When looking for a crime suspect, the police may ask an eyewitness to construct a visual likeness (‘facial composite’) of the perpetrator, to be distributed to the public via newspaper articles, television programmes, or social media. The dissemination of facial composites can have a major impact on police investigations. It often results in a deluge of tips and could potentially influence the memory of other eyewitnesses in the case. In this article, we review research on how to interview eyewitnesses for the optimal construction of facial composites from memory. We discuss types of composite systems and their effectiveness, including the ‘gold standard’ of measuring effectiveness. We compare the question posed to the public when a facial composite is disseminated to face-matching tasks faced by immigration officials and store clerks, but then with the added difficulty of the image being a composite of unknown resemblance to the target. We also discuss the potential danger of composites contaminating other eyewitnesses’ memory, highlighting the lessons learnt from research on unconscious transference. We pose several challenges for future researchers and practitioners. We conclude that evidence-based guidance is lacking to inform the police on whether and how to use facial composites in their investigations.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.