Mozilla Labs Demoparty 2011 Project
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Vysok´E Uˇcení Technick´E V Brnˇe Grafick´E Intro Do
VYSOKEU´ CENˇ ´I TECHNICKE´ V BRNEˇ BRNO UNIVERSITY OF TECHNOLOGY FAKULTA INFORMACNˇ ´ICH TECHNOLOGI´I USTAV´ POCˇ ´ITACOVˇ E´ GRAFIKY A MULTIMEDI´ ´I FACULTY OF INFORMATION TECHNOLOGY DEPARTMENT OF COMPUTER GRAPHICS AND MULTIMEDIA GRAFICKE´ INTRO DO 64KB S POUZITˇ ´IM OPENGL GRAPHIC INTRO 64KB USING OPENGL DIPLOMOVA´ PRACE´ MASTER’S THESIS AUTOR PRACE´ PAVEL GUNIA AUTHOR VEDOUC´I PRACE´ Ing. ADAM HEROUT, Ph.D. SUPERVISOR BRNO 2007 Abstrakt Tato pr´acepojedn´av´ao fenom´enu grafick´eho intra, ˇcasto oznaˇcovan´emjako digit´aln´ıgraffiti. Detailnˇese rozebere t´ema grafick´ehointra s omezenou velikost´ıa pop´ıˇs´ıse techniky vhodn´e k jeho realizaci. Na konci pr´acejsou diskutov´any postˇrehy a zkuˇsenosti z´ıskan´ebˇehem tvorby, stejnˇetak i celkov´eshrut´ıa pohled do budoucna. Kl´ıˇcov´aslova poˇc´ıtaˇcov´agrafika, digit´aln´ıumˇen´ı,demo, intro, OpenGL, procedur´aln´ıgenerov´an´ı,komp- rese, parametrick´ekˇrivky, parametrick´eplochy, syntetizovan´ahudba Abstract This work deals with the phenomenon of graphic intros, a digital graffiti of the modern age. The focus is put on size restricted animation of size of the executable file lower than 64 kilobytes. It reveals the main techniques used. Finally, interesting aspects and experiences that came up are discussed, as well as the conclusion and future work proposal. Keywords computer graphics, digital art, demo, intro, OpenGL, procedural generation, compression, parametric curve, parametric surface, synthetized music Citace Pavel Gunia: Graphic intro 64kB using OpenGL, diplomov´apr´ace, Brno, FIT VUT v Brnˇe, 2007 Graphic intro 64kB using OpenGL Prohl´aˇsen´ı Prohlaˇsuji, ˇzejsem tuto diplomovou pr´aci vypracoval samostatnˇepod veden´ımpana Ing. -
A Brief History of the Russian Spectrum Demoscene
A BRIEF HISTORY OF THE RUSSIAN Allegedly, engineers from the Ukrainian city Lvov, were the first to succeed with this challenge and built a working machine SPECTRUM DEMOSCENE in August 1985. Their own designed schematics became very BY ELFH OF INWARD AND CYBERPUNKS UNITY valuable information, so they could trade it to the researchers in other cities for knowledge on other topics. Still, this remained Relations between Soviet Russia and computers were always nents – more than 200 to be precise. This fact complicated the unknown to the wider public and only a limited amount of peo- a bit obscure, especially when it comes to foreign models that possibility for average Radio readers to build the “Micro-80”, ple actually knew about the existence of a cheap home com- were not officially imported here. But, if one wants to trace the because a lot of elements were hard to find in normal stores, puter with colourful graphics, which any Radio amateur could roots of the Russian demoscene, especially on the Spectrum, and in most cases could only be found on the black market. easily build at home. For example, in 1986 “Radio” magazine you must dig deep into the 1980’s, when the first generation of was still publishing the schematics of the Radio-86RK compu- radio amateurs built their first machines themselves. ter, which consisted of 29 parts, but had only a black and white A LOT OF ELEMENTS WERE HARD text mode display. CONTRABAND COMPUTERS TO FIND IN NORMAL STORES, ONLY The main role in this development was played by a very popu- ON THE BLACK MARKET Despite this, it first became a very popular machine in Rus- lar magazine named “Radio”, which gathered a lot of talented sia. -
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of people who got together through Bulletin Board Systems, THE PORTUGUESE DEMOSCENE Reckless Life BBS and Infinity BBS run by the infamous Captain Hook. The scene thrived through the nineties with the uprising HISTORY of IRC and the two issues of the diskmag, Infinity, put together BY PS OF TPOLM by Garfield, VAngel and Spellcaster if my memory serves me correctly. The first documented demoscene event in Portugal The Portuguese demoscene, as most Portuguese technology, ducing cheap labour for English-owned factories of the ZX Sin- was organized in 1996 and was called the Virtual Music Con- is a fluke of chance. For many years, Portugal held last place clair Spectrum family of machines. While kids in Central and test. It was just a simple tracking competition. Groups formed among Europe’s nations in iliteracy per capita and emigration. Northern Europe were playing with their Commodores and around this time were Radioactive Design (RD) with Garfield, Certified higher education for new technologies and arts has Ataris during the late eighties, in Portugal we were consuming only been institutionalized within the last 10 years. Even large Spectrum magnetic tapes. WHILE KIDS IN CENTRAL volume capitalist markets, such as the videogame industry, AND NORTHERN EUROPE are still in their infancy in Portugal. It has only been six years, THE BIRTH OF THE PORTUGUESE at most, since serious full time jobs became available in the WERE PLAYING WITH THEIR business. In fact Portugal is a country that mostly imports and DEMOSCENE COMMODORES AND ATARIS, IN consumes technology (2.5 cellphones per person on average) The first known demo made by a Portuguese demoscener was PORTUGAL WE WERE CONSUMING instead of developing and exporting it. -
Text of the German Application of Art of Coding
This is the Text of the German application of Art of Coding (www.http://demoscene-the-art-of-coding.net) with the purpose of bringing the demoscene onto the list of UNESCO intangible cultural heritage of humanity. The application was submitted in Oct 2019 and has been written in an collaborative community effort led by Tobias Kopka supported by Andre Kudra, Stephan Maienhöfer, Gleb Albert, Christian Brandt, Andreas Lange and many more who gave their hands at Digitale Kultur und Tastatur und Maus e.V. The structure depends on the form, which is given by the German UNESCO. In spite the structure differs from forms used in other countries text modules can be used for application in other countries. The texts in square brackets are part of the German form. Also every kind of feedback is welcome, which could be taken into account for future use. Use ‘team (at) demoscene-the-art-of-coding.net’ 1. Type of Immaterial Cultural Heritage [Please tick the applicable sections and elaborate in keywords (multi-selection possible, but not mandatory)] Section A) verbally passed on traditions and expressions [keywords]: own technical vocabulary, own idiom with specialized terminology, English is lingua franca Section B) performing arts (music, theatre, dance) [keywords]: composition, performant, live, public presentation, animation Section C) social tradition, (seasonal) celebration and ritual [keywords]: demoparties, competitions, visitor voting, price ceremonies Section D) Knowledge and customs, related to nature or the universe [keywords]: digitalized living environment, cyberspace, virtual reality Section E) traditional craftsmanship [keywords]: coding, composition, animation, adoption, do-it-yourself Section F) other 2. -
Computer Demos—What Makes Them Tick?
AALTO UNIVERSITY School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Markku Reunanen Computer Demos—What Makes Them Tick? Licentiate Thesis Helsinki, April 23, 2010 Supervisor: Professor Tapio Takala AALTO UNIVERSITY ABSTRACT OF LICENTIATE THESIS School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Author Date Markku Reunanen April 23, 2010 Pages 134 Title of thesis Computer Demos—What Makes Them Tick? Professorship Professorship code Contents Production T013Z Supervisor Professor Tapio Takala Instructor - This licentiate thesis deals with a worldwide community of hobbyists called the demoscene. The activities of the community in question revolve around real-time multimedia demonstrations known as demos. The historical frame of the study spans from the late 1970s, and the advent of affordable home computers, up to 2009. So far little academic research has been conducted on the topic and the number of other publications is almost equally low. The work done by other researchers is discussed and additional connections are made to other related fields of study such as computer history and media research. The material of the study consists principally of demos, contemporary disk magazines and online sources such as community websites and archives. A general overview of the demoscene and its practices is provided to the reader as a foundation for understanding the more in-depth topics. One chapter is dedicated to the analysis of the artifacts produced by the community and another to the discussion of the computer hardware in relation to the creative aspirations of the community members. -
TIMES of CHANGE in the DEMOSCENE a Creative Community and Its Relationship with Technology
TIMES OF CHANGE IN THE DEMOSCENE A Creative Community and Its Relationship with Technology Markku Reunanen ACADEMIC DISSERTATION To be presented, with the permission of the Faculty of Humanities of the University of Turku, for public examination in Classroom 125 University Consortium of Pori, on February 17, 2017, at 12.00 TURUN YLIOPISTON JULKAISUJA – ANNALES UNIVERSITATIS TURKUENSIS Sarja - ser. B osa - tom. 428 | Humanoria | Turku 2017 TIMES OF CHANGE IN THE DEMOSCENE A Creative Community and Its Relationship with Technology Markku Reunanen TURUN YLIOPISTON JULKAISUJA – ANNALES UNIVERSITATIS TURKUENSIS Sarja - ser. B osa - tom. 428 | Humanoria | Turku 2017 University of Turku Faculty of Humanities School of History, Culture and Arts Studies Degree Programme in Cultural Production and Landscape Studies Digital Culture, Juno Doctoral Programme Supervisors Professor Jaakko Suominen University lecturer Petri Saarikoski University of Turku University of Turku Finland Finland Pre-examiners Professor Nick Montfort Associate professor Olli Sotamaa Massachusetts Institute of Technology University of Tampere United States Finland Opponent Assistant professor Carl Therrien University of Montreal Canada The originality of this thesis has been checked in accordance with the University of Turku quality assurance system using the Turnitin OriginalityCheck service. ISBN 978-951-29-6716-2 (PRINT) ISBN 978-951-29-6717-9 (PDF) ISSN 0082-6987 (PRINT) ISSN 2343-3191 (ONLINE) Cover image: Markku Reunanen Juvenes Print, Turku, Finland 2017 Abstract UNIVERSITY OF TURKU Faculty of Humanities School of History, Culture and Arts Studies Degree Programme in Cultural Production and Landscape Studies Digital Culture REUNANEN, MARKKU: Times of Change in the Demoscene: A Creative Commu- nity and Its Relationship with Technology Doctoral dissertation, 100 pages, 88 appendix pages January 17, 2017 The demoscene is a form of digital culture that emerged in the mid-1980s after home computers started becoming commonplace. -
Demoscene No Brasil: Um Mapeamento Quasi-Sistem´Aticoda Literatura
Demoscene no Brasil: Um Mapeamento Quasi-Sistem´aticoda Literatura Demoscene in Brazil: A Quasi-Systematic Mapping Study Joenio Marques da Costa Universidade de Bras´ılia,MediaLab/UnB 21 de mar¸code 2021 Resumo Esta pesquisa investiga a comunidade brasileira de demoscene e responde a quest~oessobre o n´ıvel de atividade no Brasil, produ¸c~aode demos, realiza¸c~aode eventos, n´umerode praticantes e outros aspectos da cena local, al´emde trazer dados sobre o volume de pesquisas no Brasil neste cen´ario. O estudo ´e realizado atrav´esde uma revis~aode literatura, incluindo literatura acad^emicae literatura cinza sobre demoscene no Brasil ou publicado no Brasil em portugu^es, a busca por literatura foi realizada em portais acad^emicoscomo Peri´odicosCapes, Google Scholar, ACM Digital Library, entre outros e tamb´emem portais de busca web como Google Search, Yahoo Search e DuckDuckGo Search, a coleta de dados foi realizada em novembro de 2019 e encontrou um total de 117 resultados, a an´alisedos dados extra´ıdosda literatura mostra que apesar de existir participa¸c~aobrasileira na produ¸c~aode demos e na realiza¸c~aode eventos, especialmente nos anos 1990, e posteriormente em 2012 e 2017, a atividade no Brasil ´ebastante errante e inst´avel, com momentos de produ¸c~aoseguido por enormes espa¸cosde total inatividade, indicando uma quase inexist^enciade comunidade local, o estudo apresenta n´umeros,nomes e refer^enciaspara toda a produ¸c~aobrasileira, e por fim conclui tamb´emn~aohaver pesquisas sobre demoscene no Brasil, fazendo deste estudo uma iniciativa in´editasobre o tema. -
PIRATES #13' Available, Just Send Us 0 Blank VHS Lope
?5US .... i,50t:AN .... TM • COMICI 13 co •• MAY eN UK 70., I' I . J• • .: 1 : ;,r," .J • THEAMAZING SPIDER-M.o.N Deor Soilors, We finolly sobered up after the hugo success of our lalesl trip 10 Allanlis III We sel course for onolher deslinotion but unknown 11 Meanwhile we celebraled Easier and ore heading for X-MAS I11 We also welcome our lolest crew member, IRON MAIDEN which will hopefully be a greol conlribution to our si off I11 We must also thank our compalriols oul Ihere on the wide ocean far supporting us on our dangerous journeys and for sending re-enforcements 011 Ihe time ..... Well so for '92 has been a remarkable year I11 2 issues of Pirales in less then 6 monlhs, Thor got follerJn even more slupid, DOM hod 2 firsl-releases in Ihe losl 12 monlhs and our ship hosn'l sunk yel IIIII Slill due 10 some heavy slorm weolher some of the infonnalian ended up being losllll So you'll find an page 1 4 a photo of Sauron/lls and his brother (not Fist/lis) and on page 15 Ihe lop piccie is okoz Jock Droopis/DOM. And please nalice that the crew-members are nol respansable for evenluol depressions or suicide a!lempts after completing this issue .... See you on our nexl trip, RED-BEARD Tecllnical realisolion details: Original ideo by JUMPIE/ex-F4CG and SOlAR/F4CG Equipment used 386 DX, MPS 1200, Loserprinter, Super zoom copymachine,Scissors, super gh)e and ono box of DUREX condoms during Ihe process phala's copied by BOD/TALENT Typing done by SOlAR/F4CG and SCORPIE/F4CG Articles: Pirales crew and Rough/Chromance Graphics : Habbit,OMG,Golcha,Scorpie/F4CG,Redstar/LOGIC,Mirage/LEGEND Ediling help: Ninja,Kid/F4CG,Salar/F4CG,Scorpie/F4CG VHS lope 'The making of PIRATES #13' available, just send us 0 blank VHS lope. -
Jahresbericht Annual Report
Jahresbericht 2006 Annual Report Das Jahr 2006 war ein er- folgreiches Jahr, klare Ziele bestimmten die Aktivitäten des Vereins. Die Evoke im Sommer war hierbei unser größtes Projekt. Darüber hinaus konnten wir mit der Breakpoint und der tUM zwei weitere Demoparties in Deutschland unterstüt- zen. Auch das Echtzeit Film Festival setzte wieder auf unsere Kompetenz in Sachen Demoszene. Gefragt war unsere Erfahrung zu- dem bei einem Vortrag über die Demoszene in New York. Ganz neue Wege gingen wir mit einem reinen Online- Wettbewerb, der Intel Demo Trailer Competition, an der einige der besten Demo- gruppen teilnahmen. Unsere Aktivitäten sorgten 2006 für ein großes Medienecho, der Verein war an Beiträgen über die Demoszene in Print, Ra- Vorwort / Preamble dio und Fernsehen beteiligt. Für den Vorstand, Stefan Keßeler 03 2006 was a successful year, clearly defined objectives specified the associations activities. This summers edition of Evoke proved to be the biggest project. Ad- ditional support was given to two other demoparties, Breakpoint and tUM. The Echtzeit Film Festival once again relied on our expertise in all things demoscene. Also useful was our expe- rience at a presentation about the demoscene in New York. A whole new direction was taken in an online only competition, the Intel Demo Trailer Competi- tion, featuring some of the best demogroups around. Our activities during 2006 garnered a lot of media ap- pearences, the association was involved in print, radio and TV segments about the demoscene. For the executive committe, Stefan Keßeler Page „Eine kleine, sehr lebendige Szene von Programmierern, Designern und Musikern befasst sich seit Jahren nahezu unbe- merkt mit der Entwicklung ganz besonderer digitaler Artworks in Form von Echtzeitpro- grammen — von Demos.” Das führende Magazin für kreatives Medien design, Publishing und Trends widmet sich in der ersten Ausgabe 2006 der Demo szene. -
The Hacker Demo Scene and It's Cultural Artefacts"
"THE HACKER DEMO SCENE AND IT'S CULTURAL ARTEFACTS" George Borzyskowski School of Design Curtin University of Technology Perth, Western Australia [email protected] ABSTRACT The paper reports on a study undertaken into vernacular forms of multimedia production referred to as "demos" or "intros" and variants of these terms among adherents of a computer oriented subculture identifying itself as "the scene". The cultural and technological factors which are thought to have influenced the evolution of the genre since the early 1980's are discussed as are observations which distinguish a specific, almost exclusively male gender, internationally dispersed anarchistic youth subculture which holds this form of cultural production as a principal objective. An analysis of a number of examples of the genre provides tentative information on the dynamics of the subculture which survives on the basis of liberty and cooperation in the absence of coercive or cohesive structural influence, and presents an overview of the "demo" genre form in terms of function and audio visual syntax. INTRODUCTION The study was undertaken from 1992 to 1994 and resulted in an account of a cyberculture which evolved before the current widespread availability of access to the world wide web via graphical browsers such as Mosaic, Netscape or Internet Explorer. It was and is a subculture whose transactions are created and delivered through the computer screen, though in it’s formative years the transmission and exchange of the data was by means of floppy disk passed on by hand or through the international postal service. Files were also maintained and distributed on private scene bulletin board systems. -
THE HUNGARIAN DEMOSCENE Historymunity Centre and “Computer Christmases” Became Called Bash
made it inevitable that the users of these kinds of computers THE HUNGARIAN DEMOSCENE would run into intros sooner or later. HISTORY The first Hungarian cracks and home-made games date back BY MURPHY OF EXCEED, MD1 AND SCENE.HU STAFF to 1986, on the C64 and the plus/4. In 1987 there were simple intros, some semi-professional games and tools, and the first, very simple demos appeared. As evidence of the popularity The Hungarian demoscene followed a very different path com- ucts appeared suddenly including Gorenje fridges, VHS video of demoscene, it’s very important to note that public thinking pared to the demoscene that existed in Western countries. This recorders, and the Commodore 64. Since officially obtainable was slightly different back then, and it was almost regarded was mostly because of the socialist state that existed in Hun- and expendable money was quite limited, most C64’s were as entirely normal/cool to program at home. Almost the entire gary until the late ‘80s. Wherein the western world’s popular smuggled into the country, hidden in the trunk or under a seat content of Commodore newspapers like “Commodore Újság” computer systems were quite difficult or very expensive for the of the car. It was very funny to see the row of Trabants (a cheap was composed of sources of home-made programs, and Hungarian people to obtain. and popular car produced in the former GDR (East Germany)) there was even a TV-programm, wherein the best program of at the Austrian-Hungarian border. Especially if you consider the month that was sent in was played back in a format which that at this time, a C64 computer with a 1541 drive, was more could be recorded to tape from your TV! THE BEGINNING (1986-1989) expensive than some cars! Besides the locally produced Videoton TVC, Primo or HT 1080Z, The prominent groups of 1988 and 1989 were on plus/4: H.C.S., the systems that ruled the Hungarian market (which failed in THE FIRST HUNGARIAN CRACKS Pigmy who worked solo, and 23 Celsius Team. -
World Health Assembly
WHA33/1980/REC/2 WORLD HEALTH ORGANIZATION THIRTY- TI-IIRD WORLD HEALTH ASSEMBLY GENEVA, 5 -23 MAY 1980 VERBATIM RECORDS OF PLENARY MEETINGS REPORTS OF COMMITTEES GENEVA 1980 ABBREVIATIONS The following abbreviations are used in WHO documentation: ACABQ - Advisory Committee on РАНО Pan American Health Organization Administrative and Budgetary PASB Pan American Sanitary Bureau Questions SIDА Swedish International Development ACAST - Advisory Committee on the Authority Application of Science and UNCTAD United Nations Conference on Trade Technology to Development and Development ACC - Administrative Committee on UNDP United Nations Development Coordination Programme CIDA Canadian International Development UNDRO Office of the United Nations Agency Disaster Relief Coordinator CIOMS Council for International UNEP United Nations Environment Organizations of Medical Sciences Programme DANIDA - Danish International Development UNESCO United Nations Educational, Agency Scientific and Cultural ЕCA - Economic Commission for Africa Organization EСЕ - Economic Commission for Europe UNFDAC United Nations Fund for Drug Abuse ECLA - Economic Commission for Latin Control America UNFPA United Nations Fund for Population ECWA Economic Commission for Western Activities Asia UNHCR Office of the United Nations High ESCAP - Economic and Social Commission for Commissioner for Refugees Asia and the Pacific UNICEF - United Nations Children's Fund FAO Food and Agriculture Organization UNIDO - United Nations Industrial of the United Nations Development Organization