Intro
In the summer of 2020, I met the Swiss artist Andreas Gysin (Web / Instagram) and this encounter was of particular importance to me. I met him because we both gave a workshop at écal at the same time. Andreas deals with the technical possibilities of relatively simple computers and displays. Mostly his works are grid-based in the broadest sense and the way he deals with these grids is reflected in his physical objects as well as in his purely digital works.
A large part of his work is also based on ASCII characters, which can be used to map brightness values in the grid. Andreas uses this principle for versatile experiments with mathematical algorithms.
The representation of graphics with ASCII characters has a long history. In today’s age of hyper-realistic 3D worlds and endless possibilities in artistic expression, resorting to this medium is a very interesting principle that maps the peculiarities of the computer instead of hiding them from the viewer.
A brief story of ASCII-graphics
The use of ASCII symbols to display images has its roots in the aesthetics of early computer operating systems. Before there was a graphical user interface, as we are used to from Mac OS or Windows, there was only a so-called command line intercface to operate a computer, with which commands could be entered to start programs, create files and folders, etcettera. But beyond the pure text control, the individual letters and symbols were also used to display images and animations. So-called block symbols could even be used to display shading, which made it possible to display archaic pixel graphics. If you look at games and programs for the Commodore 64, an extremely popular computer from the 80s, you’ll encounter the ASCII aesthetic all the time.
The rise of graphical user interfaces
At some point, Apple came along and snatched the idea of the mouse and graphical user interface from Xerox. With the Graphical User Interface (GUI) computers became much easier to use and slowly but surely found their way out of universities, research institutes and companies into people’s living rooms. Apple recognized this early on and built from it the giant company we know today.
Nevertheless, the aesthetics of ASCII user interfaces have had an influence on digital art. Yet ASCII art by no means came out of nowhere: the roots of it are very deep and varied. There are many parallels between the design of textiles, which logically goes back thousands of years. The principles of weaving are very similar to designing with ASCII. Teletext, which can be accessed on televisions, is also based on ASCII symbols. People also used typewriters to display pixel images early on.
A milestone in ASCII art is Deep ASCII, a remix of the porn movie “Deep Throat” pixelated with characters and symbols. The work is by Vuk Ćosić, a pioneer of the Net Art genre.
My own perception is that ASCII art is currently experiencing a renaissance. I say this with the utmost caution, however, as I am aware that I live in a social media filter bubble where I am shown the content that interests me. Nevertheless, I feel that many people today, in the face of massive pressure to innovate, wonder whether we might have overlooked something that is beautiful and valuable in the constant rushing and hurrying.
For me, there is a more or less clear statement in the ASCII aesthetic (a subcategory of The New Aesthetic?). Works from this genre confront us with the original nature of digital technology and innovation. It represents the courage to creatively engage with the inner processes of the computer, as well as an abstract critique of blind faith in technology. ASCII art is low-tech art. And in times of crisis and change, I think it’s a good idea to go back to basics.
Related Links
- History of the GUI
- Vuk Cosic
- Deep ASCII on artnet
- Andreas Gysin‘s website