Search

The implementation of this activity aims to design and build educative tourism infrastructure using the Massive Open Online Course (MOOC) as a means to increase the income potential of Pagelaran Village. Pagelaran Village is famous for its pottery crafts, which are rich in cultural values. However, the potential for tourism and related revenues has yet to be fully realized. Therefore, employing MOOC as a tool to provide an online learning experience for a package of pottery production training activities is expected to attract tourists and boost the income of the local community. The methods used in this implementation include field surveys, literature studies, and analysis of tourist needs and preferences. The approach adopted is the asset-based community development (ABCD) approach, which consists of five stages of activity including: 1) Discovery, 2) Dream, 3) Design, 4) Define, and 5) Destiny. The infrastructure built includes the development of the MOOC platform, offering learning materials related to history, manufacturing techniques, and the art of pottery. Additionally, practical learning facilities are also provided for tourists desiring to undertake direct courses without constraints by space and time. During initial testing, this MOOC garnered favorable responses from travelers who participated the course. The results of the implementation of this activity indicate that the use of MOOC as an educative tourism infrastructure can increase potential income in Pagelaran Village. [ABSTRACT FROM AUTHOR]

This article discusses an artistic exploration using digital decals and 3D clay printing, while also examining the current capabilities of these technologies at the Vilnius Academy of Arts. The history, functionality, and transformative impact of these technologies on ceramic studios are addressed, particularly in terms of digitizing work processes and accelerating creativity, thereby altering traditional manual and collaborative approaches. The article overviews the historical context of ceramic reproduction techniques and their evolution alongside factory production methods. It showcases experiments conducted by both international and local ceramicists, highlighting various ceramic reproduction techniques. The division of labour in ceramics, prevalent even in pre-industrial times, has persisted. Each technological advancement, including the digitization of work and the availability of ready-to-use clay, diminishes manual labour or enhances its efficiency. Advanced technology enables ceramic artists to work more autonomously and swiftly. However, it is essential to recognize that working with the material remains integral; clay still requires preparation, shaping, and firing, whether in a factory setting or an artist's studio. Between 1998 and 2008, significant changes occurred in Europe, leading to the closure of many ceramic factories. With the decline of industrial production in the ceramic industry, a certain antagonism between studio ceramicists and factory workers has dissipated. The traditional dichotomy between manual craftsmanship and factory production, as well as between personal artistic expression and standardized, impeccably crafted ceramics, has diminished in many European countries. Ceramic works are often subject to reproduction, both in terms of three-dimensional form and decorative elements. Repetitive ceramic pieces created by artists inevitably interact with mass-produced items. Experimental research was conducted using the Potter Bot Pro 10 clay printer. This device prints clay onto a moving base, which can cause the printed object to lose its shape or even detach from the printer due to shaking. When experimenting with faster printing speeds, particularly for tall and slender shapes, the printer's movement could destabilize the piece. As a result, the work would begin to rotate, causing the vertical axis to disappear, and the printed layers would shift unpredictably. Despite these shifts, the work did not collapse but instead assumed a different form than originally intended. Pottery designs are crafted using Autodesk Fusion 360, while g-code is generated using Ultimaker Cura with the manufacturer's recommended settings for the Potter Bot Pro 10 printer. The designs are printed on white clay mass TBF2, manufactured by Colorobbia, Italy, at 100% speed without altering other print settings. Two different shapes, each comprising 10 vases, were printed using this method. The printed objects were fired at a temperature of 1000°C. Subsequently, they were decorated with colourless CLA 51 glaze and fired again at a temperature of 1040°C. Decals were created using Microsoft Word, allowing for font selection, size adjustment, and image upload. The resulting image was edited using Photoshop and printed with a Ricoh SP C440DN printer. Decals were then fired at 800°C to fuse them onto the ceramic surface. The aim was to keep the decals schematic, emphasizing their factory origin. The entire design and printing process took approximately two days, while the three ceramic firings spanned six working days. Through this research, several conclusions were drawn: digital technologies significantly accelerate work processes in ceramics. The reproduction of ceramic works holds significance for clay artists, highlighting the relationship between new techniques and factory ceramics. The utilization of digital technologies meets the needs of contemporary ceramicists, allowing them to swiftly and effectively create, control, and decorate works from start to finish. [ABSTRACT FROM AUTHOR]

This book stands out as a scholarly testimony to the disappearing craft of traditional pottery making by Palestinian women and men potters. The material it assembles, both textual and pictorial, is based on field research completed in the 1970s by two very different, yet complementary, researchers and authors. For various reasons, this material lay dormant over four decades until it was retrieved and returned to the light of day. The publication of this book followed the death of one of the authors, John Landgraf in 2017 in the U.S. Fortunately, his co-author, Owen Rye in Australia, still had most of the written material in his possession, which was then digitized, arranged, and edited. The graphic material, especially the black and white and beautiful color photographs, taken by the authors, was also gathered and cataloged for reproduction in the book, with outstanding results. The volume invites readers into the two distinct worlds of Palestinian women and men potters at work in the 1970s: the women in their village homes, and the men in their mostly urban workshops. With Palestinian culture under siege, the study presented here aims to record and preserve a key part of that culture. It also memorializes the life and work of John Landgraf, who lived in Jerusalem from 1965 to 1980, and dedicated himself to archaeology, ethnography, and social work. [ABSTRACT FROM AUTHOR]

The Mañjuśrībhāṣita-Citrakarmaśāstra, a Sanskrit śilpa work discovered in Sri Lanka, deals exclusively with Buddhist image making. It provides technical instructions for the fabrication of Buddhist images as well as guidance for initial and final consecrations. This article offers a comparative intertextual study of the main body of the manuscript, including chapters concerning tree selection, the ratnanyāsa ritual, the techniques of clay modeling in the making of images, and the eye-opening ceremony. This study suggests that the Mañjuśrībhāṣita-Citrakarmaśāstra bears a remarkable resemblance to South Indian Hindu śilpa texts and does not perfectly correspond with actual practices and performances. The main part of the Mañjuśrībhāṣita-Citrakarmaśāstra is probably dated no earlier than the 11th century but no later than the 16th century. [ABSTRACT FROM AUTHOR]

Since the 1950s, many well-known archaeologists worldwide have conducted several investigations on the Dai slow-wheel pottery craft and believe it represents China's primitive art. In 2006, Dai slow-wheel pottery was included in the first batch of the national intangible cultural heritage list by the Chinese State Council. As the most vital feature of Dai pottery, the slow wheel has retained its features since the Neolithic Yang Shao Culture. In the past, the Dai slow-wheel pottery craftsmanship was only passed down through inheritance to female family members, from mother or mother-in-law to daughter or daughter-in-law. From digging clay from the riverbank, preparing the soil, making pottery, firing pottery, through selling, they were all done by women. Therefore, it can be seen from these phenomena that the ancestors of the Dai culture had a natural division of labor according to gender. However, owing to the development of society, the traditional Dai slow wheel is withdrawing from the market, and a new Dai pottery is emerging. This article emphasizes the local culture of the Dai minority and analyzes the differences and connections between traditional Dai slow-wheel pottery and new Dai pottery. Additionally, this article introduces the different inheritance modes of traditional Dai pottery and new Dai pottery. The objectives of this article are (1) to understand the Dai pottery craft technique, and (2) to understand Dai minority culture diversity in Xishuangbanna. [ABSTRACT FROM AUTHOR]

The text is a report on a conference titled "Molluscs of South Asia: research, conservation and livelihoods" that took place in Bengaluru, India. The conference aimed to bring together researchers, scientists, and students interested in malacology (the study of molluscs) in South Asia. The event included plenary sessions, lead talks, short talks, speed talks, poster presentations, and a panel discussion. The conference addressed various themes related to malacology, such as history, biogeography, ecology, conservation, and systematics. The report highlights the need for collaboration, increased funding, and the hiring of taxonomists in the field of malacology. [Extracted from the article]

The article discusses a conference on the history, science, and technology of South Asian ceramics that took place in January 2024. The conference brought together experts and students from around the world to discuss various themes related to South Asian ceramics, including chronologies, scientific dating, documentation, pyrotechnology, and trade. The conference also included exhibitions of traditional pottery and archaeological finds. The article highlights the diverse perspectives and research presented at the conference, emphasizing the importance of ceramic archaeology as a branch of science. [Extracted from the article]

The study aimed to analyze indigenous scientific knowledge into scientific knowledge through the STEAM approach. Interesting online learning can be done by integrating the local culture of the Plancungan Village. This research uses the Quantitative Descriptive method. Based on research at seven schools in Ponorogo found 83,3% of teachers never used the local culture because teachers know no understands the local culture of the Plancungan village in science material. Respondents were 62 students from Junior High School 1, Junior High School 2, and Junior High School 3. 37,74% of students know this local culture. The value of local culture is contained in the process of making pottery, namely character, aesthetic, historical, and environmental values. STEAM analysis, including science on the process of making pottery, requires a tool in the form of a turntable called "Perabot". This turntable is a form of Simple Plane. Simple Planes are tools that can facilitate human work. The math is in the Mechanical Advantage of the "Perabot" which can be calculated by dividing the wheel's radius by the axle's radius. Engineering on the body has the greatest ratio of volume to overall proportion. The moth is smaller than the neck, which is adapted to its function. Traditional pottery-burning technology uses a field stove with husk, straw, and bamboo as fuel. The art of pottery can be seen in form, color, and function. STEAM analysis on the pottery-making process can increase students' interest in science. The student's interest in learning science obtained an average N-gain of 0.70 with high criteria. The resulting STEAM analysis can also be applied to e-modules, e-learning, e-books, etc. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Dolia were the largest type of pottery in the ancient world, capable of holding hundreds to as much as three thousand liters. Their shape and size facilitated wine fermentation, and also made them the most expensive and difficult type of pottery to produce. This paper discusses the production of dolia to explore the specialized skills, which consisted of both free and enslaved labor, necessary for the craft. Dolia were also produced alongside brick and tile products in workshops that supplied the building industry of Rome. Craftsmen trained to make dolia acquired considerable skills and usually advanced in the workshop. As a result, a type of professional identity developed, one that both reified and defied conventions since some workers were enslaved and/or manumitted. Finally, this paper briefly discusses the enslaved potter David Drake from nineteenth-century South Carolina to consider the limits of our knowledge about skilled and enslaved craftsmen. [ABSTRACT FROM AUTHOR]

Solomon Islands is widely recognized in the Pacific for its local talent and expertise in the handicrafts of wood-carving, shell ornamentation and basketry. Pottery-making is a largely forgotten and poorly documented tradition that was actively practised until the 1970s on the province of Choiseul. This paper investigates the history of this tradition by drawing upon unpublished ethnographic studies carried out on the island between the 1960s and 1990s as well as findings from archaeological research undertaken there more recently. Attention is given mainly to examining causes of the decline of pottery-making on the island and discussing why it occurred a few centuries earlier in southeast Choiseul than it did in its northwest end. This article also highlights the significant cultural value the practice holds for the people of Lauru (Choiseul's Indigenous name), and it provides an overview of recent efforts to preserve this once vibrant tradition. [ABSTRACT FROM AUTHOR]

Twenty nine potsherds from nine Neolithic sites of Northeast India have been analysed using thin section petrography. The primary objectives of this article are to determine their provenance, to investigate the production techniques of Neolithic pottery and to understand the technical skills of the ancient potters of the studied region. Based on their mineralogical content and the composition of the matrices, the pottery samples have been classified into eleven fabric groups. The analysis of the fabrics showed dissimilarities in the processing and production of ceramics which were otherwise very similar at first sight. The dissimilarities provided indications of the clay sources and the occurrence of natural and artificial temper/inclusions, e.g., organic or inorganic substances used by the Neolithic potters of Northeast India during manufacturing processes. In all fabric groups, we found ironbearing materials which show that the ancient potters used local clay to make pottery because the soil in this region contains a high amount of ferruginous substances. The results also confirmed that the analysed pottery was probably fired below 800 °C under an oxidizing atmosphere and also revealed the use of non-plastic inclusions, such as sand, quartz and organic materials during pottery production. [ABSTRACT FROM AUTHOR]

This paper offers an updated description of the pottery of La Chamba, Tolima, and its purpose is to privilege the conceptual point of view of the artisans and the imponderable events of the entire creation process with clay. It intends to show, rather than argue, that working with clay is a craft whose wisdom lies in the submission to the properties and possibilities of clay and other materials involved through a methodical, sensitive and plastic knowledge, like the clay itself. An exploration of this is offered based on the notion of test and point. This paper is the result of a stay of more than four months in the village, guided by a methodological orientation that can be called participant observation, consisting of being an apprentice of the craft and joining the life of the potters. [ABSTRACT FROM AUTHOR]

Purpose: This paper analyzes the relationship between gender and the satisfaction of basic psychological needs in the artisanal pottery sector in Latin America. Methodological design: We surveyed 195 owners/managers of small family businesses operating in artisanal communities in three Latin American countries: Mexico, Honduras, and Colombia. We used structural equation modeling to offer evidence of factorial invariance of the measurement instrument across genders. Results: We found that women artisans seem to be more satisfied than men in meeting their need for autonomy and competence, revealing an important benefit of artisanal activity. No significant difference was found in relation to the fulfillment of the need for relatedness. Research limitations: The limitations of this research are derived from the sampling method, which was mainly driven by practical, financial, and logistical restrictions rather than by theoretical criteria. Nonresponse bias may have also affected our results. Findings: It is important for the artisanal sector to find motivational factors that contribute to the continuity and development of the sector. [ABSTRACT FROM AUTHOR]

Mayong Lor Village has superior regional products in the form of pottery crafts, such as traditional children's toys, jars, and others. Other clay-based businesses include producing roof tiles, wuwung and bricks. The main problem for craftsmen is the amount of waste that has not been processed well. Craftsmen are accustomed to treating waste traditionally. Therefore there is a need for a crusher or grinder that can be used to crush waste into finer flakes quickly and easily. The stages used in manufacturing the machine are field observations and reviews, designing machine prototypes, identifying product specifications, and manufacturing and testing grinder machines. The results found that the grinder machine with dimensions of 90 x 50 x 120 with 24 beaters, 5 frames, 3mm tubes and 1.6 mm funnels. This engine is driven by an 8hp diesel drive. This machine can be used easily by craftsmen to treat waste in the form of fine powder. [ABSTRACT FROM AUTHOR]

As a result of the magnetic survey on an area of more than five hectares, located south-west of Cetățuie, we are currently aware of an extension of the Cucutenian habitation, consisting of numerous burned and unburned structures, pits and two defensive ditches in the form of circular arcs. The magnetic map allowed, beginning with the 2017 campaign, the placement of smaller (test trenches) or larger excavation units for the verification of various types of anomalies (burnt houses, defence ditch, pits). In the last (2022) campaign, in addition to investigating a defensive ditch and a dwelling, it was decided to excavate also an anomaly initially considered a pit. The surprise was the identification of a pottery kiln, belonging to phase B of the Cucuteni culture, located in the immediate vicinity of the last defensive ditch (in the north-western part of the settlement). Its excavation revealed a quasi-unique type of pottery firing installation, partially buried, updraught, with two chambers (a lower, combustion chamber, and an upper firing chamber). Its unique feature is the absence of the usual stoking chamber and stoking pit for fuel supply in front of the kiln. Instead, the kiln had an elongated stoke hole, placed laterally, which communicated with just one channel, to the south. Being a rather rare discovery, at least in the Cucuteni area west of the Prut River, the presence of this kiln brings evidence of the specialized practice of the pottery craft in the eponymous settlement and nuances the known typology of pottery firing installations in the prehistory of south-eastern Europe. [ABSTRACT FROM AUTHOR]

Copyright of Revue Académique des Études Sociales et Humaines is the property of Hassif Benbouali University of Chlef and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In recent decades, μ-Raman spectroscopy has become a powerful technique for studying ceramics, with the advantage of performing fast, reproducible and reliable analyses that provide effective information on ceramic technology. In the present paper, the potential of μ-Raman spectroscopy was evaluated by comparing the results of spectroscopic analyses with a wide range of conventional compositional and mineralogical analyses. Particular fragments of pottery from the archaeological site of Pollena Trocchia (Campania, Italy), characterized by a variegated color zonation, a symptom of uncontrolled firing conditions, were subjected to in-depth analytical investigation. Data from the μ-Raman measurements were in very good agreement with the analytical set of conventional analyses and permitted to better constrain the firing temperatures, evaluate changes in the oxidative steps, and assert the provenance of volcanic raw materials. The results illuminated that pottery was crafted by mixing a low-CaO base clay with volcanic temper from the environs of Vesuvius and fired in a not well-controlled firing atmosphere, which determined the development of Fe(III) oxides at rims of sherds and Fe(II)-bearing phases at cores. Moreover, even in the absence of newly-formed minerals, firing temperatures were estimated between 900 and 950 °C, as suggested by the mineralogical and spectroscopic evidence of the prograde 10 Å dehydroxylated phyllosilicates. • The technology of ancient ceramics was investigated by μ-Raman spectroscopy (μ-RS). • A methodological approach comparing data from μ-RS and traditional analytical routine was used. • Ceramic samples are featured by a color zoning as a symptom of uncontrolled firing condition. • The comparative approach highlighted the affordability of μ-RS to reconstruct the ceramic process. • Firing conditions were constrained by analyzing the spectral features of ceramic matrix. [ABSTRACT FROM AUTHOR]

Many studies and research that are emphasizing on intellectual property rights (IPR) tend to be focused on standardized products in established markets. This study comes from one fundamental inquiry; how to determine the value of IPR for creative products, in this case, the product of art such as handicraft? This study paper presents a study case focusing on analyzing the IPRs for handicraft products especially pottery crafts in Kasongan, Bantul, Yogyakarta, Indonesia. This study focused on the evaluation of geographical indication (GI) from its juridical impact to legal protection. The data were carefully collected through library studies and field studies. The analysis begins with data collection, data reduction, data presentation, and finally, the conclusion. From this study it is found that GI legal protection will be financially beneficial for Kasongan pottery craftsmen, thus increasing its urgency to be registered in GI to sustain the industry. Furthermore, this study also describes Kasongan product's characteristic that has different characteristics from earthenware and handicraft products from other regions in Indonesia. This study focused to complements the literature on managing and evaluating GI regulation particularly in Indonesia, while discussing current situation, problems, and challenges ahead. [ABSTRACT FROM AUTHOR]

Competitive organizations harness information and knowledge sharing undertakings to take risks and break customary routines. This study investigates craftspeople's communication practices and innovation implementation towards improving business performance. Cross-sectional survey research design was employed to describe and see the association of communication and innovation with business performance. Data were collected from a sample of 326 craftspeople through structured questionnaire and field observation. Both descriptive and Structural Equation Modeling (SEM) statistics were mainly used to analyze data. Findings revealed that communication practices vital for craftspeople to be innovative and integrate them with clients were negligible. The communication flaws in turn resulted in stagnant and in-house limited trifling inventiveness in craft industries. Moreover, reflexivity, frequency of communication on creativity, product and market innovation were significantly associated with craftspeople's performance. Hence, it is recommended to arrange training and experience sharing schemes for craftspeople to enhance their communication and innovation skills thereby improve performance. [ABSTRACT FROM AUTHOR]

In this article, we discuss the development of public policies related to pottery traditions in Central Chile from a historical perspective, as these manifestations of heritage have been part of the national imaginary since the beginning of the 20th century. We focus on the process of heritage activation, which started in the 1930s, was encouraged by ongoing cultural movements in defence of crafts and artisans, and ended in 1973 with the beginning of the military dictatorship. From our perspective, the veneration of crafts was encouraged by the interest of intellectual elites in existing subaltern practices; in time, this resulted in a series of public policies whose effects are still visible today. As a consequence, traditional pottery-making practices were modified to fulfil the interests of elites, marginalizing some pottery production centres and promoting others. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Viticulture & Enology / Ciência e Técnica Vitivinícola is the property of EDP Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)