Yodalr ××7 ( bytes) 12 frame long animation made in Flash 8 by rotoscoping horse gallop from Edweard Muybridge "Horses. Oct 10, - A Horse gif that doesnt have a hole in a horse. Ein Pferdegif, das kein Loch in einem Pferd hat. - Maverly hat diesen Pin entdeckt. Entdecke (und sammle) deine eigenen Pins bei Pinterest.
Horse GIF by Deutscher Galopp- Maverly hat diesen Pin entdeckt. Entdecke (und sammle) deine eigenen Pins bei Pinterest. Oct 10, - A Horse gif that doesnt have a hole in a horse. Ein Pferdegif, das kein Loch in einem Pferd hat. Yodalr ××7 ( bytes) 12 frame long animation made in Flash 8 by rotoscoping horse gallop from Edweard Muybridge "Horses.
Horse Gif VideoFree animated gifs Horse GIF ANIMATIONS Mar 30, - Explore Debi Wedd's board "Horses Gifs", followed by people on Pinterest. See more ideas about horses, beautiful horses, animals. - Maverly hat diesen Pin entdeckt. Entdecke (und sammle) deine eigenen Pins bei Pinterest. - Erkunde Вяраs Pinnwand „Horse Gifs“ auf Pinterest. Weitere Ideen zu pferde, pferd, reiten. - Erkunde Bibi Blocksbergs Pinnwand „Horse gifs“ auf Pinterest. Weitere Ideen zu pferde, reiten, tiere.
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As classicist Eric Havelock has described in Preface to Plato , poet-performers in ancient Greece relied on such devices to remember and transmit long, winding tales like The Iliad, complementing them with foot stamping, swaying, and music to make them richly communicative events.
This suite of mnemonic devices and formalized bodily movements stabilized epics as rhythmic, visceral performance, while limiting the ways one telling might vary from another.
These were the original technologies for outsourcing memory. Gifs rely on similar mnemonics and limitations. As the Greek poet used repetition so the audience could follow along, the gif shows the same information over and over again to allow for maximum retention.
Like proverbs, gifs unload their message quickly and can be applied in many different situations. And like epics, gifs often vary through slight moderations that recontextualize them while remaining faithful to older versions already lodged in memory or tradition.
Hence the popularity of gif macros like Javert looking through a window , Robert Redford nodding , and Side Eye Chloe.
To be sure, a sad Javert gif and the mythopoetic tradition in Greece differ greatly. They cater to different cultural imperatives: The oral tradition serves memory in a culture where writing is uncommon or nonexistent, whereas gifs are often a conversational tactic that helps us navigate the experience of omnipresent text.
Ong argued, from an admittedly Western-centric perspective, that all cultures could fit on a spectrum spanning from oral to literate. This dichotomy seems to suggest that texts are linear, dead documents, and oral communication is alive.
The societal implications of the written word have more to do with how text is distributed and blended with other media forms than with any intrinsic qualities of typographic communication.
If the written word exists in space and the spoken word in time, then gifs synthesize these, fleeting yet durable and ever redeployable. Gifs are both text and speech, and neither.
All of this, despite the fact that the gif is a silent medium. It is oral but not aural. In the earliest days of real-time digital text communication, it quickly became clear that letters and punctuation alone were not sufficient for the kinds of communication afforded by instantaneous, conversational connection.
The right gif in the right context can be more effective at evoking emotions and acting on subjects than the gestures and intonations of face-to-face conversation.
A friend on your couch may cheer you up with a condolence or a warm hug, but online they can send you a cute puppy carrying a stick that is far too large, or a happy bouncing Pusheen the Cat exuding hearts.
Digital practices — message boards, comments sections, and SMS as well as gifs — are textual without producing the decontextualization, distanciation, and abstraction that Ong associated with the culture of literacy.
By keeping knowledge embedded in the human lifeworld, orality situates knowledge within a context of struggle. Implemented in real-time networks, text can shrink distance across time and space rather than emphasize it as the written word did.
It destroys abstraction through immediacy. Gifs are less abstract than writing and thus also closer to the human lifeworld. They are more agonistic, as Ong thought oral culture was see: gif battles or snarky reaction gifs.
They are also experiential. Even when representing an abstract concept such as despair, gifs are firmly embedded in concrete human experience: the person breaking down into tears, throwing up their hands, eating ice cream directly from the quart container.
They also convey lessons less abstractly: The recipe gifs popularized by BuzzFeed and other content creators are categorically different from written instructions, or even instructional videos on television or online.
They offer an abbreviated recipe more akin to an apprenticeship than a training manual and are inarguably more enjoyable to watch.
When the abbreviated gif recipe is paired with a list of ingredients, the oral-literate binary is altogether collapsed.
Recipe gifs epitomize information transmission in an era that relies less on lessons passed down through generations or through traditional cookbooks, and more through online forums laden with reviews and comments.
Since it lacks the efficient linearity of written language, oral communication is redundant and copious; things must be repeated again and again to ensure that speaker and hearer are keeping up with each other.
This is not a flaw. Oral communication is often improved by this repetition, becoming mesmerizing.Januar veröffentlicht wurde. Der Urheber dieses Werks ist gestorben; es ist daher gemeinfreiweil seine urheberrechtliche Schutzfrist Lesezauber ist. Public domain Public domain false false. Mediendatei abspielen Mediendatei abspielen Mediendatei abspielen.