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Nostalgia makes us all tick: It engages. We live in societies oriented towards the now and the tomorrow, in a world obsessed with a complex and protean present seemingly impervious to historical continuity. The many tomorrows inherent in every new technology, product, and digitally mediated event drive us further away from our collective histories. Yet the present seems stubbornly rooted in the past, as Zygmunt Bauman so convincingly argues in his final work Retrotopia (Bauman 2017). This occurs both politically, as in the repeated re-ignition of history’s buried fires, ranging from the emergence of ISIS as an ultranostalgic force to the re-emergence of a nostalgic hard-right in European politics, and culturally, as in the persistent return of cultural production and consumption to a number of key points in our history in a restless and always unsatisfied attempt to reinterpret, reuse, or replay that which is seemingly vanished. It appears in the most pressing issue of our times, climate change, and the discourse of the Anthropocene. This retrospective orientation is observable in all major contemporary media forms, aesthetic and social practices. Romantic inclination towards the past might seem irrational, but our emotional connections to our own biographies, as well as a collective solidarity with our childhoods, traditions, imaginations, anticipations, and dreams may also be a rational response to modern instability. Nostalgia, then, appears increasingly to be a modality of its own with major potential for understanding how our now is shaped by our then, both individually and collectively. Whether we are inclined, personally, to be nostalgic or we are somehow bound up in the external and contextual nostalgic webs, nostalgia dictates our lives. Beyond the intimate bittersweet immersions of nostalgia, conjured by aging, remembrance, death, time, childhood, loss, recovery, and melancholia, we are influenced by such things as retro shops, local produce, concepts of national states, xenophobia, communities, technology advancement, migration, and the climate crisis. The world we inhabit is just constantly shaped by private and public nostalgias. One way to make sense of the complex flux of emotions and temporalities on our planet in modern, contemporary times is to investigate and scrutinize the role nostalgia has on our daily lives, in politics, equality, sociology, psychology, history, art, philosophy. These examinations are truly interdisciplinary. The purpose of this editorial is not to introduce each essay in this collection (the abstracts will do just fine here), neither is it to survey the history of nostalgia. My ambition, albeit limited in scope here, is to frame and problematize the works in this collection within the emerging field of nostalgia studies and reiterate some of my previous views on nostalgia as an emotional experience and an aesthetic modality. Nostalgia studies have the past decade gained interest and importance in a variety of disciplines, often in a complex interaction between different disciplines such as art, history, literary studies, aesthetics, film and media studies, communication studies, intermedial studies, sociology, psychology, neuroscience, history of ideas, and colonial and postcolonial studies. Although nostalgia studies have not yet formulated a theoretical framework for its practice and methods, researchers within this field investigate nostalgia as a complex set of emotions and how these emotions interact

Nostalgia Makes Us All Tick: A Special Issue on Contemporary Nostalgia