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Abstract
Rewilding memory provides the basis for a new theoretical and practical agenda to bring greater neurological human diversity and ecological diversity into research and teaching on memory, mind and media. The article develops the concept of 'more-than-human-memory' to refer to the co-construction of memories between diverse humans and the environment. The article draws on research that examined a transmedia corpus of 40 neurodivergent memory works (life writing, memoirs, autobiographical art, blogs and videos). It found that memory works by autistic people consistently remember the self in terms of the co-composition of human memories through and with the media and matter of environmental memories. The article explores the ways in which some autistic people's memory works decentre human memories through deep ecological memory, conversations with vibrant objects and memories of animating energies. The research suggests that such memories 'rewild' or eco-neuroqueer the human-centred and normatively biased assumptions of memory, mind and media that underpin psychology, philosophy of mind, media and memory studies. It contributes a new angle to research that addresses the dialogical relationship between what Barnier and Hoskins (2018) have termed 'memory in the mind' and 'memory in the wild'. It also goes beyond extended mind theory that understands human memory as enhanced and extended through non-biological tools and suggests the significance to memory of the more-than-human living world. Importantly, it highlights connections between autistic more-than-human-memories and the conceptualisation and practices associated with the more-than-human in research shaped by eco-psychology, Indigenous Studies and Environmental Humanities.

This article intervenes into research on cultural and digital memory by arguing for the significance of the materiality of memory and its underlying political economy. Although cultural and digital memories are characterized as contested, multiple and often involving interplay and conflict between different power dynamics, what remains missing is an understanding of the material basis of digital, globally connective memory or what is termed here 'globital memory'. In work on memory which addresses social and mobile technologies there is an emphasis on the transition from collective to 'connective memory' and the ways in which social media offer possibilities for the articulation of marginalized memories, as well as new forms of archiving. While current concern is signalling a return to the question of the significance of 'mass media' in relation to social and mobile media and digital memory, this work does not yet address the political economy of 'globital' memory which includes the underlying materiality and technical infrastructure of social media. Using the conceptual metaphor of mining memories, the article will attend to what lies beneath the 'digital skin' of memories on social networks such as YouTube. I address the socioeconomic and technical infrastructures that enable the capture, circulation and storage of data that then become the raw material of globital memory.

Historical events and social memories are increasingly articulated and accessed through the means of interactive digital technologies. Particularly in the context of history museums, interactive digital media kiosks and web-sites are used to enhance and in some cases constitute a key way in which the past is conveyed to the public. Yet in what ways are new technologies in such contexts constructing a different relationship to the past and how are visitors themselves using these technologies? This article uses empirical research from the Museum of Tolerance in the US to critically situate and theorize the uses of new technologies in relation to socially inherited memories of the Holocaust.

Cultural and media policies were a key part of the mechanisms of atrocity in the Holocaust. This article looks at the context and implications of some of these policies and argues that, while racism and ethnic exclusion are fundamental to our understanding of the Holocaust and primary to the way in which cultural policies were formulated and used, it is also significant that these were refracted through particular constructions and articulations based on gender.