This is a start to collect data from vintage computing in Switzerland. It is a bottom up approach to collect and organize data. It is also a research for how to collect and store data. 

The data/information can be stored as nodes. The nodes can be as a tree (hierachy) and/or rhizome. 

This data is open for everyone who wants to also add his/her/its own data. Just create content. We will than try to bring it in an order. 

 

There is a large base of videogame fans and developers working on emulating old games to ever new platforms. While this guarantees the transfer of knowledge and accessibility for games, there is nothing comparable for electronic literature. The community is too small, does not include many tech-experts, and even browser-based projects of five years are no longer working. A steady in- crease in interactive, collaborative and dynamic elements in new projects of electronic literature is at the core of the problems of archiving. This article discusses the impacts of digital writing on creative works and assesses the situation for German electronic literature and e-poetry in terms of its problems, possibilities and perspectives of archivability. It sorts the projects in easily represent- able works, works that need adapting or emulating and projects that are very difficult to archive in their original form. In doing so it outlines the necessary steps to make electronic literature from past and present accessible for future users. __________________________________

Areas like the demoscene or electronic games existed only rudimentarily as analog systems (pinball etc) In this sense they were new and updated the system.

Other areas changed or replaced existing areas: 
- Data collection and analysis (punch cards, etc.)
- word processing

> From media running on humans to media running on computers

vintagecomputing is an open platform for people, who are interesting in the different aspects of vintagecomputing and gaming in switzerland. You can just create an account and enter data, make propositions and enter data. 

Tapes comes from the mainframe tapes and were popularised by music too. so often people used normal tapes-drives and for a zx81-games - there were even description how you had to connect the microphone-cable to the head-phone-jack and reverse. While loadibg a zx-81 game you hear the whole time the data coming in! so meta: sound was for people and maschines.analog digital. So there was no difference between an accoustic coppler and data from the tape. 

cently founded by Eduard Stiefel, where he worked together with Ambros Speiser on developing the first Swiss computer ERMETH, and developed the programming language Superplan (1949–1951), the name being a reference to Rechenplan (English: computation plan), in Konrad Zuse's terminology, designating a single Plankalkül program. He contributed especially in the field of compiler pioneering work and was eventually involved in defining the languages ALGOL 58 and ALGOL 60. He was a member of the International Federation for Information Processing (IFIP) IFIP Working Group 2.1 on Algorithmic Languages and Calculi,[1] which specified, maintains, and supports ALGOL 60 and ALGOL 68.[2]

The Tandy Color Computer was the runner up. The Apple II was the winner in the category of home computer over $500, which was the category the Commodore 64 was in when it was first released at the price of $595.

n the United States, the greatest competitors were the Atari 8-bit 400, the Atari 800, and the Apple II. The Atari 400 and 800 had been designed to accommodate previously stringent FCC emissions requirements and so were expensive to manufacture. Though similar in specifications, the C64 and Apple II represented differing design philosophies; as an open architecture system, upgrade capability for the Apple II was granted by internal expansion slots, whereas the C64's comparatively closed architecture had only a single external ROM cartridge port for bus expansion.

Aggressive pricing of the C64 is considered to have been a major catalyst in the video game crash of 1983.

The price war with Texas Instruments was seen as a personal battle for Commodore president Jack Tramiel.[25] Commodore dropped the C64's list price by $200 within two months of its release.[6] I

Meanwhile, TI lost money by selling the TI-99/4A for $99.[26] TI's subsequent demise in the home computer industry in October 1983 was seen as revenge for TI's tactics in the electronic calculator market in the mid-1970s, when Commodore was almost bankrupted by TI.[27]

Although many early C64 games were inferior Atari 8-bit ports, by late 1983, the growing installed base caused developers to create new software with better graphics and sound.[34]

 

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

Floppy disc or magnetic disc are faster and mor flexible than tapes. you can load and store autonom (no start and stop) and not linear, you can store them here or there. but of course also expensiver (you cant anymore use a (music) tapedrive.

Often used - enter data from cover or description. 
With more and more photocopiers, often used bad copyable sujets (red etc) or complex systems like rotating discs (several lucas arts games  and were in the mood of the game).

Later the dialog to enter the number/code came in the middle of the game (manic mansion etc). 

Codes were also used to ‘store’ progression.

Ivan Sutherland’s seminal Sketchpad application was an early inspiration for OOP. It was created between 1961 and 1962 and published in his Sketchpad Thesis in 1963. The objects were data structures representing graphical images displayed on an oscilloscope screen, and featured inheritance via dynamic delegates, which Ivan Sutherland called “masters” in his thesis. Any object could become a “master”, and additional instances of the objects were called “occurrences”.

Demo coder, known for cool demos and trainers.
Depeche jonied Spreadponit in 1989. He mysteriously left SP in 1990 and broke up alomst all contact. He then went over to DefJam but not very much later stopped his Amiga activity. Depeche was so fond of language games that he once bought a Langenscheid's dictionary of slang-English!

Data 
Born 1972, grown up and living in Switzerland
Todays occupation: finishing studies (comp. sci)

Work
Demos: Wooow, Scrapheap, Empire, Power!, HI5 and more
Trainers: a whole lot...
Sound: some crazy mixes
Tools: a disk copier in a bootblock, TLB-Utilitydisk, more

Hobbies
old days: being creative, being cool, speaking cool, cool places, cool clothes, cool people, arcade games, pinball machines
today: unknown.

Music
DM, Art of Noise, Erasure, Pet Shop Boys, Yello, LL cool J, Derek B, De la soul, ...

Subject:
'Re: VIC-II colors'
From: Robert 'Bob' Yannes
To: Philip
'Pepto' Timmermann
Date: 27.09.1999
I was involved with the development of the VIC-II, however the actual implementation of the design, including the Color
Palette, was done by someone else. I have forwarded your message to him, but it is up to him if he wants to respond.
I can tell you that the design was based on the principle that adding a sine wave of a particular frequency and amplitude
to an inverted version of the same sine wave at a different amplitude produces a phase-shifted sine wave of the same
frequency. The amount of phase shift is directly proportional to the amplitudes of the two sine waves.
The VIC-II used the 14.31818 MHz master clock input (4 times the NTSC color burst frequency of 3.579545 MHz) to produce
quadrature square-wave clocks. These clock signals were then integrated into triangle waves sing analog integrators. The
triangle waves were then integrated again into sine waves (actually rounded triangle waves, but good enough for this
application). This produced a 3.579545 MHz sine wave,
inverse sine wave, cosine wave and inverse cosine wave.
An analog summer was used to create the phase-shifts in the Chroma signal by adding together the appropiate two waveforms
at the appropiate amplitudes. The Color Palette data went to a look-up table that specified the amplitude of the waves by
selecting different resistors in the gain path of the summer. The end result was that we could create any hue we wanted by
looking at the NTSC color wheel to determine the phase-shift and then picking the appropiate resistor values to produce
that phase-shift.
Color Saturation was controlled by scaling the gain of the summer. When we picked the resistor values to determine the
output phase-shift, we also scaled them to produce the desired output amplitude. Luminance was controlled using a simple
voltage divider which switched different pull-down resistors into the open-drain output. We could create any Luminance we
wanted by choosing the desired resistor value.
I'm afraid that not nearly as much effort went into the color selection as you think. Since we had total control over hue,
saturation and luminance, we picked colors that we liked. In order to save space on the chip, though, many of the colors
were simply the opposite side of the color wheel from ones that we picked. This allowed us to reuse the existing resistor
values,
rather than having a completely unique set for each color
I believe that Commodore actually got a patent on this technique. It was certainly superior to the Apple or Atari approach
at the time, as they ended up with whatever colors that came out--ours allowed the designer to freely select Hue,
Saturation and Luminance.
Since all of this was based on selecting different resistor values and resistance varied from chip lot to chip lot, there
was variation from one Commodore 64 to another. It wasn't as bad as it could have been though, since all of the Chrominance
selection was based on resistor ratios, which could be kept constant even if the actual resistor values varied. Luminance
was more of a problem. A trimmer resistor should really have been used to pull up the output. This would have allowed the
Luminance to be adjusted for consistency from unit to unit, however Commodore didn't care enough about consistency to
bother with adjusting each unit
Robert
'Bob'
Yannes

Computer animation for the TI-99 4a home computer, written in Texas Instruments Extended Basic with own and found code.

First Bally Electronic Pinball

peer to peer enabled looking into private collections alias folders-structures and content. so you could really look into personal data, ideas, rhizomes. you find very personal stuff. the copyright debate around mp3 destroyed this possibilities in those time - as it seems forever. 

create a simple software to collect artefacts etc.

#ch_ludens

Coder.
Amicom joined SPREADPOINT in 1989 together with Depeche. He was active as coder of very different things from MMU tools to demos. What he liked best was to explore and develop new programming tricks that could be used in demos and other places.

Data
Born 1968, grown up and living in Switzerland.
Todays occupation: finishing studies (natural science), running an internet company togehter with other ex-amiga freaks.

Work
Demos: Lissa, Platin3D, Small.
Intros: Giana Sisters (trained by Depeche), Amegas (trained by Depeche).
Utilities: Blitter-Copy, List Manager, MMU expert, AFS File Scrambler, SPlay soundtracker player.
Other stuff: Atom Demo (unfinished), Platon's Polyhedra (unfinished), revival of HQC demos, GigaMem (a virtual memory extension to AmigaDOS), some work in TypeSmith (a outline font editor).

Music
Depeche Mode, Kraftwerk, Simple Minds, Billy Idol, Pink Floyd, Pet Shop Boys, OMD, ...

there are two aspects came together in the universal computer. 
1. computing (sorting)
2. control (cases, if then, input)
before this were seperated functions in analoge maschines.