We want to to start publishing more things about 8-bit creativity that is not about videogames and pop-music but rather about art, demoscene, noise, performance and man machine. This stems from the belief that the production, consumtion, socializing and distribution in the 8-bit communities has features that are unique to the 8-bit world.
Music is probably the 8-bit field that has gained most attention in popular culture. 2007 proved to be an interesting year with probably the world’s biggest chipmusic festival ever (Blipfestival in USA) and there was plenty of attention in the art world for a documentary about art, music and videogames (8 bit). The biggest stir was probably that of Timbaland’s extensive sampling of GRG and Tempest’s chiptune Acidjazzed Evening. In general though, the tendency of treating chipmusic as a musically simplistic, techically complex form of pop music has continued. Viewing chipmusic as a form and judging from popular places such as 8bitpeoples, modland or micromusic.net, this is the norm. However, from a technological perspective chipmusic does not have a form and there’s a wide range of alternative music that happens to be produced with lo-tech computers and consoles. The manifesto of Chip Music is Dead is one example, albeit more radical than most, of this perspective: “We reached the point that some of us had to be fearing of. VSTi and difussion started to become our enemies, cloning of ideals started mutation and blending.”
The point of this blog is not to argue for technological purism, but to focus on what makes the 8-bit machines and its communities unique. It can be the intimacy between man and machine, the open source music and sharing of knowledge and software, the demoscene dogmas of maximisation, the communities and the simple access to massive databases of 8-bit work. The future is bright!