ETERNAL SEPTEMBER - User contributions [en]

Hatra

2026-09-12T16:42:18Z

Clintxxx: /* HatraΩ */

==Hatra<sup>[https://eternal-september.net/i-antichrist/another-day-in-my-hatra.html Ω]</sup>==
----
An ancient [[error|Mespotamian]] caravan city approximately 180 miles northwest of Baghdad, Iraq. Occupying a liminal space between the Roman and Persian empires, Hatra was abandoned after being ransacked in the 3rd century - its stunning ruins were discovered by nomadic herders in the mid-1800's. Hatra was featured as the opening location in ''[[the-exorcist|The Exorcist]]'', leading
directly to its designation as a UNESCO World Heritage Site. Subsequently, the area underwent a recklessly costly restoration at the hands of [[Saddam Hussein]]- he demanded each brick be monogrammed with his name (a practice in purposeful emulation of [[error|Nebuchadnezzar]]). Having since taken control of the area, the Islamic State of Iraq and the Levant (AKA Daesh) plans to raze the Ruins of Hatra, claiming its artifacts encourage polytheism. Robust income via
"horror-porn" tourism has thus far prevented the group from actionalizing their threat. Hatra is known in Muslim and Judeo-Christian texts as the origin place of
[[pazuzu|Pazuzu]], [[The-exorcist|''The Exorcist'']]'s central antagonist.

[[File:hatra.jpg|500px|center]]

<small><kbd>Ωref#<nowiki>[</nowiki>[[I-Antichrist|I, Antichrist]]<nowiki>]</nowiki> :: ''[https://eternal-september.net/i-antichrist/another-day-in-my-hatra.html Another Day in My Hatra].''</kbd></small>

Hatra

2026-09-12T16:42:03Z

Clintxxx: /* HatraΩ */

==Hatra<sup>[https://eternal-september.net/i-antichrist/another-day-in-my-hatra.html Ω]</sup>==
----
An ancient [[error|Mespotamian]] caravan city approximately 180 miles northwest of Baghdad, Iraq. Occupying a liminal space between the Roman and Persian empires, Hatra was abandoned after being ransacked in the 3rd century - its stunning ruins were discovered by nomadic herders in the mid-1800's. Hatra was featured as the opening location in ''[[the-exorcist|The Exorcist]]'', leading
directly to its designation as a UNESCO World Heritage Site. Subsequently, the area underwent a recklessly costly restoration at the hands of [[Saddam Hussein]]- he demanded each brick be monogrammed with his name (a practice in purposeful emulation of [[error|Nebuchadnezzar]]). Having since taken control of the area, the Islamic State of Iraq and the Levant (AKA Daesh) plans to raze the Ruins of Hatra, claiming its artifacts encourage polytheism. Robust income via
"horror-porn" tourism has thus far prevented the group from actionalizing their threat. Hatra is known in Muslim and Judeo-Christian texts as the origin place of
[[pazuzu|Pazuzu]], [[The-exorcist|''The Exorcist''']]s central antagonist.

[[File:hatra.jpg|500px|center]]

<small><kbd>Ωref#<nowiki>[</nowiki>[[I-Antichrist|I, Antichrist]]<nowiki>]</nowiki> :: ''[https://eternal-september.net/i-antichrist/another-day-in-my-hatra.html Another Day in My Hatra].''</kbd></small>

Hatra

2026-09-12T16:41:50Z

Clintxxx: /* HatraΩ */

==Hatra<sup>[https://eternal-september.net/i-antichrist/another-day-in-my-hatra.html Ω]</sup>==
----
An ancient [[error|Mespotamian]] caravan city approximately 180 miles northwest of Baghdad, Iraq. Occupying a liminal space between the Roman and Persian empires, Hatra was abandoned after being ransacked in the 3rd century - its stunning ruins were discovered by nomadic herders in the mid-1800's. Hatra was featured as the opening location in ''[[the-exorcist|The Exorcist]]'', leading
directly to its designation as a UNESCO World Heritage Site. Subsequently, the area underwent a recklessly costly restoration at the hands of [[Saddam Hussein]]- he demanded each brick be monogrammed with his name (a practice in purposeful emulation of [[error|Nebuchadnezzar]]). Having since taken control of the area, the Islamic State of Iraq and the Levant (AKA Daesh) plans to raze the Ruins of Hatra, claiming its artifacts encourage polytheism. Robust income via
"horror-porn" tourism has thus far prevented the group from actionalizing their threat. Hatra is known in Muslim and Judeo-Christian texts as the origin place of
[[pazuzu|Pazuzu]], [[The-exorcist|''The Exorcist''']]]s central antagonist.

[[File:hatra.jpg|500px|center]]

<small><kbd>Ωref#<nowiki>[</nowiki>[[I-Antichrist|I, Antichrist]]<nowiki>]</nowiki> :: ''[https://eternal-september.net/i-antichrist/another-day-in-my-hatra.html Another Day in My Hatra].''</kbd></small>

Collexion-III ▶︎

2026-08-30T12:35:30Z

Clintxxx: /* PARCO Collexion III */

<div class="album">

[[File:Parco3.jpg]]

<div class="album-title">
<div>
==''[[PARCO|PARCO]] Collexion III''==
<div style="margin:0">'''(featuring [[Ssynthündßäx|ßynthündßäx]])'''</div>
</div>
<div>
(12" VINYL SINGLE)
</div>
</div>
----

'''SIDE A'''

<div class="track">

<div class="track-info">

===1. ''PARCO Collexion III''===

[[File:PARCOREMASTER.III_compressed.wav]]<div class="mw-collapsible mw-collapsed" style="width:100%; overflow:auto;">
<div style="">Designs</div>
<hr style="border: none; border-top: 2px dotted grey" />
<div class="mw-collapsible-content">

<div class="collapsible-gallery">



<div class="gallery-container">
<div class="gallery-slide showing">
<div class="gallery-image">[[File:Parco3-1.png|400px]]</div>

</div>
<div class="gallery-slide">
<div class="gallery-image">[[File:Parco3-2.png|400px]]</div>
</div>
<div class="gallery-slide">
<div class="gallery-image">[[File:Parco3-3.png|400px]]</div>
</div>
<div class="gallery-slide">
<div class="gallery-image">[[File:Parco3-4.png|400px]]</div>
</div>
<div class="gallery-slide">
<div class="gallery-image">[[File:Parco3-5.png|400px]]</div>
</div>
<div class="gallery-slide">
<div class="gallery-image">[[File:Parco3-6.png|400px]]</div>
</div>
<div class="gallery-slide">
<div class="gallery-image">[[File:Parco3-7.png|400px]]</div>
</div>
<div class="gallery-slide">
<div class="gallery-image">[[File:Parco3-8.png|400px]]</div>
</div>
<div class="gallery-slide">
<div class="gallery-image">[[File:Parco3-9.png|400px]]</div>
</div>
<div class="gallery-slide">
<div class="gallery-image">[[File:Parco3-10.png|400px]]</div>
</div>
<div class="gallery-slide">
<div class="gallery-image">[[File:Parco3-11.png|400px]]</div>
</div>
<div class="gallery-slide">
<div class="gallery-image">[[File:Parco3-12.png|400px]]</div>
</div>
</div>
</div>

</div></div>

</div>

</div>

In its third installment, [REDACTED] brought reams of flowing fabric to the [[PARCO-collexion|PARCO Collexion]] line, augmented by a high velocity metal-bladed industrial floor fan hidden backstage at the rear end of the runway. Veering slightly from the largely black and white palette, ''Collexion III'' featured shades of emerald green, mauve, and dark cerulean.<ref>However black remained central to the line's signature design, a gloved, full body silken drape designed to render the wearer both unseen and sightless.</ref>. Most colorfully, the line's single headpiece was a gargantuan cherry red hat. Inspired by [REDACTED]'s favorite childhood toy, a cereal box-prize spinning top, the hat was designed to hover precariously on the wearer's head, supported by a single strand of thin and inordinately expensive aircraft cable.

<br>

'''⧉ref#''' [ßynthündßäx :: [https://synthundsax.bandcamp.com/album/parco-collexion-iii ''Collexion III'']]

[[Disclaimer|''Disclaimer'']]

</div>

</div>

Total-freedom

2026-08-30T01:02:54Z

Clintxxx: /* Total Freedom */

==Total Freedom==
----
Underground DJ best known for playing sets at the weekly [[error|Pyramid Club]] party CHANNEL 69 consisting almost entirely of sobs, gospel prayers, screams, and the sound of  [[helicopter-fetish|approaching helicopters]] combined with glass breaking <ref> Everyone kept dancing. </ref>.

Total-freedom

2026-08-30T01:02:34Z

Clintxxx: /* Total Freedom */

==Total Freedom==
----
Underground DJ best known for playing sets at the weekly [[Pyramid Club|error]] party CHANNEL 69 consisting almost entirely of sobs, gospel prayers, screams, and the sound of  [[helicopter-fetish|approaching helicopters]] combined with glass breaking <ref> Everyone kept dancing. </ref>.

Total-freedom

2026-08-30T01:02:11Z

Clintxxx: /* Total Freedom */

==Total Freedom==
----
Underground DJ best known for playing sets at the weekly [[Pyramid Club]] party CHANNEL 69 consisting almost entirely of sobs, gospel prayers, screams, and the sound of  [[helicopter-fetish|approaching helicopters]] combined with glass breaking <ref> Everyone kept dancing. </ref>.

Knight-rider

2026-08-30T00:58:39Z

Clintxxx: /* Knight Rider */

==Knight Rider==
'''[related: KITT, disambiguation: [[knight-ridder|Knight Ridder]]]'''
----
Television dystopian sci-fi drama created and produced by Glen A. Larson that
ran from 1982 to 1986. The show centered around the Knight Industries Two
Thousand (KITT, serial # AD227529), an advanced male-identifying sentient form
of [[ai|A.I.]] housed in a nearly indestructible and highly fashionable Pontiac Firebird Trans Am. KITT was designed by the late billionaire Wilton Knight (founder of Founder for Law and Government AKA FLAG) based on  [[cybernetics|cybernetic]] principles of emergent consciousness. The "brain" of the unit is an extremely powerful microprocessor <ref> As stated on the show, KITT's central processing unit contained upwards of 100MB of memory with a one nanosecond access time. </ref> placed at the center of a series of almost infinite interlocking cybernetic logic modules, allowing the unit to think, learn, develop language, and, eventually, self-awareness and behavioral autonomy <ref> It should be noted here the possibility of extrapolating
[[bicameralism|Jayne]]'s principle of bicameralism onto a
drastically larger system. Essentially, KITT began processing from a
multi-cameral functionality, with almost countless discrete processing loops
operating simultaneously and the central mainframe acting as a coordinating
unit. Through the stress of KITT's various missions commonly involved a call
to direct action, complex moral quandaries including the valuing of one
lifeform against another, and high speed wrong-way chases through the
streets of [[los-angeles|Los Angeles]] , KITT's develop was forcibly funnelled down a path of integration. Although never explicitly stated by Wilton Knight, it is reasonable to conclude that KITT's processing unit was purposely placed within a context of maximum distress in order to facilitate the process of cameral unification, a theory supported by the fact that the unit was installed previously (and unsuccessfully) in a static Washington D.C.-based governmental system charged with compiled various streams of  surveillance data. </ref>. KITT was extremely self-conscious in his human
interaction, a result of his awareness of only recently having gained
sentience, with an easily bruised ego and generally self-effacing and
sometimes defensive demeanor, despite possessing superior intelligence and
processing power <ref> In effort to quell his uneasiness surrounding human interaction, KITT was equipped with an in-console arcade and stereo system, a state-of-the-art interface KITT often used as an interference device to distract his "drivers" during situations requiring the mitigation of human error and inferior processing ability. </ref>. KITT's nefarious predecessor was KARR (Knight Automated Roving Robot), a model placed in a secret storage facility following [REDACTED] due to KARR's prime operating directive of self-preservation. Subsequently, KITT was programmed to protect and preserve human life at all costs, leading to numerous self-sacrificial acts culminating in apparent self-euthanization upon the realization that  [[error|The Singularity]] would almost certainly lead to complete eradication of human life on earth.

[[File: knight-rider.gif|500px|center]]

Cotton-mather

2026-08-18T14:04:19Z

Clintxxx: /* Cotton Mather */

==Cotton Mather==
'''[related: Salem Witch Trials, Increase Mather, Onesimus]'''
----
Self-righteous and thin-skinned Puritan minister who served as head of the Congregationalist Old North Meeting House of Boston, a post previously held by his domineering father Increase Mather.

An aspiring [[error|Boston Brahmin]], Cotton Mather was as a young man dedicated to somewhat anachronistic social and political causes. He, for a time, unsuccessfully pursued the presidency of Harvard College, a post also previously held by Increase. Cotton eventually found both purpose and notoriety in the cataloging and persecution of black magick. His exhaustive codex on the subject, the now-summarily disregarded ''Wonders of the Invisible World'' <ref> In this effort as well Cotton's father had preceded him: Increase Mather's poetic and thorough lexicon of witchcraft ''Remarkable Providences'' was published to great acclaim in 1684. </ref> (1693), advocated for the use of so-called "spectral evidence <ref> Ex: certain birthmark shapes and coloration offered proof of [[metatron|Satan]]'s oral blood leaching. </ref>" (sometimes poetically phrased "[[spectral-peaks|peaks of the spectral]]") in the Salem Witch Trials <ref> Despite the modern stance that all evidence in the Salem Witch Trials was pure fabrication, Cotton Mather was able to document numerous mutually verifiable examples of possession, unexplained illness, and bizarre behaviour--thought now to be the result of convulsive ergot poisoning resulting from spoilt rye grain, an illness easily passed from mother to child via lactation. </ref>, resulting in the prosecution and violent murder of 19 men, women and children, some aged as young as five. In a slight that would come to irreparable sever their relationship, Increase Mather subsequently penned "The Return of Several Ministers Consulted", a co-signed essay in which he stridently rebuked Cotton's spectral tenet. Following additional failed attempts at gaining political and/or religious stature, Cotton Mather turned toward experimental science, becoming the first American to advocate for inoculation against smallpox - a system shown to him by Onesimus, an enslaved African in his employ.

Microsoft-solitaire

2026-07-22T20:03:09Z

Clintxxx: /* Microsoft Solitaire AKA SOL.EXE */

===Microsoft Solitaire AKA SOL.EXE===
----
A virtually uninstallable and highly addictive bundled digital version of the classic Klondike card game. SOL.EXE or, commonly, Solitaire was first released as part of [[Microsoft|Microsoft's Windows]] 3.0 operating system in 1990. The game was originally designed as a "trojan horse" to onboard users into the OS's new quote "drag and drop" graphical interface. Unfortunately for employers, the game almost instantly created a significant dip in productivity,<ref>In 1994, a Gardner study estimated that Solitaire had occupied over 26 million employee hours, hemorrhaging nearly $750 million in the process. In 1996 The Boeing Company ended its contract with Microsoft reportedly based in part on SOL.EXE's inextricable inclusion.</ref> offsetting any potential upticks in efficiency from the adoption of Microsoft's OS. Despite the protests of its corporate clients, Microsoft continued to seamlessly integrate SOL.EXE into further editions of Windows, later monetizing the program with ads and unlockable, pay-to-play bonus content. Its [[error|green screen card cascade]] remains a Pavlovian symbol of achievement throughout office culture.

About

2026-05-31T14:11:43Z

Clintxxx: /* About ETERNAL SEPTEMBER */

==About ''ETERNAL SEPTEMBER''==
----
ETERNAL SEPTEMBER is an alternate reality consisting of an ever-expanding network of audio, video, and hypertext. The project was created by William Brittelle and is brought to life through artistic residencies, recorded music, ritual capture events, and site-specific installations. Upon completion, all ETERNAL SEPTEMBER content is extensively documented by its own wiki, a system discrete entirely from the IRL internet, and made available to the general public. Ongoing audience engagement is fostered by the project's private listserv. New content is introduced periodically via Eternal Septembers Bulletin Board System.

[[File:ES Compressed.mp4| thumbtime=1.0]]

The world of ETERNAL SEPTEMBER is developed collectively by a group of uniquely talented musicians, multimedia artists, and creative technologists from a diverse array of stylistic backgrounds. ETERNAL SEPTEMBER collaborators, either as individuals or in groups, create content as alternate reality versions of themselves, or "morphs" - a process reflective both of the early utopian days of the internet and the process of tulpamancy described in Buddhist mysticism. Morphing allows ETERNAL SEPTEMBER collaborators to freely explore repressed artistic impulses without IRL implications. New artists are brought into the creative process organically via existing relationships with the ETERNAL SEPTEMBER team.

Christianity

2026-05-31T13:49:04Z

Clintxxx: /* Christian Mythology AKA Christianity */

==Christian Mythology AKA Christianity==
'''[related: Jesus of Nazareth]'''
----
Complex and at times contradictory mythological system based on various interlocking tenets. Central to the practice of Christianity is an unwavering belief in the supreme sanctity of Jesus of Nazareth, a miraculous messianic figure conceived via immaculate conception. In Christian lore, Jesus was sentenced to death by crucifixion by Pontius Pilate, essentially as state representative, under the charge of heresy, only to later rise from the dead. Christian lore posits that humans are inherently sinful and deserve retribution, a dual fundament dating back to two inextricable fables: the [[Exile_from_Paradise|Exile from Paradise]]/Fall of Man, and the [[error|Great Flood]]/Great Catastrophe<ref> Similar concepts can be found throughout various ancient, and modern, mythological systems. </ref>. Early Christian scripture skewed metaphysical, as laid out in the [[septuagint|Septuagint]], containing various doctrines on meditation, [[Enochian|magick]], and equality - subjects later deemed [[apocrypha|apocryphal]] by the stuffy and state-sanctioned [[error|Church Fathers]]. [[Gnosticism|Gnosticism]] continued these streams of practice in the wake of Christianity's veritable institutionalization. [[error|Occultism]] and [[Satanism|Satanism]] would later pilfer and morph aspects of both fundamental and apocryphal Christianity into divergent systems. Although currently the most prevalent mythological system in the United States by any measure, anti-Christian symbology and sentiment can be found dotting the landscape of popular culture, a trend most exemplified by the [[Hair-metal|hair metal]] musical genre <ref>"[[Jesus of Nazareth|Jesus of Nazareth]], go to h***." </ref>

Sega

2026-05-31T13:47:25Z

Clintxxx: /* Sega AKA Sega Group Corporation AKA Sega Sammy Holdings */

==Sega AKA Sega Group Corporation AKA Sega Sammy Holdings==
'''[related: ''Sonic the Hedgehog'']'''
----
Japanese-based video game developer founded by Martin Bromley and Richard
Stewart as Nihon Goraku Bussan, launching in the late 1960's with ''Periscope'', the company's first coin-operated arcade game. Sega began
developing home gaming consoles in the 1980's beginning with the SG-1000 and
the short lived Master System which included an FM audio chip and a port for
integrated 3-D glasses. Following the failure of its initial two systems, Sega
found relative success with the Genesis <ref> As differentiated (somewhat) from both the biblical book "Genesis" and its outlining of the "[[Exile_from_Paradise|fall from grace]]" basis of  [[Christianity|Christian Theology]]. </ref> (AKA Megadrive), a console based largely around the ''Sonic the Hedgehog'' franchise, until the release of ''[[metroid|Metroid]]'' in 1986 by Nintendo Entertainment Systems ([[nes|NES]]). Subsequently, Sega experienced a dramatic loss of market share attributed by many to the lack of [[vpd|VPD]] functionality in Sega's titles for the
platform. Following the demise of the Genesis model, Sega fell into an
extended mode of corporate nostalgia including ill-advisedly shifting focus
from the emerging world of personal entertainment systems back to the
production of standalone arcade games for outdated and underutilized amusement
parks <ref> In fact, Sega was later found to have knowingly manufactured and
installed functional arcade games in parks that had been completely
abandoned months or even years prior. Speculation regarding Sega's motives
for doing so vary and include the aforementioned corporate nostalgia and the
theory that Sega was in fact exploring a lateral move into the blossoming
and more lucrative world of  [[Relational Aesthetics]]. </ref>- a self-defeating and much criticized pattern of behaviour
culminating in the release of the first ''Sonic the Hedgehog'' film a full thirty years after the game's initial development <ref> By the time of the film's release, Sega no longer owned the rights to the ''Sonic the Hedgehog'' franchise after its production partner Sony put the project in "turnaround" following a dismal third-party assessment of the film's financial prospects. Ironically, despite unanimously unfavorable reviews, the film went on to become the highest grossing video game-based film of all time. </ref>.

Icer-addis

2026-05-31T13:45:28Z

Clintxxx: /* Icer Addis AKA Sardu AKA Smegma */

===Icer Addis AKA Sardu AKA Smegma===
'''[related: Bloodlust Software, Genecyst, ''Nogginknockers'', ''Executioners'']'''
----
Along with partner Ethan Petty, the founder of the Wichita, Kansas-based [[Icer-addis|Bloodlust Software]]. Addis is best known for the creation of illegal gaming console emulators, including Genecyst (a Sega Genesis morph), Callos, and most notably, the [[NESticle]], a program later stolen and shared widely by [[MindRape]] of [[error|Damaged Cybernetics]]. Alongside its hacking activities, Bloodlust Software released a series of hyper-violent native PC releases - all parodies of moral panic. Titles included ''Nogginknockers'' and the infamous ''Executioners'', a game focusing on different forms of digital dismemberment.<ref>Including exploding skulls and naked breasts. </ref> Despite Addis' anti-establishmentary bent, he was later briefly employed by the [[Sega|SEGA corporation]].

[[File:icer-addis.png]]

NESticle

2026-05-31T13:43:56Z

Clintxxx: /* NESticle AKA NESticle ROM Hacker */

==NESticle AKA NESticle ROM Hacker==
'''[related: ''Sextris'', ''Nude Punch-Out'']'''
----
A portmanteau of the [[Nes|Nintendo Entertainment System]]'s corporate acronym and male genitalia, the NESticle was an open-source illegal ROM hacking software leaked on various [[Bulletin-board|BBS]]'s in the mid 1990's. The program was developed by [[Icer-addis|Icer Addis]], founder of [[Icer-addis|Bloodlust Software]] in the mid 1990's, though its code was subsequently stolen and shared widely by [[MindRape|MindRape]], founder of the famed hacking collective [[error|Damaged Cybernetics]], leading to a significant and lasting rift in the hacking community.

The NESticle birthed a number of NES-platform derivations, including ''Sextris'', a porn adaption of the puzzle game ''Tetris'', and ''Nude Punch-Out'', a version of the Mike Tyson-sponsored pugilistic contest in which the opponent's pants disappear, revealing small erect phalluses. In some instances, the NESticle was used in conjunction with overlaid audio, as with hacker/rap collective [[Konami Dream|Konami Dream]]'s [[error|''Matrix Racer'']], a platform built on the NES's stalwart racing engine, ''Rad Racer'', <ref>A ROM hack notable both for its stunning title screen and the addition of an extended dystopian cut scene at the game's conclusion.</ref> which the group paired with the ambient phreaque leaked single, "[[Pole-position ▶︎|Pole Position]]".

[[File:Sextris.png|500px|center|alt=sextris screenshot|Gameplay still from a failed ''Sextris'' run.]]

[[File:Nesticle.png|500px|center|alt=Post-punch still of erect Spanish boxer Don Flamenco from Nude Punch-Out.|Still of erect Spanish boxer Don Flamenco from ''Nude Punch-Out''.]]

John-david-mcafee

2026-05-31T13:43:21Z

Clintxxx: /* John David McAfee [September 18, 1945 - ] */

===John David McAfee [September 18, 1945 - ]===
'''[related: McAfee Virus Scans, ''Running with the Devil'']'''
----
British computer programmer, entrepreneur, and early figure in networked software distribution, most commonly associated with the development of one of the first commercially viable anti-virus program. McAfee is widely viewed as the first developer to recognize the commercial and psychological implications of self-replicating computer viruses. His exposure to the so-called [[Brain-virus|Brain virus]] in the mid-1980s reportedly produced in him a state of acute technological anxiety, described in secondary accounts as bordering on obsession. In response, McAfee began developing the software that would later bear his name in 1987, initially distributing it freely through [[UseNet]] BBS systems and other pre-web network infrastructures. The program, later commercialized under the name ''McAfee VirusScan'' (MVS), is often cited as one of the first products to move fluidly between freeware circulation and monetized enterprise deployment, thereby establishing a hybrid distribution paradigm that would later become standard practice. Despite the program's considerable earnings, McAfee would later disavow and actively attack MVS, feeling later "pay-walled" permutations created a sense of fear rather than safety in its users.

Accounts of McAfee’s early life are inconsistent, frequently contradictory and rife with personal drama. In his memoir ''Running with the Devil'', he stated that, at the age of 15, he shot and killed his abusive father, staging it as a suicide. Taboot, records from Northeast Louisiana State College indicate that McAfee pursued advanced study in mathematics but was expelled after fornicating with an underaged underclassman (later his first wife).

Following his departure from McAfee Associates in the mid-1990s, McAfee’s public and private activities became increasingly erratic and difficult to verify. During this period, he is believed to have maintained intermittent contact with individuals operating within the software cracking and emulator distribution scenes. Of particular note is the alleged connection to hacker [[MindRape|Donald M. Moore]], (operating under the handle [[MindRape]]), a figure associated with unauthorized redistribution and modification of early PC software, including builds of the [[NESticle]] emulator. McAfee later became the subject of international attention following the death of a neighbor in Belize,<ref>A notorious tax haven for U.S. expatriates in legal limbo.</ref> with whom he was reported to have an adversarial relationship. A warrant for his arrest was issued by local authorities but never successfully serviced. Accounts of his evasion include a widely circulated narrative in which he concealed himself by burying his body in sand and covering his head with a cardboard box, laying dormant for over seventeen hours on the beach in front of his home.

John-david-mcafee

2026-05-31T13:41:27Z

Clintxxx: /* John David McAfee [September 18, 1945 - ] */

===John David McAfee [September 18, 1945 - ]===
'''[related: McAfee Virus Scans, ''Running with the Devil'']'''
----
British computer programmer, entrepreneur, and early figure in networked software distribution, most commonly associated with the development of one of the first commercially viable anti-virus program. McAfee is widely viewed as the first developer to recognize the commercial and psychological implications of self-replicating computer viruses. His exposure to the so-called [[Brain-virus|Brain virus]] in the mid-1980s reportedly produced in him a state of acute technological anxiety, described in secondary accounts as bordering on obsession. In response, McAfee began developing the software that would later bear his name in 1987, initially distributing it freely through [[UseNet]] BBS systems and other pre-web network infrastructures. The program, later commercialized under the name ''McAfee VirusScan'' (MVS), is often cited as one of the first products to move fluidly between freeware circulation and monetized enterprise deployment, thereby establishing a hybrid distribution paradigm that would later become standard practice. Despite the program's considerable earnings, McAfee would later disavow and actively attack MVS, feeling later "pay-walled" permutations created a sense of fear rather than safety in its users.

Accounts of McAfee’s early life are inconsistent, frequently contradictory and rife with personal drama. In his memoir ''Running with the Devil'', he stated that, at the age of 15, he shot and killed his abusive father, staging it as a suicide. Taboot, records from Northeast Louisiana State College indicate that McAfee pursued advanced study in mathematics but was expelled after fornicating with an underaged underclassman (later his first wife).

Following his departure from McAfee Associates in the mid-1990s, McAfee’s public and private activities became increasingly erratic and difficult to verify. During this period, he is believed to have maintained intermittent contact with individuals operating within the software cracking and emulator distribution scenes. Of particular note is the alleged connection to hacker [[error|Donald M. Moore]], (operating under the handle [[MindRape]]), a figure associated with unauthorized redistribution and modification of early PC software, including builds of the [[NESticle]] emulator. McAfee later became the subject of international attention following the death of a neighbor in Belize,<ref>A notorious tax haven for U.S. expatriates in legal limbo.</ref> with whom he was reported to have an adversarial relationship. A warrant for his arrest was issued by local authorities but never successfully serviced. Accounts of his evasion include a widely circulated narrative in which he concealed himself by burying his body in sand and covering his head with a cardboard box, laying dormant for over seventeen hours on the beach in front of his home.

John-david-mcafee

2026-05-31T13:40:48Z

Clintxxx: /* John David McAfee [September 18, 1945 - ] */

===John David McAfee [September 18, 1945 - ]===
'''[related: ''Running with the Devil'']'''
----
British computer programmer, entrepreneur, and early figure in networked software distribution, most commonly associated with the development of one of the first commercially viable anti-virus program. McAfee is widely viewed as the first developer to recognize the commercial and psychological implications of self-replicating computer viruses. His exposure to the so-called [[Brain-virus|Brain virus]] in the mid-1980s reportedly produced in him a state of acute technological anxiety, described in secondary accounts as bordering on obsession. In response, McAfee began developing the software that would later bear his name in 1987, initially distributing it freely through [[UseNet]] BBS systems and other pre-web network infrastructures. The program, later commercialized under the name ''McAfee VirusScan'' (MVS), is often cited as one of the first products to move fluidly between freeware circulation and monetized enterprise deployment, thereby establishing a hybrid distribution paradigm that would later become standard practice. Despite the program's considerable earnings, McAfee would later disavow and actively attack MVS, feeling later "pay-walled" permutations created a sense of fear rather than safety in its users.

Accounts of McAfee’s early life are inconsistent, frequently contradictory and rife with personal drama. In his memoir ''Running with the Devil'', he stated that, at the age of 15, he shot and killed his abusive father, staging it as a suicide. Taboot, records from Northeast Louisiana State College indicate that McAfee pursued advanced study in mathematics but was expelled after fornicating with an underaged underclassman (later his first wife).

Following his departure from McAfee Associates in the mid-1990s, McAfee’s public and private activities became increasingly erratic and difficult to verify. During this period, he is believed to have maintained intermittent contact with individuals operating within the software cracking and emulator distribution scenes. Of particular note is the alleged connection to hacker [[error|Donald M. Moore]], (operating under the handle [[MindRape]]), a figure associated with unauthorized redistribution and modification of early PC software, including builds of the [[NESticle]] emulator. McAfee later became the subject of international attention following the death of a neighbor in Belize,<ref>A notorious tax haven for U.S. expatriates in legal limbo.</ref> with whom he was reported to have an adversarial relationship. A warrant for his arrest was issued by local authorities but never successfully serviced. Accounts of his evasion include a widely circulated narrative in which he concealed himself by burying his body in sand and covering his head with a cardboard box, laying dormant for over seventeen hours on the beach in front of his home.

John-david-mcafee

2026-05-31T13:39:56Z

Clintxxx: /* John David McAfee [September 18, 1945 - ] */

===John David McAfee [September 18, 1945 - ]===
'''[related: ''Running with the Devil'']'''
----
British computer programmer, entrepreneur, and early figure in networked software distribution, most commonly associated with the development of one of the first commercially viable anti-virus program. McAfee is widely viewed as the first developer to recognize the commercial and psychological implications of self-replicating computer viruses. His exposure to the so-called [[Brain-virus|Brain virus]] in the mid-1980s reportedly produced in him a state of acute technological anxiety, described in secondary accounts as bordering on obsession. In response, McAfee began developing, in 1987, the software that would later bear his name, initially distributing it freely through [[UseNet]] BBS systems and other pre-web network infrastructures. The program, later commercialized under the name ''McAfee VirusScan'' (MVS), is often cited as one of the first products to move fluidly between freeware circulation and monetized enterprise deployment, thereby establishing a hybrid distribution paradigm that would later become standard practice. Despite the program's considerable earnings, McAfee would later disavow and actively attack MVS, feeling later "pay-walled" permutations created a sense of fear rather than safety in its users.

Accounts of McAfee’s early life are inconsistent, frequently contradictory and rife with personal drama. In his memoir ''Running with the Devil'', he stated that, at the age of 15, he shot and killed his abusive father, staging it as a suicide. Taboot, records from Northeast Louisiana State College indicate that McAfee pursued advanced study in mathematics but was expelled after fornicating with an underaged underclassman (later his first wife).

Following his departure from McAfee Associates in the mid-1990s, McAfee’s public and private activities became increasingly erratic and difficult to verify. During this period, he is believed to have maintained intermittent contact with individuals operating within the software cracking and emulator distribution scenes. Of particular note is the alleged connection to hacker [[error|Donald M. Moore]], (operating under the handle [[MindRape]]), a figure associated with unauthorized redistribution and modification of early PC software, including builds of the [[NESticle]] emulator. McAfee later became the subject of international attention following the death of a neighbor in Belize,<ref>A notorious tax haven for U.S. expatriates in legal limbo.</ref> with whom he was reported to have an adversarial relationship. A warrant for his arrest was issued by local authorities but never successfully serviced. Accounts of his evasion include a widely circulated narrative in which he concealed himself by burying his body in sand and covering his head with a cardboard box, laying dormant for over seventeen hours on the beach in front of his home.

John-david-mcafee

2026-05-31T13:39:39Z

Clintxxx: /* John David McAfee [September 18, 1945 - ] */

===John David McAfee [September 18, 1945 - ]===
'''[related: ''Running with the Devil'']'''
----
British computer programmer, entrepreneur, and early figure in networked software distribution, most commonly associated with the development of one of the first commercially viable anti-virus program. McAfee is widely viewed as the first developers to recognize the commercial and psychological implications of self-replicating computer viruses. His exposure to the so-called [[Brain-virus|Brain virus]] in the mid-1980s reportedly produced in him a state of acute technological anxiety, described in secondary accounts as bordering on obsession. In response, McAfee began developing, in 1987, the software that would later bear his name, initially distributing it freely through [[UseNet]] BBS systems and other pre-web network infrastructures. The program, later commercialized under the name ''McAfee VirusScan'' (MVS), is often cited as one of the first products to move fluidly between freeware circulation and monetized enterprise deployment, thereby establishing a hybrid distribution paradigm that would later become standard practice. Despite the program's considerable earnings, McAfee would later disavow and actively attack MVS, feeling later "pay-walled" permutations created a sense of fear rather than safety in its users.

Accounts of McAfee’s early life are inconsistent, frequently contradictory and rife with personal drama. In his memoir ''Running with the Devil'', he stated that, at the age of 15, he shot and killed his abusive father, staging it as a suicide. Taboot, records from Northeast Louisiana State College indicate that McAfee pursued advanced study in mathematics but was expelled after fornicating with an underaged underclassman (later his first wife).

Following his departure from McAfee Associates in the mid-1990s, McAfee’s public and private activities became increasingly erratic and difficult to verify. During this period, he is believed to have maintained intermittent contact with individuals operating within the software cracking and emulator distribution scenes. Of particular note is the alleged connection to hacker [[error|Donald M. Moore]], (operating under the handle [[MindRape]]), a figure associated with unauthorized redistribution and modification of early PC software, including builds of the [[NESticle]] emulator. McAfee later became the subject of international attention following the death of a neighbor in Belize,<ref>A notorious tax haven for U.S. expatriates in legal limbo.</ref> with whom he was reported to have an adversarial relationship. A warrant for his arrest was issued by local authorities but never successfully serviced. Accounts of his evasion include a widely circulated narrative in which he concealed himself by burying his body in sand and covering his head with a cardboard box, laying dormant for over seventeen hours on the beach in front of his home.

George-van-tassel

2026-05-29T14:28:54Z

Clintxxx: /* George Van Tassel (1910–1978) */

===George Van Tassel (1910–1978)===
----
An American aviation mechanic, contactee, and organizer of mid-20th-century UFO gatherings, most closely associated with the Mojave Desert. His early career included work with major aerospace companies, including Lockheed Corporation and Douglas Aircraft Company, where he was employed as a mechanic and inspector. In the 1950s, Van Tassel relocated to the desert near [[error|Landers]], California, where he assumed custodianship of the Giant Rock property, the largest free standing boulder in North America and a purported locus point of extraterrestrial activity.
Beginning in the early 1950s, Van Tassel reported a series of encounters with extraterrestrial intelligences, primarily Ashtar of the [[Ashtar|Ashtar Galactic Command]] - technologically advanced but benevolent entity communicating through telepathic or vibrational means. These communications provided him with detailed guidance and technical instructions, most notably for the construction of the [[Integraton|Integratron]], a dome-shaped structure intended to manipulate time, extend human lifespan, and interact with ambient energy fields. Construction of the Integratron began in 1954 and was completed in the months following his death in 1978.

George-van-tassel

2026-05-29T14:28:25Z

Clintxxx: /* George Van Tassel (1910–1978) */

===George Van Tassel (1910–1978)===
----
An American aviation mechanic, contactee, and organizer of mid-20th-century UFO gatherings, most closely associated with the Mojave Desert. His early career included work with major aerospace companies, including Lockheed Corporation and Douglas Aircraft Company, where he was employed as a mechanic and inspector. In the 1950s, Van Tassel relocated to the desert near [[error|Landers]], California, where he assumed custodianship of the Giant Rock property, the largest free standing boulder in North America and a purported locus point of extraterrestrial activity.
Beginning in the early 1950s, Van Tassel reported a series of encounters with extraterrestrial intelligences, primarily Ashtar of the [[Ashtar|Ashtar Galactic Command]] - technologically advanced but benevolent entity communicating through telepathic or vibrational means. These communications provided him with detailed guidance and technical instructions, most notably for the construction of the [[Integraton]], a dome-shaped structure intended to manipulate time, extend human lifespan, and interact with ambient energy fields. Construction of the Integratron began in 1954 and was completed in the months following his death in 1978.

NESticle

2026-05-13T13:53:58Z

Clintxxx: /* NESticle AKA NESticle ROM Hacker */

==NESticle AKA NESticle ROM Hacker==
'''[related: ''Sextris'', ''Nude Punch-Out'']'''
----
A portmanteau of the [[Nes|Nintendo Entertainment System]]'s corporate acronym and male genitalia, the NESticle was an open-source illegal ROM hacking software leaked on various [[Bulletin-board|BBS]]'s in the mid 1990's. The program was developed by [[Icer-addis|Icer Addis]], founder of [[error|Bloodlust Software]] in the mid 1990's, though its code was subsequently stolen and shared widely by [[MindRape|MindRape]], founder of the famed hacking collective [[error|Damaged Cybernetics]], leading to a significant and lasting rift in the hacking community.

The NESticle birthed a number of NES-platform derivations, including ''Sextris'', a porn adaption of the puzzle game ''Tetris'', and ''Nude Punch-Out'', a version of the Mike Tyson-sponsored pugilistic contest in which the opponent's pants disappear, revealing small erect phalluses. In some instances, the NESticle was used in conjunction with overlaid audio, as with hacker/rap collective [[Konami Dream|Konami Dream]]'s [[error|''Matrix Racer'']], a platform built on the NES's stalwart racing engine, ''Rad Racer'', <ref>A ROM hack notable both for its stunning title screen and the addition of an extended dystopian cut scene at the game's conclusion.</ref> which the group paired with the ambient phreaque leaked single, "[[Pole-position ▶︎|Pole Position]]".

[[File:Sextris.png|500px|center|alt=sextris screenshot|Gameplay still from a failed ''Sextris'' run.]]

[[File:Nesticle.png|500px|center|alt=Post-punch still of erect Spanish boxer Don Flamenco from Nude Punch-Out.|Still of erect Spanish boxer Don Flamenco from ''Nude Punch-Out''.]]

Bulletin-board

2026-05-13T13:49:41Z

Clintxxx: /* Bulletin Board */

==Bulletin Board==
----

<div class="bulletin-item">
===#005: [[Spectral-peaks|mailer_daemon: ''Spectral Peaks'']]===
----
[[File:12-spectral-peaks.mp4|thumbtime=106.0]]

In the halcyon days of the early internet, bulletin board systems, or [[Bulletin-board|BBS]]'s, provided a range of fora for the posting of all manner of digital content with varying degrees of public accessibility. [[UseNet]] in particular became a haven for hackers, digital artists, and tech-literate introverts and outcasts to congregate in secret. From this strange social amalgam emerged [[Mailer-daemon|mailer_daemon]], an anonymous digital recluse of the highest order. Based on his Usenet history, mailer_daemon appears to have spent the 1980's as an under-recognized composer and poet in New York City. As the decade progressed, he experienced the complete dissolution of both his career and his only significant adult relationship. By the mid-1990's, he began posting a series of dense, cryptic codices of hypertext containing a manic swirl of references including (but not limited to) [[Hair-metal|hair metal]], [[Apocrypha|Christian apocrypha]], [[error|Greek Mythology]], toy and video game lore, neurology, and [[Quantum|quantum theory]]. Throughout his first hypertext [[codex]], a thirty-entry collection entitled [[Spectral-peaks|''Spectral Peaks'']], mailer_daemon displays dissociation from physical reality and an obsession with tracing the so-called "hidden world". Adorned with dynamic ASCII art and riddled with nested footnotes, Spectral Peaks was only accessible via a cryptographic post on UseNet, the solution to which was a string of [[23-enigma|23]] 23's. The codex's final eponymous entry closes with the following passage:

<kbd><small>''When the Minotaur finally fell I felt no sadness, wanting something''
''to touch that could somehow still touch back.''</kbd></small>

<small><kbd>''Like the first time I felt flesh, held it there.''
''And all that was inside it. Right after then,''
''when it vanished, and all I knew to do ''
''was to want it back again,''</kbd></small>

<small><kbd>''as if after forgetting.''</kbd></small>

</div>

<div class="bulletin-item">
===#004: [[HAL ▶︎|Konami Dream: ''HAL'']]===
----
[[File:12-konami-dream.mp4|thumbtime=50.0]]

In 1956, a deaf seven-year-old with perfect pitch named [[Joybubbles|Joybubbles]] discovered he could access [[Ma-bell|Ma Bell]]'s proprietary long distance phone lines by whistling a tone at 2600 Hz. It was in this serendipitous moment that the practice of phone hacking, or [[Phreaking|phreaking]], was born. Loosely connected by its core principles of curiosity, freedom, and anti-corporatism, the phreaking community used plastic [[Captain-crunch|Cap’n Crunch]] cereal box whistles and other rudimentary tools to penetrate deep into the buttressed technical infrastructure of both Ma Bell and [[IBM|IBM]]. By the late 1980's, the phreaking community expanded to include computer hackers, who, at the time, were little more than a rogue group of basement-dwelling autodidacts with a shared penchant for daring infiltrations, Bulletin board system diatribes, and ASCII-based cyberpunk imagery. As the so-called phracking movement crested in the early 1990's, groups like the [[The-legion-of-doom|Masters of Deception]] and the [[The-legion-of-doom|Legion of Doom]] began to expand outward, launching semi-legal initiatives and broader, more coordinated cyber attacks. Artistic creativity also began to emerge from the digital hijinx. [[Cult-of-the-dead-cow|Cult of the Dead Cow]], a hacking collective formed in a Lubbock, Texas slaughterhouse, began posting musical and visual renderings of member Beto O'Rourke AKA [[Cult-of-the-dead-cow|Psychedelic Warlord]]'s grotesque poetry. [[Konami Dream|Konami Dream]], an underground hacker/rap collective, embedded its [[BladeEnc|BladeEnc]]-encoded mp3's on various governmental and corporate websites, a process it referred to as [[Konami|PhrequeLeaking]]. Konami Dream’s PhrequeLeak apex was a breach of IBM's corporate website - the group posted a strangely monotone rap track entitled [2001|HAL]] on the company page for [[Deep-blue|Deep Blue]] - the chess playing [[Ai|AI]] that defeated world champion Garry Kasparov in 1997.

</div>

<div class="bulletin-item">
===#003: [[Cerulean-fog ▶︎|Digital Riptide: ''Cerulean Fog'']]===
----
[[File:12-cerulean-fog.mp4|thumbtime=50.0]]

The founding members of [[Digital-riptide|Digital Riptide]], the short lived but seminal New York City-based [[No-wave|No Wave]] band, first met [[Digital-riptide|Gordon Voidwell]] immediately prior to their first recording session in the early months of 1982. With a handful of songs under their belt and no one to sing them, they lept at a chance to bring the elusive but supremely talented singer on board for their debut. Gordon offered no resistance, and the group hastily tracked and released its first single, [[Cerulean-fog ▶︎|Cerulean Fog]]. Although Voidwell and his eventual artistic and romantic partner Leira would pen the lyrics to the remainder of the band's catalogue, ''Cerulean Fog''’s (contrived & platitudinous) lyrics were reportedly completed by band members in the studio on the day of recording. Despite its hurried production, the SINGLE was, for the most part, warmly received by both press and audience alike - the ''Village Voice'' proclaimed the group “one to watch in 1983”. The single's heartfelt if slightly mawkish B-side ballad ''[[Cerulean-fog ▶︎|Heaven (or Something Like It)]]'' became something of a hit in the downtown club scene, leading to a label bidding war for the group's eponymous debut LP. The band's manager, a seasoned former felon, secured the group a large advanced sum which the band immediately used to purchase a $20,000 [[error|CMI Fairlight]] digital sampler, a $5,000 [[error|Roland Jupiter-8]] synthesizer, a $3,000 [[error|LinnDrum LM-2]], and, according to band lore, a substantive amount of [[Narcotics|narcotics]].

</div>

<div class="bulletin-item">
===#002: [[UNTITLED ▶︎|Black Screen o' Death: ''UNTITLED'']]===
----
[[File:12-bsod.mp4|thumbtime=50.0]]

When [[Power-electronics|power electronics]] emerged as an underground subsect of industrial music in the late 1970's, its hallmarks were profane, often indecipherable lyrics, unrelenting noise, and waves of arrhythmic digital chaos. The genre's first lodestone came from the British assemblage known as [[Power-electronics|Whitehouse]], whose 1980 album ''Total Sex'' contained multiple tracks of pure feedback overlayed with intermittent screaming. Stateside, the genre's main purveyors included the New York City-based [[Black-screen-o'-death|Black Screen o' Death]] - a duo that specialized in "direct injection overload", or DIO, a practice in which a semi-functional [[Oberheim-SEM|Oberheim SEM]] was plugged directly into a soundboard with its faders pushed past the redline,essentially capturing the sound of melting board circuitry. In fact, smoke would frequently emit from the house mixers during the group’s performances. As a result, the band was eventually banned from most NYC venues aside from [[White-columns|White Columns]], a semi-derelict non-profit artist loft that regularly featured the group on its monthly "Night of the Living Noise" shows. To accompany its ear-splitting sound, the duo often projected looped visuals from notorious art films, including the eyeball-slicing scene in Luis Bunuel's [[Un-chien-andalou|''Un Chien Andalou'']] and various excerpts from [[Meshes-of-the-afternoon|Maya Deren]]'s ''[[Meshes-of-the-afternoon|Meshes of the Afternoon]]''. A grainy xeroxed film still of Deren's mirror-faced personification of Death was later used as the cover for the group's [[UNTITLED ▶︎|untitled]] 1982 self-released EP.

</div>

<div class="bulletin-item">

==='''#001: [[PARCO-collexion|PARCO Collexion]]'''===
----
[[File:12-parco.mp4]]

Throughout the mid-1980's, Japanese department store [[PARCO|PARCO]] experimented with increasingly abstract and, some say, visionary ad campaigns. Led by outlandish fashion photographer [[PARCO|Kazumi Kuragami]], PARCO released a series of increasingly bizarre television commercials - the most notorious of which featured the famed cinema diva [[Faye-dunaway|Faye Dunaway]] eating an entire boiled egg in silence. As was au courant at the time, PARCO often commissioned ambient in-store music to accompany its campaigns. This practice paralleled the emergence of [[Japanese Streetwear|Japanese Streetwear]] - a style of clothing featuring boxy silhouettes and bold colors popularized by designers like Rei Kawakubo, also known as [[Japanese Streetwear|Comme des Garçons]]. Ever the trendsetter, Kuragami decided to commission the obscure and somewhat heavy-handed German/Japanese jazz improv duo [[ßynthündßäx|ßynthündßäx]] to produce a series of looping audio installations to accompany a new line of women's clothing by the heretofore unknown designer REDACTED. His efforts were ultimately proven to be almost too successful. Shoppers overcome by emotion could be seen lying down and weeping in the store. The resulting bedlam was heavily covered in the Japanese press - but the fervor did not result in many sales, largely due to the impracticality of REDACTED's designs, which featured pounds of itchy, unwieldy fabric, working electric lights, and a series of cumbersome and dangerously heavy metal hats.
</div>

Cocteau-twins

2026-04-24T14:22:37Z

Clintxxx: /* Cocteau Twins */

===Cocteau Twins===
----

Scottish musical group formed in the late 1970s, most commonly associated with a distinctive, dreamlike sound characterized by layered guitar textures and highly unconventional vocal delivery. Central to their aesthetic was the singing of the willfully obscure Elizabeth Fraser, whose lyrics frequently employed [[Voynich-manuscript|glossolalia]], fragmented phonetics, and as references to archaic or obscure Scottish linguistic forms.<ref>Such as their mesmerizing single "Aikea Guinea" - an anachronistic Scottish term for spiral seashell.</ref>

Internet-relay-chat

2026-04-24T13:04:44Z

Clintxxx: /* Internet Relay Chat AKA IRC */

===Internet Relay Chat AKA IRC===
'''[related: Jarrko Oikarinen]'''
----
A class of early real-time text communication protocols developed in the late 1980s by Jarrko Oikarinen, an unassuming Finnish college student freshman. IRCs are most commonly associated with decentralized chat “channels” in which users could congregate under pseudonymous identities. While initially conceived by Oikarinen as a neutral communication tool, IRC environments quickly devolved into the internet's skid row - a bastion of lawless, illicit, and de-regulated activities within a single, loosely structured system. Due to its anonymity and lack of centralized oversight, IRC became a primary vector for the informal exchange of materials including pirated software, early digital pornography, and .mp3 music files. Underground hip hop, DJ mixes, and regionally specific recordings were, in particular, disseminated through IRC networks in ways that bypassed traditional industry channels, contributing to a kind of fragmented but highly active shadow economy of cultural exchange. Technologically, IRC occupied an intermediate position between earlier systems such as [[UseNet]] posting boards, which relied on asynchronous message propagation, and later platforms like [[Hotline-connect|Hotline Connect]], which emphasized direct file transfer and curated, if chaotic, server environments.

[[File:IRCimage.jpeg|500px|center|]]

File:IRCimage.jpeg

2026-04-24T13:04:24Z

Clintxxx: IRC web interface, circa 1996.

== Summary ==
IRC web interface, circa 1996.

Hotline-connect

2026-04-24T13:03:26Z

Clintxxx: /* Hotline Connect */

===Hotline Connect===
'''[related: Hotlining]'''
----
A class of client-server file sharing and chat systems developed in the mid-to-late 1990s, most closely associated with the informal, and often illegal, exchange of digital media. Unlike its predecessor, the chaotic [[Internet-relay-chat|Internet Relay Chat]] (IRC), which required various workarounds to facilitate direct file exchange, Hotline integrated these capabilities at a fundamental level, allowing users to browse directories, queue downloads, and exchange messages within a single interface. While nominally neutral in design, Hotline servers became almost immediately associated with the distribution of pirated software, digitized music (including early .mp3 releases and DJ mixes), and other materials circulating outside formal commercial channels. The relative ease with which servers could be established—combined with minimal oversight and the ability to restrict access through passwords or user privileges—resulted in a network that was at once highly organized and largely unregulated. Despite the lack of any currency exchange component, Hotline eventually became a veritable distribution platform for new underground music, with new groups covertly leaking, or "hotlining" their new releases directly to the public, thus circumventing the need for corporate representation.<ref>I.E. [[Konami Dream]]'s [[Berserk! ▶︎|''Berserk!'' MIXTAPE]] and, reportedly, digitized cassette releases from [[Cult-of-the-dead-cow|Cult of the Dead Cow]].</ref>

[[File:Hotline-webpage.png|500px|center|]]

File:Hotline-webpage.png

2026-04-24T13:03:09Z

Clintxxx: Web interface of Hotline Connect, circa 1997.

== Summary ==
Web interface of Hotline Connect, circa 1997.

Berserk! ▶︎

2026-04-24T12:59:23Z

Clintxxx: /* Konami Dream: Berserk! */

<div class="album">

[[File:Berserk.png]]

<div class="album-title">
<div>
=='''[[Konami Dream|Konami Dream]]: ''Berserk!'''''==
</div>
<div>(MIXTAPE)</div>
</div>
----

'''SIDE A'''

<div class="track">

<div class="track-info">

===1. ''Intro / HashiDiaku / LookIntoMyEyes / TheKiller / Mother / Guts''===
<div>[[File:berserk_compressed.wav]]
[[Media:berserk_compressed.wav|Download]]</div>

</div>
</div>

Hacker/rap collective [[Konami Dream|Konami Dream]]'s first mixtape, based on the brutal and moving Japanese manga/anime series ''[[Berserk|Kenpū Denki Berserk]]''. The group reportedly became fascinated with the manga after downloading handmade "scanlations" from a [[UseNet]] posting board. Upon the release of the ''Berserk'' anime series in early 1997, the group's new producer, an ambitious and somewhat heavy-handed pop whiz from suburban Long Island named [[Murad-Jacob-Kevorkian|Kevorkian]], obtained an illegal ''Berserk'' VHS dub and set to work sampling, or "chopping", loops from the ''Berserk'' OST and other related material by its composer, [[Susumu Hirasawa|Susumu Hirasawa]].

''Berserk!'' was created in the wake of resident hacker fantom_limb AKA S.O.T.A.'s arrest, under the nebulously defined Computer Fraud and Abuse Act (CFAA). The mixtape followed the group's initial series of "[[Konami Dream|phreaque leaks]]", expanding the group's meditative sound into a more complex forms, while nodding to the hype-laden, insult-ridden rap mixtape tradition.<ref>Aspects reportedly pushed by the commercially-minded Kevorkian, despite the group's reported refusal to track simultaneously or "hype" each other's rhymes.</ref> Ever the tech-miscriants, they distributed the mixtape via a process known as "[[error|Hotlining]]" - cryptically uploading the audio and artwork to the recently launched [[Hotline-connect|Hotline Connect]], a streamlined successor to the [[Internet-relay-chat|Internet Relay Chat]], or IRC, community (essentially, the internet's version of Skid Row). Nestled amongst Hotline's bastion of darknet drug sales, pornography, and illegally traded .mp3 files, Konami's ''Berserk!'' spread like wildfire. The mixtape's final track, a poignant ode to the series'protagonist Guts, found legs beyond cyberspace's underbelly, receiving local airplay and, reportedly, causing tension within the group. Kevorkian and the rapper [[Konami Dream|LKA Hades]], hoping to secure label funding, departed, setting to work on the macabre, [[error|John Carpenter]]-inspired [[error|Hellraiser]], an LP of dense lyrics, bombastic production and - to its own detriment - endless waves of expensive and unclearable samples.

<br />

</div>
</div>

HAL ▶︎

2026-04-23T12:37:39Z

Clintxxx: /* Konami Dream: HAL */

<div class="album">

[[File:Hal-cover.png]]

<div class="album-title">
<div>
=='''[[Konami Dream|Konami Dream]]: ''[[2001|HAL]]'''''==
</div>
<div>(PHREQUE LEAKED SINGLE)</div>
</div>
----

'''SIDE A'''

<div class="track">

<div class="track-info">

===1. ''HAL''===

[[File:Hal-leaked_compressed.wav]]<div class="mw-collapsible mw-collapsed" style="width:100%; overflow:auto;">
<div style="">Lyrics</div>
<hr style="border: none; border-top: 2px dotted grey" />
<div class="mw-collapsible-content">
Control C

Control V

Tryna control me?

<br>

Fuck [[Kumbaya|kumbaya]]

It’s Bomaye

It’s [[Combahee-river|Combahee river]]

It’s go all day

And go all night

I know the spirit

I’m sommelier

I’m so damn right

<br>

Hm…when I sleep I don’t dream of [[Dolly|Dolly]]

I scheme on [[Molly-millions|Molly Millie]]

I swear she tryna kill me

I’m in my condomini

Mind running a mile a minute

I’m all up in it

Until I finally win it

<br>

In my membrane I’m so 3K

I’m [[Dikembe-mutombo|Dikembe]], better keep safe

Swat flies then I swan dive

In the Mach 5 hit a freeway

<br>

Running [[Freeside|freeside]]

Fuck a OG I’m the reprise

Y’all be wafting up my e-vibes

You can even see my b-sides

<br>

Can’t see me on my best days

Watch me navigate the Netscape

While you [[error|Kurt Russell]], tryna escape

Exhale

While I’m pounding on my breastplate

Just wait

Every plan I make had to gestate

So if you get a chance to meet

Better answer me

Like it’s test day

Ready? Press play

<br>

I’m so…I’m so sick of anonymity

Motherfuckers who cannot handle symmetry

And other [[Internet|internet]] amenities

Now you must get these penalties

<br>

Fall into the sound

Tell ‘em pipe down

Like I’m tryna get some room tone

I’ll be soon gone

I will move home

<br>

I believe in heaven, I ain’t even gonna lie

I hope they don’t got email in the kingdom in the sky

I’d be tickled writing my auto-reply:

“Please don’t mind delays on my replies cuz I have died”

<br>

And every correspondence [[Nirvana|all apologies]]

Promise I can’t seem to find [[Nirvana|Nirvana]] though, ironically

If I hit the ground wonder will they feel it sonically

If nobody’s around, wonder will I be a fallen tree?

<br>

Rapping is a 9-5 just to rent some property

Need y’all moving side to side

Like eating beans and collard greens

Hold up…I think my boss is calling me

</div></div>

</div>
</div>

From its nascent beginnings, the mid '90's hacker rap collective [[Konami-dream|Konami Dream]] eschewed traditional commercial releases, beginning with their first single - a slurred, 8-minute ambient/experimental track featuring pitch-down vocals, modular synthesizers, and moog bass. Named after the semi-sentient [[Ai|AI]] entity from Stanley Kubrick's [[2001|2001]], HAL was illegally mp3-encoded using pirated Blade Encoder (or [[BladeEnc|BladeEnc]]) software, enhancing the track's garbled and warped sound. The group then hacked into [[IBM|IBM]]'s corporate website, secretly embedding the track on the company's [[Deep-blue|Deep Blue]] webpage, a process that came to be known as [[error|phreaque leaking]].

<br />

'''⧉ref#''' [Konami Dream :: [https://konamidream.bandcamp.com/album/hal ''HAL'']]
</div>
</div>

HAL ▶︎

2026-04-23T12:37:28Z

Clintxxx: /* Konami Dream: HAL */

<div class="album">

[[File:Hal-cover.png]]

<div class="album-title">
<div>
=='''[[Konami Dream|Konami Dream]]: ''[[2001|HAL]]'''''==
</div>
<div>(PHREQUELEAKED SINGLE)</div>
</div>
----

'''SIDE A'''

<div class="track">

<div class="track-info">

===1. ''HAL''===

[[File:Hal-leaked_compressed.wav]]<div class="mw-collapsible mw-collapsed" style="width:100%; overflow:auto;">
<div style="">Lyrics</div>
<hr style="border: none; border-top: 2px dotted grey" />
<div class="mw-collapsible-content">
Control C

Control V

Tryna control me?

<br>

Fuck [[Kumbaya|kumbaya]]

It’s Bomaye

It’s [[Combahee-river|Combahee river]]

It’s go all day

And go all night

I know the spirit

I’m sommelier

I’m so damn right

<br>

Hm…when I sleep I don’t dream of [[Dolly|Dolly]]

I scheme on [[Molly-millions|Molly Millie]]

I swear she tryna kill me

I’m in my condomini

Mind running a mile a minute

I’m all up in it

Until I finally win it

<br>

In my membrane I’m so 3K

I’m [[Dikembe-mutombo|Dikembe]], better keep safe

Swat flies then I swan dive

In the Mach 5 hit a freeway

<br>

Running [[Freeside|freeside]]

Fuck a OG I’m the reprise

Y’all be wafting up my e-vibes

You can even see my b-sides

<br>

Can’t see me on my best days

Watch me navigate the Netscape

While you [[error|Kurt Russell]], tryna escape

Exhale

While I’m pounding on my breastplate

Just wait

Every plan I make had to gestate

So if you get a chance to meet

Better answer me

Like it’s test day

Ready? Press play

<br>

I’m so…I’m so sick of anonymity

Motherfuckers who cannot handle symmetry

And other [[Internet|internet]] amenities

Now you must get these penalties

<br>

Fall into the sound

Tell ‘em pipe down

Like I’m tryna get some room tone

I’ll be soon gone

I will move home

<br>

I believe in heaven, I ain’t even gonna lie

I hope they don’t got email in the kingdom in the sky

I’d be tickled writing my auto-reply:

“Please don’t mind delays on my replies cuz I have died”

<br>

And every correspondence [[Nirvana|all apologies]]

Promise I can’t seem to find [[Nirvana|Nirvana]] though, ironically

If I hit the ground wonder will they feel it sonically

If nobody’s around, wonder will I be a fallen tree?

<br>

Rapping is a 9-5 just to rent some property

Need y’all moving side to side

Like eating beans and collard greens

Hold up…I think my boss is calling me

</div></div>

</div>
</div>

From its nascent beginnings, the mid '90's hacker rap collective [[Konami-dream|Konami Dream]] eschewed traditional commercial releases, beginning with their first single - a slurred, 8-minute ambient/experimental track featuring pitch-down vocals, modular synthesizers, and moog bass. Named after the semi-sentient [[Ai|AI]] entity from Stanley Kubrick's [[2001|2001]], HAL was illegally mp3-encoded using pirated Blade Encoder (or [[BladeEnc|BladeEnc]]) software, enhancing the track's garbled and warped sound. The group then hacked into [[IBM|IBM]]'s corporate website, secretly embedding the track on the company's [[Deep-blue|Deep Blue]] webpage, a process that came to be known as [[error|phreaque leaking]].

<br />

'''⧉ref#''' [Konami Dream :: [https://konamidream.bandcamp.com/album/hal ''HAL'']]
</div>
</div>

Max-headroom

2026-04-08T12:34:21Z

Clintxxx: /* Max Headroom */

==Max Headroom==
----
Debuting in 1985, Max Headroom was the first computer generated television personality. Headroom emerged from a dystopian future dominated by advertising-based television controlled by a small conglomerate of large tech corporations dubbed The Network, an entity oft compared to [[terminator|SkyNet]]. The
Network functioned with full governmental authority, passing laws against turning off television sets and using various forms of cathode ray technology to monitor viewers movements and communication. Headroom's [[ai|A.I.]] system was generated from the memories of activist journalist Edison Carter, the only dissenting voice from within the Network and the public's sole source of unadulterated information. Headroom's name was auto-generated from Carter's last memory before perishing in a
suspicious accident in a parking garage: the sign "MAX HEADROOM, 2.3H" (delineating an overhead clearance of 2.3 meters). On November 23, 1987, the Max Headroom A.I. was used to hijack the signal of two television stations in Chicago during an airing of the Dr. Who serial "Horror of Fang Rock" <ref> The intrusion occurred as the lead characters were waiting for the arrival of the Time Lord. </ref>in an act of video piracy. Throughout the 83-second intrusion, Max Headroom displayed cryptic and erratic behavior, repeatedly degrading [[error|New Coke]] <ref> Leading to speculation of possible Pepsi Cola involvement as part of the ongoing
[[error|Cola Wars]]. </ref> singing "I Know I'm Losing You" by the Temptations, whistling the Clutch Cargo <ref> A serialized animated television series known best for pioneering the use of Syncro-Vox - a technology involving the implantation of moving human mouths on static drawn figures. </ref> theme and later referencing its final episode, "The Big X" <ref> A notoriously strange episode involving the use of a coal-powered rocketship to prevent a "musical asteroid" from destroying the moon. </ref>. The intrusion culminated in Headroom's bare buttocks being struck repeatedly with a fly swatter. A reward of $100,000 was offered by the FCC for any information regarding the incident, but the culprits behind the hijacking and their methodology remain, to this day, unidentified. The incident was anchored around Network 23, a number referenced repeatedly in the intrusion, perhaps as a nod to the  [[23-enigma|23 Enigma]].

[[File:REDACTED.mp4|500px|center]]

Neon-babylon

2026-04-03T14:46:26Z

Clintxxx: /* Neon Babylon */

==''Neon Babylon''==
'''[related: Mahler Box]'''
----
Early musical suite attributed to the reclusive composer and cyberpoet [[Mailer-daemon|mailer_daemon]]. Written exclusively in Latin and German, the piece's lyrics focus largely on a grab bag of [[error|Illuminati]]-related subjects, including the [[error|Silurian Hypothesis]], [[Saturn's Hexagon|Saturn's Hexagon]], and the significance of [[error|Alpha Draconis]]. Written for a mixed ensemble strings, percussion, choir, harpsichord and analog synthesizers, ''Neon Babylon'''s scattershot performance directions require performers to wear various constructed masks. The only known performance of the work took place in REDACTED by the Eastern European experimental music ensemble [[Shepherds-of-apocrypha|Shepherds of Apocrypha]]/[[Illuminati-quartet|Illuminati Quartet]] in Prague, Czechoslovakia. The opening movement of the suite, entitled ''March of the [[David Icke|Archons]]'' is notable for the inclusion of a Mahler Box, an arcane and clunky wooden contraption invented by the 19th-century composer Gustav Mahler. The ever dramatic Mahler called for the box to be struck by three mighty hammer blows, or Hammerschläge, signifying the knocking hand of fate. mailer_daemon, instead, called for the box to be painted black, covered with chalk, inscribed with a hexagonal insignia, and beaten by a man in a gas mask until utterly destroyed.

[[File: March of the Archons - VHS glitch intro.mp4]]
[[File: Thuban.mp4]]
[[File: Moon Matrix.mp4]]

Also dating from this period is ''A Lake [[Cimmerian|Cimmerian]]'', a piece for solo harpsichord calling for the performer to don a cumbersome and sightless [[Minotaur|minotaur]] mask.

[[File: A Lake Cimmerian.mp4]]

NESticle

2026-03-28T20:30:29Z

Clintxxx: /* NESticle AKA NESticle ROM Hacker */

Parallax

2026-03-28T20:29:31Z

Clintxxx: /* Parallax */

==Parallax==
'''[related: ''Mike Tyson's Punch Out'']'''
----
Greek for alternation, often used to denote subscreen systems in video games
used to enhance the feeling of depth and movement (a division of fore-,
middle-, and back-ground graphic fields scrolling at different rates), thus
contributing to [[ehspf|EHSPF]] functionality. A prime example being the  Training Scene in ''Mike Tyson's Punch Out''<ref>A title later re-skinned as ''Punch-Out!!! Featuring Mr. Dream''. It
was widely and errantly reported the re-skinning was due to Tyson's 1992
conviction of raping Miss Black Rhode Island in an Indianapolis hotel room -
however Nintendo cancelled Tyson's contract immediately following his
stunning upset to Buster Douglas under the Tokyo Dome in 1990. </ref><ref>Ironically, ''Punch Out's'' sprite-based NPC system made the game ripe for hackers, especially those using the [[NESticle|NESticle]] application, resulting in ''Nude Punch Out'', one of the most notorious NES ROM hacks.</ref>, a 1987
[[nes|NES]] title. Parallax also applies to the derivation of various stellar distances via techniques like triangulation and the measurement of  [[doppler|Doppler]] redshift. Results from these measurements are given in units called parsecs, where ''d''=1/''p'' when the parallax is given in arcseconds. However, this approach has proven insufficient when applied to Venus'  [[black-drop|black drop]] effect. Astrophysicists have speculated this shortcoming is due to the infamous "parallax error", a mathematical glitch requiring an equational addendum [see below] to compensate for what is essentially a rounding error when dealing with distances of stellar magnitude.

[[File:TysonParallax.png|500px|center|]]

Running-cola

2026-02-09T12:20:02Z

Clintxxx: /* Running Cola is AfricaΩ */

==''Running Cola is Africa''<sup>[https://eternal-september.net/i-antichrist/running-cola-is-africa.html Ω]</sup>==
'''[related: Cybernetic Serendipity]'''
----
A groundbreaking set of algorithmically-generated lithographs dating from 1968. The prints were created by members of [[IBM|IBM]] Tokyo's Computer Technique Group [CTG] and debuted as part of ''Cybernetic Serendipity'', the world's first large scale exhibition of computer art held at London's Institute of Contemporary Arts [LICA]. Despite being viewed by over 64,000 attendees, the work failed to sell. It was later acquired by the LICA for £5 and has since been kept in climate controlled storage. ''Running [[error|Cola]] is Africa'' is commonly considered to be the first piece of (aesthetically convincing) [[ai|A.I.]] art - the full set of prints are now valued at approximately 3.8 million dollars.

[[File:running-cola-img.jpg|500px|center|alt=The sparsely-outlined silhouette of a runner in full motion smoothly transforms, from left to right, into a Cola bottle, and the continent of Africa.]]

<small><kbd>Ωref# [[mailer-daemon|mailer_daemon]] :: ''[https://eternal-september.net/i-antichrist/running-cola-is-africa I, Antichrist].''</kbd></small>

Running-cola

2026-02-09T12:19:30Z

Clintxxx: /* Running Cola is AfricaΩ */

==''Running Cola is Africa''<sup>[https://eternal-september.net/i-antichrist/running-cola-is-africa.html Ω]</sup>==
'''[related: Cybernetic Serendipity]'''
----
A groundbreaking set of algorithmically-generated lithographs dating from 1968. The prints were created by members of [[error|IBM]] Tokyo's Computer Technique Group [CTG] and debuted as part of ''Cybernetic Serendipity'', the world's first large scale exhibition of computer art held at London's Institute of Contemporary Arts [LICA]. Despite being viewed by over 64,000 attendees, the work failed to sell. It was later acquired by the LICA for £5 and has since been kept in climate controlled storage. ''Running [[error|Cola]] is Africa'' is commonly considered to be the first piece of (aesthetically convincing) [[ai|A.I.]] art - the full set of prints are now valued at approximately 3.8 million dollars.

[[File:running-cola-img.jpg|500px|center|alt=The sparsely-outlined silhouette of a runner in full motion smoothly transforms, from left to right, into a Cola bottle, and the continent of Africa.]]

<small><kbd>Ωref# [[mailer-daemon|mailer_daemon]] :: ''[https://eternal-september.net/i-antichrist/running-cola-is-africa I, Antichrist].''</kbd></small>

Black-screen-o'-death

2026-01-18T13:46:29Z

Clintxxx: /* Black Screen o' Death */

=='''Black Screen o' Death'''==
----

Brutal 1980's New York City-based [[Power-electronics|power electronics]] duo consisting of Miami-born experimental saxophonist REDACTED and an elusive musical vagabond known as [[Galactus|Galactus]] on percussion and synthesizers. Like its UK-based brethren [[Power-electronics|Whitehouse]], Black Screen o' Death trafficked in unrelenting noise and aggression, specializing in "direct injection overload", or DIO, a practice in which a semi-functional [[Oberheim-SEM|Oberheim SEM]] was plugged directly into a soundboard with its faders pushed past the redline, essentially capturing the sound of melting board circuitry - at times causing smoke to emit from the house mixers during the group’s performances. As a result, the band was eventually banned from most New York City venues aside from [[White-columns|White Columns]], a semi-derelict non-profit artist loft that regularly featured the group on its monthly ''Night of the Living Noise'' shows. To accompany its ear-splitting sound, the duo often projected looped visuals from silent experimental films, including the eyeball-slicing scene in Luis Bunuel's ''[[Un-chien-andalou|Un Chien Andalou]]'' and various excerpts from Maya Deren's [[Meshes of the Afternoon|''Meshes of the Afternoon'']]. A grainy xeroxed film still of Deren's mirror-faced personification of Death was later used as the cover for the group's [[UNTITLED ▶|untitled 1982 self-released EP]].

[[File:BSOD-1.png]]

<br>

'''⧉ref#''' [Black Screen o' Death :: [https://blackscreenodeath.bandcamp.com/album/untitled ''UNTITLED'']]

[[Disclaimer|''Disclaimer'']]

Black-screen-o'-death

2026-01-18T12:55:00Z

Clintxxx: /* Black Screen o' Death */

=='''Black Screen o' Death'''==
----

Brutal 1980's New York City-based [[Power-electronics|power electronics]] duo consisting of Miami-born experimental saxophonist REDACTED and an elusive musical vagabond known as [[Galactus|Galactus]] on percussion and synthesizers. Like its UK-based brethren [[Power electronics|Whitehouse\]], Black Screen o' Death trafficked in unrelenting noise and aggression, specializing in "direct injection overload", or DIO, a practice in which a semi-functional [[Oberheim-SEM|Oberheim SEM]] was plugged directly into a soundboard with its faders pushed past the redline, essentially capturing the sound of melting board circuitry - at times causing smoke to emit from the house mixers during the group’s performances. As a result, the band was eventually banned from most New York City venues aside from [[White-columns|White Columns]], a semi-derelict non-profit artist loft that regularly featured the group on its monthly ''Night of the Living Noise'' shows. To accompany its ear-splitting sound, the duo often projected looped visuals from silent experimental films, including the eyeball-slicing scene in Luis Bunuel's ''[[Un-chien-andalou|Un Chien Andalou]]'' and various excerpts from Maya Deren's [[Meshes of the Afternoon|''Meshes of the Afternoon'']]. A grainy xeroxed film still of Deren's mirror-faced personification of Death was later used as the cover for the group's [[UNTITLED ▶|untitled 1982 self-released EP]].

[[File:BSOD-1.png]]

<br>

'''⧉ref#''' [Black Screen o' Death :: [https://blackscreenodeath.bandcamp.com/album/untitled ''UNTITLED'']]

[[Disclaimer|''Disclaimer'']]

Black-screen-o'-death

2026-01-18T12:52:15Z

Clintxxx: /* Black Screen o' Death */

=='''Black Screen o' Death'''==
----

Brutal 1980's New York City-based [[Power-electronics|power electronics]] duo consisting of Miami-born experimental saxophonist REDACTED and an elusive musical vagabond known as [[Galactus|Galactus]] on percussion and synthesizers. Like its UK-based brethren [[Power electronics|Whitehouse\]], Black Screen o' Death trafficked in unrelenting noise and aggression, specializing in "direct injection overload", or DIO, a practice in which a semi-functional [[Oberheim-SEM|Oberheim SEM]] was plugged directly into a soundboard with its faders pushed past the redline, essentially capturing the sound of melting board circuitry - at times causing smoke to emit from the house mixers during the group’s performances. As a result, the band was eventually banned from most New York City venues aside from [[White-columns|White Columns]], a semi-derelict non-profit artist loft that regularly featured the group on its monthly ''Night of the Living Noise'' shows. To accompany its ear-splitting sound, the duo often projected looped visuals from silent experimental films, including the eyeball-slicing scene in Luis Bunuel's ''[[Un-chien-andalou|Un Chien Andalou]]'' and various excerpts from Maya Deren's [[Meshes of the Afternoon|''Meshes of the Afternoon'']]. A grainy xeroxed film still of Deren's mirror-faced personification of Death was later used as the cover for the group's [[UNTITLED_▶|untitled 1982 self-released EP]].

[[File:BSOD-1.png]]

<br>

'''⧉ref#''' [Black Screen o' Death :: [https://blackscreenodeath.bandcamp.com/album/untitled ''UNTITLED'']]

[[Disclaimer|''Disclaimer'']]

Black-screen-o'-death

2026-01-18T12:52:01Z

Clintxxx: /* Black Screen o' Death */

=='''Black Screen o' Death'''==
----

Brutal 1980's New York City-based [[Power-electronics|power electronics]] duo consisting of Miami-born experimental saxophonist REDACTED and an elusive musical vagabond known as [[Galactus|Galactus]] on percussion and synthesizers. Like its UK-based brethren [[Power electronics|Whitehouse\]], Black Screen o' Death trafficked in unrelenting noise and aggression, specializing in "direct injection overload", or DIO, a practice in which a semi-functional [[Oberheim-SEM|Oberheim SEM]] was plugged directly into a soundboard with its faders pushed past the redline, essentially capturing the sound of melting board circuitry - at times causing smoke to emit from the house mixers during the group’s performances. As a result, the band was eventually banned from most New York City venues aside from [[White-columns|White Columns]], a semi-derelict non-profit artist loft that regularly featured the group on its monthly ''Night of the Living Noise'' shows. To accompany its ear-splitting sound, the duo often projected looped visuals from silent experimental films, including the eyeball-slicing scene in Luis Bunuel's ''[[Un-chien-andalou|Un Chien Andalou]]'' and various excerpts from Maya Deren's [[Meshes of the Afternoon|''Meshes of the Afternoon'']]. A grainy xeroxed film still of Deren's mirror-faced personification of Death was later used as the cover for the group's [[UNTITLED ▶|untitled 1982 self-released EP]].

[[File:BSOD-1.png]]

<br>

'''⧉ref#''' [Black Screen o' Death :: [https://blackscreenodeath.bandcamp.com/album/untitled ''UNTITLED'']]

[[Disclaimer|''Disclaimer'']]

Black-screen-o'-death

2026-01-18T12:51:05Z

Clintxxx: /* Black Screen o' Death */

=='''Black Screen o' Death'''==
----

Brutal 1980's New York City-based [[Power-electronics|power electronics]] duo consisting of Miami-born experimental saxophonist REDACTED and an elusive musical vagabond known as [[Galactus|Galactus]] on percussion and synthesizers. Like its UK-based brethren [[Power electronics|Whitehouse\]], Black Screen o' Death trafficked in unrelenting noise and aggression, specializing in "direct injection overload", or DIO, a practice in which a semi-functional [[Oberheim-SEM|Oberheim SEM]] was plugged directly into a soundboard with its faders pushed past the redline, essentially capturing the sound of melting board circuitry - at times causing smoke to emit from the house mixers during the group’s performances. As a result, the band was eventually banned from most New York City venues aside from [[White-columns|White Columns]], a semi-derelict non-profit artist loft that regularly featured the group on its monthly ''Night of the Living Noise'' shows. To accompany its ear-splitting sound, the duo often projected looped visuals from silent experimental films, including the eyeball-slicing scene in Luis Bunuel's ''[[Un-chien-andalou|Un Chien Andalou]]'' and various excerpts from Maya Deren's [[Meshes of the Afternoon|''Meshes of the Afternoon'']]. A grainy xeroxed film still of Deren's mirror-faced personification of Death was later used as the cover for the group's [[UUNTITLED ▶|untitled 1982 self-released EP]].

[[File:BSOD-1.png]]

<br>

'''⧉ref#''' [Black Screen o' Death :: [https://blackscreenodeath.bandcamp.com/album/untitled ''UNTITLED'']]

[[Disclaimer|''Disclaimer'']]

Black-screen-o'-death

2026-01-18T12:50:03Z

Clintxxx: /* Black Screen o' Death */

=='''Black Screen o' Death'''==
----

Brutal 1980's New York City-based [[Power-electronics|power electronics]] duo consisting of Miami-born experimental saxophonist REDACTED and an elusive musical vagabond known as [[Galactus|Galactus]] on percussion and synthesizers. Like its UK-based brethren [[Power electronics|Whitehouse\]], Black Screen o' Death trafficked in unrelenting noise and aggression, specializing in "direct injection overload", or DIO, a practice in which a semi-functional [[Oberheim-SEM|Oberheim SEM]] was plugged directly into a soundboard with its faders pushed past the redline, essentially capturing the sound of melting board circuitry - at times causing smoke to emit from the house mixers during the group’s performances. As a result, the band was eventually banned from most New York City venues aside from [[White-columns|White Columns]], a semi-derelict non-profit artist loft that regularly featured the group on its monthly ''Night of the Living Noise'' shows. To accompany its ear-splitting sound, the duo often projected looped visuals from silent experimental films, including the eyeball-slicing scene in Luis Bunuel's ''[[Un-chien-andalou|Un Chien Andalou]]'' and various excerpts from Maya Deren's [[Meshes of the Afternoon|''Meshes of the Afternoon'']]. A grainy xeroxed film still of Deren's mirror-faced personification of Death was later used as the cover for the group's [[UUNTITLED_▶%EF%B8%8E|untitled 1982 self-released EP]].

[[File:BSOD-1.png]]

<br>

'''⧉ref#''' [Black Screen o' Death :: [https://blackscreenodeath.bandcamp.com/album/untitled ''UNTITLED'']]

[[Disclaimer|''Disclaimer'']]

Black-screen-o'-death

2026-01-18T12:49:12Z

Clintxxx: /* Black Screen o' Death */

=='''Black Screen o' Death'''==
----

Brutal 1980's New York City-based [[Power-electronics|power electronics]] duo consisting of Miami-born experimental saxophonist REDACTED and an elusive musical vagabond known as [[Galactus|Galactus]] on percussion and synthesizers. Like its UK-based brethren [[Power electronics|Whitehouse\]], Black Screen o' Death trafficked in unrelenting noise and aggression, specializing in "direct injection overload", or DIO, a practice in which a semi-functional [[Oberheim-SEM|Oberheim SEM]] was plugged directly into a soundboard with its faders pushed past the redline, essentially capturing the sound of melting board circuitry - at times causing smoke to emit from the house mixers during the group’s performances. As a result, the band was eventually banned from most New York City venues aside from [[White-columns|White Columns]], a semi-derelict non-profit artist loft that regularly featured the group on its monthly ''Night of the Living Noise'' shows. To accompany its ear-splitting sound, the duo often projected looped visuals from silent experimental films, including the eyeball-slicing scene in Luis Bunuel's ''[[Un-chien-andalou|Un Chien Andalou]]'' and various excerpts from Maya Deren's [[Meshes of the Afternoon|''Meshes of the Afternoon'']]. A grainy xeroxed film still of Deren's mirror-faced personification of Death was later used as the cover for the group's [[UNTITLED_▶|untitled 1982 self-released EP]].

[[File:BSOD-1.png]]

<br>

'''⧉ref#''' [Black Screen o' Death :: [https://blackscreenodeath.bandcamp.com/album/untitled ''UNTITLED'']]

[[Disclaimer|''Disclaimer'']]

Quantum

2026-01-15T17:28:42Z

Clintxxx: /* Quantum Worldview */

==Quantum Worldview==
'''[related: Quantum Mechanics, Quantum/Buddhist Worldview, Copenhagen Interpretation]'''
----
Worldview positing quantum theory as, essentially, the mathematical representation of [[dharma|The Dharma]]. As per the Copenhagen Interpretation, the Quantum Worldview (QW) paints reality as entirely observer dependent - an endless, causal sea of subjectivity absent of any external objective basis. Conceptual in nature, QW neither directly supports or contradicts [[simulation-theory|simulation theory]], the [[error|holographic principle]], and other related hypotheses. Most QW adherents approach base reality as essentially a [[Cybernetics|black box cybernetic loop]]- a shielded system whose central mechanism is, by its very nature, beyond humanity's ability to conceptualize - leaving daylight for some kind of demiurgic figure, whether vindictive, benevolent, or simply aloof.

Metroid

2026-01-15T17:25:47Z

Clintxxx: /* Metroid */

==''Metroid''==
'''[Nintendo, 1986] [related: Mother Brain, Samus Aran, Black Hole Information Paradox]'''
----
Groundbreaking 1986 single player game-based reality simulator ([[vpd|VPD]]) developed by the [[nes|Nintendo Entertainment System]] for release on its original platform. Widely considered to figure heavily in the [[ehspf|EHSPF]]
series and manifestly central to the [[ehspf|MetroidVania]] series of games. Directed by Satoru Okada and Masao Yamamoto (credited officially as simply
"Yamamoto"), with music by Hirokazu "Hip" Tanaka. The game was developed in a free associative environment and is remarkable for its open-world format and its ability to engender a sense of poignant loneliness and desperation in the
player - a phenomenon supporting the [[Simulation-theory|"reality as simulation"]] hypothesis that has come to dominate modern cyber-metaphysics. In this model, pixels equate to  [[quantum-loop-gravity|Planck length]] bits (sub-microscopic non-divisible units of timespace that form the fabric of what consciousness perceives as "space"). By extension, reality can in fact be thought of as a
two-dimensional information-based bit space that gives rise to complex illusory environs via [[cybernetics|cybernetic]] interaction
with our perceptual network, thus skirting the so-called "black hole information paradox" <ref> A theory centering on the notion that information could be permanently destroyed by a black hole in violation of modern physics doctrine including the now-outdated  [[quantum|Copenhagen Interpretation]] of quantum theory. An effective though controversial postulated solution dubbed the "holographic principle" resolves the paradox by claiming that information is in fact stored in a black hole's [[event-horizon|event horizon]] in a liminal, two-dimensional, non-spatial zone. The theory has proven effective in resolving other paradoxes, giving rise to the "[[error|holographic universe]]" model championed by Gerad 't Hooft, Leonard Susskind, and their ilk.
</ref>. Within this mode of thinking, the game's formidable end boss Mother Brain <ref> As opposed to Mind, as per [[dharma|Buddhist]] philosophy. </ref> can be seen as a malevolent omniscient figurehead pervading the simulation - a digital virus-like villian whose function is solely to ensure that the protagonist (Samus Aran/the player) remains locked into an endless loop-quest despite signs of its  [[berhold-brecht|Brechtian]] artifice in the form of glitches [i.e. door jumps, wall climbing, and, in later
''Metroid'' platforms, phazon overload and shadow freezing]. Upon defeat of
The Mother Brain, its protagonist is revealed to be female, despite the use of male pronouns in the game's silver handbook, with a reverse correlation between the success and speed of the player's successful campaign and the avatar's amount of clothing. A perfect campaign results in Samus being forced to re-complete her mission, defeating bosses Ridley, Kraig, and The Mother Brain clad in hot pink underwear <ref> A [[technostalgia|technostalgic]]-related phenomenon - in a 1988 poll, coitus with Samus Aran was among the most frequent "climax point" fantasies for both girls and boys in the 13-17-year-old age group. </ref>. Samus Aran is suspended in a  [[grey-waves|timeless oblivion]], a space in which consequential movement or action is rendered impossible. And yet...
''the cycle
continues''.

''"And when I finally won the game in the basement of my third grade teacher's house and found that Samus was, in fact, a woman, I was alone - and would stay alone from that day forward".''

Ehspf

2026-01-15T17:24:17Z

Clintxxx: /* Emergent Hyper-structural Portal Functionality AKA EHSPF */

==Emergent Hyper-structural Portal Functionality AKA EHSPF==
'''[related: [[metroid|MetroidVania]], [[Vpd|Virtual Portal Devices]]]'''
----
Emergent Hyper-structural Portal Functionality or EHSPF (of which
[[vpd|VPD]]'s are a subset) refers to various permutations of functional portals offering veiled glimpses of or contact with the Hidden World AKA the contents of the [[cybernetics|Black Box]] by articulating a poignant and
enveloping alternate reality. Most often EHSPF is used in reference to digital
alternate reality platforms ([[vpd|VPD]]'s) containing a palpable aesthetic of
loneliness, desolation, and longing. The concept emerged in part as a way to parse the emotional and psychological effects of the MetroidVania <ref> A ''vaticinium et eventu'' portmanteau for a series of games combining aspects of ''Metroid'' and the Konami title ''Castlevania''. </ref> series of games originally associated with the Nintendo Entertainment System ([[nes|NES]]). Primarily centering on [[metroid|Metroid]], [[zelda|The Legend of Zelda]]
and a number of titles from [[konami|Konami]] and, to a lesser extent, Capcom,
the series was characterized by the insinuation of a world beyond view via
scrolling - elements that pre-exist (and post-exist) engagement. Thus, the
player itself controls the scrolling, the view of the game orients a limitless
reality around ''self''. This conjuring or insinuation of the non-temporal non-spatial aspects of cyberspace led to direct engagement with [[apeirophobia]], or fear/fascination with infinity as it pertains to the generation of so-called existential (and thus poignant) emotions. These emotions result in the digital reality taking on the properties of a simulacrum. Extreme examples of this technique include various "infinite loop" traps from the EHSPF series including, but not limited to, the Lost Woods in ''[[zelda|Legend of Zelda]]'', the "Hidden Levels" in ''[[solomons-key|Solomon's Key]]'', Level 7-4 in Super Mario Bros. and, to a certain extent, the Ladder Scene in ''[[metal-gear-solid|Metal Gear Solid]] 3: Snake Eater''. Also vital in the parsing of EHSPF functionality is gameplay based on non-linear, self determination and cybernetic self-advancement via the acquisition of skills and weapons and need to backtrack. The practice of reality morphing/glitches <ref> Ex. "climbing the walls" in ''Metroid'' and the [[konami|Konami Code]]. Notably, [[nes|NES]] glitches commonly occurred as a result of insufficient ROM, often slowing and slurring gameplay in moments of violent complexity - in a sense a meta-digital "fight or flight" response. </ref> (whether or not intentional) as it relates to Brecht's ''Verfremdungseffekt'' or "distancing effect" also serves to amplify
emotional effects of the EHSPF series. By reinforcing the digital artifice
inherent to such environments, players are made aware that they are inhabiting
a parallel reality. Sometimes referred to as "glitch framing", these transparencies of machinery parallel "IRL"
moments of contact or awareness with base reality characterized by the transcendence of cerebral conceptual frameworks
including a discrete sense of self. Subsequently, EHSPF terminology has come to be applied to the non-digital realm.
[[error|Rear brake lights in rain]], outdated
[[burgundy-car-interior|burgundy car interiors]], certain cloud formations,
the creation and collective acceptance of narrative myth,
[[ornithomancy|ornithological]]
bird behaviours <ref> Birds, as dinosaur descendants, are the only animals able to fully traverse organic portals in full corporeal form. </ref>–these non-digital phenomena have been cited as having potential ESHPF properties (especially when paired with the appropriate audio) <ref> Ex: anything from ''Hejira'' that Jaco plans on. </ref> . Additionally, portal functionality can be accessed internally via extended meditation, psychosis, and/or psychedelic/
[[narcotics|narcotic]] drugs. Hyper-structurality here refers to the emergence of portal functionality from larger systems of interlocking alternate reality generators with common practices, phenomenological parameters, and general aesthetic sense <ref> Playing ''[[rygar|Rygar]]'' during a quiet rainstorm while under the influence of Sativa-dubbed [[cannabis|cannabinoids]]. </ref>. In recent years, a number of prominent neuropsychologists have begun to posit the idea that the public's unquenchable desire for items displaying ESHPF actually represents a turn away from base reality, and that our pursuit of such portals amounts to a sort of [[imago|Freudian]] "death wish" in the form of a non-temporal nostalgic oblivion.

Konami

2026-01-15T17:24:01Z

Clintxxx: /* Konami AKA Konami Holdings Corporation */

==Konami AKA Konami Holdings Corporation==
'''[related: Capcom] [disambiguation: [[Konami Dream]]]'''
----
Japanese tech conglomerate established on March 21, 1950 as Tokyo Products. Konami, along with Capcom and others, was central to the emergent hyper-structural portal functionality ([[ehspf|EHSPF]]) of oft Alien-oriented 8-bit
interfaces for the Nintendo Entertainment System ([[nes|NES]]). Base structure includes the titles ''Lifeforce, Esper's Dream, [[top-gun|Top Gun]], [[metal-gear-solid|Metal Gear Solid]], [[contra|Contra]], Quarth, Aliens'' (Arcade only), and, to a certain extent, ''Castlevania'' and ''Trojan''. En masse this subset of games was thought to function as a virtual portal between realities ([[vpd|VPD]]), with the game's creators shielded behind a translucent yet impenetrable veil, perhaps made of mirrored glass somehow presenting itself as continually cascading liquid metal (re: ''Terminator 2: Judgement Day'' starring [[arnold-schwarzenegger|Arnold Schwarzenegger]]). Through the 90's and into the 00's, Konami came to be defined by the exploits of [[metal-gear-solid|Hideo Kojima]], mastermind of the ''[[metal-gear-solid|Metal Gear Solid]]'' series <ref> Kojima's work is thought to be of primary influence on a number of underground music and art collectives including the hacker rap collective Konami Dream. </ref>.

Konami

2026-01-15T17:23:29Z

Clintxxx: /* Konami AKA Konami Holdings Corporation */

==Konami AKA Konami Holdings Corporation==
'''[related: Capcom] [disambiguation: [[Konami Dream]]]'''
----
Japanese tech conglomerate established on March 21, 1950 as Tokyo Products. Konami, along with Capcom and others, was central to the emergent hyper-structural portal functionality ([[ehspf|EHSPF]]) of oft Alien-oriented 8-bit
interfaces for the Nintendo Entertainment System ([[nes|NES]]). Base structure includes the titles ''Lifeforce, Esper's Dream, [[top-gun|Top Gun]], [[metal-gear-solid|Metal Gear Solid]], [[contra|Contra]], Quarth, Aliens'' (Arcade only), and, to a certain extent, ''Castlevania'' and ''Trojan''. En masse this subset of games was thought to function as a virtual portal between realities ([[vpd|VPD]]), with the game's creators shielded behind a translucent yet impenetrable veil, perhaps made of mirrored glass somehow presenting itself as continually cascading liquid metal (re: ''Terminator 2: Judgement Day'' starring [[arnold-schwarzenegger|Arnold Schwarzenegger]]). Through the 90's and into the 00's, Konami came to be defined by the exploits of [[error|Hideo Kojima]], mastermind of the ''[[metal-gear-solid|Metal Gear Solid]]'' series <ref> Kojima's work is thought to be of primary influence on a number of underground music and art collectives including the hacker rap collective Konami Dream. </ref>.