Groups involved in making demos sprouted up all around the world, especially in countries where home computers were widespread. These groups
soon made contact with each other and started trading demos. This trade soon became global and what we now know as the 'demo scene' was born.
Hundreds, if not thousands, of computer disks were moved via the mail every day under the auspices of the demo scene. It was a cultural phenomenon born out of new technologies and the art created, in digital
form, using these technologies, as well as the global interaction and trade practiced by the young artists. Magazines distributed via diskettes were published. They contained articles and reviews of pieces and the
teams that made them.
This same generation was quick to capitalize on the advantages
of the BBS in the 80s and the internet in the 90s. Both were used
to distribute demos and to strengthen the communications network
of the scene. Since the work was digital to begin with, exchanging
the mail carrier's bag for a data cable was easy.
In many ways, the demo scene was a precursor to online communities
spawned by the internet. Many of the 'laws' and operational
cultures of the demo scene can be seen in online and open
source communities. Ripping (stealing) is frowned upon, pseudonyms
/ aliases / handles are used, popularity and fame within the
confines of the community is important, violators are punished
by exclusion from the community or by some other form of 'branding',
software and demos were produced by distributed teams, etc.
The demo scene has many of the attributes talked about in
conjunction with the Linux-community and communal art more