In this paper, we consider changes to memorial practices for mental health service users during the asylum period of the mid-nineteenth up to the end of the twentieth century and into the twenty-first century. The closing of large asylums in the UK has been largely welcomed by professionals and service-users alike, but their closure has led to a decrease in continuous and consistent care for those with enduring mental health challenges. Temporary and time-limited mental health services, largely dedicated to crisis management and risk reduction have failed to enable memory practices outside the therapy room. This is an unusual case of privatised memories being favoured over collective memorial activity. We argue that the collectivisation of service user memories, especially in institutions containing large numbers of long-stay patients, would benefit both staff and patients. The benefit would be in the development of awareness of how service users make sense of their past in relation to their present stay in hospital, how they might connect with others in similar positions and how they may connect with the world and others upon future release. This seems to us central to a project of recovery and yet is rarely practised in any mental health institution in the UK, despite being central to other forms of care provision, such as elderly and children's care services. We offer some suggestions on how collective models of memory in mental health might assist in this project of recovery and create greater visibility between past, present and future imaginings.

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.

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 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.