Memory palaces are where it’s at. Can a person have more than one? Spurred by this inquiry, I begin to read Frances A. Yates’s famous book The Art of Memory. “It was as a part of the art of rhetoric that the art of memory traveled down through the European tradition in which it was never forgotten, or not forgotten until comparatively modern times, that those infallible guides in all human activities, the ancients, had laid down rules and precepts for improving the memory” (Yates 2). Okay, I think to myself — but does it work? And must we follow the ancients regarding sight as the strongest of the senses? What role does ocular imagination play in the mind’s capacity to store and retrieve information? And why is it always Legacy of the Ancients that arises from my past when I try to imagine a near equivalent of one of these structures? I guess I’ve never labored seriously at any mnemonic gymnastics. Of the memories I possess, most are externally stored or unconscious. One doesn’t “retrieve” these; they arrive as gifts. I imagine sets and galleries of images, some of a kind one can enter, others locked, available only to those who through play earn coin or key. One could do the same, I suppose, with the flotsam from “Waters of March.”
All of it seems memorable in retrospect. I remember a clickable icon appearing in the upper right corner of a newly opened Word document, or a text message arriving on my phone. Both events occurred. Updates have something to do with ontological transformation. They introduce novel forms of interruption and collaboration into the lifeworld. Through them, I find myself rediscovering ancient play-scripts: theaters of mind anchored to toys and action figures, consensual hallucinations, collectively experienced fictional beings. Of course, collective authorship can take other forms as well, Zoon in dialogue with Oikos. “Listen: go out and take note!” reads the received instruction. “Don’t ask where: just go!” So I do — promenading excitedly to a neighborhood park. I walk first to a small wooden pavilion to sit in its shade, but turn away upon sight of a purse left on a table, preferring instead to sit at a different table on the far side of the park, near a stand of trees. Sunlight warms my forehead. Kind words kindle kind dreams. Before long, I’m home again, feeling a bit distracted by worlds of possibility. The story involves beams of light, squirrels appearing, eyeing us, making contact. The story involves forests and rock creatures, Lego ruins amid gardens overgrown with weeds. “Time for a little ventriloquism,” says the narrator. “Become an ensemble and speak each part.”
Warts and all, my friends. ‘Tis my motto, as I soak in the wood-paneling-meets-burnt-orange-Naugahyde interior of an Arby’s. The working class eats beside me on its lunch break. Customers can ring a bell of gratitude hung by the exit whenever the spirit moves them. But no number of bells, I think, could ever address the humiliations and degradations inherent to a service-based economy. Several hits, like my middle-school asthmatic self with his inhaler, and I sink and recede inward. Gone With the Wind can be heard, but only as a distant old-time ambience, whispered from another compartment of reality. The ancients spoke of a method of remembering called the mind palace or memory palace. To underscore, tune yourselves to SPELLLING’s “Tremble Dancer,” or better yet ZEEK SHECK’s “7777-01-07 Son” off the ROGUE PULSE / GRAVITY COLLAPSE benefit comp from Ratskin Records.
This is the world of the heads: a vast network burrowing outward from a rasterized, “Dig Dug“-shaped cosmos. “We all make believe / What is can be.” Is it capitalist to think that desire can restructure reality and give one what one needs? One of these days, I’ll unlock the capabilities contained in Frances A. Yates’s The Art of Memory. Inspiration, I take it, for the album of that name by John Zorn and Fred Frith. The imagination never fails to provide, so long as one allows it. One wakes, one becomes, one finds oneself. If one wants to visit a memory palace, one can do so by listening to Kosmiche duo Art of the Memory Palace’s collaboration with Scottish author James Robertson, “Your Soul Is Not a Bird.”
Devoting oneself to becoming conscious of this makes for a joyful passage of time. But being a brave comrade also means learning to give account and modeling for others a way to be present. It means taking control of the narrative. Is my consciousness behind or ahead those of my comrades in thinking we need as one of our priorities “encounter group”-style retraining at the interpersonal level of how we relate to one another? Tearing down a statue is as easy as gathering enough people willing to do it! Just make sure someone holds up a camera and takes a nice shot. One hand in pocket, other one flicking a cigarette. “Nothing of him that doth fade, / But doth suffer a sea-change / Into something rich and strange”: so it goes with one’s rebirth as a revolutionary subject. But what if, instead, we become men in boxes in the ruins of a new Pompeii?