Demoscene - Wikipedia https://en.wikipedia.

org/wiki/Demoscene#Parties

Demoscene
The demoscene is an international computer art subculture focused on producing demos:
self-contained, sometimes extremely small, computer programs that produce audiovisual
presentations. The purpose of a demo is to show off programming, visual art, and musical skills.
Demos and other demoscene productions (graphics, music, videos, games) are shared at
festivals known as demoparties, voted on by those who attend and released online.

The demoscene's roots are in the home computer revolution of the early 1980s, and the
subsequent advent of software cracking.[1] Crackers altered the code of video games to remove
copy protection, claiming credit by adding introduction screens of their own ("cracktros"). They
soon started competing for the best visual presentation of these additions.[2] Through the
making of intros and stand-alone demos, a new community eventually evolved, independent of
the gaming[3]: 29–30  and software sharing scenes.

Demoscene productions can be made with the latest consumer technology or with vintage home
computers and consoles. Often terms "newschool" and "oldskool" are vaguely used to describe
products for newer and older computers. In the oldskool department techniques of the past like
ASCII/ANSI art, pixel graphics, chipmusic are constantly being used.

Contents
Concept
Categories

History
Culture
Groups

Parties
Concept
History
Common properties
List of demoparties

Influence
Video games industry

See also
Specific platforms
Software used for making demoscene productions
Graphics
Music

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Websites

References
Further reading

Concept
Prior to the popularity of IBM PC compatibles, most
home computers of a given line had relatively little
variance in their basic hardware, which made their
capabilities practically identical. Therefore, the
variations among demos created for one computer
line were attributed to programming alone, rather
than one computer having better hardware. This
created a competitive environment in which
demoscene groups would try to outperform each
other in creating outstanding effects, and often to Screenshot from Second Reality, a demo
demonstrate why they felt one machine was better by Future Crew.[4]
than another (for example Commodore 64 or Amiga
versus Atari 8-bit family or Atari ST).

Demo writers went to great lengths to get every last bit of performance out of their target
machine. Where games and application writers were concerned with the stability and
functionality of their software, the demo writer was typically interested in how many CPU cycles
a routine would consume and, more generally, how best to squeeze great activity onto the
screen. Writers went so far as to exploit known hardware errors to produce effects that the
manufacturer of the computer had not intended. The perception that the demo scene was going
to extremes and charting new territory added to its draw.

Categories

There are several categories demos are informally classified into, the most important being the
division between freeform demos and size-restricted intros, a difference visible in the
competitions of nearly any demo party. The most typical competition categories for intros are
the 64K intro and the 4K intro, where the size of the executable file is restricted to 65536 and
4096 bytes, respectively. In other competitions the choice of platform is restricted; only 8-bit
computers like the Atari 800 or Commodore 64, or the 16-bit Amiga or Atari ST. Such
restrictions provide a challenge for coders, musicians and graphics artists, to make a device do
more than was intended in its original design.

History
The earliest computer programs that have some resemblance to demos and demo effects can be
found among the so-called display hacks. Display hacks predate the demoscene by several
decades, with the earliest examples dating back to the early 1950s.[5]

Demos in the demoscene sense began as software crackers' "signatures", that is, crack screens
and crack intros attached to software whose copy protection was removed. The first crack
screens appeared on the Apple II in the early 1980s, and they were often nothing but plain text
screens crediting the cracker or their group. Gradually, these static screens evolved into

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increasingly impressive-looking introductions containing animated effects and music.

Eventually, many cracker groups started to release intro-like programs separately, without
being attached to unlicensed software.[6] These programs were initially known by various
names, such as letters or messages, but they later came to be known as demos.

In 1980, Atari, Inc. began using a looping demo with visual effects and music to show off the
features of the Atari 400/800 computers in stores.[7] At the 1985 Consumer Electronics Show,
Atari showed a demoscene-style demo for its latest 8-bit computers that alternated between a
3D walking robot and a flying spaceship, each with its own music, and animating larger objects
than typically seen on those systems; the two sections were separated by the Atari logo. [8] The
program was released to the public. Also in 1985, a large, spinning, checkered ball—casting a
translucent shadow—was the signature demo of what the hardware was capable of when
Commodore's Amiga was announced.

Simple demo-like music collections were put together on the C64 in 1985 by Charles Deenen,
inspired by crack intros, using music taken from games and adding some homemade color
graphics. In the following year the movement now known as the demoscene was born. The
Dutch groups 1001 Crew and The Judges, both Commodore 64-based, are often mentioned
among the earliest demo groups. Whilst competing with each other in 1986, they both produced
pure demos with original graphics and music involving more than just casual work, and used
extensive hardware trickery. At the same time demos from others, such as Antony Crowther,
had started circulating on Compunet in the United Kingdom.

Culture
The demoscene is mainly a European phenomenon.[9] It is a competition-oriented subculture,
with groups and individual artists competing against each other in technical and artistic
excellence. Those who achieve excellence are dubbed "elite", while those who do not follow the
demoscene's implicit rules are called "lamers"; such rules emphasize creativity over "ripping"
(or else using with permission) the works of others, having good contacts within the scene, and
showing effort rather than asking for help.[9] Both this competitiveness and the sense of
cooperation among demosceners have led to comparisons with the earlier hacker culture in
academic computing.[9][10]: 159  The demoscene is a closed subculture, which seeks and receives
little mainstream public interest.[3]: 4  As of 2010, the size of the scene was estimated at some
10,000.[11]

In the early days, competition came in the form of setting records, like the number of "bobs"
(blitter objects) on the screen per frame, or the number of DYCP (Different Y Character
Position) scrollers on a C64. These days, there are organized competitions, or compos, held at
demoparties, although there have been some online competitions as well. It has also been
common for diskmags to have voting-based charts which provide ranking lists for the best
coders, graphicians, musicians, demos and other things. However, the respect for charts has
diminished since the 1990s.

Party-based competitions usually require the artist or a group member to be present at the
event. The winners are selected by a public voting amongst the visitors and awarded at a
prizegiving ceremony at the end of the party. Competitions at a typical demo event include a
demo compo, an intro compo (usually 4 kB and 64 kB), a graphics compo and a music compo.
Most parties also split some categories by platform, format or style.

There are no criteria or rules the voters should be bound by, and a visitor typically just votes for
those entries that made the biggest impression on them. In the old demos, the impression was
often attempted with programming techniques introducing new effects and breaking

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performance records in old effects; the emphasis has moved from technical excellence to more
artistic values such as overall design, audiovisual impact and mood.

In recent years, an initiative to award demos in an alternative way arose by the name of the
Scene.org Awards. The essential concept of the awards was to avoid the subjectivity of mass-
voting at parties, and select a well-renowned jury to handle the task of selecting the given year's
best productions on several aspects, such as Best Graphics or Best 64k Intro. This award was
canceled in 2012.

In 2020, Finland added its demoscene to its national UNESCO list of intangible cultural
heritage.[12] It is the first digital subculture to be put on an intangible cultural heritage list. In
2021, Germany and Poland also added its demoscene to its national UNESCO list of intangible
cultural heritage.[13][14]

Groups

Demosceners typically organize in small, tightly knit

groups, centered around a coder (programmer), a
musician and a graphician (graphics designer).
Various other supporting roles exist and groups can
grow to dozens of people, but most demos are
actually created by a small number of
people.[3]: 32–33 

Groups always have names, and similarly the PC-Demo: Interceptor by Black Maiden.
individual members pick a handle by which they will
be addressed in the large community. While the
practice of using handles rather than real names is a borrowing from the cracker/warez culture,
where it serves to hide the identity of the cracker from law enforcement, in the demoscene
(oriented toward legal activities) it mostly serves as a manner of self-expression. Group
members tend to self-identify with the group, often extending their handle with their group's
name, following the patterns "Handle of Group" or "Handle/Group".[3]: 31–32 

Parties
A demoparty is an event where demosceners[15]
and other computer enthusiasts gather to take part in
competitions, nicknamed compos,[16] where they
present demos (short audio-visual presentations of
computer art) and other works such as digital art and
music. A typical demoparty is a non-stop event
spanning a weekend, providing the visitors a lot of
time to socialize. The competing works, at least those
in the most important competitions, are usually
shown at night, using a video projector and
loudspeakers.[17] The most important competition is
Assembly 2004 – a combination of a
usually the demo compo.[18]
demoparty and a LAN party

Concept

The visitors of a demoparty often bring their own computers to compete and show off their

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works. To this end, most parties provide a large hall with tables, electricity and usually a local
area network connected to the Internet. In this respect, many demoparties resemble LAN
parties, and many of the largest events also gather gamers and other computer enthusiasts in
addition to demosceners. A major difference between a real demoparty and a LAN party is that
demosceners typically spend more time socializing (often outside the actual party hall) than in
front of their computers.[19]

Large parties have often tried to come up with alternative terms to describe the concept to the
general public. While the events have always been known as "demoparties", "copyparties" or
just "parties" by the subculture itself, they are often referred to as "computer conferences",
"computer fairs", "computer festivals", "computer art festivals", "youngsters' computer events"
or even "geek gatherings" or "nerd festivals" by the mass media and the general public.

Demoscene events are most frequent in continental Europe, with around fifty parties every
year—in comparison, the United States only has two or three each year. Most events are local,
gathering demomakers mostly from a single country, while the largest international parties
(such as Breakpoint and Assembly) attract visitors from all over the globe.[20]

Most demoparties are relatively small in size, with the number of visitors varying from dozens
to a few hundred. The largest events typically gather thousands of visitors, although most of
them have little or no connection to the demoscene. In that aspect, the scene separates "pure"
parties (which abandons non-scene related activities and promotion) from "crossover" parties.

History

Demoparties started to appear in the 1980s in the form of copyparties, where software pirates
and demomakers gathered to meet each other and share their software. Competitions did not
become a major aspect of the events until the early 1990s.

Copyparties mainly pertained to the Amiga and C64 scene. As the PC compatibles started to
take over the market, the difficulties in easily making nice demos and intros increased. Along
with increased police crackdowns on copying of copyrighted software, the "underground"
copyparties were gradually replaced by slightly higher-profile events that came to be known as
demoparties. However, some of the "old-school" demosceners still prefer to use the word
copyparty even for today's demoparties.

During the 1990s, the focus of the events shifted away from illegal activities into demomaking
and competitions. The copying of copyrighted material was often explicitly prohibited by the
organizers, and many events also forbade the consumption of alcohol. However, illegal copying
and "boozing" still continued to take place, although in a less public form.

Three well-known and appreciated large-scale demoparties were established in the early 1990s:
The Party in Denmark, Assembly in Finland and The Gathering in Norway. Taking place every
year and gathering thousands of visitors, these parties used to be the leading demoscene events
in this period. Assembly still retains this status today. The Gathering continues to be organized
yearly as a generic "computer party", but most of the demosceners now prefer Revision in
Germany, which takes place at the same time.

The emergence of high-profile demoparties gave rise to phenomena that were not always well
welcomed by the scene. The events started to attract unaffiliated computer enthusiasts who
were often generally referred to as "lamers" by the original attendants. A particularly visible
group in the large gatherings since the mid-1990s have been the LAN gamers, who often have
very little interest in the demoscene and mainly use the party facilities for playing multi-player

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computer games. However, many of today's demosceners received their first interest for demos
and demomaking from a visit to a large demoparty.

Common properties

Parties usually last from two to four days, most often from
Friday to Sunday to ensure that sceners who work or study
are also able to attend. Small parties (under 100 attendants)
usually take place in cultural centers or schools, whereas
larger parties (over 400–500 people) typically take place in
sports halls or concert halls.

Entrance fees are usually between €10 and €40, given the
size and location of the party. During the 90s it was common
Evoke 2002: Spectators at one of
practice in many countries to allow women to enter the
the demoshow rooms watch
party for free (mostly due to the low concentration of female
computer animations in 3D.
attendees, which is usually under 20%), albeit most parties
still enforced an "only vote with ticket" rule, which means
that an attendee who got in free was only able to vote with a paid ticket. This practice was
largely abandoned in the 2010s.

Attendees are allowed to bring their desktop computer along, but this is by no means a necessity
and is usually omitted by most sceners, especially those who travel long distance. Those who
have computer-related jobs may even regard a demoparty as a well-deserved break from sitting
in front of a computer. For those who do bring a computer, it is becoming increasingly common
to bring a laptop or some sort of handheld device rather than a complete desktop PC.

Partygoers often bring various senseless gadgets to parties to make their desk space look
unique; this can be anything from a disco ball or a plasma lamp to a large LED display panel
complete with a scrolling message about how "elite" its owner is. Many visitors also bring large
loudspeakers for playing music. This kind of activity is particularly common among new
partygoers, while the more experienced attendees tend to prefer a more quiet and relaxed
atmosphere.

Those who need housing during the party are often offered a separate "sleeping room", usually
an isolated empty room with some sort of carpet or mats, where the attendees are able to sleep,
separated from the noise. Most sceners prefer bringing sleeping bags for this, as well as air
mattresses or sleeping pads. Parties that do not offer a sleeping room generally allow sceners to
sleep under the tables.

Partyplaces often become decorated by visitors with flyers and banners. These all serve
promotional reasons, in most cases to advertise a certain group, but sometimes to create
promotion for a given demoscene product, such as a demo or a diskmag, possibly to be released
later at the party.

A major portion of the events at a demoparty often takes place outdoors. Demosceners usually
spend considerable time outside to have a beer and talk, or engage into some sort of open-air
activity such as barbecuing or sport, such as hardware throwing or soccer. It is also a common
tradition to gather around a bonfire during the night, usually after the compos.

In recent years, many parties were available for spectators through the Internet: This tradition
was first started by the live team of demoscene.tv, who broadcast from the event live or created
footage for a postmortem video-report. This has since been ostensibly replaced by the SceneSat

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radio crew, who provide live streaming radio shows from parties, and larger parties now offer
their own dedicated streaming video solution.

List of demoparties

This is an incomplete list, but shows major parties over the years. (Note: Year ranges might
include years when the party wasn't organized, but was organized both before and after.)

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Party name Location Years Description

7DX was an annual demoparty that

has been held since 2002 in Turkey. It
7DX Party Istanbul, Turkey 2002–2015 is Turkey's first demo party that
consists of demo-oriented
competitions.

A demo party organized annually with

Abstract Gliwice, Poland 2001–2005
lots of demos, intros, chiptune music.

An alternative party visited mostly by

Alternative Party Helsinki, Finland 1998–2013
demo scene veterans.

Arok Party Ajka, Hungary 1999– 8-bit party, held each summer.

The second Brazilian demoparty ever

Art Engine São Paulo, Brazil 2012
organized.

One of the longest-running demo

Assembly Helsinki, Finland 1992– parties in the world. Associated with
Boozembly.

Cambridge,
@party (Atparty) Massachusetts, 2010– Annual demo party in Massachusetts.
USA

Oldest LAN Party of Sweden with a

BIRDIE Uppsala, Sweden 1993-
Demoscene

First PC demo party in The

Etten-Leur,
Bizarre 1994–2000 Netherlands. The first edition was held
Netherlands
in Nijmegen, all others in Etten-Leur.

Cleveland, Ohio, 2007–2010, Both parties held in conjunction with

Blockparty / PixelJam
USA 2011–2012 Notacon.

The only demoscene party in

BCN Party Barcelona 2000-2007
Barcelona.

Formerly the world's largest "scene-

only" demoparty, successor of the
Breakpoint Bingen, Germany 2003–2010
Mekka & Symposium party series.
Followed by Revision.

Main oldschool party in Russia. «Only

CAFePARTY Kazan, Russia 1999–
demoscene, without bullshit!».

The largest demoparty in ex-Soviet

Saint Petersburg,
Chaos Constructions 1999– countries, successor of the Enlight (htt
Russia
p://www.enlight.ru/) parties.

The demoparty in Paris succeeding to

Cookie Paris, France 2016- DemoJS, but leaving out the focus on
web technologies.

Started at Adelaide Uni then later

Adelaide, changed venues to Ngapartji
Coven 1995–2001
Australia Multimedia Centre. Organised by local
groups POP and FTS.

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Party name Location Years Description

Gothenburg,
Datastorm 2010– Amiga/C64 copy party.
Sweden

The biggest multiplatform party in

Bratislava,
Demobit 1995– Slovakia. Resurrected after 20 years in
Slovakia
2017.

The only demoparty strictly focused

DemoJS Paris, France 2011–2014 on open web technologies. Followed
by Cookie.

Pittsburgh,
Hosted by the Carnegie Mellon
Demosplash Pennsylvania, 2011–
University Computer Club.
USA

Nizhny Second largest demoparty in Russia

DiHalt 1999–
Novgorod, Russia (after Chaos Constructions).

World's largest LAN-party, which later

Jönköping,
DreamHack 1994– became more of Gaming party /
Sweden
E-Sports event.

Demoparty organized by Digitale

Evoke Köln, Germany 1997–
Kultur

2011–2015,
Flashback Sydney, Australia
2019–

Horná Súča,
Forever 2000– 8-bit party, C64, Spectrum and Atari
Slovakia

Budapest,
Function 2003–
Hungary

Gardening Patras, Greece 1995–1997 First demoparty in Greece.

Norway's largest demoparty, which

The Gathering Hamar, Norway 1992– later became more of a LAN/game-
party.

Härnösand, Organized by the youth club ComUn

Hackerence 1989–2000
Sweden (Computer Union).

A result of a split from the computer

Horde Udine, Italy 2007 event Codex Alpe Adria to focus on
demo scene only.

2007, 2008, Demoparty and a festival of electronic

Icons Artparty Helsinki, Finland
2012– art.

2001-2006,
2008, 2010, Oldest running Portuguese
Inércia Demoparty Portugal
2012, demoparty.
2018-2019

Used to be the oldest pure demoparty

Kindergarden Haga, Norway 1994–2014 in the world, hasn't been held since
2014.

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Party name Location Years Description

Opalenica, 1997-2003,
Last Party Winter Atari copy party.
Poland 2017

Opalenica,
Lato Ludzików 1999-2002 Summer Atari copy party.
Poland

Pasadena, Newish demoparty held every year at

LayerOne Demoparty 2014–
California the LayerOne Security Conference

Licheń Stary,
Lost Party 2019– Summer 8-bit demo party.
Poland

Lovebyte Netherlands 2021– Demoparty dedicated to sizecoding

One of the most respected

Fallingbostel,
Mekka & Symposium 1996–2002 demoparties. Part of the organizing
Germany
staff went on to create Breakpoint.

The yearly demo party of the

Movement Ashkelon, Israel 1995–1998
demoscene in Israel.

Longueuil, The first, and to date, largest

NAID 1995–1996
Quebec, Canada demoparty in North America.

Bremen, First pure demoscene party in Bremen

Nordlicht 2012–
Germany since the Siliconvention in 1997.

NOVA Exeter, UK 2017–

Nullarbor Perth, Australia 2006–2008

San Jose, 2008, 2014, Held in conjunction with Nvision (an

NVScene
California, USA 2015 nVidia conference) in 2008.

Johannesburg,
Optimise 2000 - The primary SA demo party.
South Africa

Salt Lake City,

Pilgrimage 2003–2005
Utah, USA

On the first weekend after 10 May in

QBParty Sülysáp, Hungary 2015–
each year.

The world's largest "scene-only"

Saarbrücken,
Revision 2011– demoparty, successor of the
Germany
Breakpoint party series.

The only annual demoparty in

Rewired Hasselt, Belgium 2008–2014
Belgium.

Riverwash Katowice, Poland 2007-2018

Saturne Party Paris, France 1993–1997

2000,
Originally exclusively for the Atari
2010–2014,
Silly Venture Gdańsk, Poland scene, since the 2020+1 Summer it
2016–2019,
has become multiplatform
2021

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Party name Location Years Description

Started in Ås, Norway, but moved to

Solskogen Flateby, Norway 2002- Flateby in 2013. Close to 200
participants.

Nijmegen,
Somewhere in Holland 1993, 1995 Demoparty in The Netherlands.
Netherlands

Sundown Exeter, UK 2005–2016 The first UK-based party since 1999.

Melbourne, Melbourne's biggest and (currently)

Syntax Party 2007–
Australia only demoparty.

The first instalment was named X'97

Eindhoven, The
Takeover 1997-2001 Takeover, as it was held together with
Netherlands
the X party.

One of the oldest and largest parties;

The Party Aars, Denmark 1991–2002 abandoned by the demoscene in its
final years due to lack of support.

One of the biggest German

demoparties, initially thought as a
Griesheim, warm-up meeting for The Party. It
The Ultimate Meeting 1999–
Germany finally moved to the same date as The
Party when it was clear that The Party
became obsolete.

Organized by PoPsY TeAm, this is the

VIP Lyon, France 1999– oldest pure demoscene party still
ongoing in France.

Wired Mons, Belgium 1994–1998

Commodore 64 party, currently held

every second year. Last one was on
Someren,
X 1995– 2–4 November 2018. In 1995 and 1996
Netherlands
also a PC demo party, in 1997
combined with Takeover.

Xenium Katowice, Poland 2019- Successor of Riverwash event.

Influence
Although demos are still a more or less obscure form of art even in the traditionally active
demoscene countries, the scene has influenced areas such as computer games industry and new
media art.[21][22][23]

A great deal of European game programmers, artists and musicians have come from the
demoscene, often cultivating the learned techniques, practices and philosophies in their work.
For example, the Finnish company Remedy Entertainment, known for the Max Payne series of
games, was founded by the PC group Future Crew, and most of its employees are former or
active Finnish demosceners.[24][25] Sometimes demos even provide direct influence even to
game developers that have no demoscene affiliation: for instance, Will Wright names
demoscene as a major influence on the Maxis game Spore, which is largely based on procedural
content generation.[26] Similarly, at QuakeCon in 2011, John Carmack noted that he "thinks

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highly" of people who do 64k intros, as an example of artificial limitations encouraging creative
programming.[27] Jerry Holkins from Penny Arcade claimed to have an "abiding love" for the
demoscene, and noted that it is "stuff worth knowing".[28]

Certain forms of computer art have a strong affiliation with the demoscene. Tracker music, for
example, originated in the Amiga games industry but was soon heavily dominated by
demoscene musicians; producer Adam Fielding[29] claims to have tracker/demoscene roots.
Currently, there is a major tracking scene separate from the actual demoscene. A form of static
computer graphics where demosceners have traditionally excelled is pixel art; see artscene for
more information on the related subculture. Origins of creative coding tools like Shadertoy and
Three.js can be directly traced back to the scene.[30]

Over the years, desktop computer hardware capabilities have improved by orders of magnitude,
and so for most programmers, tight hardware restrictions are no longer a common issue.
Nevertheless, demosceners continue to study and experiment with creating impressive effects
on limited hardware. Since handheld consoles and cellular phones have comparable processing
power or capabilities to the desktop platforms of old (such as low resolution screens which
require pixel-art, or very limited storage and memory for music replay), many demosceners
have been able to apply their niche skills to develop games for these platforms, and earn a living
doing so. One particular example is Angry Birds, whose lead designer Jaakko Iisalo was an
active and well-known demoscener in the 90s.[31] Unity Technologies is another notable
example, its technical leads on iPhone, Android and Nintendo Switch platforms Renaldas Zioma
and Erik Hemming[32][33] are authors of Suicide Barbie[34] demo for Playstation Portable
console released in 2007.

Some attempts have been made to increase the familiarity of demos as an art form. For
example, there have been demo shows, demo galleries and demoscene-related books,
sometimes even TV programs introducing the subculture and its works.[35]

The museum IT-ceum in Linköping, Sweden, has an exhibition about the demoscene. [36]

Video games industry

4players.de reported that "numerous" demo and intro programmers, artists, and musicians
were employed in the games industry by 2007. Video game companies with demoscene
members on staff included Digital Illusions, Starbreeze, Ascaron,[37] 49Games, Remedy,
Techland, Lionhead Studios,[38] Bugbear, Digital Reality, Guerrilla Games and Akella.[39]

The Tracker music which is part of Demoscene culture could be found in many Video games of
the late 1990s and early 2000s, such as the Unreal, Unreal Tournament, Deus Ex, Crusader:
No Remorse, One Must Fall: 2097, Jazz Jackrabbit and Uplink.[40]

See also
▪ Algorithmic composition
▪ Computer art scene
▪ Hacker subculture
▪ Minimalism (computing)
▪ Netlabel

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Specific platforms
▪ Amiga demos
▪ Commodore 64 demos
▪ ZX Spectrum demos
▪ MacHack

Software used for making demoscene productions

Graphics

▪ GrafX2

Music

▪ OpenMPT
▪ ProTracker
▪ FastTracker 2

Websites
▪ Demozoo (https://demozoo.org/)
▪ Scene.org
▪ Mod Archive

References
1. "About the Demoscene" (http://demoscene-the-art-of-coding.net/the-demoscene/).
Demoscene - The Art of Coding. Retrieved 22 May 2020.
2. Reunanen, Markku (15 April 2014). "How Those Crackers Became Us Demosceners" (htt
p://widerscreen.fi/numerot/2014-1-2/crackers-became-us-demosceners/).
WiderScreen. Archived (https://web.archive.org/web/20210524005117/http://widerscre
en.fi/numerot/2014-1-2/crackers-became-us-demosceners/) from the original on 24
May 2021. Retrieved 4 June 2021.
3. Markku Reunanen (2010). Computer Demos—What Makes Them Tick? (Lic.). Aalto
University.
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Demoscene - Wikipedia https://en.wikipedia.org/wiki/Demoscene#Parties

40. Game Development and Production (https://books.google.com/books?id=m5exIODbtq

kC&pg=PA341&lpg=PA341&dq=%22epic+games%22+tracker+music+mod+unreal&sour
ce=bl&ots=ovHnUHfgNT&sig=quHxqlArZJJ8QDXgsnGOb1YcNUQ&sa=X&ved=0ahUKEwj
b-t6LqqTTAhUJbVAKHYRnBkgQ6AEITDAE#v=onepage&q=%22epic%20games%22%20tr
acker%20music%20mod%20unreal&f=false) by Erik Bethke, page 341

Further reading
▪ Green, Dave (July 1995). "Demo or Die!" (https://www.wired.com/wired/archive/3.07/de
mocoders.html). Wired. No. 3.07. Retrieved 31 December 2007.
▪ Pirtola, Pilvari (2008). "Introduction to the Demoscene" (http://www.mustekala.info/no
de/35590). Mustekala.
▪ Polgár, Tamás "Tomcat" (2005). FREAX: Volume 1. CSW-Verlag. ISBN 3-9810494-0-3.
▪ Reunanen, Markku (2010). Computer Demos – What Makes Them Tick? (http://www.kamel
i.net/demoresearch2/reunanen-licthesis.pdf) (PDF) (Licentiate). Aalto University School
of Science and Technology.
▪ Reunanen, Markku (2017). Times of Change in the Demoscene: A Creative Community and
Its Relationship with Technology (http://www.kameli.net/~marq/reunanen-times_of_chan
ge.pdf) (PDF) (PhD). Aalto University School of Science and Technology.
▪ Shor, Shirley; Eyal, Aviv (Winter 2004). "DEMOing: An Emerging Art Form or Just
Another Craft? 1984–2002" (https://web.archive.org/web/20040616151606/http://www.
acid.org/images/sfdemo04/IA4_1demosceneshoreval.pdf) (PDF). Intelligent Agent
(4.01). Archived from the original (http://www.acid.org/images/sfdemo04/IA4_1demosc
eneshoreval.pdf) (PDF) on 16 June 2004.
▪ Tasajärvi, Lassi (2004). DEMOSCENE: the Art of Real-Time. Evenlake Studios.
ISBN 952-91-7022-X.
▪ Vigh, David; Polgár, Tamás "Tomcat" (2006). FREAX Art Album. CSW-Verlag.
▪ Vigh, David (2003). "Pixelstorm" (https://web.archive.org/web/20080822020715/http://
grass.untergrund.net/pixelstorm_hi.pdf) (PDF). Archived from the original (http://grass.
untergrund.net/pixelstorm_hi.pdf) (PDF) on 22 August 2008.. Selected artworks of
demoscene graphicians; bugfixed 2007.
▪ "The Demoscene" (http://www.digitalekultur.org/files/dk_whatisthedemoscene.pdf)
(PDF).. Flyer by Digitale Kultur.
▪ "Demoscene Research" (http://www.kameli.net/demoresearch2/).. Bibliography of
academic publications about the demoscene.
▪ The Demoscene Documentary's channel (https://www.youtube.com/channel/UC7KMIf
YZT0L_ds8HS3Kf-jA) on YouTube. A seven-part documentary series about the Finnish
demoscene.
▪ CRACKED (https://culture.pl/en/podcast/SFTEW-25-CRACKED), a Stories From The
Eastern West podcast episode about the birth and rise of Finland's demoscene.
▪ About the Demoscene (http://demoscene-the-art-of-coding.net/the-demoscene/)

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