![]() The simplest extension is the Comment Extension, which allows plain text to be embedded with the GIF, usually meant to be read by humans, for example the following GIF, distributed with Compushow tool (created by CompuServe, when introducing GIF89a):ĬOMMENTS. There are four common extension types, described in further detail below. The images can use a palette of colors defined by the global color table, or an image-specific local color table. The logical screen is a virtual canvas where one or more images will be rendered. While we will strive to stay consistent with the vocabulary in the GIF89a Specification, some terms and concepts will be simplified for clarity, as we do not aim to replicate said specification, nor provide all the necessary details to implement your own decoder or encoder.Ĭonceptual overview of the format by Matthew FlickingerĪ GIF describes a logical screen, with optional color tables, images, and optional extensions. We will take care to highlight the format’s salient technical and design decisions, and when appropriate the context and/or influence of those decisions. Here we provide a high-level overview of the format, and then drill down to describe each conceptual layer in detail as we get closer to what the bytes on disk represent. How GIFs Workĭespite its outward appearance as a very simple and lightweight file type-especially when compared to digital video formats and codecs-the specification for the GIF is detailed and flexible, supporting a range of optional features which are now expected when one visualizes what a GIF is. Each interviewee was asked about their creative practice, the history of institutional display for their work, and their own preferred methods of display. Although some interviewees work in an interdisciplinary space between roles, they can be roughly categorized as follows: ten artists, two technicians, two curators, and one preservation expert. This first report takes the Animated GIF as subject, and will explore the technical and social contexts of the Animated GIF, review how contemporary artists are working with the Animated GIF as a medium, and finally, discuss pitfalls and considerations for the authentic display and long-term preservation of these looping moving images.įor the purposes of this case study, fourteen stakeholder interviews were conducted with artists, technicians, curators, and preservation experts who have worked extensively in creating, exhibiting, and preserving the Animated GIF format in their respective professions. As the museum works toward these goals, the next phase of the project will entail a series of case studies that delve deeply into the nuances of three areas of collecting interest for the museum: Animated GIFs, online social platforms for the creation and distribution of moving images, and the born-digital artifacts of the film production process. The first phase of this initiative entailed establishing achievable goals for the museum’s internal workflows and systems, as well as procedures for acquiring and conserving time-based media. Mellon foundation, MoMI is presently engaged in an effort to explore what a program of collecting and conserving digital moving-image art and culture may look like. Thanks to generous support from the Andrew W. ![]() Typically, many institutions find they have accrued a backlog of artifacts acquired long before protocols and procedures were in place to manage them, but MoMI is in the unique position of being able to consider a program of digital collections care and preservation with a fresh start. ![]() This curatorial engagement with contemporary moving-image culture has led MoMI to consider the permanent collection and conservation of these and other fragile digital artifacts. In addition to the museum’s deep roots in the film industry and its exhibitions of artifacts from the history and craft of film production, MoMI has extensively exhibited digital moving-image art and artifacts such as Animated GIFs, virtual reality, interactive software, and video games. The Museum of the Moving Image (MoMI) is well known for its curatorial programming that showcases the art and cultural heritage of the moving image.
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