the New Brunswick, New Jersey, punk music community

List of Illustrations

  1. Figure 3.1 A 2014 screenshot of my IAM page. The fundamental design components of the IAM website have remained stable at least since the 1999 version (of which I have not been able to find a screen capture). The current URL for IAM can be accessed through https://www.bme.com/subscribe.
  2. Figure 3.2 Screen captures of BME’s main page and galleries in 2000 and 2014.
  3. Figure 3.3 From a February 6, 2006, screen grab, which introduced a simple form for reporting IAM’s terms of service (TOS) violations. The TOS form reflected IAM’s commitment to a collective enforcement of boundaries and a limited staff for tackling these issues. It offered a technical approach to the social problem of defining and respecting community boundaries.
  4. Figure 3.4 An analysis of the violations that were covered in IAM’s terms of service (TOS) forum, which includes entries from 2003 to 2011. The data used to create this pie chart came from posts to the TOS forum from an administrator (only four people posted in eight years) and included a user’s alias and a brief explanation of the TOS violation. If multiple profiles were linked to the same person, all known user aliases were listed in the description.
  5. Figure 4.1 From a 2010 Screaming Females show. Note that the basement walls are lined with mattresses to provide sound insulation. Photo credit: Aaron Trammell.
  6. Figure 4.2 From a 2010 Screaming Females show. As a local band that was gathering increasing national attention, Screaming Females drew a large crowd. This photo shows a crowded venue where spectators see very little of the band, even though it is only a few feet away from them. Photo credit: Aaron Trammell.
  7. Figure 4.3 A flyer from a 2010 basement show. Note that the time, cost, and bands are listed but that the location says only “Ask the punx.”
  8. Figure 5.1 Map of Bushwick. The black arrows denote the Brooklyn neighborhoods of North and South Bushwick, conventionally referred to as a single entity, Bushwick. Image from the 2013 American Community Survey Profile of New York. Retrieved from maps.nyc.gov/census.
  9. Figure 6.1 In this table, design value questions are associated with the three-part analytical framework that structures this book (legibility, flexibility, and authenticity). The design values are intended as provocations rather than a strict checklist.

Guide

  1. Cover
  2. Table of Contents