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Pottery making in technology education aims to foster students' practical and creative ability. In a typical pottery making class, students receive the teacher's instruction on the fundamental techniques used in pottery making and have opportunities to practice. It is meaningful to construct an observation-doing-reflection process for students in a pottery making class to promote their learning experience and performance. Therefore, in this study, a Virtual Reality (VR)-based pottery making approach was applied to technology education in a junior high school to examine its effects on students' creativity and learning engagement. A total of 97 seventh graders from three classes participated in pottery making in class. One class of 34 students was assigned to be the experimental group learning with the VR-based approach, while the other two classes were assigned to be the control groups, with 30 students learning with the paper-and-pencil approach and 33 students with the clay-based approach. The results showed that the students learning with the VR-based approach were not only more creative in terms of their products, but also had higher cognitive engagement than those in the control groups. Moreover, the VR-based approach improved the students' behavioral, emotional and social engagement compared to the paper-and-pencil approach.

The Egyptians were known in the ancient world as experts in many applied chemistry fields such as metallurgy, wine and beer making, glass making, paper manufacture, paint pigments, dyes, cosmetics, perfumes, and pharmaceuticals. They made significant developments in the extraction of metals from their ores, especially copper and gold. The Egyptians developed a writing surface from the papyrus plant and used naturally occurring inorganic salts as paint pigments; they also made the first synthetic pigment, Egyptian blue, developed as early as 3000 B.C.E. The Leyden and Stockholm papyri give information on numerous chemical processes, dating to about 300 C.E., but copied from earlier sources. This article describes an overview of the various chemical activities that took place in ancient Egypt from which it can be deduced that the ancient Egyptians were among the first practicing chemists. In fact the word "chemistry" can be traced to the name the ancients used when referring to ancient Egypt. (Contains 1 table and 1 figure.)

Purpose: This paper aims to examine tensions around play, performance and artmaking as becoming in the mix of expected and taken-for-granted discourses implicit in an after-school ceramics makerspace (Perry and Medina, 2011). The authors look closely at one adolescent girl's embodied performance to see how it ruptures the scripts for compliant bodies in the after-school program. While these performances take place out-of-school and in an arts studio, the tensions and explorations also resonate with broader issues around student embodied, performative and becomings that run counter to normalized school expectations. Design/methodology/approach: A contemporary approach to nexus analysis (Medina and Wohlwend, 2014; Wohlwend, 2021) unpacked two critical performative encounters (Medina and Perry, 2011) using concepts of historical bodies (Scollon and Scollon, 2004) informed by sociomaterial thing-power (Bennett, 2010). Findings: Playing while painting pottery collides and converges with the tacitly desired and expected ways of embodying student in this after-school artspace. Emily's outer-space alien persona ruptured expected discourses when her historical body and embodied performances threatened other children. While her embodied performances facilitated her becoming a fully present participant in the studio, she fractured the line between play and reality in violent ways. Originality/value: As literacy researchers, the authors are in a moment of reckoning where student embodied performances and historical bodies can collide with all-too-real violent threats in daily lives and community locations. Situating these performances in the nexus of embodied literacies, unsanctioned play and thing-power can help educators respond to these moments as ruptures of tacit expectations for girlhoods in school-like spaces.

Historical overview of ceramic development has been provided in the paper. It has been stated that the trail of ceramics has been rooted in Indus valley civilization. Advancement of materials leads to afflux of development in the fields of science and technology. Present paper deals with the realm of Ceramic Engineering, mainly focuses on education and jobs in the respected fields in India. This paper also holds the framework and research work in Ceramic Engineering in India. It has been defined that the whole processing of ceramics is done in the laboratories, like refractories, ceramics white wares, fuel furnace and pyrometry etc. There are a number of jobs which are offered by government sector as well as private sector. It has been determined that ceramic engineers are able to get job opportunities in aerospace, automotive industry, building material manufacturing, chemical industries, electronics, food processing, mining, medicine and refinery sectors in India. Curricula, undergraduate and postgraduate programs in Ceramics Engineering have been characterized. The peculiarities of dual degree education in Ceramics Engineering have been described. It has been stated that there are several initiatives taken by the government for the enhancement of skills and knowledge in Ceramics Engineering, which have been discussed in the extant paper. It has been defined that a new advancement in Ceramics Engineering is the initiative for enhancement of the knowledge through video lectures, offered by a couple of institutes. The prospects of ceramics application have been analyzed. It has been stated that the momentousness of ceramics are protruding diurnally just like in sculptures designing, pottery, building constructions, sanitary & textile etc. Not only the designing field of ceramics but its use in electronics field has been covered. It has been concluded that ceramic has a great potential to give solutions to the heat absorption between the walls or contacting surfaces. Earthenware was the heretofore product of ceramics. It has been proved that the future scope of ceramic is enormous. It has also been stressed that nowadays Ceramic Engineering is one of the emerging fields in engineering education, but a very prospective one.

This paper presents a methodological framework for the use of gesture recognition technologies in the learning/mastery of the gestural skills required in wheel-throwing pottery. In the case of self-instruction or training, learners face difficulties due to the absence of the teacher/expert and the consequent lack of guidance. Motion capture technologies, machine learning, and gesture recognition may provide a way of overcoming such issues. The proposed methodology is used to record and model expert gestures and then to compare this model in real time with the gestures performed by the learner. Differences in kinematic aspects such as hand distances are detected, and optical/sonic sensorimotor feedback is provided to the learner by the system, alerting him/her when errors occur and guiding him/her to achieve better results. In the case described here, the system was evaluated with 11 learners. With the use of our system, the gestural performance of learners during self-training has been improved in comparison to cases of self-training without computer assistance.

This paper complicates notions of Black girlhood by examining the dual experiences of gendered racism that result in both strength and sadness in Black girls' educational experiences. I highlight the need for a curriculum of liberation to combat historical and current social conditions negatively impacting school-aged Black girls, such as harsh disciplinary practices, low academic expectations, and sexual objectification. The Super-Girl phenomenon serves as a metaphor illustrating the balance and imbalance of multiple social constructs. Utilising constructivist grounded theory [Charmaz, K. 2006. "Constructing Grounded Theory." London: Sage], the key concepts in the research derived directly from the voices of 18 school-aged girls (8-13) as well as my observations, interpretations, and related experiences. Data collection utilising observation notes, interviews, written responses, and activity products provided from monthly sessions over the course of two years, offer critical insight into some of the complexities of Black girlhood. The most striking common themes abstracted from their voices were concepts related to "strength" and "sadness" in their lives. Thematic narratives were found to be most relevant to (1) negative teacher-student relationships, as well as, (2) policed bodies and sexual objectification. This work offers specific recommendations for future girl empowerment programming, curriculum, and evidence-based intervention development that can aide in liberating Black girls.

In this essay, Albertson and Davidson explore the attributes of photography and ceramic arts education to identify eight key elements integral to engagement in these art studios for under-served and disenchanted learners. They suggest that these key elements can provide numerous clues as to how teachers and school communities might reimagine both their mission and approach to classroom practice. Through this exploration, they relate literature on apprentice models of teaching and learning, relational education, resiliency theory, and care in the context of classroom practice to their experience and research into teaching and learning in photography and ceramic arts. Albertson and Davidson believe that what is good for the most vulnerable learners, is good for others too, and by bringing these attributes to light, it is their goal to illustrate some of the ways that all teachers might build pathways to engagement for their own "tough audiences" in all subject areas. (Contains 8 figures and 6 footnotes.)

Ronald E. Hays is the former Director of the Hahnemann Creative Arts in Therapy Department at Drexel University in Philadelphia, Pennsylvania, and the cofounder of the graduate art therapy program at Eastern Virginia Medical School in Norfolk, Virginia. At the age of 62 he was diagnosed with early onset Alzheimer's disease, a form of dementia. In this viewpoint the authors relate how a leader in the field of art therapy applied his knowledge and skills to improve his quality of life as his disease was advancing. Based on personal interviews and examples of Ron's work they demonstrate how Ron used ceramics to develop a self-facilitated therapeutic process to manage the disease.

This paper draws on the experiences of students from two vastly different disciplines to both explore the theoretical background supporting the use of multimedia resources to teach practical skills and provide a qualitative evaluation of student perceptions and experiences of using bespoke resources. Within ceramics and podiatry, practical skills are traditionally taught via an apprenticeship model within small groups. We explore the practical and pedagogic benefits of developing bespoke multimedia resources to teach practical skills, identifying common themes from these disparate discipline areas. Student focus groups revealed that, practically, the opportunity for repeated viewing at convenient times promoted less reliance on lecturers and better preparation prior to practical demonstrations. Pedagogically, time for reflection and sense making underpinned an increase in confidence which in turn led to increased creativity. The student voice was also used to identify recommendations and challenges driving future change.

Educational assessment is more than measurement, rubrics, and grades. Its real focus needs to be on learning. Art educators need to pay attention to the assessment of daily learning as well. Everyday assessment of classroom learning is crucial because it provides feedback directly to students in the process of their learning, more than mere measurement or rubric ranking does. Teachers should provide opportunities for students to learn how to pre-assess and post-assess their own learning, compare the results of their first assignment with a later one, problem-solve and reflect collaboratively, evaluate their own artwork, draw pictures of and measure what they learn, and provide suggestions about their works in the future. This should start at the middleschool level, when students are interested in technical concerns, scientific wonders, and how things work. Examples emerged from the author's teaching experience in a course on ceramics and science for middleschool students that demonstrated how assessment results can guide program development, curriculum design, and classroom instruction. This article explores the quality of everyday assessment, the means of assessment, and what can be accepted as evidence of learning in visual art education. Art educators need practical and accessible examples that translate at the classroom level. (Contains 1 note.)

Presents an interview with Jude Odell, a clay artist and art teacher, in which she discusses her educational background, her experience with teaching, and her career as a ceramic artist. Includes a lesson for creating a figurative goblet. (CMK)

Claims that contemporary artists in Western society are obsessed with their careers and fail to approach art as total human beings. Cites three instances in which the latter has happened. Recognizes the experiential nature of learning in studio art and argues that artists/teachers are obligated to ground students' art experiences in praxis. (KM)

Describes how Zen and the art of pottery expand into a Great Tradition where the potter dreams his forms in a realm of imagination between sense and mind. Explains how decoration plays a vital role connecting art and our life-world. Outlines how students need a decade to reach this spiritual level. (KM)

Presents an interview with Scott Bennett, an artist of abstract art and traditional craft. Focuses on issues such as the role of art in his life, how his art has developed over time, and his process of creating his works of art. Includes directions for a glazing project. (CMK)

Presents an interview with ceramic artist, Betty Spindler, who overcame a learning disability and earned associate and bachelor degrees in art. Explains that she creates ceramic sculptures of fruits, vegetables, sandwiches, and other everyday items. Presents a project where children create their own fruit. (CMK)

Presents an interview with Susan Snyder, a ceramic artist who produces pottery inspired by Italian designs from the 13th to 18th centuries. Presents her discussion of topics such as her development as an artist, techniques used when creating her art, and her thoughts on the importance of art education. (CMK)

Presents an interview with Lana Wilson, a recognized ceramic artist, educator, and writer. Covers topics such as her educational background and development as an artist, the transitions and evolution of her artwork, what she has learned from her teaching experiences, and her thoughts on art education. (CMK)

Describes spatial, pedagogical, and psychological dimensions of the pottery studio as an art learning environment. Contends that the art learning environment, at its deeper levels, is determined by the philosophic meanings and underlying attitudes of student and instructor as conveyed in their speech and writing. (RM)

Describes eight art activities using ceramics. Elementary students created ceramic tiles to depict ancient Egyptian and medieval European art, made ceramic cookie stamps, traced bisque plates on sketch paper, constructed clay room-tableaus, and designed clay relief masks. Secondary students pit-fired ceramic pots and designed ceramic Victorian houses. (AM)

Ceramics is one of the author's passions, so she is always thinking about things elementary students can do successfully with clay. Clay is a medium that everybody loves. When students can actually use what they make, they really get excited. Plus, parents will treasure the work for years. In this article, the author describes a project with her first-grade students during the second half of the school year. In this project, everyone gets a piece of manila or newsprint paper and a paper or Styrofoam bowl to make a clay piece the size and shape of the bowl.

While an empty cardboard box from a ream of copy paper may be the most coveted box among teachers in the author's school, for other people, brass boxes from India, Khokhlova lacquer boxes from Russia, and puzzle boxes from Japan are more the type that are collected and admired. Whether it is used for storage or decoration, a box can evoke a sense of mystery and excitement. The author presents a project where seventh-grade students create their own decorative boxes from clay along with something special to go inside them. (Contains 1 online resource.)

The article discusses the benefits of craft, design, and technology (CDT) activities for children with special educational needs. Activities such as craftwork can contribute to improved motor skills, self-image, and basic language and math skills. CDT teachers are encouraged to adapt their teaching methods and styles to meet special needs. (JW)

Discusses a special multicultural program, offered in a twelfth grade visual arts class which allowed Canadian students to learn about the pre-Columbian world of Mexico, and Central and South America . Through the study of pottery, students learned about the pre-Columbian cultures and created their own works which were displayed in a museum. (GEA)

Acknowledging that potting is a phenomenon, accepting Gadamer's definition of play, and observing Alex making pots leads to a description that within Alex's potting occur: 1) to-and-fro movement; 2) choices; and 3) transformation. This method may be undertaken to further describe the experience for another potter. (Author)

In painting and drawing classes, it is typical to ask students to work directly from a master. It is one way to study composition techniques, and to become familiar with classical style firsthand. In museums, easels are set up as artists work, not in an attempt to copy or plagiarize, but in an attempt to be part of history by participating in it. This teacher also uses this concept for learning in her ceramics classes. She asks students to research ceramic artists in periodicals and online, and to find one they are interested in studying. This article briefly describes this teacher's approach to having her students learn about ceramic artists.

Too much stress on technical procedure in a ceramics class can inhibit elementary students' free inquiry. It should be remembered that ceramics is a form of visual art and that art is a form of expression. Teachers must help students express themselves. (RM)

The village of Otani, located on the island of Shikoku, Japan, is the home of Mori pottery. Time has changed Mori pottery, but the craftspeople of Otani maintain many traditional practices. (RM)

Using as examples a Papago basket and an Acoma pot, the author explains how Native American art forms reflect their creators' living environment and cultural values. This article is part of a theme issue on multicultural art. (SJL)