Svetlana Boym writes a new genealogy of modernity, moving beyond older debates between modernism and postmodernism to focus on the intersection of art, architecture, technology, and philosophy in the early twenty-first century. Drawing on theories of Georg Simmel, Henri Bergson, Aby Warburg, and Jacques Derrida, Boym presents the off-modern as an eccentric, self-questioning, anti-authoritarian perspective with roots in the Russian avant-garde, now developed in surprising ways by contemporary artists, architects, and curators around the world. She illustrates the off-modern in discussions of (and with) figures as diverse as architect Rem Koolhaas, Albanian artist-turned-mayor Edi Rama, an art collective in Delhi, and the creator of the Museum of Jurassic Technology in Los Angeles. Both a manifesto and a memoir, The Off-Modern often returns to themes of travel and immigration, exploring issues of diasporic intimacy and productive estrangement amid nostalgic landscapes of urban ruins.

This is an imaginative tour through the history and afterlife of Vladimir Tatlin's legendary but unbuilt Monument to the Third International of 1920. Boym traces the vicissitudes of Tatlin's Tower from its reception in the 1920s to its privileged recall in 'the reservoir of unofficial utopian dreams' of the Soviet-era.

Society is undergoing a process of deep change and transformation as the neoliberal order moves into crisis. Contemporary psychology, mired in exceptionalism and individualism, fails to address this broader context and continues with a fragmented reductionist approach which is alienating to students and practitioners alike. In the lifetime of the discipline there have been several distinct frameworks to emerge - psychoanalytic, behaviourist and cognitive. To these one might add Kelly’s Personal Construct Theory as the last attempt to present a coherent and challenging framework for how to understand our lives. As society moves into a new phase, Ron Roberts argues the need for a new way of ‘doing’ psychology which challenges not only the existing epistemological and reductionist outlook, but the centrality of a scientific professional discourse as a suitable vehicle for improving lives and making sense of the world.

With the rise of science, we moderns believe, the world changed irrevocably, separating us forever from our primitive, premodern ancestors. But if we were to let go of this fond conviction, Bruno Latour asks, what would the world look like? His book, an anthropology of science, shows us how much of modernity is actually a matter of faith. What does it mean to be modern? What difference does the scientific method make? The difference, Latour explains, is in our careful distinctions between nature and society, between human and thing, distinctions that our benighted ancestors, in their world of alchemy, astrology, and phrenology, never made. But alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology, and nature. The ozone debate is such a hybrid, in Latour’s analysis, as are global warming, deforestation, even the idea of black holes. As these hybrids proliferate, the prospect of keeping nature and culture in their separate mental chambers becomes overwhelming—and rather than try, Latour suggests, we should rethink our distinctions, rethink the definition and constitution of modernity itself. His book offers a new explanation of science that finally recognizes the connections between nature and culture—and so, between our culture and others, past and present. Nothing short of a reworking of our mental landscape, We Have Never Been Modern blurs the boundaries among science, the humanities, and the social sciences to enhance understanding on all sides. A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and replacing the rest with a broader, fairer, and finer sense of possibility.

Hartmut Rosa advances an account of the temporal structure of society from the perspective of critical theory. He identifies in particular three categories of change in the tempo of modern social life: technological acceleration, evident in transportation, communication, and production; the acceleration of social change, reflected in cultural knowledge, social institutions, and personal relationships; and acceleration in the pace of life, which happens despite the expectation that technological change should increase an individual's free time. According to Rosa, both the structural and cultural aspects of our institutions and practices are marked by the "shrinking of the present," a decreasing time period during which expectations based on past experience reliably match future results and events. When this phenomenon combines with technological acceleration and the increasing pace of life, time seems to flow ever faster, making our relationships to each other and the world fluid and problematic. It is as if we are standing on "slipping slopes," a steep social terrain that is itself in motion and in turn demands faster lives and technology. As Rosa deftly shows, this self-reinforcing feedback loop fundamentally determines the character of modern life.

An account of the unlikely romance between hard-bitten journalist Anna Pasternak and 'modern-day wizard' Andrew Wallas, 'Call Off the Search' shows how it is possible to find love in the most unexpected circumstances.