Jörgen Behrendtz and I have written an article for Artifact & Apparatus called Retro-mediation, Commodore 64, and Interoperational Devices. It’s available as a free PDF because this is the decent kind of science. ^__^ More of my writing is available here.
(Although it says 2022 in the image, it was in fact published in March 2024.)
I wrote an article together with Jörgen Rahm-Skågeby a few years ago about the C64 scene archive CSDb, and it was just published by New Media & Society. You can read more about it in my Chipflip post or you can read the whole thing here: The archive and the scene: On the cultural techniques of retrocomputing databases.
PETSCII – A Character Set and a Creative Platform is an article that Markku Reunanen, Tero Heikkinen and me wrote two years ago. It’s published in Replay, the Polish journal of game studies, and is available as a PDF free to download.
The art happens here: Net art anthology is a book from Rhizome about net art from 1982 to 2016. I’ve contributed with a text about Eduardo Kac‘s Minitel works in the 1980’s. It’s a shortened version of When Net Art Outlives the Net.
A new issue of the academic journal WiderScreen was released today, and includes a text by me. The theme of the issue is text art, and my text takes a critical look at the terminology surrounding text graphics. In short, I look at ASCII, PETSCII, Unicode art and Shift-JIS and ask whether these encoding terms are the most relevant way to categorize them today.
Read the article: full article or my shorter comment on Chipflip.
There are some very good contributions by e.g Raquel Meyers, Tommy Musturi, Gleb Albert, Dan Farrimond, Markku Reunanen, Daniel Botz and many more. So you should check out the whole issue, if you’re into this texty stuff.
I have an article in the current issue of the Swiss weekly magazine WOZ. The theme of the issue is soundtracks and my article is about game composing in the 1980’s. About the low status of music in a young industry full of craziness, and how some groundworking soundtrack works came out of this.
But also about what happens when you can make music in a game, and when your music software becomes intelligent and can offer game-like aspects to composing. Who owns the music then?
The text is in German and it’s available online (behind a paywall for now).