Im Gegensatz zu GudrunLandgrebe (»Mit Computernkenne ich mich gar nichtaus) sind für Hauptdarsteller Peter Sattmann Computerund Happy-Computer nichts Unbekanntes. 
Er gab uns be-reitwillig auf dem Weg voneinem Drehort zum anderenAuskunft.

Das Interview mit Peter Sattmann führte unsere Mitarbeiterin Rita Gietl

Happy Computer, Ausgabe 7/Juli 1988

people can upload memories. they get an id and can than upload …

fotos, text, zips, waves.

Very big club with 600 (?) members. There are all paying money.  A lot of people found here other persons with the same ideas and interests.

It seems that the name ist also Statement. In german spoken as KAK means shit.

Die Digitalisierung ist ein schwieriger Transformationsprozess, der seit 40 Jahren andauert und gegen den sich grosse Teile der Gesellschaft lange Jahre (zum Teil zu Recht) gewehrt haben. Letztlich geht es um die tiefgreifende Ablösung der auf Menschen-prozessierten-Medien zu auf Computern-prozessierten-Medien, die dann wiederum vom Menschen bedient, genutzt werden. Und selbstverständlich viele neue Anwendungen möglich machen. Die Corona-Pandemie hat nun die letzten Zweifler* zumindest zu Nutzern* gemacht.

…

Die Digitalisierung ist letztlich die Digitalisierung des Menschen zur Turing Maschine / Universalmaschine, einem einfachen Buchhalter mit Stift und Papier. Es ist die Kybernetik der 30 Jahre in der Realität, unserer Realität. Es geht um automatisch prozessierte Regelsysteme, die das erst möglich machen. Die Ausstellung zeigt in ihrem Ausgestellten ethnologisch und ethnografisch, was die Digitalisierung so erfolgreich gemacht hat, die Technologie dahinter ist anscheinend verschwunden. Sie ist im Hintergrund, im Handy, im Server (Server?) und ist damit handhabbar geworden. Nun ist sie durchsetzbar, weil sie niedlich und nett ist, was sie nie war. Die Digitalisierung wird zum Oberflächenphänomen und eine Ausstellung zum digitalen Planet schafft es, daran kleben zu bleiben. Ihr fehlt das digitale Herz! Sie ist letztlich nur GUI (Was die Computertechnologie ab 1985 sehr erfolgreich machte und mit dem WWW explodieren liess).

Diese digitale Welt ist nur möglich, weil millionenfach Programme warten, endlos warten auf Eingaben oder weil sie endlos vor sich hinrechnen. Selbst ein banales Programm wie Excel wartet bis der da draussen – genannte – User* etwas tut. Computer, Computerprogramme sind unsere kleinen je eigenen Sklaven, Maschinchen mit weissen Handschuhen.

Interesting piece, because. you have to move around with an avatar to get to the demos. so their is a gamemechanic (puzzle) to open the subdemos!

Question: When this demo was created?

(money laundering?)

Base for a lot of computers (GUI, Mac, Atari, Amiga, Next  etc) arcades and Arcades! Expensive but with a fantastic assembler-language. 

not suisse, but people worked with their muscian jochen hippel. 

{ comment }

64o: { stor 64 to o}
[15][o;1 o:o;,]# { while 15 do  read o add 1 and store o read o print  end  }

 

// store 10o:

// load o;

// print ,

// while [ COND ][ ARGUMENTS  ] #

 

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

The Theory

Limitations

The technical limitation on the C64 Keyboard hardware is that not more than 2 keys may be pressed at the same time if you want to be 100% sure the result is valid. In some cases, three keys will work fine but whenever 3 keys form a right angle in the keyboard scan matrix, a 4th letter will appear. The combination “ABC” will work fine but the combination “ASD” will form such a triangle and the matrix will also report that the “F” key is pressed. Same goes for “ASF” which would incorrectly read a “D” the same way.

In short, the C64 keyboard is not a piano where you can play choords and stuff.

Checken … 

What happens with them afterwards

What type of ‘art’-concept is used in the demoscene?

15 years old

Swapping Vilan

An Roger Sandmeier erinnere ich mich leider nicht. Chris Haller habe ich vermutlich über Chris Weber kennengelernt und Chris Weber vermutlich über einen Swapping Kollegen oder dann in der Computerabteilung vom Vilan oder Jelmoli :).

We started working on Exitor right after we get our first Amigas. It was supposed to be a vertically scrolling shoot 'em up heavily inspired by Nichibutsu's 1985 arcade classic Terra Cresta (テラクレスタ). Hovever, it is still in the works.

Swapping Vilan

An Roger Sandmeier erinnere ich mich leider nicht. Chris Haller habe ich vermutlich über Chris Weber kennengelernt und Chris Weber vermutlich über einen Swapping Kollegen oder dann in der Computerabteilung vom Vilan oder Jelmoli :).

Who did what? How you learned coding.
How the teached?

look at development with bitorrent, crypto-x and social media

this computers came with an operating system, gui-based and mouse. basic was a prg to use (not anymore line based). there were some new styles of basics coming up like gfa-basic, omikron-basic (atari st). 

and the most games were coded in assembler (68000 was a god processor for assembler). so you had to buy assembler, which was not included. 

which designpattern where used? and why?

I did start tracking on soundFX in 1989 however the demogroup i was working on was unable to get the replayroutine so had to pass on noisetracker

Often a comment about music, the classic music.

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).

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. __________________________________

Irak Krieg?

Hardware
- C64 consolen basis, erinnert mehr an eine Console als an einen Computer (Sprite, Hardwarescrolling, Music).
- SID wirklich witzig

VisualDisplay
Unmöglich viele Modis: High res. Multicolor > Programmierung schwierig. Positiv: Kombinierbar
- Beschränkte 16 Farben > Schwierig etwa eigenes zu machen. 
- Strahlende Farben fehlen.

Music
- Music Coding
- SID wirklich interessante Stücke. 

Tools
- Damals Paintingprogramme? > Öfter bessere Computer genutzt wie Amiga/PC (Compiling)

Coding
- Schwierig reinzukommen, sogar schwieriger als Atari2600
- Entwicklung über Jahre
- Basic embedded .-(
- Woher kam das Wissen? Die Software? (Magazine?)
- Öfter bessere Computer genutzt wie Amiga/PC (Compiling)
Gamecoding
- Ohne Tricks (Sprite Multplexer 8 Sprites viele Spiele nicht denkbar) ähnlich wie beim Atari 2600. Tricks

Beschränkung
- Beschränkung bei Shootemups am Schwierigsten bei allen anderen Genres eher möglich mit 8 Sprite durchzukommen.

Community
- Identitätsstiftend aber warum? Einfach übers gemeinsame Spielen?
- Bis heute ungebrochen. Aber mehrheitlich Spieler? Demoszener? 

Heute

Gesamte Entwicklung auf einmal da, keine allmähliche Steigerung/Entwicklung über 10 Jahre
Selbst heute, einige Tutorials aber kein Gametemplate. Viel bis heute unterschiedliche Nutzung: Vorallem game und demoscene. 
> Anwendersoftware fast nicht dokumentiert. 
> Neue Games, demos > Anwendersoftware?

Turings Assembly-Line is a game orginally written on the Plato systems (1960 ) in 2020 on Cyber1.org by and-or.ch. 
There is also a version as a web-app.

r and c discussed if a bootsector virus is possible (in 512 bytes). than c went home and coded in2 days one, gave a infected disc to r with software. legend: from this disc all sca viruses shall come from.

story was told in a discussion around 2013 by c.

Also visible in some cracks. 

It is the cathode ray. 
and it never goes up - only in the demos.

it is a technical visual thing about power and control! 

@la1n/imp89 @Shana @dipswitch Sorry, I only just now noticed about this intense discussion going on. Shana has put it 100% correct already. The name eventually was given to the event by Furball/Fake That back in 1996 for Bünzli#1 (taking place near Bern). Was changed to 'Buenzli' (no umlaut) once international visitors started to appear. This then was kind of a 'trademark' for a while. When we changed the location from Winterthur to Olten, we also rebranded the party to Demodays, a name that was a bit generic but worked without the need to explain it all the time. It also allowed for the Demonights pun afterwards. 'Demodays', however, has not really been adopted by the demoscene too much, many people just kept it calling Buenzli (or 'Buenzu' for some). This is also somewhat reflected in inconsistent naming/series ordering on Pouet and possibly Demozoo. I'm happy, Furball &the other teenage guys called the event Bünzli: Without that decision, we wouldn't have interesting discussions like this

tribute to?
exploting? 
> tribute - take the best … collage

interesting game in the development line of the text adventures of the 80ies and their language pattern. new possible with modern ai. 

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.

really find the correct channel in tv! 

Made by crackers and a lot of anti-protection-mechanics. So a long time this game was not cracked.
Example: all tracks are not starting at the same place like normally - every track starts somewhere else. therfore they 

Special Thanks to:
 

SCA, Damien Markulin, Martin Bruetsch, Michael Meier, Oliver Wagner

We also greet:
 

Claudia Lienert, Susanne Fuchser, Michael Vydra, Maren Bajewski, Ozzy Jorry, Thomas Schneider, Miki Daszkl, Heiko Bernhoerster, Andre Wiethoff

The after mainframe-area (based on c and co) was driven by coding near the hardware to get more speed. espacially in games. So Assembler was important. 

A lot of works in the area of electromechanic/optic calculation in games.

persons:

interviews: 
- sandmeier
- heubi
- roman werner

what happened with the rest?

'C64 an 8bit console computer on steroids'.

The intellivision was at the same time a real good 16bit system and console and not like the c64 a 8 bit processor with 64k ram. Hell to code for …