斯洛特戴克基于海德格尔的“世界图像化”提出“世界的球体化”, 据此重写“存在历史”。斯洛特戴克的“宏观球域学”为瓦尔堡晚期的重要命题“从星魔到天球”提供了重要的阐释路径。“天球”作为球域的原型, 定义了此在与世界整体之间的空间性关系。瓦尔堡与斯洛特戴克将人与天空的历史性关系置于各自叙事的中心。瓦尔堡晚期一系列研究计划 (涉及《记忆女神图集》与汉堡天文馆展览等) 具有明显的宇宙论、形而上学色彩。阿特拉斯既是世界球体化 (图像化) 的起点, 也意味着最古老的“世界图像”; 阿特拉斯为瓦尔堡的最后计划提供了本体论 (球域学) 和方法论 (制图学) 的基础。作为“球域”的图集揭示了天球仪与地球仪二者构成的垂直本体论参考系; 天文馆是图集 (或费多罗夫意义上的博物馆) 的最高形式。瓦尔堡最后阶段的工作构成了对世界图像时代的存在危机的回应。

Building upon Heidegger’s notion of the “world-picture” (Weltbild) , Peter Sloterdijk introduces the concept of “spherization of the world” as a way to reconceptualize the history of Being (Seinsgeschichte) . Heidegger’s macro-spherology provides an important explanatory path for Warburg’s late proposition “From Star Demons to Celestial Spheres”. The celestial sphere, as the prototypical form. of spherical being, defines its spatial relationship with the world as a whole. Both Warburg and Sloterdijk situate the human relationship with the heavens at the core of their respective narratives of historical consciousness. Warburg’s late research plans (including the Bilderatlas Mnemosyne and his curatorial work at the Hamburg Planetarium) are profoundly cosmological and metaphysical colors. The figure of Atlas serves simultaneously as the origin of spherical world-imaging and as the earliest archetype of the Weltbild. As such, Atlas furnishes Warburg’s late project with both an ontological (spherological) foundation and a methodological (cartographic) model. Reframed as a spherological apparatus, the Bilderatlas Mnemosyne reveals a vertical ontological axis structured by the celestial globe and the terrestrial globe. Moreover, the planetarium emerges as the highest spatial form. of the Atlas (or in Nikolai Fedorov’s terms of the museum) . Warburg’s late cosmological work thus offers a response to the ontological crisis precipitated by the modern regime of the world-picture.