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we like to present to you a new production from your
friendly demogroup KAKIARTS from eastern germany
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 computers in 
the late nineteen-seventies and early nineteen-eighties, and they were often 

effects can be found PRESENTS among the so-called display
nothing but plain text screens crediting the cracker or his group. gradually, 
these static screens evolved into increasingly impressive-looking 
introductions containing animated effects and music. eventually, many cracker 
groups started to release intro-like programs separately, without being 

with the earliest examples An 64Kb INTRO dating back to 
the early nineteen-fifties. a demoparty is an event which gathers
demomakers and provides them competitions to compete in. a typical
demoparty is a non-stop event lasting  over a weekend, providing the
visitors a lot of time AT for socializing and boozing
nothing but plain text screens crediting the cracker or his group. gradually, 
these static screens evolved into increasingly impressive-looking 
introductions containing animated effects and music. eventually, many cracker 

the demoparty where this intro has been released, for
example, is the EVOKE in 2008, a very nice party
in cologne at the rhine river in germany.


it is traditionally standard in demos for the creators to send greetings
(or greetz) and well-wishes to other demoscene groups, typically of the same
platform. while these were often used in scrollers in the early days, in
current, graphically more complex demos, greets are usually presented through
a demo effect, such as mapping the group names onto objects or using particle 
systems to fill the letters of the groupname. being greeted in a demo is usually 
considered an honor, especially when the demo is high-quality. while there's no 
rule on whom one should greet, tradition dictates that groups send greetings to 
other groups who they consider their friends. other groups, usually newcomers 

the name of the demo is :VORTEXv2: which is just as devoid of inspiration
like anything else in this project. but oh well, that's life.

to the demoscene who don't have sufficient contacts, prefer to greet groups 
whose works they consider influential or high-quality. some groups occasionally 
send greetings to individual people.


nothing but plain text screens crediting the cracker or his group. gradually, 
these static screens evolved into increasingly impressive-looking 
introductions containing animated effects and music. eventually, many cracker 
groups started to release intro-like programs separately, without being 
attached to pirated software. these programs were initially known by various 
names, such as letters or messages, but they later came to be known as demos.

the demoscene is a computer art subculture that specializes in producing demos, 
which are non-interactive audio-visual presentations run real-time on a computer. 
the main goal of a demo is to show off programming, artistic, and musical skills.


the coder is the demogroup's programmer who creates the
demo's software framework and is responsible for the
actual realtime state of the demo. while some coders
specialize in developing system-level functionality
(such as providing wrappers and apis for other coders to
base their code on), others CODE effects which are usually
visual representations of mathematical formulas, such as fractals or metaballs.

the code here is BYa KEYJ, kakiarts' current main coder

the demoscene first appeared during the eight-bit era on computers such as the 
commodore sixty-four and zx spectrum, and came to prominence during the rise of 
the sixteen- and thirty-two-bit home computers (the atari st and the amiga). in 
the early years, demos had a strong connection with software cracking. when a 
cracked program was started, the cracker or his team would take credit with a 
graphical introduction called a "crack intro" (shortened cracktro). later, the 
making of intros and standalone demos evolved into a new subculture independent 
of the software (piracy) scene.

musicians are responsible for the composing, arranging, mixing and
mastering (and in some cases, performing) the soundtracks and sound
effects in the demo. in the older days, MUSICians worked with trackers,
and the world of tracked music was heavily dominated by demoscene musicians

in this case, it is BYaTRISTAN, one of kakiarts' musicians



recent computer hardware advancements include faster processors, more memory, 
faster video graphics processors, and hardware three-dee acceleration. with 
many of the past's challenges removed, the focus in making demos has moved from 
squeezing as much out of the computer as possible to making stylish, beautiful, 
well-designed real time artwork - a directional shift that many "old school 
demosceners" seem to disapprove of. this can be explained by the break introduced 
by the pc world, where the platform varies and most of the programming work 
that used to be hand-programmed is now done by the graphics-card. 


design, in its broadest sense, refers to everything that combines the
separate elements of a demo into a consistent whole, down from the
low-level synchronization of soundtrack and visuals to the overall
choices in CONCEPT and DESIGN, structure and narrative.

this demo has neither concept nor design, so i can safely say here
that there is simply NONE -- this is just a lame boring intro



the demoscene is a largely competition-oriented subculture, with groups 
and individual artists competing against each other in technical and 
artistic excellence. in the early days, this 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 commodore sixty-four. 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 nineteen nineties.

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 sixty-four kb), a graphics compo and a music compo. most parties 
also split some categories by platform, format or style.


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 destktop 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.

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.



#END
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the demoscene is a computer art subculture that specializes in producing demos, 
which are non-interactive audio-visual presentations run real-time on a computer. 
the main goal of a demo is to show off programming, artistic, and musical skills.

the demoscene first appeared during the eight-bit era on computers such as the 
commodore sixty-four and zx spectrum, and came to prominence during the rise of 
the sixteen- and thirty-two-bit home computers (the atari st and the amiga). in 
the early years, demos had a strong connection with software cracking. when a 
cracked program was started, the cracker or his team would take credit with a 
graphical introduction called a "crack intro" (shortened cracktro). later, the 
making of intros and standalone demos evolved into a new subculture independent 
of the software (piracy) scene.

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 amazing effects, 
and often to demonstrate why they felt one machine was better than another (for 
example commodore sixty-four or amiga versus atari eight hundred or st).

demo writers went to great lengths to get every last ounce 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.

recent computer hardware advancements include faster processors, more memory, 
faster video graphics processors, and hardware three-dee acceleration. with 
many of the past's challenges removed, the focus in making demos has moved from 
squeezing as much out of the computer as possible to making stylish, beautiful, 
well-designed real time artwork - a directional shift that many "old school 
demosceners" seem to disapprove of. this can be explained by the break introduced 
by the pc world, where the platform varies and most of the programming work 
that used to be hand-programmed is now done by the graphics-card. this gives 
demo-groups a lot more artistic freedom, but can frustrate some of the 
old-schoolers for lack of a programming challenge. the old tradition still 
lives on, though. demo parties have competitions with varying limitations in 
program size or platform (different series are called compos). on a modern 
computer the executable size may be limited to sixty-four kb or four kb. 
programs of limited size are usually called intros. in other compos the choice 
of platform is restricted; only old computers, like commodore sixty-four or atari st, 
or mobile devices like handheld phones or pdas are allowed. such restrictions 
provide a challenge for coders, musicians and graphics artists and bring back 
the old motive of making a device do more than it was intended for.

game music iv on the commodore sixty-four by charles deenen (also known as 
"the mercenary cracker" (tmc)) was perhaps one of the very first demos ever 
produced. though tmc dated all his productions to nineteen ninety-one, this 
demo is known to have been produced in nineteen eighty-five.

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 for several decades, with the earliest examples dating back to 
the early nineteen-fifties.


simple demo-like music collections were put together on the commodore 
sixty-four in nineteen eighty-five 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 thousand and one crew and the judges, both commodore 
sixty-four-based, are often mentioned as the earliest demo groups. whilst 
competing with each other in nineteen eighty-six, 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 (ratt), had started circulating on compunet in the 
united kingdom. on the zx spectrum castor cracking group released their 
first demo called castor intro in nineteen eighty-six. the speccy demo scene 
was slow to start, but it started to rise in the late nineteen eighties, 
most noticeably in eastern europe.

competition

the demoscene is a largely competition-oriented subculture, with groups 
and individual artists competing against each other in technical and 
artistic excellence. in the early days, this 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 commodore sixty-four. 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 nineteen nineties.

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 sixty-four 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 
him or her. in the old demos, the impression was often attempted with 
programming techniques introducing new effects and breaking performance 
records in old effects. over the years, the emphasis has moved from technical 
excellence to more artistic values such as overall design, audiovisual 
impact and mood.

the demoscene constitutes the most part of its own audience, with the 
opinions of the community itself considered the most valid. for example, it 
is often considered lame to win large events with works that appeal to the 
non-demomaking masses but do not adhere to good demoscene aesthetics. 
however, most of the demos regarded as the best of all time have appealed 
both to the demomaking community itself and a larger audience.

in the 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 sixty-four kb 
intro.

parties
 
a demoparty is an event which gathers demomakers and provides them 
competitions to compete in. a typical demoparty is a non-stop event lasting 
over a weekend, providing the visitors a lot of time for socializing. the 
competing works, at least those in the most important competitions, are 
usually shown at night, using a video projector and big loudspeakers.

demoparties started to appear in the nineteen eighties 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 beginning of the nineteen nineties.

demoscene events are most frequent in continental europe, with maybe fifty 
parties every year. for comparison, there have only been a dozen or so 
demoparties in the united states in total. 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.

the demoscene still exists on many platforms, including the pc, commodore 
sixty-four, msx, zx spectrum, atari, amiga, dreamcast and game boy advance. 
the large variety of platforms makes their respective demos hard to compare. 
some three-dee benchmark programs also have a demo or showcase mode, which 
derives its roots from the days of the sixteen-bit platforms.

there are several categories demos are informally classified into, the most 
important being the division between the "full-size" demos and the 
size-restricted intros, a difference visible in the competitions of nearly 
any demo party. the most typical competition categories for intros are the 
sixty-four kilobyte intro and the four-kilobyte intro, where the size of 
the executable file is restricted to sixty-five thousand five hundred and 
thirty-five and four thousand ninety-six bytes, respectively.

groups
 
a typical demo is created by a demogroup, which is a team of demosceners. 
although some demogroups boast dozens of members, the number of individuals 
involved in a single production rarely exceeds ten. since the demogroup is 
also a major way of self-identification for demosceners, even individual 
creations are usually associated with a group.

a demoscener is typically specialized in a certain area of creativity. 
the traditional division is in coders, graphicians and musicians, who are 
specialized in programming (often including overall design), still graphics 
(including two-dee art and three-dee modelling) and music, respectively. 
there are also demosceners who have little involvement in the actual 
demomaking but that do considerable work in areas such as party organizing.

impact
 
although demos are still a more or less obscure form of art even in the 
traditionally active demoscene countries, the scene has had an impact on 
areas such as computer games industry and new media art.

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. 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 new maxis game spore, which is 
largely based on procedural content generation.

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. 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.

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 destktop 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.

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.

sometimes a demoscene-based production may become very famous in technical 
contexts. for example, the ninety-six-kilobyte fps game .kkrieger by 
farbrausch uses procedural content generation algorithms that are quite 
common on today's sixty-four intros but largely unknown to the computer 
games enthusiasts and the us-based game development community.


#END


this is some random text i just typed in to test the script
that generates the real text include file that is used in
the intro for EVOKE in 2008, a really great party that is
going to take place in early august of the year two thousand
and eight, so far an uneventful year, demo-wise.

yes, this intro is far below expectations, but i was very
short on motivation lately, so this is all you gonna get.
hence, this is An 64Kb INTRO which is quite unfinished
and unpolished. we could have pulled it way further,
but this the result anyway. feel free to criticize it
publicly on pouet, bitfellas or any platform you prefer.

#END