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I was on my way to use the Mill Drill, a low end milling machine in the Jewelry lab at Montana State University when I stopped to listen in on an ongoing critique in the painting studio. I stood outside the door and listened in. Harold Scholtzhauer, a professor at Montana State University was talking about a painting. He was discussing a work that I could not see from outside the classroom and talking about the edges, that the edges of a field of color have great importance, that "everything" was in the edges. I don't know if I heard him correctly but I found it an interesting statement. I see it as a sort of truism. If an idea is demarcation in thought, it is an edge. All thought, action objects, descriptions, these are all in some sense edges, pinnacles, demarcations. This book is in many ways about edges. It is a denial of the actuality of edges, separations, demarcations. It denies the reality of limited dimensional viewpoints. It uses words to deny their usability. Maybe this is not all of what this book does, but it certainly is one way to see a unifying priciple in the writing. Of course if there are no demarcations, separations, and edges, there is no need for unifying principle for without out these deliniations all things are connected.

BarnettNeuman, LauriAnderson? All communication requires translation. In trying to understand where someone is comming from we are trying to gain access to the parts of the communique that are outside our experience. The real meat is not the center of the cut but the edges, the fuzzy parts that we miss when we concentrate on the main message. This is true of all communication of any importance. Trying to really understand is to get out of our heads and into anothers.

I started doing ceramics in Highschool.---- story about the first day of school, piano lessons, etc. The move from engineering to art. Kurt Weiser, then a graduate student at the U of Michigan, was my first ceramics teacher. I became his protege', although I did not sign any papers, I did not even know what I was doing, at least not conciensously. Kurt, loved ceramics, and at that time he was investigating the process of Raku. I am not sure he even knew it at the time, but he was looking at the process and seeing what it had to offer him and his owrk. What characteristics of Raku could he use , could he take advantage of in his work. He was a taking advantage of process....

When I visited him at the Archie Bray Foundation a few years later the number of processes that he was using had increased, how can you use a sandblaster, the cheeselike stage in the setting of plaster, how can you play with these processes and make thier innate characteristics energeticly and playfully apparent These were things that Kurt almagamated with a sort of Neuvo Fred Flinstone imagery.

I too became a milker of processees. I believe that in my work I was trying to make process apparent, Kurt'w work was more about visual appearance. I have never been quite as interested in that.

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Page last modified on December 01, 2014, at 11:49 PM