What You Need to Do a 64K Intro
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Download the Pdf Here
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. -
Camila Schafer
UNIVERSIDADE DO VALE DO RIO DOS SINOS (UNISINOS) PROGRAMA DE PÓS-GRADUAÇÃO EM CIÊNCIAS DA COMUNICAÇÃO (PPGCC) NÍVEL MESTRADO CAMILA SCHÄFER ENTRE O NOVO E O OBSOLETO: MEMÓRIA, RASTROS E AURA DO HARDWARE NA CHIPMUSIC SÃO LEOPOLDO Março de 2014 Camila Schäfer ENTRE O NOVO E O OBSOLETO: MEMÓRIA, RASTROS E AURA DO HARDWARE NA CHIPMUSIC Dissertação apresentada como requisito parcial para a obtenção do título de Mestre , pelo Programa de Pós- Graduação em Ciências da Comunicação da Universidade do Vale do Rio dos Sinos – UNISINOS. Área de concentração: Processos Midiáticos. Linha de Pesquisa: Mídias e Processos Audiovisuais. Orientador: Profª. Drª. Suzana Kilpp São Leopoldo Março de 2014 S296e Schäfer, Camila Entre o novo e o obsoleto: memória, rastros e aura do hardware na Chipmusic/ por Camila Schäfer. -- São Leopoldo, 2014. 136 f.: il. color; 30 cm. Dissertação (mestrado) – Universidade do Vale do Rio dos Sinos, Programa de Pós-Graduação em Ciências da Comunicação, São Leopoldo, RS, 2014. Área de concentração: Processos midiáticos. Linha de Pesquisa: Mídias e processos audiovisuais. Orientação: Profª. Drª. Suzana Kilpp, Escola da Indústria Criativa. 1.Videogames – Sonoplastia. 2.Jogos eletrônicos – Sonoplastia. 3.Som – Registro e reprodução – Técnicas digitais. 4.Computador – Música. 5.Hardware. I.Kilpp, Suzana. II.Título. CDU 004:794 004.4'277.4:794 Catalogação na publicação: Bibliotecária Carla Maria Goulart de Moraes – CRB 10/1252 AGRADECIMENTOS Como a maioria dos textos de agradecimento, inicio este reafirmando o que muitos outros já disseram: nenhuma pesquisa se constrói sozinha, assim como nenhum pesquisador realiza seu trabalho e se desenvolve sem a contribuição de outras pessoas. -
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. -
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. -
Type-Demos“: Die Rolle Der Schrift in Der Demoscene
„Type-Demos“: Die Rolle der Schrift in der Demoscene Anja Hartmann Inhalt 1. Einleitung: Das Demo als vernachlässigte Kunstform……………………….……1 2. Was ist ein(e) Demo? Entstehung, Definition und Organisation der Demoszene………………………………………………………………….…….…..2 3. Schrift im Demo?......................................................................................................6 4. Beispiele der Verwendung von Schrift in Demos…………………………….........7 4.1. Neuro, Die Ewigkeit schmerzt : Schrift als Kommunikation…………………..…7 4.2. Exceed, Heaven Seven : Schrift als Teil der Balance………………...................11 4.3. Still, Angelic : Schrift als Reflexion von Fragmenz und Unvollständigkeit…………………………………………………………..…….….13 4.4. Kakiarts, Rastro : Schrift als selbstreferenzieller Informationsträger…………..15 4.5. Farbrausch, Human Sources : Schrift als Form der kommentierenden Ironisierung………………………………………………………………………….17 5. Konklusion: das Typo-Demo als postmoderne Adaption der Schrift.....................19 6. Anhang…………………………………………………………………………....21 7. Bibliographie……………………………………………………………………...2 1. Einleitung: Das Demo als vernachlässigte Kunstform „Demo or Die!“ (Beck 2005b) lautet eine dreiteilige DVD-Reihe der Gruppe Abyss, die es ermöglicht, auch „einige Schwergewichte, die moderne Grafikkarten an ihre Grenzen zwingen und somit wohl nicht auf jedem PC funktionieren würden“ (ebd.) von jedem handelsüblichen DVD-Player abzuspielen. Die Rede ist von Demos, einer speziellen Erscheinungsform digitaler Kunst, die, entgegen der oben angeführten schlagwortartigen