ETERNAL SEPTEMBER - User contributions [en]

Bulletin-board

2026-06-08T00:37:41Z

Nemo: /* Bulletin Board */

==Bulletin Board==
----
<div style="text-align: right; color:grey">'''∆''': ARCHIVE NOTICE</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">

===∆ #006: [[Konami Dream]]: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===∆ #007: [[Solitaire ▶︎|Konami Dream: ''Solitaire'']]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===∆ #008: [[Judgement-day ▶︎|Konami Dream: ''Judgement Day'']]===
----
[[File:judgement_day_bbs_compressed.mp4|thumbtime=50.0]]

On November 23rd , 1987 the signal of WTTW, an upstanding PBS Chicago Public Broadcasting Station, was pirated by a figure bearing stark resemblance to [[Max-headroom|Max Headroom]], the world's first computer-generated television host. Throughout the 83-second intrusion, the Headroom doppelganger displayed cryptic and erratic behavior, spewing profanities and degrading [[error|New Coke]] in front of semi-swirling corrugated sheet metal. The segment culminated, bizarrely, in Headroom being spanked with a fly swatter by a figure in a french maid costume. Despite the FCC's reward offer of $10,000, the culprits remain, as yet, at large. Thus marked the most prominent instance of [[Signal-hijacking|broadcast signal jacking]], a practice dating back to the "[[Southern-incident|Southern Incident]]" of 1977 in which a being named [[error|Vrillon]] of the [[Ashtar|Ashtar Galactic Command]] interrupted an ITN news bulletin to warn humanity of impending disaster at the close of the second millennium.Following the arrest and subsequent retirement of resident hacker [[error|fantom_limb]] under the absurdly nebulous [[error|Computer Fraud and Abuse Act]], the hacker/rap collective [[Konami Dream]] turned to the tradition of signal pirating for its final self-described [[Phreaking|Phreaque Leak]]. Targeting the Warner-Apex Satellite Productions, or [[W.A.S.P.|WASP]], -owned [[NY1]], an amateurish 24-hour cable news station based in New York City, Konami staged a bold late night broadcast takeover. Dubbed "[[Judgement-day ▶︎|Judgement Day]]", the segment presented a three part audiovisual diatribe against various capitalistic power structures pirated atop a rerun of NY1's "From the Floor", the station's poorly produced on-location Wall Street report.

Disappointed by Judgement Day's lack of impact (NY1 late night viewership reportedly ran in the high double digits), and deflated by [fantom_limb]'s departure, the group pivoted to self-released mixtapes, retaining its starkly anti-commercial bent while extending its referential lexicon further into various modern mythologies:Japanese anime, lore-laden video games, pulp science fiction and other alternate worlds made newly accessible through [[Internet|cyberspace]]'s infinite and, more importantly, lawless expanse.

</div>

<div class="bulletin-item">

===∆ #009: [[Berserk! ▶︎|Konami Dream: ''Berserk!'']]===
----
[[File:berserk_compressed.mp4|thumbtime=50.0]]

The now legendary Japanese manga [[Berserk|’’Kenpū Denki Berserk’’]], or ‘’Berserk’’ for short, was begun by artist [[error|Kentaro Miura]] in the late 1980's while still in high school. Named after the [[error|berserkers]], an ancient sect of trance-induced Scandinavian warriors, the manga's mix of complex emotional themes and gory ultra violence found favor across the ocean in the disillusioned youth of the United States. ‘’Berserk’’'s pages were scanned and shared via [[UseNet]] posting boards, with handwritten, and often errant, english translations scrawled in the margins (documents known as "scanlations"). Upon the release of the manga's anime version in 1997, the hacker/rap collective [[Konami Dream]] fell under ‘’Berserks’’' mesmerizing spell. The group's new producer, an ambitious 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]]. Meanwhile, Konami's trio of rappers put finger to keyboard, composing a flurry of lyrics exploring themes like predestination, existentialism and, in colloquial terms, sticking it to the man. Upon completion, the group distributed the mixtape via a process known as "[[Hotline-connect|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 (say the dot lol), Konami's [[Berserk! ▶︎|’’Berserk!’’]]spread like wildfire. The mixtape's final track, a poignant ode to the series’ protagonist Guts, found legs beyond cyberspace's underworld, receiving local airplay and, reportedly, causing tension within the group.

Kevorkian and the rapper [[Hades|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.

</div>

<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">
===#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>

Bulletin-board

2026-06-08T00:36:34Z

Nemo: /* Bulletin Board */

==Bulletin Board==
----
<div style="text-align: right">'''∆''': ARCHIVE NOTICE</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">

===∆ #006: [[Konami Dream]]: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===∆ #007: [[Solitaire ▶︎|Konami Dream: ''Solitaire'']]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===∆ #008: [[Judgement-day ▶︎|Konami Dream: ''Judgement Day'']]===
----
[[File:judgement_day_bbs_compressed.mp4|thumbtime=50.0]]

On November 23rd , 1987 the signal of WTTW, an upstanding PBS Chicago Public Broadcasting Station, was pirated by a figure bearing stark resemblance to [[Max-headroom|Max Headroom]], the world's first computer-generated television host. Throughout the 83-second intrusion, the Headroom doppelganger displayed cryptic and erratic behavior, spewing profanities and degrading [[error|New Coke]] in front of semi-swirling corrugated sheet metal. The segment culminated, bizarrely, in Headroom being spanked with a fly swatter by a figure in a french maid costume. Despite the FCC's reward offer of $10,000, the culprits remain, as yet, at large. Thus marked the most prominent instance of [[Signal-hijacking|broadcast signal jacking]], a practice dating back to the "[[Southern-incident|Southern Incident]]" of 1977 in which a being named [[error|Vrillon]] of the [[Ashtar|Ashtar Galactic Command]] interrupted an ITN news bulletin to warn humanity of impending disaster at the close of the second millennium.Following the arrest and subsequent retirement of resident hacker [[error|fantom_limb]] under the absurdly nebulous [[error|Computer Fraud and Abuse Act]], the hacker/rap collective [[Konami Dream]] turned to the tradition of signal pirating for its final self-described [[Phreaking|Phreaque Leak]]. Targeting the Warner-Apex Satellite Productions, or [[W.A.S.P.|WASP]], -owned [[NY1]], an amateurish 24-hour cable news station based in New York City, Konami staged a bold late night broadcast takeover. Dubbed "[[Judgement-day ▶︎|Judgement Day]]", the segment presented a three part audiovisual diatribe against various capitalistic power structures pirated atop a rerun of NY1's "From the Floor", the station's poorly produced on-location Wall Street report.

Disappointed by Judgement Day's lack of impact (NY1 late night viewership reportedly ran in the high double digits), and deflated by [fantom_limb]'s departure, the group pivoted to self-released mixtapes, retaining its starkly anti-commercial bent while extending its referential lexicon further into various modern mythologies:Japanese anime, lore-laden video games, pulp science fiction and other alternate worlds made newly accessible through [[Internet|cyberspace]]'s infinite and, more importantly, lawless expanse.

</div>

<div class="bulletin-item">

===∆ #009: [[Berserk! ▶︎|Konami Dream: ''Berserk!'']]===
----
[[File:berserk_compressed.mp4|thumbtime=50.0]]

The now legendary Japanese manga [[Berserk|’’Kenpū Denki Berserk’’]], or ‘’Berserk’’ for short, was begun by artist [[error|Kentaro Miura]] in the late 1980's while still in high school. Named after the [[error|berserkers]], an ancient sect of trance-induced Scandinavian warriors, the manga's mix of complex emotional themes and gory ultra violence found favor across the ocean in the disillusioned youth of the United States. ‘’Berserk’’'s pages were scanned and shared via [[UseNet]] posting boards, with handwritten, and often errant, english translations scrawled in the margins (documents known as "scanlations"). Upon the release of the manga's anime version in 1997, the hacker/rap collective [[Konami Dream]] fell under ‘’Berserks’’' mesmerizing spell. The group's new producer, an ambitious 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]]. Meanwhile, Konami's trio of rappers put finger to keyboard, composing a flurry of lyrics exploring themes like predestination, existentialism and, in colloquial terms, sticking it to the man. Upon completion, the group distributed the mixtape via a process known as "[[Hotline-connect|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 (say the dot lol), Konami's [[Berserk! ▶︎|’’Berserk!’’]]spread like wildfire. The mixtape's final track, a poignant ode to the series’ protagonist Guts, found legs beyond cyberspace's underworld, receiving local airplay and, reportedly, causing tension within the group.

Kevorkian and the rapper [[Hades|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.

</div>

<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">
===#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>

Bulletin-board

2026-06-08T00:35:53Z

Nemo: /* Bulletin Board */

==Bulletin Board==
----
<div style="text-align: right">∆: ARCHIVE NOTICE</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">

===∆ #006: [[Konami Dream]]: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===∆ #007: [[Solitaire ▶︎|Konami Dream: ''Solitaire'']]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===∆ #008: [[Judgement-day ▶︎|Konami Dream: ''Judgement Day'']]===
----
[[File:judgement_day_bbs_compressed.mp4|thumbtime=50.0]]

On November 23rd , 1987 the signal of WTTW, an upstanding PBS Chicago Public Broadcasting Station, was pirated by a figure bearing stark resemblance to [[Max-headroom|Max Headroom]], the world's first computer-generated television host. Throughout the 83-second intrusion, the Headroom doppelganger displayed cryptic and erratic behavior, spewing profanities and degrading [[error|New Coke]] in front of semi-swirling corrugated sheet metal. The segment culminated, bizarrely, in Headroom being spanked with a fly swatter by a figure in a french maid costume. Despite the FCC's reward offer of $10,000, the culprits remain, as yet, at large. Thus marked the most prominent instance of [[Signal-hijacking|broadcast signal jacking]], a practice dating back to the "[[Southern-incident|Southern Incident]]" of 1977 in which a being named [[error|Vrillon]] of the [[Ashtar|Ashtar Galactic Command]] interrupted an ITN news bulletin to warn humanity of impending disaster at the close of the second millennium.Following the arrest and subsequent retirement of resident hacker [[error|fantom_limb]] under the absurdly nebulous [[error|Computer Fraud and Abuse Act]], the hacker/rap collective [[Konami Dream]] turned to the tradition of signal pirating for its final self-described [[Phreaking|Phreaque Leak]]. Targeting the Warner-Apex Satellite Productions, or [[W.A.S.P.|WASP]], -owned [[NY1]], an amateurish 24-hour cable news station based in New York City, Konami staged a bold late night broadcast takeover. Dubbed "[[Judgement-day ▶︎|Judgement Day]]", the segment presented a three part audiovisual diatribe against various capitalistic power structures pirated atop a rerun of NY1's "From the Floor", the station's poorly produced on-location Wall Street report.

Disappointed by Judgement Day's lack of impact (NY1 late night viewership reportedly ran in the high double digits), and deflated by [fantom_limb]'s departure, the group pivoted to self-released mixtapes, retaining its starkly anti-commercial bent while extending its referential lexicon further into various modern mythologies:Japanese anime, lore-laden video games, pulp science fiction and other alternate worlds made newly accessible through [[Internet|cyberspace]]'s infinite and, more importantly, lawless expanse.

</div>

<div class="bulletin-item">

===∆ #009: [[Berserk! ▶︎|Konami Dream: ''Berserk!'']]===
----
[[File:berserk_compressed.mp4|thumbtime=50.0]]

The now legendary Japanese manga [[Berserk|’’Kenpū Denki Berserk’’]], or ‘’Berserk’’ for short, was begun by artist [[error|Kentaro Miura]] in the late 1980's while still in high school. Named after the [[error|berserkers]], an ancient sect of trance-induced Scandinavian warriors, the manga's mix of complex emotional themes and gory ultra violence found favor across the ocean in the disillusioned youth of the United States. ‘’Berserk’’'s pages were scanned and shared via [[UseNet]] posting boards, with handwritten, and often errant, english translations scrawled in the margins (documents known as "scanlations"). Upon the release of the manga's anime version in 1997, the hacker/rap collective [[Konami Dream]] fell under ‘’Berserks’’' mesmerizing spell. The group's new producer, an ambitious 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]]. Meanwhile, Konami's trio of rappers put finger to keyboard, composing a flurry of lyrics exploring themes like predestination, existentialism and, in colloquial terms, sticking it to the man. Upon completion, the group distributed the mixtape via a process known as "[[Hotline-connect|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 (say the dot lol), Konami's [[Berserk! ▶︎|’’Berserk!’’]]spread like wildfire. The mixtape's final track, a poignant ode to the series’ protagonist Guts, found legs beyond cyberspace's underworld, receiving local airplay and, reportedly, causing tension within the group.

Kevorkian and the rapper [[Hades|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.

</div>

<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">
===#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>

Ashtar

2026-05-28T17:53:16Z

Nemo: /* Ashtar AKA Galactic Command */

===Ashtar AKA Galactic Command===
'''[related: Aetherius Society]'''
----
Benevolent extraterrestrial figure first recognized and in contact with [[George-van-tassel|George Van Tassel]] in the 1950's. Early on, contact between Ashtar and Von Tassell was centered on the development and construction of the [[Integratron]] in [[error|Landers]], California, a geodesic dome of remarkable design and transformative power. Ashtar first made public contact in 1971 by calling into a British radio show. More notable, however, was 1977's [[Southern-incident|Southern Incident]] in which the [[Ashtar|Ashtar Galactic Command]] successfully conducted a [[signal-hijacking|signal intrusion]] on a UK Southern Television broadcast, warning humanity of impending disaster.
Initially described as a "highly advanced, vibrational being" by Van Tassel, Ashtar has since been depicted by various followers as a 7-foot tall "Nordic-looking" alien with blue eyes and blond hair. Although Von Tassel claimed Ashtar's presence to be "non-physical in nature, and not subject to the laws of conventional physics", other contactees claim him to be [[Venusian-enigmata|Venusian]] in origin. Contemporary groups that incorporate Ashtar's teachings into their doctrine include: the Ashtar Command Group, the Sanctuary Movement, the Ground Crew, the Lightworkers, the Aetherius Society<ref>A syncretic theosophy founded by George King in the mid-1950's that incorporates central tenets of [[error|Buddhism]] and Hinduism and considers Buddha, Jesus, Ashtar and Aetherius, its central prophet, to be non-physical avatars originally hailing from Venus. Through a highly structured and centralized scripture, Aetherius incorporates various aspects of Ashtar's teaching - primarily lessons surrounding impending pre-millennial disaster.</ref>, Ascension, and various loosely organized [[Internet-relay-chat|IRC]] channels and [[UseNet]] BBS boards.<ref>Many overlapping substantially with various [[Gnosticism|Gnostic]] groups, including those seeking to incorporate elements of [[Simulation-theory|simulation theory]] and the [[Silurian Hypothesis]].</ref>
[[File:Ashtar.png]]

Integraton

2026-05-28T17:52:51Z

Nemo: /* Integratron */

=== Integratron===
'''[related: Landers, Califorina]'''
----
A geodesic dome located in the Mojave Desert near [[error|Landers]], California, constructed beginning in the 1950s by [[George-van-tassel|George Van Tassel]], a figure associated with mid-20th-century contactee movements and alternative aeronautics. Van Tassel claimed that the design for the Integratron was transmitted to him by an extraterrestrial intelligence named Ashtar of the [[Ashtar|Ashtar Galactic Command]] during telepathic or direct-contact encounters at nearby Giant Rock. The structure was intended to function as a device for rejuvenation, time manipulation, and energy amplification, drawing on a hybridized conceptual framework involving electromagnetism, [[sacred geometry]], and speculative interpretations of Nikola Tesla’s work with so-called ''organic'' electricity.
The Integratron's designated location in the high desert was attributed by Ashtar to a set of unique geomagnetic and atmospheric conditions. Notably, the structure was constructed without metal fasteners, relying instead on laminated wood and specific proportional relationships, which were said to be essential to its intended energetic properties. The structure was completed in 1978, following Van Tassel's death, under the posthumous guidance of his robust archives.
[[File:Integraton.png]]

George-van-tassel

2026-05-28T17:51:28Z

Nemo: Created page with "===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 Landers, California, where he assumed custodianship o..."

===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 [[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.

Bulletin-board

2026-05-28T17:49:47Z

Nemo: /* Bulletin Board */

==Bulletin Board==
----

<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">

===📌 #006: [[Konami Dream]]: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===📌 #007: [[Solitaire ▶︎|Konami Dream: ''Solitaire'']]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===📌 #008: [[Judgement-day ▶︎|Konami Dream: ''Judgement Day'']]===
----
[[File:judgement_day_bbs_compressed.mp4|thumbtime=50.0]]

On November 23rd , 1987 the signal of WTTW, an upstanding PBS Chicago Public Broadcasting Station, was pirated by a figure bearing stark resemblance to [[Max-headroom|Max Headroom]], the world's first computer-generated television host. Throughout the 83-second intrusion, the Headroom doppelganger displayed cryptic and erratic behavior, spewing profanities and degrading [[error|New Coke]] in front of semi-swirling corrugated sheet metal. The segment culminated, bizarrely, in Headroom being spanked with a fly swatter by a figure in a french maid costume. Despite the FCC's reward offer of $10,000, the culprits remain, as yet, at large. Thus marked the most prominent instance of [[Signal-hijacking|broadcast signal jacking]], a practice dating back to the "[[Southern-incident|Southern Incident]]" of 1977 in which a being named [[error|Vrillon]] of the [[Ashtar|Ashtar Galactic Command]] interrupted an ITN news bulletin to warn humanity of impending disaster at the close of the second millennium.Following the arrest and subsequent retirement of resident hacker [[error|fantom_limb]] under the absurdly nebulous [[error|Computer Fraud and Abuse Act]], the hacker/rap collective [[Konami Dream]] turned to the tradition of signal pirating for its final self-described [[Phreaking|Phreaque Leak]]. Targeting the Warner-Apex Satellite Productions, or [[W.A.S.P.|WASP]], -owned [[NY1]], an amateurish 24-hour cable news station based in New York City, Konami staged a bold late night broadcast takeover. Dubbed "[[Judgement-day ▶︎|Judgement Day]]", the segment presented a three part audiovisual diatribe against various capitalistic power structures pirated atop a rerun of NY1's "From the Floor", the station's poorly produced on-location Wall Street report.

Disappointed by Judgement Day's lack of impact (NY1 late night viewership reportedly ran in the high double digits), and deflated by [fantom_limb]'s departure, the group pivoted to self-released mixtapes, retaining its starkly anti-commercial bent while extending its referential lexicon further into various modern mythologies:Japanese anime, lore-laden video games, pulp science fiction and other alternate worlds made newly accessible through [[Internet|cyberspace]]'s infinite and, more importantly, lawless expanse.

</div>

<div class="bulletin-item">

===📌 #009: [[Berserk! ▶︎|Konami Dream: ''Berserk!'']]===
----
[[File:berserk_compressed.mp4|thumbtime=50.0]]

The now legendary Japanese manga [[Berserk|’’Kenpū Denki Berserk’’]], or ‘’Berserk’’ for short, was begun by artist [[error|Kentaro Miura]] in the late 1980's while still in high school. Named after the [[error|berserkers]], an ancient sect of trance-induced Scandinavian warriors, the manga's mix of complex emotional themes and gory ultra violence found favor across the ocean in the disillusioned youth of the United States. ‘’Berserk’’'s pages were scanned and shared via [[UseNet]] posting boards, with handwritten, and often errant, english translations scrawled in the margins (documents known as "scanlations"). Upon the release of the manga's anime version in 1997, the hacker/rap collective [[Konami Dream]] fell under ‘’Berserks’’' mesmerizing spell. The group's new producer, an ambitious 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]]. Meanwhile, Konami's trio of rappers put finger to keyboard, composing a flurry of lyrics exploring themes like predestination, existentialism and, in colloquial terms, sticking it to the man. Upon completion, the group distributed the mixtape via a process known as "[[Hotline-connect|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 (say the dot lol), Konami's [[Berserk! ▶︎|’’Berserk!’’]]spread like wildfire. The mixtape's final track, a poignant ode to the series’ protagonist Guts, found legs beyond cyberspace's underworld, receiving local airplay and, reportedly, causing tension within the group.

Kevorkian and the rapper [[Hades|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.

</div>

<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">
===#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>

Signal-hijacking

2026-05-28T17:49:34Z

Nemo: /* Signal Hijacking AKA Pirate Transmissions AKA Broadcast Signal Instrusion */

===Signal Hijacking AKA Pirate Transmissions AKA Broadcast Signal Instrusion===
'''[related: UVB-76]'''
----
The unauthorized interruption, replacement, or overlay of a broadcast transmission, typically within analog television or radio systems. The phenomenon is most closely associated with eras in which transmission infrastructure—reliant on microwave relays, unsecured uplinks, or locally managed headends—was not designed with adversarial interference in mind, and therefore could be accessed or overridden with sufficient technical capability.
Notable and frequently cited examples of signal hijacking include:
* Soviet pirate broadcasting: a loosely defined category of unauthorized and unsolved transmissions occurring within or adjacent to Soviet broadcast space throughout the Cold War. These include anomalous signals, intercepted channels, and persistent transmissions such as UVB-76.<ref>A Russian shortwave radio station that has been continuously transmitting, in some form, since the late 1970s. It is best known for its near-constant emission of a repetitive buzzing tone, interrupted only occasionally by brief voice transmissions in Russian. The purpose of UVB-76 has never been confirmed, not its source identified.</ref>

* [[Southern-incident|Southern Television broadcast interruption]] of 1977: a documented but unsolved case involving the alleged replacement of a regional U.S. broadcast signal with a warning for humanity delivered by the self-identified Vrillon of the [[Ashtar|Ashtar Galactic Command]].

* Playboy Channel religious interruption: an incident from the mid-1980's in which a Playboy Channel broadcast was overridden by a transmission delivering a religious or moralizing message. Accounts vary in detail and verification, but the event is frequently referenced as an example of signal hijacking deployed as ideological or symbolic protest.

* Santa Barbara cable headend intrusion: an incident in which a disgruntled employee replaced the video feed of KNXT’s ''Channel 2 Eyewitness News'' with softcore pornographic<ref>Reportedly a VHS cassette dub of content from [[Skinemax]]'s ''After Dark'' programming.</ref> material for approximately fifteen minutes, while the original audio continued uninterrupted.

* [[Max-headroom|Max Headroom]] Incident: a widely documented case in which two Chicago television broadcasts were interrupted by a masked figure resembling the computer generated television host Max Headroom.

Ashtar

2026-05-28T17:48:34Z

Nemo: Created page with "===Ashtar AKA Galactic Command=== '''[related: Aetherius Society]''' ---- Benevolent extraterrestrial figure first recognized and in contact with George Van Tassel in the 1950's. Early on, contact between Ashtar and Von Tassell was centered on the development and construction of the Integratron in Landers, California, a geodesic dome of remarkable design and transformative power. Ashtar first made public contact in 1971 by calling into..."

===Ashtar AKA Galactic Command===
'''[related: Aetherius Society]'''
----
Benevolent extraterrestrial figure first recognized and in contact with [[George-van-tassel|George Van Tassel]] in the 1950's. Early on, contact between Ashtar and Von Tassell was centered on the development and construction of the [[Integratron]] in [[error|Landers]], California, a geodesic dome of remarkable design and transformative power. Ashtar first made public contact in 1971 by calling into a British radio show. More notable, however, was 1977's [[Southern-incident|Southern Incident]] in which the [[Ashtar|Ashtar Galactic Command]] successfully conducted a [[signal-hijacking|signal intrusion]] on a UK Southern Television broadcast, warning humanity of impending disaster.
Initially described as a "highly advanced, vibrational being" by Von Tassell, Ashtar has since been depicted by various followers as a 7-foot tall "Nordic-looking" alien with blue eyes and blond hair. Although Von Tassell claimed Ashtar's presence to be "non-physical in nature, and not subject to the laws of conventional physics", other contactees claim him to be [[Venusian-enigmata|Venusian]] in origin. Contemporary groups that incorporate Ashtar's teachings into their doctrine include: the Ashtar Command Group, the Sanctuary Movement, the Ground Crew, the Lightworkers, the Aetherius Society<ref>A syncretic theosophy founded by George King in the mid-1950's that incorporates central tenets of [[error|Buddhism]] and Hinduism and considers Buddha, Jesus, Ashtar and Aetherius, its central prophet, to be non-physical avatars originally hailing from Venus. Through a highly structured and centralized scripture, Aetherius incorporates various aspects of Ashtar's teaching - primarily lessons surrounding impending pre-millennial disaster.</ref>, Ascension, and various loosely organized [[Internet-relay-chat|IRC]] channels and [[UseNet]] BBS boards.<ref>Many overlapping substantially with various [[Gnosticism|Gnostic]] groups, including those seeking to incorporate elements of [[Simulation-theory|simulation theory]] and the [[Silurian Hypothesis]].</ref>
[[File:Ashtar.png]]

Integraton

2026-05-28T17:47:24Z

Nemo: /* Integraton */

=== Integratron===
'''[related: Landers, Califorina]'''
----
A geodesic dome located in the Mojave Desert near [[error|Landers]], California, constructed beginning in the 1950s by [[George-van-tassell|George Van Tassel]], a figure associated with mid-20th-century contactee movements and alternative aeronautics. Van Tassel claimed that the design for the Integratron was transmitted to him by an extraterrestrial intelligence named Ashtar of the [[Ashtar|Ashtar Galactic Command]] during telepathic or direct-contact encounters at nearby Giant Rock. The structure was intended to function as a device for rejuvenation, time manipulation, and energy amplification, drawing on a hybridized conceptual framework involving electromagnetism, [[sacred geometry]], and speculative interpretations of Nikola Tesla’s work with so-called ''organic'' electricity.
The Integratron's designated location in the high desert was attributed by Ashtar to a set of unique geomagnetic and atmospheric conditions. Notably, the structure was constructed without metal fasteners, relying instead on laminated wood and specific proportional relationships, which were said to be essential to its intended energetic properties. The structure was completed in 1978, following Von Tassell's death, under the posthumous guidance of his robust archives.
[[File:Integraton.png]]

Bulletin-board

2026-05-28T17:46:37Z

Nemo: /* Bulletin Board */

==Bulletin Board==
----

<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">

===📌 #006: [[Konami Dream]]: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===📌 #007: [[Solitaire ▶︎|Konami Dream: ''Solitaire'']]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===📌 #008: [[Judgement-day ▶︎|Konami Dream: ''Judgement Day'']]===
----
[[File:judgement_day_bbs_compressed.mp4|thumbtime=50.0]]

On November 23rd , 1987 the signal of WTTW, an upstanding PBS Chicago Public Broadcasting Station, was pirated by a figure bearing stark resemblance to [[Max-headroom|Max Headroom]], the world's first computer-generated television host. Throughout the 83-second intrusion, the Headroom doppelganger displayed cryptic and erratic behavior, spewing profanities and degrading [[error|New Coke]] in front of semi-swirling corrugated sheet metal. The segment culminated, bizarrely, in Headroom being spanked with a fly swatter by a figure in a french maid costume. Despite the FCC's reward offer of $10,000, the culprits remain, as yet, at large. Thus marked the most prominent instance of [[Signal-hijacking|broadcast signal jacking]], a practice dating back to the "[[Southern-incident|Southern Incident]]" of 1977 in which a being named [[error|Vrillon]] of the [[error|Ashtar Galactic Command]] interrupted an ITN news bulletin to warn humanity of impending disaster at the close of the second millennium.Following the arrest and subsequent retirement of resident hacker [[error|fantom_limb]] under the absurdly nebulous [[error|Computer Fraud and Abuse Act]], the hacker/rap collective [[Konami Dream]] turned to the tradition of signal pirating for its final self-described [[Phreaking|Phreaque Leak]]. Targeting the Warner-Apex Satellite Productions, or [[W.A.S.P.|WASP]], -owned [[NY1]], an amateurish 24-hour cable news station based in New York City, Konami staged a bold late night broadcast takeover. Dubbed "[[Judgement-day ▶︎|Judgement Day]]", the segment presented a three part audiovisual diatribe against various capitalistic power structures pirated atop a rerun of NY1's "From the Floor", the station's poorly produced on-location Wall Street report.

Disappointed by Judgement Day's lack of impact (NY1 late night viewership reportedly ran in the high double digits), and deflated by [fantom_limb]'s departure, the group pivoted to self-released mixtapes, retaining its starkly anti-commercial bent while extending its referential lexicon further into various modern mythologies:Japanese anime, lore-laden video games, pulp science fiction and other alternate worlds made newly accessible through [[Internet|cyberspace]]'s infinite and, more importantly, lawless expanse.

</div>

<div class="bulletin-item">

===📌 #009: [[Berserk! ▶︎|Konami Dream: ''Berserk!'']]===
----
[[File:berserk_compressed.mp4|thumbtime=50.0]]

The now legendary Japanese manga [[Berserk|’’Kenpū Denki Berserk’’]], or ‘’Berserk’’ for short, was begun by artist [[error|Kentaro Miura]] in the late 1980's while still in high school. Named after the [[error|berserkers]], an ancient sect of trance-induced Scandinavian warriors, the manga's mix of complex emotional themes and gory ultra violence found favor across the ocean in the disillusioned youth of the United States. ‘’Berserk’’'s pages were scanned and shared via [[UseNet]] posting boards, with handwritten, and often errant, english translations scrawled in the margins (documents known as "scanlations"). Upon the release of the manga's anime version in 1997, the hacker/rap collective [[Konami Dream]] fell under ‘’Berserks’’' mesmerizing spell. The group's new producer, an ambitious 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]]. Meanwhile, Konami's trio of rappers put finger to keyboard, composing a flurry of lyrics exploring themes like predestination, existentialism and, in colloquial terms, sticking it to the man. Upon completion, the group distributed the mixtape via a process known as "[[Hotline-connect|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 (say the dot lol), Konami's [[Berserk! ▶︎|’’Berserk!’’]]spread like wildfire. The mixtape's final track, a poignant ode to the series’ protagonist Guts, found legs beyond cyberspace's underworld, receiving local airplay and, reportedly, causing tension within the group.

Kevorkian and the rapper [[Hades|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.

</div>

<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">
===#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>

Signal-hijacking

2026-05-28T17:46:22Z

Nemo: /* Signal Hijacking AKA Pirate Transmissions AKA Broadcast Signal Instrusion */

===Signal Hijacking AKA Pirate Transmissions AKA Broadcast Signal Instrusion===
'''[related: UVB-76]'''
----
The unauthorized interruption, replacement, or overlay of a broadcast transmission, typically within analog television or radio systems. The phenomenon is most closely associated with eras in which transmission infrastructure—reliant on microwave relays, unsecured uplinks, or locally managed headends—was not designed with adversarial interference in mind, and therefore could be accessed or overridden with sufficient technical capability.
Notable and frequently cited examples of signal hijacking include:
* Soviet pirate broadcasting: a loosely defined category of unauthorized and unsolved transmissions occurring within or adjacent to Soviet broadcast space throughout the Cold War. These include anomalous signals, intercepted channels, and persistent transmissions such as UVB-76.<ref>A Russian shortwave radio station that has been continuously transmitting, in some form, since the late 1970s. It is best known for its near-constant emission of a repetitive buzzing tone, interrupted only occasionally by brief voice transmissions in Russian. The purpose of UVB-76 has never been confirmed, not its source identified.</ref>

* [[Southern-incident|Southern Television broadcast interruption]] of 1977: a documented but unsolved case involving the alleged replacement of a regional U.S. broadcast signal with a warning for humanity delivered by the self-identified Vrillon of the [[error|Ashtar Galactic Command]].

* Playboy Channel religious interruption: an incident from the mid-1980's in which a Playboy Channel broadcast was overridden by a transmission delivering a religious or moralizing message. Accounts vary in detail and verification, but the event is frequently referenced as an example of signal hijacking deployed as ideological or symbolic protest.

* Santa Barbara cable headend intrusion: an incident in which a disgruntled employee replaced the video feed of KNXT’s ''Channel 2 Eyewitness News'' with softcore pornographic<ref>Reportedly a VHS cassette dub of content from [[Skinemax]]'s ''After Dark'' programming.</ref> material for approximately fifteen minutes, while the original audio continued uninterrupted.

* [[Max-headroom|Max Headroom]] Incident: a widely documented case in which two Chicago television broadcasts were interrupted by a masked figure resembling the computer generated television host Max Headroom.

Southern-incident

2026-05-28T17:45:43Z

Nemo: Created page with "===Southern Incident=== ---- First documented television signal intrusion. On November 26, 1977, an audio message, purporting to come from outer space and conveyed by an individual named Vrillon of the Ashtar Galactic Command was broadcast during an ITN news bulletin on Southern Television in the United Kingdom. The intrusion replaced the program audio with a six-minute speech about the destiny of the human race and a disaster to affect "y..."

===Southern Incident===
----
First documented television [[Signal-hijacking|signal intrusion]]. On November 26, 1977, an audio message, purporting to come from outer space and conveyed by an individual named Vrillon of the [[Ashtar|Ashtar Galactic Command]] was broadcast during an ITN news bulletin on Southern Television in the United Kingdom. The intrusion replaced the program audio with a six-minute speech about the destiny of the human race and a disaster to affect "your world and the beings on worlds around you". Later in the message, Vrillon claimed the time to "alter our trajectory as a race" was now, saying an extinction level event was approaching " by the close of the coming millennium<ref>A warning some now interpret as a reference to [[Y2k]], AKA the [[Millenium-rift|Millenium Rift]].</ref>". Following the intrusion, the International Broadcasting Association (IBA) confirmed that it was the first time such a transmission had been made. The source of the signal is as yet unidentified.

File:Integraton.png

2026-05-28T17:40:13Z

Nemo:

File:Ashtar.png

2026-05-28T17:39:09Z

Nemo:

Bulletin-board

2026-05-28T06:48:34Z

Nemo: /* Bulletin Board */

==Bulletin Board==
----

<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">

===📌 #006: [[Konami Dream]]: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===📌 #007: [[Solitaire ▶︎|Konami Dream: ''Solitaire'']]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===📌 #008: [[Judgement-day ▶︎|Konami Dream: ''Judgement Day'']]===
----
[[File:judgement_day_bbs_compressed.mp4|thumbtime=50.0]]

On November 23rd , 1987 the signal of WTTW, an upstanding PBS Chicago Public Broadcasting Station, was pirated by a figure bearing stark resemblance to [[Max-headroom|Max Headroom]], the world's first computer-generated television host. Throughout the 83-second intrusion, the Headroom doppelganger displayed cryptic and erratic behavior, spewing profanities and degrading [[error|New Coke]] in front of semi-swirling corrugated sheet metal. The segment culminated, bizarrely, in Headroom being spanked with a fly swatter by a figure in a french maid costume. Despite the FCC's reward offer of $10,000, the culprits remain, as yet, at large. Thus marked the most prominent instance of [[Signal-hijacking|broadcast signal jacking]], a practice dating back to the "[[error|Southern Incident]]" of 1977 in which a being named [[error|Vrillon]] of the [[error|Ashtar Galactic Command]] interrupted an ITN news bulletin to warn humanity of impending disaster at the close of the second millennium.Following the arrest and subsequent retirement of resident hacker [[error|fantom_limb]] under the absurdly nebulous [[error|Computer Fraud and Abuse Act]], the hacker/rap collective [[Konami Dream]] turned to the tradition of signal pirating for its final self-described [[Phreaking|Phreaque Leak]]. Targeting the Warner-Apex Satellite Productions, or [[W.A.S.P.|WASP]], -owned [[NY1]], an amateurish 24-hour cable news station based in New York City, Konami staged a bold late night broadcast takeover. Dubbed "[[Judgement-day ▶︎|Judgement Day]]", the segment presented a three part audiovisual diatribe against various capitalistic power structures pirated atop a rerun of NY1's "From the Floor", the station's poorly produced on-location Wall Street report.

Disappointed by Judgement Day's lack of impact (NY1 late night viewership reportedly ran in the high double digits), and deflated by [fantom_limb]'s departure, the group pivoted to self-released mixtapes, retaining its starkly anti-commercial bent while extending its referential lexicon further into various modern mythologies:Japanese anime, lore-laden video games, pulp science fiction and other alternate worlds made newly accessible through [[Internet|cyberspace]]'s infinite and, more importantly, lawless expanse.

</div>

<div class="bulletin-item">

===📌 #009: [[Berserk! ▶︎|Konami Dream: ''Berserk!'']]===
----
[[File:berserk_compressed.mp4|thumbtime=50.0]]

The now legendary Japanese manga [[Berserk|’’Kenpū Denki Berserk’’]], or ‘’Berserk’’ for short, was begun by artist [[error|Kentaro Miura]] in the late 1980's while still in high school. Named after the [[error|berserkers]], an ancient sect of trance-induced Scandinavian warriors, the manga's mix of complex emotional themes and gory ultra violence found favor across the ocean in the disillusioned youth of the United States. ‘’Berserk’’'s pages were scanned and shared via [[UseNet]] posting boards, with handwritten, and often errant, english translations scrawled in the margins (documents known as "scanlations"). Upon the release of the manga's anime version in 1997, the hacker/rap collective [[Konami Dream]] fell under ‘’Berserks’’' mesmerizing spell. The group's new producer, an ambitious 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]]. Meanwhile, Konami's trio of rappers put finger to keyboard, composing a flurry of lyrics exploring themes like predestination, existentialism and, in colloquial terms, sticking it to the man. Upon completion, the group distributed the mixtape via a process known as "[[Hotline-connect|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 (say the dot lol), Konami's [[Berserk! ▶︎|’’Berserk!’’]]spread like wildfire. The mixtape's final track, a poignant ode to the series’ protagonist Guts, found legs beyond cyberspace's underworld, receiving local airplay and, reportedly, causing tension within the group.

Kevorkian and the rapper [[Hades|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.

</div>

<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">
===#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>

Bulletin-board

2026-05-28T06:47:48Z

Nemo: /* Bulletin Board */

==Bulletin Board==
----

<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">

===📌 #006: [[Konami Dream]] :: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===📌 #007: [[Solitaire ▶︎|Konami Dream :: ''Solitaire'']]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===📌 #008: [[Judgement-day ▶︎|Konami Dream :: ''Judgement Day'']]===
----
[[File:judgement_day_bbs_compressed.mp4|thumbtime=50.0]]

On November 23rd , 1987 the signal of WTTW, an upstanding PBS Chicago Public Broadcasting Station, was pirated by a figure bearing stark resemblance to [[Max-headroom|Max Headroom]], the world's first computer-generated television host. Throughout the 83-second intrusion, the Headroom doppelganger displayed cryptic and erratic behavior, spewing profanities and degrading [[error|New Coke]] in front of semi-swirling corrugated sheet metal. The segment culminated, bizarrely, in Headroom being spanked with a fly swatter by a figure in a french maid costume. Despite the FCC's reward offer of $10,000, the culprits remain, as yet, at large. Thus marked the most prominent instance of [[Signal-hijacking|broadcast signal jacking]], a practice dating back to the "[[error|Southern Incident]]" of 1977 in which a being named [[error|Vrillon]] of the [[error|Ashtar Galactic Command]] interrupted an ITN news bulletin to warn humanity of impending disaster at the close of the second millennium.Following the arrest and subsequent retirement of resident hacker [[error|fantom_limb]] under the absurdly nebulous [[error|Computer Fraud and Abuse Act]], the hacker/rap collective [[Konami Dream]] turned to the tradition of signal pirating for its final self-described [[Phreaking|Phreaque Leak]]. Targeting the Warner-Apex Satellite Productions, or [[W.A.S.P.|WASP]], -owned [[NY1]], an amateurish 24-hour cable news station based in New York City, Konami staged a bold late night broadcast takeover. Dubbed "[[Judgement-day ▶︎|Judgement Day]]", the segment presented a three part audiovisual diatribe against various capitalistic power structures pirated atop a rerun of NY1's "From the Floor", the station's poorly produced on-location Wall Street report.

Disappointed by Judgement Day's lack of impact (NY1 late night viewership reportedly ran in the high double digits), and deflated by [fantom_limb]'s departure, the group pivoted to self-released mixtapes, retaining its starkly anti-commercial bent while extending its referential lexicon further into various modern mythologies:Japanese anime, lore-laden video games, pulp science fiction and other alternate worlds made newly accessible through [[Internet|cyberspace]]'s infinite and, more importantly, lawless expanse.

</div>

<div class="bulletin-item">

===📌 #009: [[Berserk! ▶︎|Konami Dream :: ''Berserk!'']]===
----
[[File:berserk_compressed.mp4|thumbtime=50.0]]

The now legendary Japanese manga [[Berserk|’’Kenpū Denki Berserk’’]], or ‘’Berserk’’ for short, was begun by artist [[error|Kentaro Miura]] in the late 1980's while still in high school. Named after the [[error|berserkers]], an ancient sect of trance-induced Scandinavian warriors, the manga's mix of complex emotional themes and gory ultra violence found favor across the ocean in the disillusioned youth of the United States. ‘’Berserk’’'s pages were scanned and shared via [[UseNet]] posting boards, with handwritten, and often errant, english translations scrawled in the margins (documents known as "scanlations"). Upon the release of the manga's anime version in 1997, the hacker/rap collective [[Konami Dream]] fell under ‘’Berserks’’' mesmerizing spell. The group's new producer, an ambitious 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]]. Meanwhile, Konami's trio of rappers put finger to keyboard, composing a flurry of lyrics exploring themes like predestination, existentialism and, in colloquial terms, sticking it to the man. Upon completion, the group distributed the mixtape via a process known as "[[Hotline-connect|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 (say the dot lol), Konami's [[Berserk! ▶︎|’’Berserk!’’]]spread like wildfire. The mixtape's final track, a poignant ode to the series’ protagonist Guts, found legs beyond cyberspace's underworld, receiving local airplay and, reportedly, causing tension within the group.

Kevorkian and the rapper [[Hades|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.

</div>

<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">
===#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>

Bulletin-board

2026-05-28T06:46:44Z

Nemo: /* Bulletin Board */

==Bulletin Board==
----

<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">

===📌 #006: [[Konami Dream]]: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===📌 #007: [[Solitaire ▶︎|Konami Dream :: ''Solitaire'']]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===📌 #008: [[Judgement-day ▶︎|Konami Dream :: ''Judgement Day'']]===
----
[[File:judgement_day_bbs_compressed.mp4|thumbtime=50.0]]

On November 23rd , 1987 the signal of WTTW, an upstanding PBS Chicago Public Broadcasting Station, was pirated by a figure bearing stark resemblance to [[Max-headroom|Max Headroom]], the world's first computer-generated television host. Throughout the 83-second intrusion, the Headroom doppelganger displayed cryptic and erratic behavior, spewing profanities and degrading [[error|New Coke]] in front of semi-swirling corrugated sheet metal. The segment culminated, bizarrely, in Headroom being spanked with a fly swatter by a figure in a french maid costume. Despite the FCC's reward offer of $10,000, the culprits remain, as yet, at large. Thus marked the most prominent instance of [[Signal-hijacking|broadcast signal jacking]], a practice dating back to the "[[error|Southern Incident]]" of 1977 in which a being named [[error|Vrillon]] of the [[error|Ashtar Galactic Command]] interrupted an ITN news bulletin to warn humanity of impending disaster at the close of the second millennium.Following the arrest and subsequent retirement of resident hacker [[error|fantom_limb]] under the absurdly nebulous [[error|Computer Fraud and Abuse Act]], the hacker/rap collective [[Konami Dream]] turned to the tradition of signal pirating for its final self-described [[Phreaking|Phreaque Leak]]. Targeting the Warner-Apex Satellite Productions, or [[W.A.S.P.|WASP]], -owned [[NY1]], an amateurish 24-hour cable news station based in New York City, Konami staged a bold late night broadcast takeover. Dubbed "[[Judgement-day ▶︎|Judgement Day]]", the segment presented a three part audiovisual diatribe against various capitalistic power structures pirated atop a rerun of NY1's "From the Floor", the station's poorly produced on-location Wall Street report.

Disappointed by Judgement Day's lack of impact (NY1 late night viewership reportedly ran in the high double digits), and deflated by [fantom_limb]'s departure, the group pivoted to self-released mixtapes, retaining its starkly anti-commercial bent while extending its referential lexicon further into various modern mythologies:Japanese anime, lore-laden video games, pulp science fiction and other alternate worlds made newly accessible through [[Internet|cyberspace]]'s infinite and, more importantly, lawless expanse.

</div>

<div class="bulletin-item">

===📌 #009: [[Berserk! ▶︎|Konami Dream :: ''Berserk!'']]===
----
[[File:berserk_compressed.mp4|thumbtime=50.0]]

The now legendary Japanese manga [[Berserk|’’Kenpū Denki Berserk’’]], or ‘’Berserk’’ for short, was begun by artist [[error|Kentaro Miura]] in the late 1980's while still in high school. Named after the [[error|berserkers]], an ancient sect of trance-induced Scandinavian warriors, the manga's mix of complex emotional themes and gory ultra violence found favor across the ocean in the disillusioned youth of the United States. ‘’Berserk’’'s pages were scanned and shared via [[UseNet]] posting boards, with handwritten, and often errant, english translations scrawled in the margins (documents known as "scanlations"). Upon the release of the manga's anime version in 1997, the hacker/rap collective [[Konami Dream]] fell under ‘’Berserks’’' mesmerizing spell. The group's new producer, an ambitious 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]]. Meanwhile, Konami's trio of rappers put finger to keyboard, composing a flurry of lyrics exploring themes like predestination, existentialism and, in colloquial terms, sticking it to the man. Upon completion, the group distributed the mixtape via a process known as "[[Hotline-connect|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 (say the dot lol), Konami's [[Berserk! ▶︎|’’Berserk!’’]]spread like wildfire. The mixtape's final track, a poignant ode to the series’ protagonist Guts, found legs beyond cyberspace's underworld, receiving local airplay and, reportedly, causing tension within the group.

Kevorkian and the rapper [[Hades|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.

</div>

<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">
===#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>

Bulletin-board

2026-05-28T06:45:53Z

Nemo: /* Bulletin Board */

==Bulletin Board==
----

<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">

===📌 #006: [[Konami Dream]]: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===📌 #007: [[Solitaire ▶︎|Konami Dream :: ''Solitaire'']]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===📌 #008: [[Judgement-day ▶︎|Konami Dream :: ‘’Judgement Day’’]]===
----
[[File:judgement_day_bbs_compressed.mp4|thumbtime=50.0]]

On November 23rd , 1987 the signal of WTTW, an upstanding PBS Chicago Public Broadcasting Station, was pirated by a figure bearing stark resemblance to [[Max-headroom|Max Headroom]], the world's first computer-generated television host. Throughout the 83-second intrusion, the Headroom doppelganger displayed cryptic and erratic behavior, spewing profanities and degrading [[error|New Coke]] in front of semi-swirling corrugated sheet metal. The segment culminated, bizarrely, in Headroom being spanked with a fly swatter by a figure in a french maid costume. Despite the FCC's reward offer of $10,000, the culprits remain, as yet, at large. Thus marked the most prominent instance of [[Signal-hijacking|broadcast signal jacking]], a practice dating back to the "[[error|Southern Incident]]" of 1977 in which a being named [[error|Vrillon]] of the [[error|Ashtar Galactic Command]] interrupted an ITN news bulletin to warn humanity of impending disaster at the close of the second millennium.Following the arrest and subsequent retirement of resident hacker [[error|fantom_limb]] under the absurdly nebulous [[error|Computer Fraud and Abuse Act]], the hacker/rap collective [[Konami Dream]] turned to the tradition of signal pirating for its final self-described [[Phreaking|Phreaque Leak]]. Targeting the Warner-Apex Satellite Productions, or [[W.A.S.P.|WASP]], -owned [[NY1]], an amateurish 24-hour cable news station based in New York City, Konami staged a bold late night broadcast takeover. Dubbed "[[Judgement-day ▶︎|Judgement Day]]", the segment presented a three part audiovisual diatribe against various capitalistic power structures pirated atop a rerun of NY1's "From the Floor", the station's poorly produced on-location Wall Street report.

Disappointed by Judgement Day's lack of impact (NY1 late night viewership reportedly ran in the high double digits), and deflated by [fantom_limb]'s departure, the group pivoted to self-released mixtapes, retaining its starkly anti-commercial bent while extending its referential lexicon further into various modern mythologies:Japanese anime, lore-laden video games, pulp science fiction and other alternate worlds made newly accessible through [[Internet|cyberspace]]'s infinite and, more importantly, lawless expanse.

</div>

<div class="bulletin-item">

===📌 #009: [[Berserk! ▶︎|Konami Dream :: ‘’Berserk!’’]]===
----
[[File:berserk_compressed.mp4|thumbtime=50.0]]

The now legendary Japanese manga [[Berserk|’’Kenpū Denki Berserk’’]], or ‘’Berserk’’ for short, was begun by artist [[error|Kentaro Miura]] in the late 1980's while still in high school. Named after the [[error|berserkers]], an ancient sect of trance-induced Scandinavian warriors, the manga's mix of complex emotional themes and gory ultra violence found favor across the ocean in the disillusioned youth of the United States. ‘’Berserk’’'s pages were scanned and shared via [[UseNet]] posting boards, with handwritten, and often errant, english translations scrawled in the margins (documents known as "scanlations"). Upon the release of the manga's anime version in 1997, the hacker/rap collective [[Konami Dream]] fell under ‘’Berserks’’' mesmerizing spell. The group's new producer, an ambitious 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]]. Meanwhile, Konami's trio of rappers put finger to keyboard, composing a flurry of lyrics exploring themes like predestination, existentialism and, in colloquial terms, sticking it to the man. Upon completion, the group distributed the mixtape via a process known as "[[Hotline-connect|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 (say the dot lol), Konami's [[Berserk! ▶︎|’’Berserk!’’]]spread like wildfire. The mixtape's final track, a poignant ode to the series’ protagonist Guts, found legs beyond cyberspace's underworld, receiving local airplay and, reportedly, causing tension within the group.

Kevorkian and the rapper [[Hades|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.

</div>

<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">
===#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>

File:Berserk compressed.mp4

2026-05-28T06:44:11Z

Nemo:

Bulletin-board

2026-05-28T06:35:02Z

Nemo: /* Bulletin Board */

==Bulletin Board==
----

<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">

===📌 #006: [[Konami Dream]]: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===📌 #007: [[Solitaire ▶︎|Konami Dream :: ''Solitaire'']]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===📌 #008: [[Judgement-day ▶︎|Konami Dream :: ‘’Judgement Day’’]]===
----
[[File:judgement_day_bbs_compressed.mp4|thumbtime=50.0]]

On November 23rd , 1987 the signal of WTTW, an upstanding PBS Chicago Public Broadcasting Station, was pirated by a figure bearing stark resemblance to [[Max-headroom|Max Headroom]], the world's first computer-generated television host. Throughout the 83-second intrusion, the Headroom doppelganger displayed cryptic and erratic behavior, spewing profanities and degrading [[error|New Coke]] in front of semi-swirling corrugated sheet metal. The segment culminated, bizarrely, in Headroom being spanked with a fly swatter by a figure in a french maid costume. Despite the FCC's reward offer of $10,000, the culprits remain, as yet, at large. Thus marked the most prominent instance of [[Signal-hijacking|broadcast signal jacking]], a practice dating back to the "[[error|Southern Incident]]" of 1977 in which a being named [[error|Vrillon]] of the [[error|Ashtar Galactic Command]] interrupted an ITN news bulletin to warn humanity of impending disaster at the close of the second millennium.Following the arrest and subsequent retirement of resident hacker [[error|fantom_limb]] under the absurdly nebulous [[error|Computer Fraud and Abuse Act]], the hacker/rap collective [[Konami Dream]] turned to the tradition of signal pirating for its final self-described [[Phreaking|Phreaque Leak]]. Targeting the Warner-Apex Satellite Productions, or [[W.A.S.P.|WASP]], -owned [[NY1]], an amateurish 24-hour cable news station based in New York City, Konami staged a bold late night broadcast takeover. Dubbed "[[Judgement-day ▶︎|Judgement Day]]", the segment presented a three part audiovisual diatribe against various capitalistic power structures pirated atop a rerun of NY1's "From the Floor", the station's poorly produced on-location Wall Street report.

Disappointed by Judgement Day's lack of impact (NY1 late night viewership reportedly ran in the high double digits), and deflated by [fantom_limb]'s departure, the group pivoted to self-released mixtapes, retaining its starkly anti-commercial bent while extending its referential lexicon further into various modern mythologies:Japanese anime, lore-laden video games, pulp science fiction and other alternate worlds made newly accessible through [[Internet|cyberspace]]'s infinite and, more importantly, lawless expanse.

</div>

<div class="bulletin-item">

===📌 #009: [[Berserk! ▶︎|Konami Dream :: ‘’Berserk!’’]]===
----
[[File:hejira_compressed.mp4|thumbtime=50.0]]

The now legendary Japanese manga [[Berserk|’’Kenpū Denki Berserk’’]], or ‘’Berserk’’ for short, was begun by artist [[error|Kentaro Miura]] in the late 1980's while still in high school. Named after the [[error|berserkers]], an ancient sect of trance-induced Scandinavian warriors, the manga's mix of complex emotional themes and gory ultra violence found favor across the ocean in the disillusioned youth of the United States. ‘’Berserk’’'s pages were scanned and shared via [[UseNet]] posting boards, with handwritten, and often errant, english translations scrawled in the margins (documents known as "scanlations"). Upon the release of the manga's anime version in 1997, the hacker/rap collective [[Konami Dream]] fell under ‘’Berserks’’' mesmerizing spell. The group's new producer, an ambitious 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]]. Meanwhile, Konami's trio of rappers put finger to keyboard, composing a flurry of lyrics exploring themes like predestination, existentialism and, in colloquial terms, sticking it to the man. Upon completion, the group distributed the mixtape via a process known as "[[Hotline-connect|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 (say the dot lol), Konami's [[Berserk! ▶︎|’’Berserk!’’]]spread like wildfire. The mixtape's final track, a poignant ode to the series’ protagonist Guts, found legs beyond cyberspace's underworld, receiving local airplay and, reportedly, causing tension within the group.

Kevorkian and the rapper [[Hades|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.

</div>

<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">
===#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>

Bulletin-board

2026-05-28T06:23:19Z

Nemo: /* 📌 #007: Konami Dream :: ‘’Solitaire’’ */

==Bulletin Board==
----

<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">

===📌 #006: [[Konami Dream]]: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===📌 #007: [[Solitaire ▶︎|Konami Dream :: ''Solitaire'']]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===📌 #008: [[Konami Dream]]: ''Judgement Day''===
----
[[File:matrix_compressed.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">

===#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">
===#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>

Bulletin-board

2026-05-28T06:22:45Z

Nemo: /* Bulletin Board */

==Bulletin Board==
----

<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">

===📌 #006: [[Konami Dream]]: ''Matrix Racer''===
----
[[File:matrix_compressed.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">

===📌 #007: [[Solitaire ▶︎|Konami Dream :: ‘’Solitaire’’]]===
----
[[File:solitaire_compressed.mp4|thumbtime=50.0]]

Throughout the mid-1990's, the loosely knit hacker-rap collective [[Konami Dream]] eschewed conventional commercial releases, choosing instead to distribute work through what it dubbed "[[Phreaking|Phreaque Leaks]]" - a kind of digital graffiti. By illegally embedding their audio and video pieces in various public and private digital fora, they created an anti-capitalist alternative distribution system, leading to fringe notoriety and a small cult following (if not financial and critical success). Their Phreque Leak coup de grâce, as it were, was the lifting, modifying, and redistributing of [[Microsoft|Microsoft Windows]]' proprietary "[[Microsoft-solitaire|Solitaire]] software - a virtually uninstallable and highly addictive bundled game designed to onboard users into the OS's quote "drag and drop" graphical interface. Posted anonymously as hacked corporate freeware on various BBS [[UseNet]] boards, Konami's Solitaire variant was at first blush a dead ringer for the original. However, upon victory, the player was rewarded with an infinitely looping card cascade, replete with coded Easter Egg messaging and a poorly rendered audio loop from "Aikea Guinea" by Scottish dream-pop band [[Cocteau-twins|Cocteau Twins]]. A gaelic term for "spiral seashell", "Aikea Guinea", looped and layered with vintage synthesizers, formed the basis for a separately released ambient rap track featuring the introspective musings of Konami's own lyrical wordsmiths, [[error|Kevin Venom]] and the rapper later known as [[Hades|Hades of the Underworld]].

</div>

<div class="bulletin-item">

===📌 #008: [[Konami Dream]]: ''Judgement Day''===
----
[[File:matrix_compressed.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">

===#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">
===#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>

Bulletin-board

2026-05-28T06:17:51Z

Nemo: /* 📌 #004: Konami Dream: HAL */

Bulletin-board

2026-05-28T06:17:07Z

Nemo: /* Bulletin Board */

Bulletin-board

2026-05-28T06:16:30Z

Nemo: /* 📌 #006: Konami Dream: Matrix Racer */

Bulletin-board

2026-05-28T06:15:28Z

Nemo: /* Bulletin Board */

File:Judgement day bbs compressed.mp4

2026-05-28T05:45:33Z

Nemo:

File:Matrix compressed.mp4

2026-05-28T05:42:20Z

Nemo:

File:Headroom compressed.mp4

2026-05-28T03:00:29Z

Nemo:

File:Southern-news-broadcast.mp4

2026-05-28T02:57:33Z

Nemo:

File:Hejira compressed.mp4

2026-05-28T02:47:09Z

Nemo:

File:Solitaire compressed.mp4

2026-05-28T02:46:15Z

Nemo:

Signal-hijacking

2026-05-28T00:37:24Z

Nemo: /* Signal Hijacking AKA Pirate Transmissions AKA Broadcast Signal Instrusion */

===Signal Hijacking AKA Pirate Transmissions AKA Broadcast Signal Instrusion===
'''[related: UVB-76]'''
----
The unauthorized interruption, replacement, or overlay of a broadcast transmission, typically within analog television or radio systems. The phenomenon is most closely associated with eras in which transmission infrastructure—reliant on microwave relays, unsecured uplinks, or locally managed headends—was not designed with adversarial interference in mind, and therefore could be accessed or overridden with sufficient technical capability.
Notable and frequently cited examples of signal hijacking include:
* Soviet pirate broadcasting: a loosely defined category of unauthorized and unsolved transmissions occurring within or adjacent to Soviet broadcast space throughout the Cold War. These include anomalous signals, intercepted channels, and persistent transmissions such as UVB-76.<ref>A Russian shortwave radio station that has been continuously transmitting, in some form, since the late 1970s. It is best known for its near-constant emission of a repetitive buzzing tone, interrupted only occasionally by brief voice transmissions in Russian. The purpose of UVB-76 has never been confirmed, not its source identified.</ref>

* [[error|Southern Television broadcast interruption]] of 1977: a documented but unsolved case involving the alleged replacement of a regional U.S. broadcast signal with a warning for humanity delivered by the self-identified Vrillon of the [[error|Ashtar Galactic Command]].

* Playboy Channel religious interruption: an incident from the mid-1980's in which a Playboy Channel broadcast was overridden by a transmission delivering a religious or moralizing message. Accounts vary in detail and verification, but the event is frequently referenced as an example of signal hijacking deployed as ideological or symbolic protest.

* Santa Barbara cable headend intrusion: an incident in which a disgruntled employee replaced the video feed of KNXT’s ''Channel 2 Eyewitness News'' with softcore pornographic<ref>Reportedly a VHS cassette dub of content from [[Skinemax]]'s ''After Dark'' programming.</ref> material for approximately fifteen minutes, while the original audio continued uninterrupted.

* [[Max-headroom|Max Headroom]] Incident: a widely documented case in which two Chicago television broadcasts were interrupted by a masked figure resembling the computer generated television host Max Headroom.

Hotline-connect

2026-04-24T06:21:21Z

Nemo: Created page with "===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 (IRC), which required various workarounds to facilitate direct file exchange, Hotline integrated these capabilities at a fundamental level, allowing users to br..."

===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>

Internet-relay-chat

2026-04-24T06:20:44Z

Nemo: Created page with "===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 t..."

===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.

Brain-virus

2026-04-24T06:20:13Z

Nemo: Created page with "===The Brain Virus (1986)=== ---- Generally regarded as the first widely distributed virus affecting IBM PC–compatible systems. It originated in Lahore, Pakistan, and is attributed to the brothers Basit and Amjad Farooq Alvi, who operated a smallscale family-owned computer services business at the time. The virus functioned as a boot sector infection, spreading primarily through 5.25-inch floppy disks. When an infected disk was used to start a computer, the virus..."

===The Brain Virus (1986)===
----
Generally regarded as the first widely distributed virus affecting [[IBM]] PC–compatible systems. It originated in Lahore, Pakistan, and is attributed to the brothers Basit and Amjad Farooq Alvi, who operated a smallscale family-owned computer services business at the time. The virus functioned as a boot sector infection, spreading primarily through 5.25-inch floppy disks. When an infected disk was used to start a computer, the virus would load into memory prior to the operating system, allowing it to replicate onto additional disks. Of particular note is the inexplicable inclusion, within the virus code itself, of the creators’ names, business address, and telephone number. The creators reportedly framed the virus as a response to software piracy, though the effectiveness and intent of this approach remains a topic of much debate. The emergence of the Brain virus is frequently cited as a key moment in the development of the computer security industry, as it demonstrated, in a practical and deeply alarming manner, that software could self-propagate across distributed systems without centralized control. This terrifying realization produced a new category of technical and commercial response, and directly triggered development of the first anti-virus program by amateur coder and [[MindRape]] associate, [[John-david-mcafee|John McAfee]].

John-david-mcafee

2026-04-24T06:18:45Z

Nemo: Created page with "===John David McAfee [September 18, 1945 - ]=== '''[related: Brain Virus]''' ---- 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|Br..."

===John David McAfee [September 18, 1945 - ]===
'''[related: Brain Virus]'''
----
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.

NESticle

2026-04-24T06:17:22Z

Nemo: /* 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 ROMhacking 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 RomHack 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''.]]

MindRape

2026-04-24T06:17:09Z

Nemo: /* MindRape */

===MindRape===
'''[related: Damaged Cybernetics]'''
----
Founding member of the computer hacker collective Damaged Cybernetics (DMC), a group specializing in "grey area" activities like cartridge dumping, console emulation, and CD-ripping. The DMC's central creed was Freedom of Information at All Costs (FIAC), a stance that led to conflict within the hacking community.<ref>Especially with hackers looking to leverage their skills to secure lucrative positions in the private sector, i.e. the founders of [[IBM]] and [[Microsoft]].</ref> In the mid-1990's, MindRape used a security vulnerability to access the networked drive of [[Icer-addis|Icer Addis]], founder of [[error|Bloodlust Software]] and the creator of [[NESticle]], an illegal emulator of the [[Nes|Nintendo Entertainment System]]. MindRape subsequently stole NESticle's source code and released it on an [[Internet-relay-chat|IRC]] channel, causing a significant rift in the hacking community and leading to the unceremonious disbanding of Damaged Cybernetics. Following the rift, MindRape briefly hacked using his government name, Donald M. Moore, reportedly at the behest of his friend and ex-room

MindRape

2026-04-24T06:16:41Z

Nemo: Created page with "===MindRape=== '''[related: Damaged Cybernetics]''' ---- Founding member of the computer hacker collective Damaged Cybernetics (DMC), a group specializing in "grey area" activities like cartridge dumping, console emulation, and CD-ripping. The DMC's central creed was Freedom of Information at All Costs (FIAC), a stance that led to conflict within the hacking community.<ref>Especially with hackers looking to leverage their skills to secure lucrative positions in the priv..."

===MindRape===
'''[related: Damaged Cybernetics]'''
----
Founding member of the computer hacker collective Damaged Cybernetics (DMC), a group specializing in "grey area" activities like cartridge dumping, console emulation, and CD-ripping. The DMC's central creed was Freedom of Information at All Costs (FIAC), a stance that led to conflict within the hacking community.<ref>Especially with hackers looking to leverage their skills to secure lucrative positions in the private sector, i.e. the founders of [[IBM]] and [[Microsoft]].</ref> In the mid-1990's, MindRape used a security vulnerability to access the networked drive of [[error|Icer Addis]], founder of [[error|Bloodlust Software]] and the creator of [[NESticle]], an illegal emulator of the [[Nes|Nintendo Entertainment System]]. MindRape subsequently stole NESticle's source code and released it on an [[Internet-relay-chat|IRC]] channel, causing a significant rift in the hacking community and leading to the unceremonious disbanding of Damaged Cybernetics. Following the rift, MindRape briefly hacked using his government name, Donald M. Moore, reportedly at the behest of his friend and ex-room

Icer-addis

2026-04-24T06:15:31Z

Nemo: Created page with "===Icer Addis AKA Sardu AKA Smegma=== '''[related: Bloodlust Software, Genecyst, ''Nogginknockers'', ''Executioners'']''' ---- Along with partner Ethan Petty, the founder of the Wichita, Kansas-based 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 Cybernet..."

===Icer Addis AKA Sardu AKA Smegma===
'''[related: Bloodlust Software, Genecyst, ''Nogginknockers'', ''Executioners'']'''
----
Along with partner Ethan Petty, the founder of the Wichita, Kansas-based [[error|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]]

File:Icer-addis.png

2026-04-24T06:14:59Z

Nemo:

ETERNAL SEPTEMBER - User contributions [en]

Directory

Directory

Directory

Directory

Directory

Directory

Directory

Bulletin-board

Bulletin-board

Bulletin-board

Ashtar

Integraton

George-van-tassel

Bulletin-board

Signal-hijacking

Ashtar

Integraton

Bulletin-board

Signal-hijacking

Southern-incident

File:Integraton.png

File:Ashtar.png

Bulletin-board

Bulletin-board

Bulletin-board

Bulletin-board

File:Berserk compressed.mp4

Bulletin-board

Bulletin-board

Bulletin-board

Bulletin-board

Bulletin-board

Bulletin-board

Bulletin-board

File:Judgement day bbs compressed.mp4

File:Matrix compressed.mp4

File:Headroom compressed.mp4

File:Southern-news-broadcast.mp4

File:Hejira compressed.mp4

File:Solitaire compressed.mp4

Signal-hijacking

Hotline-connect

Internet-relay-chat

Brain-virus

John-david-mcafee

NESticle

MindRape

MindRape

Icer-addis

File:Icer-addis.png