Culture towards technology changed massively in the last 50 years. 

Where people met, talked about computers, learnt about computers. Played games, designed games.

Yes also pirate software and games was part of this world. 

The demoscene was first a spin-off the crackers and became an own culture with festivals, ‘jams’ and contests. Often there are old computers embeded. 

Let's bring together the memories and artefacts from those times. 

Demake is a ‘downsized’ game - a game developed for a ‘better platform’ (techincal) and was than recoded for an older vintage system. 

Hah, I might not be the best to explain Amiga history, but I’ll do my best :) Fish disks were the main way to distribute public domain, open source, shareware etc. before the internet was wide-spread. People would send Fred Fish software, and he’d compile them into individual disks that people would copy. Magazines would have lots of companies that would allow you to order copies of these disks etc. He ended up creating over a 1000 disks this way. When cd-roms became a thing, you could order the whole collection on those. Those were strange times :)

Aminet was the most famous ftp-archive for amiga software. It was run by the same guy that made Brainfuck, Urban Müller. Rather than chronologically like fish disks, it was organized by topic, with readme’s for every file. You could upload to a staging area, and he’d put them in place. Much like fish disks, companies would print cd-roms with the latest from aminet for those not hooked up to the internets (or on 56k modems, which was most people).

The listing culture is a hybrid between gutenberg galaxis and software. Software was often distributed in the mainframe time as source code ( c ). each system had a different set of hardware, processor. c and co were the platform. You could compile it for your system. 

The listing culture brought source code to the magazines and could be published. first with basic and co for homecomputers, later with checksums, than basic with assembler inlines, than only shortcodes. 

of course by typing in you could learn how to code and solve problems.

The arcade was a place to play games, meeting point. In the german part of switzerland there were almost only males (you could also gambel). They were dark in the most of cases.

In the ‘westschweiz’ there were a lot more women in also in the arcades and younger people (for example in Lausanne). 

In the arcades there were always different types of arcades (older and the latest), than ‘table football’, flippers and so on. 

The swiss gamedesign was influenced and even founded by the cracker scene coming from the C64 to Amiga and the other tree was the Atari ST. Around 25 own Games and Ports were created and published from 1985-1997. There was even an own publisher Linel. 

Computerclubs were a very important institution. 

0. Is a place and a community in the same and also a public in the same
1. Networking people in a non internet time.
2. Bringing KnowhHow to people (Courses)
3. Showing, Selling Hardware (Internally)
4. Own public magazines
5. Part of Creating Groups/interested people
6. Only available in bigger towns 

GameArt like other digital media art is distinguished by a technologically induced ephemerality as well as by a decentralised and therefore difficult longterm availability. More complicating, GameArt differentiates even further and orientiates itself towards earlier lines of game culture like play in backyards, malls and high streets. There is a wide range for designing, playing, and experi- encing GameArt that expands all the way back to a mode of playful experience and action. How can this wide range and depth of themes, interactive playing time, and game mechanisms possibly be archived and made accessible?

Archiving for a society with an open end, in other words a „ludic“ society, has to be determined by an open possibility of observing artistic instruments being developed in order to expand it fur- ther or contextualize it in a new way. The suggestion is to try to build an open and playful archive that includes involved parties and works (from a „knocked down“ curbstone pixel to a player) as well as bystanders (spectators) in a comprehensive setting. While there seem to be long known instances of recipients through whom art works only have been able to unfold their meaning (in play), artists with their possible intentions and, finally, the functional systems of society like sci- ence have to be included first. These instances would only be the first traces and layers among many in an open archive. Subsequently a new „philosophy of archiving“ will be drafted that origi- nates in specific phenomenons and questions of GameArt.

These emerging levels and models describe diverse and partly disagreeing strategies of GameArt. The works span from the game as a medium of artistic discourse to the outright subver- sive criticism of a pronounced „ludic“ society. Therefore a „Mille-Plateaux“-archive is at the same time the base we are standing on and the future we are developing (as a tool).

Die Zeitschrift SPIEL. Neue Folge ist eine internationale Zeitschrift, die sich allen Themen und Fragen der Medien- und Kulturwissenschaften widmet. Dabei spielt eine besondere Rolle, dass die in SPIEL. Neue Folge behandelten Fragen und Antworten dazu beitragen, die theoretischen, methodischen und methodologischen Perspektiven der medienkulturwissenschaftlichen Forschung zu erweitern und zu verbessern.

SPIEL. Neue Folge is an international academic journal dedicated to a wide range of topics and research questions in the discipline of Culture and Media Studies. In particular, SPIEL. Neue Folge aims to publish research that addresses theoretical and methodological questions and that helps to broaden, advance and improve existing research approaches to the discipline.

A port is game that was ‘ported’ to another system. A lot of arcades were ported for example to less powerfull hardware. 

Therefore the question is: Are not all of games Demakes?