Katz.StudioBalletDualismTheErumpancyScale History

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May 30, 2011, at 11:06 PM CST by 76.248.209.68 -
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The bell shaped curve is yet another primary shape. The statisticians have done a good job defining and explaining what this shape means. I throw three inch bowls very quickly, I have thrown over 10,000 of them. I now loose very few. As I throw more and more the unwanted variance has decreased and at least parts of the characteristics of these pots exist in very steep bell shapes. If I am aiming for 3 inch, very few are smaller than 2.5 inches, a few more exceed 3.5 inches. There is a limit to how small I can throw these without radically changing my technique so one would expect more variation on the top side of the curve.
May 30, 2011, at 11:01 PM CST by 76.248.209.68 -
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Often my memories seem tied to ideas. I remember the ideas and the facts flex to fit the thesis or concept. So I remember Victor Babu with his feet together slightly on his tiptoes hands open and arms outstretched above his head saying, blossoming. My memory is that despite his huge shoulders and small hips this dance, this pose had a grace, perhaps equal to the phrase Cardew like, "The Majesty of Form".

He was describing a condition of a pot, a kind of breath. This word, breath, is not one I hear defined directly in "A potter's Workbook" but Clary Illian talks the concept. She talks about the interaction between
the surface or wall of a pot and the column or volume of air on the inside. I describe a relation between the skin, the absolute surface of a pot and the volume but the air inisde is surely abetter description for some.

Patty Driscoll Gail Busch and I were sitting around on e evening looking through the dictionary for some reason and thinking of this dance, or at least
the idea of it and I came across the word erumpant.
Now I have more categories, a bud
, a blossom opening, opened, even wilting, there is growth like a shoot of bamboo, thickening of the trunk like a tree or a kapok tree, the beer belly, as well as the various stages of emumpancy.
Just beginning to bulge
, quickly beginning, a hint of readiness or ripeness, ready to burst, actually bursting , burst and a sort of flacid loss of muscle or skin tone.

The words themselves have little meaning when it comes to pots until we categorize ideas, visual ideas
and assign them to the words. Some words collect these ideas better than others. These words contain action emotion and layers of expectations. If they do not using them adds nothing to the already obvious characteristics of the pot as in,"that is a smooth pot". So it is not really the use of words, but what we put into them. ya ya
to:
Often my memories seem tied to ideas with the ideas as primary and the memories subserviant. I remember the ideas. Fact flexes to fit the thesis or concept. So I remember Victor Babu with his feet together slightly on his tiptoes hands open and arms outstretched above his head saying, blossoming. My memory is that despite his huge shoulders and small hips this dance, this pose had a grace, perhaps equal to the phrase Cardew liked, "The Majesty of Form".

He was describing a condition of a pot, a kind of breath. This word, breath, is not one I see defined directly in "A Potter's Workbook" but Clary Illian talks
the concept. She talks about the interaction between the surface or wall of a pot and the column or volume of air on the inside. I describe a relation between the skin, that is the absolute surface of a pot and the volume, but calling the volume 'the air inside' is surely abetter description for some.

Patty Driscoll, Gail Busch and I were sitting around on evening looking through
the dictionary ( I think we had been playing for some reason and thinking of Victor's dance, or at least the idea of it, and I came across the word erumpant.

Now after many years I have more categories,
a bud, a blossom opening, opened, even wilting, there is growth like a shoot of bamboo, thickening of the trunk like a tree or a kapok tree, the beer belly, as well as the various stages of erumpancy; just beginning to bulge, quickly beginning, a hint of readiness or ripeness, ready to burst, actually bursting , burst and a sort of flacid loss of muscle or skin tone.

The words themselves have little meaning when it comes to pots until we categorize ideas, visual ideas and assign
them to the words. Some words collect these ideas better than others. These words contain action emotion and layers of expectations. If they do not add these characteristics using them adds nothing to the already obvious characteristics of the pot; as in,"that is a smooth pot". So it is not really the use of words, but what we put into them. Its the subtext. Ask an actor, a musician, a teabowl maker they will all tell you in one set of words or another that it is the subtext that counts.
Changed lines 21-27 from:
produces a shape that has a flatter botttom. It is easier to use because you do not have to hit it just right. is much more expensive to use, but is easier on molds. Some people use Sodium silicate to get there slip close to the right viscosity and finish with Darvan. This seems like a great way to get inexpensive but great slip. I think it makes the process much easier. Darvan creates a different shaped curve, a broad flat valley, maybe even a flood plain between two rather steep but well spread sides.


Simple
two ingredient phase diagrams have similar forms but have very pointed minima, there is no flattening at the bottom. However as the ingredients in mix get less pure the bottoms of these charts become a group of small dips and approaches the kind of forms you get with defloculants. Perhaps if clays were more pure and the size of the particles consistent the viscosity vs amount of defloculant curves would have the same kind of minima as pure 2 ingredient phase diagrams.

Emotions and human interactions have shape
too.
to:
produces a shape that has a flatter botttom. It is easier to use because you do not have to hit it just right. is much more expensive to use, but is easier on molds. Some people use Sodium silicate to get there slip close to the right viscosity and finish with Darvan. This seems like a great way to get inexpensive but great slip. I think it makes the process much easier despite the obvious two ingredient complication. Darvan creates a different shaped curve, a broad flat valley, maybe even a flood plain between two rather steep but well spread sides.


Simple two ingredient phase diagrams have similar forms but have very pointed minima, there is no flattening at the bottom. However as
the ingredients in mix get less pure the bottoms of these charts become a group of small dips and approaches the kind of forms you get with deflocculants. Perhaps if clays were more pure and the size of the particles consistent the viscosity vs amount of deflocculant curves would have the same kind of minima as pure 2 ingredient phase diagrams.

Emotions and human interactions can have valley shapes
too.
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Other cultures, where your problems are expressed and drag on others, have less but more frequent troubles with smoother contours, easier escape, and the ability to see ti coming. These cultures are always in turmoil. There is no escape from shape.

Breath is tension between pressure and violence, containment and expression. It is a more dimensional description of shape, or form if you prefer. It contains a predicition, an anticipation, and perhaps a balance or a sort. Dynamic in a way, but still static.

Pitchers or jugs as they are sometimes called, the favorite functional form it seems of
the Leach School, are perhaps the best illustration of dynamic breath. But to my thinking today, they are only physically dynamic in use, breath makes pitchers dynamic in thought.
to:
Other cultures, where your problems are expressed and drag on others, have less but more frequent troubles with smoother contours, easier escape, and the ability to see it coming. These cultures are always in turmoil. There is no escape from shape.

Breath is tension between pressure and violence, containment and expression. It is a more dimensional description of shape, or form if you prefer. It contains a predicition, an anticipation, and perhaps a balance or a sort. Dynamic in a way, but still static. Perhaps breath is the anticipation of dynamism.

Pitchers or jugs as they are sometimes called,
the favorite functional form it seems of the Leach School, are perhaps the best illustration of dynamic breath. But to my thinking today, they are only physically dynamic in use, breath makes pitchers dynamic in thought dynamic in anticipation.
May 10, 2011, at 08:13 PM CST by 76.248.209.68 -
Added line 2:
May 10, 2011, at 08:13 PM CST by 76.248.209.68 -
Changed lines 16-27 from:
Adding defloculants to a clay slip gives the apparent viscosity shape. A deflocculant makes a suspension un- floc or deaggregate, it makes the particles stop sticking together. A deflocculant makes slips more fluid with less water. Typical defloculants used in clay are sodium silicate, soda ash, Sodium hexametaphosphate (old Calgon) and Darvan, a brand name of sodium hexameta acrylate.

As you add sodium silicate to a slip the apparent viscosity decreases up
to a point. After that point additional sodium silicate increases the apparent viscosity. The percentage of sodium silicate graphed against apparent viscosity produces a shape with a small range where the viscosity is near the lowest point. It is hard to add just enough sodium silicate to

DArvan produces a shape that has a flatter botttom. It is easier to use because you do not have to hit it just right. Darvan is much more expensive to use, but is easier on molds. Some people use Sodium silicate to get there slip close to the right viscosity and finish with darvan. This seems like a great way
to get inexpensive but great slip.


Simple 2 ingredient phase diagrams have similar forms but have very pointed minima, there is no flattening at the bottom
. However as the ingredients in mix get less pure the bottom becomes a group of small dips and approaches the kind of forms you get with defloculants. Perhaps if clays were more pure and the size of the particles consistent the viscosity vs amount of defloculant curves would have the same kind of minima as pure 2 ingredient phase diagrams.

An analogy with running amok vs expressing how you feel.
Societies that bury hurt feelings. Places where any expression of discomfort, pain, fear, or hate is seen as a betrayal
of norms, have very flat temperments. Flat that it is unitl you encounter the chasm, a crack rent forth from the plain of expressionless feeling. A crack deep violent and hard to escape.
Other cultures, where your probelms are expressed and drag on others, have less but more frequent troubles with smoother contours
, easier escape, and the ability to see ti coming. These cultures are always in turmoil. There is no escape from shape.
to:
Adding defloculants in small increments to a clay slip gives the apparent viscosity a shape, a graph. A deflocculant makes a suspension un- floc or deaggregate, it makes the particles stop sticking together. A deflocculant makes slips more fluid with less water. Typical defloculants used in clay are sodium silicate, soda ash, Sodium hexametaphosphate (old Calgon) and , a brand name of sodium hexa-meta-acrylate.

As you add sodium silicate
to a slip the apparent viscosity decreases up to a point. After that point additional sodium silicate increases the apparent viscosity. The percentage of sodium silicate graphed against apparent viscosity produces a shape with a small range where the viscosity is near the lowest point. It is hard to add just enough sodium silicate to minimize the viscosity. Just a little too much and viscosity increases.

produces a shape that has a flatter botttom. It is easier to use because you do not have to hit it just right. is much more expensive to use, but is easier on molds. Some people use Sodium silicate
to get there slip close to the right viscosity and finish with Darvan. This seems like a great way to get inexpensive but great slip. I think it makes the process much easier. Darvan creates a different shaped curve, a broad flat valley, maybe even a flood plain between two rather steep but well spread sides.


Simple two ingredient phase diagrams have similar forms but have very pointed minima, there is no flattening at
the bottom. However as the ingredients in mix get less pure the bottoms of these charts become a group of small dips and approaches the kind of forms you get with defloculants. Perhaps if clays were more pure and the size of the particles consistent the viscosity vs amount of defloculant curves would have the same kind of minima as pure 2 ingredient phase diagrams.

Emotions and human interactions have shape too.

Societies that bury hurt feelings as a matter of course tend to run amok. Places where any expression of discomfort
, pain, fear, or hate is seen as a betrayal of norms, have very flat temperments. Flat that it is until you encounter the chasm, a crack rent forth from the plain of expressionless feeling. A crack deep violent and hard to escape.
Other cultures, where your problems are expressed and drag on others, have less but more frequent troubles with smoother contours, easier escape, and the ability to see ti coming. These cultures are always in turmoil. There is no escape from shape.

Breath is tension between pressure and violence, containment and expression. It is a more dimensional description of shape, or form if you prefer. It contains a predicition, an anticipation, and perhaps a balance or a sort. Dynamic in a way, but still static.

Pitchers or jugs as they are sometimes called, the favorite functional form it seems of the Leach School, are perhaps the best illustration of dynamic breath. But to my thinking today, they are only physically dynamic in use, breath makes pitchers dynamic in thought
.
May 01, 2011, at 11:05 PM CST by 76.248.209.68 -
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Societies that bury hurt feelings. Places where any expression of discomfort, pain, fear, or hate is seen as a betrayal of norms, have very flat temperments. Flat that it is unitl you encounter the chasm, a crack rent forth from the plain of expressionless feeling. A crack deep violent and hard to escape.
Other cultures, where your probelms are expressed and drag on others, have less but more frequent troubles with smoother contours, easier escape, and the ability to see ti coming. These cultures are always in turmoil. There is no escape from shape.