LeeU

We have been considering moving for several years, since 2021 is still an unknown it might be time to pack up my studio/workshop and go for it. Thought of how much equipment and supplies etc I have is really quite daunting so I might just procrastinate a bit longer.
2020 BUH-BYE! (kind of looks like a trimming chuck so I figured I can get away with posting this)
 

Could you erect removable frames that use restaurant patio-quality (weatherproof, crystal clear, relatively inexpensive) super heavy duty vinyl sheeting? My formerly screened in porch now has the vinyl for the sides and the stuff is fantastic--the porch is now my kiln room.  Thanks to the vinyl, the 3 feet of snow we got today did not blow all over the inside of the porch and there will be no snow melt under the kiln!  

This is what almost every Monday looks like on Glaze day-its whats on the workbench which is every flat surface I can find in kiln loading area. These are all the pots we glazed today(my assistant and I ) and I loaded the small 12 cubic kiln and the large 35 cubic car kiln(I forgot to take that photo but I have posted it more times than I can recall.This may be my last workbench shot this year not the last fire but the workbench is always looking like this every week since Sept when sales took off. As in above post my back hurts as do my feet and arms. These long days are killer on the body. I lit the kilns for a slow rise and will finish firing on Tuesday -unload them both on Thursday. I start throwing agin in am and this week is the last cycle this year for me. 98% of this glaze ware fit in the two kilns and I got it done by 6 pm. Out of a bath now feeling sore like i do every Monday night.Pottery is a contact profession and at my level it can wack you.I loaded over 50 advancer shelves in the se two kilns this afternoon. We cheated a bit and waxed a the load and I glazed a hour yesterday to get a jump on todays madness.My booth is closed for Monday and Tuesday so I could work without distractions of going and coming twice a day to booth.
I'll get the burners up later tonight to go thru quartz slow and get up at 5 am and kick both kilns up hard and go back to sleep a few hours.Fires will be over in afternoon at a soft 1/2 cone 11.  Slow two day cool. All pots are porcelain .I;m out of a few items right now and need some of these for orders NOW.
The beat goes on. Its days like this I wonder when folks ask about being a potter and how much do you have to work every day.I strongly feel if you ask that question you are not cut out for it. Time for some more Queens Gambit on Netflix.-Mea I'm putting my feet up tonight.

My all time favorite-John Baymore.  June 16-19 John Baymore (is) “Headed off to South Korea ...in a week for an exhibition, then (the vessel with the neck will go) into a public collection.
The container is my single favorite piece of all things made of clay that I have seen to date.  John says " It is not done yet. Next it gets overglaze enamels." 
 

It’s photo editing day!

liner glazin'

As to the workbench I'm overloaded with demand currently. I open my booth on the 11th -build it on the 10th same day I unload two glaze fires. Every outlet is selling like crazy -one gallery sent a email today as they sold all the tumblers today to one customer (48 of them) . I called them back and said more on the 12th. My  organic markets are outselling last year by a bunch. This years xmas season is nuts and since it my 40th something season thats saying something. To top it all off covid is on the rise now even here behind the redwood curtain.

Can't really get a hook into anything in my clay-world to serve as a response, other than "no" .

Harvesting and processing wild clay is an emerging trend; more popular than most realize. Many are processing their own silica, fluxes, etc from wild sources. Natural basalt is gaining popularity for some amazing reds. The best looking celadon I have seen is processed from natural materials. Certainly not profitable or suitable for production: although some are heading that direction. Hunting wild clay is somewhere in the panning for gold category: hoping to find the perfect pit. Firing crystalline; absolute No for me- cannot give up modern kiln controllers.
Tom

Technology, as applied to the art and craft of ceramics, may be defined as any practical evolutionary, or revolutionary, advancement of knowledge that contributes to a ceramic process, and which utilizes a more efficient method for enhancing traditional practices, with the aid of science, a system, technique, tool, or piece of equipment.  Lee-the-editor-has spoke;  don't neglect those commas!
@liambesaw  Thanks for the roller coaster of a wormhole ride down into Wikiville. I visited much of human history, including clicking on Ted Kaczynski's contribution re: technology (except it was deleted), Heidegger, Blade Runner, something about BMI and weight gain, plus dolphins & crows, to hit the highlights.  Made a $5 donation to pay for the trip.

orchard valley ceramic arts guild: https://www.youtube.com/user/smedgerton/videos
3hr+ peter volkus demo from 1974:https://www.youtube.com/watch?v=qST6dzmLgoY&list=PLh_WwCbYTBSuPn6GH4HtCf5ZftvmSqDw8
master potter shoji hamada: https://www.youtube.com/watch?v=XdfsDDg2s3s
onggi making: https://www.youtube.com/watch?v=YzAD10u4DOY
washington street studios: https://www.youtube.com/c/WashingtonStreetStudios/videos
john britt has a ton of great glaze videos including a full on free class on glaze chemistry: https://www.youtube.com/channel/UCkzm7dzTmNY64cMjuFtAjGA
more demos some nice lee kang hyo ones: https://www.youtube.com/channel/UCJQ70-bw7IN6et_oUD2pwfw/videos
there's a bunch of nice warren mackenzie demos to see you can just search his name.
various ceramics videos: https://www.youtube.com/channel/UCV1p8P-ikJVgotXnfsCHdXQ
there are also lots of ceramic videos from around the world where i dont understand the language but enjoy watching people make:
 https://www.youtube.com/watch?v=cID0HCqKz_g
https://www.youtube.com/user/Komorigama/videos
https://www.youtube.com/user/pyonkiti008/videos
https://www.youtube.com/channel/UCypiew3f0-_IvyTNUM7dx-A/videos
https://www.youtube.com/c/ceramistHyungJunKIM/videos
https://www.youtube.com/c/ツクリテチャンネル瀬戸CreatorschannelSeto/videos
https://www.youtube.com/user/SAGA214/videos
https://www.youtube.com/channel/UC_03sDYFvLnbGFHmYfjuBIw
61 episodes on  japanese crafts persons: https://www.youtube.com/watch?v=3QYY7CfthJ0&list=PLrV_BP5Fb2nHjABJ9jF06LhpR9VSCmKGb
 

Technology, as applied to the art and craft of ceramics, may be defined as any practical evolutionary, or revolutionary, advancement of knowledge that contributes to a ceramic process, and which utilizes a more efficient method for enhancing traditional practices, with the aid of science, a system, technique, tool, or piece of equipment.  Lee-the-editor-has spoke;  don't neglect those commas!
@liambesaw  Thanks for the roller coaster of a wormhole ride down into Wikiville. I visited much of human history, including clicking on Ted Kaczynski's contribution re: technology (except it was deleted), Heidegger, Blade Runner, something about BMI and weight gain, plus dolphins & crows, to hit the highlights.  Made a $5 donation to pay for the trip.

Looks fine, maybe “ within” is a bit narrow and  “contributing to” or something to that effect is broader and includes processes and innovation outside art and crafts  ceramics that end up being of significance. Don’t know if “traditional” is helpful in this context maybe enhancing traditional ...... something to that effect.

Bill: cone 6 rose up in the early 80's because of power shortages/costs. Ceramics/pottery uses extensive technology; but we only end up seeing the consumer product results. Mines use slurry technology, magnetic separators, and power sievesthat do tons per hour. Orton cones are based in technology (chemistry). The pentameter Laguna uses ensures clay remains reasonably consistent. K26 brick, magnesium insulation, advancer shelves, controllers, relays, and thermocouples.
T

With all due respect @liambesaw I do think it's a useful dialogue to be having. From last weeks QoTW and the topic "Do you draw a line in the sand about technology when it comes to your studio or anything Ceramic?" it was your reply "I think 3D printers are the only real new technology to hit pottery since I was born, so maybe this is more a question for the older people here then?" that brought to my mind the possibility that we have different definitions of technology as it relates to ceramics. To me wifi enabled controllers that have only been available for a few years now would fit Pres's definition and yet it doesn't apparently fit yours. (or was an oversight)
I believe Pres is very open to suggestions for a QoTW, yours sounds like an interesting one.

Well high technology deals specifically with electronics, so a stick wheel would be low tech no matter the era.
I don't think a pottery specific definition of technology is particularly useful or intriguing.  The standard definition works well.  The more interesting and useful discussion is the philosophy of the relationship between craftsman and tool.  At what point on that spectrum do the craftsman and tool trade places?
Less definition and more nuance.  

Hope you & anyone else with some imagination keeps doing this. They are fun to read (& answer). I  haven't been able to think of one to contribute, but maybe someday LOL
 

I actually saw yesterday a new type of 3d printing, it's 3d printing a silica based thermoplastic with a minimum tolerance of less than 1mm, once fired it's more like .1mm, so may see some super delicate stuff coming soon.  I think it's more for printing industrial components but I'm sure once it's more affordable or commonplace, hobbyists will get their hands on some as well.  

But do you consider a giffin grip technology? Or something that fundamentally changes the way pottery is made?  I don't really think its analogous.  The same for electric kilns or kick wheels or electric wheels.  They're all improvements or changes to traditional pottery techniques and don't remove the craftsman from the crafting.  Since I seem to be alone in my opinion, I feel like I need to clarify.  I'm not a traditionalist or technophobe.  There is definitely space for 3D printers in pottery, and I have examples of what I consider a proper use for them.  But fully printing pots is not one of them.  If you designed something, that does not mean you crafted it.  You don't call an architect a builder.  You don't call a fashion designer a seamstress.  Of course they can be both, but being one doesn't make you the other.  When you fully print a pot, it is outsourcing the labor to a machine.  Just like a building developer would outsource design to an architect and the building to a carpenter. 
 
 

Interesting how the discussion quickly centered on 3D printing! I like what Tom noted about how much technology we use in the first place, and have ever since we figured out how to light a fire. I had never seen anything 3D printed and had a terrible time even grasping how you could end up with a physical dimensional object. My potters' guild had a meeting at the University of New Hampshire ceramics studio (literally a year ago) and I was introduced to these pieces. They were the first ones that one of their student's had successfully printed after many weeks of study, designing, trial & error etc.  I do not find them cold or empty or "too-too" computerized--I am in awe that this can be done with clay via some weird process via some weird machine! And I am grateful that I won't be drummed out of the club because I use commercial materials, use mostly pre-programmed programs in an electric kiln, and have no clue what a si:al ratio is (and, gasp, don't care either). At one time, W.G. Lawrence's Ceramic Science for the Potter & Daniel Rhodes Clay & Glazes for the Potter were my bibles and I actually knew/practiced the stuff! Does lacking that knowledge (now) make me not an artist? You bet your sweet bippy it does not.  My cognition/memory retention is shot to smithereens due to minor (relatively speaking) TBI. Doesn't change my motivation, taste, ethics, vision or desire to satisfy Self and others with what I make; as such technology is just a tool and one I'm grateful for. I'd love the chance to use a 3D printer, at least as a starting point-that Simpson piece is luscious!!  I ain't scared of no bot overlords.

Interesting how the discussion quickly centered on 3D printing! I like what Tom noted about how much technology we use in the first place, and have ever since we figured out how to light a fire. I had never seen anything 3D printed and had a terrible time even grasping how you could end up with a physical dimensional object. My potters' guild had a meeting at the University of New Hampshire ceramics studio (literally a year ago) and I was introduced to these pieces. They were the first ones that one of their student's had successfully printed after many weeks of study, designing, trial & error etc.  I do not find them cold or empty or "too-too" computerized--I am in awe that this can be done with clay via some weird process via some weird machine! And I am grateful that I won't be drummed out of the club because I use commercial materials, use mostly pre-programmed programs in an electric kiln, and have no clue what a si:al ratio is (and, gasp, don't care either). At one time, W.G. Lawrence's Ceramic Science for the Potter & Daniel Rhodes Clay & Glazes for the Potter were my bibles and I actually knew/practiced the stuff! Does lacking that knowledge (now) make me not an artist? You bet your sweet bippy it does not.  My cognition/memory retention is shot to smithereens due to minor (relatively speaking) TBI. Doesn't change my motivation, taste, ethics, vision or desire to satisfy Self and others with what I make; as such technology is just a tool and one I'm grateful for. I'd love the chance to use a 3D printer, at least as a starting point-that Simpson piece is luscious!!  I ain't scared of no bot overlords.

Interesting how the discussion quickly centered on 3D printing! I like what Tom noted about how much technology we use in the first place, and have ever since we figured out how to light a fire. I had never seen anything 3D printed and had a terrible time even grasping how you could end up with a physical dimensional object. My potters' guild had a meeting at the University of New Hampshire ceramics studio (literally a year ago) and I was introduced to these pieces. They were the first ones that one of their student's had successfully printed after many weeks of study, designing, trial & error etc.  I do not find them cold or empty or "too-too" computerized--I am in awe that this can be done with clay via some weird process via some weird machine! And I am grateful that I won't be drummed out of the club because I use commercial materials, use mostly pre-programmed programs in an electric kiln, and have no clue what a si:al ratio is (and, gasp, don't care either). At one time, W.G. Lawrence's Ceramic Science for the Potter & Daniel Rhodes Clay & Glazes for the Potter were my bibles and I actually knew/practiced the stuff! Does lacking that knowledge (now) make me not an artist? You bet your sweet bippy it does not.  My cognition/memory retention is shot to smithereens due to minor (relatively speaking) TBI. Doesn't change my motivation, taste, ethics, vision or desire to satisfy Self and others with what I make; as such technology is just a tool and one I'm grateful for. I'd love the chance to use a 3D printer, at least as a starting point-that Simpson piece is luscious!!  I ain't scared of no bot overlords.

Wow.
As for (my reading of) the question, lots of tech in my Studio already, which is absolutely dependent on electricity to power lighting, wheel, kiln, audio system (yeh, it's important!), pyrometer, and mixing tools. I'm not interested in:
  working by natural light only (nor by candle light);
  kicking or otherwise powering the wheel myself, nor using a wheel less sensitive, consistent, precise, and powerful;
  isolating myself from media whilst working (although shutting off the system, and rolling up the door to the sounds o' birds, wind, neighbors, ocean can be a nice change);
  firing ware by burning stuff (not even the available natural gas, as there's just nowhere to put a gas kiln at our house, 'cept the courtyard, which ain' happenin');
  working without a pyrometer;
  mixing slurry - glaze, slip, reclaim - by hand.
Without "the internet" my journey into clay would have been much more ...stark; books and magazines are great, sure, as is meeting, working and sharing with others interested in clay, however, the depth and breadth of info, instantly available, as well as the lifetime of vids (some of which are worthwhile!) - amazing resource.
These advantages are all within the arc of my life, if one includes their parents' experience...
 
My list of tech to add includes:
new kiln, as current kiln is well worn, and when the time comes, with controller, to cut down on the back and forth to/from the kiln whilst firing.
That's all that comes to mind just now, although I am interested in mixing clay, seeing how rewarding mixing glazes has been, and how "wrong" so many clay bodies seem to be...
As for other machines, tech, tools, etc. exploring wheel thrown forms was (still is) the whole point - for me; very little hand building, no extrusions (yet), no molds, no nothin'! Hence, perhaps it's not "...drawing a line..." for me, rather just doing what I want.

I don't see this as being all that different than people who use commercial glazes and don't know anything about glaze formulation. Or the hobbyist who simply presses the buttons on their kiln controller without having a firm understanding of how cones work. Or students at a community art center who never fire the kilns at all (my students). Or people who buy pre-mixed clay bodies, which are 99.9% of the people who work with clay. Do we need to give someone a test of their ceramic knowledge in order to judge the quality of their work? The examples of people who work with clay and lack technical knowledge about ceramics are much greater than those who know a lot. This forum is proof of that. The fact is you can make beautiful ceramic pieces without knowing anything about formulating a clay body or a glaze, whether your'e working on a wheel or 3D printing. A friend/customer of mine has been a full time potter for 20 years, and has never mixed her own glazes. Wouldn't know a si:al ratio if it hit her in the head. She doesn't know anything about fixing her kilns, either- she calls me. I don't think that invalidates her work any more than buying pre-mixed slip for 3D printing. And even though one may not know the technical points of the material, they still have to learn how each one works with the process of 3D printing, how it fires, how glazes work on it, etc. Pieces still crack, warp, slump, etc. even though they are 3D printed. It simplifies one aspect of the process, but it's not magic.

No, it was designed by a human. It was created using a computer as a tool for working clay.