Aby Warburg and the Image in Motion Philippe-Alain20 to Anajierene opin my hep eine manson pcg cetyl ‘Ween eer taping pete cs 0) sively kb rn iy bie oy agement Deda The MIT Pom Cb, Mant Ld Eg ny Cong ng Reto Dt iy Str ene rnd gn agp ain 1A tan Coin a nee hve Rega 3 Maen na Tae i w wt Contents Konig: Movement (The Man Who Spoke o Bat by Georges Did-Huberman 7 Actnonledgments 23 Chronology 29 Incodocion 27 Now York The Moe Set as orenc Bodies im Moon 6 enc I: The Pine Space 98 enc: The Theatr Stage 147 Among he Hop ar. Homburg: The Ae Hisory Scene 220Arranpix Two Cros: g the Frontiers ‘Mnemosyne Between Art History and Cinema ‘The Arrangement ‘ea history of images aimed at understanding the conception snd fate of work, att history must sl self of something that isnot, ‘or not yet, istic. This ntiion inspzed all Warburg's research, fron heist publications to hie last project im Mnemosyne! On the lange panels stretched with Black cloth of hie ats, created between 1924 and 1929, Warburg arranged images of disparate ongin: ar reproductions, advertisements, newspaper clippings, gsographicl maps and personal photographs. He repeatedly re- ranged these images, jst she repeatedly rearranged the books in his Hbrary and even the order of words nd phates in is writ ten texts. The atlas war an instrument of orientation designed to follow the migration of figures inthe history of representation through the diferent ates of knowledge and in the most prosske strata of modern culture. Images borrowed from low culture {ppedt here and there throughout Mremorne becoming insistent in the lst panel (se igures 52 and 97) As early a 1907, how cer, Warburg’ tidy of Burgadian tapestries bears witness ejection of at history’s normative hierarchies “If we refe to be distracted by the curent tendency to regulate art-hstorical inquiry by posing border guseds, then it becomes event that m