This is a book about time, but it is also about much more than time—it is about how the objects we use to think about time shape our thoughts. Because time ties together so many aspects of our lives, this book is able to explore the nexus of objects, cognition, culture, and even biology, and to do so in relationship to globalization.

An engaging, encyclopedic account of the material world of early modern Britain as told through a unique collection of dated objects The period from 1500 to 1800 in England was one of extraordinary social transformations, many having to do with the way time itself was understood, measured, and recorded. Through a focused exploration of an extensive private collection of fine and decorative artworks, this beautifully designed volume explores that theme and the variety of ways that individual notions of time and mortality shifted. The feature uniting these more than 450 varied objects is that each one bears a specific date, which marks a significant moment—for reasons personal or professional, religious or secular, private or public. From paintings to porringers, teapots to tape measures, the objects—and the stories they tell—offer a vivid sense of the lived experience of time, while providing a sweeping survey of the material world of early modern Britain.

100 EXTRAORDINARY STORIES ABOUT ORDINARY THINGS SIGNIFICANT OBJECTS: A Literary and Economic Experiment Can a great story transform a worthless trinket into a significant object? The Significant Objects project set out to answer that question once and for all, by recruiting a highly impressive crew of creative writers to invent stories about an unimpressive menagerie of items rescued from thrift stores and yard sales. That secondhand flotsam definitely becomes more valuable: sold on eBay, objects originally picked up for a buck or so sold for thousands of dollars in total — making the project a sensation in the literary blogosphere along the way. But something else happened, too: The stories created were astonishing, a cavalcade of surprising responses to the challenge of manufacturing significance. Who would have believed that random junk could inspire so much imagination? The founders of the Significant Objects project, that’s who. This book collects 100 of the finest tales from this unprecedented creative experiment; you’ll never look at a thrift-store curiosity the same way again. FEATURING ORIGINAL STORIES BY: Chris Adrian • Rob Agredo • Kurt Andersen • Rachel Axler • Rob Baedeker • Nicholson Baker • Rosecrans Baldwin • Matthew Battles • Charles Baxter • Kate Bernheimer • Susanna Breslin • Kevin Brockmeier • Matt Brown • Blake Butler • Meg Cabot • Tim Carvell • Patrick Cates • Dan Chaon • Susanna Daniel • Adam Davies • Kathryn Davis • Matthew De Abaitua • Stacey • D'Erasmo • Helen DeWitt • Doug Dorst • Mark Doty • Ben Ehrenreich • Mark Frauenfelder • Amy Fusselman • William Gibson • Myla Goldberg • Ben Greenman • Jason Grote • Jim Hanas • Jennifer Michael Hecht • Sheila Heti • Christine Hill • Dara Horn • Shelley Jackson • Heidi Julavits • Ben Katchor • Matt Klam • Wayne Koestenbaum • Josh Kramer • Kathryn Kuitenbrouwer • Neil LaBute • Victor LaValle • J. Robert Lennon • Jonathan Lethem • Todd Levin • Laura Lippman • Mimi Lipson • Robert Lopez • Joe Lyons • Sarah Manguso • Merrill Markoe • Tom McCarthy • Miranda Mellis • Lydia Millet • Maud Newton • Annie Nocenti • Stephen O’Connor • Stewart O’Nan • Jenny Offill • Gary Panter • Ed Park • James Parker • Benjamin Percy • Mark Jude Poirier • Padgett Powell • Bob Powers • Todd Pruzan • Dan Reines • Nathaniel Rich • Peter Rock • Lucinda Rosenfeld • Greg Rowland • Luc Sante • R.K. Scher • Toni Schlesinger • Matthew Sharpe • Jim Shepard • David Shields • Marisa Silver • Curtis Sittenfeld • Bruce Sterling • Scarlett Thomas • Jeff Turrentine • Deb Olin Unferth • Tom Vanderbilt • Matthew J. Wells • Joe Wenderoth • Margaret Wertheim • Colleen Werthmann • Colson Whitehead • Carl Wilson • Cintra Wilson • Sari Wilson • Douglas Wolk • John Wray

"This catalogue is published in conjunction with the exhibition Agents of Faith: Votive Objects in Time and Place, held at the Bard Graduate Center Gallery from September 14, 2018 through January 6, 2019"--Colophon.

The historiography of timekeeping is traditionally characterized by a dichotomy between research that investigates the evolution of technical devices on the one hand, and research that is concerned with the examination of the cultures and uses of time on the other hand. Material Histories of Time opens a dialogue between these two approaches by taking monumental clocks, table clocks, portable watches, carriage clocks, and other forms of timekeeping as the starting point of a joint reflection of specialists of the history of horology together with scholars studying the social and cultural history of time. The contributions range from the apparition of the first timekeeping mechanical systems in the Middle Ages to the first evidence of industrialization in the 18thand 19th centuries.

The Nobel Prize winner’s catalog of his Istanbul museum is like “wandering past the illuminated windows of an arcade. . . . This book spills over with pleasure”(The New York Times). The culmination of decades of omnivorous collecting, Orhan Pamuk’s Museum of Innocence in Istanbul uses his novel of lost love, The Museum of Innocence, as a departure point to explore the city of his youth. In The Innocence of Objects, Pamuk’s catalog of this remarkable museum, he writes about things that matter deeply to him: the psychology of the collector, the proper role of the museum, the photography of old Istanbul (illustrated with Pamuk’s superb collection of haunting photographs and movie stills), and of course the customs and traditions of his beloved city. The book’s imagery is equally evocative, ranging from the ephemera of everyday life to the superb photographs of Turkish photographer Ara Güler. Combining compelling visual images and writing, The Innocence of Objects is an original work of art and literature.

'Ordinary Objects' shows how to develop a common-sense ontology and defend it against a variety of eliminativist arguments. The text argues that the apparently diverse eliminativist arguments rest on a few shared assumptions, and that questioning these gives us reason to reevaluate the proper methods and limits of metaphysics.