www.intervalequipment.com 209 East 23rd St. New York, NY 10010 Photography: If Publication Service, Peter Volkmer,Et Al.
Contributors: Scott Buschkull, Young Woo Dong Hyun(Nicole) Kim Lemon Kim, Jie Miao, Woorim Lee, Grina Choi, Vedika Khaitan, Yonju Kim, Seona Kim, Sendra Lee, Kip Helton, Kei Xu, Jennifer Marchese, Hyun Joong (Hardy) Lee, Jasmine Lee, Bin (Will) Jin
“EVERY THING WE DO IS MUSIC” – John Cage (Classical Composer)(From: 4’33”)”
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dB +08 THE C dB +06 THE HA
dB +04 TRANSIST dB +02 TOOTHBRUS dB +00 THE FAN
dB +00 THE WALL CLOCKS dB -00 THE HEATER
dB -02 THE PORTABLE CAMERA dB -00 SOUND OBJECTS dB -02 MORE ITEMS PREVIEW dB -04 MORE ITEMS PREVIEW dB -06 PREVIEWS OF ITEMS dB -08 AN AUDIBLE HISTORY
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TABLE OF CONTENTS
EALARM AIR HORN CLOCK
COFFEE GRINDE AIR DRYER
TOR SHES
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This catolouge concerns itself with selling household objects ranging from the everyday common refridgerator to the somwhat obscure transistor radio. The starting off point lies in the ideas of the famous avant garde composer/artist John Cage who was also known as the composer behind 4’33. The importance of open space will be explored through the sounds of objects rather than their phsyical presence meaning the objects of value will be displayed in a simplistic format that draws from hardware icons in analog sound engineering hardware. Supplamentary pictures will also be created as a visual aid for select items. Another big source of inspiration (as mentioned below) is that of electrical equipment that will help translate the notion that these objects are not household objects at all but a myriad of sonic possibilities.
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AMERICAN COMPOSER, JOHN CAGE, WORKS AT HIS PIANO IN 1947. MARKING THE CENTENNIAL OF HIS BIRTH, THE BERLINER FESTISPIELE IS EXPLORING CAGE’S LEGACY UNDER THE THEME “CAGE AND CONSEQUENCES.”
AN AUDIBLE HISTORY: THE STORY OF JOHN CAGE
ON THE NOTIONS MUSIC John Cage’s most famous, or infamous, work is “4’33”,” in which a musician walks onstage and sits at the piano for 4 minutes and 33 seconds. The “music” in this seemingly silent composition is all of the sound that occurs in the concert hall — the coughs, the rustling, the noise coming in from outside. In a 1963 interview with public radio station KPFK, Cage described a revelation he’d had 15 years earlier, when he visited an anechoic chamber at Harvard University: a room that’s supposed to be completely silent.
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“In that room, I heard two sounds, whereas I expected to hear nothing,” Cage said. “So when I got out of the room, I asked the engineer what those two sounds were. One was high and one was low. And he said, ‘Well, the high one was your nervous system in operation. And the low one was the circulation of your blood.’ Therefore, even if I remain silent, I was, under certain circumstances, musical.” Kay Larson is the author of a new book called Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists. She says Cage’s ideas had a huge influence, especially on the visual arts. “The point is to look around you and see what’s present in the world, and what that music of the world sounds like, and then make music out of that,” Larson says. “He changed the entire cul-
ture of the arts in America and Europe.” Larson says Cage spread his ideas about art and life at an abstract expressionist hangout in Greenwich Village called The Club, as well as in the class Cage taught at the New School. The young artists listening included Jasper Johns, “Because of his friendship with these artists, there was this tremendous outpouring in the art community, through the early ‘60s, of brand new forms,” Larson says. “Happenings, pop art, minimalism, performance art, installation art, process art — I could go on and on. And if you look at who created those forms, they all had come in contact with John Alex Ross, music critic for The New Yorker, says Cage had an equally momentous impact on musicians. “What so many people said at different points was that Cage allowed them to think differently, just by clearing away all the rules,” Ross says. “For example, the musical movement known as minimalism was something that was very much a departure from Cage’s practice — something that Cage himself actually didn’t like. But I think it’s something that couldn’t have happened without Cage, without everything having been cleared away.” In the 1940s, Cage pioneered electronic music, creating works out of randomly assembled snip-
AN AUDIIBLE HISTORY: THE STORY OF JOHN CAGE
pets of audiotape. But perhaps Cage’s greatest invention was his approach to music and art. After two years studying Zen Buddhism, Cage came up with the idea of using chance to compose his music. He used the I Ching and literally rolled the dice to determine which elements went where, freeing the music from the composer’s preconceptions. Cage said he wanted to see each act as new, as a fresh experience — even something you do every day. “Gradually, and through a study of Oriental philosophy and through the use of chance operations,” Cage said, “I have found ways, I think, of letting sounds move from their own centers rather than centers in my mind.” Cage was a self-taught expert on mushrooms. Early in his career, he made a living gathering mushrooms in the country and selling them to gourmet restaurants like the Four Seasons. In 1982, Cage said that mushrooms reminded him of the ephemeral nature of life. “That’s one of the beautiful things about hunting mushrooms,” he said. “They grow up and they’re fresh at just a particular moment, and our lives are actually characterized by moments.” John Cage taught that music is everywhere in the ordinary moments of life. We just have to learn or as he would say “unlearn” to hear it.
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SOUND OBJECTS
OBJECT No. 7121 - THE POCKET CAMERA
NIZO 1000 POCKET CAMERA Sound Object: POCKET PORTABLE HEATER 1959 / Designed by Dieter Rams Black / Aluminium color No.4305
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20.99 USD
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OBJECT No. 4429 THE PORTABLE H THE SLOW STEADY DRONE It all started with a visionary idea: Erwin Cage believed there was a market for handy electrnoic flash units. The still-rudimnetary Design Department responded by producing designs in the ascestic style of New Objectivity: neutral grey cubes off Dieter Rams’ drawing board. He also adesigned compact slide projectors in the same light grey or silver, to match the growing product family. In th early 1970’s two proectors haeralded a conceptual breakthrough: the double-decker D300 by Robert Oberheim and Peter Hartwein’s two-eyed Tandem projecttor, an apottheosis of systematic design that verged on the limits of feasibility. Anticipating the phonograph market, the distinguished dark guise of both devices turned them into magical black boxes. In his flash units, no also in black, Oberheim developed during the same period a complex and ergonomic formal naguage that lent expression to the mobility of the flash attachment, redefining the requisite qualities.
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Just a few years earlier, with similarly spectacular results, he had made his debut in a related field: cine film cameras – whose form Oberheim dictacted fot over two decades – and the mathing film projectors. The Nizo S8 camera, which was presented for the first time in New York n 1965 on year after the Barun show at the Museum of Modern Art - was the archetype for the modern Super8 film camera. Braun proceeded to produec some top of the line highlights in amateyr film market: the S8, the 1056, and finally the integral by Peter Schneider - a revolution in operating geomtry that failed to evolve only due to the decline of cine film technology itself. Braun sold its film and photography division.
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HEATER
H1 / 11 Sound Object: POCKET PORTABLE HEATER 1959 / Designed by Dieter Rams Black / Aluminium color No.4305
20.99 USD
SOUND OBJECT No 4305-4308 WALL CLOCKS
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ABK 20
ABK 31
Sound Object: POCKET PORTABLE HEATER 1959 / Designed by Dieter Rams Black / Aluminium color No.4305
Sound Object: POCKET PORTABLE HEATER 1959 / Designed by Dieter Rams Black / Aluminium color No.4305
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8
ABW 21
ABW 35
Sound Object: POCKET PORTABLE HEATER 1959 / Designed by Dieter Rams Black / Aluminium color No.4305
Sound Object: POCKET PORTABLE HEATER 1959 / Designed by Dieter Rams Black / Aluminium color No.4305
99.99 USD
TIK TOK TIK TOK It was known as the “brick” This is one of the company’s first heaters from the early days of design whose unorthodox form inspired an affectionate nickname. The disrecpectful moniker went righ to the hear of the matter: the model H 1, designed by Dieter Rams, was the smallest heater on the market up to that time, whose slab-shaped form as well as its dimensions indeed called to mind a lowly brick. Other 2000watt heaters were much larger. That sales got off to a slow start is no doubt attributable to the fact that people simply didn’t believe that the small appliance packed sufficient power. It was only when word spread of the heating preformance of the H1 that things changed. The secret of its effectiveness was a cross-flow blower, a technical innocation that brought such additional benefits as a lrger heating range and low noise operation. The mite was equipped with a thermostat and an adjustable base to modify the di-
rection of heat. The metal housing was grey and white with plastic sections on the side and slats on the fron and top. They undesrcore the extremely simple geomtrey based on 90–degree angles. Parallelbentilation slits of this kind were part of the company’s corporate image in the late 1950’s. The rectangular box an idiom that plays an important role in classical Modernism, in particular in architecture is given a new spin here by Rams in the form of an idustrial product with a facde. The H1 is an under-table bungalow in the style of Mies vander Tohe. and boasts an impressive low noise level liked to a calming whirr that heats at the same time it creates the ambiance.
SOUND OBJECT No. 4 THE FAN AN AIRY DISTORTION
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It was known as the “birkc” This is on eof the company’s first heaters from the early days of design whose unorthodox form inspired an affectionate nickname. The disrecpectful moniker went righ to the hear of the matter: the model H 1, designed by Dieter Rams, was the smallest heater on the market up to that time, whose slab-shaped form as well as its dimensions indeed called to mind a lowly brick. Other 2000watt heaters were much larger. That sales got off to a slow start is no doubt attributable to the fact that people simply didn’t believe that the small appliance packed sufficient power. It was only when word spread of the heating preformance of the H1 that things changed. The secret of its effectiveness was a crossflow blower, a technical innocation that brought such additional benefits as a lrger heating range and low noise operation. The mite was equipped with a thermostat and an adjustable base to modify the direction of heat. The metal housing was grey and white with plastic sections on the side and slats on the fron and top. They undesrcore the extremely simple geomtrey based on 90–degree angles. Parallelbentilation slits of this kind were part of the company’s corporate image in the late 1950’s. The rectangular box an idiom that plays an important role in classical Modernism, in particular in architecture is given a new spin here by Rams in the form of an idustrial product with a facde. The H1 is an under-table bungalow in the style of Mies vander Tohe. and boasts an impressive low noise level liked to a calming whirr that heats at the same time it creates the ambiance.
“A LOW CALM WHIR THAT COOLS AT THE SAME TIME IT CREATES AMBIANCE”
4207
H 200
Sound Object: THE FAN 1992 / Designed by Ludiwg Litmann Black / Grey No.4302
99.99 USD
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OBJECTS No. 6204 THE TOOTHBRUSH dB +12 D 7022
5.99 USD
Sound Object: TOOTHBRUSH 1990 / Designed by Peter Schneider blue / white No.6204
BUZZING WATERFALLS Not that long ago, all toothbrushes looked alike - banal and boring. Until well into the 198-’s the small, manually guided cleaning tools were not the focus of any targeted design efforts. They only changed when the people at Braun began to scout out new fields of endeavour and discovered the toothbrush-aker Oral-B in their bery own corporate group. Peter Schneider, in charge of external cooperative ventures, made contact with the Californina sister company, launcing the first chapter of a story that is exemplary in at least two ways. First, it dmonstrates the successful establishment of product design, which had not yet taken hold at Oral-B and for which the laborious development of a communication structure was necessary,
not least in the form of a convergence process between two corporate cultures. And second, it involved the virtual reinvention of a product type. the model Oral-B Plus by Juge Gerubel and Peter Schneider was the first professionally designed toothbrush and at the same time the archetype for awhole product family.
It still has the flat straight handle toothbrushes always had, but this on already displays some distinctibe features: the narrow neck, the shoulders that result, and finally the cross-ribs that make for an easy grip and that still shape the face of Oral-B toothbrushes today. The plys model, which came in various colours and also in a
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4 – 6206 H MD 2
Sound Object: TOOTHBRUSH 1990 / Designed by Peter Schneider blue / white No.6204
5.99 USD
smaller travel version, as well as being available in a translucent material, made the change signifiacnt. With well over on billion sold, it is the best selling toothbrush of all time. This toothbrush was slimmer, worked extremely efficiently and had an unmistakble round head. When in the early 1990’s Braun engineers developed a new technology for cleaning teeth, which they dubbed Plak Control, Peter Hartwin designed a new model to go with it. The most obvious difference from the previous toothbrushes is the marked forward slanting ledge between the handle. Hartwein made use of a second technical innovation, hard and soft technology to create a characteristic look for the new implementation.
Dominating the front side is an onf and off switch hidden behind a shield of soft plastic with a simple, easy to understand circle and dot symbolism. This focal point is framed at the edges by two vertical parallel lines. These millimetre thin longtidal stipes, likewise in a soft material that can be ffelt even by sleepy morning time fingers, not only elongate the handle optically but also fulfill a very practical purpose.
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OBJECTS No. 2003 dB +16 THE TRANSISTOR RADIO WHITE NOISE Never before had so much radio taken up so little space. And high performance had rarly been so clearly legible in the look of an appliance. These unique qualities ensured the T1000 a regular place in the great design collections. The mobile radio, one of Dieter Rams’ seminal designs, is a multi-purpose appliance which, with its 13 wavebands, was the first radio capable of receiving almost any frequency being broadcast. It could also function as a compononent in a hi-fi system and it established a new category of appliance: the “world reciever”. In the same era when the first manned spaceships were flying into the stratoshpere, Braun was conquering the airwaves. With the cover closed, this uber radio was transformed into an elegant, high tech box with a silver coloured out shell. For many of its owners, this all-round appliance was also a status symbol – just as it was for the Braun company.
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T 1000 Sound Object: PORTABLE RADIO 1987 / Designed by Dieter Rams shortwave reciver No.2003
120.99 USD
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OBJECT No. 3 ELECTRIC SPI COFFEE GRIND
Once upon a time, the comforting gurgling sound of the coffee machine was as yet unkown in kitchens and offices. Although automatic coffee-making looked back on a long history it took Braun to overcome the “Model-T stage” and to turn th eletric coffee machine with filter into a unversal appliance. the model KF 20, designed by Florian Seiffert, was considered from the outset to be one of those classics that define a whole product genre for a certain period of time.
change in lifestyle and purchasing ha its was the coffee machine, one of the numerous everyday products that took shape during this era. An apparatus for the autmoted brewing of the dark brown beans leaves a relatively large degree of freedomin terms of layout.
3519 THE ICE AND NDER Likewise classic was the arduous communication process that was apparently needed before the new product could be implemented. This involved the not entirely easy back and forth between the masterminds in the Desing Department and th technicians with their professional and empirically based scepticism.
This fraught but crucial relationship was aggravated further by the upheaval of the 1960’s and the urge felt by a new generation of designer at Braun to flex their creative muscles. And the there were technical hurdles, such as the development of a glass coffee pot in which details like an effective spout were completely unexpred territorey for both the glass manufactueres and Braun. These were the days when coffee drinking – which had always been something of a festive, ritualized act – gradually became part of the everyday routine. The inevitable result of this
FK 20 Sound Object: COFFEE GRINDER 1965 / Designed by Reinhold Weiss Egg shell white No.4398
Many different constellations are conceivable. Seiffert’s product concpet is based on the elemntary idea that liquids always flow downward. This is why he selected a structure oriented around the hierarchical principle of the water tower: on top is the tank, in the middles the filter that snaps in at three labelled points from below into the housing , and at the base a glass pot standing on a hotplate to hold the finished beverage. Once upon a time, the comforting gurgling sound of the coffee machine was as yet unkown in kitchens and offices. Although automatic coffee-making looked back on a long history it took Braun to overcome the “Model-T stage” and to turn th eletric coffee machine with filter into a unversal appliance. the model KF 20, designed by Florian Seiffert, was considered from the outset to be one of those classics that define a whole product genre for a certain period of time. Likewise classic was the arduous communication process that was apparently needed before the new product could be implemented. This involved the not entirely easy back and forth between the masterminds in the Desing Department and th technicians with their professional and empirically based scepticism.
54.99 USD
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THE ALL TOO FAMILIAR COMFORTING BUBBLING
D OBJECT NA 82726 A C THE ALAR S CLOCK dB +22
Not that long ago, all toothbrushes looked alike - banal and boring. Until well into the 198-’s the small, manually guided cleaning tools were not the focus of any targeted design efforts. They only changed when the people at Braun began to scout out new fields of endeavour and discovered the toothbrush-aker Oral-B in their bery own corporate group.
Peter Schneider, in charge of external cooperative ventures, made contact with the Californina sister company, launcing the first chapter of a story that is exemplary in at least two ways. First, it dmonstrates the successful establishment of product design, which had not yet taken hold at Oral-B and for which the laborious development of a communication structure was necessary, not least in the form of a convergence process between two corporate cultures. And second, it involved the virtual reinvention of a product type. the model Oral-B Plus by Juge Gerubel and Peter Schneider was the first professionally designed toothbrush and at the same time the archetype for awhole product family.
It still has the flat straight handle toothbrushes always had, but this on already displays some distinctibe features: the narrow neck, the shoulders that result, and finally the cross-ribs that make for an easy grip and that still shape the face of Oral-B toothbrushes today. The plys model, which came in various colours and also in a smaller travel version, as well as being available in a translucent material, made the change signifiacnt.
With well over on billion sold, it is the best selling toothbrush of all time. This toothbrush was slimmer, worked extremely efficiently and had an unmistakble round head. When in the early 1990’s Braun engineers developed a new technology for cleaning teeth, which they dubbed Plak Control, Peter Hartwin designed a new model to go with it. The most obvious difference from the previous toothbrushes is the marked forward slanting ledge between the handle. Hartwein made use of a second technical innovation, hard and soft technology to create a characteristic look for the new implementation.
Dominating the front side is an onf and off switch hidden behind a shield of soft plastic with a simple, easy to understand circle and dot symbolism. This focal point is framed at the edges by two vertical parallel lines. These millimetre thin longtidal stipes, likewise in a soft material that can be ffelt even by sleepy morning time fingers, not only elongate the handle optically but also fulfill a very practical purpose. Not that long ago, all toothbrushes looked alike - banal and boring. Until well into the 198-’s the small, manually guided cleaning tools were not the focus of any targeted design efforts. They only changed when the people at Braun began to scout out new fields of endeavour and discovered the toothbrush-aker Oral-B in their bery own corporate group. Peter Schneider, in charge of external cooperative ventures, made contact with the Californina sister company, launcing the first chapter of a story that is exemplary in at least two ways. First,
TABLE OF CONTENTS
DIGITAL No. AND ANALOG COMPACT RM SERIES 20.99 it dmonstrates the successful establishment of product design, which had not yet taken hold at Oral-B and for which the laborious development of a communication structure was necessary, not least in the form of a convergence process between two corporate cultures. And second, it involved the virtual reinvention of a product type.
the model Oral-B Plus by Juge Gerubel and Peter Schneider was the first professionally designed toothbrush and at the same time the archetype for awhole product family.
It still has the flat straight handle toothbrushes always had, but this on already displays some distinctibe features: the narrow neck, the shoulders that result, and finally the cross-ribs that make for an easy grip and that still shape the face of Oral-B toothbrushes today. The plys model, which came in various colours and also in a smaller travel version, as well as being available in a translucent material, made the change signifiacnt. With well over on billion sold, it is the best selling toothbrush of all time. This toothbrush was slimmer, worked extremely efficiently and had an unmistakble round head. When in the early 1990’s Braun engineers developed a new technology for cleaning teeth, which they dubbed Plak Control, Peter Hartwin designed a new model to go with it. The most obvious difference from the previous toothbrushes is the marked forward slanting ledge between the handle.
Sound Object: Alarm Clock 1972 / Designed by Alfred A Jacobs No.82726-92
FREQUENTLY ASKED QUESTIONS
WHAT IS YOUR RETURN POLICY?
WHY OR WHEN SHOULD I BUY THESE ITEMS?
We don’t actually have a return policy for purchases made at Interval stores or intervalinstruemnts.com. We handle returns on a caseby-case basis with the ultimate objective of satisfying the customer. We stand behind our goods and services and want customers to be satisfied with them. We’ll always do our best to take care of customers—our philosophy is to deal with them fairly and reasonably; we hope they will be fair and reasonable with us as well.
The primary reasons people own and use these items are personal enjoyment and keeping up with the avant garde music movment. As an example, the shortwave radio is a method of enabling world-wide transmission of information and opinion, and a way to find out information and opinions from around the world but also produces some of the most marvelous frequencies at random.
WHY DON’T YOU HAVE A RETURN POLICY? We don’t actually have a return policy for purchases made at Interval stores or at intervalinstruments.com. We handle returns on a case-by-case basis with the ultimate objective of satisfying the customer. We stand behind our goods and services and want customers to be satisfied with them. We’ll always do our best to take care of customers—our philosophy is to deal with them fairly and reasonably; we hope they will be fair and reasonable with us as well.
Many countries broadcast to the world in English, making it easy to find out what a given country’s position is on those things that it finds important. Shortwave radio can also provide a way to eavesdrop on the everyday workings of international politics and commerce. You can hear news and other programs from a wide range of sources, and you can get emergency information by listening to amateur radio broadcasts including Single Side Band (SSB) transmissions. You also have Longwave (LW) band for Ship-toShore calls, FM and Medium Wave (MW) or AM.
WHAT TYPE OF BATTERIES SHOULD I BE USING? DO I NEED A RECEIPT FROM MY PURCHASE? Your receipt or order number helps us locate your purchase the fastest. If you don’t have a receipt, we should be able to find the purchase in other ways, but we may ask you for more information so we can better assist with your request.
ARE THE DIGITAL PRODUCTS IN FULL WORKING CONDITION Interval may test digital items that are returned because they didn’t start when they arrived and impose a customer fee equal to 15 percent of the product sales price if the customer misrepresents the condition of the product. Any returned desktop, laptop or tablet that is damaged through customer misuse, is missing parts, or is in unsellable condition due to customer tampering may result in the customer being charged a higher restocking fee based on the condition of the product.
Primary batteries are used once, then discarded. They have the advantage of convenience and cost less per battery, with the down side of costing more over the long term. Generally, primary batteries have a higher capacity and initial voltage, and a sloping discharge curve. Primary batteries do not presently require special disposal. Secondary batteries are the rechargeable batteries. They have the advantage of being more cost-efficient over the long term, although individual batteries are more expensive. Generally, secondary batteries have a lower capacity and initial voltage, a flat discharge curve, and varying recharge life ratings. Ni-Cd and small-size lead
AN AUDIIBLE HISTORY: THE STORY OF JOHN CAGE
LOCATIONS Please visit our flagship store in NYC 23 East 42nd Street New York , NY 10013 Open Mon - Sat 11a-7p and Sun 12-5p Our Desing studio and Costumer HQ is located at 27 East 42nd Street New York, NY 10013
REACH US BY PHONE Our main line is +1 973 987 2667 For customer service please call + 973 877 2779