The main idea of the thesis is to analyse and present physical movement through visual media – recreating older methods of visualising movement via mechanical animation using „zoetrope“ and also using modern devices (gadgets) and different software solutions that enable the conversion of clasically made images (cardboard relief-printing) of different movement phases being digitally animated. For centuries, many different techniques have been used to visualise movement, but today, using new advances in techology there are greater possibilities for its more accurate presentation. „I wanted to create a static image of movement: movement is an abstraction, a deduction articulated within the painting, without our knowing if a real person is or isn't descending an equally real staircase.“ 2 Marcel Duchamp There is a tendency, even from the very first artwork, to visualise movement using different modalities: beginning with overlapping images, through sequencing, to choosing a single moment that is most indicative of a certain movement. Through research came better understanding of the anatomical and physiological workings of the human eye which enabled the development of devices that use the persistence of vision to create an illusion of fluid motion. By further improvement of simple devices, including the invention of cameras, first complex animations ware created, which laid down the foundation for todays' motion pictures. The horse proved to be a grateful subject for movement studies which was first shown by Muybridges research of movement that began with photographs of a galloping horse in a sequence of shots. It is an animal of exquisite harmony of movement, with great strenght and almost equal fragility, that is most captivating while galloping or jumping. The ease with which it moves its brobdingnagian body standing on diametrically brittle legs has inspired many an artist since the beginning of art itself through present day. Horses' true strenght and sheer power can only be seen during continuous movement because there is no single momemt that captures its beauty. 2 Cabanne, Pierre. 2009. Dialogues with Marcel Duchamp. Hachette. UK. str. 30.