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.

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.

The ubiquity of social media platforms allows individuals to easily share and curate their personal lives with friends, family, and the world. The selective nature of sharing one’s personal life may reinforce the memories and details of the shared experiences while simultaneously inducing the forgetting of related, unshared memories/experiences. This is a well-established psychological phenomenon known as retrieval-induced forgetting (RIF, Anderson et al.). To examine this phenomenon in the context of social media, two experiments were conducted using an adapted version of the RIF paradigm in which participants either shared experimenter-contrived (Study 1) or personal photographs (Study 2) on social media platforms. Study 1 revealed that participants had more accurate recall of the details surrounding the shared photographs as well as enhanced recognition of the shared photographs. Study 2 revealed that participants had more consistent recall of event details captured in the shared photographs than details captured or uncaptured in the unshared photographs. These results suggest that selectively sharing photographs on social media may specifically enhance the recollection of event details associated with the shared photographs. The novel and ecologically embedded methods provide fodder for future research to better understand the important role of social media in shaping how individuals remember their personal experiences.

Whereas the growing body of research into algorithmic memory technologies and the platformisation of memory has a media-centric approach, this article engages with the question of how users experience and make sense of such omnipresent technologies. By means of a questionnaire and follow-up qualitative interviews with young adults (born between 1997 and 2005) and a Grounded Theory approach, we empirically examine an object of study that has been mainly explored theoretically. Our study found four major experiences associated with algorithmic memory technologies: intrusive, dissonant, nostalgic, and practical. Connected to these experiences, we found four sets of practices and strategies of use: avoidance and non-use; curating and training; reminiscing; and cognitive offloading and managing identity through memory. Our results show that our participants’ use and awareness of algorithmic memory technologies are diverse and, at times, contradictory, and shape their attitudes towards their memories, whether they are mediated or not. Hence, our study offers nuances and new perspectives to extant research into algorithmic memory technologies, which often assumes particular users and uses.

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.

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.

Advances in generative artificial intelligence (AI) have driven a growing effort to create digital duplicates. These semi-autonomous recreations of living and dead people can be used for many purposes. Some of these purposes include tutoring, coping with grief, and attending business meetings. However, the normative implications of digital duplicates remain obscure, particularly considering the possibility of them being applied to genocide memory and education. To address this gap, we examine normative possibilities and risks associated with the use of more advanced forms of generative AI-enhanced duplicates for transmitting Holocaust survivor testimonies. We first review the historical and contemporary uses of survivor testimonies. Then, we scrutinize the possible benefits of using digital duplicates in this context and apply the Minimally Viable Permissibility Principle (MVPP). The MVPP is an analytical framework for evaluating the risks of digital duplicates. It includes five core components: the need for authentic presence, consent, positive value, transparency, and harm-risk mitigation. Using MVPP, we identify potential harms digital duplicates might pose to different actors, including survivors, users, and developers. We also propose technical and socio-technical mitigation strategies to address these harms.

While LGBTQIA+ identities are already mostly invisible in the Italian education system, the current anti-gender policies proposed by right-wing and far-right politicians risk further hindering an inclusive education. However, recent Italian graphic novels pave the way for a multifaceted representation of the LGBTQIA+ community and an alternative form of education. For instance, Nicoz Balboa’s Play with Fire (2020) and Alec Trenta’s Barba (2022) are two autofictional graphic novels that depict the authors’ discovery of their trans identity and their experiences in the cis-heteronormative society. The article argues that the two works by Balboa and Trenta are not just examples of autofiction but also constitute an archive of memory and activism. First, the article traces the damaging effects of a lack of education around LGBTQIA+ themes. Then, it explores how Balboa and Trenta understand their lives by reading LGBTQIA+ stories and histories. Crucially, the article investigates how both authors become a point of reference themselves by representing their own bodies and including explanations about gender and sexuality topics. Documenting the way Balboa and Trenta build a counter-educational space in their graphic novels and chart a literary queer and trans genealogy, the article ultimately suggests that their works are a form of activist practice.

The nexus of artificial intelligence (AI) and memory is typically theorized as a ‘hybrid’ or ‘symbiosis’ between humans and machines. The dangers related to this nexus are subsequently imagined as tilting the power balance between its two components, such that humanity loses control over its perception of the past to the machines. In this article, I propose a new interpretation: AI, I posit, is not merely a non-human agency that changes mnemonic processes, but rather a window through which the past itself gains agency and extends into the present. This interpretation holds two advantages. First, it reveals the full scope of the AI–memory nexus. If AI is an interactive extension of the past, rather than a technology acting upon it, every application of it constitutes an act of memory. Second, rather than locating AI’s power along familiar axes – between humans and machines, or among competing social groups – it reveals a temporal axis of power: between the present and the past. In the article’s final section, I illustrate the utility of this approach by applying it to the legal system’s increasing dependence on machines, which, I claim, represents not just a technical but a mnemonic shift, where the present is increasingly falling under the dominion of the past – embodied by AI.

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.

This study addresses how AI-generated images of war are changing the making of memory. Instead of asking how AI-generated images affect individual recall, we focus on how they communicate specific representations, recognising that such portrayals can cultivate particular assumptions and beliefs. Drawing on memory of the multitude, visual social semiotics, and cultivation/desensitisation theories, we analyse how visual generative AI mediates the representation of the Russia-Ukraine war. Our corpus includes 200 images of the Russia-Ukraine war generated from 23 prompts across proprietary and open-source visual generative AI systems. The findings indicate that visual generative AI tends to present a sanitised view of the war. Critical aspects, such as death, injury, and suffering of children and refugees are often excluded. Furthermore, a disproportional focus on urban areas misrepresents the full scope of the war. Visual generative AI, we argue, introduces a new dimension to memory making in that it blends documentation with speculative fiction by synthesising the multitude embedded within the visual memory of war archives, historical biases, representational limitations, and commercial risk aversion. By foregrounding the socio-technical and discursive dimensions of synthetic war content, this study contributes to an interdisciplinary dialogue on collective memory at the intersection of visual communication studies, media studies, and memory studies by providing empirical insights into how generative AI mediates the visual representation of war through human-archival-mechanistic entanglements.

This article explores the transformational potential of artificial intelligence (AI), particularly generative AI (genAI) – large language models (LLMs), chatbots, and AI-driven smart assistants yet to emerge – to reshape human cognition, memory, and creativity. First, the paper investigates the potential of genAI tools to enable a new form of human-computer co-remembering, based on prompting rather than traditional recollection. Second, it examines the individual, cultural, and social implications of co-creating with genAI for human creativity. These phenomena are explored through the concept of Homo Promptus, a figure whose cognitive processes are shaped by engagement with AI. Two speculative scenarios illustrate these dynamics. The first, ‘prompting to remember’, analyses genAI tools as cognitive extensions that offload memory work to machines. The second scenario, ‘prompting to create’, explores changes in creativity when performing together with genAI tools as co-creators. By mobilising concepts from cognitive psychology, media and memory studies, together with Huizinga’s exploration of play, and Rancière’s intellectual emancipation, this study argues that genAI tools are not only reshaping how humans remember and create but also redefining cultural and social norms. It concludes by calling for ‘critical’ engagement with the societal and intellectual implications of AI, advocating for research that fosters adaptive and independent (meta)cognitive practices to reconcile digital innovation with human agency.

This short research article interrogates the rise of digital platforms that enable ‘synthetic afterlives’, with a focus on how deathbots – AI-driven avatar interactions grounded in personal data and recordings – reshape memory practices. Drawing on socio-technical walkthroughs of four platforms – Almaya, HereAfter, Séance AI, and You, Only Virtual – we analyse how they frame, archive, and algorithmically regenerate memories. Our findings reveal a central tension: between preserving the past as a fixed archive and continually reanimating it through generative AI. Our walkthroughs demonstrate how these services commodify remembrance, reducing memory to consumer-driven interactions designed for affective engagement while obscuring the ethical, epistemological and emotional complexities of digital commemoration. In doing so, they enact reductive forms of memory that are embedded within platform economies and algorithmic imaginaries.

This article argues that the environmental contexts of memory are vulnerable to Artificial Intelligence (AI)-generated distortions. By addressing the broader ecological implications for AI’s integration into society, this article looks beyond a sociotechnical dimension to explore the potential for AI to complicate environmental memory and its role in shaping human–environment relations. First, I address how the manipulation and falsification of memory risks undermining intergenerational transmission of environmental knowledge. Second, I examine how AI-generated blurring of boundaries between real and unreal can lead to collective inaction on environmental challenges. By identifying memory’s central role in addressing environmental crisis, this article places emerging debates on memory in the AI era in direct conversation with environmental discourse and scholarship.

Artificial Intelligence (AI) has reached memory studies in earnest. This partly reflects the hype around recent developments in generative AI (genAI), machine learning, and large language models (LLMs). But how can memory studies scholars handle this hype? Focusing on genAI applications, in particular so-called ‘chatbots’ (transformer-based instruction-tuned text generators), this commentary highlights five areas of critique that can help memory scholars to critically interrogate AI’s implications for their field. These are: (1) historical critiques that complicate AI’s common historical narrative and historicize genAI; (2) technical critiques that highlight how genAI applications are designed and function; (3) praxis critiques that centre on how people use genAI; (4) geopolitical critiques that recognize how international power dynamics shape the uneven global distribution of genAI and its consequences; and (5) environmental critiques that foreground genAI’s ecological impact. For each area, we highlight debates and themes that we argue should be central to the ongoing study of genAI and memory. We do this from an interdisciplinary perspective that combines our knowledge of digital sociology, media studies, literary and cultural studies, cognitive psychology, and communication and computer science. We conclude with a methodological provocation and by reflecting on our own role in the hype we are seeking to dispel.

Anxiety about nuclear war emerged after the 1945 atomic bombings of Japan and has risen and fallen over the following decades. It is grounded in future thinking shaped by narrative form and function in policy discussions and especially in film and television. These media have repeatedly drawn on three basic narrative templates organised around three different endings: destruction, judgement, and renewal; human extinction; and permanent and irreversible societal collapse. Several film and television productions are used to illustrate the internal organisation of these narrative templates and to examine how both nuclear fear and nuclear anxiety are involved.