| Summary: | The main focus of our article is the problematization of Aby Warburg’s performative character, applied to the Mnemosyne Image Atlas (1924-1929), in dialogue to Bill Morrison’s multimedia work, Decasia (2001). In accordance with the layers of time and the materiality of the images operated by both, we will investigate some of the key concepts of the art historian – such as the iconology of intervals, the afterlife (Nachleben) of images, the pendulous movements (dynamogram) and the active forces of the Pathosformeln –, in contrast with other authors who developed parallel thoughts (Benjamin, Vertov, Epstein). Our aim is to broaden the perspectives on the nature of cinema – made explicit in the archaeological and, at the same time, transcendental work of the filmmaker – supported by Warburg’s thought on the particularities of the images.
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