Top Amiga Scene Composers

May 23, 2014

Eurochart was a disk magazine that published perhaps the most well-respected charts of the Amiga demoscene. It was a big thing to be #1 there! Among other things, it ranked music composers and I found a list of all the #1-composers over the years (1989-2006). Made by Slash/Citron in a Facebook-group. So, I’ll just leave this here with links to their current work (not necessarily music).

Oh and just so you know – the Amiga scene didn’t die in 2006. There’s still plenty of good music being made by people like Hoffman and my group mates in Up Rough. Anyway:

Top Amiga composers (amount of #1-spots @ Eurochart)

1. Revisq – 7
2. Muffler – 6
3. Jester, Romeo Knight – 5
4. Audiomonster, 4-mat – 4
5. Tip, Moby, Jogeir – 3
6. Dr.Awesome, Reed - 2
7. TipMantronix, Dizzy, Ganja, Yolk 1

#1-spots for all Eurochart issues

#3 1. Romeo Knight / RSI
#4 1. Romeo Knight / Red Sector Inc. 
#5 1. Romeo Knight / Red Sector Inc. 
#6 1. Romeo Knight / Red Sector Inc.
#7 1. Romeo Knight / Red Sector Inc.
#8 1. 4-Mat / Anarchy (RSI?)
#9 1. 4-Mat / Anarchy 
#10 1. 4Mat (Ex.Anarchy – last appearance)
#11 1. 4-mat / Anarchy 
#12 1. Tip / Phenomena 
#13 1. Tip / Phenomena 
#14 1. Tip / Phenomena 
#15 1. Mantronix & Tip / Phenomena 
#16 1. Audiomonster / Silents 
#17 1. Audiomonster / Melon Dezign 
#18 1. Audiomonster / Melon Dezign 
#19 1. Audiomonster / Melon Dezign 
#20 1. Jester / Sanity 
#21 1. Jester / Sanity 
#22 1. Jester / Sanity 
#23 1. Jester / Sanity 
#24 1. Jester / Sanity 
#25 1. Moby / Sanity 
#26 1. Moby / Sanity 
#27 1. Moby / Sanity 
#28 1. Dizzy 
#29 1. Jogeir/Scoop
#30 1. Jogeir/Pulse&Noiseless
#31 1. Jogeir/Pulse&Noiseless
#32 1. Revisq/Anadune&Floppy
#33 1. Revisq/AND&FLP&NAH 
#34 1: Muffler of Haujobb&DCS 
#35 1: Muffler of Haujobb&DCS 
#36 1: Muffler of SCX&DCS&LVB 
#37 1. Muffler 
#38 1. Revisq 
#39 1. Revisq 
#40 1. Revisq 
#41 1. Ganja 
#42 1. Muffler 
#43 1. Muffler 
#44 1. Reed 
#45 1. Reed 
#46 1. Revisq 
#47 1. Revisq 
#48 1. Yolk



New Media is More Obsolete than Old Media

May 18, 2014

Cory Arcangel, Golan Levin and others have done some great work to retrieve old Amiga graphics that Andy Warhol made back in the day. This is some great work! And I think it’s great that the Amiga gets some attention in terms of computer creativity instead of the constant Apple-ism. But.. what kind of attention is it?

Many artists, media scholars and journalists have a special way of talking about old media. The term hacking usually pops up. Even if you just download software and use it in a very normal way – like most chip music is made for example – we still love to call it hacking. But why? There are several possible explanations. First – we love to believe that humans are in control of technology and that fantasy can flourish with these old and supposedly non-user-friendly machines. Human intelligence can tame even this uncivilized digital beast! Secondly – the term hacking oozes creativity and innovation and has become an omnipotent term used for almost everything.

Obsolescence is another popular word. I’ve written about this many times before, for example in relation to zombie media. Let’s put it like this: new media is permeated with planned obsolescence. Old media is not. Amigas were not designed to be obsolete after a few years like so many modern platforms, systems and programs are. So from our current perspective it seems totally incredible that these old floppy disks and file formats can still be used. Because we’re not used to that anymore. Most people don’t know how easy it is to copy that floppy to a flash card and view the images with UAE or even Photoshop.

It’s also common to think of old media as fragile. But then why do nuclear missiles rely on 8″ floppies? Why do so many airports use DOS, matrix printers and Hi8 video? Why did Sony sell 12 million 3.5″ floppies in 2009?Why did so many gabber/noise people use the Amiga for live shows? Because these things are stable, sturdy and built to last. And because it’s expensive to change it, sure, but the point is: old media is clearly not as fragile as many people seem to think.

To summarize this discourse we can say that 8-bit users are hacking media that is fragile and obsolete. While there is obviously some truth to that statement, a general adaptation of it rests on some pretty problematic ideological assumptions that we all need to relate to in order to get by in a consumer culture. For example:

“New media is better than old media because in technology, change = progress”.

I think we can all be more careful with how we discuss old media in order to move away from this dangerous misunderstanding. I know that there are many contexts where that is not suitable, possible or meaningful. But technological change oozes with politics and it doesn’t have to be conservative or retro-cool to criticize or reject the new. So bring it on, hipster!


The Truth Behind E.T + Something a Lot More Disturbing

May 2, 2014

In case you missed it – for the past week the internetz has been going bananas about Microsoft digging out tons of Atari cartridges in a desert in USA. Microsoft? Yeah, they are sponsoring a documentary about the “urban myth” that Atari’s game E.T was so bad that they buried it in a desert in USA in 1983. And now they’ve dug it out, and revealed the truth! Well…

1. It’s not news. It’s always been known that they buried cartridges (New York Times from 1983). Wikipedia even claims that kids looted the site to find not only E.T-carts but also Raiders of the Lost Ark, Defender, and Bezerk.

2. The E.T game was an experiment made in a few weeks. Whether the game is crap or not is up for debate, but it was a bold move in a flood of boring.

3. Atari made bad business choices and market predictions. They over-produced and over-priced their games, under pressure from their owner Warner. This was one of the factors of the North American video game crisis. It wasn’t about one single bad game. It was a bubble that burst. And it took years before it would inflate again, when Nintendo stepped up to show it’s done…

4. We now know for sure that it wasn’t only E.T in there, but several other games. In total more than 700,000 cartridges.

It’s going to be interesting to see the documentary, I guess. But the reporting of BREAKING! single game actually buried in the ground wow! is just wrong. The true story is more like a tech-bubble leading to tons of crap in the desert, which pissed off the locals living there. And that is actually not so far from how it works today. Only a lot more toxic, on a much larger scale, and completely normalized.

Planned obsolescence and “e-trash” commerce makes sure that tons of toxic tech-stuff  is shipped to e.g Africa and China to kill the kids who work with it. It’s a tech bubble – since both the production and disposal of consumer tech is ecologically and socially unsustainable – only this bubble is out of sight, and way more serious. Hey, maybe that could be topic of your next documentary on Xbox, Microsoft?


Toxics e-waste documentation (China : 2005)

FACT Magazine Gets Computer Music All Wrong

April 22, 2014


FACT magazine just published 14 pieces of music software that shaped modern music. It writes a history that seriously portrays computer music history as going from “bad” to “good” and from “no options” to “anything you want”. It’s quite strange, since it’s written by Xela who did his first (?) release on the demoscene label Monotonik back in the days. Ok, well:

*initiate uncool data-rant*

1980’s computers are portrayed in the article as word processors that only a few people made some experimental sounds with (of course, USA’s computer music inventor is mentioned as always). First of all – as much as I love text mode, computers had been using colours and vector graphics for ages. They had also generated pop music in 1956, made christmas carrols and TV-music in 1958, played Bach in 1959 and in 1960 you could draw music with a light pen. And in 1968 Douglas Engelbart did that demo that sort of featured all those gimmicks we still use today. So no, it wasn’t like computer music was just a grey little blob in the 1980’s. But that’s what the article claims. But it was followed by a revolution in quality!

Over time, however, music software blossomed, and transitioned from fiddly time wasters, doomed to the forgotten directories on an Commodore Amiga cover disk, to the plethora of usable and sturdy apps we have available to use today.

“Plethora of usable and sturdy”… what? Let me count the times that Ableton Live has crashed compared to how many times Protracker has crashed. Let me count how many years that your spankin’ new [DAW/VST/whatever] will be usable for, and then compare that to the sequencers and softsynths from the 1980’s. Let me count the amount of bloat that got added to music software in the 1990’s, and compare that to the ultra-fast interfaces of 1980’s trackers. Let’s look at the huge archives of MOD-files and chiptunes that are freely available today. And if we strip away all the normal stuff, there’s a quite fair amount of innovative or impressive works. Just like today. Made “despite of” or “because of” the software, depending on your perspective. I can only assume that these things are not important for the author, but let me say this: usability & usefulness are not exactly objective concepts.

I know the purpose of the article is not to give a thorough history lesson on computer music. Seems more like a click-bate, although there are some very interesting bits in there too. But if you start at 1985 and basically only say what the software did and who used it, you’re not going to be able to say anything about “shaping modern music”. And I don’t know, the tone of that first page of text just pisses me off, actually. The author might not like people (“hipsters”?) who don’t use computers to record audio nowadays, but he does it on the expense of more or less thousands of years of music that didn’t have these “apps” that have been fashionable for, oh, 20 years?

Oh and one last thing: The article opens by saying “We’re at the stage in history where using music software isn’t so much an option as it is a necessity.” What does that even mean? Hardware and software need eachother – you can’t have one without the other. And in fact, the software metaphor as we use it today leads people like Florian Cramer to say that software has existed for thousands of years in magic, music composition and poetry.

Sorry Xela, I guess you just touched a sore spot…


Tomorrow: Speedcomp 9

April 17, 2014

A while back I wrote a short history of hardcore chipmusic, where I outlined the proto-breakcore pioneers of Australia. As some people suggested I forgot to write about the current situation there. Which is that the lo-fi tracker hardcore is still alive and kicking. At Thematics Radio they do themed shows, and some of it is tracker hardcore with people like Hedonist, Xylocaine and Abortifacient being involved.

They also do competitions called Speedcomps. You get a bunch of samples and have 30 minutes to make a song with nothing but those samples. Here s a link to the Facebook-page of the previous one, on March 15. So yeah, now go find the link to the next one and have some fun!

Don´t forget the time difference, though. This takes place in Australia which is always one step ahead of the rest. So set the alarms, load your software and get ready to rumble! You should be able to find more info here, but I am not sure since this post was written in the past and sent into the future so I wouldn´t forget.

Wider Screen: Authenticity in Chipmusic

April 16, 2014

Yesterday I wrote about the new scene issue in Wider Screen, where several noteworthy scholars write on chipmusic, demoscene and warez culture. Today I return to that, to discuss the ethnographic study of authenticity in the chipscene. Chipmusic, Fakebit and the Discourse of Authenticity in the Chipscene was written by Marilou Polymeropoulou who I’ve met a few times around Europe when she’s been doing field studies for her dissertation. Her article is refreshing because it deals with technology in a non-technological way, so to say. It takes a critical look at the ideologies of chipmusic (which I also tried to do in my master’s thesis) and she doesn’t get caught up in boring discussions about what chipmusic actually is (which, uhm, I have done a lot).

Polymeropoulou divides the chipscene into three generations. The first generation is described as a demoscene-inspired strive for being an original elite, by challening the limitations of original 8-bit hardware from the 1980’s. As I understand, this generation is everything that happened before the internet went mainstream. The second generation is internet-based and focused on mobility (read Gameboy), learning by copying and making more mainstream-ish chipmusic. The third generation is characterized as “chipsters” that are more interested in sounds and timbres rather than methods and technologies.

The first generation of chipmusicians would be a very diverse bunch of people, activities and machines. Perhaps even more diverse than the chipscene is now. Back then there were not as many established norms to relate to. I mean, we hardly knew what computers or computer music was. The terms chipmusic or chiptune didn’t exist, and I doubt that it was relevant to talk about 8-bit music as a general concept. It was computer music, game music, SID-music, Nintendo-music, etcetera. People were using these 8-bit home computers to make music for school, for games, for art, for their garage band, for themselves, for Compunet, for bulletin boards, the demoscen, for crack-intros, etcetera. However, looking back through the eyes of “chipscene 2014″ it makes sense to zoom in on only the demoscene during this period, as it is normally considered as one of the most important precursors.

Chip Music Festival, 1990

In the demoscene there were many people who ripped songs to copy the samples, look at their tracker tricks, or just use the song for their own demo. Copying was common, but it wasn’t exactly elite to do it. There was certainly a romantic ideology of originality at work. But I’m not so sure about ascribing a technological purism to the demoscene of that time. Sure, people loved their machines. But most sceners eventually moved on to new platforms (see Reunanen & Silvast). So I’m not sure that this generation would be the anti-thesis to fakebit. In fact, when the chipmusic term first appeared around 1990 it refered to sample-based Amiga-music that mimicked the timbres of the PSG-soundchips and the aesthetics of game music.

So, in a sense, the Amiga/PC chip-generation of the 1990’s (when the 8-bit demoscenes were very small) was actually not so far from what is called fakebit today. And that’s obviously why this big and important momentum with tens of thousands of open source chip-modules is so often ignored in histories of chipmusic. It just doesn’t fit in. (It’s also worth noting here that many if not most 8-bit demoscene people today use emulators such as VICE or UAE to make music, and use the original hardware more like a media player.)

My theory is that the hardware-fetish of the chipscene is a more recent phenomenon, established sometimes in the mid 2000’s, and I think that Malcolm McLaren’s PR-spree had something to do with it, regardless of the scene’s reaction. If you listen to the early releases at and 8bitpeoples today, you could call it fakebit if you wanted to. Just like with the Amiga-chip music of the 1990’s. So it seems to me that this generation didn’t build much on what had been done in the demoscene, other than perhaps using tools developed there. Games, on the other hand, were a popular reference. So to me, the post-2000 generation of chipmusicians feels more like a rupture than a continuation from the previous generation (something like hobbyism->crackerscene->demoscene->trackerscene->netlabels).

At this time I was still a purist demoscene snob, and I thought that this new kind of bleepy music was low quality party/arty stuff. Still, I decided to gradually engage in it and I don’t regret it. But I was one of very few demosceners who did that. Because this was, in short, something very different from the previous chipmusic that was characterized by lots of techné and home consumption. Micromusic was more for the lulz and not so serious, which was quite refreshing not only compared to the demoscene but compared to electronic music in general (you know, IDM and drum n’ bass and techno = BE SERIOUS).

It’s funny, but when Polymeropoulou describes the third generation of the chipscene (the chipsters) it actually reminds me a bit of the early demoscene people, perhaps even during the 1980’s.

Chipsters compose chipmusic – and of course, fakebit – on a variety of platforms, including modern computers, applying different criteria, based on popular music aesthetics rather than materialist approaches. [..] Chipsters find creative ways combining avant-garde and subcultural elements in order to break through to mainstream audiences, a practice which is criticised by purists.

In the 1980’s they used modern computers to try to make something that sounded like the “real” music in the mainstream. They borrowed extensively from contemporaries such as Iron Maiden, Laserdance and Madonna and tried to make acid house, new beat, synth pop, etc. There was definitely some freaky stuff being made (“art”), and something like comedy shows (Budbrain) and music videos (State of the Art) and later on so called design demos (Melon Dezign) and those demos appealed to people who were not sceners. And the megamixes! Here’s one from 1990:

Okay… how did we end up here? Oh yeah — my point is, I suppose, that the demoscene is not as purist as people think, and never was. Atleast that’s my impression of it. But even if I disagree with the generational categorization of Polymeropoulou’s text, I consider this article as an important contribution to the field of techno-subcultures. Also, I am even quoted a few times both as a researcher and as an anonymous informant. Maybe you can guess which quotes are mine, hehe.

Rewiring the History of the Demoscene: Wider Screen

April 15, 2014


Wider Screen has just released a themed issue on scene research, including scientific articles on the demoscene and the chipscene. It seems to be some very good texts, although I’ve only read one so far. So let’s talk about that one!

Markku Reunanen gives a long-awaited critical examination of the history of the demoscene in How Those Crackers Became Us Demosceners. He notes that the traditional story is basically that people cracked games, made intros for them, and then started to make demos. He problematizes this boring story by describing different overlaps between the worlds of games, demos and cracks. The first time I really reflected on this issue was in Daniel Botz’ dissertation. It is indeed obvious that this is a complex story full of conflicting narratives, and we can assume that (as always) The History is based on the current dominant discourses.

What do I mean with that? Well, take Sweden as an example, where the scene was always quite large. These days the scene is usually, when it is mentioned at all, described as a precursor to games, digital arts and other computer-related parts of “the creative industries“. When Fairlight’s 25-year-anniversary was reported in the Swedish mainstream media, cracking was portrayed as a legal grey area that contributed to the BNP. The forth-coming Swedish book Generation 64 seems to be telling a similar story. The scene was a bunch of kids who might have done some questionable things, but since these people are now found in Swedish House Mafia, Spotify and DICE it seems like all is forgiven. But it’s not.

Look at what the other sceners are doing today. The ones who didn’t get caught up in IT, advertising and academia. Piratbyrån, The Pirate Bay and Megaupload all involved scene people and, from the previous story, appears as a darker side of the scene. The data hippies, the copyists, the out-of-space artists, the dissidents, the fuck-ups. The people who don’t have much to gain from their scene history. But also the BBS-nazis (one of them living close to me) is interesting to consider today, when far-right discussion boards are frequently mentioned in the media. The info-libertarians at Flashback also remind me of the scene’s (in a very broad sense) spirit of “illegal information” and VHS-snuff movies that I mention in The Forgotten Pioneers of Creative Hacking and Social Networking (2009). Something else I mention there, as does Reunanen, are the swappers and traders whose sole function was to copy software around the world. But they are not really part of the history since they weren’t doing that Creative and Original work that we seem to value so dearly today.

No, the scene wasn’t a harmless place for boys-2-men, from geeks to CEOs. And also – there were plenty of people making weird stuff with home computers that were not part of the scene. People at Compunet were making audiovisual programs that looked really similar to the demoscene’s, but are usually not regarded as part of the scene. Possibly because of its apparent disconnection from the cracker scene. I’ve sometimes seen STE argue about this with sceners at CSDb. Jeff Minter did demo-like things, and people had been doing demo-like computer works for decades already. And all the hobbyists who wrote simple or strange sonic and visual experiments on their 8-bit home computers, but never released it in the scene? Well, they are effectively being distanced and erased from the history of the demoscene by not being included in archives like CSDb and HVSC that exclude “irrelevant” things.

So yeah – thumbs up to Markku for this article! Let’s not forget the provocative and subversive elements of the scene (read more about that in the 2009-article I link to above) because they might become very relevant sooner than we think.

Chip Folk Music

April 14, 2014

Folk music is almost as hard to define as chipmusic is. You have a feeling you know what it is, but if you start to explain it you’ll run into trouble quite easily. “Yeah, so you have to use certain instruments, but, eh, it’s not like you have to use those instruments. And not all music made with those instruments belong in the genre. Because there are typical aesthetical elements. Or atleast some people say that. Yeah, maybe it’s more like a community or lifestyle… so…”

Dragan of Bodenständig 2000 sometimes calls chipmusic home computer folk music. And he has a point. Some people say that folk music are basically traditions developed by “uncultured people“, as opposed to the people who talk about art, philosophy and culture all the time. People who just sort of do what they do, without talking too much about it. Stuff that develops almost naturally within a group at a specific time, using certain musical technologies (mechanical, digital, whatever). Most likely, this is how we’ve played with sounds together for centuries, before it was even packaged under the term “music”. In that sense, folk music is perhaps a retronym just like chipmusic is. And to me it makes all the sense in the world to call chipmusic folkmusic. But not to most other people.

But anyway. Balún posted a jibaro (Puerto Rican folk music) song made on C64 in 1987, which led @gusandrews to ask for more folk chipmusic. So I saw that as an opportunity to continue my quest to examplify various chipmusic genres. CrillFactor suggests that bag pipes sound similar to square waves, and I’ve atleast heard one (unreleased) chiptune by Nemo that mimicked this sound.

Minusbaby suggests reggaeton, which makes me think of Super Guachin but even more so Meneo who’s electrified many dance floors with his Gameboy reggaeton noise dance nudity. Reggae could also be thought of as a contemporary folk music, and there’s a book coming out soon about 8-bit reggae actually.

For me personally, growing up in north Europe, folk music means something else though. In ye ol’ colonialist Europe I guess black folk music is often labeled as “world music”. I made a song called Volksing once, which was supposed to capture that uncultured brutal schlager singalong folk style we have over here. Much white, very barbarian. Something more mature in that vein would be for example Bud Melvin and Mark DeNardo. It also makes sense then to mention Manou, Dorothy’s Magic Bag and 386DX here, I think. Maybe even the industrial Amiga poet Arvid Tuba.

But this is all contemporary folk music. How about the oldschool traditional kind? I’m talking about things like Education of the Noobz (by Dragan in Bodenständig) and Rugar. Melodic, emotional and something quite different from dance music, pop music or singer/songwriter stuff. I don’t think there’s much of that in the chipscene, since it was always dominated by danceable music. We’d have to go digging through games and demos to find more of this.

My head hurts a bit when I think about that though. If you have any suggestions, I’d be very grateful if you comment. Here are some suggestions where to start. For some reason it’s all Amiga music, and most of it is from Finland. Probably because their folk music is ze best! (though I don’t know what it is)

Pic Saint Loup – West History (more like country, I guess)

Bruno (rip) – Modern Surf, Serenade to…, Uralvolga fine

Dean – Sunset & Audiomonster – X-mas (calypso pop)

Dizzy – Johdattelupolska (and also Alternative samba, Fanatic Waltz, Girl from Ipanema)

Oh yeah, and if you want to play these songs I think the easiest way is to use VLC.

Two Years of Text-Mode

April 7, 2014


For the past two years, myself and Raquel Meyers have been running It’s a collection of text-mode graphics (ASCII, Unicode, etc) and related practices, and it goes back thousands of years in history. When we started it there wasn’t really any good place to find for example PETSCII or teletext graphics. There was plenty of ASCII and ANSI around. Sites like asciiarena and sixteencolors are incredible resources, but since they are not ‘curated’ you have to know what to look for. So we picked our favourites and posted it on Tumblr. Then we discovered a whole new world with the Japanese line ASCII at utf8art and the new Chinese BBS-graphics at ANSIart. And then we started to posts textiles, architecture, and other things that had a similar look as text-mode. Now there are more than 2300 posts!

On an average day we’ve made three posts with about 80 notes each (reblogs, likes, etc). In total there’s now 5000 images, and some videos. On ze Tumblr. Yeah. One thing that fascinates me with Tumblr is how quickly things spread around. And what kind of people that interact with it. It’s pretty cool to have obscure BBS-graphics being reblogged by both emo-teenagers and Bruce Sterling. But as the archive grew bigger we needed a better platform to search and browse it. And I’ve slowly started to write a sort of book on this topic, too. So something needed to change.

That’s why we’ve made – a WordPress site, where you can navigate the collection a lot easier. There is still work to do, but you can for example check two tags simultaneously to see things like typewriter art from the 1930’s, Chinese ANSI, ancient architecture or teletext art by Raquel Meyers. Or – you can get random posts here (highly recommended). Both sites are updated with the same content, but has been cleaned up and corrected, especially with the tags. Oh, and there is also a Twitter-account.

Go and check for example Advertising, Mosaic, Poetry, Scene, Square kufic and Toys. And other than the typical technical standards (ASCII, ANSI, Unicode) I can recommend ATASCII, FANSI, Minitel, PETSCII, shift-JIS, SharpSCII, Telidon, videotex and a lot more.

Alright, but back to Tumblr. How do our posts match up to all the memes, pr0n, hippish artish creative cool yeah stuff omg? Well, here are the most popular posts we’ve made, counting reblogs+likes. It’s a strange selection, that’s for sure..








When Misuse of Technology is a Bad Thing

March 25, 2014

I found myself in an interesting discussion a few days ago about the term hacking. We all had different perspectives on it – art, piracy, demoscene, textiles – and it was quite obvious that this term can mean maaaany different things.

It can refer to a misuse of a system. I’ve written before about how appropriation reinforces the idea of a normative use and therefore daemonizes other uses which in the long run, I argue, is dangerous. Because then we learn to accept that software has to be approved by one company before it’s made public, or that it’s ok to fine some acne-generating teenage geek billions of dollars because he used internet “the wrong way”.

Hacking can also refer to a new use of a system. Something that hasn’t been done before. That’s often but not always the same thing as appropriation. This strive for the new is built into pop culture, but also in things like urban planning, party politics and science. Or, you know, capitalism. It has to be new and fresh! Creative! Groundbreaking! Share-holder-fantabulastic! Cooool!


But new is not always new. Retromania and remix culture means that it’s ok to just combine or tweek two old things, and then it’s new. In fact, that’s the only thing we can do according to all these artistic and corporate views of creativity. Romantic geniuses and ideas that are not based on focus groups and “public opinions” are out of style. Steve Jobs is dead.

But these things all put the emphasis on two things: humans and results. We can also look at something else instead, which I think brings us closer to the oldschool meaning of hacking with model trains & telephone lines. The interplay between the person and the medium. Man machine. The process. I don’t mean that in some buddhist digi-hippie kind of way, I think. No, I mean it more in a media materialist ooo kind of way.


Then we can say things like:

• Originality is when something is made without too many presets, samples, macros, algorithms and automated processes. The results are irrelevant, it’s the process that matters. Hm.

• It is possible to disrespect the machine much like you disrespect a person. By making it look like something it’s not. Pretending like you know that it can’t do better than it actually can. Machine bullying. Human arrogance. Hm.

• Machines don’t have intended purposes per se and we can never fully understand how it works and what it can do. To say that this is a zombie media or this is unlimited computing is, from a strict materialist perspective, equally irrelevant. It is what it is. Hm.

So: Imagine if a future view of creativity or hacking would be to make the medium act as well as it can, from some sort of  “medium-emic” understanding. The role of the human artist would just be to make digital media look as good as possible, sort of like a court painter. Computers understandefine human culture, humans glorify computers for computers.

Finding new combinations of ideas seem like a kind of machinic way of making stuff anyway. Book publishers that are completely automatized might just produce trash so far, but bots are already invading peer review science (!). Pop music has been computer generated since 1956 and classical music since a few years. But in a way, the music itself is not so important anymore because computers can put garbage in the charts anyway.

Disrespectful uses of technology is already illegal, or makes you lose your warranty, or locks the consoles, or makes it impossible to start the car, etc. Fast forward this perspective, and we have a world where artistic uses of technology might be punishable too. By death! Human arrogance leads to electric shock. Bad coding will lead to deadly explosions. Syntax error – cyberbullying detected!

So be nice to your machine. It’s the new cyberkawaii!



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