Bibliographic record
Abstract
Book Description: Electric kilns are a wonderful thing! They're so readily available and simple to install that any artist can take advantage of the incredible potential this tool has to offer. Nearly every ceramic artist now uses one in some capacity in their studio because electric firing offers a control and dependability not found with any other type of firing. As the popularity of electric kilns has increased over the past few decades, manufacturers and suppliers made this tool even more versatile. Advances in controllers, energy efficiency, materials and safety make it possible for studio potters to take advantage of this tool for relatively little investment. In Electric Firing: Creative Techniques you'll discover the contributions of studio artists who use electric kilns. They eagerly share the results of their experiments, their research and their artistic successes. Build on what they've learned through the up-to-date information on processes, glazes, tools, materials and techniques they provide. At one time you could make Low-Fire Electric Reds by mixing your own. David Gamble explores the new types of commercially-available reds that will add zing to your work. Gail Kendall demonstrates her step-by-step for decorating colorful work using a variety of methods in Low-Fire Surface Decoration. DaNisha Sculpture is the collaboration of two talented artists, Nisha and Dan Ferguson. The electric kiln allowed them to concentrate on their elaborate forms and decoration. Using the vessel for narrative storytelling inspires Jitka Palmer, who says she enjoys painting on curved surfaces because it makes the images more dramatic. See examples of Using Colorful Underglazes in a variety of ways by top artists. Each winter Kesl and Tilton collaborate on work and their story is intriguing. You'll get a rare look at a sustained involvement of a passionate team. Scott Bennett finds inspiration in jewelry and explores what happens when you make brooches, pins and rings monumental in size. V'Lou Oliveira uses commercial glazes for the brilliant colors that enhance her playful iconclastic approach to her work. China Paint is at the lowest end of the temperature range in ceramics and Paul Lewing guides you through the basics to get you started. Joan Takayama-Ogawa uses china paints to decorate her unusual teapots and constructions sometimes taking up to 9 firings to finish a piece. Versatile Recipes for engobes, slips, glazes and self-glazing clays can add a lot of character to your work. Looking at one of the most influential potters of all time, John McQuistion pays Homage to Palissy in his artistic work. Palissy would be amazed at the modern twist. When it comes to Surface and Form Kelly King achieves a personal and contemporary sense of design sure to inspire you. Faith Rahill shows you that Creating Neriage Blocks provide a great way to work three dimensionally with patterns and images. Laura Kukkee reveals how her subtle change in a technique lead her to impressive results with her slip decorating. Paul Wandless maintains that Testing Your Clay provides you with information you can observe, touch and feel firsthand in your own environment. You can expand the capabilities of your electric kiln with gas by Building a Gas/Electric Kiln. It's all about hybrids now. We live in an era of recycling so it makes sense to have a description for Converting an Electric Kiln for Wood or Gas Firing. If you missed the lecture on kilns, you'll appreciate this refresher course on the Ten Basics of Firing. And much much more!
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.005 | 0.003 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.746 | 0.563 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; the direct Gemma label and the distilled Codex classifier agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".