Giulio Camillo claimed that his memory theatre allows visitors to memorize the entirety of the cosmos. The visitor stands on the stage looking out at the audience filled with astrological and mythological symbols meant to ‘jog the memory’. As a two-dimensional map that implies a three-dimensional space that one can enter, the memory theatre was a precursor to, and used for, the development of computer technology and interfaces. This form is appropriated as an attempt to grapple with the pandemic and uprising in New York City, which we currently inhabit. Not responding to but making constellations of the multitude of stimuli of the moment, we approach the material rhizomatically to construct an opaque, subjective archive.
