7 May 2024
Vierundzwanzig Beine! Carts, chariots, carriages and other (image-)media in Warburg’s Mnemosyne

Katia Mazzucco

12 June 2024
2023/24 /ɪˈməːʃən/
111
Faraway, So Close! Bridging distances between Anthropological Philosophy and Media Anthropology

Martino Quadrato

21 May 2024
2023/24 /ɪˈməːʃən/
111
Difficult Heritage: disputed figures in contemporary memorial museums

Giulia Bertolazzi

21 May 2024
2023/24 /ɪˈməːʃən/
111
“Antimonumenta”: artistic practice in feminist Mexico

Francesca Romana Gregori

9 May 2024
2023/24 /ɪˈməːʃən/
111
Death and Virtual Mourning. The “Return of the Dead” in Digital Afterlife

Maria Serafini

16 April 2024
2023/24 /ɪˈməːʃən/
111
Education meets Virtual Reality. Reasoning on learning outcomes, inclusion and didactic scenarios

Ilaria Terrenghi

4 April 2024
2023/24 /ɪˈməːʃən/
111
Rape or “rape”? Virtual violence and the somatechnical body

Pietro Conte

26 March 2024
2023/24 /ɪˈməːʃən/
111
Chiromorphisms. The technical genesis of modern disability

Alessandro Costella

15 February 2024
2023/24 /ɪˈməːʃən/
111
The Obscene Device. Archaeology of Immersive Pornographies

Roberto Malaspina

1 February 2024
2023/24 /ɪˈməːʃən/
111
Techniques of Enchantment. Magic and Contemporary Technology

Sofia Pirandello

25 January 2024
2023/24 /ɪˈməːʃən/
111
Alternative Worlds – VR without Headsets

Margherita Fontana

11 January 2024
2023/24 /ɪˈməːʃən/
111
A world of imprints. The epistemology of visual evidence in digital and virtual media-ecologies

Rosa Cinelli

21 December 2023
2023/24 /ɪˈməːʃən/
111
FEMINIST HORROR THEORY – Filmic Forms and Female Identity: Rewriting in the Key of Gender

Rossana Galimi

5 December 2023
2023/24 /ɪˈməːʃən/
111
From Photography to Virtual Reality and back again. A conversation with Francesco Jodice

Francesco Jodice

20 November 2023
2023/24 /ɪˈməːʃən/
111
Immersed in science

Ilaria Ampollini

9 November 2023
2023/24 /ɪˈməːʃən/
111
The burning gaze. An aesthetics of shame in the age of the virtual

Federica Cavaletti

2 November 2023
2023/24 /ɪˈməːʃən/
111
Forms of the intermediary: spatiality and durations between technology and aesthetics

Neda Zanetti

12 October 2023
2023/24 /ɪˈməːʃən/
111
Virtualizing Spaces: Immersive and Emersive Images from Home to City.

Fabrizia Bandi

28 September 2023
2022/23 Practices
108
LabSim: a fully featured laboratory simulator for innovative teaching of analytical chemistry
27 September 2023
2022/23 Multisensoriality
104
Immersive Rhythms, Dismersive Images: On Music Video’s Affective Atmosphere

Tomáš Jirsa

18 May 2023
2022/23 Multisensoriality
104
Spatialization of Sound

Markus Ophälders

research: Seminar

2023/24 /ɪˈməːʃən/
111

Vierundzwanzig Beine! Carts, chariots, carriages and other (image-)media in Warburg’s Mnemosyne

Katia Mazzucco

When Aby Warburg died in October 1929 he and his assistants were working on his last scientific project, Mnemosyne. Planned as a publication that included a monumental atlas and volumes of essays, documents, and a bibliography, the work was left uncomplete and is documented in drafted texts, diaries, and pictures.

The photographs of the work in progress for the plates of the atlas were taken during different stages of the project. These photographs document a very original system for drafting the layout of the publication: each picture for the plates of the atlas was first displayed on large scale mobile panels and composed, along with other pictures, into provisional visual systems. Each draft plate was displayed on a panel in this way, photographed, and then dismantled until the next stage of work.

The example of plate 77 of the so-called “last version” of the Atlas Mnemosyne, dedicated to certain types of “modern” image-media, may help in tracing the complex system of relations established between the single pictures planned to be included in the whole atlas. The discussion of panel 77 may furthermore shed some light on the meaning of the term “Bildträger” in Warburg’s works.

Biography

Katia Mazzucco

Katia Mazzucco studied Preservation of Cultural Heritage at the Ca’ Foscari University in Venice and received her PhD degree in 2006 from the University of Siena. She has been a postdoctoral Fellow at the IUAV University in Venice (2008-2009), a short term fellow at the Photothek of the Kunsthistorisches Institut in Florenz-Max Planck Institut and at the Warburg Institute in London (2010), British Academy Visiting Scholar at the SAS in London (2011), and Visiting Scholar of the Istituto Veneto per i Beni Culturali in Venice at the KHI (2014). She taught Venice Renaissance Art History at the Programs of Boston University Italy (2018- 2023). In 2022 she was the scientific coordinator of the exhibition Rooms with a view. Aby Warburg, Florence and the Laboratory of Images and is currently engaged with the catalogue and preservation project of the KHI Archive. Her research and publications are devoted to the epistemological impact of photography in early Art History methodologies, documentary photography in relation to art historical publishing, and the Warburg Bildersammlung in Hamburg and in London. Among her recent publications are: Rooms with a view. Aby Warburg, Florence and the Laboratory of Images (2023) and Lessico warburghiano. I prestiti delle scienze negli scritti d’arte di Aby Warburg (2022).

research: seminar

Vierundzwanzig Beine! Carts, chariots, carriages and other (image-)media in Warburg’s Mnemosyne

Katia Mazzucco

When Aby Warburg died in October 1929 he and his assistants were working on his last scientific project, Mnemosyne. Planned as a publication that included a monumental atlas and volumes of essays, documents, and a bibliography, the work was left uncomplete and is documented in drafted texts, diaries, and pictures.

The photographs of the work in progress for the plates of the atlas were taken during different stages of the project. These photographs document a very original system for drafting the layout of the publication: each picture for the plates of the atlas was first displayed on large scale mobile panels and composed, along with other pictures, into provisional visual systems. Each draft plate was displayed on a panel in this way, photographed, and then dismantled until the next stage of work.

The example of plate 77 of the so-called “last version” of the Atlas Mnemosyne, dedicated to certain types of “modern” image-media, may help in tracing the complex system of relations established between the single pictures planned to be included in the whole atlas. The discussion of panel 77 may furthermore shed some light on the meaning of the term “Bildträger” in Warburg’s works.

7 May 2024
16:30
19:30

Aula Seminari

Università degli Studi di Milano

Via Santa Sofia, 9

Vierundzwanzig Beine! Carts, chariots, carriages and other (image-)media in Warburg’s Mnemosyne
Katia Mazzucco
Aula Seminari
Università degli Studi di Milano
Via Santa Sofia, 9
20240507
16:30
19:30