.WanderIng through the panels of BIlderatlas Mnemosyne and followIng the paths of meanIng establIshed between Images Is an excItIng experIence In Itself. ThIs vIsual envIronment, whIch resembles a non-lInear, polyphonIc and multIdImensIonal, Image-based mappIng endeavour, seeks to enable new InterpretatIons and determInatIons through aesthetIc experIence. ThIs grand arrangement, whIch almost dIgs Into the memory wIth the logIc of sectIonIng under thematIc headIngs and enrIches the exIstIng accumulatIon wIth the efforts of recall and InterpretatIon, also corresponds to the obsessIve passIons of a subjectIve vIew.

visual cultural memory: a new conception of visual space

Bilderatlas Mnemosyne, on the other hand, has a visually appealing understanding of organisation. Its methodological difference and originality pursues a new visual space and meaning deepened by repetition and change that can reach a conceptual solution. Warburg is thus engaged in an intellectual and creative experience of how words and images can be reconciled. For this reason, and perhaps because of this, Bilderatlas Mnemosyne is a kind of imaginary museum project that attempts to visualise different cultures, to create a universal map, and that focuses on reproduction. It is an anthropological atlas that articulates different histories and geographies. According to this view, art should be represented in a way to show as many relationships as possible. This approach, which emphasises the image archive in revealing the representational potential of art, is extremely useful. Thus, Warburg, who put photography into the service of historical imagination for the first time in a comprehensive manner, particularly preferred to use the power of photography to capture and reproduce images in time and space. Through the montage technique, he attempted to bring together a large number of art historical images from antiquity without observing a certain chronological sequence. Therefore, Warburg’s Bilderatlas project transcended the boundaries between art history, philosophy and anthropology, and laid the foundation for the modern disciplines of media and visual studies. (1)

In this act of shaping based on bringing together and juxtaposition, Warburg constructs a universe in which an infinite number of relationships can be imagined. a comprehensive construction of cultural memory is presented under the title Bilderatlas Mnemosyne. And in this hard-to-define design, in this illustrated cultural atlas that resembles a collage without borders, an anti-museum perception or conceptuality can also be mentioned. (2) 

Bilderatlas Mnemosyne, which reveals an understanding of representation and research into the power of images to evolve and transform their meanings, should be seen as a holistic work. It can also be defined as a creative critical field that analyses the relationships between images that constitute collective memory and society. Navigating a world full of alternative realities or unrealities in the density of image culture, Bilderatlas Mnemosyne, despite its apparent flaws, is an intriguing example of an attempt to create a coherent worldview. ♦