I remember! I myself remember more than the entire humanity, sir! said Funes.
Memory has a tendency to reload the regulations that consist of individual probabilities, complex vectorial forms of the earth, urban or city fragments, interwoven experiences, zig-zag time travels, multiple, heterogeneous and conflicting scenarios extending from nature to culture, even morphological typologies and future estimations as stimulus.
Memory also reshapes all our perceptions in the foresight of experiences and imagination with the desire of making tomorrow possible and reexisting every new day just like the sheltering stimulation of the Otzi proto-human.
Memory transforms just like the immigration of spirits (metamorphosis), dead or alive ghosts, mythological creatures, icons, cues, holy body parts, tragedies, live-dead spiral of Eros and Thanatos, painful and worrying disturbance of established civilizations and is burned just like books with the government’s act of making people forget while exchanging the universe of perfect ideas with other spaces.
Memory transforms us into both witnesses and victims of predictable inventions with digital captivity like panopticon as it evolves via digital memory.
As a memory trigger getting into the circulation of social events; memory enables us to solve, recode, represent and expose the ‘political art’, dominant codes and myths toward an augmented reality that could be completed by the real world with digital data.
We have been using artificial intelligence in artworks for ourselves for a short time. Art history is full of examples that have included social developments in the basic problems of productive activities. Art reshapes the norms specified by the police with a desire of rearranging them. Art creates a brand new reality that could be represented within the Cyber World in the hope of activating the democratic mechanisms.
As in Adorno’s emphasis on "saving the world from the deceptive appearance”; real or symbolic spaces arising from the utopia-analogy relationship have always existed in all cultures and civilizations. Objects have been perceived as living beings by people for millions of years. Technology has taken us even closer to ancient and magical ages. The placements and digital sculptures that I have prepared based on the concept of “heterotopia” used by Foucault in space analyses are accompanied by new media disciplines such as VR and AR.
All scientific motivations have arisen from the need to remember, face and then interpret the reality just like the drawings in the Lascaux cave. On the other hand, there is nothing to perceive, face or interpret in the memory junk of Funes.
My works create a mental Pangea by removing borders and disengagements through the meeting of different disciplines. As Borges suggests, “Thinking means forgetting the separations. It means generalizing and abstracting.”(4) It makes it possible to reach the semantic integrity by making a moment visible against a loss of consciousness. Art protects us from an ultimate ending to be caused by not learning and forgetting the things we remember with a prefiltering such as hypermedia in the limitless internet age.
İn this age all disciplines hand in hand, with the codes of complex formations such as computers with digital design, 3D design technology, high-resolution design, material engineering, algorithms created by artificial intelligence, digital media regulations, and augmented reality. They all allows us to use images to develop our memories.