Daniel Botz has finally published his PhD dissertation on the demoscene. Chipflip’s conversation with him in 2009 revealed some of his approaches. Entitled Art, Code and Machine – the Aesthetics of the Computer Demoscene, it is an extremely well-researched study of the demoscene’s history and aesthetics.
The theoretical base is Friedrich Kittler, who is more interested in machines than humans. From this Botz constructs a media materialism that takes the potentials/limitations of the machine seriously. Human fantasies about subverting the machine is not primary. Demos are immanent in the machine and are only “carved out” by the sceners. They are states of the machines, and not products. There is no software, even.
Still – as a researcher of art rather than computers – Botz describes the aesthetical norms also from a social perspective, occasionally with some ideas from cultural studies. New effects typically reference “oldschool” elements to make it graspable. It’s not a virtual and limitless digital “freedom” where anything is possible, which is often implied elsewhere. You know, Skrju can make lots of fucked up noise but still fit in, while perhaps Critical Artware could use some more rotating cubes.
Unfortunately this book is only available in German. You can read a sample here. My German is not very good, so my apologies if this post contains any misinformation. Having said that, this book is the best demoscene research I’ve read. It’s quite traditional in its theory and methods, which I think is required to cover the topic thoroughly. Still, it offers plenty of surprises compared to the usual clichés about hacker aesthetics. Perhaps that’s because the theoretical perspective is down-to-earth instead of pretentiously post-whatever or ideologically biased (e.g. humans or machines).