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.