Answers about the museum.

The Pen-Based Computing History Museum is an online museum dedicated to the history of pen-based computing — the devices, software, people, and ideas behind handwriting- and stylus-driven computers from the late 1980s through today.

The collection covers tablets, PDAs, slates, and convertibles; the operating systems and applications that ran on them; the handwriting-recognition research that made them possible; and the press, marketing, and trade-show culture that surrounded them.

The site is non-commercial, ad-free, and curated by a single historian rather than crowd-sourced.

The museum focuses on computing devices and software where the pen is a primary input — not an accessory. That includes early tablet computers (GRiDPad, Momenta, EO), pen-centric operating systems (PenPoint, Windows for Pen Computing, Newton OS, Palm OS), handwriting-recognition research and the companies that commercialized it. It also covers the surrounding ecosystem: press coverage, marketing materials, trade shows, conferences, and the people behind the work.

In a few special cases we’ve included devices that were clever and influential without being pen-based themselves — the Atari Portfolio, for example. A pocket-sized DOS palmtop launched in 1989, it wasn’t stylus-driven, but its industrial design, ambition, and timing put it in close conversation with the pen computers emerging around it, and it shaped what people expected a “personal” computer could be.

Outside the scope: general-purpose laptops and desktops where a stylus is merely optional; touchscreen-only devices without pen support; graphics tablets used as peripherals except where they intersect with pen-computing history; and smartphones, unless a stylus was central to the product.

The museum is curated by John Jerney, a technology historian and longtime industry analyst who has worked in the pen-computing field since its earliest commercial years. He covered the launches of PenPoint, the Apple Newton, PalmPilot, and built software and services aimed at bringing stylus-based computing into everyday use.

Along the way, he gathered original press materials, devices, software, and correspondence directly from the people and companies involved — firsthand sources rather than artifacts re-collected from secondary archives.

The site is operated independently. It has no corporate sponsor, no advertising, and no affiliate revenue. Editorial decisions — what’s included, how it’s described, what’s left out — rest with the curator alone. A short biography is available on the Founder & Curator page.

The museum doesn’t track you. We run no third-party analytics, no advertising pixels, and no behavioral tracking — no Google Analytics, no Meta Pixel, no fingerprinting, no cross-site profiles, no advertising cookies. The only data we process is the functional information any web server needs to deliver a page: IP address, browser user-agent, the page requested, and the referring page. Access logs rotate on a short schedule and are used solely for serving pages, rate-limiting abuse, and diagnosing errors. We do not join that data to any identity, do not share it, and do not sell it.

Some artifact, person, and organization pages embed third-party content — most often YouTube video — and certain pages contain outbound links to sites with their own privacy terms. That’s why a consent prompt appears: those third parties can record your visit independently of us. Your consent choice is stored in your browser, not on our server, so clearing this site’s data in your browser resets it and the next visit asks again.

The full policy is on the privacy page. For any data question, request, or correction, email [email protected].

Most of the collection was assembled in the 1990s, during the years of publishing the Pen-Based Computing newsletter and mobilis: the mobile computing lifestyle magazine.

Devices, software, manuals, and press materials came directly from the companies that made them — review units sent to the publications, demo machines from company founders, internal documents shared by employees and executives, and correspondence from product launches as they happened. A second layer came from people in the field: engineers, designers, marketers, and other journalists who, over the years, passed along artifacts they had kept.

A smaller portion has been acquired since: estate sales, online auctions, hobbyist networks, and donations from former employees of companies that no longer exist. Where an item’s origin is known and worth recording, the collection notes mention it on the item’s page.

Every item in the collection is held in secure, climate-controlled storage and is being carefully cataloged. Stable temperature, humidity, and light conditions matter for paper-based press materials and aging electronics alike, and thorough cataloging is what makes the collection genuinely useful for research and exhibition.

The long-term intention is to offer curated public physical exhibitions in partnership with non-profit organizations — technology museums, schools, public libraries, and community centers — so that pen-computing history can reach audiences in person as well as online.

Both labels appear on artifact pages and signal whether the museum currently holds the physical item.

In Collection means the artifact is part of the museum’s holdings — held in climate-controlled storage, catalogued, and eligible for inclusion in online exhibits and future physical exhibitions. These pages typically show original photographs and detailed documentation drawn from the item itself.

Looking to Acquire means the artifact is documented in the catalog but the museum doesn’t yet have a physical example. These pages exist so that the historical record stays complete — visitors searching for the item still find a knowledgeable entry — and so that anyone who owns a copy can recognize the gap. The dedicated Looking to Acquire page lists the highest-priority items being actively pursued.

If you own something that appears as Looking to Acquire, the curator would like to hear from you. Email [email protected].

Two factors explain it. First, paper materials simply outnumber devices in any collection of this kind — press releases, brochures, conference notes, magazine articles, manuals, marketing flyers, and correspondence are produced in volume around every product launch, while devices themselves are manufactured and preserved in far smaller numbers. A single new tablet can easily generate hundreds of pieces of paper across its commercial life.

Second, the imbalance is amplified by how artifacts get digitized. Paper materials can be scanned in batches with consistent lighting and resolution. Devices are slower. A piece of hardware deserves photographs that show industrial design, ports, controls, screen state, and condition from multiple angles, with consistent lighting and color. Done properly, a single device can take hours.

To keep the site useful while that work is in progress, some device entries currently use temporary images — including some sourced from the web — to establish the entry visually. Any image that is not an original museum photograph is clearly labeled as temporary or placeholder on the item’s page, with the source noted where known. As permanent photography is completed, those placeholders are replaced with original images.

Yes — donations are how the collection continues to grow. The museum is especially interested in pen-based computing hardware (working or not), original software on physical media, manuals, press kits, photographs, correspondence, prototypes, internal documents, and ephemera from product launches, trade shows, and conferences. Smaller items connected to the people and companies behind the field — business cards, signed items, marketing collateral, and similar — are welcome too.

The process is simple. Email the curator at [email protected] with a short description of what you have, ideally a photo or two. Please get in touch before shipping anything — fragile items deserve a conversation first, and the curator can advise on packing and shipping once a fit is confirmed.

Donated items become part of the catalogued collection, are stored under climate-controlled conditions, and may appear in online exhibits or future public exhibitions. Donor credit is given by name on item pages where requested, or kept anonymous if preferred.

Yes, financial support is welcome — and a path for it is currently being set up. A Patreon account is in the works, intended to fund ongoing museum work — cataloging, photography, scanning, site infrastructure — and to support the eventual move into physical exhibitions in partnership with non-profit organizations.

Until that’s live, the simplest way to contribute is to email the curator at [email protected]. Direct contributions are not currently tax-deductible (see the non-profit status question below), but they go entirely to museum operations rather than to any organization, advertising, or marketing budget.

When the Patreon launches, a link will be added to this page and to the museum’s contact and about pages.

Not at this time. The Pen-Based Computing History Museum is currently a single-person effort — funded, operated, and curated independently, without any formal corporate or non-profit structure behind it. There is no governing board, no paid staff, and no fiscal sponsor.

Pursuing 501(c)(3) status is being considered for the future, particularly as the collection grows and public exhibitions become a more active part of the work. For now, donations of artifacts are accepted as gifts to the curator’s personal collection rather than to a tax-exempt organization, and donors should not expect a U.S. tax deduction on the value of donated items. If non-profit status is ever established, this page will be updated to reflect it.

Yes — first-person accounts are exactly the kind of material the museum wants to preserve. Every artifact, person, and organization page in the collection includes an Oral History tab, and the goal is to populate those tabs with accounts from the people who were actually there: engineers, designers, product managers, marketers, salespeople, and executives who shaped the work, as well as researchers, journalists, and users who lived with it. The stories that don’t make it into press releases — what shipped late, what was cut, what the team argued about, what surprised everyone — are often the most valuable.

To contribute, email the curator at [email protected] with a note about which page you’d like to add to and what perspective you bring. The curator will follow up with the right next step — a short written account, a recorded interview, or a longer back-and-forth depending on what fits the material. Contributors are credited on the oral history entry unless they prefer to remain anonymous.

Every artifact in the museum is a physical object that the curator has personally acquired and selected for the collection. Each artifact page is written from the object itself — described, photographed, and catalogued by hand. Any incorrect details on an artifact page are the result of human error, not machine generation, and we welcome corrections.

Profiles of people are written from trusted source material: Wikipedia, books, magazine and journal articles, recorded interviews, and direct outreach to the people involved or their families and colleagues.

Profiles and biographies of organizations and companies are drafted with the assistance of Claude, the AI assistant made by Anthropic, and then reviewed and edited by the curator. Each organization profile is built on a deep collection of cited sources. We treat these profiles as living documents and actively welcome corrections, additions, and improvements — please use the contact page to get in touch.

Finally, the website itself was designed and programmed in collaboration with Claude Code, Anthropic’s command-line coding assistant. Claude continues to help maintain the technical aspects of the site under the curator’s direction.

This FAQ was edited using Claude.

Corrections are welcome and taken seriously. Pen-computing history is a small enough field that single details — a launch date, a name spelling, a product specification, a misattributed quote — can matter. If something on the site looks wrong, send the curator a note at [email protected] with the URL of the page, the specific claim in question, and any supporting source you can point to. Photos, scans, contemporary press clippings, or links to primary documents are all useful.

Confirmed corrections are made directly to the relevant page, usually within a few days. Significant changes, where a re-interpretation rather than a simple fact fix is involved, might take longer. The aim is produce an honest, durable record.

Pen-Based Computing: The Journal of Stylus Systems was an industry newsletter aimed at C-level executives in the computer and wireless communications industries. It was founded in late 1990 by Nicholas M. Baran, West Coast Editor of BYTE Magazine, and Jonathan Erickson, Editor-in-Chief of Dr. Dobb’s Journal of Software Tools.

At the time, BYTE was arguably the most influential computer magazine in the United States, and Dr. Dobb’s was the country’s most important programming magazine.

The first issue appeared on January 22, 1991. The newsletter was initially published six times a year by Stylus Publishing in Sandpoint, Idaho.

In 1992, John Jerney joined as Contributing Editor. In November 1993 he took over as Editor and Publisher, with the publishing office moving to Vancouver, British Columbia and an editorial office in Sunnyvale, California. The publication schedule expanded to ten issues a year, and then to a full monthly.

At its peak, Pen-Based Computing reached several hundred top mobile and wireless executives across North America, Europe, and Asia.

Xerox PARC — the Xerox Palo Alto Research Center — was a charter subscriber to Pen-Based Computing from the newsletter’s first issue.

Founded by Xerox in 1970, PARC was the legendary Silicon Valley research laboratory whose scientists and engineers invented many of the foundational technologies of modern personal computing, including the graphical user interface, the laser printer, Ethernet networking, the WYSIWYG editor, and object-oriented programming. PARC had been investigating stylus-based interaction since the 1970s, which made the newsletter directly relevant to its ongoing research programs.

When PARC was donated to SRI International in 2023 and its identity as a Xerox-operated research center came to an end, its onsite research library donated the complete run of issues in its possession to the Computer History Museum in Mountain View, California, where the newsletter now resides as part of the permanent collection.