DOCSLIB.ORG

Making Large Sculptures with Small Kilns Thrift

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Making Large Sculptures with Small Kilns Thrift PMI Nov_Dec 04 p0Cover 10/27/04 9:46 AM Page 1 Nov./Dec. 2004 Cheryl Tall: Making Large Sculptures with Small Kilns An innovative modular approach to large sculptures Thrift Shop Molds 10Steps to Great Bowls Stamped Impressions 4 New How-To Departments • AskAsk PMI • GettingGetting StartedStarted • BeyondBeyond BasicsBasics • SpareSpare PartsParts $5.00 US $7.50 CAN PMI Nov_Dec 04 p0IFC_13 10/27/04 9:47 AM Page IFC2 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 1 November/December 2004 • PotteryMaking Illustrated 1 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 2 TABLE OF CONTENTS Features 14Throwing a Basic Bowl by Mel Jacobson A step-by-step demonstration for creating the bowl form. 18Making Great Impressions with Stamps by Roger Graham How to make stamps for marks and decoration. 24Making Large Sculptures with Small Kilns by Norma Yuskos A modular approach to large work allows the use of a smaller kiln. 32Spray those Glazes by Kathy Chamberlin Use a spray gun for unique glaze application. 36Creating Plates and Bowls Using Glass Molds by Lou Roess Add texture and designs to your pots using old glassware. 2 PotteryMaking Illustrated • November/December 2004 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 3 Departments 4 Fired Up Another Exciting Moment by Tim Frederich 6 Ask PMI Studio, Kiln and Glaze Problems 8 Getting Started Hints for Even Drying by Snail Scott 10 Beyond Basics Use Your Legs by Mel Jacobson 12 Spare Parts Assemble a Throwing Gauge by Don Adamaitis 40 Off the Shelf Handbuilding Books by Sumi von Dassow 42 Kid’s Korner Nutcracker Candlestick Holders by Craig Hinshaw 48 The Peephole On the Cover: Cheryl Tall is shown with one of her modular sculp- tures in progress. See story on page 26. Photo Credit: Thomas Michael Alleman PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 4 FiredUp Volume 7 • Number 6 Another Exciting Moment Editor • Tim Frederich Assistant Editor • Renée Fairchild Assistant Editor • Jennifer Poellot EDITORIAL ost of my career has been spent as a Marketing Manager • Susan Enderle full-time production potter—25 of my Graphic Design / Prod. • Dave Houghton M Assistant Web Developer • Dianna Williams 37 years in clay throwing thousands of pots a Advertising Manager • Steve Hecker year. To this day, I’m still excited by a new Advertising Serv. Rep. • Debbie Plummer idea or a new form. I remember attending a Publisher • Rich Guerrein hands-on workshop in the mid 70’s presented Editorial Advisory Board by ceramics artist Bruno LaVerdiere on build- David Gamble • Steven Hill • Anna Calluori Holcombe • Mel Jacobson • ing large vessels and sculpture using coils. I Bill Jones • Jonathan Kaplan • Dannon Rhudy • came home hungry to continue working with John Toki • Anderson Turner this technique, a desire I’ve never lost. Editorial, Advertising Not all my attempts were successful, of and Circulation Offices PO Box 6136 course. Whose are? But every time I’m disap- Westerville, OH 43086-6136 Phone: 614-794-5890 pointed, I start fresh just as excited by what FAX: 614-794-5892 Tim Frederich working I’ve learned from my effort. E-mail: [email protected] in his studio. Working on Pottery Making Illustrated is a www.potterymaking.org lot like making a pot. Not everything we try Pottery Making Illustrated (ISSN 1096-830X) is pub- lished bimonthly by The American Ceramic Society, 735 succeeds. But when it does, it’s an exciting moment. Introducing Ceramic Place, Westerville, Ohio 43081. Periodical postage paid at Westerville, Ohio and additional mailing offices. the newly designed Pottery Making Illustrated to you is just Opinions expressed are those of the contributors and do such a moment. not necessarily represent those of the editors or The American Ceramic Society. When I first started doing craft fairs years ago, the work was Subscription rates: 6 issues (1 year) $22, 12 issues (2 displayed on unfinished boards and orange crates. Today, most years) $41, 18 issues (3 years) $58. Add $18 per year for sub- scripptions outside North America. In Canada, add 7% GST displays are slick, architectural-styled booths. So it is with PMI. (R123994618). All payments must be in US$ and drawn on a U.S. bank. Allow 6-8 weeks for delivery. We have a new, up-to-date design from cover to cover, new Advertising: Ad rates and ad information are available on departments and even more helpful advice and ideas. the website or by contacting Steve Hecker at the address above or by phone: 614-794-5809. When I taught firing seminars for the Orton Ceramic Change of address: Send your change of address via email, to the Circulation Department, or on our website. Foundation, and now during the classes that I teach at the local Allow six weeks advance notice. art center, I’m always amazed and thrilled when I see the excite- Contributors: Writing and photographic guidelines are available on request and on the website. Mail manuscripts and ment that occurs when one learns something new. In my first visual materials to the editorial offices. year as editor of PMI—learning, growing, and meeting people at Photocopies: Permission to photocopy for personal or inter- nal use beyond the limits of Sections 107 and 108 of the U.S. conferences and workshops—I see this same excitement when Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid someone relates how they used PMI to create work, solve prob- directly to Copyright Clearance Center, Inc., 222 Rosewood lems or learn a new technique. Dr., Danvers, MA 01923 USA; 978-750-8400; www.copy- right.com. Prior to photocopying items for educational class- Each issue of PMI still contains lots of step-by-step instruc- room use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general dis- tion. You’ll find great ideas for planning, creating and succeed- tribution, for advertising or promotional purposes, or to ing with projects from forming to glazing to firing, with easy- republishing items in whole or in part in any work and in any format. Please direct republication or special copying permis- to-understand illustrations, informative sidebars, recipes and sion requests to the Publisher, The American Ceramic Society, PO Box 6136, Westerville, Ohio 43086-6136. technical information. Back Issue: When available, back issues are $5 each, plus $4 I hope you’ll be as excited and pleased as I am with the shipping and handling for the first issue and $1 for each addi- tional copy thereafter. For outside orders outside North changes and improvements you see in Pottery Making America, add $6 ($2 for additional copies). In Canada, add Illustrated. One thing that hasn’t changed, though, is our mis- 7% GST. Postmaster: Send address changes to Pottery Making sion: Providing the information you need to succeed in clay. So Illustrated, PO Box 6136, Westerville, Ohio 43086-6136. Form 3579 requested. let us know what you would like to see to build your confidence and improve your success in pottery making. Please send all sub- missions, questions or comments to me at: Pottery Making Illustrated, 735 Ceramic Place, Westerville, OH 43081; or send me an e-mail: Copyright © 2004 The American Ceramic Society [email protected]. Tim Frederich, Allrights reserved Editor www.ceramics.org 4 PotteryMaking Illustrated • November/December 2004 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 5 Seat optional WorkStation optional Purchase Pacifica products between Thanksgiving Day and New Year’s Day and receive a cash rebate from Pacifica! Whether you purchase Pacifica equipment for yourself or as a gift for someone special on your holiday list, we’ll make it a little more special for all concerned. Purchase any of the following and receive a check from Pacifica to spend any way you like! Product Factory Rebate Pacifica GT 400 Potter’s Wheel $50.00 Pacifica GT 800 Potter’s Wheel $75.00 Pacifica WorkStation $25.00 The Seat by Pacifica $25.00 Rebate Rules: All purchases must be made between November 25, 2004 and December 31, 2004. Request for rebate must include original sales receipt clearly showing (1) Pacifica product(s) purchased including serial number for GT-400 or GT-800, (2) price paid, (3) date of purchase, (4) dealer’s name and phone number, (5) name, phone number and address to which rebate is to be sent. Mail rebate requests to Pacifica Rebate, 14400 Lomitas Avenue, City of Industry, CA 91746. This offer may not be combined with other manufacturer dis- counts or special promotions. Rebate requests must be postmarked no later than January 31, 2005. Allow 4-6 weeks for rebate processing. Contact your local Pacifica dealer or [email protected] or 800.452.4862 • www.lagunaclay.com PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 6 Ask PMI Studio, Kiln and Glaze Problems EXPERT ANSWERS path may be a factor. Finally, how you oper- Glaze ate the kiln also can affect heat distribution. Problem Watch the size of the load, thickness of the What is shivering? ware and the stacking pattern; all affect tem- —T.M. perature distribution. So does the heating Q rate—the time needed to reach a tempera- ture; slower firing usually permits more even Shivering refers to heat distribution. To avoid cracking, warping a condition in or poor glaze development it’s very impor- Awhich glaze begins tant to understand and take into account the to pop off the surface of factors affecting heat distribution when firing An example of shivering the ware after the glaze your kiln.
Load more

Recommended publications
  • 7 Great Pottery Projects
    ceramic artsdaily.org 7 great pottery projects | Second Edition | tips on making complex pottery forms using basic throwing and handbuilding skills This special report is brought to you with the support of Atlantic Pottery Supply Inc. 7 Great Pottery Projects Tips on Making Complex Pottery Forms Using Basic Throwing and Handbuilding Skills There’s nothing more fun than putting your hands in clay, but when you get into the studio do you know what you want to make? With clay, there are so many projects to do, it’s hard to focus on which ones to do first. So, for those who may wany some step-by-step direction, here are 7 great pottery projects you can take on. The projects selected here are easy even though some may look complicated. But with our easy-to-follow format, you’ll be able to duplicate what some of these talented potters have described. These projects can be made with almost any type of ceramic clay and fired at the recommended temperature for that clay. You can also decorate the surfaces of these projects in any style you choose—just be sure to use food-safe glazes for any pots that will be used for food. Need some variation? Just combine different ideas with those of your own and create all- new projects. With the pottery techniques in this book, there are enough possibilities to last a lifetime! The Stilted Bucket Covered Jar Set by Jake Allee by Steve Davis-Rosenbaum As a college ceramics instructor, Jake enjoys a good The next time you make jars, why not make two and time just like anybody else and it shows with this bucket connect them.
    [Show full text]
  • Color in Salt Glaze
    Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 8-1-1967 Color in salt glaze Daniel Lee Stevens Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Stevens, Daniel Lee, "Color in salt glaze" (1967). Dissertations and Theses. Paper 561. https://doi.org/10.15760/etd.561 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF Daniel Lee Stevens for the Master of Science in teaching in Cerami~s 'presented 0:0 August 7, 1967. Title: COLOR IN SALT GLAZE. , Abs tract approved: This thesis endeavors to bring a brief history of salt glaze to the reader, following i~s ge~esisin Germany to England and the American colonies and its continuation to the prese~t day. In order to conduct research on color in salt glaze~ a kiln had to be built for this purpose, meeting all the requirements 'that this tech- nique demands. Studies were ~ade on clay bodies to determine their throwing qualities as well as their ability to take a salt glaze. Finally, research was carried out 'in many serfes of tests studying the reactions of'various engobes and other coloring materials when ,fired in the salt glaze kiln. \ .' COLOR IN SALT GLAZE by Daniel Lee Stevens A THESIS submitted to .Portland State College, in partial fulfillment of the requirements for the degree of Master of Science in Teaching August 1967 \ I PORTLAND STATE COL~EGE LIBRARY' .
    [Show full text]
  • Pottery Pieces Designed & Handmade in Our Ceramic Studios and Fired in Our Kilns
    GLAZES ACCESSORIES FOUNTAINS PLANTERS & URNS OIL JARS ORNAMENTAL PIECES BIRDBATHS INTRODUCTION TERY est. 1875 Gladding, McBean & Co. POT Over A Century Of Camanship In Clay INTRODUCTION artisan made This catalog shows the wide range of pottery pieces designed & handmade in our ceramic studios and fired in our kilns. These pieces are not only for the garden, but also for general use of decoration indoors and out. Gladding, McBean & Co. has been producing this pottery for 130 years. Its manufacture began in the earliest years of the company’s existence at a time when no other terra cotta plant on the Pacific Coast was attempting anything of the sort. Gladding, McBean & Co. therefore, has pioneered in pottery-making. The company feels that it has carried the art to an impressive height of excellence. In every detail but color the following photographs speak for themselves. Each piece is glazed in one of our beautiful proprietary glazes. A complete set of glaze samples can be seen at our retail showrooms. This pottery is on display at, and may be ordered from, any of the retail showrooms listed on our website at www.gladdingmcbean.com. In photographing the pieces, and in reproducing the photographs for this catalog, the strictist care was taken to make the pictures as faithful as possible to the objects themselves. We are confident that in every instance the pottery will be found lovelier than its picture. The poet might well have had this pottery in mind when he wrote: “A thing of beauty is a joy forever.” BIRDBATHS no. 1099 birdbath width: 15.5” height: 24.5” base: 10” Birdbath no.
    [Show full text]
  • Paragon Ceramic Kiln Instruction & Service Manual
    Paragon Ceramic Kiln Instruction & Service Manual You are about to enter the magical world of custom-fired ceramics. To safely find your way around and to master your kiln, read this manual. Save for future reference. The First Firing— Seepage29 INTRODUCTION Thank you for purchasing a Paragon kiln. We are confident that the kiln will give you many years of relaxation and creative enjoyment. Before using your kiln, read the manuals that came with it. They will save you many hours as you learn about your kiln. The more you know about your kiln, the more you will enjoy it and the longer it will last. This manual does not cover the digital controller or the Kiln Sitter and switches. They are covered in a separate manual included in your instruction packet. In the instruction packet for your kiln, you should find a copy of “Safe Installation of the Electric Kiln,” “Firebrick Maintenance,” and a manual that covers your kiln’s control system. Please contact the factory if you do not have copies. You can also find them at www.paragonweb.com. Select “Support” and then “Instruction Manuals” from the drop menu. The manuals are listed alphabetically. At www.paragonweb.com select “Products,” then “Books & DVDs” from the drop menu. The books we recom- mend will enhance your kiln experience. You can also email or phone us with questions. We are glad to help. At www.paragonweb.com you will find online videos for many of the procedures shown in this manual. As you read each section, you can go online to watch an actual demonstration on your computer.
    [Show full text]
  • Ch. 4. NEOLITHIC PERIOD in JORDAN 25 4.1
    Borsa di studio finanziata da: Ministero degli Affari Esteri di Italia Thanks all …………. I will be glad to give my theses with all my love to my father and mother, all my brothers for their helps since I came to Italy until I got this degree. I am glad because I am one of Dr. Ursula Thun Hohenstein students. I would like to thanks her to her help and support during my research. I would like to thanks Dr.. Maysoon AlNahar and the Museum of the University of Jordan stuff for their help during my work in Jordan. I would like to thank all of Prof. Perreto Carlo and Prof. Benedetto Sala, Dr. Arzarello Marta and all my professors in the University of Ferrara for their support and help during my Phd Research. During my study in Italy I met a lot of friends and specially my colleges in the University of Ferrara. I would like to thanks all for their help and support during these years. Finally I would like to thanks the Minister of Fournier of Italy, Embassy of Italy in Jordan and the University of Ferrara institute for higher studies (IUSS) to fund my PhD research. CONTENTS Ch. 1. INTRODUCTION 1 Ch. 2. AIMS OF THE RESEARCH 3 Ch. 3. NEOLITHIC PERIOD IN NEAR EAST 5 3.1. Pre-Pottery Neolithic A (PPNA) in Near east 5 3.2. Pre-pottery Neolithic B (PPNB) in Near east 10 3.2.A. Early PPNB 10 3.2.B. Middle PPNB 13 3.2.C. Late PPNB 15 3.3.
    [Show full text]
  • A Comparative Study of the Swennes Woven Nettle Bag and Weaving Techniques
    Karoll UW-L Journal of Undergraduate Research XII (2009) A Comparative Study of the Swennes Woven Nettle Bag and Weaving Techniques Amy Karol Faculty Sponsors: Dr. Connie Arzigian and Dr. David Anderson, Department of Sociology and Archaeology ABSTRACT During recent years, the Mississippi Valley Archaeology Center (MVAC) has acquired permission to look at a beautifully preserved bag from 47Lc84, a rockshelter located in La Crosse County, Wisconsin. The bag is tentatively dated to the Oneota cultural tradition (A.D. 1250-1650) based on pottery sherds associated with it. Nothing of its kind has been found archaeologically in this region before, owing mostly to poor preservation conditions. Due to its uniqueness, there is nothing to compare it to within the Oneota tradition. Therefore, to gain a better understanding of this bag, a cross-cultural study was undertaken. This paper examines separate sites in the American Midwest, as well as textile impressions that are preserved on pottery, the ethnohistoric and early historic record, and modern hand-weaving techniques to determine the textile tradition from which the bag may have emerged as well as how it was constructed. INTRODUCTION Textiles in the archaeological record are poorly preserved in the American Midwest. Only in very few sites are they actually found, and in even fewer are the fragments large enough to be studied in depth. Detailed studies conducted on textiles are not numerous. Lacking in these studies is a cross-cultural comparison of types and materials from sites that do have better preserved textiles to try and determine similarities and differences in textile manufacture.
    [Show full text]
  • Proceedings of the Fourth Annual International Conference on Cement Microscopy March 28-April 1, 1982 Las Vegas, Nevada USA
    Proceedings of the Fourth Annual International Conference On Cement Microscopy March 28-April 1, 1982 Las Vegas, Nevada USA Title: Thoughts Regarding the ONO Method of Portland Cement Clinker Analysis Authors: Prout, N. J. pp. 2-3 Title: Application of ONO Method at Canada Cement Lafarge -- Panel Discussion Authors: Chen, H. pp. 4-5 Title: Use of the ONO Technique -- Panel Discussion Authors: Hawkins, P. pp. 6 Title: Interpretations of Burning Conditions with Powder Mounts -- Panel Discussion Authors: Campbell, D. H. pp. 7-8 Title: Comments on ONO's Method and Cement Microscopy -- Panel Discussion Authors: O'Neill, R. C. pp. 9-10 Title: Concrete Microscopy at the Construction Technology Laboratories -- Panel Discussion Authors: Campbell, D. H. pp. 12-13 Title: The Use of the Microscope in the Ready-Mix Concrete Industry -- Panel Discussion Authors: Nisperos, A. pp. 14-20 Title: The Microscope and Lime Authors: Walker, D. D. pp. 21-48 Title: Influence of Second Firing System Incorporated in Suspension Preheater Kilns on Clinker and Cement Quality Authors: Dreizler, I. E. pp. 50-66 Title: Investigation of the Formation of Portland Cement Clinker in a Pilot Rotary Kiln by the Aid of XRD and Microscopy Authors: Janko, A. pp. 67-82 Title: Microscopic Analysis of Portland Cement Clinker Applied to Rotary Kiln and Compressive Strength Control Authors: Hicks, J. K.; Dorn, J. D. pp. 83-91 Title: Clinker Quality Characterization by Reflected Light Techniques Authors: Long, G. R. pp. 92-109 Title: Effects of Kiln Feed Particle Size and Mineralizers of Clinker Microstructure and Cement Quality -- A Case Study Authors: Hargave; Shah; Chatterjee; Rangnekar pp.
    [Show full text]
  • Outdoor Pottery Sculpture in Ife Art School
    E-ISSN 2281-4612 Academic Journal of Interdisciplinary Studies Vol 4 No 3 ISSN 2281-3993 MCSER Publishing, Rome-Italy November 2015 Outdoor Pottery Sculpture in Ife Art School Moses Akintunde Akintonde1 Toyin Emmanuel Akinde2 Segun Oladapo Abiodun3 Michael Adeyinka Okunade4 1,2,3 Department of Fine and Applied Arts, Ladoke Akintola University of Technology, Ogbomoso, Nigeria 4Department of Fine Arts, Obafemi Awolowo University, Ile-Ife, Nigeria; [email protected] [email protected], [email protected], [email protected] Doi:10.5901/ajis.2015.v4n3p219 Abstract The rich public outdoor sculpture practice of the Southwest of Nigeria still lacks scientific and empirical experimentation of non- conventional material for the production of outdoor sculpture, particularly pottery images. Although scholarship on public outdoor sculpture in the Southwest of Nigeria is becoming steady in growth, yet a reconnaissance study of the pottery sculpture in art practice and historical perspective has not been made. A study of this type of art, erected in the garden of Ife art school is exigent and paramount now that many of the works are not being maintained. The study underscores the inherent values in the genre of the art; and examined pottery sculpture types, its uses in public sphere and its development in morphology, iconic thematic and stylistic expressions. The study observed that outdoor pottery sculptures are impressive, apparent in sculpture multiplicity of type and dynamics; it is rare in occurrence in Southwestern Nigeria. Keywords: Ife Art School; outdoor sculpture, pottery sculpture; handbuilt pottery; Yoruba pottery. 1. Introduction The praxes of outdoor sculpture in Nigeria, beginning from the first quarter of twentieth century presented different latitudes.
    [Show full text]
  • Design and Simulation of Pottery Kiln
    Design and Simulation of Pottery Kiln Kiran Govind ( [email protected] ) Birla Institute of Technology and Science Keerthidas PU NSS College of Engineering Karthik R National Institute of Design Kishore R NSS College of Engineering Research Article Keywords: kiln, rewood, coconut husk, bonre, pottery, chimney, downdraught, simulation, fuel consumption Posted Date: June 15th, 2021 DOI: https://doi.org/10.21203/rs.3.rs-593830/v1 License: This work is licensed under a Creative Commons Attribution 4.0 International License. Read Full License DESIGN AND SIMULATION OF POTTERY KILN Kiran Govind1, Keerthidas P U2, Karthik R3, Kishore R4 1. Kiran Govind – Birla Institute of Technology and Science – [email protected] 2. Keerthidas PU – NSS College of Engineering - [email protected] 3. Karthik R – National Institute of Design – [email protected] 4. Kishore R – NSS College of Engineering - [email protected] “*Correspondence to Kiran Govind” Abstract Pottery industry is one of the small-scale industries in India. Most rural potters depend upon traditional pottery kilns for burning process by firewood or coconut husk. In order to produce high quality pottery products better burning process is needed. The purpose of the project is to thermal analysis of burning process in a traditional furnace in order to achieve uniform temperature inside the kiln and decrease the fuel consumption through better distribution of input heat. The traditional kilns are bonfire kilns, which involve open firing in shallow pit. These kilns suffer higher fuel consumption, poor ware strength and extensive breakage. Smokes produced during firing will serious health problems to pottery workers and their family.
    [Show full text]
  • Dry Kiln Operator's Manual
    United States Department of Agriculture Dry Kiln Forest Service Operator's Forest Products Laboratory Manual Madison, Wisconsin Agriculture Handbook No. 188 Dry Kiln Operator’s Manual Edited by William T. Simpson, Research Forest Products Technologist United States Department of Agriculture Forest Service Forest Products Laboratory 1 Madison, Wisconsin Revised August 1991 Agriculture Handbook 188 1The Forest Products Laboratory is maintained in cooperation with the University of Wisconsin. This publication reports research involving pesticides. It does not contain recommendations for their use, nor does it imply that the uses discussed here have been registered. All uses of pesticides must be registered by appropriate State and/or Federal agencies before they can be recommended. CAUTION, Pesticides can be injurious to humans, domestic animals, desirable plants, and fish or other wildlife-if they are not handled or applied properly. Use all pesticides selectively and carefully. Follow recommended practices for the disposal of surplus pesticides aand pesticide containers. Preface Acknowledgments The purpose of this manual is to describe both the ba- Many people helped in the revision. We visited many sic and practical aspects of kiln drying lumber. The mills to make sure we understood current and develop- manual is intended for several types of audiences. ing kiln-drying technology as practiced in industry, and First and foremost, it is a practical guide for the kiln we thank all the people who allowed us to visit. Pro- operator-a reference manual to turn to when questions fessor John L. Hill of the University of New Hampshire arise. It is also intended for mill managers, so that they provided the background for the section of chapter 6 can see the importance and complexity of lumber dry- on the statistical basis for kiln samples.
    [Show full text]
  • Redalyc.Toolkits and Cultural Lexicon: an Ethnographic
    Indiana ISSN: 0341-8642 [email protected] Ibero-Amerikanisches Institut Preußischer Kulturbesitz Alemania Andrade Ciudad, Luis; Joffré, Gabriel Ramón Toolkits and Cultural Lexicon: An Ethnographic Comparison of Pottery and Weaving in the Northern Peruvian Andes Indiana, vol. 31, 2014, pp. 291-320 Ibero-Amerikanisches Institut Preußischer Kulturbesitz Berlin, Alemania Available in: http://www.redalyc.org/articulo.oa?id=247033484009 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Toolkits and Cultural Lexicon: An Ethnographic Comparison of Pottery and Weaving in the Northern Peruvian Andes Luis Andrade Ciudad and Gabriel Ramón Joffré Ponticia Universidad Católica del Perú, Lima, Perú Abstract: The ndings of an ethnographic comparison of pottery and weaving in the Northern Andes of Peru are presented. The project was carried out in villages of the six southern provinces of the department of Cajamarca. The comparison was performed tak- ing into account two parameters: technical uniformity or diversity in ‘plain’ pottery and weaving, and presence or absence of lexical items of indigenous origin – both Quechua and pre-Quechua – in the vocabulary of both handicraft activities. Pottery and weaving differ in the two observed domains. On the one hand, pottery shows more technical diver- sity than weaving: two different manufacturing techniques, with variants, were identied in pottery. Weaving with the backstrap loom ( telar de cintura ) is the only manufacturing tech- nique of probable precolonial origin in the area, and demonstrates remarkable uniformity in Southern Cajamarca, considering the toolkit and the basic sequence of ‘plain’ weaving.
    [Show full text]
  • Mass Cannibalism in the Linear Pottery Culture at Herxheim
    Mass cannibalism in the Linear Pottery Culture at Herxheim (Palatinate, Germany) Bruno Boulestin1, Andrea Zeeb-Lanz2, Christian Jeunesse3, Fabian Haack2, Rose-Marie Arbogast3 & Anthony Denaire3,4 The Early Neolithic central place at Herxheim is defined by a perimeter of elongated pits containing fragments of human bone, together with pottery imported from areas several hundred kilometres distant. This article offers a context for the centre, advancing strong evidence that the site was dedicated to ritual activities in which cannibalism played an important part. Keywords: Europe, Germany, Linearbandkeramik pottery, LBK, human bone, cannibalism, butchering Introduction Since the early 1990s, archaeological and anthropological research into violence and war has become increasingly dynamic. The number of recent publications on the subject confirms this growing interest, for instance in the theoretical basis for the understanding of violence and war, and their relationships with social structures (Haas 1990; Reyna & Downs 1994; Keeley 1996; Martin & Frayer 1997; Carman & Harding 1999; Kelly 2000; Guilaine & Zammit 2001; Leblanc & Register 2003; Arkush & Allen 2006). The Neolithic of the Old World plays a particularly important part in this debate. While the problem of Neolithic violence was already tackled in early archaeological papers, it has recently been re-activated (Keeley 1996; Carman & Harding 1999; Guilaine & Zammit 2001; Beyneix 2001, 2007; Thorpe 2003; Christensen 2004; Pearson & Thorpe 2005; Schulting & Fibiger 2008), and debates about the importance of violence during the Neolithic, and how it should be qualified (should we speak of war?) remain heated. In particular, several discoveries made in Germany and Austria in the past 30 years raise the question of the reality of a climate of collective violence as early as the beginning of the Neolithic, that is at the end of the Linear Pottery Culture (end of the sixth millennium cal BC).
    [Show full text]