Seth Czaplewski proposes recycling unused clay materials and broken ceramics by incorporating them into new ceramic works or converting them into biochar. Some materials that can be recycled include clay abandoned in studios, contaminated clay, excavated clay from other projects, wad and wash from ceramic production, and unwanted or broken pots. Biochar is a charcoal-like material produced by heating biomass in low-oxygen conditions that can sequester carbon in soil for thousands of years and improve soil quality and plant growth. By recycling clay wastes and converting ceramics into biochar, Czaplewski aims to both reduce ceramic waste and educate the public about sustainable practices.
Clay artifacts have the power to arouse wonder and to tell powerful cultural stories—and America’s museums have fundamental responsibility to help make this happen. This much needed activation begins with a dedication to thinking anew about collections as a way to make them more relevant, not only within the walls of the institution but also within the community and, in this digital age, for the world at large. Time-worn approaches to historical interpretation need to give way to more inclusive approaches through the incorporation of new voices, new narratives, and newer ways of thinking and seeing. This talk explores a wide array of museum-based and education projects initiated by the Chipstone Foundation in its search for more powerful ways to tell vital clay narratives.
The ubiquity of social media is undeniable
in today’s world. This panel will address the
myriad of ways social media can be utilized
in ceramic education, studio practice and by
curators to further the conversation beyond the
physical world.
The Lawrence Arts Center and the University
of Kansas Department of Visual Art represent
the two largest arts organizations in Lawrence,
Kansas. This presentation will discuss how
these two institutions are collaborating
to bring communities and disciplines together,
and how partnerships like these can
In recent years, ceramics in New York have
been exhibited in highly respected galleries not
associated with ceramics. This highly promising
integration into the Fine Arts could bode well
for the future of the medium. An end to the
stigma of the “craft medium” and segregation
could finally be at hand.
This global history of earthenware is based on
the travel accounts of explorers in West and
Central Africa, Mesoamerica, and the Iberian
Peninsula. The central figures are the artisans
who made, merchants who hawked, and the
cooks who served meals made in clay pots. Clay
pots had been essential items in the kitchen and
on the table with cooks using earthen vessels to
make one-pot meals such as puddings, stews,
and soups. By looking at the recipes made in
these clay cooking pots, we can uncover the
historical context in which people made both
the earthen vessel as well as the food in them.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
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More from NCECA (National Council on Education for the Ceramic Arts)
Clay artifacts have the power to arouse wonder and to tell powerful cultural stories—and America’s museums have fundamental responsibility to help make this happen. This much needed activation begins with a dedication to thinking anew about collections as a way to make them more relevant, not only within the walls of the institution but also within the community and, in this digital age, for the world at large. Time-worn approaches to historical interpretation need to give way to more inclusive approaches through the incorporation of new voices, new narratives, and newer ways of thinking and seeing. This talk explores a wide array of museum-based and education projects initiated by the Chipstone Foundation in its search for more powerful ways to tell vital clay narratives.
The ubiquity of social media is undeniable
in today’s world. This panel will address the
myriad of ways social media can be utilized
in ceramic education, studio practice and by
curators to further the conversation beyond the
physical world.
The Lawrence Arts Center and the University
of Kansas Department of Visual Art represent
the two largest arts organizations in Lawrence,
Kansas. This presentation will discuss how
these two institutions are collaborating
to bring communities and disciplines together,
and how partnerships like these can
In recent years, ceramics in New York have
been exhibited in highly respected galleries not
associated with ceramics. This highly promising
integration into the Fine Arts could bode well
for the future of the medium. An end to the
stigma of the “craft medium” and segregation
could finally be at hand.
This global history of earthenware is based on
the travel accounts of explorers in West and
Central Africa, Mesoamerica, and the Iberian
Peninsula. The central figures are the artisans
who made, merchants who hawked, and the
cooks who served meals made in clay pots. Clay
pots had been essential items in the kitchen and
on the table with cooks using earthen vessels to
make one-pot meals such as puddings, stews,
and soups. By looking at the recipes made in
these clay cooking pots, we can uncover the
historical context in which people made both
the earthen vessel as well as the food in them.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
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http://sandymillin.wordpress.com/iateflwebinar2024
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Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
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2. Recycling through ceramics
Paper
Unused clays left in a group studio,
contaminated clay, excavated clay from a
building project
Wad, wash, unwanted and broken pots
- Paper
- Clay abandoned in a group studio,
contaminated clay, or excavated clay
from another project
- Wad, wash, unwanted and broken
ceramics
3. Not only to
reduce waste
as a
ceramicist, but
to interact with
the public
about
sustainable
practices.
6. Paper clay and Paper slips
Paper clay (cone 10) Paper slip (cone 6)
Paper pulp (to taste) 80 LBS water
Sand (to taste) Minimum 3 pounds Paper pulp
36% Hawthorne Bond Fire Clay 25% EPK
18.5% EPK 25% Ball Clay
18.5% Gold Art 25% Silica
9% Ball Clay 25% Neph SY
9% XX Sagger Suspension agent of choice
9% G200 I use Darven 11
37. What can be done with wad, wash,
and abandoned ceramics
38.
39.
40. Bio Char
Tera Preta
Black Earth
Activated Charcoal
-Heat without oxygen under 1200F
- Can be done in a barrel, kiln, a hole in the
ground that is smothered, on an industrial
level.
41.
42.
43. Why make Bio Char?
• It sequesters atmospheric carbon in the
ground
• It helps eliminate toxins in the ground and
water
• Agricultural test’s show it can increase
yields up to 800% in some studies
• Beneficial bacteria thrive in bio char soils
• It improves the soil for thousands of years
by storing nutrients