This article investigates memory practices in connection with retrospective Facebook groups created for remembering specific aspects of the past. It focuses on how members of these groups experience and deal with how Facebook's interface and algorithms enable, shape, and interfere with memory practices. From this point of departure, the article discusses and nuances the idea that a ‘connective turn’ has brought with it an ontological shift in memory culture (Hoskins 2017a) and a ‘greying’ of memories (Hoskins and Halstead 2021). Theoretically, the article draws on Deborah Lupton's (2020) concept of ‘data selves’, which offers an account of how people interact with data and technology. This concept does not view data practices as immaterial but rather as material, corporeal, and affective, thus prompting an understanding of memory practices as hybrid processes where offline and online practices intersect (Gajjala 2019; Merrill forthcoming/2024). In this qualitative study, nine members of retrospective Facebook groups were chosen to participate in semi-structured interviews. The analysis explains the importance of viewing contemporary memory practices as hybrid, showing a greying effect within the affordances of Facebook that shapes both which memories are shared and how memories are shared. In addition, the analysis nuances the idea of an ontological shift in memory culture and the greying of memories by investigating how the interviewees’ deal and struggle with the affordances of the platform in their memory practices.

Social media challenge several established concepts of memory research. In particular, the day-to-day mundane discourse of social media blur the essential distinction between commemorative and non-commemorative memory. We address these challenges by presenting a methodological framework that explores the dynamics of social memory on various social media. Our method combines top-down data mining with a bottom-up analysis tailored to each platform. We demonstrate the application of our approach by studying how the Holocaust is remembered in different corpora, including a dataset of 5.3 million Facebook posts and comments collected between 2015 and 2017 and a 5 million Tweets and Retweets dataset collected in 2021. We first identify the mnemonic agents initiating the discussion of the memory of the Holocaust and those responding to it. Second, we compare the macro-rhythms of Holocaust discourse on the two platforms, identifying peaks and mundane discussions that extend beyond commemorative occasions. Third, we identify distinctive language and cultural norms specific to the memorialization of the Holocaust on each platform. We conceptualize these dynamics as ‘Mnemonic Markers’ and discuss them as potential pathways for memory researchers who wish to explore the unique memory dynamics afforded by social media.

This article presents a conceptual and methodological framework that focuses on the interactivity, creativity, and variability of Holocaust images in digital media. Our argument unfolds in three stages. First, we introduce the concept of playful images: historical images that undergo recontextualisation, serving memetic, personal, and interactive engagements in and by digital media. Secondly, drawing on pivotal scholarship in digital methods, anthropology, sociology, and visual analysis, we identify a lacuna in contemporary methodologies and provide a rationale for an innovative approach to visual memory analysis in digital media that considers both digital media affordances and the appropriation of visual and historical materials in digital media. For that purpose, we thirdly outline a visual walkthrough method (VWM), a pragmatic performance of our approach tailored for analysing interactive digital experiences featuring playful images. By examining the playful appropriation of historical images in the video game Call of Duty: WWII (2017), we demonstrate how the interactive experience of playful images can be analysed with the help of the VWM. We conclude by discussing the position of our proposed conceptual and methodological framework within media and memory studies in the digital age.

This paper is written at a tipping point in the development of generative AI and related technologies and services, which heralds a new battleground between humans and computers in the shaping of reality. Large language models (LLMs) scrape vast amounts of data from the so called ‘publicly available' internet, enabling new ways for the past to be represented and reimagined at scale, for individuals and societies. Moreover, generative AI changes what memory is and what memory does, pushing it beyond the realm of individual, human influence, and control, yet at the same time offering new modes of expression, conversation, creativity, and ways of overcoming forgetting. I argue here for a ‘third way of memory’, to recognise how the entanglements between humans and machines both enable and endanger human agency in the making and the remixing of individual and collective memory. This includes the growth of AI agents, with increasing autonomy and infinite potential to make, remake, and repurpose individual and collective pasts, beyond human consent and control. This paper outlines two key developments of generative AI-driven services: firstly, they untether the human past from the present, producing a past that was never actually remembered in the first place, and, secondly, they usher in a new ‘conversational’ past through the dialogical construction of memory in the present. Ultimately, developments in generative AI are making it more difficult for us to recognise the human influence on, and pathways from, the past, and that human agency over remembering and forgetting is increasingly challenged.

Fake news can affect people in negative ways. A recent line of research has demonstrated that when people are exposed to fake news they can form false memories for the events depicted in the news stories. We conducted a meta-analysis to obtain an estimate of the average rate of false memories elicited by fake news. Thirteen articles were included in the final analysis, revealing that nearly 40% and 60% of the participants reported at least one false memory and belief (respectively) after fake news exposure, while each participant remembered or believed 22% of the total number of fake news presented. Individual differences may affect the rate of false memory formation following exposure to false memories. We therefore examined moderating effects of individual difference variables assessed in the included studies. Participants with better analytical reasoning skills and a high level of interest in the news topic were least likely to report false memories for fake news, with level of interest being also a facilitating factor in remembering true news. No effect was detected for cognitive ability and objective knowledge. Our results provide insightful and practical information in the context of world-wide misinformation dissemination and its impact on people's beliefs and memories.

Colourised photographs have become a popular form of social media content, and this article examines how the digital sharing of colourised colonial photographs from the Sápmi region may develop into a kind of informal visual repatriation. This article presents a case study on the decolonial photographic practices of the Sámi colouriser Per Ivar Somby, who mines digitised photo archives, colourises selected photos, and subsequently shares them on his social media profiles. The article draws on a qualitative, netnographic study of Somby's Colour Your Past profiles in Facebook and Instagram and demonstrates how Somby and his followers reclaim photos of Sámi people produced during historical encounters with non-Sámi photographers. Drawing on Hirsch's (2008, 2012) concept affiliative postmemory, the analysis examines how historical information and affective responses becomes interwoven in reparative readings of colonial photos.

Digital media have changed the ways people mobilise and act collectively in times of crisis. During the Russian aggression against Ukraine, they have been at the forefront of war coverage giving users the possibility to share experiences of wartime reality. To critically engage in the mediatisation of the current war in the context of war witnessing, this article aims at studying the war diaries shared on media during the Russo-Ukrainian war. More precisely, this study focuses on the analysis of Facebook and MyWar platform digital war diaries that were triggered by Russia's full-fledged invasion of Ukraine 2022. The article seeks to understand the main tools for experiencing and constructing wartime reality and war trauma. The experimental work presented here provides one of the first investigations into how wartime witnessing of Russian aggression is happening and how it is shared in the contemporary space of digital media and fosters intellectual discussion about the dynamics of digital participation while witnessing and narrating war experiences.

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 explores the nature and dynamics of mnemonic communities within the context of social media platforms and proposes to identify mnemonic communities using hashtag co-occurrence analysis. The article distinguishes between ‘explicit’ and ‘latent’ mnemonic communities, arguing that while some digital mnemonic communities may exhibit characteristics of offline communities, others exist latently as discursive spaces or semiospheres without direct awareness. On platforms like Instagram, hashtags function as semiotic markers, but also as user-chosen indexes to the content. As hashtags link the social and semantic aspects of community formation, hashtag co-occurrence analysis offers a robust framework for understanding and mapping these communities. This method allows to detect and analyse patterns of hashtag use that suggest the presence of networked community structures that may not be apparent or conscious to the social media users themselves. Additionally, a metric is introduced for determining the degree of ‘latentness’ of communities that quantifies the cohesion within communities compared to their external connections. The article demonstrates this approach by applying hashtag co-occurrence analysis to a dataset of Instagram posts tagged with #Juneteenth, a popular hashtag used to commemorate the ending of slavery in the United States. It identifies 87 mnemonic communities that reflect the diversity and complexity of how platforms facilitate memory-sharing practices and the role of semiotic markers in forming (latent) mnemonic networks.

Services offered by genealogy companies are increasingly underpinned by computational remediation and algorithmic power. Users are encouraged to employ a variety of mobile web and app plug-ins to create progressively more sophisticated forms of synthetic media featuring their (often deceased) ancestors. As the promotion of deepfake and voice-synthesizing technologies intensifies within genealogical contexts – aggrandised as mechanisms for ‘bringing people back to life’ – we argue it is crucial that we critically examine these processes and the socio-technical infrastructures that underpin them, as well as their mnemonic impacts. In this article, we present a study of two AI-enabled services released by the genealogy company MyHeritage: Deep Nostalgia (launched 2020), and DeepStory (2022). We carry out a close critical reading of these services and the outputs they produce which we understand as examples of ‘remediated memory’ (Kidd and Nieto McAvoy 2023) shaped by corporate interests. We examine the distribution of agency where the promotion by these platforms of unique and personalised experiences comes into tension with the propensity of algorithms to homogenise. The analysis intersects with nascent ethical debates about the exploitative and extractive qualities machine learning. Our research unpacks the social and (techno-)material implications of these technologies, demonstrating an enduring individual and collective need to connect with our past(s), and to test and extend our memories and recollections through increasingly intense and proximate new media formats.

This article is on algorithmically generated memories: data on past events that are stored and automatically ranked and classified by digital platforms, before they are presented to the user as memories. By mobilising Henri Bergson's philosophy, I centre my analysis on three of their aspects: the spatialisation and calculation of time in algorithmic systems, algorithmic remembrance, and algorithmic perception. I argue that algorithmically generated memories are a form of automated remembrance best understood as perception, and not recollection. Perception never captures the totality of our surroundings but is partial and the parts of the world we perceive are the parts that are of interest to us. When conscious beings perceive, our perception is always coupled with memory, which allows us to transcend the immediate needs of our body. I argue that algorithmic systems based on machine learning can perceive, but that they cannot remember. As such, their perception operates only in the present. The present they perceive in is characterised by immense amounts of data that are beyond human perceptive capabilities. I argue that perception relates to a capacity to act as an extended field of perception involves a greater power to act within what one perceives. As such, our memories are increasingly governed by a perception that operates in a present beyond human perceptual capacities, motivated by interests and needs that lie somewhat beyond interests of needs formulated by humans. Algorithmically generated memories are not only trying to remember for us, but they are also perceiving for us.

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.

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.

In April 2022, journalists at the tech website 9to5Mac discovered that photographs taken at sites related to the Holocaust would no longer appear in the Memories feature of Apple's Photos app. This article examines how news of this decision was received by the public through analysis of the comment section that followed the original 9to5Mac post. The perspectives on display in this public forum provide insight into the evolving public perception of automated memory technologies and the potential consequences of their use. Through this analysis, several interrelated areas of public concern emerge. These include the boundaries of platform intervention for governing access to content, the subjective qualities of personal photographs, and the metrics upon which algorithmic memory systems operate. Though opinions vary, this comment section captures an illustrative range of sentiment towards Apple Memories and this intervention into the memories of its users. This range demonstrates a degree of scepticism, alarm, and dissatisfaction rising among users who are increasingly aware of how algorithms are influencing their memories.

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.

The rise of digital technology has led to fundamental changes in how individual and collective perspectives on the past are transmitted and engaged. An immediate implication of these changes relates to the shift away from human communication as a single form of communication about memory towards multiple models which involve non-human (or robotic) agents. These non-human agents are primarily constituted by artificial intelligence (AI)-driven systems, such as search engines and conversational agents, which retrieve information about the past for human users and are increasingly used to generate memory-related content. To account for the growing complexity of memory-related digital communication, the article introduces three agency-based models of such communication: (1) human-to-human; (2) human-to-robot; and (3) robot-to-robot. It discusses examples of communication practices enabled by these models and scrutinises their implications for individual and collective memory transmission. The article concludes by outlining several directions for memory communication research increasingly shaped by non-human agents.

This article aims to track and tackle the #ŠtoTeNema hashtag to analyse the meanings generated by Twitter end-users who employed #ŠtoTeNema together with other hashtags, texts, visuals, hyperlinks, and metadata. ŠTO TE NEMA (Why are you not here?) first appeared as an alternative commemorative practice (in 2006) to remember the victims of the Srebrenica genocide (1995). In 2012, the #ŠtoTeNema hashtag emerged to commemorate human loss on Twitter and provide even more comprehensive access to this space of memory and suffering. Using multimodal discourse analysis, I examine how Aida Šehović, the artist behind ŠTO TE NEMA, with her team and Twitter's end-users, portrayed the Srebrenica genocide by employing #ŠtoTeNema. I argue that ŠTO TE NEMA has become an influential and recognisable representation of the Srebrenica genocide not only on-site but also online. This research concludes that #ŠtoTeNema gained momentum during the global pandemic peak (2020), creating inclusive access to commemorate the 25th anniversary of the genocide locally, regionally, and transnationally.

This paper is based on research conducted in February–April 2022. It describes and illuminates what was happening with tech-savvy educated people between 20 and 40 years old in Russia, while their usual digital tools and places for the autobiographical process were changing in the spring of 2022. Facing censorship of platforms, surveillance, and the inability to pay for services, people who were keeping important memories of their lives online were deleting their profiles, migrating to other platforms, censoring themselves, and creating archives of autobiographically meaningful materials. The paper examines these disruptions as a case that illuminates the role of online platforms in autobiographical memory and expands some concepts within autobiographical memory studies, such as evocative objects and autotopography.

A pioneering book on an important novel subject, Memory Activism and Digital Practices after Conflict presents a thorough and detailed overview of memory activism in Serbia over the last 20 years, across two generations. First of all, the book traces the transition from anti-war and human rights activism to ‘first-generation memory activism’, by examining the trajectory of the NGO Women in Black created in the 1990s to protest against Serbian nationalism, Milošević's war policy and Serb war crimes in the Yugoslav wars. The turn to what could be defined as memory activism grew organically out of this initial anti-nationalist and anti-war struggle, gaining traction following the deep disappointment felt by many in the Serbian alternative with the continuities in Serbia's institutions and social structures after the fall of Milošević in 2000, the official silence and denial of war crimes, and the unfulfilled promises of transitional justice in the region.