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Slovenska poezija v novih medijih

Sodobni ASCII / Contemporary ASCII

Vuk Ćosić

Projektu Deep ASCII Vuka Ćosića je Lev Manovič posvetil zaključno poglavje v svoji vplivni monografiji The Language of New Media (Jezik novih medijev, 2001). Podpoglavje Kino kot koda poveže dva glavna vidika jezika novih medijev: računalniško kodo, ki kot glavna značilnost določa »nove« medije, ter tradicijo kinematografije, ki jo Manovič postavlja v ospredje svojih raziskav.

Koda ASCII, ki nastane ob digitalizaciji slike, je prikazana na ekranu. Rezultat zadovoljuje tako s poetičnega kot s konceptualnega vidika – dobimo namreč dvojno sliko: prepoznavno filmsko sliko in abstraktno kodo skupaj.

(str. 331)

Manovič prepozna v videu Deep ASCII ter v drugih Ćosićevih projektih, ki temeljijo na ASCII kodi, uspešno združitev filmskega medija in abstraktne kode. Sama združitev poteka v obliki performansa ali uprizoritve:

ASCII filmi Vuka Ćosića […] učinkovito uprizorijo eno od značilnosti računalniških gibljivih slik – to, da so pravzaprav računalniške kode.

Aleš Vaupotič

Deep ASCII project by Vuk Ćosić features prominently in the conclusion of Lev Manovich’s influential monograph The Language of New Media (2001). The subchapter Cinema as a Code links the two main strands of the language of new media: the programmable code, which is the defining characteristic of the »new« media, and Manovich’s emphasis on the cinematic.

The ASCII code that results when an image is digitized is displayed on the screen. The result is as satisfying poetically as it is conceptually — for what we get is a double image: a recognizable film image and an abstract code together.

(page 331)

In Deep ASCII and other ASCII-based projects by Ćosić Manovich recognizes a successful fusion of the cinematic and the abstract code. The fusion is in fact a performance or staging:

Vuk Cosic’s ASCII films […] effectively stage one characteristic of computer-based moving images — their identity as a computer code.

Aleš Vaupotič