This article examines the technical apparatus of the Warburg Haus in Hamburg and its relationship with Aby Warburg’s art historical methodology. A link is made to an exhibition in 1941 by Saxl and Wittkower entitled English Art and the Mediterranean that was published in 1948 and again in 1969 as British Art and the Mediterranean. In turn, the manner in which this exhibition and publication was image led, the text serving to annotate the images, links to broadcast media, namely, Clark’s (...) Civilisation and Berger’s Ways of Seeing, as a strong example of a working practice. (shrink)

This article speculates connections between symbolic, pecuniary and formal economies in light of the question ‘what identifies Warburgian production?’ I propose that method occurs as a reflexive feature in Warburgian production. Engaging Elie Ayache’s discussion of the technology of the derivatives market, settheoretical intersection and the context of context-change I will sketch a non-representational Warburgian capacity, existing in the intervals and velocity changes between reproductive and distributive contexts.

This article speculates connections between symbolic, pecuniary and formal economies in light of the question ‘what identifies Warburgian production?’ I propose that method occurs as a reflexive feature in Warburgian production. Engaging Elie Ayache’s discussion of the technology of the derivatives market, settheoretical intersection and the context of context-change I will sketch a non-representational Warburgian capacity, existing in the intervals and velocity changes between reproductive and distributive contexts.