mel jacobson on fri 23 feb 07
i liked lee's idea that kilns have a language.
you have to learn it.
many never have the time to learn a new language, they
just use a book of translation. ja/be/kee
many fire kilns that way.
my kiln talks. it tells me things...and, i have to
react to what she is saying.
it is female..for sure.
and, i do listen.
she smells certain ways, she talks, and she sings. it is a dance.
she leads.
the sound of burners, the rush of air up the stack, the color inside.
the atmosphere swirling.
it is kiln language. you can only learn the language by immersion.
updraft, downdraft, crossdraft.
so much the same, but the signs change.
it is still heat in a box, let some out...make smoke, keep it in the kiln,
not outside. keep the heat going up, up, up. don't let her stall.
if it does stall, how can you snap her out of it?. she goes to sleep on
you....well, wake her up. change things, move the damper in, turn
the kiln down..slow it all down. do the opposite. maybe less gas
will cause more heat...maybe more air, or less.
do things..chart them. turn one burner way up, turn one way down.
get the heat to move across the kiln chamber.
when the kiln is on full power, does the heat go up, or down.???
any kiln will have a perfect balance. you can feel it. it just chugs.
some people have never found their kilns balance point.
if it stalls, just jack up the heat some more. give it more of the
foot pedal...to the floor. probably the wrong thing to do.
turn it down. but, do something. listen to the sound, smell the smell,
listen.
kilns love slow cooling. down firing just keeps the kiln from
crashing to cold. turn it back on...slow it down. crystals will
form. hank murrow taught me that. i just do it...it works.
some glazes like fast cooling, no down firing..so, those i fire
by themselves. jet black temmoku and celedon...quck cool.
shino you can down fire for hours, same for copper red. see the green
turn red.
early in your career you are frightened of the kiln. scared to death.
but, as you dance, do the waltz, slow dance..belly to belly a lot of times.
well, you get sorta turned on...excited...it becomes a part of you.
a pair...working together. it takes time.
and, you cannot find out how to make love from a book.
you have to do it.
take your time...enjoy the process. listen, then react.
but, if you do not listen, if you just push....it will not work.
if we could all walk the beach with stephanie stephenson, hold her hand.
be with her, our lives would be richer.
she is a sea shell, a gem...a wonder.
i know. she is my friend for life. we can all walk with her at some
time. those going to nceca will meet her, be with our friend kerry brooks.
it will be an experience....women of clay. they are a pair. perfectly matched.
like small a-bombs in a jar. whooooom. the concept of energy.
mel
and, who writes a clearer, more perfect post than snail.
it is what electronic education is all about.
from: mel/minnetonka.mn.usa
website: http://www.visi.com/~melpots/
Clayart page link: http://www.visi.com/~melpots/clayart.html
stephani stephenson on sat 24 feb 07
OK I was trying a new browser (Foxfire)and i believe
it just punted my post so this is a rewrite---resend
I like firing kilns because firing involves the
brain , the body, the kiln, and natural materials and
processes.
it is cerebral, intuitive and physical, all in one! i
love that.
to my thinking the whole process involves an attitude
of joyous reverence, that is the phrase that comes to
mind.
First you get attuned to the process and the kiln by
preparation,
you muse and think over the firing as you stack.
you calculate piece by piece as you build your own
little architectural wonder inside the belly of the
kiln.
thinking how the air will circulate...thinking how
the pieces sit.
using what you know, fitting in a few unknowns,
testing perhaps placement of a new piece with a new
glaze, a new stack , a puzzle to solve, tending and
observing to any new signs of wear in the kiln. they
do such good and tireless work for us.
all the processes of nature will do wonders in that
kiln ,but you start it off with your stack, as you
and the kiln conspire to bring beauties out of the
fire.
i love updrafts...the way the air moves through the
kiln, the delicate balance of fuel and air. the
damper, open enough to allow the full combustion of
fuel and burnout, but not so open that you waste it
and stall it .. the damper slowly , subtley and
increasingly pressing back the heat and flame enough
to bend it so that the hot part of the flame bends and
kneels back into the kiln...just enough to kiss the
ware on the lowest shelf, and no more.. all those
atoms and molecules dancing wildly inside...we have
no idea really just how wild it is on that level.
the kiln seems rather calm on the outside, assuring us
it can handle all we give it...
firing for me involves what i can only call
participation mystique
and i don't mean this in a hocus pocus way.We used
this phrase years ago discussing a book, discussing
how participation with natural processes , in time
with natural processes affects our attitudes, our
sanity...and in the book , how the central character
would fare when separated from such processes.
I looked this up on the web..and evidently it is
defined in Jungian Psychology as
"Participation mystique: A psychological condition in
which various inanimate objects and people participate
with each other in a mystical manner, are connected
with each other beneath the surface of consciousness."
this from the website
http://www.bemyastrologer.com/definitionsofjungianterms.html
just one of many sites.
sometimes it is used in defining 'primitive '
culture..but that is a can of worms. i think of it as
a way to describe that involvement we experience in
our craft, life. i felt the same way about farming....
in tune to seasons, cycles of growths. you use your
technical skill but firng also involves attunement.
onservation, with eyes, ears, even tactile sensations
of heat, etc.
there is a story from the Haida, i believe from
British Columbia...
when the Haida whalers would set out to sea in their
canoes to hunt the whale, sometimes whipping their
own bodies with nettles to stay awake and alert in
the cold wet waters and the exhausing , demanding
hunt....
when the whaling party embarked, the women, remaining
in the village, went into a deep trancelike state,
they accompanied the whalers psychically, in
spirit.... they would not move until the party
returned... the whole village was attuned ,was
directing all of their effort and skill into that
hunt. to ensure safe return of the whalers and the
procurrment of food and all the whale brought...all
their skill, yet needing nature to complete the
process.
well firing a kiln is usuall not so heavy, unless of
course maybe you are firing a kiln load for the
emperoer,,, that might be stresssful, but potters
might have difficulty convincing loved ones to go into
suspended animation untill the firong is
complete...but i digress!
of course it isn't magic, it it is work and attention
that puts you into the dance with the elements ,
you line up you efforts then give u p a bit of it.
we love it when we affect the outcome but know that
there is something other than us
working in concert with us and us with it.
and that's the magic...and the satisfaction and the
skill.
even with the electric kiln, part of me is 'with the
kiln' all the way through... i am sensing it and
reading it.
anyway thanks for reminding me of those things mel and
thanks for your kind words, you do have a way with
understatements :)
i can't wait to see you and kurt and everyone . i am
so thrilled that Kerry my long lost sister will be at
NCECA!
Kelly is taking us in so i magine you'll be hearing
us before you'll be seeing us.
love you
stephani s.
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Ingeborg on sat 24 feb 07
Mel Said: early in your career you are frightened of the kiln. scared to
death.
but, as you dance, do the waltz, slow dance..belly to belly a lot of times.
well, you get sorta turned on...excited...it becomes a part of you.
a pair...working together. it takes time.
and, you cannot find out how to make love from a book.
you have to do it.
Wow Mel, what a romantic and vivid explanation of how to fire a kiln. Makes
me want to rush to the studio and fire. Now the big question: Is my
downdraft a male or female? If I am going to romance my kiln, I do want it
to be a man. How can I tell?
Ingeborg
3058 Stringfellow Road
P.O. Box 510
Saint James City, FL 33956
http://www.thepottersworkshop.com
Angela Davis on sat 24 feb 07
Ingeborgn it is easy. If during your firing dance you notice your
kiln always wants to lead it's male. If you find your kiln is feme
then very likely it is your alter ego , so no problem in loving ourselves a
bit more.
I am saving Mel's post, it is one of the most romantic observations on
firing I've
ever read.
Angela Davis
In sunny Homosassa
----- Original Message -----
From: "Ingeborg"
To:
Sent: Saturday, February 24, 2007 8:31 AM
Subject: Re: firing kilns/language and updraft
> Mel Said: early in your career you are frightened of the kiln. scared
> to
> death.
> but, as you dance, do the waltz, slow dance..belly to belly a lot of
> times.
> well, you get sorta turned on...excited...it becomes a part of you.
> a pair...working together. it takes time.
> and, you cannot find out how to make love from a book.
> you have to do it.
>
>
> Wow Mel, what a romantic and vivid explanation of how to fire a kiln.
> Makes
> me want to rush to the studio and fire. Now the big question: Is my
> downdraft a male or female? If I am going to romance my kiln, I do want
> it
> to be a man. How can I tell?
>
> Ingeborg
>
> 3058 Stringfellow Road
> P.O. Box 510
> Saint James City, FL 33956
>
> http://www.thepottersworkshop.com
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
>
> --
> No virus found in this incoming message.
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> Version: 7.5.446 / Virus Database: 268.18.3/699 - Release Date: 2/23/2007
> 1:26 PM
>
>
William & Susan Schran User on sat 24 feb 07
On 2/24/07 8:31 AM, "Ingeborg" wrote:
> If I am going to romance my kiln, I do want it
> to be a man. How can I tell?
The hot air coming out of the mouth (flue) is a good clue that's it's male.
Flames coming out, well that's gotta be a woman.
Not sure for downdraft, maybe it's hot air coming out the other end -
definitely a man.
--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com
Hank Murrow on sat 24 feb 07
On Feb 24, 2007, at 5:31 AM, Ingeborg wrote:
>
> Wow Mel, what a romantic and vivid explanation of how to fire a kiln.
> Makes
> me want to rush to the studio and fire. Now the big question: Is my
> downdraft a male or female? If I am going to romance my kiln, I do
> want it
> to be a man. How can I tell?
Dear Ingeborg;
If the kiln doesn't listen to you,
If the kiln wants your complete attention when firing,
If the kiln makes you clean up after it makes a mess.....
You have a man/boy kiln!
Cheers from Hank in Eugene
www.murrow.biz/hank
Ingeborg on sat 24 feb 07
Hank said: > Dear Ingeborg;
>
> If the kiln doesn't listen to you,
>
> If the kiln wants your complete attention when firing,
>
> If the kiln makes you clean up after it makes a mess.....
>
> You have a man/boy kiln!
Dear Hank,
That's exactly what I have. Perfect description. I will try Mel's romantic
way maybe I will get better results. A bit of schmoozing never hurts.
Cheers to you!
Ingeborg
3058 Stringfellow Road
P.O. Box 510
Saint James City, FL 33956
http://www.thepottersworkshop.com
> ______________________________________________________________________________
>
Hank Murrow on sat 24 feb 07
On Feb 24, 2007, at 3:25 PM, Ingeborg wrote:
> Hank said: > Dear Ingeborg;
>>
>> If the kiln doesn't listen to you,
>>
>> If the kiln wants your complete attention when firing,
>>
>> If the kiln makes you clean up after it makes a mess.....
>>
>> You have a man/boy kiln!
>
> Dear Hank,
>
> That's exactly what I have. Perfect description. I will try Mel's
> romantic
> way maybe I will get better results. A bit of schmoozing never hurts.
>
> Cheers to you!
> Ingeborg
Dear Ingeborg;
My kiln not only listens, but is obedient (after her fashion).
She lets me go to a movie, and when I return home, she is warmed up
just to the point I wished for.
And she has only made a mess once in the 20 years we have had together
(that one was my doing, but don't tell her), and I love
her........calling her "Sweetie"......... or "Queenie"........ she
makes everything more beautiful, and does it for $24/firing! Beautiful,
responsive, and a cheap date........ I AM the Lucky One.
Cheers encore, Hank
www.murrow.biz/hank
Lee Love on sun 25 feb 07
Actually, my kiln is built from a small sum of money my mother left
me. She died the first year I was in Mashiko, from the flu epidemic
of 2000. So, my kiln is named in her honor.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"To affect the quality of the day, that is the highest of arts." -
Henry David Thoreau
"Let the beauty we love be what we do." - Rumi
sacredclay on sun 25 feb 07
Stephani, Last night I was thinking about Lili and Primalmommy and how
they have these extroadinarly gifts of the language to convey words
that are untranslatable feelings for me and I was thinking, there's one
more woman that has that gift,too... ..what is her nnme? Today, it came
to me as I read this post. YOU. Don't ever stop posting, I am simply as
well as many others, enthralled with your words. Happy pottings!
Warmly, Kathryn in NC
> village, went into a deep trancelike state,
> they accompanied the whalers psychically, in
> spirit.... they would not move until the party
> returned... the whole village was attuned ,was
> directing all of their effort and skill into that
> hunt. to ensure safe return of the whalers and the
>
Ivor and Olive Lewis on sun 25 feb 07
Dear Ingeborg,
It will have a tall straight stack that emits a wonderful baritone =
whisper when you draw the damper.
Best regards,
Ivor
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