The present object, at its face, has a triangular shaped side, measured at 7.6 inches tall. At the height of this measurement, the object is sectioned off by a perfectly leveled horizontal line to form a pyramid shaped portion at .3 inches tall. At the objects peak, it stands at 7.9 inches tall.

The object has 4 sides of uniform dimensions. When looking at the bottom of the object, when it is turned with it’s apex, at the pyramid shape, pointing downward, we see that the base is square shaped. Each side of the square, at the bottom of the object, measures at 4.5 inches. The slope of the triangle is roughly 101 degrees from base to apex. Its weight is measured at 330g.

The first component seen on this object is the indentation at what we can presume is the objects front. From 3.4 inches to 7.4 inches is where this indentation occurs, measured at roughly .3 inches deep into the object’s front. This indentation has a black triangular shaped finish on what appears to be treated plastic. On either side of the triangle there are groves following, perfectly, the original triangle shape of the object.

Directly down the center of this area is a metal piece. It is thin, with several grooves in it, measured perfectly starting at the bottom and occurring more rapidly as we scan its features to its top. This piece is not attached to this area, rather, if we follow is origination, and maneuver the whole object so that the apex of the triangle is pointing at us, we see a rectangular shaped hole where the object’s point of origination extends from. The rectangular hole measures about a third of the indentation in the whole object, and extends about half of the indented area’s base, centered, at 3.4 inches on the slope from the base of the object.

On the metal piece is a pitchfork shaped device with three prongs. The outer prongs of this device hug the metal piece and are thicker than the center prong, which is positioned directly on top of the metal piece. They seem to latch on to the grooves of the metal piece and the device can be moved to the desired position. The metal piece, at its very top, is housed within a ridge of the indented section. When the metal piece is removed from this housing it snaps forward from the front of the object and swings from side to side.

The final piece of the indented portion of the object is located directly underneath the metal piece. It is an additional indentation with a gray color. It extends the same height as the metal piece but is markedly wider. There are underlined numbers printed on this piece. The underlines correlate in position with the groves of the metal piece — so that the top number, 40, is underlined very close to where the first groove of the metal piece begins, when housed in the ridge, and the next number from the top, 42, correlates with the next groove of the metal piece.

Each concurrent number appears on the opposite side of the metal piece, on the final indentation, and lowered so that 40 is higher than 42, and on the left side (from our perspective) of the metal piece, while 42 is higher than 44, and on the right side of the metal piece (40 and 44 are both on the left side of the metal piece).

At the bottom of the final indentation appears to be a pitchfork shaped figure enclosed in a black diamond. Underneath the diamond is the word “Wittner,” presumably the objects maker.

The object, excluding the indentation mentioned previously, appears to be made of a mahogany finish. It has several black striations from bottom to top and resembles a wood finish. The finish reveals itself to be a hard plastic when touched and inspected further. On the the object’s left side, if we presume the indented area is the front, there is a metal knob that clicks on hinges in the interior of the object, in an area that, to be inspected, would require dismantling the entire object to view. This knob, presumably, winds up the metal piece in the indentation, and when it is wound, the metal piece swings at different rates, depending on the position of the pitchfork shaped device on the ridges on the metal piece.

The higher the pitchfork shaped device is, the slower it swings — so that 208, the number lowest on the final indentation, swings the metal piece faster than 40, the number highest on the final indentation. Whenever the metal piece crosses the center, where it is housed, it makes a clicking noise. These clicks can be timed, when maneuvering the pitchfork device, to match up with the second hand of a clock — or faster and slower.

The final piece we will inspect is the “Wittner” inscription on the final indention, underneath the diamond shape. A quick internet search yields some results, Wittner is a german manufacturing company that specifies in various musical auxiliary equipment. Our object turns out to be a Wittner made metronome Model No. 812 K, plastic coating.

This object is not specific to the maker Wittner. Johann Maelzel is one of the early, questionable, inventors of the modern metronome, and the design of early model components are accredited to Galileo, who discovered the practical uses of a pendulum swing.

Maelzel’s story ties in closely with Beethoven’s composition of the Battle Symphony, where Maelzel requested a piece be written to be performed on another contraption of his, the panharmonicon. But after a bitter battle with the composer over the ownership of the piece, Maelzel, while on a world tour, died aboard the Otis in travel from Havana to Philadelphia, but his contribution lasted.

Despite Maelzel’s German lineage, the term Metronome actually comes from Greek. It is a combination of the words Metron (measure) and Nomos (relegating). Whether the ancient Greeks had any notion of developing a metronome predating Maelzel’s model is unknown, but history shows them as users of water clocks.

Water clocks are early time keeping devices that originated in Egypt around two thousand B.C.. These clocks were powered by a water supply, that, when emptied into a reservoir, lifted a floating device that was attached to handle. This handle, attached to a gear above it, would rise as water filled the reservoir, and turn the gear which controlled the movement of a clock dial. When the water in the supply container ran dry, and the reservoir was filled,  the clock would stop and both devices would have to be restored to normal. This design required constant manipulation to the ancient Greeks, but with Obelisks only being readable during daylight hours, the water clock was an efficient substitute.

These water clocks of ancient Egypt and Greece begot innovation in the centuries following that led to the invention of the clock, as we know it, and the Wittner metronome Model No. 812 K, plastic coating.

This particular metronome was used during the composition of an alto saxaphone and piano piece that won first prize at the 2011 Ohio Federation of Music Clubs’ Composition Competition collegiate level. The young man who won the competition began playing the piano at thirteen years of age. During his artistic infancy, he practiced fourteen hours a day, measuring his notes and discerning the distinct taste the staccato and legato flavor a piece. His daily schedule deferred to his practice schedule and he committed to the precedent routine with short naps throughout the day supplementing the lack of major REM sleep. This schedule would change depending on what time his bus, provided by the local public school system, would carry him to his middle and high school classes. At first he learned pieces of music by ear, playing crude renditions of Handel and fumbling through advanced chord progressions for those of the likes of Thelonious Monk.

He exhibited a singular interest in classical and blues music that distinguished himself among his peers. His appetite for the thrill of practicing, however raw, lead him to pursue a richer knowledge of the artistry of composition and arrangement. At fifteen years old he got his first piano instructor who would refine his artistic capabilities. On tuesdays and thursdays, at seven o’clock, he would meet with his instructor to develop his ability to read measures of sheet music. The instructor was captivated by the student’s quick knowledge and measured understanding of the classics.

He was advised, after a short period, by the instructor to seek a more advanced instructor. That year, during his first semester of tenth grade, he heeded his former instructor’s advice and he went on to study under a master class instructor who, over the progression of her advisements, would suffer bouts of disorientation and forgetfulness that accompanied her dementia. Nevertheless, the relationship was a fruitful one and the student decided to attend Shorter University in Rome, Georgia (the city’s name commemorates the Italian city with the same name) in remote appreciation of Italian composer, Antonio Vivaldi.

The student performed well under the tuition of his professors at Shorter, and he graduated three years after he first entered the program. He amassed a comprehensive repertoire with works ranging from early classical to later twentieth century, and many of his own compositions (some of which he entered into competition and won). He then went on to pursue his master’s degree at Cincinnati Conservatory of Music after studying in Austria, the “capital of classical music,” and he’d learned on his trip that he focus should be on composition. There, in his second and final year at CCM, he wrote the piece that would win him the 2011 Ohio Federation of Music Clubs’ Composition Competition collegiate level, and placed him in an excellent position to pursue his DMA at Cornell University in Ithaca, New York, and after his sojourn in this city named after Odyssey’s refuge there is no way of knowing what direction his journey will take him.

The metronome was attendant in much of his journey, from Rome, Georgia, to Austria; from Cincinnati to Ithaca, and It was used to aide in the preparation of many pieces before garnering the mentioned win. Prior to its current ownership, it was shipped from Allgäu, Germany, Wittner’s shipping address.

If this metronome will ever be encased in glass, like Beethoven’s famed metronome, from his house in Baden, Austria, is too early to know, but there are millions of metronomes in use today measuring the practice of aspiring, and accomplished, musicians.

The most recent metronomic devices are digital and many can be used from the internet. They range from the traditionally standard (ranging from 40 to 208 beats per minute [bpm]) to the technologically advanced digital interfaces that measure time at 900bpms.

Various measures of time are useful to what flavor of music is being created. From the 72bpm in “Kaneda’s Death, Pt.2 (Adagio in D minor)” from the 2007 science fiction film Sunshine, to the 140bpms in Beyonce’s “Drunk in Love,” to the faster 380bpm, at its peak, in John Coltrane’s “Giant steps.” The disparity in tempo can be culture and genre specific and can provide abstract insight on the culture attributed to them (disco music in the 1970s usually has a faster tempo than 17th century baroque music).

The metronome simply measures time and a key component of many traditional metronomes is the pendulum. The pendulum is a thin metal piece that swings and ticks as it crosses the center line of the metronome. It was initially developed by Galileo Galilei in the early 17th century, and its full functionality came later that century with the invention of the pendulum clock by Christiaan Huygens. Galileo played a major role in scientific revolution during the European Renaissance, a movement that was concerned with ordering the nature.

The clock maintains its basic function, as it has since prehistoric Egypt, with their invention of the obelisk, and that is to track time.

Although the ancient obelisk were designed to designate time for the early egyptians to farm, our present mode of life is not disparate from their ideas of raising grain during their most productive hours. We maintain a forty-hour work week; a scheduled time in which a train arrives, or leaves; we maintain our children’s bedtime, or our own bedtime, and bedtime stories; we maintain daylight savings time, and innumerable ways to track our time. Many contracts are often carefully crafted with time limitations and stipulations. Many of our laws have statutes. We even monitor our blood pressure with time, and surgeons offer an estimated time of surgery prior to operation. Time is an aspect of life we adhere to constantly without conscious effort. We order ourselves to certain schedules and are flustered when that element of our life falls to pieces–how many times do you scour the internet or repeatedly pester your coworkers and friends to gather a definite answer to whether we fall back an hour when daylight savings ends. Time is an rigid autocrat and we marshal our abilities ingratiatingly for an opportunity to compose a symphonic catalogue of how that time was spent.

The iPhone 5c cell phone is 5 inches in length, 2 inches in width and about .35 inches in depth. Its about the size of an adult palm. It is only 4.65 ounces heavy which is relatively light or equal in weight compared to other things that we carry on an everyday basis. When the cell phone is not being used it has a a screen that covers the entire front (except on the borders which is the most minimal). 4 inches of that screen is an LED-blacklit widescreen. It is a multi-touch display with IPS technology which includes a 1136-by-640-pixel resolution at 326 ppi. It also includes a fingerprint-resistant oleophobic coating on the from and support for the display of multiple languages and characters simultaneously.

On the back side of the phone there is a iSight Camera. It has 8 megapixels. a sapphire crystal lens cover and an LED flash. When using the camera it is capable of autofocus, tap to focus, exposure control, HDR for photos, face detection, panorama and geotagging. With this same camera one can also switch to video recording. While recording the LED flash is available, there is face detections, the ability to still take photos while recording video, 3x zoom and video geotagging. A camera lens is also incorporated to the front of the cell phone in order to facilitate FaceTime Camera. It is often used to take selfies as well all though there are less options on this camera. It only includes face  detection, exposure control, video recording and a backside illumination sensor.

Besides the camera lens on the front of the cell phone, there is also a listening opening meant for typical conversations. There is also a singular a button on the opposite end of the phone called the Home button. These 3 things are the only things on the front screen.

On the side there are several other buttons. there is a Volume up/down button, a Ring/ silent button, an on/off sleep/wake button, and a built-in speaker. There is also a microphone, 3.5 – mm stereo headphone minijack and lighting connector.

On the back there is only a camera lens, a flash lens, the Apple icon  and the information about the identity of the phone.

This is a description of the outer and physical properties of the iPhone 5c. The internal technologies create infinite possibilities to assist humans.

When considering the significance of the pepperoni pizza, one must account for a comprehensive understanding which employs the use of all five senses. Using the senses of sight and touch, and also referring to Kenneth Haltman’s practice of “polarities and oppositions”, the pizza will come out of the oven hot, intending it to be consumed at a warm, temperate level instead of rigid cold, thus suggesting its ability to comfort its consumer, as food often does. The object is often round, although it is sometimes square–and heart-shaped for Valentine’s Day–round seems to be the preferred method of appearance and delivery. A round pizza is more convenient, in that the surface area of the cuisine when sliced is spread out across the surface in a triangular shape; this ensures that the top layer of cheese is less likely to slide off. When dealing with a square slice of pizza, the cheese is more likely to slide because the shape is restricted, and does not extend itself or diminish itself for accessibility.

The object exists as layers of fluffy buttery pizza crust which has been hand-crafted into its designated circumference size. The next layer is a red tomato sauce with several savory spices to add to the aromas it strongly emanates. Next comes a layer of soft and chewy cheese, followed by flavorful pepperoni slices which add a tang but not a bite.

This object is edible and is therefore not a collectible, but a consumable. This warm object, makes one feel pleasant, cheerful, and gracious for such a delectable disk of deliciousness. The disk-shape is safe and comforting–there are no sharp corners to abruptly scourge you or imply a rigidity to this object. Rather, this object invites you take it in–its smells, its sight. Its warmth is soothing, reassuring you that it will make you feel improved. If feeling emotionally heckled or physically frazzled, the pizza is available to encourage golden optimism and desired reassurance.

The object consists of two main pieces of wood, Alder and Maple respectively, which are bolted together horizontally. The wider of the two pieces, the “body”, is mostly coated with a polyester finish, of a light, pastel-blue hue. Conversely, the “neck” of the object is approximately 25.5” and has the shape of the letter “C”. The wood of the rounded back is un-painted; the front is covered with a flat piece of rosewood that has a radius of 9.5”. Scaling down the neck are several small pegs made of ivory, creating a flowing line of dots. Beyond the polyester coating, the back of the guitar remains mostly plain, save for a number of buckle scratches.

At the tip of the neck, there is a nut approximately 1.650”, which is connected to a somewhat larger curved head at the top. On the right side, the word “Fender” can be found in bold yellow type, with “vintage modified jazzmaster” etched in black toward the bottom. On the left side of the neck there are six white pegs, which have ascending gauges of steel strings wrapped around them. The 6 strings extend past the neck of the object, and are connected slightly before the tail end of the guitar by a thin piece of chrome, which is drilled into the wood. The high tension applied on each end of each string cause them to be tightly wound and elevated slightly above the flat base of the neck. The back of the neck contains a unique model number, reading “IC513168752”, as well as a small “made in Indonesia” etched near the top of the neck.

The object’s body has a unique shape, two horns are adjacent to where the neck is connected, there are parallel dips near the middle, and the bottom end is wider and more rounded. At the end of the largest horn and at the bottom of the body, there are identical metal pegs, in a reverse pyramid shape. Much of the bottom half of the front of the body is covered a thin layer with white plastic that contours to the object’s shape. Within the confines of this white plastic space, there are several other various shapes of plastic, as well as a number of metal screws that attach it firmly to the wood. The object has 2 large, white knobs that read “volume” and “tone”, as well as two tiny, moveable black wheels and one black switch towards the top end, near the most prominent horn. Near the second horn, there is another switch, this one extending about half an inch from the body, with a small bulb of white plastic at the top.

Horizontally intersecting the strings along the middle of the body are two 3” white plastic pieces, which are in a soap bar shape and bulge slightly outward. Along these two bars are 6 metallic dots, corresponding with each string. When a string is vibrated, the frequency of this energy is “picked up” by these small electromagnetic dots, and can be transmitted to anything that can amplify said frequencies. This energy is transmitted through complex wiring within the guitar’s body, which are connected to the various switches and knobs as well.

The strings on the object are perched up and held in place by a small chrome saddle. Towards the bottom of the guitar, there is a small hole around ¼ of an inch in circumference. At the bottom of the neck, there is a thin, metallic “arm” that in inserted into a small hole near the tailpiece and the saddle. Much like an actual joint, when pressure is applied, the saddle bends slightly as well. The oscillations in tension allow the strings to make a smeared kind of noise, which coincides of the bending of the tremolo “arm”.

The object can also be read as a physical embodiment of characteristics humans are attracted to or are universally connected with. The object’s specifications contain several references to human anatomy, including “body”, “head”, “neck”, and “arms”. Its curvy, contoured shape, comparably similar to that of a buxom woman, influences the desirability factor of this object. Likewise the polyester finish makes the object look similar to candy. On the neck of the object, several slivers of metal are melded into the wood. When scanning from the top to the bottom of the neck, it’s clear to see that these 21 frets are inching closer with each note. The pattern of converging frets is comparable to that of a classic diagram of the electromagnetic spectrum. As the pitch increases, the energy of the vibrations becomes faster as well.

The present object, at its face, has a triangular shaped side, measured at 7.6 inches tall. At the height of this measurement, the object is sectioned off by a perfectly leveled horizontal line to form a pyramid shaped portion at .3 inches tall. At the objects peak, it stands at 7.9 inches tall.

The object has 4 sides of uniform dimensions. When looking at the bottom of the object, when it is turned with it’s apex, at the pyramid shape, pointing downward, we see that the base is square shaped. Each side of the square, at the bottom of the object, measures at 4.5 inches. The slope of the triangle is roughly 101 degrees from base to apex. Its weight is measured at 330g.

The first component seen on this object is the indentation at what we can presume is the objects front. From 3.4 inches to 7.4 inches is where this indentation occurs, measured at roughly .3 inches deep into the object’s front. This indentation has a black triangular shaped finish on what appears to be treated plastic. On either side of the triangle there are groves following, perfectly, the original triangle shape of the object.

Directly down the center of this area is a metal piece. It is thin, with several grooves in it, measured perfectly starting at the bottom and occurring more rapidly as we scan its features to its top. This piece is not attached to this area, rather, if we follow is origination, and maneuver the whole object so that the apex of the triangle is pointing at us, we see a rectangular shaped hole where the object’s point of origination extends from. The rectangular hole measures about a third of the indentation in the whole object, and extends about half of the indented area’s base, centered, at 3.4 inches on the slope from the base of the object.

On the metal piece is a pitchfork shaped device with three prongs. The outer prongs of this device hug the metal piece and are thicker than the center prong, which is positioned directly on top of the metal piece. They seem to latch on to the grooves of the metal piece and the device can be moved to the desired position. The metal piece, at its very top, is housed within a ridge of the indented section. When the metal piece is removed from this housing it snaps forward from the front of the object and swings from side to side.

The final piece of the indented portion of the object is located directly underneath the metal piece. It is an additional indentation with a gray color. It extends the same height as the metal piece but is markedly wider. There are underlined numbers printed on this piece. The underlines correlate in position with the groves of the metal piece — so that the top number, 40, is underlined very close to where the first groove of the metal piece begins, when housed in the ridge, and the next number from the top, 42, correlates with the next groove of the metal piece.

Each concurrent number appears on the opposite side of the metal piece, on the final indentation, and lowered so that 40 is higher than 42, and on the left side (from our perspective) of the metal piece, while 42 is higher than 44, and on the right side of the metal piece (40 and 44 are both on the left side of the metal piece).

At the bottom of the final indentation appears to be a pitchfork shaped figure enclosed in a black diamond. Underneath the diamond is the word “Wittner,” presumably the objects maker.

The object, excluding the indentation mentioned previously, appears to be made of a mahogany finish. It has several black striations from bottom to top and resembles a wood finish. The finish reveals itself to be a hard plastic when touched and inspected further. On the the object’s left side, if we presume the indented area is the front, there is a metal knob that clicks on hinges in the interior of the object, in an area that, to be inspected, would require dismantling the entire object to view. This knob, presumably, winds up the metal piece in the indentation, and when it is wound, the metal piece swings at different rates, depending on the position of the pitchfork shaped device on the ridges on the metal piece.

The higher the pitchfork shaped device is, the slower it swings — so that 208, the number lowest on the final indentation, swings the metal piece faster than 40, the number highest on the final indentation. Whenever the metal piece crosses the center, where it is housed, it makes a clicking noise. These clicks can be timed, when maneuvering the pitchfork device, to match up with the second hand of a clock — or faster and slower.

The final piece we will inspect is the “Wittner” inscription on the final indention, underneath the diamond shape. A quick internet search yields some results, Wittner is a german manufacturing company that specifies in various musical auxiliary equipment. Our object turns out to be a Wittner made metronome Model No. 812 K, plastic coating.

An object appears as a soft rectangular solid of black, silver, and grey- cast in aluminum, glass, and hard plastic.  The body of the object is covered in a shell of light blue rubber and hard, medium-blue plastic.  The plastic shell bears the inscription “Otter Box.”

The object measures 2.31 inches wide.  The object weighs 4.9 ounces.  Its depth measures 0.37 inches, and its height spans 4.5 inches.

On the front of the object appears a slightly recessed circle, with a white square inscribed in the center, measuring no more than a half-centimeter or so on each side.  There is a rectangular shaped recession near the top of the façade, with grey mesh at its base.  Adjacent to the grey mesh, appears a tiny circular lens.  On the verso side of the object (the vertical verso), there are two buttons, labeled “+” and “-“, and a switch which can be shifted upward or downward.  When shifted downward, the switch reveals an orange rectangle of color above it. The right/recto vertical side of the object remains flush, featuring no modifying switches or buttons.  The bottom vertical side features two small grey mesh ovals, two tiny screws, and an opening shaped like a rectangle, which appears to be an electronic female plug.  The top vertical side features one oval shaped button and one circular opening which also appears to be a female electrical port of some variety.

Removing the plastic and rubber coverings and directing attention to the back of the object, one discovers what appears to be a tiny camera embedded into the top left corner with an accompanying flash, an image of a silver apple with a bite missing, and the following inscription on the back of the object: “iPhone…Designed by Apple in California…Assembled in China…Model A1387…EMC 2430…FCC ID: BCG-E2430A… IC:579C-E2430A.  Below the inscription are inscribed a series of symbols: the first appears to be FCC, with the C’s etched concentrically. The next symbol is a trashcan that’s been drawn through with an “X,” followed by a type of “C,” a type of “E,” 0682, and two concentric circles containing the symbol “!”

Engaging with the object yields the discovery that this rectangular solid is in fact an interactive electronic device, likely to be used for communication, given the inscription on the rear, “iPhone.”  Pressing the oval button on the top vertical side activates the front black-mirrored glass to reveal the date and time, a directive at the bottom, “slide to unlock,” two small digital oval buttons at center top and center bottom, and a camera icon in the bottom-right corner of the space.  The device is operated by touching the fingers upon the face to manipulate the device.  Sliding down the top oval digital button reveals a brief weather report and the date: “Saturday November 8^th… Partly cloudy currently.  The high will be 61 degrees.  Partly cloudy tonight with a low of 43 degrees… Calendar.”  Sliding up the bottom oval digital button reveals a menu of buttons: an airplane, a WiFi symbol, a Bluetooth symbol, a moon symbol, and a symbol with a lock circumscribed by a curved arrow.  Below these buttons is a sliding scale brightness control, with a sun emitting small rays on the left side and a sun emitting larger rays to its right.  Below that bar lies a sliding scale controlling volume: a spectrum bookended by a speaker symbol on the left, and a speaker symbol on the right, emitting sound waves.  At the bottom of the screen, 4 more buttons appear, revealing the tools they represent: a flashlight, a clock, a calculator, and a clock.

At the top of the screen, a status bar sits, indicating the level of connectivity, the service provider’s name, Virgin, and the type of service connected, 3G.  To the right of this information, a tiny alarm clock, a faded Bluetooth symbol, the figure 75%, and a battery-shaped icon (the battery being ¾ full) are lined up.

With the face of the iPhone unlocked, the screen features several squares that, when pressed, reveal applications which the device can operate: contacts, notes, weather, Wells Fargo, calculator, maps, podcasts, Spotify, music, clock, settings, and Safari.  At the bottom of the screen, a secondary row of applications is anchored at the base: phone, messages, calendar, and Gmail.  Two circles, one white and one grey, appear above the bottom row. Swiping the finger to the right on the first screen reveals a second screen with similar applications to the first screen.

Having completed a basic description, we find that the object of study is a highly portable and ergonomic tiny computer and a phone, capable of functioning in a multitude of fashions.  A brief search into the objects history yielded that it debuted in the marketplace on October 4, 2011, dating the object to being no more than 3 years old.