The Demoscene
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Alive Dead Media 2020: Tracker and Chip Music
Alive Dead Media 2020: Tracker and Chip Music 1st day introduction, Markku Reunanen Pics gracefully provided by Wikimedia Commons Arrangements See MyCourses for more details, but for now: ● Whoami, who’s here? ● Schedule of this week: history, MilkyTracker with Yzi, LSDJ with Miranda Kastemaa, holiday, final concert ● 80% attendance, two tunes for the final concert and a little jingle today ● Questions about the practicalities? History of Home Computer and Game Console Audio ● This is a vast subject: hundreds of different devices and chips starting from the late 1970s ● In the 1990s starts to become increasingly standardized (or boring, if you may :) so we’ll focus on earlier technology ● Not just hardware: how did you compose music with contemporary tools? ● Let’s hear a lot of examples – not using Zoom audio The Home Computer Boom ● At its peak in the 1980s, but started somewhat earlier with Apple II (1977), TRS-80 (1977) and Commodore PET (1977) ● Affordable microprocessors, such as Zilog Z80, MOS 6502 and the Motorola 6800 series ● In the 1980s the market grew rapidly with Commodore VIC-20 (1980) and C-64 (1982), Sinclair ZX Spectrum (1982), MSX compatibles (1983) … and many more! ● From enthusiast gadgets to game machines Enter the 16-bits ● Improving processors: Motorola 68000 series, Intel 8088/8086/80286 ● More colors, more speed, more memory, from tapes to floppies, mouse(!) ● Atari ST (1984), Commodore Amiga (1985), Apple Macintosh (1984) ● IBM PC and compatibles (1981) popular in the US, improving game capability Not Just Computers ● The same technology powered game consoles of the time ● Notable early ones: Fairchild Channel F (1976), Atari VCS aka. -
Operator's Handbook Spindle Operator’S Handbook
SPINDLE Operator's Handbook Spindle Operator’s Handbook 2 Operator’s Handbook rev. 1, Spindle 3.0 Spindle Operator’s Handbook Contents Introduction . 5 Features . 5 License . 6 Building from source . 6 Acknowledgements . 6 I Loader and decruncher 7 1.1 Basic operation . 9 1.2 The load script . 10 1.3 Bank selection . 11 1.4 A humble trackmo . 12 1.5 Running Spin . 15 1.6 Labels and seeking . 16 1.7 Multi-side trackmos . 17 1.8 Directory art . 18 1.9 Advanced features . 18 II Effect linking framework 21 2.1 Overview . 23 2.2 Lifecycle . 25 2.3 The effect header . 26 2.4 Driver . 28 2.5 Early setup code . 29 2.6 Overlapping lifecycles . 30 2.7 Making a chain . 32 2.8 Music . 33 2.8.1 Installing a player . 33 2.8.2 Synchronisation . 34 2.9 Visualisation . 36 2.10 Labels, jumps, and loops . 39 Operator’s Handbook rev. 1, Spindle 3.0 3 Spindle Operator’s Handbook 2.11 Flip-disk parts . 41 2.12 Streaming data . 42 2.12.1 Streaming graphics . 42 2.12.2 Streaming music . 44 2.13 Effect debugging . 45 2.14 Using the reserved areas . 46 2.15 Methodology . 46 4 Operator’s Handbook rev. 1, Spindle 3.0 Spindle Operator’s Handbook Introduction Congratulations on your discovery of Spindle, the integrated linking, loading, and decrunching solution for trackmos and other data-intensive applications for the Commodore 64 and Commodore 1541 platform. The core of Spindle is a cutting-edge IRQ loader featuring extremely fast scattered loading and decrunching, a small RAM footprint, and state of the art serial transfer routines. -
Online Software Piracy of the Last Millennium.Sxw
Online Software Piracy of the Last Millennium By Ben Garrett aka Ipggi Ever since there has been the ability to store data on a personal computer and commercial software for sale, there has been the existence of pirating. Pirating, cracking and even pirate scenes go all the way back to the late seventies, and maybe even earlier. By the early eighties some machines (such as the BBC Macro in Europe) where so riddled with pirates that the programming companies gave up. They discontinued producing and porting software for the affected computers because there was simply no money to be made. This article has been written with only the PC scene in mind. Table of Contents 1. The IBM PC Scene Beginnings Page 1 2. Bulletin Board Systems And Couriers 2 3. The Death of the Bulletin Board System and the Rise of the Internet 4 4. Software Suppliers 5 5. Text Files 5 6. Scene Art 6 7. The Emergence of Europe 6 8. The Death of the Floppy Disk 6 9. Evolution to the ISO scene 7 10.Bibliography 8 1. The IBM PC Scene Beginnings With the large amount of 8-bit computers around during the early eighties, otherwise known as the Golden Age. And then with the subsequence scenes that followed, most people will agree that the Commodore 64 scene was the greatest at the time. But the Commodore 64 1 wasn't the first computer system to have an organised international pirate scene. It was probably the Apple II users in the very late seventies 2 that can be credited with creating the first remnant of a pirate scene that would be familiar in todays internet warez world. -
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. -
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. -
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. -
The Demoscene Demo-Scene Related Events
Barmer Straße 26 50679 Köln fon 0221 - 46 96 220 fax 0221 - 510756143 [email protected] Digitale Kultur was founded in 2003 as a friendly society in Cologne, Germany. The association presents the computer as a means of expressing artistic creativity and aims to support the communica- tion between creative people. To achieve this, the association orga- nizes demoparties and other The Demoscene demo-scene related events. Computers new realm http://www.digitalekultur.org http://www.demoscene.info In cooperation with http://www.scene.org Whoever mistakes computers for Parties: Fun and Competion being boring or non-creative will be The groups and their members meet at the legen- proven wrong by the demoscene. Here dary demoscene-parties. They meet, they party programmers, graphicians and musici- and vote for the best new releases. New techni- ans show off their real skills. ques are exchanged, new friends and contacts They direct music videos without dancers, set made. Some sceners travel thousands of kilo- and camera. Their special effects do not need any meters to attend. A party can last 3 or 4 days and stunt-coordinators or fog machines. What they need no one is gettting much sleep. The competitors is just a computer and their creativity. All directing show their skills in a dozen different categories, and effects, all shades and the whole soundtrack from the best 4 kb intro, the best music to thro- are created on the machine. wing a harddisk the farthest. And in addition to the recognition for being the producer of an asto- nishing demo the winners can also receive valu- able prices. -
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. -
Soloud Audio Engine
SoLoud Audio Engine Jari Komppa February 7, 2020 i These pages were intentionally left blank. ii (Except for this text) iii © 2020 Komppa, Jari Contents 1 Introduction 1 1.1 Quick Start. 4 1.2 Frequently Asked Questions . 7 1.2.1 What does it play? . 7 1.2.2 What dependencies does it have? . 7 1.2.3 Is there a DLL / C-Interface? . 7 1.2.4 What’s the animal in the logo? . 7 1.2.5 Is there a mailing list? . 7 1.2.6 No doxygen docs? . 8 1.2.7 Why not use this superior fork of libmodplug? . 8 1.2.8 Why did SoLoud move to libmodplug? . 8 1.2.9 Can SoLoud do HRTF? . 8 1.2.10 What about surround speakers? . 8 1.2.11 Are these real questions? . 8 1.3 Directory Structure . 9 1.3.1 Overview. 9 1.3.2 src . 10 1.3.3 demos . 10 1.4 Premake / GENie . 11 1.5 Legal . 13 1.5.1 SoLoud Proper . 13 1.5.2 OGG Support . 13 1.5.3 MP3 Support . 13 1.5.4 Wav Support . 14 1.5.5 Speech Synthesizer . 14 1.5.6 Vizsn . 14 1.5.7 Fast Fourier Transform (FFT) . 14 1.5.8 Sfxr . 14 1.5.9 RPGMaker Wrapper Generator. 15 1.5.10 TED and SID support . 17 1.5.11 Vic . 18 1.5.12 Openmpt . 18 1.5.13 FreeVerb . 18 2 Concepts 19 2.1 Generic Audio Concepts . 19 2.1.1 Audio Source and Instance. -
3D Computer Graphics Compiled By: H
animation Charge-coupled device Charts on SO(3) chemistry chirality chromatic aberration chrominance Cinema 4D cinematography CinePaint Circle circumference ClanLib Class of the Titans clean room design Clifford algebra Clip Mapping Clipping (computer graphics) Clipping_(computer_graphics) Cocoa (API) CODE V collinear collision detection color color buffer comic book Comm. ACM Command & Conquer: Tiberian series Commutative operation Compact disc Comparison of Direct3D and OpenGL compiler Compiz complement (set theory) complex analysis complex number complex polygon Component Object Model composite pattern compositing Compression artifacts computationReverse computational Catmull-Clark fluid dynamics computational geometry subdivision Computational_geometry computed surface axial tomography Cel-shaded Computed tomography computer animation Computer Aided Design computerCg andprogramming video games Computer animation computer cluster computer display computer file computer game computer games computer generated image computer graphics Computer hardware Computer History Museum Computer keyboard Computer mouse computer program Computer programming computer science computer software computer storage Computer-aided design Computer-aided design#Capabilities computer-aided manufacturing computer-generated imagery concave cone (solid)language Cone tracing Conjugacy_class#Conjugacy_as_group_action Clipmap COLLADA consortium constraints Comparison Constructive solid geometry of continuous Direct3D function contrast ratioand conversion OpenGL between -
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.