[Clayart] "What's in a name?" glazes
robertgharris at gmail.com
Sun Mar 2 19:22:32 EST 2014
I certainly strive to give proper credit. But where does this change? For
example I recently reworked a glaze. Firstly I did a Si/Al biaxial. (And
chose different numbers to the original), then I added in a bit of
magnesium. Then I reworked the KNa:Ca levels. And that was just the base
At the end of which I had a glaze whose recipe might have started off as a
named glaze (I didn't get a name with it in this particular case ...). At
this point though ... is it really his glaze, or my glaze?
On Sun, Mar 2, 2014 at 3:37 PM, David Woof <woofpots at hotmail.com> wrote:
> Hi DRB, Everyone,
> Doug brings up the "ethical" issue in this thread and I think it is the
> place to start and the where-with-all of how we conduct ourselves as
> professionals in our field. This also applies in my mind, with equal
> expectation, to those who are involved in Ceramics as part time hobby,
> avocation, retired corporate escapee living the dream........ Though
> perhaps not considering one's self as a Professional; striving for
> Professionalism, and the attitude of professional courtesy is with-in reach
> of all. It informs our work, makes it stronger by the ethical strength
> within us. When honesty in our work is readily perceived, no defense for
> our character is needed.
> Though our handing down glazes, and reformulating or formulating new is
> not entirely applicable to writing a paper, our work too comes under
> scrutiny of the words, concepts, definitions of; Quote, Paraphrase,
> Summarizing and Plagiarism.
> It is good to review these and remember that: Plagiarism is copying
> without crediting the source. Plagiarism is stealing! And DRB touches
> on this with his questions regarding reworking existing glazes which in one
> sense could connote paraphrasing which in writing must be cited, as a
> professional courtesy, in a footnote, endnote, or parenthetical notation.
> Ron and John demonstrate attentiveness to these issues when we see
> "Xavier's Warm Jade Reformulated by RR" etc.
> From where and whom does the new or next generation of Ceramists get their
> example? From the few cheaters among us? The few who, since Glaze Calc.
> programs have come into vogue making unity formulas instantly accessible,
> have taken old glazes, usually written as whole percentages, and now
> describe them to one hundredth percents and publish with their name or a
> new name replacing the original credit. I'm sure we have all noticed this
> if our interest and experience level makes it so.
> And while I know how I have and will continue to conduct myself in this
> regard, I too leave the question open to hear what others think in this
> Best to all,
> David Woof............. World domination, the Nobel Prize, or..... getting
> our name on a glaze or clay body are but futile attempts at immortality.
> Let's have some fun while we fake adulthood, enlightenment, or what
> > Date: Wed, 26 Feb 2014 09:55:16 -0800
> > From: 23drb50 at gmail.com
> > To: clayart at lists.clayartworld.com
> > Subject: [Clayart] "What's in a name?" glazes
> > It's an interesting ethical question; when does a glaze become your own?.
> > Mel uses "Rhodes' 32" but are the spar, clay and other ingredients the
> > as Rhodes used 50 years ago? I'm working on a glaze Cardew attributed to
> > Parmalee. He gives the Seger formula and an example with Nigerian
> > materials. I have no clue what materials Parmalee would have chosen and
> > I've adapted the formula for ^6 and the materials I have on hand.
> > You could argue that we have made these glazes our own, Mel's Matte or
> > Parma-Red, but I think it's more useful to recognize the roots of our
> > To share in an open source style who we are and where we've come from.
> > effect is to say this is my pot and the name tells about its roots.
> > There is something about shifting a name, as mentioned in an earlier
> > from Wirt's Carbon Trap to Malcolm's Carbon Trap that's insincere. It's
> > if putting a more "famous" name on a glaze increases the quality of the
> > on which the glaze is used. The assumption is that the authority of the
> > famous can be transferred to the pot. It's the opposite of self
> > and why we make things.
> > DRB
> > Seola Creek
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