This article considers the intersecting of remembering and imagining vis à vis individual and cultural amnesia. It focuses on two artists’ films, Shona Illingworth’s video installation Time Present (2016) and Trinh-T Minh-Ha’s film, Forgetting Vietnam (2015). Time Present portrays the experience of an individual living with amnesia and further relates it to the immobility that denotes the cultural representation of the island of St Kilda (Outer Hebrides). Forgetting Vietnam questions the problematic legacy of the Vietnam War and its recollection by bridging personal and shared experiences through a portrait of Vietnam itself. Both Illingworth and Trinh use the film’s features of frames and movement to convey the emotional and affective resonances of the experiences and places presented to generate the possibility of presence. This article closely examines Time Present and Forgetting Vietnam with a focus on the films’ respective structures and thematic developments and reads them by suggesting the intersecting of remembering and imagining culturally and its potentiality for engaging with absence and silenced histories through decentralized approaches.

In the BBC show, The Repair Shop, members of the public bring their cherished but crumbling possessions into a workshop populated by expert craftspeople, who carry out restorations. These objects arrive as treasured possessions, which, despite their dilapidated state, still hold memories and meaning for their owners, albeit memories that may have faded as the object itself has aged. Something magical seems to take place after the objects are restored, however. The restored objects seem to reanimate and revive the memories that their owners have invested in them. How is it possible that this restoration can bring memories held by the objects back to life? What is special about The Repair Shop restoring objects to their former glory? We outline two ways in which objects can be evocative and embody emotion, memory, and meaning. We then outline the ways in which the restoration of these objects to something like their original form can improve scaffolded recall and bring memories back to life. For one class of evocative objects, the restoration enhances recall by reinstating details from the context in which the memories were encoded. For the second class of evocative objects, their restoration affords an imaginative connection to the past, which enables them to become powerful focal points of memory and shared narratives. In effect, The Repair Shop seems to work not only as a repair shop of objects but as a repair shop of memory too.

While the history and practices of collecting have received considerable attention over the past few decades, the notion of erasure – of the deleting, removal or destruction of material, whether deliberate or otherwise – has remained largely in the shadows. We challenge this neglect by placing erasure centre stage and treating it as a productive phenomenon in its own right. Indeed, we suggest that it forms a significant precondition for the very possibility of memory and collections. This article draws upon a recent turn to consider questions of forgetting, ignorance and ending to lay out the grounds for analysing the various roles played by erasure in making and unmaking our world. Inspired by Paul Connerton's discussion of different types of forgetting, we present five distinct forms of erasure that we regard as principally important: (i) repressive erasure, (ii) protective erasure, (iii) operative erasure, (iv) amending erasure and (v) calamitous and neglectful erasure. In each case, we discuss the characteristic logic of the erasure at hand and provide examples of the historical and media-specific forms in which it has been enacted. Our aim in doing so is to provide future researchers with some of the analytical tools and perspectives necessary to engage in further erasure studies. For if we are interested in making sense of the shifting and complex world we inhabit, then the interdisciplinary study of the compelling yet elusive phenomenon of erasure is an excellent place to start.

The ongoing Russia-Ukraine war is primarily examined through official narratives, propaganda, and victims’ testimonies. However, the deeper motivations driving Russian men to enlist and fight often remain underexplored. While Western and Ukrainian media frequently attribute this to Russian propaganda, animosity towards Ukrainians, naivety, or financial incentives, these factors only partially capture the issue’s complexity. An additional motive rooted in an enduring ‘behavioral schema’ also plays a significant role. This schema is based on traditional gender roles influencing men’s decisions to engage in combat and women’s decisions to support them. By analyzing Russian social media and combatants’ writings, this research reveals how war discussions are framed by entrenched ‘traditionalist’ behavioral patterns. Utilizing Astrid Erll’s concept of ‘implicit memory’ and James V. Wertsch’s concept of narrative templates, this study elucidates not only the official narratives of the war but also the ‘hidden’ narratives that shape collective feelings and memories.

In this article, I examine efforts to rewrite school history in Putin's Russia, efforts whose precedents in Russia can be traced back to the nineteenth century. I explore this process from the perspective of recent scholarship on ‘collective future thinking’ and demonstrate how a particular feeling – anxiety – shaped Russian and Soviet efforts to change history textbooks. I describe those created in Russia, focusing on their future component and the emotional message accompanying them. In contrast to some other countries, where narratives may be revised or replaced by new ones in accordance with the development of societies and political regimes, in Russia, there is evidence that previous narrative templates continue to coexist. The state may privilege one or another narrative primary in response to emotional pressures, and in some cases, this pushes people towards aggression and even death. I argue that anxiety about the future has forced the current Russian regime to initiate a school history rewriting in the midst of the Russia-Ukraine war, allowing the state to use collective memory to convince people to engage in a brutal conflict.

This study focuses on a unique Facebook group: ‘Cyprus Immigrants Organisation’, whose members are mostly refugees who were once held in camps in Cyprus in the late 1940s and their descendants. The study offers a content analysis of 687 posts and comments published by group members during 2022. It reveals how a Facebook group made possible, produced, and promoted narratives of a topic that receives relatively little attention in the literature, media, and other memory spaces. The study highlights the range of memory-related content and activities within a Facebook group. We found three main activities of memory work within the group: (a) Members try to shape a coherent narrative of the events; (b) Members discuss acts of remembrance, suggesting additional activities and sharing personal initiatives; (c) Members aim to emphasise their personal connection and belonging to the Cyprus exiles’ community by sharing photographs, artwork, and documents. These memory practices, alongside processes such as gathering knowledge, sharing memories, shaping narratives, and commemorating, highlight the uniqueness of a Facebook group as a platform for memory. These kinds of activities would not be possible on such a scale without the digital environment or, more specifically, a Facebook group. With numerous narratives and collaborative knowledge gathering, the group exemplifies a democratised process of multi-generational memory work and narrative construction.

Conversational remembering entails that people engage in recalling past experiences, which may themselves have been shared. Conversational remembering comes with social benefits for the person telling the narrative and the one receiving it (e.g., developing and strengthening friendships, fostering entertainment, and consolidating group identity). COVID-19 lockdowns have significantly affected social interaction, including face-to-face interactions where conversational remembering occurs. The aim of this study was to explore how WhatsApp group messages supported conversational remembering in a large group of friends living in Buenos Aires where a complete lockdown was established between 19 March 2020 and 6 November 2020. To accomplish such aim, we conducted a mixed-methods longitudinal study. The data consisted of 32,810 WhatsApp group messages collected over a period of 700 consecutive days, from 13 April 2019 to 13 March 2021. Our study shows that WhatsApp group messages enabled group members to keep connected during the COVID-19 lockdown period. This occurred by remembering together situations, events, and actions associated with the group's identity. The use of WhatsApp group messages may have represented an adaptive collective behaviour in response to changes in global social norms.

In today’s ultra-connected world, personal and emotional narratives are omnipresent in media. This study examines how the emotional framing of second-hand testimonies about difficult or controversial past events influences attitudes. A sample of 154 Belgian participants, aged 18–77, evaluated their attitudes regarding Second World War (WWII) collaboration with Nazi Germany and the post-war repression before and after reading either the positively framed or negatively framed version of an ecologically valid interview. The narrative revolved around a son recounting his father’s past as a former collaborator joining the German forces during WWII. Results revealed a significant influence of the narrative’s emotional frame on attitudes towards collaboration and repression. The positively framed interview promoted more understanding attitudes towards collaboration and nuanced views on repression, while the opposite occurred with the negatively framed story, where participants viewed collaboration less favourably and regarded repression as justified and moral. Nevertheless, the role of emotions needs further investigation, exploring the medium of presentation of the narrative and considering the development of first-person narratives to elicit stronger emotional reactions.

Autobiographical memories show a temporal pattern with relatively many events recalled from the recent past (recency) and from adolescence to early adulthood (reminiscence bump), and very few events recalled from the first few years of life (childhood amnesia). The current study examined a temporal pattern for external memory – information stored outside of one's brain. Three survey studies asked participants to choose which age(s) in their life they would most want to keep photos from, supposing they had many photos from every year. Participants chose 1 year of photos in Study 1, which sampled undergraduates (N = 499, median age = 19), and in Study 2, which sampled online participants using stratified age brackets (N = 252, age range 18–82). Participants chose 3 years of photos in Study 3, which sampled online participants over 40 using stratified age brackets (N = 240, age range 40–93). Participants’ choices largely showed preferences for time periods likely to be well remembered (recency and the reminiscence bump). Qualitative coding of participants’ reasons for their choices showed common themes, such as positive emotions, connections to other people and pets, life milestones, personal growth, and school. Results suggest that in the case of photos, external memory served to mostly enhance or enrich internal memory and less often to compensate for internal memory.

The unanticipated product of a survey involving 190 non-professional readers, this first-report paper looks at the way memories from different source media overlap, along with the potential consequences of this phenomenon for existing approaches to reader behaviour.

The paper begins with a focus on how everyday readers articulate their recollection of literary works, in particular those moments they found most memorable. We identify a common situation in which participants ‘mix up’ recollections of a book's content with memories of their respective film or TV adaptations. We offer the term spontaneous transmedia co-location to describe this form of effortless recall involving memories of literary texts which spontaneously trigger memories of other, visual media. We outline five preliminary modes of spontaneous transmedia co-location (STC) and explain what they consist of.

Finally, we elaborate how STC ties into wider theories of how readers and other consumers interact with media, and how they tend to remember and otherwise connect them in a transmedia space.

Experiences that take place in virtual reality (VR) become part of users’ autobiographical memory. As memories can impact users’ self-perception, personal beliefs, and social interactions, storyliving in VR narratives can be used to manipulate memory and mould users’ self according to the preferences of the VR narrative creators. Poland's Ministry of Culture and National Heritage has, in recent years, generously invested in the production of VR films that depict events from the Polish historical canon. VR is a spatial technology that positions users ‘inside’ a virtual storyworld and leverages users’ sense of body position and movement to enhance memory and a sense of presence. Three dimensions of presence – self, social, and spatial – are relevant to understanding the role of VR in the politics of memory. The article interrogates a recent Polish VR production, Wiktoria 1920 (2020, dir. Tomasz Dobosz), and argues that VR representations exploit a sense of presence to shape users’ memory, perspective, and emotions in relation to the past.

This text accompanies the performance A Foot, A Mouth, A Hundred Billion Stars, which premiered at the Lapworth Museum of Geology in the United Kingdom on 18 March 2023, as part of the Flatpack film festival. It includes both the text and a film version, developed during a residency at the museum. Over 18 months, I had full access to the collection and archives, selecting objects that served as prompts for stories about time and memory. A central theme of the work is slippage – misremembering and misunderstanding – as a generative methodology for exploring the connection between the collection, our past, and possible futures.

A Foot, A Mouth, A Hundred Billion Stars combines analogue media and digital technologies to examine our understanding of remembering and forgetting. I used a live digital feed and two analogue slide projectors to explore the relationships between image and memory. This article does not serve as a guide to the performance but instead reflects on the process and the ideas behind the work. My goal is to share my practice of rethinking memory through direct engagement with materials. In line with the performance’s tangential narrative, this text weaves together diverse references, locations, thoughts, and ideas, offering a deeper look into the conceptual framework of the work.

This paper offers a systematic and interdisciplinary analysis of contemporary work on memory externalization, with a particular focus on how technological systems are integrated into human mnemonic practices. Drawing on the frameworks of extended cognition (EXT), the article examines how a wide range of digital technologies participate in memory processes. The paper provides a structured review of how three forms of declarative memory – semantic, episodic, and prospective – are differentially externalized through technological environments. While existing literature often discusses ‘external memory’ in general terms, it rarely distinguishes between the specific functions involved, leading to conceptual imprecision. Addressing this gap, the article develops a refined conceptual taxonomy of memory externalization. Its central contribution is the distinction between two fundamentally different externalization strategies. Cognitive offloading refers to the delegation of information to external systems in order to reduce internal cognitive load. Biloading, by contrast, refers to a strategy of redundancy in which internal and external resources jointly support memory, not by replacement but by reinforcement, enhancing reliability, well-being, autonomy, construction of narrative identity. By clarifying these distinct modes of externalization, the paper shows that memory externalization is not a uniform phenomenon but a complex pattern of cognitive delegation and coordination between neural and technological resources. This conceptual framework offers a more fine-grained understanding of how external resources, such as technology, are integrated into mnemonic processes. The article argues that this taxonomy provides a significant contribution to the contemporary philosophy of memory and opens new avenues for empirical and philosophical research on technologically EXT.

Autobiographical memories play a vital role in shaping personal identity. Therefore, individuals often use various methods like diaries and photographs to preserve precious memories. Tattoos also serve as a means of remembering, yet their role in autobiographical memory has received limited attention in research. To address this gap, we surveyed 161 adults (68.9 per cent female, M = 26.93, SD = 6.57) to explore the life events that motivated their tattoos and to examine their most significant memories. We then compared these findings with significant memories of 185 individuals without tattoos (80.0 per cent female, M = 31.26, SD = 15.34). The results showed that the majority of tattoos were inspired by unique life events, including specific events about personal growth, relationships, leisure activities, losses, or diseases. Even when not directly tied to specific events in life, tattoos still reflect autobiographical content, such as mottos, beliefs, and values. Furthermore, the most significant memories of younger tattooed individuals (20–24 years) tended to be more normative and less stressful compared to those of their non-tattooed counterparts in the same age group, though the nature of these memories varied. This difference was not found among older participants (30–54 years). Additionally, those without tattoos indicated to use specific objects and methods for preserving important events, suggesting tattoos are only one of several ways to reminisce. However, tattoos uniquely allow for the physical embodiment of autobiographical memories, indicating that engraving significant life events in the skin aids in reflecting on one's life story.

This article analyses how coinciding anniversaries of the Sonderkommando revolt (7 October 1944) and the 7 October 2023 Hamas terror attacks on Israel shaped digital Holocaust memory. It contributes to the study of social media users’ reactions to the online commemorative efforts of Holocaust memory institutions. Adapting Rothberg’s concept of ‘multidirectional memory’, we code a small, yet rich set of X posts, comments, and quote reposts, focusing on social media users’ engagement with the Auschwitz-Birkenau State Museum’s X account during the anniversaries. We ask how did X social media users react to Auschwitz-Birkenau State Museum’s commemoration of the eightieth anniversary of the Sonderkommando revolt on the first anniversary of 7 October 2023 Hamas attacks on the platform? And how can the concept of multidirectional memory be used to understand the comparative instrumentalization of Holocaust memory on social media? Our results demonstrate the utility of the multidirectional memory concept and four types of comparative instrumentalization (empathising commemoration, empathising contestation, polarising commemoration, and polarising contestation). They show that many X users reacted by highlighting the moral capacity of Holocaust memory, but that others flattened Holocaust memory or competitively equated it with or distinguished it from contemporary violence in the Middle East. The article highlights how anniversaries intensify the online entanglement of commemoration and contestation, often forcing Holocaust memory institutions into contested digital terrains where empathy, solidarity, polarisation, and competition intersect and exacerbate the ‘Catch-22’ situation they face: critiqued for drawing parallels with contemporary events or chastised for not.

This paper explores how Ukrainian virtual museums of war are embedded in today's connective environment of humans, codes and algorithms. In particular, I examine the ways virtuality as a mode of memory-making is deployed by the Meta History: Museum of War to shape the mediation and remembering of the full-scale Russian war against Ukraine as it unfolds. Using digital methods and digital ethnography, this study maps the emerging assemblage of the Meta History: Museum of War to grasp how the museum is contributing to efforts to repel the Russian invasion through its artistic and material engagement with the war. By exploring the network of exhibitions and the museum's virtual infrastructure, the study illustrates how the museum generates affective instant memories in order to wield influence over events that will in turn be exhibited in the future. Consequently, it adds valuable insights into the production of virtual engagement with war.

This article develops a model to explain the emergence and persistence of shared memory, providing a practical toolkit for empirical research in memory studies. It begins with a review of the concepts of individual and collective memory, highlighting their limitations. In response, the article introduces two alternative concepts – subjectivised memory and hegemonic memory – that capture the interdependence of individual and collective memory while moving beyond their dichotomy. These concepts form the theoretical basis of the proposed model. The article applies the model to the example of Holocaust remembrance in Germany, illustrating how memory becomes hegemonic and persists over time.

For many Russians, the Russia–Ukraine war became a starting point for rethinking their identity. And thinking about their personal and national future played a significant role in this process. This article is based on the analysis of the interviews I collected during the first year of the war. It examines how imagining the future activates a variety of defense mechanisms, which can be situated in four unique, yet not mutually exclusive, defensive discourse strategies. The primary focus is the connections among future thinking, agency, defensiveness, and identity. The whole spectrum of different and, in some cases, opposite visions of the future and the fact that the majority of respondents used more than one defensive discourse strategies can be a sign of a significant fragmentation – on individual and collective levels. This fragmentation is almost invisible if we consider the public opinion polling or Putin's approval rating. This paper gives crucial insights into what remains hidden in the statistics and presents a more complex picture of Russian society in a time of war.

This article examines how WhatsApp functions as a space where people shape collective memory and challenge dominant sociopolitical narratives. Focusing on Nigeria’s Obidient movement, a youth-led campaign that supported Peter Obi in the 2023 presidential election, this article seeks to understand how everyday online interactions on WhatsApp produced alternative ways of remembering and forgetting. In other words, this articles asks, How did members of an unofficial Obidient WhatsApp group enact counter-memory practices regarding Nigeria’s 2023 general elections? To answer this question, this study deployed the ethnographic approach and drew from Foucault’s concept of counter-memory and assemblage theory to understand how memory, technology, and social interaction converged in dynamic ways. The results indicate that members of the WhatsApp group construct and circulate alternative narratives that challenge mainstream sociopolitical accounts. These results are discussed in two central themes: ‘Counter-memory and the construction of alternative narrative’ and ‘WhatsApp as a mnemonic community and assemblage’. Through practices of circulating first-hand experiences and lived testimonies, evidence of electoral misconducts, and memories of past elections and protests, members collectively produced what the author described as a ‘mnemonic community’, a space where memory is created, negotiated, and sustained through interaction. However, these practices are not independent but are shaped by the interconnectedness of human (members of the group) and non-human (WhatsApp, smartphones, or multimedia content) factors. Overall, this article argues that messaging apps, such as WhatsApp, significantly shape how people remember and interpret sociopolitical movements and participation.