Many terms, such as spontaneous shrines, grassroots memorials and performative commemoratives, have been used to describe the collaborative on-site and online memorials created following the deaths of national and global figures, as well as those of unknown victims of mass-mediated disasters. I argue that the adjective “viral” better captures the temporality, spatiality, materiality, and mimeticism of these formations, as well as their frequent pathologization. Contemporary performative public mourning follows from mediated witnessing in the era of networked digital media, forming a witnessing/mourning assemblage. The corporeal testifying of the witness-turned-mourner contributes material derivatives to an affective network. Breaking from constative, narrative testimony and the exclusionary logic of the monument, these memorial aggregations emerge from processes of database (de)composition and network virality. Through the close analysis of a 2008 YouTube memorial video tribute for victims of a Greek bus accident, I consider shifts in public grieving and memorialization of catastrophic media events in relation to developments in web protocols and platforms.

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This essay addresses the user remediation and performative rematerialization of the 2015 photographs of 3-year-old Kurdish-Syrian refugee Alan Kurdi, as well as acts of concealing and deferring access to those images following intense public debate. This article shifts the frame of discussion from moral spectatorship to mediated witnessing and networked mourning in the context of contemporary affective publics. To speak of the memeification of Kurdi’s corpse-image is to underline the way repetition operates as a gesture of both inhabitation and differentiation by users who connect in this way to others and to the issue at hand. The Kurdi images, thus, were not so much observed by a global audience as produced by, and productive of, a massive, dispersed corporeal network. The conceptual figure of spectrality links the mediality and materiality of the dead body-image to contemporary necropolitics that dispossesses subjects, producing the ‘living death’ of the global precariat. If the public sphere is defined by prohibitions on grieving, conflicts regarding who views, mourns, and speaks for which dead bodies, although often ascribed to debased social media mores, tell us more about the political border of human and nonhuman that produces the revenant figure of the refugee haunting inhospitable and neoliberal, but nominally post-racial, Europe.

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ANTHROPOLOGY, HISTORY, AND THE CRITICAL IMAGINATION publishes works dealing with theoretical and methodological developments in history, anthropology, and historical anthropology. Books in the series analyze the ways in which accounts of the past are produced, circulated, and consumed in an increasingly global marketplace of commodities, identities, and cultural practices. The series is committed to making sense of the form and content of historical imagination across the world, to new ways of writing history, and to how both these concerns may animate critical currents in ethnographic method and social theory. The publisher and editors of this series seek, among other things, to foster work that might broaden dialogue between anthropologists, historians, and those from other fields who engage with both.