The Memory Theatre

Our world is invaded not by aliens or Martians but by heretics, monks, sages, writers, poets, painters, revolutionaries, experiences, customs, and traditions from other centuries or eras.
"What about you?
Do you live in a time where you belong, or are you a ghost of other times?"




This anachronism refers to things that are chronologically out of place.
Time is heterogeneous. An artwork is like a human being. It may not correspond to a specific period or have a particular definition. Some attitudes are independent of time and space but repeat over time and appear in similar forms, even in different cultural structures. When we free our minds, texts, visuals, stories, and works also become free of stasis and come together with works of other periods and acquire different meanings.

Warburg used to relocate the books in the imaginary library every day. He used to put books from different disciplines side by side to see how they made sense. Warburg has relocated the pictures on the panels daily in the memory atlas fiction to free them from stability. In this sense, in the version of the theater of memory set up by Giulio Camillo in the 16th century, he switched the roles of the audience and the performer and invited all humanity to the stage.


 

Art embraces people and invites them to confrontations and showdowns. Good works of art invite the audience to the stage because what is being repeated on the stage is possibly an experienced reality rather than a representation.

As a stage, the Earth has witnessed the sovereignty of similar and sometimes opposite feelings, ideas, and fiction. Memory Theatre by Simon Critchley emphasizes a collective memory that has changed as humans develop rather than a subjective memory. Critchley refers to Paul Camillon's model and constantly regresses in his memory from the skyscraper that he started with the suicide of his teacher. Going back to our memory will enable divine insight and provide that we will remember and know everything only at the level of nothingness. He puts the concept of dynamic memory up against static spatialization and uses the boxes left by his teacher to draw attention to future ideas and thinkers.

Like a seismograph, scientists, historians, and artists should also wander within the layers of memory and struggle with the focal points of ideas or powers flowing through time. Artists should examine the periods and ways of thinking by which they are influenced and should try to explore the waves of memory, thus performing a kind of "living art." Therefore, they should be able to keep hold of the opportunity of representation and compensation, wander around the layers of memory, and rewrite memory.