Keys of Fury
Meyers, Raquel
Keys Of Fury is a brutalist storytelling about technology and keystrokes where text is used unadorned and roughcast, like concrete. I define my practice as KYBDslöjd (drawing by Type In) who uses the Commodore 64 computer, Teletext technologies and Typewriter. Brutalism has an unfortunate reputation of evoking a raw dystopia and KYBDslöjd evokes an “object of nostalgia”. But nostalgic‬, ‪retro‬, obsolete or ‪limited‬ are rhetoric qualities earn by constant repetition. We live in a time where hardware and software become obsolete before most of the users have learned how to use them or disappear into pure functionality. The obedience to standards who made us passive observers and consumers.
 Well, thanks so much for coming. Like they say, my name is Raquel Meyers and I define my practice as keyboard and loy. That means drawing and crafting by typing. I work with all technologies like Commodore 64 and TeleTek. For me, I use that because both share this grid as a framework and the text characters as instructions. We live in a time that we don't really, like the software became off solid even before we learn how to use it. I think that working with these technologies is some kind of challenge. But my background is not actually like computer. So I came from the analog, black and white, photo copies and collage. And I started to work with pixel art graphics 2004. And I did video click performance and I worked with chiptune musicians during almost like six years. And at some point the pixel art didn't really, well, it just gets boring. So I decided to change the pixel for text characters. And the reason is like, yeah, so I moved to Sweden and somehow I get in touch with the demo scene and the 64 came to my life. So I started to work with it in the demo parties. And basically I learned there how to, yeah, like this, find this like pet ski character, like the character set for the ask a character for the 64. And I combined like different things that I was interested in like story telling, character set, slow it is the Swedish war for like craft, like everything that you do with your hands, like the the scarcity of the keyboard. And actually is where the keyboard is low, he came up like the keyboard as the quotation for for keyboard and slow it as the technique for craft. And I also was interested in the grid and the mosaics and styles. And I think that the text character or in this case, teletext and pet ski characters are kind of like raw and raw cast like concrete. So they have a lot of similarity with the brutalist architecture. So I also realized that is like straightforward and yeah, just completely raw and a little bit brutal. And I really like the idea of the manual execution and yeah, also like the demo scene. And I also get in touch with 2011 with a teletext engineer that he made like this insert there, tell text insert there so you can check like Twitter's in teletext. So I start to work with him for like using teletext for for visual science. Everything was based just in a character set. And yeah, cross teach and typewriters. So yeah, as I say, like he was slow, it's just like the street for the hand. And it's basically like what you do is what you get. So you just type characters like a typewriter like a concrete poem. And you just build an animation graphics from scratch. So there's no control set. So you cannot go so you have to sit do it in one chance. And that's it. If you fuck it up, you have to start all over again. So here's a little bit like what kind of like statement to be honest. So so yeah, basically for me, like using this technology is not like a souvenir from the past, like just something that is for archive or for storage to sell out in eBay. I think this this challenge, because it's like push you a little bit. So it's not like it's just a dialogue between technology and yourself. And you just have to give up to give up. Because basically, everything that you do is just show it. And there's no and just install mistakes and everything that you do. So it's a kind of like an honest and raw way of working. So yeah, I did some kind of research with this text most time where we go to 80 from 2012 2014, that everything that was related to like from textile architecture, BDS, well, all the demos thing, all the ASCII art, just as a way to frame it where I was doing. So and from the research, I kind of ended on my own practice. So I decided that yeah, this is kind of like the first statement of what I worked with it. So it's like drawing and drafting by typing. So it's like flat and brutal. So it's just straightforward. And for me also nostalgic retro and limited is like rhetoric qualities are by constant repetition. Because since I don't have this computer, I don't have the nostalgia for them. And I think that people didn't really know how to explain just to not get into the low file or the A bit. So that so they just use this like limitation and retro and just and I think it's a little bit more than that. And I think it's been used. The problem with all technologies normally just like, yeah, just say like archive or to sell out, but nobody really meant for just being used. So that that is all doesn't mean that still not like it's just dead. So you can actually still working and learn like new things every day. So yeah, this is basically the character set for the Commodore 64 and the pet ski. So you have like this, yeah, letters and all these symbols that you can combine and you can create like different patterns almost like, but I'm not interested in like just only, yeah, the correction or just like wallpaper. I'm really interested in the animation and storytelling and how you can combine these to create a whole story. So yeah, so I started in the demo thing. So I went to these demo parties in Sweden, like my first was data stone 2011. And I just sit there and like have to push yourself and do something in two days. So within the in the competition and you just have one chance. So people like it or people don't. But you don't talk about it. It's just what it is. So and I really like this idea of like push yourself and just try to do your best. And if you fail, well, you try it again and fail better. So this is a little bit of samples of several demos we did like with the hack and trade group. So in the graphician and it will we go to it as a musician and Matt man and Linda as program. So we just present this, yeah, this few demos in the compose and yeah, it was very funny. Just didn't like several days. And yeah, this is like a stand still graphics just to with with the character set. So that was for a competition like a CSDB competition online that people can submit like pets key graphics. And yeah, as you can see, you can combine all these symbols and everything just to create these these graphics. So this is like several examples, just using the character set. And so you can create all kinds of things. This one. Yeah. And also, yeah, I did like several exhibition just showing this pet gear, like the full screen in Paris. And like, this is like a residence in Bergen. So we just have one week and we I just did this monster. I taught them monster with it was commercial. And yeah, I got a resident this year in Strasbourg and the festival, the fantastic field festival. So I did this performance of light typing, just sitting down and typing an animation from scratch. And it's also the name of this talk is called Kizofuri. So this is the several samples of the maps, like the full animations that you can see in a full fish. And I also took the several character sets from the Commodore 64 and I just laser cutter and just build some mosaic that you can apply for for also for mosaic because it's just the same system is the grade is the framework and the characters is distractions. And yeah, so you can take it outside and do the slantski like that ski just take your mosaic and build something else. And yeah, and this is like a teletext. So with the Raspberry Pi and you can create like your own teletext signals. So you just need like the television with the decoder and since I built on since it was in a standard. So that was a school thread of fate. So you can choose your destiny on teletext. So you basically choose a page and the teletext system and it will give you your fate. And so there was also a teletext system for another exhibition. And this is like a sample of printing from the from the screens. Yeah, and it was in the air detects. So this summer you can find one of the graphics in the in the in the television like present the 885 channel site in the teletext system. And the Muta was like the organizers teletext festival in 2012 in Finland for the 30th anniversary. So you can send like teletext art and they will put it on the on the television and it went also to the ARD and they were doing also this festival and they've been showing like teletext on the for real in the TV. And yeah, there's some kind of print and there's also like a book. And yeah, this is also like cross teach. And so it's from the teletext. So you can actually like do like cross this pattern. So at the end you can combine all these different techniques and it's just have the basics. So it works kind of the same. Yeah, and also this is like the shape into yeah, like a laser cutter so you can just have this harbinger. Yeah, and this is like a live performance mixing teletext, typewriter and 64. So everything was creating from scratch. And a musician Alexander Linsson from Sweden, she was like just having like these contact microphones and collecting all the sounds from the keys and just building all the music from scratch. And yeah, and I want to show you a video, but I think I pass it out. So yeah, and this is also like secretary. I use this more like an irony because secretary is like this person that you trust with a secret is like the kind of the origin of the world. And it's so I want to make some kind of like irony about like the type is and how you just build secret just by typing. And yeah, so you can see like different examples just apply from the teletext but to the typewriters. Oh, I'm going fast. So but I think the best way to show all this because I did have a video but I missed up. So I just want to show you a video and I would like to to show you how I build all this animation from scratch, but I misplace it. So I need to find it. Sorry for this. Yes. So this is a video I make for this British musician called C.Fax. And it was just bailed. Not you. And there's no sound. It's a mini jack. Sorry. So yeah, this video, it was just bailed on the 64 just by scratch just by typing the characters and I use a software that records all the keystrokes and there's no copy paste or control set. So you just need to see it and type and just when you finish, you just save it. And so I want to show you this first. There's no sound yet. So now, but so we change to this. Yeah. So, okay, so this is the thing. So actually you can just, I mean, you just turn it on and you can actually start typing. Like you cannot save it, but you can just start typing and you just select the characters and the colors with the keyboard and you just go and start combining all the different symbols and build all the things. So yeah, you can see the software speed it up because I'm not that fast. So you just combine different symbols and just build like wherever you want. Yeah. And you can see like everything I do, if I make a mistake, you just see everything. And it's kind of, so if I fuck it up in my fault, so you cannot blame the computers too slow to blah, blah, blah, blah, blah, blah. It's just me, I'm incompetent and it's so it. So and that's how I like it about it because it kind of pushes you so you cannot blame anyone rather than yourself. So and I don't know you just have a lot of fun and you just made all these combinations with all these different characters and sometimes you make sheets and it's like, okay, I move on tomorrow. Maybe I try again. But yeah, so this is actually the software. And of course, I don't use Floppy's. This is kind of like an advanced piece of hardware that is also very nice. Someone spent time doing it. So yeah, this is the software I use that is just based on the like this letter operator. So basically just recall these keystrokes. So you just select a and you just do the same. So you just go and select the color and start build things. And I choose gray, very nice. And you can move all over the place with the color. I mean, now I'm not going to have time to do this. Yes. So you can make patterns like very boring. But yeah, and yeah, you can see off and you can put some mice like this. And I have a very like, like click the clock sound that is very nice. You're like three hours doing this. So I mean, with this thing, it's like you really need to like it because it takes forever. It's not something that you like, look at me, how cool I am and doing this. No, maybe it works for a while. But at the end, it will be like, in no way, I will use the emulator. Fuck it. But what? So just doing, I don't know what I'm doing, but it will work somehow. Yeah. Yeah, okay, I know this. What the fuck? So yeah, and of course, longer. So you delete. And that's it. Yeah. And of course, you can go like, you can move it super fast. And now like, up. Yes. So the animation that I saw before is done with this. So yeah. So it took me a month because sometimes I have like a very great thing, but after. So now if you play it, it's just like, hey, do this. So you just move with the cursor and like just build the characters and like, yeah, that's fucking ugly. Sorry. But yeah, so you can have like the idea of how it works. So and it just, it records like everything you do. And I think maybe it should give you some questions if you have. Thank you. Someone want to ask something? Any questions for Raquel? I mean, that was a pretty amazing and impressive. Thank you. I have the mic. So I can just say, wow. Thank you. Any questions? There's four mics. If I've got questions. I can repeat it. What's the question? It depends. Do you put the graphics to the music? Yeah, the other way around. I'm repeating it for the people that are on the screen. Sorry. The other way around because it seems so exact. No, actually, like it depends. Sometimes the music is built before and I just listen to it like in a loop for a lot and just sit and type. And the thing is like with this technique, this technique, it kind of suits everything. It works. So just play it and you play the music is like, hmm, the synchronize. Yeah. So because it's also like you cannot edit. So it's just like building one row until the memory is full and you cannot save it longer. So you have to add a new one. So it depends. I work with some people that made the music after, but normally I just build the graphics and animation from the music and just put it together and it works. Excellent. Question here. Hi, thanks. I'm just wondering, you mentioned that people sort of like throw words like retro in there quite loosely and that there is quite important to understand the craft and the hand movements of what you're doing. I wonder if this has any implications or if you think there are implications that what you've learned about doing this has for other forms of design and artwork and that sort of thing. I think if I understand you correctly, what I mean, the funny thing is like the crafts kind of came after I started to do that. It's like my mom tried to make me do some craft when I was a kid and I say no way. So somehow it kind of signed the grid and they use the same thing like the knitting and the stitching, it's just the grid and you put characters instead of X. So you just put all these different ones. But it's kind of everything is kind of related. You feel when you're typing, you're more like a crafting, just building something. Normally I do it from scratch, so they're not like backgrounds, I just sit type and improvise. So some kind of crafty way of doing it and if I fuck it up, I have to start over again. Did I answer your question or I lost? No, just how you talk about it. Okay. Alright. Anybody else for questions? Going once, going twice? Alright, give a round of applause for Rokal. Oh, thank you so much. Thank you.
 Well, thanks so much for coming. Like they say, my name is Raquel Meyers and I define  my practice as keyboard and loy. That means drawing and crafting by typing. I work with  all technologies like Commodore 64 and TeleTek. For me, I use that because both share this  grid as a framework and the text characters as instructions. We live in a time that we  don't really, like the software became off solid even before we learn how to use it. I  think that working with these technologies is some kind of challenge. But my background  is not actually like computer. So I came from the analog, black and white, photo copies  and collage. And I started to work with pixel art graphics 2004. And I did video click  performance and I worked with chiptune musicians during almost like six years. And at some  point the pixel art didn't really, well, it just gets boring. So I decided to change  the pixel for text characters. And the reason is like, yeah, so I moved to Sweden and somehow  I get in touch with the demo scene and the 64 came to my life. So I started to work with  it in the demo parties. And basically I learned there how to, yeah, like this, find this like  pet ski character, like the character set for the ask a character for the 64. And I combined  like different things that I was interested in like story telling, character set, slow  it is the Swedish war for like craft, like everything that you do with your hands, like  the the scarcity of the keyboard. And actually is where the keyboard is low, he came up like  the keyboard as the quotation for for keyboard and slow it as the technique for craft. And  I also was interested in the grid and the mosaics and styles. And I think that the text  character or in this case, teletext and pet ski characters are kind of like raw and raw  cast like concrete. So they have a lot of similarity with the brutalist architecture. So I also  realized that is like straightforward and yeah, just completely raw and a little bit  brutal. And I really like the idea of the manual execution and yeah, also like the demo  scene. And I also get in touch with 2011 with a teletext engineer that he made like this  insert there, tell text insert there so you can check like Twitter's in teletext. So I  start to work with him for like using teletext for for visual science. Everything was based  just in a character set. And yeah, cross teach and typewriters. So yeah, as I say, like he  was slow, it's just like the street for the hand. And it's basically like what you do  is what you get. So you just type characters like a typewriter like a concrete poem. And  you just build an animation graphics from scratch. So there's no control set. So you  cannot go so you have to sit do it in one chance. And that's it. If you fuck it up,  you have to start all over again. So here's a little bit like what kind of like statement  to be honest. So so yeah, basically for me, like using this technology is not like a souvenir  from the past, like just something that is for archive or for storage to sell out in  eBay. I think this this challenge, because it's like push you a little bit. So it's not  like it's just a dialogue between technology and yourself. And you just have to give up  to give up. Because basically, everything that you do is just show it. And there's no  and just install mistakes and everything that you do. So it's a kind of like an honest and  raw way of working. So yeah, I did some kind of research with this text most time where  we go to 80 from 2012 2014, that everything that was related to like from textile architecture,  BDS, well, all the demos thing, all the ASCII art, just as a way to frame it where I was  doing. So and from the research, I kind of ended on my own practice. So I decided that  yeah, this is kind of like the first statement of what I worked with it. So it's like drawing  and drafting by typing. So it's like flat and brutal. So it's just straightforward. And  for me also nostalgic retro and limited is like rhetoric qualities are by constant repetition.  Because since I don't have this computer, I don't have the nostalgia for them. And I  think that people didn't really know how to explain just to not get into the low file  or the A bit. So that so they just use this like limitation and retro and just and I think  it's a little bit more than that. And I think it's been used. The problem with all technologies  normally just like, yeah, just say like archive or to sell out, but nobody really meant for  just being used. So that that is all doesn't mean that still not like it's just dead. So  you can actually still working and learn like new things every day. So yeah, this is basically  the character set for the Commodore 64 and the pet ski. So you have like this, yeah,  letters and all these symbols that you can combine and you can create like different  patterns almost like, but I'm not interested in like just only, yeah, the correction or  just like wallpaper. I'm really interested in the animation and storytelling and how  you can combine these to create a whole story. So yeah, so I started in the demo thing. So  I went to these demo parties in Sweden, like my first was data stone 2011. And I just sit  there and like have to push yourself and do something in two days. So within the in the  competition and you just have one chance. So people like it or people don't. But you  don't talk about it. It's just what it is. So and I really like this idea of like push  yourself and just try to do your best. And if you fail, well, you try it again and fail  better. So this is a little bit of samples of several demos we did like with the hack  and trade group. So in the graphician and it will we go to it as a musician and Matt  man and Linda as program. So we just present this, yeah, this few demos in the compose  and yeah, it was very funny. Just didn't like several days. And yeah, this is like a stand  still graphics just to with with the character set. So that was for a competition like a  CSDB competition online that people can submit like pets key graphics. And yeah, as you can  see, you can combine all these symbols and everything just to create these these graphics.  So this is like several examples, just using the character set. And so you can create all  kinds of things. This one. Yeah. And also, yeah, I did like several exhibition just showing  this pet gear, like the full screen in Paris. And like, this is like a residence in Bergen.  So we just have one week and we I just did this monster. I taught them monster with  it was commercial. And yeah, I got a resident this year in Strasbourg and the festival, the  fantastic field festival. So I did this performance of light typing, just sitting down and typing  an animation from scratch. And it's also the name of this talk is called Kizofuri. So this  is the several samples of the maps, like the full animations that you can see in a full  fish. And I also took the several character sets from the Commodore 64 and I just laser  cutter and just build some mosaic that you can apply for for also for mosaic because it's  just the same system is the grade is the framework and the characters is distractions. And yeah,  so you can take it outside and do the slantski like that ski just take your mosaic and build  something else. And yeah, and this is like a teletext. So with the Raspberry Pi and you  can create like your own teletext signals. So you just need like the television with the  decoder and since I built on since it was in a standard. So that was a school thread  of fate. So you can choose your destiny on teletext. So you basically choose a page and  the teletext system and it will give you your fate. And so there was also a teletext system  for another exhibition. And this is like a sample of printing from the from the screens.  Yeah, and it was in the air detects. So this summer you can find one of the graphics in  the in the in the television like present the 885 channel site in the teletext system.  And the Muta was like the organizers teletext festival in 2012 in Finland for the 30th anniversary.  So you can send like teletext art and they will put it on the on the television and it  went also to the ARD and they were doing also this festival and they've been showing like  teletext on the for real in the TV. And yeah, there's some kind of print and there's also  like a book. And yeah, this is also like cross teach. And so it's from the teletext. So you  can actually like do like cross this pattern. So at the end you can combine all these different  techniques and it's just have the basics. So it works kind of the same. Yeah, and also  this is like the shape into yeah, like a laser cutter so you can just have this harbinger.  Yeah, and this is like a live performance mixing teletext, typewriter and 64. So everything  was creating from scratch. And a musician Alexander Linsson from Sweden, she was like  just having like these contact microphones and collecting all the sounds from the keys  and just building all the music from scratch. And yeah, and I want to show you a video,  but I think I pass it out. So yeah, and this is also like secretary. I use this more like  an irony because secretary is like this person that you trust with a secret is like the kind  of the origin of the world. And it's so I want to make some kind of like irony about  like the type is and how you just build secret just by typing. And yeah, so you can see like  different examples just apply from the teletext but to the typewriters. Oh, I'm going fast.  So but I think the best way to show all this because I did have a video but I missed up.  So I just want to show you a video and I would like to to show you how I build all this animation  from scratch, but I misplace it. So I need to find it. Sorry for this. Yes. So this is  a video I make for this British musician called C.Fax. And it was just bailed. Not you. And  there's no sound. It's a mini jack. Sorry. So yeah, this video, it was just bailed on  the 64 just by scratch just by typing the characters and I use a software that records  all the keystrokes and there's no copy paste or control set. So you just need to see it  and type and just when you finish, you just save it. And so I want to show you this first.  There's no sound yet.  So now, but so we change to this. Yeah. So, okay, so this is the thing. So actually you  can just, I mean, you just turn it on and you can actually start typing. Like you cannot  save it, but you can just start typing and you just select the characters and the colors  with the keyboard and you just go and start combining all the different symbols and build  all the things. So yeah, you can see the software speed it up because I'm not that fast. So  you just combine different symbols and just build like wherever you want. Yeah. And you  can see like everything I do, if I make a mistake, you just see everything. And it's kind of,  so if I fuck it up in my fault, so you cannot blame the computers too slow to blah, blah,  blah, blah, blah, blah. It's just me, I'm incompetent and it's so it. So and that's how  I like it about it because it kind of pushes you so you cannot blame anyone rather than  yourself. So and I don't know you just have a lot of fun and you just made all these combinations  with all these different characters and sometimes you make sheets and it's like, okay, I move  on tomorrow. Maybe I try again. But yeah, so this is actually the software. And of course,  I don't use Floppy's. This is kind of like an advanced piece of hardware that is also  very nice. Someone spent time doing it. So yeah, this is the software I use that is just  based on the like this letter operator. So basically just recall these keystrokes. So  you just select a and you just do the same. So you just go and select the color and start  build things. And I choose gray, very nice. And you can move all over the place with the  color. I mean, now I'm not going to have time to do this. Yes. So you can make patterns  like very boring. But yeah, and yeah, you can see off and you can put some mice like  this. And I have a very like, like click the clock sound that is very nice. You're like  three hours doing this. So I mean, with this thing, it's like you really need to like it  because it takes forever. It's not something that you like, look at me, how cool I am and  doing this. No, maybe it works for a while. But at the end, it will be like, in no way,  I will use the emulator. Fuck it. But what? So just doing, I don't know what I'm doing,  but it will work somehow. Yeah. Yeah, okay, I know this. What the fuck? So yeah, and of  course, longer. So you delete. And that's it. Yeah. And of course, you can go like, you  can move it super fast. And now like, up. Yes. So the animation that I saw before is  done with this. So yeah. So it took me a month because sometimes I have like a very great  thing, but after. So now if you play it, it's just like, hey, do this. So you just move with  the cursor and like just build the characters and like, yeah, that's fucking ugly. Sorry.  But yeah, so you can have like the idea of how it works. So and it just, it records like  everything you do. And I think maybe it should give you some questions if you have. Thank  you. Someone want to ask something? Any questions for Raquel? I mean, that was a pretty amazing  and impressive. Thank you. I have the mic. So I can just say, wow. Thank you. Any questions?  There's four mics. If I've got questions. I can repeat it. What's the question? It depends.  Do you put the graphics to the music? Yeah, the other way around. I'm repeating it for  the people that are on the screen. Sorry. The other way around because it seems so exact.  No, actually, like it depends. Sometimes the music is built before and I just listen to  it like in a loop for a lot and just sit and type. And the thing is like with this technique,  this technique, it kind of suits everything. It works. So just play it and you play the  music is like, hmm, the synchronize. Yeah. So because it's also like you cannot edit.  So it's just like building one row until the memory is full and you cannot save it longer.  So you have to add a new one. So it depends. I work with some people that made the music  after, but normally I just build the graphics and animation from the music and just put  it together and it works. Excellent. Question here. Hi, thanks. I'm just wondering, you  mentioned that people sort of like throw words like retro in there quite loosely and that  there is quite important to understand the craft and the hand movements of what you're  doing. I wonder if this has any implications or if you think there are implications that  what you've learned about doing this has for other forms of design and artwork and that  sort of thing. I think if I understand you correctly, what I mean, the funny thing is  like the crafts kind of came after I started to do that. It's like my mom tried to make  me do some craft when I was a kid and I say no way. So somehow it kind of signed the grid  and they use the same thing like the knitting and the stitching, it's just the grid and  you put characters instead of X. So you just put all these different ones. But it's kind  of everything is kind of related. You feel when you're typing, you're more like a crafting,  just building something. Normally I do it from scratch, so they're not like backgrounds,  I just sit type and improvise. So some kind of crafty way of doing it and if I fuck it  up, I have to start over again. Did I answer your question or I lost?  No, just how you talk about it.  Okay.  Alright. Anybody else for questions? Going once, going twice? Alright, give a round of applause  for Rokal.  Oh, thank you so much.  Thank you.
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Well, thanks so much for coming. Like they say, my name is Raquel Meyers and I define my practice as keyboard and loy. That means drawing and crafting by typing. I work with all technologies like Commodore 64 and TeleTek. For me, I use that because both share this grid as a framework and the text characters as instructions. We live in a time that we don't really, like the software became off solid even before we learn how to use it. I think that working with these technologies is some kind of challenge. But my background is not actually like computer. So I came from the analog, black and white, photo copies and collage. And I started to work with pixel art graphics 2004. And I did video click performance and I worked with chiptune musicians during almost like six years. And at some point the pixel art didn't really, well, it just gets boring. So I decided to change the pixel for text characters. And the reason is like, yeah, so I moved to Sweden and somehow I get in touch with the demo scene and the 64 came to my life. So I started to work with it in the demo parties. And basically I learned there how to, yeah, like this, find this like pet ski character, like the character set for the ask a character for the 64. And I combined like different things that I was interested in like story telling, character set, slow it is the Swedish war for like craft, like everything that you do with your hands, like the the scarcity of the keyboard. And actually is where the keyboard is low, he came up like the keyboard as the quotation for for keyboard and slow it as the technique for craft. And I also was interested in the grid and the mosaics and styles. And I think that the text character or in this case, teletext and pet ski characters are kind of like raw and raw cast like concrete. So they have a lot of similarity with the brutalist architecture. So I also realized that is like straightforward and yeah, just completely raw and a little bit brutal. And I really like the idea of the manual execution and yeah, also like the demo scene. And I also get in touch with 2011 with a teletext engineer that he made like this insert there, tell text insert there so you can check like Twitter's in teletext. So I start to work with him for like using teletext for for visual science. Everything was based just in a character set. And yeah, cross teach and typewriters. So yeah, as I say, like he was slow, it's just like the street for the hand. And it's basically like what you do is what you get. So you just type characters like a typewriter like a concrete poem. And you just build an animation graphics from scratch. So there's no control set. So you cannot go so you have to sit do it in one chance. And that's it. If you fuck it up, you have to start all over again. So here's a little bit like what kind of like statement to be honest. So so yeah, basically for me, like using this technology is not like a souvenir from the past, like just something that is for archive or for storage to sell out in eBay. I think this this challenge, because it's like push you a little bit. So it's not like it's just a dialogue between technology and yourself. And you just have to give up to give up. Because basically, everything that you do is just show it. And there's no and just install mistakes and everything that you do. So it's a kind of like an honest and raw way of working. So yeah, I did some kind of research with this text most time where we go to 80 from 2012 2014, that everything that was related to like from textile architecture, BDS, well, all the demos thing, all the ASCII art, just as a way to frame it where I was doing. So and from the research, I kind of ended on my own practice. So I decided that yeah, this is kind of like the first statement of what I worked with it. So it's like drawing and drafting by typing. So it's like flat and brutal. So it's just straightforward. And for me also nostalgic retro and limited is like rhetoric qualities are by constant repetition. Because since I don't have this computer, I don't have the nostalgia for them. And I think that people didn't really know how to explain just to not get into the low file or the A bit. So that so they just use this like limitation and retro and just and I think it's a little bit more than that. And I think it's been used. The problem with all technologies normally just like, yeah, just say like archive or to sell out, but nobody really meant for just being used. So that that is all doesn't mean that still not like it's just dead. So you can actually still working and learn like new things every day. So yeah, this is basically the character set for the Commodore 64 and the pet ski. So you have like this, yeah, letters and all these symbols that you can combine and you can create like different patterns almost like, but I'm not interested in like just only, yeah, the correction or just like wallpaper. I'm really interested in the animation and storytelling and how you can combine these to create a whole story. So yeah, so I started in the demo thing. So I went to these demo parties in Sweden, like my first was data stone 2011. And I just sit there and like have to push yourself and do something in two days. So within the in the competition and you just have one chance. So people like it or people don't. But you don't talk about it. It's just what it is. So and I really like this idea of like push yourself and just try to do your best. And if you fail, well, you try it again and fail better. So this is a little bit of samples of several demos we did like with the hack and trade group. So in the graphician and it will we go to it as a musician and Matt man and Linda as program. So we just present this, yeah, this few demos in the compose and yeah, it was very funny. Just didn't like several days. And yeah, this is like a stand still graphics just to with with the character set. So that was for a competition like a CSDB competition online that people can submit like pets key graphics. And yeah, as you can see, you can combine all these symbols and everything just to create these these graphics. So this is like several examples, just using the character set. And so you can create all kinds of things. This one. Yeah. And also, yeah, I did like several exhibition just showing this pet gear, like the full screen in Paris. And like, this is like a residence in Bergen. So we just have one week and we I just did this monster. I taught them monster with it was commercial. And yeah, I got a resident this year in Strasbourg and the festival, the fantastic field festival. So I did this performance of light typing, just sitting down and typing an animation from scratch. And it's also the name of this talk is called Kizofuri. So this is the several samples of the maps, like the full animations that you can see in a full fish. And I also took the several character sets from the Commodore 64 and I just laser cutter and just build some mosaic that you can apply for for also for mosaic because it's just the same system is the grade is the framework and the characters is distractions. And yeah, so you can take it outside and do the slantski like that ski just take your mosaic and build something else. And yeah, and this is like a teletext. So with the Raspberry Pi and you can create like your own teletext signals. So you just need like the television with the decoder and since I built on since it was in a standard. So that was a school thread of fate. So you can choose your destiny on teletext. So you basically choose a page and the teletext system and it will give you your fate. And so there was also a teletext system for another exhibition. And this is like a sample of printing from the from the screens. Yeah, and it was in the air detects. So this summer you can find one of the graphics in the in the in the television like present the 885 channel site in the teletext system. And the Muta was like the organizers teletext festival in 2012 in Finland for the 30th anniversary. So you can send like teletext art and they will put it on the on the television and it went also to the ARD and they were doing also this festival and they've been showing like teletext on the for real in the TV. And yeah, there's some kind of print and there's also like a book. And yeah, this is also like cross teach. And so it's from the teletext. So you can actually like do like cross this pattern. So at the end you can combine all these different techniques and it's just have the basics. So it works kind of the same. Yeah, and also this is like the shape into yeah, like a laser cutter so you can just have this harbinger. Yeah, and this is like a live performance mixing teletext, typewriter and 64. So everything was creating from scratch. And a musician Alexander Linsson from Sweden, she was like just having like these contact microphones and collecting all the sounds from the keys and just building all the music from scratch. And yeah, and I want to show you a video, but I think I pass it out. So yeah, and this is also like secretary. I use this more like an irony because secretary is like this person that you trust with a secret is like the kind of the origin of the world. And it's so I want to make some kind of like irony about like the type is and how you just build secret just by typing. And yeah, so you can see like different examples just apply from the teletext but to the typewriters. Oh, I'm going fast. So but I think the best way to show all this because I did have a video but I missed up. So I just want to show you a video and I would like to to show you how I build all this animation from scratch, but I misplace it. So I need to find it. Sorry for this. Yes. So this is a video I make for this British musician called C.Fax. And it was just bailed. Not you. And there's no sound. It's a mini jack. Sorry. So yeah, this video, it was just bailed on the 64 just by scratch just by typing the characters and I use a software that records all the keystrokes and there's no copy paste or control set. So you just need to see it and type and just when you finish, you just save it. And so I want to show you this first. There's no sound yet. So now, but so we change to this. Yeah. So, okay, so this is the thing. So actually you can just, I mean, you just turn it on and you can actually start typing. Like you cannot save it, but you can just start typing and you just select the characters and the colors with the keyboard and you just go and start combining all the different symbols and build all the things. So yeah, you can see the software speed it up because I'm not that fast. So you just combine different symbols and just build like wherever you want. Yeah. And you can see like everything I do, if I make a mistake, you just see everything. And it's kind of, so if I fuck it up in my fault, so you cannot blame the computers too slow to blah, blah, blah, blah, blah, blah. It's just me, I'm incompetent and it's so it. So and that's how I like it about it because it kind of pushes you so you cannot blame anyone rather than yourself. So and I don't know you just have a lot of fun and you just made all these combinations with all these different characters and sometimes you make sheets and it's like, okay, I move on tomorrow. Maybe I try again. But yeah, so this is actually the software. And of course, I don't use Floppy's. This is kind of like an advanced piece of hardware that is also very nice. Someone spent time doing it. So yeah, this is the software I use that is just based on the like this letter operator. So basically just recall these keystrokes. So you just select a and you just do the same. So you just go and select the color and start build things. And I choose gray, very nice. And you can move all over the place with the color. I mean, now I'm not going to have time to do this. Yes. So you can make patterns like very boring. But yeah, and yeah, you can see off and you can put some mice like this. And I have a very like, like click the clock sound that is very nice. You're like three hours doing this. So I mean, with this thing, it's like you really need to like it because it takes forever. It's not something that you like, look at me, how cool I am and doing this. No, maybe it works for a while. But at the end, it will be like, in no way, I will use the emulator. Fuck it. But what? So just doing, I don't know what I'm doing, but it will work somehow. Yeah. Yeah, okay, I know this. What the fuck? So yeah, and of course, longer. So you delete. And that's it. Yeah. And of course, you can go like, you can move it super fast. And now like, up. Yes. So the animation that I saw before is done with this. So yeah. So it took me a month because sometimes I have like a very great thing, but after. So now if you play it, it's just like, hey, do this. So you just move with the cursor and like just build the characters and like, yeah, that's fucking ugly. Sorry. But yeah, so you can have like the idea of how it works. So and it just, it records like everything you do. And I think maybe it should give you some questions if you have. Thank you. Someone want to ask something? Any questions for Raquel? I mean, that was a pretty amazing and impressive. Thank you. I have the mic. So I can just say, wow. Thank you. Any questions? There's four mics. If I've got questions. I can repeat it. What's the question? It depends. Do you put the graphics to the music? Yeah, the other way around. I'm repeating it for the people that are on the screen. Sorry. The other way around because it seems so exact. No, actually, like it depends. Sometimes the music is built before and I just listen to it like in a loop for a lot and just sit and type. And the thing is like with this technique, this technique, it kind of suits everything. It works. So just play it and you play the music is like, hmm, the synchronize. Yeah. So because it's also like you cannot edit. So it's just like building one row until the memory is full and you cannot save it longer. So you have to add a new one. So it depends. I work with some people that made the music after, but normally I just build the graphics and animation from the music and just put it together and it works. Excellent. Question here. Hi, thanks. I'm just wondering, you mentioned that people sort of like throw words like retro in there quite loosely and that there is quite important to understand the craft and the hand movements of what you're doing. I wonder if this has any implications or if you think there are implications that what you've learned about doing this has for other forms of design and artwork and that sort of thing. I think if I understand you correctly, what I mean, the funny thing is like the crafts kind of came after I started to do that. It's like my mom tried to make me do some craft when I was a kid and I say no way. So somehow it kind of signed the grid and they use the same thing like the knitting and the stitching, it's just the grid and you put characters instead of X. So you just put all these different ones. But it's kind of everything is kind of related. You feel when you're typing, you're more like a crafting, just building something. Normally I do it from scratch, so they're not like backgrounds, I just sit type and improvise. So some kind of crafty way of doing it and if I fuck it up, I have to start over again. Did I answer your question or I lost? No, just how you talk about it. Okay. Alright. Anybody else for questions? Going once, going twice? Alright, give a round of applause for Rokal. Oh, thank you so much. Thank you.
my name is Raquel Meyers and I define my practice the text characters as instructions. We live in a time that we don't really, like the software became off solid even before we learn how to use kind of like raw and raw cast like concrete. So between technology and yourself. And you just nostalgic retro and limited is like rhetoric qualities are by constant repetition. Because since I don't have this computer, I don't have the nostalgia for them. And I think that people the character set for the Commodore 64 and the people like it or people don't. But you don't implications that what you've learned about doing