已有记忆实践研究针对表征的、档案的记忆实践做出了丰富的讨论，但是尚未就想象的、非表征的、情感（动）的记忆实践展开充分研究。本文分析了虾米难民之“难”的三种情感性的记忆想象及其情动怀旧意涵。每日推荐的记忆想象展演了心动音乐发现的情动体验及中介化的在世存有感觉；小众风格标签的记忆想象是在后摇和氛围音乐中整合出一种非人类中心的世界想象；而歌单和音乐库的记忆想象则展演了个体、社群与平台协力共建集体音乐档案的情感联结，及其背后的文化遗产价值。这三种情感性记忆想象是虾米难民的情动怀旧的动力基础。在难民们“无家可归、无处可依”的情动怀旧背后潜藏着一种希望伦理：它淘澄出人们对线上公共音乐生活的渴望，使人们反思脆弱的中介化在世存有并找到了三种应对策略，让人们通过（残留的）身体和情动记忆重探与复数身体的关系性联结。

Research on memory practices has richly discussed representational and archival memory practices, but has not yet fully analyzed imaginative, non-representational and affective memory practices. This paper analyzes three types of affective mnemonic imagination of Xiami Refugees’ “difficulties” and the related affective nostalgic connotations. The mnemonic imagination of daily recommendations demonstrates the affective experience of flipped music discovery and a mediated sense of being-in-the-world. The mnemonic imagination of genre labeling integrates a nonhuman-centered world imagery in the recollection of post-rock and ambient music. The mnemonic imagination of playlist and music library demonstrates the affective connection of individual, community, and the platform in the construction of collective vernacular music archiving as well as the public value behind cultural heritage. These three kinds of emotional mnemonic imagination are the momentum of Xiami Refugee’s affective nostalgia. What underneath the affective nostalgia of “No home to go to, and no world to be in” is the ethics of hope: clarifying people’s longing for online public music life, reflecting on the precarity of mediated being-in-the-world with three strategies to cope with it, relying on residuals of body memory and affective memory to re-explore relational connection with multiple bodies.