- numerical codes as characters -

There is a list of most common HTTP codes and their meanings:

Informational

100 Continue 

Success

200 OK 

Redirection

300 Multiple Choices 

301 Moved Permanently 

302 Found 

304 Not Modified 

Client Error

400 Bad Request 

401 Unauthorized 

403 Forbidden 

404 Not Found 

410 Gone 

Server Error

500 Internal Server Error  

501 Not Implemented 

503 Service Unavailable 

According to Google’s search statistics, HTTP error 500 is more than twice as common as 404 errors:

Darko Fritz uses some of less common codes to produce metaphor of human or urban situations. Code 302 is a special case, an example of industry practice contradicting the standard HTTP/1.0 specification, which required the client to perform a temporary redirect (the original describing phrase was "Moved Temporarily"), now the meaning of code changed to - 302 Found. 

In their video "trinity rgb", milica lapcevic and vladimir sojat use numbers to present and quantify rgb signal. This is personification of color white: 

             

Khlebnikov's poem "Numbers" ["Chisla"] (1911) treats numbers not as digits or a system for counting but organic beings.

I see right through you, Numbers.
I see you dressed in animals, their skins,
coolly propped against uprooted oaks.
You offer us a gift: unity between the snaky movement
of the backbone of the universe and Libra dancing
overhead. You help us to see centuries in a flash
of laughing teeth. See my wisdom-wizened eyes
opening to recognize
what my I
will be
when its dividend is one.

Numbers move, numbers think, numbers dictate. From a semantic point of view, one could say that these numbers here lost their denotative meaning. 

ASCII art uses characters to produce image. If we want to create image of character in ASCII, what we got is character depicted with characters.

                                     character(s) in motion

                        

- spectator as a film character -

“The real struggle is not between East and West, or capitalism and communism, but between education and propaganda.” (Martin Buber)By participating in cinematic spectacle spectator is manipulated either through process of imposition of spectacular images (propaganda), or through didactic attitude of author (education). In both cases, spectator is positioned below author in hierarchical structure of the film spectacle.Examples of early films with spectators as film characters show us these two potentials of cinema. 

1. propaganda: 

In Robert Paul’s 1901 film The Countryman and the Cinematograph a countryman stands and stares at a moving train on a cinema screen, reeling in amazement until the moment at which he believes the train is almost upon him. Running from the screen, the countryman acts out the popular myth of the time, in which audiences supposedly ran hysterically from early cinema projections of oncoming trains. Amazement has long functioned within spectacular attractions as a promotional vehicle, both for specific movies and the cinematic apparatus in general. 

However, spectator is drugged by spectacular images - says Debord - by taking part in spectacle, he is automatically dominated by the author. Debord's aim and proposal is "to wake up the spectator through radical action in the form of the construction of situations, that bring a revolutionary reordering of life, politics, and art". 


2. education:

In D.W. Griffith's 1909 film Those Awful Hats, narrative is produced between film spectators, rather than between spectators and screen. This example demonstrate the authors intention to educate spectators how to act in a movie theater. 

The assumption that the viewer needs to be educated or inspired by the artist can also imply an unequal relationship. This seems aligned with outmoded Modern and pre-Modern notions of the artist as genius – where an artist’s talent qualifies him to grant a gift of beauty or rare vision to the viewer. But instead of bestowing something upon recipients, artist should produce a gift: symbol that forms a social bond. For Rancière, artist and spectator should become equal participants in the verification of images and concepts.