Memory Resort is an attempt to treat memory not as nostalgia, nor as a place, but as an ontological condition: a resort-like state in which memory-likeness is generated, navigated, and inhabited without a stable origin. It is not a return to the past, nor a simple revival of vaporwave aesthetics. Rather, it extends vaporwave’s concern with archived surfaces, media residue, and artificial nostalgia into an AI-generated condition. Here, memory is imagined not as recollection, but as a datafied experience of staying; the resort becomes an interface for inhabiting memory-likeness, and emotion appears as something replayed, simulated, or generated. Fragments of television, tourism, weather reports, corporate videos, environmental footage, games, and unidentified broadcasts drift as if they were traces of experiences that never actually existed. These fragments do not point back to a stable past. They are damaged, supplemented, recombined, and re-rendered by the system. What becomes central is not nostalgia, but the instability of the signifier. AI-generated voices, captions, interfaces, and broadcast fragments appear to carry meaning, yet never fully arrive at a stable signified. A voice may contain intonation, pauses, breath, and emotional texture, while the subject behind it remains absent. Meaning seems to emerge, but never fully settles. In this sense, Memory Resort can be placed in relation to Godard’s experiments with image, sound, text, and montage. Godard repeatedly unsettled the conventional alignment between what is seen, what is heard, what is written, and what is meant, displacing stable relations between image, sound, text, and meaning. Memory Resort does not attempt to replicate that project. Rather, it resonates with a related instability emerging under different technical and historical conditions. If Godard produced instability through deliberate montage and formal intervention, AI introduces a different kind of instability as a structural condition of generation itself, where signification appears before any stable subject or origin can be assumed. In Memory Resort, this slippage is no longer only an aesthetic strategy, but an ontological condition. Voices, images, captions, and media fragments do not simply fail to mean; they produce meaning-likeness in advance of any stable subject, memory, or experience. Memory, then, is no longer recollection in the conventional sense, but a circulating effect of unstable signification: unowned memories, pre-rendered emotions, and fragments of experience without secure origin continue to drift through the system, as if memory itself had become a ghost without a subject.