associations. Drawing an interesting analogy,
the following statement from Warburg scholar Kurt Forster
underlines the importance of the panels for the creation of
meaning:
Warburg’s panels belong into the realm of the montage à la Schwitters or Lissitzky. Evidently, such a
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guest lectures at various international venues; such invitations
demonstrate that this cognitive work is considered original
research and a valuable intellectual exercise worthy of further
discussion.
b. The texts uploaded t
a range of different possibilities in reaching our audiences
in a variety of ways. Some members of Arg.org may be too
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comparison does not need to claim artistic qualities
for Warburg’s panels, nor does it deny them regarding
Schwitters’s or Lissitzky’s collages. It simply lifts the
role of graphic montage from the realm of the formal
into the realm of the construction of meaning.51
Interestingly, even if Forster makes a point not to categorize
Warburg’s practice as art, in twentieth-century a