Relevant bibliographies by topics / Ceramic practice

Academic literature on the topic 'Ceramic practice'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Ceramic practice"

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Nortey, Samuel, and Edwin K. Bodjawah. "GHANAIAN CLAY PRACTICES: A RETHINKING." JADECS (Journal of Art, Design, Art Education & Cultural Studies) 7, no. 1 (April 25, 2022): 18. http://dx.doi.org/10.17977/um037v7i12022p18-29.

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This paper discusses Ghanaian clay practices and how their histories and some practices limit their clay discourse, creating a disconnect from ecologies of practice. Western contemporary and academic ceramics communities acknowledge the present and historic lack of diversity and inclusion of Global south indigenous practice, a condition that has been constant since there has been a conception of “contemporary ceramics”. Documentation of art has been largely the exclusive province of art historians, yet, Ghana never had art history has a major in any Ghanaian university including Achimota School that was set up by the colonial government. There are several ceramic material sites but no processing industries for creating products. This paper signals a rethinking of forms, economic exchange, materiality and recommends that it is expedient to expand Ghanaian clay practice discourse in all forms to connect to the ecologies of practice by forward-thinking, looking at the indigenous ceramic medium outside the pigeonhole, and pushing the boundaries of conventional Ghanaian ceramics.
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Nortey, Samuel, and Edwin K. Bodjawah. "GHANAIAN CLAY PRACTICES: A RETHINKING." JADECS (Journal of Art, Design, Art Education & Cultural Studies) 7, no. 1 (April 25, 2022): 18. http://dx.doi.org/10.17977/um037v7i12022p18-29.

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This paper discusses Ghanaian clay practices and how their histories and some practices limit their clay discourse, creating a disconnect from ecologies of practice. Western contemporary and academic ceramics communities acknowledge the present and historic lack of diversity and inclusion of Global south indigenous practice, a condition that has been constant since there has been a conception of “contemporary ceramics”. Documentation of art has been largely the exclusive province of art historians, yet, Ghana never had art history has a major in any Ghanaian university including Achimota School that was set up by the colonial government. There are several ceramic material sites but no processing industries for creating products. This paper signals a rethinking of forms, economic exchange, materiality and recommends that it is expedient to expand Ghanaian clay practice discourse in all forms to connect to the ecologies of practice by forward-thinking, looking at the indigenous ceramic medium outside the pigeonhole, and pushing the boundaries of conventional Ghanaian ceramics.
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3

Nortey, Samuel, and Edwin K. Bodjawah. "GHANAIAN CLAY PRACTICES: A RETHINKING." JADECS (Journal of Art, Design, Art Education & Cultural Studies) 7, no. 1 (April 25, 2022): 18. http://dx.doi.org/10.17977/um037v7i12022p18-29.

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This paper discusses Ghanaian clay practices and how their histories and some practices limit their clay discourse, creating a disconnect from ecologies of practice. Western contemporary and academic ceramics communities acknowledge the present and historic lack of diversity and inclusion of Global south indigenous practice, a condition that has been constant since there has been a conception of “contemporary ceramics”. Documentation of art has been largely the exclusive province of art historians, yet, Ghana never had art history has a major in any Ghanaian university including Achimota School that was set up by the colonial government. There are several ceramic material sites but no processing industries for creating products. This paper signals a rethinking of forms, economic exchange, materiality and recommends that it is expedient to expand Ghanaian clay practice discourse in all forms to connect to the ecologies of practice by forward-thinking, looking at the indigenous ceramic medium outside the pigeonhole, and pushing the boundaries of conventional Ghanaian ceramics.
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4

Acimovic-Pavlovic, Zagorka, Aurel Prstic, and Ljubisa Andric. "Cordierite ceramics for applications in foundry practice." Chemical Industry 61, no. 1 (2007): 39–43. http://dx.doi.org/10.2298/hemind0701039a.

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The research of new ceramic coatings has an important role in the improvement and development of new casting methods, especially casting with meltable and evaporable patterns. The selection of ceramic materials to be used as refractory fillers, materials for the binding system and additives for maintaining suspension stability, will be carried out in accordance with the casting method selected for the actual alloys and types of castings. The actual importance of these problems is reflected in the fact that the application of quality coatings increases the production efficiency by producing high quality castings, increases the metal yield and eliminates the expensive casting operations-cleaning and machining. Cordierite ceramic are of great importance in modern technology. Standard raw materials, kaolin, talc, MgO, alumina, feldspar were used in the synthesis of cordierite ceramics. Sintered cordierite of the composition 2MgO ? 2Al2O3 ? 5SiO2 was used as a refractory filler in a ceramic coating for evaporative polystyrene patterns in a new casting technology, the EPC Method. Cordierite characterization was carried out by means of X-ray diffraction. The characteristic temperatures for carrying out solid state reactions in the three component system 2MgO ? 2A12O3 ? 5SiO2 were determined by differential thermal analysis in the range from ambient temperature to 1100 ?C. In order to realistically evaluate possible cordierite application in the production of evaporative pattern ceramic coatings, concurrent analyses with a talc-based coating were carried out. Cordierite ceramics have not yet been used in casting.
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Karkiner, Nadine, and A. Hilmi Balci. "Ceramic, Tradition and Sociology: Approaching Turkish Ceramic Practice." Key Engineering Materials 206-213 (December 2001): 913–16. http://dx.doi.org/10.4028/www.scientific.net/kem.206-213.913.

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Varfolomeev, M. S., and G. I. Shcherbakova. "The refractory compositions designing for the highly-heat-resistant ceramic products in the foundry practice." NOVYE OGNEUPORY (NEW REFRACTORIES), no. 6 (July 26, 2018): 18–23. http://dx.doi.org/10.17073/1683-4518-2018-6-18-23.

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The sintering peculiarities of the ceramic materials which had been prepared by means of semidry pressing are investigated in the article. The fillers were the yttrium oxide Y2O3 and the fused corundum α-Al2O3, the bonding phase was the aluminoxane addition either pure or modified by the yttrium and magnesium compounds. We investigated the processes occurring at the examined ceramics sintering at different temperatures and their influence on the obtained ceramics properties. The phase composition, the thermal and mechanical properties of the test samples at 1500 °C are presented. The produced test ceramic crucibles have advanced thermal resistance and stability against the thermal cycling. The possibility is regarded to use the developed ceramic crucibles for melting and casting of the chemically reactive highly-heat-resistant metals and alloys.
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Mardegan Louzada, Thais, Alline Sardinha Cordeiro Morais, Carlos Mauricio Fontes Vieira, Veronica Scarpini Candido, and Sergio Neves Monteiro. "Microstructural Analysis of Clayey Ceramics Incorporated with Fluorescent Lamp Glass Waste." Materials Science Forum 820 (June 2015): 468–73. http://dx.doi.org/10.4028/www.scientific.net/msf.820.468.

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The recycling of industrial wastes has become a worldwide practice owing to environmental and economical advantages. In the case of waste addition to clayey ceramics for civil construction, this sustainable practice may also bring technical benefits. Fluorescent lamps, today replacing incandescent lamps, generate typical glass waste that can improve the properties of clayey ceramics. The fluxing behavior of the glass waste contributes to the ceramic sintering mechanisms by reducing the porosity. In the present work, the effect of incorporation of 30 wt% of Hg-cleaned fluorescent lamps glass waste was investigated by means of microstructural analysis. Waste incorporated clayey ceramics, fired at 850 and 1100°C were analyzed by optical and scanning electron microscopy as well as by X-ray diffraction. The results revealed the microstructural mechanism responsible for the improvement of the ceramic properties.
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Kurňava, Tomáš, Stancekova Dana, Jozef Struharnansky, and Miroslav Janota. "Identification Turning Machinability of Ceramic Materials." Technological Engineering 10, no. 1 (December 1, 2013): 25–30. http://dx.doi.org/10.2478/teen-2013-0007.

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Abstract The paper deals with machining superhard materials machined by turning. Introductory section contains an analysis of ceramic materials used and their utilization in engineering practice . The aim of the experimental work is the selection of the appropriate cutting discs, cutting establish conditions which would ensure productive machining of the ceramics..
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ÇİL, Hayati. "PETER VOULKOS CERAMICS: ESCAPE INTO FORM AS THERE IS NO ESCAPE FROM MATERIAL." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 31 (May 15, 2022): 14–21. http://dx.doi.org/10.31567/ssd.618.

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It is thought that the art and design of ceramics led the art and craft production of humanity in the civilization process. Ceramics, which has such a rich history, has a permanent meaning that has taken its place in the audience's visual reading. This situation arises from the nature of the goods to which ceramics has owed its existence since primitive times. Historically, the imaginary and object characteristics of ceramics and the meaning associated with it follow a process that is shaped by primitive needs, turning into functional materials that help life, and in this respect, into goods. In this sense, ceramics created an intercultural code in the minds of the audience regarding the characteristics of the goods with which ceramics is associated. In this context, the return of the material and traditional object production in the art of ceramics also gains a functional form semiotic expression. Especially in the face of the changing artistic expression and the traditional understanding of art, which was falling apart after 1960, it is seen that the art of ceramics passed over this atmosphere with the discipline's own inner conflict regarding functionality. Ceramic artists or artists who prefer ceramics as a material and use ceramic technology in the production of art objects have made it possible to get rid of the traditional codes of ceramics and to reveal their subjective art creations by being loyal to the material that forms the character of the discipline only through the practices they carry out regarding form. In this sense, Peter Voulkos, whose art practice is discussed, has an abstract expressionist attitude that eliminates functions such as cutting, adding, drilling and assemblage, which he applies in his intervention to ceramic form, apart from the predetermined and taken-for-granted situation such as function and usability, by breaking it off from its functional context and with an intuitive understanding of shaping examined. Keywords: Ceramic Art, Peter Voulkos, Contemporary art
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Hubbe, Mark, Walter Alves Neves, Emiliano Castro de Oliveira, and André Strauss. "Postmarital Residence Practice in Southern Brazilian Coastal Groups: Continuity and Change." Latin American Antiquity 20, no. 2 (June 2009): 267–78. http://dx.doi.org/10.1017/s1045663500002637.

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AbstractThe coastal plains of the States of Paraná and Santa Catarina, in Southern Brazil, were first settled around 6000 B.P. by shellmound builders, a successful fisher-hunter-gatherer population that inhabited the coastal lowlands practically unchanged for almost five thousand years. Shellmounds were typically occupied as residential sites as well as cemeteries, andare usually associated with rich alimentary zones. Around 1200 B.P., the first evidence of ceramics brought from the interior is found in coastal areas, and together with ceramics there is a progressive abandonment of shellmound construction in favor of flat and shallow sites. Here we consider if these changes were reflected in the postmarital residence practice of coastal groups, i.e., if the arrival or intensification of contact with groups from the interior resulted in changes in this aspect of social structure among the coastal groups. To test the postmarital residence practice we analyzed within-group variability ratios between males and females, following previous studies on the topic, and between-group correlations between Mahalanobis distances and geographic distances. The results suggest that in the pre-ceramic series a matrilocal, postmarital residential system predominated, while in the ceramic period there was a shift toward patrilocality. This favors the hypothesis that the changes experienced by coastal groups after 1200 B.P. affected not only their economy and material culture, but important aspects of their sociopolitical organization as well.
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Dissertations / Theses on the topic "Ceramic practice"

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Masterson, Richard Garrett. "Torso as ceramic vessel." PDXScholar, 1990. https://pdxscholar.library.pdx.edu/open_access_etds/4141.

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The ceramic forms in this thesis project represent a study of the sculptural and figurative qualities of the ceramic process. This study includes a search for a personal form language, development of the slab construction technique, and development of a glazed surface appropriate to the work. The subject of the work is the human torso, with the vessel-like forms focusing on the core of the body as a metaphor for the core of the human spirit.
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Gee, Sarah. "An exploration of impermanence in contemporary ceramic art practice." Thesis, University of Sunderland, 2016. http://sure.sunderland.ac.uk/8320/.

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This practice-led research investigates clay-based impermanent creativity, exploring this means of expression as a contribution to knowledge in the expanded field of contemporary ceramic art practice. The research considers recent developments in innovative work by practitioners from the ceramic tradition, characterised by unconventional uses of material, natural decay and weathering, deliberate destruction, performance and physicality. A key aspect of the research exploration is phenomenographic alignment of personal praxical development with that of contemporaries sharing backgrounds in the ceramic tradition. A case study approach based on a reflexive Schönian and Kolbian cycle is utilised and research material is viewed from trans-disciplinary perspectives to explore and elucidate its nature, impacts and implications. Impermanence in clay is found to de-familiarise art work, altering and enhancing the creative role of percipients. Relationships between work, maker and percipient are explored. Mediatisation of impermanent clay-based art is considered for its impact on work’s reception and interpretation. A perceptible shift is detected in such art practice from the arena of visual art towards that of performance, moving artist and audience relationships towards shared ownership in ceramic creativity, in which co-presence of work and percipient are essential. Aspects of relational aesthetics offer a cogent framework. Consideration is given to clay’s shared significance with other basic materials such as textile in holding meaning beyond its physicality. The thesis contributes to the discourse on methodological frameworks for practice-led research and to academic writing on contemporary ceramic art in its exploration of clay-based impermanence, encompassing maker intentionality, material alteration and destruction, site/location and significance, performativity and unrepeatability, and record. It provides a transferable research model for considering creative impermanence. Areas identified for further research include artist/audience relationships and the nature of creativity, the role of location, performativity as an aspect of contemporary practice, and curation of performance and impermanence.
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McVeigh, Alana Carol. "The Haptic Dimension of Ceramic Practice: Ways of Knowing." Thesis, Curtin University, 2020. http://hdl.handle.net/20.500.11937/81389.

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This research examines how streams of tacit knowledge and sensory awareness have impacted Australia’s approach to ceramic making. Through a combination of creative practice and exegesis, the investigation considers how experiential knowledge amassed over time builds a visual, cognitive and sensual vocabulary that becomes embodied as a visceral form of making. A form of making and awareness that entered Australian ceramic studio practice from China, Japan, Korea and Britain primarily during the 1940s–1960s.
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Proctor, Ann R. "Out of The Mould: Contemporary Sculptural Ceramics in Vietnam." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1692.

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‘Out of the Mould: Contemporary Sculptural Ceramics in Vietnam’ is a study of the current practice of sculptural ceramics in Hà Nội, Vietnam and its historical antecedents within Vietnam and in the West. It examines the transition from a craft based practice to an art practice in some areas of ceramic practice in Hà Nội during the twentieth and early twenty first century. The theoretical basis for the thesis centres on Alőis Riegl's writings, especially Stilfragen (Problems of Style), 1893, in which he makes a close chronological examination of stylistic changes in various media, while intentionally disregarding any hierarchy within artistic disciplines. This is considered an appropriate model for the study of Vietnamese ceramics as the thesis proposes that, in recent years, ceramics has once more resumed its place as one of the major art forms in Vietnam. This status is in contrast to its relegation to a 'decorative', as opposed to a 'fine art', form in the discourse of the French colonial era. As background, the thesis examines the history of sculptural ceramics in Vietnam and discusses what is currently known of ceramic practice and the lineages of potters in particular villages famous for their ceramic works in the area around Hà Nội. The transition in ceramics practice is discussed in terms of the effect of changing conditions for the education of ceramicists, as well as the effect of other institutional structures, the economic changes as reflected in the art market and exhibitions structure and sociological changes. The role which ceramics has played in the emergence of installation art in Vietnam is also examined.
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Proctor, Ann R. "Out of The Mould: Contemporary Sculptural Ceramics in Vietnam." University of Sydney, 2006. http://hdl.handle.net/2123/1692.

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Doctor of Philosophy
‘Out of the Mould: Contemporary Sculptural Ceramics in Vietnam’ is a study of the current practice of sculptural ceramics in Hà Nội, Vietnam and its historical antecedents within Vietnam and in the West. It examines the transition from a craft based practice to an art practice in some areas of ceramic practice in Hà Nội during the twentieth and early twenty first century. The theoretical basis for the thesis centres on Alőis Riegl's writings, especially Stilfragen (Problems of Style), 1893, in which he makes a close chronological examination of stylistic changes in various media, while intentionally disregarding any hierarchy within artistic disciplines. This is considered an appropriate model for the study of Vietnamese ceramics as the thesis proposes that, in recent years, ceramics has once more resumed its place as one of the major art forms in Vietnam. This status is in contrast to its relegation to a 'decorative', as opposed to a 'fine art', form in the discourse of the French colonial era. As background, the thesis examines the history of sculptural ceramics in Vietnam and discusses what is currently known of ceramic practice and the lineages of potters in particular villages famous for their ceramic works in the area around Hà Nội. The transition in ceramics practice is discussed in terms of the effect of changing conditions for the education of ceramicists, as well as the effect of other institutional structures, the economic changes as reflected in the art market and exhibitions structure and sociological changes. The role which ceramics has played in the emergence of installation art in Vietnam is also examined.
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Chen, Wen-Hsi. "On edge : an exploration of cultural identity through ceramic practice." Thesis, Bath Spa University, 2018. http://researchspace.bathspa.ac.uk/11561/.

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My project investigates the concept of ‘in-betweenness’ and uses a range of research methods including fieldwork and oral history interviews in Taiwan and practice-led work in ceramics. Living away from my homeland gives me a clearer perspective of the culture in which I grew up, as well as an outsider’s perspective of British culture. The cross-cultural experience provides a platform from which I can address the questions of who I am and how I might express and communicate my experience of in-betweenness as a place where I can survive - where I can draw breath to help me cope with the challenges of living in two cultures. My research aims are: to explore the impact that living in a state of ‘inbetweenness’ can have on perceptions of self; to develop a visual language to communicate this experience; and to explore my own expression of cultural identity in relation to theory in the field. My theoretical framework derives from Gayatari Spivak’s work on colonialism and post-colonialism. Taiwan is a much-colonized culture and so Spivak’s focus on everyday experience prompted me undertake a field trip to Taiwan in 2013 to gather supporting data. I interviewed 22 Taiwanese female ceramicists: 5 indigenous women living in rural eastern Taiwan and 17 women living in urban areas. The field trip revealed a significant difference between the urban and the rural women’s ceramics (context, process and product) which, along with a growing awareness of Taiwanese social rituals, influenced my clay work. I could then create a bridge to a better understanding of cultural identity in my own research and practice. My ceramic practice was developed in three main locations: Bath Spa School of Art and Design and during two artist-residencies in Denmark and Taiwan. I have exhibited my main ceramic works (Sculptural Spoons, 8 Hours, Fingerprints, Bananas, Traditional Chinese Characters ) in different cultural environments and have been able to evaluate my work in response to visitor feedback. This project develops the idea of practice as a form of research, combining field work, creative practice and documentation. It widens awareness and proposes new ways for other artists to explore the experience of being ‘in-between’. My principle research questions are: How is my Taiwanese cultural identity expressed through making? How might ceramic practice be used to develop a visual language to communicate a personal experience of ‘in-betweenness’?
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Renshaw, David Nicholas. "The European ceramic workcentre as successful model: evaluating the standing, nature and potential for practice in ceramic art residencies." Thesis, University of Sunderland, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654720.

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This research study is concerned with the activity of ceramic residence centres. An area of art practice which exists both as a separate field as well as one within a burgeoning and wider sphere of international artist residence centres. This wider field is recognisable by its recent and rapid expansion providing new possibilities which have become a fundamental part of the working practice of visual artists of all denominations. The impact of leading ceramic residence centres such as the European Ceramic Workcentre (EKWC) in the Netherlands affects inherent working practices, work produced, cultural exchange, individual mobility, as well as innovation and the concept of how the ceramic medium can be used. This study provides a discussion of practice and its development at the EKWC as well as an understanding of comparable work carried out in the divergent cultural backdrops of the Northern Clay Center (USA), Yuegi Kiln Workcentre (P.R. China) and FLlCAM (P.R China). Theoretical evidence concerning these ceramic centres is complemented by my own practice at each facility which has taken place both during and before commencement of this research. Imagery associated with this evidence provides a visual expression of practice, the resulting artefacts, and a contextual perspective of the individual ceramic centres. The balance of understanding in this research finds that within this developing, international and cross-cultural field the EKWC plays a significant role in advances technically and for the expanded possibilities and understandings of ceramic as a creative medium. This study describes how this has been achieved and provides an appreciation of the extended potentials of good practice for ceramics in the context of the residence and workcentre fields.
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Bunnell, Katie. "Re:presenting making : the integration of new technology into ceramic designer-maker practice." Thesis, Robert Gordon University, 1998. http://hdl.handle.net/10059/1556.

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See Coversheet for system requirements. The aim of the research is to integrate computer technologies and environmentally - sensitive materials and processes into the practice of the ceramic designer-maker, in order to assess the impact of new technologies on practice. A critical contextual review (including analysis of visual material) revealed a developing interest in environmental issues and computer technologies in designer-maker practice. A shift away from a philosophy which historically has been anti-industrial, towards a wider spectrum of craft production was noted. This diversity was shown in the types of production and the scale of manufacture - from ‘one-offs’ to industrial manufacture. New technologies were acknowledged by critics, commentators and practitioners as facilitating this development, although concerns about the potentially detrimental affect that computer technology could have on craft skills was voiced. A link between a pragmatic philosophy of ‘craft’ practice and new approaches to computer systems design highlighted a perception of the validity of ‘craft’ as a contemporary skill. The lack of established methodologies for practice-based ceramic design research has led to the development of a naturalistic approach within this work which is both holistic and emergent. By necessity this methodology places the design researcher at the centre of the inquiry, and uses practice as the main research vehicle. Selected research outcomes were peer reviewed through two significant international touring exhibitions: ‘Hot Off the Press: Ceramics and Print’ and ‘Objects of Our Time’. Initial investigations concentrated on the development of environmentally-sensitive lustre glazes [lead and cadmium free] incorporating an innovative ‘safe’ reduction firing system. Subsequently, ceramic surface designs and three dimensional forms were developed through the integration of: computer assisted design work (CAD); computer assisted manufacture (CAM); colours and glazes; and environmentally-sensitive screen printing, and existing making methods. The outcome was new aesthetic qualities and an extension of practical capabilities. A critical framework for the analysis of research outcomes was developed in order to make explicit and transferable some of the tacit knowledge embodied in research investigations. The analysis was developed through the use of a computer database system from which an electronic document was developed, allowing the integration of a large amount of visual material into the thesis. The research demonstrated that the integration of new technologies into the holistic and emergent practice of the ceramic designer-maker was appropriate. Many advantages of computer technologies for the ceramic practitioner are identified as transferable to the wider field of designer-maker practice and embody the potential to enhance future developments in this field.
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Breen, L. "Re-modelling clay : ceramic practice and the museum in Britain (1970-2014)." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/9x230/re-modelling-clay-ceramic-practice-and-the-museum-in-britain-1970-2014.

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This thesis analyses how the dialogue between ceramic practice and museum practice has contributed to the discourse on ceramics. Taking Mieke Bal’s theory of exposition as a starting point, it explores how ‘gestures of showing’ have been used to frame art‑oriented ceramic practice. Examining the gaps between the statements these gestures have made about and through ceramics, and the objects they seek to expose, it challenges the idea that ceramics as a category of artistic practice has ‘expanded.’ Instead, it forwards the idea that ceramics is an integrative practice, through which practitioners produce works that can be read within a range of artistic (and non-artistic) frameworks. Focusing on activity in British museums between 1970 and 2014, it takes a thematic and broadly chronological approach, interrogating the interrelationship of ceramic practice, museum practice and political and critical shifts at different points in time. Revealing an ambiguity at the core of the category ‘ceramics,’ it outlines numerous instances in which ‘gestures of showing’ have brought the logic of this categorisation into question, only to be returned to the discourse on ‘ceramics’ as a distinct category through acts of institutional recuperation. Suggesting that ceramics practitioners who wish to move beyond this category need to make their vitae as dialogic as their works, it indicates that many of those trying to raise the profile of ‘ceramics’ have also been complicit in separating it from broader artistic practice. Acknowledging that those working within institutions that sustain this distinction are likely to re-make, rather than reconsider ceramics, it leaves the ball in their court.
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Osborn, Lisa. "Encountering statues : object oriented ontology and the figure in a sculptural practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/13070.

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This study reappraises the role and value of statues (i.e. the figure as sculpture) in order to determine what happens when we encounter these objects. The consideration and construction of statues in my studio practice has generated specific insights into statues as person-shaped objects and into our encounter with these objects. From the perspective of a practice making statues this study addresses how, through the encounter, statues both stimulate and obscure our perceptions of them as objects. My practitioner's understanding of statues is articulated and enlarged by developing methods which allowed me to gain an expanded perspective of my practice, through data collected from conversations about statues, and via a subsequent diffractive dialogue with concepts gleaned from other disciplines. This research process has revealed specific characteristics of the encounter, and of statues themselves, that have been excluded or obscured by familiar assumptions and theories, such as a tacit consideration of statues that allows us to be unsettled by their nudity, or the role touch plays in considering statues, and ultimately the history of the object itself. These findings are considered through a sustained engagement with Object Oriented Ontology (after Harman). Through this process, my initial findings are subsequently expanded and further enhance a re-conception of the encounter and of statues as objects. Finally, I argue for the importance of considering this reappraisal of the role the encounter with statues could play in revealing and reframing our relations with objects more generally.
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Books on the topic "Ceramic practice"

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500 ceramic sculptures: Contemporary practice, singular works. New York: Lark Books, 2009.

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1931-, Yamamuro T., Hench L. L, and Wilson June, eds. CRC handbook of bioactive ceramics. Boca Raton, Fla: CRC Press, 1990.

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Kelly, J. Robert. Ceramics in dentistry: Principles and practice. Hanover Park, IL: Quintessence Publishing Co, Inc, 2016.

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R, Twiname Eric, ed. Tape casting: Theory and practice. Westerville, OH: American Ceramic Society, 2000.

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H, Tennent Norman, ed. The conservation of glass and ceramics: Research, practice, and training. London: James & James, 1999.

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Biological and Biomedical Applications of Ceramics and Glasses Symposium (1995 Cincinnati, Ohio). Bioceramics: Materials and applications II. Westerville, Ohio: American Ceramic Society, 1996.

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Pitelka, Morgan. Raku ceramics: Tradition and cultural reproduction in Japanese tea practice, 1574-1942. Ann Arbor, MI: Bell & Howell Information and Learning Co., 2001.

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Potters and communities of practice: Glaze paint and polychrome pottery in the American southwest, a.d. 1250 to 1700. Tucson: University of Arizona Press, 2012.

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International Symposium on Ceramics in Medicine. Bioceramics: Proceedings of the ... International Symposium on Ceramics in Medicine. Edited by Heimke G. Cologne: German Ceramic Society, 1990.

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Firing: Philosophies Within Contemporary Ceramic Practice. Crowood Press, 2007.

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Book chapters on the topic "Ceramic practice"

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Hosseinabadi, Navid, and Hossein Ali Dehghanian. "The Science and Practice of Ceramic Suspensions." In Suspension Plasma Spray Coating of Advanced Ceramics, 35–105. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003285014-3.

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Kasper, Andreas. "Spontaneous Cracking of Thermally Toughened Safety Glass: Actual State of Discussion in Research and Practice." In Ceramic Transactions Series, 465–73. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2012. http://dx.doi.org/10.1002/9781118405949.ch47.

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Swab, Jeffrey J., Michael J. Slavin, and George D. Quinn. "A Proposed Standard Practice for Fractographic Analysis of Monolithic Advanced Ceramics." In 4th International Symposium on Ceramic Materials and Components for Engines, 936–43. Dordrecht: Springer Netherlands, 1992. http://dx.doi.org/10.1007/978-94-011-2882-7_104.

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Hamdi, Mohd, Farazila Binti Yusof, Mohd Fadzil, Tuan Zaharinie, and Tadashi Ariga. "The Influence of Adding Porous Interlayer in the Brazing of Ceramic to Metal." In Integration of Practice-Oriented Knowledge Technology: Trends and Prospectives, 303–14. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-34471-8_24.

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Anwar, Rusmadiah, Shahriman Zainal Abidin, and Oskar Hasdinor Hassan. "A Framework of Empirical Study Through Design Practice for Industrial Ceramic Sanitary Ware Design." In International Colloquium of Art and Design Education Research (i-CADER 2014), 683–94. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-332-3_70.

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de Freitas, Vasco Peixoto, Helena Corvacho, Marisa Quintela, and J. M. P. Q. Delgado. "Durability Assessment of Adhesive Systems for Bonding Ceramic Tiles on Façades: The Research and the Practice." In Durability of Building Materials and Components, 173–205. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-37475-3_7.

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Ho, Christopher C. K. "Ceramic Repair." In Practical Procedures in Aesthetic Dentistry, 194–98. Oxford, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781119324911.ch6.10.

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Jahanmir, S. "Wear of Ceramics." In Wear - Materials, Mechanisms and Practice, 167–89. Chichester, England: John Wiley & Sons Ltd, 2014. http://dx.doi.org/10.1002/9780470017029.ch8.

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Bordia, Rajendra K., and Héctor Camacho-Montes. "Sintering: Fundamentals and Practice." In Ceramics and Composites Processing Methods, 1–42. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2012. http://dx.doi.org/10.1002/9781118176665.ch1.

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Affatato, Saverio, Sami Abdel Jaber, and Paola Taddei. "Ceramics for Hip Joint Replacement." In Biomaterials in Clinical Practice, 167–81. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-68025-5_7.

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Conference papers on the topic "Ceramic practice"

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Smyth, J. R., R. E. Morey, and R. W. Schultze. "Ceramic Gas Turbine Technology Development and Applications." In ASME 1993 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1993. http://dx.doi.org/10.1115/93-gt-361.

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Under the ongoing DOE/NASA-funded Advanced Turbine Technology Applications Project (ATTAP), Garrett Auxiliary Power Division (GAPD) is continuing to address the issues of developing and applying structural ceramics to production gas turbine engines. Several critical technologies are being developed to advance this issue, including design methods development, component design, component fabrication, material characterization, and engine testing. The brittle nature of structural ceramics highlights concerns regarding impact damage. Through analysis and experimentation, design methods are being developed to improve the resistance of ceramic components to impact damage. Ceramic component designs now integrate these design methods into practice and proof testing methods are being developed to verify the results for actual engine components. Ceramic component fabrication processes are being optimized by selected subcontractors, resulting in deliveries of high-quality ceramic components which fully meet engine test needs. Verification of the component material properties is being achieved through comparisons of material property data from test bars cut from actual engine components with data generated from ceramic material test specimens. All these efforts are aimed at demonstrating endurance of the AGT101 all-ceramic turbine engine at the maximum operating temperature conditions up to 2500F (1371C). These critical ceramics technologies being developed under ATTAP are also providing a critical launch pad into production-oriented programs. GAPD has three concurrent programs underway, aimed at integrating ceramics into production Auxiliary Power Units (APUs). These include: installing and evaluating ceramic turbine nozzles under actual field conditions in a well-established product line (the 85 Series Ceramic Nozzle Demonstration Program); incorporating ceramic first-stage turbine stators and blades in a three-stage axial turbine APU (the 331-200 Ceramic Demonstration Program); and incorporation of a ceramic first-stage turbine stator in our latest APU design, the G250 Auxiliary Power Generation System (APGS) for the USAF F-22 fighter aircraft.
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"Practice and Research on Exploiting Educational Resources of Chinese Traditional Ceramic Art to Promote Children's Development." In 2020 International Conference on Social Science and Education Research. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0001647.

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Chraska, P., V. Brozek, B. J. Kolman, J. Ilavsky, K. Neufuss, J. Dubsky, and K. Volenik. "Porosity Control of Thermally Sprayed Ceramic Deposits." In ITSC 1998, edited by Christian Coddet. ASM International, 1998. http://dx.doi.org/10.31399/asm.cp.itsc1998p1299.

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Abstract Porosity regulates the deposit's properties and therefore methods for its control are of a vital industrial importance. Thermal spraying can produce deposits in a wide range of porosities by selection of a spray process itself, by selection of spray parameters, feedstock size and chemistry, etc. Manufacturing of deposits with controlled porosity may be difficult if the selection of spray processes and materials is limited. Special methods of deposition or/and subsequent post processing may be therefore necessary. These methods are studied in the presented work. All spraying was done with the water-stabilized plasma (WSP®) system PAL 160. Thick deposits and free-standing parts were sprayed from alumina, zircon, metal Al and Ni powders and their combinations. Porosity was characterized by number of techniques such as gas permeability, water immersion, MIP, SEM and SANS. Mechanical properties were characterized by the Young's modulus. Special methods of deposition, such as spraying of mixtures of ceramics and metals were successfully used. Either sandwiched-structures with alternating layers of ceramics and metals were sprayed (for the sealing purpose) or mechanical mixtures of ceramic and metallic feedstock were sprayed. Several post-processing methods were used to change porosity volumes or other materials characteristics. To increase the porosity the metallic phases were subsequently removed by leaching or by annealing at temperatures above the melting point of metal. A number of sealing materials (organic and inorganic) were used to seal the pores by infiltration at ambient or higher pressures. The results show, that significant changes of porosity volume and, especially, of the gas permeability are possible. Another tested method was annealing/calcination of deposits, which resulted in an increase or decrease of porosity, depending on deposit's chemistry and annealing conditions. Results show that all used post processings are capable of significant changes of deposit microstructure and that they may be successfully applied in practice.
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Gulizia, S., and M. Z. Jahedi. "Co-Deposited Ceramic/Polymer Coatings for Tailored Insulation." In ITSC2008, edited by B. R. Marple, M. M. Hyland, Y. C. Lau, C. J. Li, R. S. Lima, and G. Montavon. Verlag für Schweißen und verwandte Verfahren DVS-Verlag GmbH, 2008. http://dx.doi.org/10.31399/asm.cp.itsc2008p0165.

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Abstract The application of ceramic die coatings on tool steel dies in the casting industry has been common practice for many decades. The main function of these coatings is to provide a thermal barrier to prevent premature solidification during die filling, and protect the tool steel die from the effects of molten metal during casting with aluminium alloys. Although these coatings provide good insulation they are fragile and require on-going in-situ maintenance by machine operators. These inherent poor qualities makes the die casting process difficult to control and to maintain cast product quality because the solidification pattern and porosity changes and leads to increased cast product rejects. To overcome the limitations a novel die coat has been developed for the light metal casting industry utilising thermal spraying of co-deposited MgZrO2 and polymer particles. The coating is then thermally treated to reveal a fine network of porosity that has been found by heat transfer coefficient testing to enhance the thermal properties and overall coating durability during casting. This paper describes the porosity control system which was used to tailor the heat transfer coefficient of co-deposited MgZrO2 and polymer coatings and compare them with the heat transfer coefficient of commercially available die coats. The inherent porosity and the overall coating thickness were found to have a large effect on the heat transfer coefficient. Results of industrial trials are also presented and show that co-deposited MgZrO2 and polymer coatings provide considerable improvements to productivity and enhanced coating life in Gravity and Low Pressure Die casting of aluminium alloys.
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Thirupathi, Sridhar R., and Nagi G. Naganathan. "Design of Smart Metal-Ceramic Composite Actuators for Macro-Motion Applications." In ASME 1993 Design Technical Conferences. American Society of Mechanical Engineers, 1993. http://dx.doi.org/10.1115/detc1993-0302.

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Abstract Piezoceramic, electrostrictive, and magnetostrictive materials are being increasingly applied in active vibration control and are being investigated for other motion control and damage mitigation applications. Typically, motion ranges required in active vibration control are of the order of a few microns. On the other hand, many mechanical and electromechanical motion control applications require the point of application of the load to move through at least a few millimeters. In this research, a smart ceramic-elastic composite actuator is invented for such motion control applications. The work presented in this paper includes the concept, its illustration, development of a design geometry based on this concept, and its finite element analysis and results. It will be shown that by a proper synthesis of smart structure, a class of such actuators can be successfully designed and realized in practice.
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Kadir, Masran, Muhammad Ruzwin Rusli, Bukhari Samsudin, Saim Rahman, Sheereen Norizan, Thierry Wee, M. Alham M. Johan, et al. "First Successful Installation of Through-Tubing Ceramic Sand Screen in Seligi Oil Field, Offshore Peninsular Malaysia." In International Petroleum Technology Conference. IPTC, 2021. http://dx.doi.org/10.2523/iptc-21440-ms.

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AbstractThe Seligi field, located 240 kilometers offshore peninsular Malaysia in the Malay basin was discovered in May 1971 and is one of the largest oil fields in Malaysia. Sand production in the Seligi field has been observed, especially from the J reservoirs group. Within the Seligi field, Well G was identified as one of the wells with sand production to surface that could lead to sand accumulation at surface facilities and erosion of equipment. Historically, there had been no in-situ sand control measures in the well. The default practice for sand control was to choke back the well, to prevent triggering of the surface sand probe (production with maximum sand-free rate). This approach however is a compromise, while it limits sand production, it also limits the production potential of the well (well technical potential). As part of the production enhancement assessment program, remedial sand-control methods were considered to increase the oil production while minimising sand production. Among the options considered was ceramic downhole sand screen installation. Ceramics have been used in many extreme erosion and corrosion applications, with ceramic sintered silicon carbide being 50 times harder than steel. Ceramic sand screens made with sintered silicon carbide offer much higher erosional resistance at speeds of 300ft/s sand impingement velocity. Due to the aggressive nature of the sands and high velocities of greater than 50ft/s in Well G, a through-tubing ceramic sand screen was selected. The ceramic sand screen served as a fit for purpose solution that allowed the well potential to be fully maximised, enabling a continuous production with minimal sand production at surface.This paper reviews the first successful pilot installation of through-tubing ceramic sand screen in Well G in the Seligi Oil Field, Offshore Peninsular Malaysia. Discussed are careful analysis and planning, i.e. velocity calculations, tool deployment simulations, tool inspections and detailed job procedure leading to a successful installation. With the ceramic sand screen installed, the well was able to produce at 100% production choke opening with lower tubing head pressure and has not produced sand at surface despite multiple shutdowns and well bean ups. The installation has also removed the need to have sand handling facilities at topside and has generated an implicated cost saving from expensive intervention programs. Given the success of this pilot installation, a baseline in sand control has been set for this field, with new well candidates being considered for future replication.
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Rode, Lisa, Blaz Šeme, and Janja Slabe. "ASSESSMENT OF CHROMATIC REINTEGRATION TECHNIQUES AND MATERIALS WITH SIMULATIONS ON MOCK-UPS: THE EXAMPLE OF A POLYCHROME GLAZED CERAMIC PITCHER FROM THE COLLECTION OF THE NATIONAL MUSEUM OF SLOVENIA." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13538.

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The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents empirical research and approaches to conserving damaged paintings by testing conservation materials and various reintegration techniques. Studies of specific pigmented retouching paints describe the retouching practice of glaze-like retouching paints. They have been a part of the diploma thesis entitled Ways of reintegration the missing polychrome painting on ceramic pitcher at the Academy of Fine Arts and Design, University of Ljubljana, majoring in Conservation and Restoration of Fine Arts. The reintegration assessment intends to present multilayered paint effects on chromatic reintegration of a large area of reconstructed painting on a ceramic pitcher. A silicone mold was made in the selected area of an extensive paint loss for reintegration samples, from which gypsum casting mock-ups were formed. The practical determination of the chromatic reintegration was to simulate the stratigraphy of the paint layer and the in-glaze method of decorating the pitcher: a white underglaze over which a polychrome painting with overglaze was applied. The practical goal was to get close to the original painting's color, structure, and texture with differing application modes in lines, dots, liquid strokes, and surface smoothing. The chromatic reintegration tests of a glaze painting were perceived with varied and comminated approaches to applying retouching paint media to gypsum mock-ups. This can be achieved by meticulous scrutiny to review and evaluation a medium in the appropriate solvent. The mock-up assessments showed that the most suitable for the glazed pitcher is chromatic reintegration with dotted hatched, using the retouching colors with urea-aldehyde resin Laropal® A 81. The researched methods and the technique of chromatic reintegration on a ceramic pitcher were presented in the exhibition In Good Hands: 60 Years of the Department of Conservation and Restoration of the National Museum of Slovenia
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"Research on the Application of Zero Equivalence Translation Theory in the Creative Industry Practice of Ceramic Culture from the Perspective of Globalization." In 2017 International Conference on Humanities, Arts and Language. Francis Academic Press, 2018. http://dx.doi.org/10.25236/humal.2017.40.

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Lampke, T., R. Drehmann, C. Rupprecht, D. Trimis, M. Gilbert, and V. Uhlig. "Combined Diffusion Barrier and Wear-Resistant Thermal Spray Coatings on Light-Weight Charging Racks in Furnace Applications." In ITSC 2012, edited by R. S. Lima, A. Agarwal, M. M. Hyland, Y. C. Lau, C. J. Li, A. McDonald, and F. L. Toma. ASM International, 2012. http://dx.doi.org/10.31399/asm.cp.itsc2012p0087.

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Abstract Due to its low weight and excellent dimensional stability, carbon fibre-reinforced carbon (C/C) gains more and more importance as construction material for light-weight charging racks in industrial furnaces. However, for high-temperature applications above 1,000 °C, C/C has to be protected with a diffusion-inhibiting coating in order to avoid an undesired carburization of components which are in contact with the charging rack. In the present work, coatings were produced by means of atmospheric plasma spraying (APS) and powder flame spraying (PFS). The ceramic powders Al2O3, Al2O3/Cr2O3, Al2O3/TiO2 and yttria stabilized zirconia (YSZ) were used as coating materials, while molybdenum and silicon carbide served as adhesion-promoting intermediate layers. In order to reduce the residual stresses in the ceramic coatings, specimens with a defined segmented surface structure were compared with conventional closed coatings. Long-term high-temperature tests in several atmospheres were conducted on laboratory scale as well as in industrial practice.
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Singh, Abhishek K., Suraj C. Zunjarrao, and Raman P. Singh. "Silicon Carbide and Uranium Oxide Based Composite Fuel Preparation Using Polymer Infiltration and Pyrolysis." In 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/icone14-89518.

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Ceramic composite pellets consisting of uranium oxide, U3O8, particles in a silicon carbide matrix are fabricated using a novel processing technique based on polymer infiltration and pyrolysis (PIP). In this process, spherical particles of depleted uranium oxide, in the form of U3O8, are dispersed in liquid allylhydridopolycarbosilane (AHPCS), and subjected to pyrolysis up to 900°C under a continuous flow of ultra high purity (UHP) argon. Pyrolysis of AHPCS produces near-stoichiometric amorphous SiC at 900°C. Multiple polymer infiltration and pyrolysis (PIP) cycles are required to minimize open porosity and densify the silicon carbide matrix, in order to enhance the mechanical strength of the material. Structural characterization is carried out after first pyrolysis to investigate chemical interaction between U3O8 and SiC. The physical and mechanical properties are also quantified, and it is shown that this processing scheme promotes uniform distribution of uranium fuel source along with a high ceramic yield of the parent matrix. Furthermore, the processing technique involves lower energy requirements than conventional sintering processes currently in practice.
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Reports on the topic "Ceramic practice"

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Quinn, George D. NIST Recommended Practice Guide Fractography of Ceramics and Glasses. National Institute of Standards and Technology, May 2016. http://dx.doi.org/10.6028/nist.sp.960-16e2.

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Quinn, George D. NIST Recommended Practice Guide: Fractography of Ceramics and Glasses. National Institute of Standards and Technology, September 2020. http://dx.doi.org/10.6028/nist.sp.960-16e3.

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Quinn, George D., Jeffrey J. Swab, and Michael J. Slavin. A Proposed Standard Practice for Fractographic Analysis of Monolithic Advanced Ceramics. Fort Belvoir, VA: Defense Technical Information Center, November 1990. http://dx.doi.org/10.21236/ada231989.

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Rice, P. M., and K. B. Alexander. Practical factors affecting the quantification of elemental concentrations in beam-sensitive ceramics by EFTEM. Office of Scientific and Technical Information (OSTI), April 1997. http://dx.doi.org/10.2172/505344.

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