I just read Patton Oswalt’s Wake Up, Geek Culture. Time to Die, which I enjoyed, and I’ve got something to say. Several somethings, in fact. As I set out, I’m not entirely certain what those somethings are, but I’m sure we’ll have some fun finding out.
I’m a little uncomfortable with it as a semi-serious piece of word stuff, and with the inevitable ensuing Metafilter thread. Underlying everything is an assumption that goes for the most part unquestioned: that nerds, or geeks (or otaku, but to hell with that, William Gibsonisms notwithstanding
The otaku, the passionate obsessive, the information age’s embodiment of the connoisseur, more concerned with the accumulation of data than of objects, seems a natural crossover figure in today’s interface of British and Japanese cultures. I see it in the eyes of the Portobello dealers, and in the eyes of the Japanese collectors: a perfectly calm train-spotter frenzy, murderous and sublime. Understanding otaku-hood, I think, is one of the keys to understanding the culture of the web. There is something profoundly post-national about it, extra-geographic. We are all curators, in the post-modern world, whether we want to be or not.
because I’m weary so weary of the appropriation and repurposing of poorly-understood Japanese words) are to be defined by the cultural products they (possibly obsessively) consume. It’s the common usage, sure — we talk about star wars nerds and comics nerds, about gaming geeks and movie geeks. We’ve wired into our brains a default mode where a nerd is someone who nerds out over some New Bauble, and a geek geeks out about their Precious Thing. We’re a little too accustomed to defining ourselves by what we consume, which is just what The Business of Entertainment wanted. Except for that whole part where we can get almost anything made of information these days without really trying. Or paying.