Begin

1. Begin 1

2. This is an exercise in Connectedness. The goal is not only to learn, but to escape a typical path to knowledge. “In a very curious sense we travel knowing in advance what we are on the verge of discovering because past reading has told us what we are supposed to discover.” --Umberto Eco Be aware. Your “background books” can be difficult to leave behind. Continue Back 2

3. Importance in one system is not importance in all others. Be aware of what guides your learning process. An empirical and linear approach will send you on one path. But that isn’t the only path. Continue Back 3

4. Sometimes our way of knowing prevents us from looking in the right place. Continue Back 4

5. Ready? Let’s begin in earnest. Continue Back 5

6. An Intro. to Japanese Ceramics. 1. Clay Extraction and Drying. Most Japanese ceramic styles are named after the region where they were first fired. The clay, too, nearly always comes from the same area (e.g., Shigaraki ware uses Shigaraki clay). Clay is also sold at auctions in Japan, so regardless of where a potter lives, he/she can typically buy clay from any region. 2. Pulverizing and Sifting. The dried clay is broken up into small pieces (by machine) and then put through a sieve to remove impurities and capture only the finer earth. Stones and dirt are discarded. Some potters, however, intentionally leave in small stones to achieve the ishihaze effect (see above). 3. Straining. The clay is next mixed with water, and the resultant mixture is filtered again in order to capture only the finest earth, which is then squeezed to remove the water, and then partially dried. 4. Pugging. Clay is fashioned into a square lump, and put through a pug mill, which shapes it into cylindrical lumps.  9. Wedging. The clay is then wedged by hand to rid it of any air. 10. Forming on Potter's Wheel. A clump of the clay is thrown in the center of the wheel, and shaped upwards with both hands (one on the inside, the other on the outside). The resultant form is then further refined using various tools. 11. Drying, Finishing. The pieces are allowed to dry thouroughly, and then they are trimmed and finished. The pieces are again allowed to dry (several days). 12. Bisque Firing. For pieces that will be glazed, the dried form is first bisque fired, making it easier to apply overglaze and improving the adhesion of color pigments during the main firing. For unglazed ware, the dried pieces are not bisque fired (jump to Step 10). 13. Glazing. After bisque firing, the pieces are allowed to cool, and then glazed.  14. Main Firing. Depending on the style being created, the pieces are now loaded into the kiln for only a few hours or for several days or for weeks. Continue Back 6

7. Click here for common clay types. Click here for chemical formulas. Continue Back 7

8. Continue Back 8

9. MontmorilloniteAl2(OH)2Si4O10 Illite K0-2Al4(Si8-6Al0-2)O20(OH)4 Kaolinite Al2(OH)4Si2O5 Hydrous Mica KAl2(OH)2(AlSi)3O10 Continue Back 9

10. Continue Analysis Sample Atomic Structure of SiO2 Not feeling...Connected? Keep looking. You may find another path to an answer. Continue Back 10

11. Are you getting closer to the answer by breaking down the subject? Back 11

12. Now you’re getting somewhere, but I can’t tell you if you’ve reached an answer. Ah. Were you distracted by all that information? Let’s move on. 12

13. Aha! You’ve Been Searching For This. Translate the Kanji. 13

14. “In Tranquility the Universe is Great.” The poem is both inside and outside the tea bowl. The metaphor of bowl becoming universe is revealed through drinking or handling the bowl. By doing, drinking, feeling and reading, the physical act connects you to the metaphorical. Not sure where you are going or if you’ve arrived? Let’s try another way. 14

15. If you followed links and carefully read the information you probably learned a bit about Japanese ceramics, clay composition, chemical formulas, etc. But it’s unlikely that such an approach brought you closer to an understanding what the tea bowl is all about. Until you began to ignore text and look at spaces and voids you may have been frustrated or even thought that the presentation was unfinished or that links were missing. However, you’re probably getting the point. Even so, it’s no use for me to explain things in words. It’s more effective to experience things for yourself. Phase Two. 15

16. This will be simple. First, find a couple of paper or styrofoam cups. An old mug will do if you have one that’s undecorated. Now write your own poem. Make sure that half is on the outside of the cup and half on the inside. The poem should be revealed through the action of drinking or handling the cup or mug. Find a quiet spot. Fill your cup or mug with your beverage. Drink slowly. Now either make a second cup or reuse your mug. It’s up to you. Serve a friend or colleague a cup of tea, coffee or whatever. Let them find the poem for themselves. That’s It. You’ll know when you get it. Credits 16

17. The quote in slide two: Eco, Umberto (1999). Serendipities: Language and Lunacy (1st Harvest ed.). San Diego: Harcourt Brace. The ceramic tea bowl. Ihachi, O. (Artist). (1720-1760). Tea bowl with design of mountain retreat [Ceramic]. The bowl can be seen at the Freer Gallery of the Smithsonian Institution in Washington, DC. The End. 17