Draft Please note, The roots can be poisonous. There are also warnings about the flowers. There are warnings about use of this vegetable when pregnant on US sites. It is in common use in Thailand best I can tell.
Maroom มะรุม Moringa oleifera
The µBITx, pronounced Micro -Bit -X is an amatuer radio transceiver. It works from 3 – 30 Megahertz. It is a kit, sort of, and is very inexpensive. Mine was $109 with a $10 dollar extra charge for REALLY fast shipping from India. It was accepted for shipment 65 hours before delivery in South Texas.
There are many cool things about this radio. 3- 30 Megahertz is a very big swath of radio frequency. It sends and receives morse code and single side band voice. AM radio waves are made by combining a radio frequency signal, a plain sin wave at a fixed frequency with an audio wave. What comes out of the radio is the fixed frequency wave called the carrier and two side bands that are the carrier plus and minus the frequency of the audio. The carrier , although it is called a carrier carries no information other than what the fixed frequency is. The two side bands duplicate the audio information. What single side band does is eliminate the carrier and one of the side bands early in the process and amplifies the remaining sideband. Having to only amplify one part of the signal allows it, using the same amount of power, to be stronger. All of the juice goes into the one side band making it louder, stronger. It also creates a much less wide signal allowing more conversations to go on at the same time. Please do not consider me an expert on any of this. My knowlege is really limited and people with more abound.
So, how does this radio work? Old radios produced the carrier with a combination of components. The easiest way to make an oscillator is with a coil and a capacitor. The coil holds a charge in magnetic field, and a capacitor holds one in an electric field. These two devices when set up properly send energy back and forth between each other at a certain frequency determined by how they are constucted, how “big” they are. The problem with these simple oscillators is that they change frequency with temperature, and the heat up with use.
Skipping all of the other intermediate steps in oscillator development, at least in part because I really know little about all of this brings us to the µBITx.
The µBITx creates its base frequency with chip that has a circuit designed to create the frequency of your choice. You program in what you want and the frequency comes out. The chip accepts commands using a language called I2C. THis language goes over a pair of wires. The computer that sends this is a small computer I am a bit familiar with called an Arduino.
It doesn’t but I do. About painters, at least young ones that I knew when I was young, or at least younger.
Frequently I have had people from other media wonder/ask how the uncertainty of firing could be dealt with. I always found this question baffling. I could not always put it into words.Ceramics is no different in this way than any other medium.
Uncertainty can be excitement. You can have certainty if that is what you want, or at least close in onit. Test and measure until you are certain. Its not what I want from clay, but someone can want it. Somep[eople think that they have it. They have more of it then I do, maybe, probably not. Life is uncertain, you are always balancing variables in everything, is the pan hot enough for the eggs not to stick or is the butter going to burn? You think that you know how the details will be seen. You think you understand your motivation. You think a lot of things and they are not always right, rarely if ever really. They are never complete. You cannot know the whole story. Stories are always too complex.
All of this, “I know what I am going to paint” nonsense, is prefaced on the idea that painters can visualize, fully comprehend, fully plan, fully understand, what their work will look like, how it will impact people, themselves, how it will stand. They work in a similar manner, and really have no idea until it is finished. They too have surprise. The too are orchestrating process. The finished content is not controlled, and never fully revealed. The work will be different through the lense of a weeks time, and a year, or however long.
Really though, the work is not finished until we are gone, and well after that. When someone uses your coffee cup or mug, or looks at your work anew, each time the work changes. It is not some fixed static entity when it comes from the kiln. I have a cup from a friend Wally. I bought it at t thrift store. I remember when people made handles like the one he put on it. Its ridiculous in many ways, but it shows time, it shows where it was made. It also has a handle that is hollow and since it is dishwashed the handle fills up with water. Could he have imagined how I feel about it weeping on papers after filling it with coffee?
The classic example of this post firing manipulation of work is Old Japanese Teabowls, with records kept of who drank what and when, with stains, cracks, repairs, Kintsugi, thoughts, writings poetry. But it really is not different for any other object. Price is part of the work, What Rick Newby thinks about it becomes part of it, who bought it, what gallery, a thrift store? The teabowl, The Kizaemon, the teabowl that is supposed to express it all was made by a peasant potter in Korea then taken to Japan. It is rarely displayed. How could the maker know? It is a plain bowl for rice, disposable. Its worth was in its being collected, appreciated and held.
There is nothing that does not add to the work, even if it seems to detract. I am not sure it is over if it is buried. Although if its been subducted, melted in the middle of the earth and extruded as new igneous material the relationship is getting a bit thin,, Perhaps a trace of carbon will remain firmly placing it in time by C14 dating or some other scientific alchemy.
people should read this:
- 3-4 cups papaya Julienned fineมะละกอดิบสับขิ้นฝอยๆ
- 1/2 cup ground dried shrimp (coarse)ก้งแห้งป่น
- 8-10 cloves garlicกลีบกระเทียม
- 4-5 small chillies pequinsพริกขี้หนูสด
- 4-5 black peppercorns or green if availableผริกไทย
- 1-2 dried chilliพริกแห้ง
- 2T Fish sauce, jaggery lime juice and tamarind pod water if available.น้ำตาลปีบ น้ำปลา น้ำมะขามเปียก
- 1t Shrimp pasteกะปิ
- 2T fresh roasted peanutsถั่วลิสงเผา
- 2-6 cherry tomatosมะเขือเทศเล็กเล็ก
This recipe is about balance. If something is too powerful add something else.
Julienne the peeled papaya with a sharp knife and a coarse vegetable peeler.
In a Danwkean Mortar pound the peppers garlic, shrimp paste adding the peanuts last and pound the peanuts lightly. You can also use mortars from Ubon and Nongkhai.
Add papaya and pound each small batch until partially translucent.
Often my memories seem tied to ideas. I remember the ideas and then the facts flex to fit the thesis or concept. So I remember Victor Babu with his feet together slightly on his tiptoes hands open and arms outstretched above his head saying, “blossoming” in reference to a pot form. My memory is that despite his huge shoulders and small hips this dance, this pose had a grace, perhaps equivalent to the suggested grace in the to the phrase of Cardew, “The Majesty of Form”.
He, Victor, a fantastic human, was describing a condition of a pot, a kind of breath. This word, breath, is not one I hear defined directly in “A potter’s Workbook” but Clary Illian talks the concept. She talks about the interaction between the surface or wall of a pot and the column or volume of air on the inside. I describe a relation between the skin, the absolute-skin-surface of a pot and the volume – the air inside is surely a better description for some. Breath, as a word, is tied to Buddhist ideals but these ideals or ideas, are not really that removed from the fullness, balance, and active stillness (active or anticipatory stasis) suggested by the breath in pots. Back then while I was in school either we did not use this word “breath” or my ears had a special filter to keep it out.
Patty Driscol, Gail Busch and I were sitting around one evening (Kathy Ervin) could have been over, looking through the dictionary for some reason and thinking of this dance of Victor, his word, “blossoming”, or at least the idea of it and I came across the word erumpant. Erumpant is ready to burst, ready to pop. A pregnant woman, a ripe fruit, and as I have a certain taste for the tasteless, a zit ready to pop. I think we had been playing scrabble.
There is really only one sort of ripeness, one fullness, described by “erumpent” but I think it is one sort with stages. It is a useful word but rather one dimensional. We really have many different varieties of fullness in the field of ceramics. Having thought about it for years I now have more categories, a bud, a blossom opening, opened, even wilting, there is growth like a shoot of bamboo, thickening of the trunk like a tree or a kapok tree, the beer belly, as well as the various perceptions of erumpancy. There is beginning to bulge, quickly beginning, a hint of readiness or ripeness, ready to burst, actually bursting , burst and a sort of flacid loss of muscle or skin tone. Each have their place, and grace, and all can have breath if done well. Some are harder to pull off than others.
The words themselves have little meaning when it comes to pots until we categorize ideas, visual ideas and assign them to the words. Some words collect these ideas better than others. These words contain action, emotion, and layers of expectations. If they do not have these layers of meaning then using them adds nothing to the already obvious characteristics of the pot as in,”that is a smooth pot”. So it is not really the use of words, but what we put into them. ya ya ya.
Recently I went to a ceramics conference in Kansas City. I got to see Victor for a few short minutes. I don’t think that I can trydescribe talking with Victor in any way that truly captures it. There were scores of people waiting to talk ad I had only a few minutes. It was delightful.
Shape, a separate essay but attached to the original version will appear in a different post.
It is clear to me that as a media we are making progress at least in some ways. Sure there is more technical know how and horsepower than there was 40 years ago. There is more knowledge and more people doing glaze calculation and substantive kiln innovation. But even the pots themselves are getting better. This can be demonstrated pretty well by looking at handle attachments. I have joked about looking at upper handle attachments pictured in CM from the first issue forward using the criteria of intendedness(1). But I am not so interested in quantitative research in the field. I just want to generate thought. Still it seems that progress here can be demonstrated.
In this regard I have been looking at Simon Levin’s handles on cups. Really the whole cups are wonderous but it is the handles I am most in to. The mimicry of the smooth upper attachment is so well done at the bottom that the effort that goes in is not apparent. There are no signs of any effort. The bottom attachment looks as is it was accomplished the same way the top attachment was, no muss, no fuss. But it wasn’t. Simon has apparently developed the skill and technique to make the bottom attachments look the same and a lot of effort went into this.
The lack of unresolved details in the bottom attachment meet my definition of intendedness. Every part of the attachment looks like it was considered. The details look like they were all intended. The clean lack of struggle, the lack of unintended marks, makes these lower attachments look effortless and I wonder if the terms “apparent consideration”, “intendedness” and “apparent effortlessness” are not in some ways relating to pots, synonymous.
(1) Intendedness: This is the appearance of intent, rather than intent itself. Something can look like it has intent but if it is actually accidental, or a controlled accident it still has intendedness. The Bauhaus designers used to say that every aspect of a design needs to be considered. This is an important principle, but in my opinion poorly stated. I say that every aspect of a design needs to look considered or intended. They do not need to be intended. How well something conforms to this ideal, this look of intention or consideration is its intendedness.
Once something looks intentional it is possible or easy and almost automatic to either think you know why something was chosen the way it was or to wonder why. Either of these is a gateway to meaning.
Working on Jungle Curry แกงป่า
- deleted recipe nestle food who I refuse to have anything to do with.
This is the Thai national dish. When you say something is Tom Yum Kung, you are saying that it is authentically Thai. Its like saying that something is “as American as apple pie”. The Asian Monetary Crisis of 1997 which seemed to start in Thailand is often referred to as “Tom Yum Kung”.
This is the start of a post on a recipe for Tom Yum Kung. My sources are memory, Jennifer Brennan’s (Hot Pink) Original Thai Cookbook and Hot Thai Kitchens youtube video http://hot-thai-kitchen.com/tom-yum-goong/ and Thai Food Master http://www.thaifoodmaster.com/thai_food_recipes/thai_soup_recipes/320
My memories are scattered but as always include Umdang Ceramics and a certain little whole in the wall place in Korat that kept upping the peppers every time we went there.
This page says to add 4 shallots http://www.thaifoodmaster.com/thai_food_recipes/thai_soup_recipes/320 This page also says to fry prawn brains in oil until golden. They add them late in the process to the soup and it adds an orange color. I will probably get headless shrimp so no prawn brains.
I have had shallots in Tom Yum but have never included them in my recipe. I am gonna try some this time.
I really like the oil that has had shrimp shells fried in it so I am going to use that part of the Hot Pink cook book.
2T vege oil I like the way it looks if it goes red.
8 cups quality chicken stock using skin and feet if possible
1″ of galangal fresh from my garden sliced in rounds.
3 stalks lemon grass 1″ length. from my garden, bruise before cutting.
Kaffir Lime leaf 4 slivered from my garden
1 t kaffir zest but other limes OK from my garden, maybe fresh
2 green chili, serrano, or one polano slivered (bruise first). I will throw in a few pequins.
2 pounds shrimp peel de-vein and reserve the shells.
1 slivered red chili slivered (bruise first)
2 limes juiced.
1T Fish Sauce. Louis uses a tad of shrimp paste.
2 T coriander leaves chopped coarse
3 green onions chopped coarse from my garden
mushrooms, I am going shitake this time I think.
a small amount of vegetable matter but this soup traditionally has little to none. I am not sure what, but maybe a few bits of slivered root veges.
https://www.youtube.com/watch?v=hXaaZiMgvgI Hot Thai Kitchen says maybe to add some Nam Prik Phao it adds some nice color. I may put in some powdered dry ancho chili early with the shrimp shells.
Fry shells in oil , add stock, galangal, leaf and rind of kaffir. green chilli shallots. simmer the stock.
Bring to a boil add veges, mushrooms first, then shrimp. Slightly undercook the shrimp. Remove from heat add lime juice fish sauce sugar coriander and green onion. Check for salt, sugar, pepper, fish sauce. serve. Guests that are late get it cold. Do not bring this back to a boil.
I am working on making KaoYam with Nam Bu Du น้ำบูดู a dish from the south of Thailand, really from Malaysia. I am going to at least start with the recipe on this page.
She Simmers Thai Cooking KaoYam
I have been told by an old friend HS9DEK with a glorious voice and welcoming warm personality that I should use Thai Bu Du sauce. I have not spoken with him for most of a year. Catching him online was great.
A friend gave me a small amount of homemade Bu Du….
Wood kiln brew recipe
First off if you don’t drink coffee or don’t fire with wood, don’t read this ceramic recipe if you don’t want to.
Wood kiln coffee cannot be wimpy. Drink water if thats what you need, but drink COFFEE when its what you need. Good coffee needs to be stiffly mixed. You need a thick unctuous brew. If you are going to do some sort of drip stuff, you need more grounds than water. If you are doing French Press you need too grind too fine and then press too hard. With French Press for wood kilns you need a large proportion of the grounds to blow by the filter
Cowboy coffee is fine. You can even do the thing with the egg shells if you don’t know how to filter with your teeth. It is especially fine if you grind the coffee fine. But good wood kiln coffee is done Eastern Mediterainian , ArabeoIsraeliTurkishGreekSerbiaCroationSorryIfILeftYouOutCoffee, thick, sweet, stand up and chew, coffee.
Here is my recipe.
Take a “six” pot, if you fire a large anagama with more than four side stokes use 12 and double the recipe, pots for this have numbers. If you don’t have a six pot it is OK to use a can from pork and beans. Eat the beans first. Rinse the can but do not wash it.. You can fashion a handle out of the lid if you don’t cut it all the way off, but it is too short and hard to use, you will burn your fingers and you need them tonight. I use small vice grips.
For wood kilns you want African Cardamom if you use cardamom. Its smoke dried. One pod is enough for several pots. I grind it with the coffee. Asian stores often have good deals on African Cardamom.
Grind the coffee as fine as you can get it. You can do this in a ceramic mortar with a wooden pestle or you can use your Turkish Grinder or even a Krups. Fine, 80 mesh is not quite fine enough. Don’t use a sieve.
Fill the pot up to just under the narrowest part of the neck with water. It can be hard water, it can be soft, and it can be rain water. Add 1 to 2 TABLESPOONS of sugar. Honey is OK, corn syrup will work. Don’t use any molasses unless you feel way way south of the Mason Dixon line and want to show it.
Heat the water to near boiling in one of the air passages of your kiln or over a side stoking port. Don’t pull coals out of your kiln for this, you won’t get enough woodash in your coffee this way. Don’t fake it by mixing woodash in, are you crazy? Woodash contains lye.
Take the pot off the heat. Add 3 T of coffee powder. Stir it in or not depending on your style. Do not get picky about it, you are firing a wood kiln. Set the pot in the heat again. When it boils up near the rim take it off and let it cool about 30 seconds. I am a barbarian so I do this boil up three times for wood firings.
If this were some fancy setting I would knock the side of the pot with a spoon a few times and let it settle. Its not that kind of setting, I just pour the ambrosia. If you are looking for caravan style add some yak butter. If you don’t have any yak butter a little salt and a little cow butter will do. It is one place where “sweet cream” butter is not wanted.
Don’t forget to stoke the kiln. Drink it. The grounds go into the stoking port.