Svetlana Boym was a literary amd cultural theorist and critic, visual artist, writer of fiction, and Hugo Reisinger Professor of Slavic and Comparative Literature at Harvard University, USA.

This book will not fail to surprise readers of Svetlana Boym’s previous work, followers of her passionate scepticism, her art of shadow play, her explorative character, and subtle philosophical drifts. Boym’s posthumous oeuvre ranges meditatively over cultural history and the artistic genealogy of modernity; rich in concepts, gentle to the reader, yet this time with a more choreographic form of writing, oneiric phrasing, and a dream-like assemblage. Also, The Off-Modern is more direct, with a manifesto tone, and engages more deeply with analyses of artworks and art history.

• Table of Contents List of IllustrationsPreface David Damrosch (Harvard University, USA)I: Perspectives1: History Out-of-Sync2: Cultural Exaptation3: Human Error4: Nostalgic Technologies5: Digital Resident Aliens6. Edgy Geography7. Archive of Pentimenti8. Perspectivism9: Prospective Nostalgia10: Ruinophilia11: Off-Modern Urbanism12: Embarrassing Monumentality13: Tact and Touch14: Diasporic Intimacy15: Immigrant Arts16: Alternative Solidarities, Feminine Friendships17: Estrangement for the World18: Defamiliarized Human19: Squiggles, Spirals and Serpentine Dances20: The Off-Modern Museum21: Hypertextual Design and Essayistic Drift22: On OffII: Practices23: Unforeseen Homecoming24: Phantasmagorias of History25: Turning the page on the Avant-Garde26: Hybrid Utopias27: Global Transits and Portable Homes28: Postindustrial Art Nouveau: Tirana Arabesque 201029: Multitasking with Clouds30: Airport Ruins31: Hydrant Immigrants32: Not Working33: Black MirrorsNotesBibliography

Svetlana Boym was a literary amd cultural theorist and critic, visual artist, writer of fiction, and Hugo Reisinger Professor of Slavic and Comparative Literature at Harvard University, USA.

This book will not fail to surprise readers of Svetlana Boym’s previous work, followers of her passionate scepticism, her art of shadow play, her explorative character, and subtle philosophical drifts. Boym’s posthumous oeuvre ranges meditatively over cultural history and the artistic genealogy of modernity; rich in concepts, gentle to the reader, yet this time with a more choreographic form of writing, oneiric phrasing, and a dream-like assemblage. Also, The Off-Modern is more direct, with a manifesto tone, and engages more deeply with analyses of artworks and art history.

• Table of Contents List of IllustrationsPreface David Damrosch (Harvard University, USA)I: Perspectives1: History Out-of-Sync2: Cultural Exaptation3: Human Error4: Nostalgic Technologies5: Digital Resident Aliens6. Edgy Geography7. Archive of Pentimenti8. Perspectivism9: Prospective Nostalgia10: Ruinophilia11: Off-Modern Urbanism12: Embarrassing Monumentality13: Tact and Touch14: Diasporic Intimacy15: Immigrant Arts16: Alternative Solidarities, Feminine Friendships17: Estrangement for the World18: Defamiliarized Human19: Squiggles, Spirals and Serpentine Dances20: The Off-Modern Museum21: Hypertextual Design and Essayistic Drift22: On OffII: Practices23: Unforeseen Homecoming24: Phantasmagorias of History25: Turning the page on the Avant-Garde26: Hybrid Utopias27: Global Transits and Portable Homes28: Postindustrial Art Nouveau: Tirana Arabesque 201029: Multitasking with Clouds30: Airport Ruins31: Hydrant Immigrants32: Not Working33: Black MirrorsNotesBibliography

Svetlana Boym was a literary amd cultural theorist and critic, visual artist, writer of fiction, and Hugo Reisinger Professor of Slavic and Comparative Literature at Harvard University, USA.

This book will not fail to surprise readers of Svetlana Boym’s previous work, followers of her passionate scepticism, her art of shadow play, her explorative character, and subtle philosophical drifts. Boym’s posthumous oeuvre ranges meditatively over cultural history and the artistic genealogy of modernity; rich in concepts, gentle to the reader, yet this time with a more choreographic form of writing, oneiric phrasing, and a dream-like assemblage. Also, The Off-Modern is more direct, with a manifesto tone, and engages more deeply with analyses of artworks and art history.

• Table of Contents List of IllustrationsPreface David Damrosch (Harvard University, USA)I: Perspectives1: History Out-of-Sync2: Cultural Exaptation3: Human Error4: Nostalgic Technologies5: Digital Resident Aliens6. Edgy Geography7. Archive of Pentimenti8. Perspectivism9: Prospective Nostalgia10: Ruinophilia11: Off-Modern Urbanism12: Embarrassing Monumentality13: Tact and Touch14: Diasporic Intimacy15: Immigrant Arts16: Alternative Solidarities, Feminine Friendships17: Estrangement for the World18: Defamiliarized Human19: Squiggles, Spirals and Serpentine Dances20: The Off-Modern Museum21: Hypertextual Design and Essayistic Drift22: On OffII: Practices23: Unforeseen Homecoming24: Phantasmagorias of History25: Turning the page on the Avant-Garde26: Hybrid Utopias27: Global Transits and Portable Homes28: Postindustrial Art Nouveau: Tirana Arabesque 201029: Multitasking with Clouds30: Airport Ruins31: Hydrant Immigrants32: Not Working33: Black MirrorsNotesBibliography