David Woof on sun 29 apr 12
mel makes some good points here and one must think while reading or it coul=
=3D
d/will be missed that
=3D20
first one must get over the idea that getting someone's recipe will get you=
=3D
what they got!!!
=3D20
Most likely Tom T could give out the basic and others would still not work =
=3D
the magic that is his alone.
=3D20
When I was a student I put this to the test by leaving glaze recipes that I=
=3D
was developing and others were oohing and aahing over out where the studio=
=3D
"thieves" would have a chance to copy just to prove the idea that I was be=
=3D
ginning to understand that it's what one does with the glaze and the firing=
=3D
process that makes or breaks a glaze as far as the gift of stunning racers=
=3D
are concerned.=3D20
=3D20
Since=3D2C as an instructor of others=3D2C it has always been interesting t=
o ex=3D
plain this=3D2C hand out a recipe=3D2C and see the variety a class will com=
e up=3D
with=3D2C working with and tweeking the same single glaze recipe. At the f=
ol=3D
lowing glaze discussion and critique it drives the point home. Not what rec=
=3D
ipe did you use=3D2C but what did you do with it?
=3D20
It makes one aware of the potential in thinking=3D2C questioning=3D2C and i=
nves=3D
tigating our own ideas and impulses. Ask "I wonder what would happen if?"=
=3D
and then just try it!!! If we really mean and understand the meaning of "I=
=3D
wonder" we are preparing for that rare state of wonder where wonderful and=
=3D
unexpected things happen because we dared to wonder and act on that questi=
=3D
on.
=3D20
David Woof
________________________________________________________________________=3D=
20
=3D20
=3D20
4a. tom turner's glazes
Posted by: "mel jacobson" melpots2@VISI.COM=3D20
Date: Sun Apr 29=3D2C 2012 6:21 am ((PDT))
i agree with bill=3D2C tom is making a full time living
with his high quality pots and glaze. in fact=3D2C he has
some very unique things going on=3D2C and needs them
for himself.
anyway=3D2C i doubt that those glazes are going to travel
well. he does some amazing things with glaze=3D2C always
has=3D2C and if they are that easy=3D2C everyone would be doing
it.
working with crystals is becoming a fad. it will rush
into the ceramics world like a tornado.
anyone that wants that sort of thing has a long hard
glaze study ahead. it is not simple. and=3D2C then matching
the glaze with forms that will carry the glaze is not easy.
and=3D2C your electric bill will take a big hit.
tom makes great big forms=3D2C well thrown and of almost
perfect shape. he is a `one of kind fellow`....
it would be far more sensible to have bill schran mentor
you=3D2C and take his advice. you won't get much from tom=3D2C as
it should be. bill is a researcher and teacher. his advice is given
free and well thought out. he publishes his results.
tom is a very private person=3D2C he works like a fiend=3D2C and makes
his entire living making high end pots. everything he does smacks
of perfection.
mel
from: minnetonka=3D2C mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html =
=3D
mel jacobson on sun 29 apr 12
i agree with bill, tom is making a full time living
with his high quality pots and glaze. in fact, he has
some very unique things going on, and needs them
for himself.
anyway, i doubt that those glazes are going to travel
well. he does some amazing things with glaze, always
has, and if they are that easy, everyone would be doing
it.
working with crystals is becoming a fad. it will rush
into the ceramics world like a tornado.
anyone that wants that sort of thing has a long hard
glaze study ahead. it is not simple. and, then matching
the glaze with forms that will carry the glaze is not easy.
and, your electric bill will take a big hit.
tom makes great big forms, well thrown and of almost
perfect shape. he is a `one of kind fellow`....
it would be far more sensible to have bill schran mentor
you, and take his advice. you won't get much from tom, as
it should be. bill is a researcher and teacher. his advice is given
free and well thought out. he publishes his results.
tom is a very private person, he works like a fiend, and makes
his entire living making high end pots. everything he does smacks
of perfection.
mel
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
Robert Harris on sun 29 apr 12
I would never for moment think of asking Tom for his glaze recipe.
Besides half the fun is in the research.
You have to remember that until recently I was a very active R & D
researcher. (And if you think glaze testing is finicky try molecular
cellular biology). These days I am more of a desk jockey type rather
than a gene jockey. I am very happy doing what I am doing and there
were good reasons to get out of research, but I a certain extent I
miss it - especially the challenge of coming up with new avenues of
research, and new experiments to try. Developing new glazes is a way
of filling the gap.
I have always loved Copper Red glazes ever since I saw a number of
amazing examples at the V&A when I was about 12 or 13 (mid-eighties?).
A travelling exhibition at the Met in NYC (early 90's?) from Taiwan's
Imperial Palace Museum, included a very famous copper red vase about
18 inches high, that only sealed my resolve to do something like that
(I was 19 or 20 at the time I think).
When I first started fiddling about with glaze testing seriously a
couple of years ago, I did try to do some electric copper reds, but
apart from a few feeble splotches here and there I got nothing.
Seeing the glorious copper reds that Tom Turner gets in an electric
kiln tells me that it is possible to do it. If he can do it so well, I
need (emotionally? artistically?) to at least try myself. No doubt I
will be trying on and off for a very long time. But since I enjoy
figuring out the next thing I could try, I shall, for the most part,
enjoy it (or at least try to!).
If Bill Schran is open to giving me his advice I would certainly appreciate=
=3D
it.
As you say, the crystal thing has become quite the fad over the past
few years. It's not something I have a huge interest in, for a couple
of reasons.
1. While the results can be quite beautiful, I personally think that
they are the focus of a viewers attention, rather than the forms
themselves, which is what has always been my first love.
2. I have absolutely no desire to spend half of my time in the pottery
grinding off pot bottoms! (Not to mention no space to put the tools
and grinder necessary!)
In short, I appreciate your advice, but it is something I have to at
least try, for my own desire and reasons, that have little to do with
Tom Turner and a desire for "his" glaze. His was merely a nice example
of a copper red in an electric kiln that tells me it can be done.
Robert
On Sun, Apr 29, 2012 at 9:21 AM, mel jacobson wrote:
> i agree with bill, tom is making a full time living
> with his high quality pots and glaze. =3DA0in fact, he has
> some very unique things going on, and needs them
> for himself.
>
> anyway, i doubt that those glazes are going to travel
> well. =3DA0he does some amazing things with glaze, always
> has, and if they are that easy, everyone would be doing
> it.
>
> working with crystals is becoming a fad. =3DA0it will rush
> into the ceramics world like a tornado.
>
> anyone that wants that sort of thing has a long hard
> glaze study ahead. =3DA0it is not simple. =3DA0and, then matching
> the glaze with forms that will carry the glaze is not easy.
> and, your electric bill will take a big hit.
>
> tom makes great big forms, well thrown and of almost
> perfect shape. =3DA0he is a `one of kind fellow`....
>
> it would be far more sensible to have bill schran mentor
> you, and take his advice. =3DA0you won't get much from tom, as
> it should be. =3DA0bill is a researcher and teacher. =3DA0his advice is g=
iven
> free and well thought out. he publishes his results.
>
> tom is a very private person, he works like a fiend, and makes
> his entire living making high end pots. =3DA0everything he does smacks
> of perfection.
> mel
> from: minnetonka, mn
> website: http://www.visi.com/~melpots/
> =3DA0clayart link: =3DA0http://www.visi.com/~melpots/clayart.html
--=3D20
----------------------------------------------------------
Ben Morrison on sun 29 apr 12
I agree with you, the fun is the R&D. I've decided to spin =3D
Robert,=3D0A=3D0A=3D0AI agree with you, the fun is the R&D. I've decided to=
spin =3D
off of what you're trying to do here with Shino. I'll probably share what I=
=3D
do with the list if it even works. I'll certainly share it if it doesn't i=
=3D
n an effort to save someone the time.=3D0A=3D0A=3D0A-Ben=3D0A=3D0A=3D0A=3D0=
A_____________=3D
___________________=3D0A From: Robert Harris =3D0A=
To: =3D
Clayart@LSV.CERAMICS.ORG =3D0ASent: Sunday, April 29, 2012 7:31 AM=3D0ASubj=
ect:=3D
Re: tom turner's glazes=3D0A =3D0AI would never for=3DA0 moment think of a=
sking =3D
Tom for his glaze recipe.=3D0ABesides half the fun is in the research.=3D0A=
=3D0AY=3D
ou have to remember that until recently I was a very active R & D=3D0Aresea=
rc=3D
her. (And if you think glaze testing is finicky try molecular=3D0Acellular =
bi=3D
ology). These days I am more of a desk jockey type rather=3D0Athan a gene j=
oc=3D
key. I am very happy doing what I am doing and there=3D0Awere good reasons =
to=3D
get out of research, but I a certain extent I=3D0Amiss it - especially the=
c=3D
hallenge of coming up with new avenues of=3D0Aresearch, and new experiments=
t=3D
o try. Developing new glazes is a way=3D0Aof filling the gap.=3D0A=3D0AI ha=
ve alw=3D
ays loved Copper Red glazes ever since I saw a number of=3D0Aamazing exampl=
es=3D
at the V&A when I was about 12 or 13 (mid-eighties?).=3D0AA travelling exh=
ib=3D
ition at the Met in NYC (early 90's?) from Taiwan's=3D0AImperial Palace Mus=
eu=3D
m, included a very famous copper red vase about=3D0A18 inches high, that on=
ly=3D
sealed my resolve to do something like that=3D0A(I was 19 or 20 at the tim=
e =3D
I think).=3D0A=3D0AWhen I first started fiddling about with glaze testing s=
erio=3D
usly a=3D0Acouple of years ago, I did try to do some electric copper reds, =
bu=3D
t=3D0Aapart from a few feeble splotches here and there I got nothing.=3D0A=
=3D0ASe=3D
eing the glorious copper reds that Tom Turner gets in an electric=3D0Akiln =
te=3D
lls me that it is possible to do it. If he can do it so well, I=3D0Aneed (e=
mo=3D
tionally? artistically?) to at least try myself. No doubt I=3D0Awill be try=
in=3D
g on and off for a very long time. But since I enjoy=3D0Afiguring out the n=
ex=3D
t thing I could try, I shall, for the most part,=3D0Aenjoy it (or at least =
tr=3D
y to!).=3D0A=3D0AIf Bill Schran is open to giving me his advice I would cer=
tain=3D
ly appreciate it.=3D0A=3D0AAs you say, the crystal thing has become quite t=
he f=3D
ad over the past=3D0Afew years. It's not something I have a huge interest i=
n,=3D
for a couple=3D0Aof reasons.=3D0A=3D0A1. While the results can be quite be=
autifu=3D
l, I personally think that=3D0Athey are the focus of a viewers attention, r=
at=3D
her than the forms=3D0Athemselves, which is what has always been my first l=
ov=3D
e.=3D0A=3D0A2. I have absolutely no desire to spend half of my time in the =
pott=3D
ery=3D0Agrinding off pot bottoms! (Not to mention no space to put the tools=
=3D
=3D0Aand grinder necessary!)=3D0A=3D0AIn short, I appreciate your advice, b=
ut it =3D
is something I have to at=3D0Aleast try, for my own desire and reasons, tha=
t =3D
have little to do with=3D0ATom Turner and a desire for "his" glaze. His was=
m=3D
erely a nice example=3D0Aof a copper red in an electric kiln that tells me =
it=3D
can be done.=3D0A=3D0ARobert=3D0AOn Sun, Apr 29, 2012 at 9:21 AM, mel jaco=
bson <=3D
melpots2@visi.com> wrote:=3D0A> i agree with bill, tom is making a full tim=
e =3D
living=3D0A> with his high quality pots and glaze. =3DA0in fact, he has=3D0=
A> som=3D
e very unique things going on, and needs them=3D0A> for himself.=3D0A>=3D0A=
> anyw=3D
ay, i doubt that those glazes are going to travel=3D0A> well. =3DA0he does =
some=3D
amazing things with glaze, always=3D0A> has, and if they are that easy, ev=
er=3D
yone would be doing=3D0A> it.=3D0A>=3D0A> working with crystals is becoming=
a fad=3D
. =3DA0it will rush=3D0A> into the ceramics world like a tornado.=3D0A>=3D0=
A> anyon=3D
e that wants that sort of thing has a long hard=3D0A> glaze study ahead. =
=3DA0i=3D
t is not simple. =3DA0and, then matching=3D0A> the glaze with forms that wi=
ll c=3D
arry the glaze is not easy.=3D0A> and, your electric bill will take a big h=
it=3D
.=3D0A>=3D0A> tom makes great big forms, well thrown and of almost=3D0A> pe=
rfect =3D
shape. =3DA0he is a `one of kind fellow`....=3D0A>=3D0A> it would be far mo=
re sen=3D
sible to have bill schran mentor=3D0A> you, and take his advice. =3DA0you w=
on't=3D
get much from tom, as=3D0A> it should be. =3DA0bill is a researcher and te=
ache=3D
r. =3DA0his advice is given=3D0A> free and well thought out. he publishes h=
is r=3D
esults.=3D0A>=3D0A> tom is a very private person, he works like a fiend, an=
d ma=3D
kes=3D0A> his entire living making high end pots. =3DA0everything he does s=
mack=3D
s=3D0A> of perfection.=3D0A> mel=3D0A> from: minnetonka, mn=3D0A> website: =
http://w=3D
ww.visi.com/~melpots/=3D0A> =3DA0clayart link: =3DA0http://www.visi.com/~me=
lpots/=3D
clayart.html=3D0A=3D0A=3D0A=3D0A-- =3D0A-----------------------------------=
----------=3D
-------------
Steve Mills on mon 30 apr 12
Absolutely David,=3D20
We always made a point of publishing our recipes, because as the (very) lat=
e=3D
comedian Tommy Handley once said: "One man's Fish is another man's Poisson=
"=3D
, and it ain't the same in another kiln!
Steve M
Steve Mills
Bath
UK
www.mudslinger.me.uk
Sent from my iPod
On 30 Apr 2012, at 06:33, David Woof wrote:
> mel makes some good points here and one must think while reading or it co=
u=3D
ld/will be missed that
>=3D20
> first one must get over the idea that getting someone's recipe will get y=
o=3D
u what they got!!!
>=3D20
> Most likely Tom T could give out the basic and others would still not wor=
k=3D
the magic that is his alone.
>=3D20
> When I was a student I put this to the test by leaving glaze recipes that=
I=3D
was developing and others were oohing and aahing over out where the studio=
"=3D
thieves" would have a chance to copy just to prove the idea that I was begi=
n=3D
ning to understand that it's what one does with the glaze and the firing pr=
o=3D
cess that makes or breaks a glaze as far as the gift of stunning racers are=
c=3D
oncerned.=3D20
>=3D20
> Since, as an instructor of others, it has always been interesting to expl=
a=3D
in this, hand out a recipe, and see the variety a class will come up with, =
w=3D
orking with and tweeking the same single glaze recipe. At the following gla=
z=3D
e discussion and critique it drives the point home. Not what recipe did you=
u=3D
se, but what did you do with it?
>=3D20
> It makes one aware of the potential in thinking, questioning, and investi=
g=3D
ating our own ideas and impulses. Ask "I wonder what would happen if?" an=
d=3D
then just try it!!! If we really mean and understand the meaning of "I won=
d=3D
er" we are preparing for that rare state of wonder where wonderful and unex=
p=3D
ected things happen because we dared to wonder and act on that question.
>=3D20
> David Woof
> ________________________________________________________________________=
=3D20=3D
>=3D20
>=3D20
John Hesselberth on mon 30 apr 12
Steve, David, Mel,
We have had excellent experience having potters duplicate the glazes in =3D
our book--literally thousands of potters have had success with them. The =
=3D
key is duplicating a lot of conditions--not just the recipe. Cooling =3D
rate is probably the most important, but thickness of application, cones =
=3D
on every shelf to assure proper firing temperature, a hold at peak =3D
temperature, the quality of the water used, thorough screening and =3D
re-screening glazes before use, using reliable ingredients where =3D
possible, and a slow bisque are some of the others.
We set out to develop recipes that were reliable and we have largely =3D
succeeded. Where a potter has difficulty and writes to us we have been =3D
able to help that person get the results they want 9 times out of 10. =3D
But the secret is control of lots of important variables. The recipe by =3D
itself is only a fraction of the picture. And, unfortunately, a lot of =3D
potters either can't or won't control their process carefully. Potters =3D
firing in community situations have the most trouble because they can =3D
seldom control the firing or the handling of the glaze.
Glazes do travel well if they are well formulated and well documented =3D
and are used by a potter who is willing to duplicate the original =3D
conditions closely.
Regards,
John
On Apr 30, 2012, at 3:46 PM, Steve Mills wrote:
> Absolutely David,=3D20
>=3D20
> We always made a point of publishing our recipes, because as the =3D
(very) late comedian Tommy Handley once said: "One man's Fish is another =
=3D
man's Poisson", and it ain't the same in another kiln!
>=3D20
> Steve M
>=3D20
>=3D20
> Steve Mills
> Bath
> UK
> www.mudslinger.me.uk
> Sent from my iPod
>=3D20
>=3D20
> On 30 Apr 2012, at 06:33, David Woof wrote:
>=3D20
>> mel makes some good points here and one must think while reading or =3D
it could/will be missed that
>>=3D20
>> first one must get over the idea that getting someone's recipe will =3D
get you what they got!!!
>>=3D20
>> Most likely Tom T could give out the basic and others would still not =
=3D
work the magic that is his alone.
>>=3D20
>> When I was a student I put this to the test by leaving glaze recipes =3D
that I was developing and others were oohing and aahing over out where =3D
the studio "thieves" would have a chance to copy just to prove the idea =3D
that I was beginning to understand that it's what one does with the =3D
glaze and the firing process that makes or breaks a glaze as far as the =3D
gift of stunning racers are concerned.=3D20
>>=3D20
>> Since, as an instructor of others, it has always been interesting to =3D
explain this, hand out a recipe, and see the variety a class will come =3D
up with, working with and tweeking the same single glaze recipe. At the =3D
following glaze discussion and critique it drives the point home. Not =3D
what recipe did you use, but what did you do with it?
>>=3D20
>> It makes one aware of the potential in thinking, questioning, and =3D
investigating our own ideas and impulses. Ask "I wonder what would =3D
happen if?" and then just try it!!! If we really mean and understand the =
=3D
meaning of "I wonder" we are preparing for that rare state of wonder =3D
where wonderful and unexpected things happen because we dared to wonder =3D
and act on that question.
>>=3D20
>> David Woof
>> =3D
________________________________________________________________________=3D=
20=3D
>>=3D20
>>=3D20
John Hesselberth
jhesselberth@me.com
"Life is like riding a bicycle. To keep your balance you must keep =3D
moving." Albert Einstein
John Britt on mon 30 apr 12
I am with John on this one. Glazes do travel well! Can you say Rhodes 32?=
=3D
Let's go the opposite way - The reason that people don't tell their recip=
=3D
es is that=3D20
they can easily be reproduced if you know the recipe, mixing, application=
=3D
, and=3D20
firing cycle.
The problem I have with this thread is that it continually comes up and i=
=3D
t is=3D20
blatantly wrong ( glazes not traveling well). Not only is it incorrect (a=
=3D
n I cite the=3D20
hundreds of books and handouts that prove the point) but it is disinforma=
=3D
tion. It=3D20
is a way to stop people from trying to reproduce glazes as well as to rai=
=3D
se the=3D20
person cited up on a pedestal. Hogwash.
john britt pottery
mel jacobson on tue 1 may 12
i got a note from tom today with a simple
message:
he does not release or give out information on
his research until he has fully discovered the entire
process and understands it totally.
he will write an article on his findings when that his complete.
and, that may be two years away.
that is how competent professionals approach their craft.
mel
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
David Woof on tue 1 may 12
Hi John=3D2C
I agree as you say <<<"the glazes in our book--literally thousands of potte=
=3D
rs have had success with them. The key is duplicating a lot of conditions--=
=3D
not just the recipe.">>>=3D20
=3D20
It goes without question that You and Ron have put much thought=3D2C resear=
ch=3D
and experience into the glazes you've published=3D2C and as you go on to s=
ay=3D
they are virtually fool proof if one follows the directions. This is true.
I too=3D2C keep 5 buckets of proven "bullet proof" ( "travel well"=3D2C "Du=
nce =3D
Proof) Guest glazes on hand for folks who come when I invite a community wo=
=3D
od firing. These old stand by glazes will perform satisfactorily from cones=
=3D
10 to 12 even if a doofuss dips=3D2C dumps=3D2C and splashes them on.
I do so respect the tireless work and sharing you and Ron do and publish. A=
=3D
nd in my opinion=3D2C the humble and unpretentious way you present yourselv=
es=3D
and your work.
My post was aimed at possibly stimulating thinking and understanding for th=
=3D
ose folks who chase glaze recipes without paying attention to the glaze lea=
=3D
rning curve.=3D20
The dear folks who want instant gratification without paying their dues. Th=
=3D
e folks who=3D2C when things don't come out like the picture or expectation=
=3D
=3D2C due to their inattentive ignorance=3D2C bad mouth someone's book=3D2C=
or ki=3D
ln=3D2C or classes because they weren't willing to slow down=3D2C pay atten=
tion=3D
=3D2C think and comprehend the value of necessary details.
=3D20
My hope is that the "Newbies" and the humble and teachable among these folk=
=3D
s will say=3D3B "oh now I get it=3D2C" do their homework=3D2C and excitedly=
rush =3D
down to the studio glazing room=3D2C tires screeching on the learning curve=
!!=3D
!=3D20
=3D20
John's words: <<"But the secret is control of lots of important variables. =
=3D
The recipe by itself is only a fraction of the picture.">>=3D20
=3D20
Folks=3D2C John's entire post is a read again kind of post. Please=3D2C Do =
it n=3D
ow!!!
=3D20
Happy potting and glazing=3D2C
=3D20
David Woof
____________________________________________________________
13b. Re: tom turner's glazes=3D20
Posted by: "John Hesselberth"=3D20
jjhesselberth@GMAIL.COM=3D20
Date: Mon Apr 30=3D2C 2012 1:43 pm ((PDT))=3D20
=3D20
Steve=3D2C David=3D2C Mel=3D2C=3D20
We have had excellent experience having potters duplicate the glazes in our=
=3D
book--literally thousands of potters have had success with them.=3D20
The key is duplicating a lot of conditions--not just the recipe. Cooling ra=
=3D
te is probably the most important=3D2C but thickness of application=3D2C co=
nes =3D
on every shelf to assure proper firing temperature=3D2C a hold at peak temp=
er=3D
ature=3D2C the quality of the water used=3D2C thorough screening and re-scr=
eeni=3D
ng glazes before use=3D2C using reliable ingredients where possible=3D2C an=
d a =3D
slow bisque are some of the others.=3D20
We set out to develop recipes that were reliable and we have largely succee=
=3D
ded. Where a potter has difficulty and writes to us we have been able to he=
=3D
lp that person get the results they want 9 times out of 10. But the secret =
=3D
is control of lots of important variables. The recipe by itself is only a f=
=3D
raction of the picture. And=3D2C unfortunately=3D2C a lot of potters either=
can=3D
't or won't control their process carefully.=3D20
=3D20
Potters firing in community situations have the most trouble because they c=
=3D
an seldom control the firing or the handling of the glaze. Glazes do travel=
=3D
well if they are well formulated and well documented and are used by a pot=
=3D
ter who is willing to duplicate the original conditions closely.=3D20
=3D20
Regards=3D2C=3D20
John=3D20
=3D20
=3D20
David Woof woofpots@HOTMAIL.COM wrote=3D2C
=3D20
<<<< mel makes some good points here and one must think while reading or it=
=3D
could/will be missed that>>>>=3D20
first one must get over the idea that getting someone's recipe will get you=
=3D
what they got!!!>>>>=3D20
=3D20
Most likely Tom T could give out the basic and others would still not work =
=3D
the magic that is his alone.>>>>=3D20
=3D20
When I was a student I put this to the test by leaving glaze recipes that I=
=3D
was developing and others were oohing and aahing over out where the studio=
=3D
"thieves" would have a chance to copy just to prove the idea that I was be=
=3D
ginning to understand that it's what one does with the glaze and the firing=
=3D
process that makes or breaks a glaze as far as the gift of stunning racers=
=3D
are concerned.>>>>=3D20
Since=3D2C as an instructor of others=3D2C it has always been interesting t=
o ex=3D
plain this=3D2C hand out a recipe=3D2C and see the variety a class will com=
e up=3D
with=3D2C working with and tweeking the same single glaze recipe. At the f=
ol=3D
lowing glaze discussion and critique it drives the point home. Not what rec=
=3D
ipe did you use=3D2C but what did you do with it?>>>>=3D20
=3D20
It makes one aware of the potential in thinking=3D2C questioning=3D2C and i=
nves=3D
tigating our own ideas and impulses. Ask "I wonder what would happen if?" a=
=3D
nd then just try it!!!=3D20
=3D20
If we really mean and understand the meaning of "I wonder" we are preparing=
=3D
for that rare state of wonder where wonderful and unexpected things happen=
=3D
because we dared to wonder and act on that question.>>>>=3D20
=3D20
David Woof>> ______________________________________________________________=
=3D
__________>>>>=3D20
=3D20
John Hesselberthjhesselberth@me.com "Life is like riding a bicycle. To keep=
=3D
your balance you must keep moving." Albert Einstein =
=3D
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