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.

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.

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.

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.

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.

The article attempts to clarify what today constitutes communicative remembering. To revisit this basic mnemonic concept, our theoretical contribution starts from available approaches in social memory studies that assume a binary distinction between cultural and communicative modes of memory making. In contrast, we use concepts that treat them not as structural, historically and culturally distinct registers but as a repertoire of retrospection that hinges on the evoked temporal horizon and media usage. To further interrogate this practical articulation of memories, we direct our attention to the habitual, communicatively realised engagement with the past. We finally turn to the ways communicative remembering is done in digitally networked environments, which provide us with a pertinent mnemonic arena where rigid dichotomies of communicative memory versus cultural memory are eroded.

This article explores how the concept of remediation is part of digital memory work performed by young women on Instagram. While remediation has been used to make sense of the ways sites of memory are represented across time and through different media, mnemonic media practices and forms are remediated in digital memory work. This article draws on interviews, observations of Instagram activities, and focus group data to analyse how other media practices and forms are integrated into digital memory work on Instagram and mobilised by young women to make sense of their mnemonic use of the platform. The analysis focuses on how practices of digital memory work use direct remediation of material objects and remediation of the functionality of mnemonic media practices. It addresses how the comparisons participants make to other mnemonic media practices reveal how digital memory work involves negotiation of personal and public, private and professional, and the authentic and staged. In addition, it grapples with the way that sharing happy experiences and moments to produce a ‘highlight reel’ or ‘hall of fame’ in postfeminist digital culture has valuable and potentially harmful implications.