The Hamburg cultural scientist Aby M. Warburg (–) was a pioneer of the modern study of art and visual culture. Before the First World War, he made. In December , Warburg started to compose a work in the form of a picture atlas named Mnemosyne. In Aby Warburg began his picture atlas „Mnemosyne“ – he, his method and its use in visual studies stood fairly alone. Working with photographs was by no.
|Published (Last):||13 May 2015|
|PDF File Size:||15.22 Mb|
|ePub File Size:||8.20 Mb|
|Price:||Free* [*Free Regsitration Required]|
Instead of projecting geographical knowledge onto a two-dimensional plane as the conventional cartographic map does, his atlas consists of a number of plates each of which is a configuration of reproduced images, which are collected under ay common heading or leitmotif. Gertrude Bing later supplemented these headings with a short explanation, – for example: Death of the redeemer. Had he succeeded in accomplishing the Mnemosyne alas and in bringing a number of his plates between two book covers, we mnwmosyne might hold his atlas in our hands or probably, because of its scale, have it on the desk in order to study it, or better: But it makes no small difference whether one is talking about an atlas as a printed volume or about the more than 60 image tables that have been handed down to us by means of warbufg.
Reading hall with Rembrandt exhibition, Due to the spatial positioning, this form of presentation is related to an exhibition. Instead of moving in front of the pictures in the space of a museum, the audience, during listening to the lecture, could, with warnurg eyes, wander from one table to the other and visually move around warburgg the images on each board, up and down, left and right, back and forth. In this situation, that is to say when the Mnemosyne atlas was in situ and in actuthe series of plates effectively constructed a sort of Denkraum warburv, a common space for thought.
Both the spacing of the plates as well as the intervals between the images opened up a new space for thinking, reading, interpreting, – and for seeing, discovering and re-reading the history of images, of iconology and of culture. In this kind of material culture of an atlas technique Warburg found the ideal form for presenting his idea of an Ikonologie des Zwischenraumsan iconology of interval, or better, interspace, as he called his project in his notes to Mnemosyne: Art historical material for a developmental physiology of the pendulous movement [ Pendelgang ] between stating a cause [ Ursachensetzung ] by means of images and doing this by means of signs.
However, in its unaccomplished form as a mobile cultural technique it implies all the flexible components which Didi-Huberman and others have associated with the technique of montage in modern art. And this is also to be regarded as a modern survival or return of an ars combinatoria from the hermetic and cabalistic traditions of knowledge. Each table of the Mnemosynefor example, is very similar to the structure of Baroque emblem books where mnemosynee picture is always accompanied by, firstly, a lemma, motto, or inscription, and, secondly, an epigram, subscription or explanation.
What his collection of pictures shares with the Kunstkammer is at least the character of an obsessive warbkrg, the result of an intellectual and intimate story of fascination with certain details. Other tables do not yield the meaning of the arrangement, of the connection between the collocated pictures at first glance; they need to be read by visually wandering back and forth between the individual reproductions and following different pathways in order to reconstruct the archaeological layers of the constellation.
They are, in fact, nothing else than symbols for the fixed stars — mnemksyne over the centuries, warbutg their wandering from Greece through Asia Minor, Egypt, Mesopotamia, Arabia, and Spain, they have lost the clarity of their Grecian outline. Symbol, Pictures and Survey. In theoretical terms it may best be described as a commemorative practise very much like the traces and images in the Freudian conception of memory.
There he argues awrburg certain human capacities — he talks mainly of the mimetic faculty – which in the phylogenetic and ontogenetic prehistory were directed to the outer world i.
Resemblance was the invisible form of atkas which, from the depth of the world, made things visible; but in order that this form may be brought out into the light in its turn there must be a visible figure that will draw it out from its profound invisibility.
And the space inhabited by immediate resemblances becomes like a vast warbkrg book; it bristles with written signs; every page is seen to be filled with strange figures that intertwine and in some places repeat themselves. All that remains is to decipher them. Wargurg Foucault simultaneously emphasises that resemblance is indispensable for any recognition.
In this context he emphasises that the relationship between things is nothing which is just there, inherent in the nature of things, instead it is a result of the human perception — or rather the human eye and mind. In making use of these capacities, the concept of history is transformed wxrburg an image-structure.
Published between and in 35 volumes, the project includes Whereas such an endeavour is only possible with the support of innumerous aflas, the post-encyclopaedic atlas is often engendered by mndmosyne obsession of a single mbemosyne and based on his own collection gathered together over decades. In methodological terms it is a kind of echo to the fundamental and ultimately unsolvable problems of an encyclopaedic taxonomy based on the principles of comprehensive knowledge, systematic structure, classification, alphabetic order etc.
Here, where they discuss especially the tension between deduction and distinction, between origin and classification of knowledge, the principle of kinship plays the role of an uneasy, outdated but indispensable warbrg. That the initiator of this ambitious project thinks it necessary to apologise for the figure of the family tree signals its status as a kind of foreign body in the systematic and alphabetical ordering. Thus a systematic cipher supplements the alphabetical ordering.
Memoire, Raison, Imagination; in: They form the frame for the entire knowledge to be included. Leaving behind the alternative of an ascending or descending tree, derivation is here projected into the horizontal plane.
The tree as a schema originating from pre-modern kinship functions here as the graphic palimpsest of the whole project but it disappears in the alphabetic order of articles in the published volumes. Thus it may be read as a symptom for the ambivalent equivocal role of similitude and relationship in the ahlas era.
The project of collecting narrations, legends, poems mnempsyne songs from the people became most famous by the work of the Brothers Grimm in the early 19 th century. One of the masters ahlas the literary art of collecting was Heinrich Heine, who used the title Salon for the composition of his own compound texts, thus offering his prose, poems and dreams, so to speak, to the wandering eyes of a museum visitor.
In his book on ElementargeisterElementary Ghostsi. At the most one may gather the similar together under certain rubrics.
During these years all the efforts of Warburg and his colleagues were dedicated to two endeavours, the Mnemosyne and the establishment of the Kulturwissenschaftliche Bibliothek Warburg K. In the first edition of his complete published writings, undertaken by Gertrud Bing inthey are running up to a volume of about pages.
For the most part the subject matter of these texts remains in the field of cultural, religious and social phenomena and within the history of rational knowledge and its relation to magic or mystical traditions. There one can study his intensive, obsessive, and endless attempts to introduce scientific concepts and methods into the theory of symbol, art, and culture.
And there one comes across several diagrams and tableaux well known from the history of science. But, what sarburg more interesting in the context of his whole project is the fact that two years after beginning the notebook in March he started warbkrg draw out different systematic stlas on his research, each of the attempts written down in regular intervals of about one year, only once one and a half years: The mood of a hussar has yielded sullen Prussianism.
The graphic design starts with a tableau Fig. Aby Warburg, System als Umfangsbestimmung. Werke in einem Band. Santa Maria Novella, Florence. In this context he drew several family trees both of the generations of painters and their patrons, and he constructed several tableaux to tame and order the escalating matter of his research. The most interesting table here is an attempt for a taxonomic order of different genres, artists, and practices with respect to different fields of cultural history.
Table from Ninfa fiorentina.
The Warburg Institute Archive, London. It is obvious that it was impossible to develop this kind of survey any further into a complete system because his subject matter did not fit the taxonomic order of things. That he sought a proper title for his theory, i. This series of titles indicates both the experimental status of the project and the difficulties to develop an analysis of cultural phenomena by means of a terminology from the natural sciences. In some of the entries this endeavour reads like an epistemological shortcut between mythology and sciences, whereas other formulations render the epistemological tension and even compulsion for a scientific foundation distinguishable.
These kinds of maps and schemata from the history of science do not return on the other plates, instead they signal the underlying reading model for the configuration of images. The three schemata represent three figures of knowledge belonging to different eras of the history of science; they are like emblems of a mythological, a pre-modern and a modern mode of constructing the world and the order of things.
Especially the family tree seems to form a kind of foreign body in the atlas project because the arrangement of images on the plates does not follow a genealogical direction or descent. Therefore especially the family tree forms a kind of proxy of the theoretical model of interpretation that should have accompanied the visual part in the projected printed version of the Mnemosyne. In this anthropological interpretation of human expressions a different interspace [ Zwischenraum ] is at stake, i.
Thus the iconology of interval that structures the configuration of the plates is accompanied by a different concept of interspace as part of a theory of acting. Martin Warnke with the assistance of. Von der Praxis der Bildtheorie bei Aby Warburg.
Aby Warburg. Mnemosyne Bilderatlas (English) | ZKM
Anthropologische und kulturelle Grundlagen des Visualistic Turn. The Renewal of Pagan Antiqutiy. Introduction by Kurt W. Forster, translation by David Britt. The Getty Research Institutep. Werke in einem Bandp.
Kulturelle Transfers um und in der Gegenwart. Studien zur Moderne The Renewal of Pagan Antiquity footno te 3p. The History of Topographical Maps. Symbols, Pictures and Survey. Doctrine of the Similar. The order of things: Munich 2p. Aut autNr. For a more detailed analysis of this text see Sigrid Weigel: Werke in einem Band footnote 6p.
Studien zum Homo rhetoricus. Suhrkamp ; “Omission du commandement dans certains cas monstreux”. Patricia Farazzi et Michel Valensi Paris pp. Contents – Previous document – Next document. Migrationiconology of intervalinterspacesignears combinatoria. Outline Mnemosyne — a cultural technique for investigating a technique of the mind. Nachleben of pre-modern aspects in the encyclopaedic era.
Atlas and collection — supplement to the encyclopaedic taxonomy. Working through the limits of the two cultures. PDF Send by e-mail. Museo Nacional Centro de Arte R The Renewal of Paga For a more detailed an