Author Archives: Louis Katz

Baan Maaw Mahasarakham

Baan Maaw village, Meuang Mahasarakham District, Mahasarakham province, Thailand kingdom Sometimes this village is refered to as Baan Pan Maaw บ้านปั่นหม้อ, rather than Pot Village this is Village [where] Pots [are] Formed. Pan ปั่น means spun. Its odd as the pots are mostly handbuilt. I wonder, but do not know if the longer name is newer, or not really used. 


Maaw (หม้อ), means “pot” as in pottery. Baan (บ้าน) means house. A village is a muu baan (หมู่บ้าน). The first part of this, “muu” (หมู่) usually refers to a group of houses or a village. Mail addresses often are associated with a muu, such as muu 4 Dankwian. That is a group of houses in an amphoe or district or in a muubaan. These muu are associated with how a mailman does his job. Its easy to be confused. 
Thailand
Provinces – Changwat(
Ampoe 
Tambon
Muubaan
Chumchom
Its more complicated than that. Large cities within provinces are generally referred to as Amphoe Mueang
maybe this needs clarification or deletion. 
But Baan Maaw is a village  with a clear  grouping away from other villages. The pots that they made were almost exclusively 8 liter or so, porous water cooling jars. They all have a stipled band that appears decorative just above the belly, the widest part, a broad rim and a lid. They are bonfire fired to about 760˚C or 1400˚F. This temperature is a guess based on the look of the fire. It could be as much 200 degrees fahrenheit lower. The pots are unglazed, although more recently (2014) some were being coated in tree resin when hot for a black and shiny finish, and some have been being treated with the Dankwian Antique Finish technique (discussed in the section on Dankwian Village). 
The clay, last time I. saw it being delivered to the village came by 2 wheel cart and was in 25cm cubes, (about 10 inches). It was cut from the ground wet with a flat shovel. I did not watch it being prepared. It is a sticky clay, and from the ground a light grey color. It bears no resemblance to Dankwian clay other than being fairly sticky. 
The clay is mixed with grog, or if you prefer chamotte, made with a novel technique. The grog, the only time I saw the beginning of the production, was made with mud from the bottom of the local reservoir Loeng Pan Maaw เลิงปั้นหม้อ . Loeng เลิง means marsh or swamp. The Loeng near Baan Maaw I believe was excavated to get fill and create a bigger reservoir. It appears to be much larger now (2014) than I remember it being in 1989. The mud is mixed with copious amounts of rice hulls to make ~ 15 centimeter balls, roughly six inches. The balls have a 2.5 cm diameter hole that goes in towards the center.  This creates an object that burns like very low grade charcoal briquettes.
Usually these are piled canonball style over some firewood in a 6 by six grid and about 5 layers high.. They are burned to a temperature similar to the temperature at which the pots are fired but probably a little lower. There is so little clay in these that they can easily be crushed with a persons weight and a shoe. It takes at least a few hours to burn and is not carefully attended as it does. 
Rice hulls are near perfect for this use. They are agricultural waste. They were traditionally burned to eliminate pests. While they can be added to soil, they are slow to decompose and light so they do not stay in place in flooded rice fields. Partially burned rice hull is a more suitable soil ammendment in rice fields. Consequently this use if effectively carbon neutral. They would likely be burned anyways. 
Rice hull ash is almost entirely silica. The two analyses I have show it as 96% silica, 1% alumina and less than 2% alkali metal and alkaline earths. The alkali metals and alkaline earths are soluble and some will end up in solution in the clay and alter the working properties. But this low amount is not enough to cause big problems. I believe that it at least contributes to the thixotropic feel of Baan Maaw clay. Thixatropy is the property of a material where with stirring or manipulation it becomes more fluid or flexible. 
Silica can be added to a clay in large percents, and quartz sand, another way to get silica, is sometimes added to clays to replace or instead of grog. But where the silica in quartz is crystyalline, the silica in rice hulls is amporphous. Quartz rapidly increases in size just above red heat, something potters call Quartz Inversion, and the size change can cause cracking in pottery. Amorphous silica does not exhibit this phase change, and therefore is safer as an addition to clay. It does not cause cracks. 
The silt that holds the rice hull balls together fires into a very porous structure with lots of sharp texture. That texture holds onto clay well. The quality of grog is related to how open the texture is and how sharp. Better grog makes stronger clay. Rounded smooth particals weaken a clay body both in the raw and fired states. I believe that this grog significantly adds to the amazing strength of the raw clay pots.It also, do to its open porous nature, makes fast firing easier to accomplish without explosions. 
The pots are started with a rolled cylinder process achieved with a stick about the diameter of a broom stick. The cylinders, maybe about 18 inches tall are place on damp fabric on one end and formed slightly by a hand placed on the inside in opposition to one on the outside. The pot is turned on the damp fabric. 
After this initial forming and a small amount of drying, it is placed on a stump and paddled into a larger form. The rim is thrown, not by spinning the pot but by walking around the pot quickly. The body of the pot still has a hole in the bottom from the cylinder rolling process. After setting to dry a little more the bottom is paddled closed. The form is then placed inside an old pot shoulder section, it having an appropriate curve and allowed to dry a little more. The shape is finished by paddling one or two more times. 
During the first part of drying, I think of it as the wet stage, as the water dries the particles of clay move closer together and the form shrinks. As this stage ends the clay gets much less maleable. In English people call this “leather hard”. This appears to be because at this stage it can be tooled like leather.But at this stage small voids form. They dissapear as the clay vitrifies, but the water that used to fill up these voids dries out. Its my theory that paddling removes some of these voids and also aligns flat clay platelets parallel to the surface of the pot. I have no great evidence of this.But the quality of the grog, and the paddling in Baan Maaw  Mahasarakham and other such potteries results in greenware (unfired ware) that is remarkably strong. The fired was is quite strong too, especially considering the firing temperature. 

Firing takes place in the afternoon when the sun is strong and the temperature hot. I believe that this is to reduce explosions caused by hygroscopically held water. I have never seen an exploded pot in Baan Maaw. I have only witness firings during the hot season.

The pots are fired “Bonfire” style. There is a lot of variation in bonfire firings but the firings here resemble some in other countries. There is a bed of thin sticks roughly 1 -2 inches in diameter placed up from the ground on roughly 4 inch tall fired ceramic props. This allows air under the bed early in the firing. Two layers of pots are placed on the stick bed. The first is placed rim down with six pots on each side of the square stack. So the grid of the first layer is 6X6 or 36 pots. The second layer has pots placed with rims up at about 60 degrees from directly vertical in a 5X5 grid for 25 pots. Lids are placed between the pots.The total stack holds about 61 pots. 

The stack is covered by rice straw and lit on fire. It all is engulfed in flame in the first few minutes. After a few minutes a second layer of straw is added. The access to air around the outside is managed and the outside pots are checked by color for how well fired they are. Additional straw is added until no longer necessary. The entire firing takes about 1 hour.

There are products other than the water jars that are produced in the village. One is rice cooking pots. These are small earthenware vessels meant for a few uses on top of a charcoal stove. Charcoal stoves are also produced in the village. There is a small amount of sculpture produced in the village. 

The charcoal stove design is an outgrowth of a USAID development project from before 1988. At the time a vast amount of wood was being turned into charcoal for day to day cooking in the villages. Besides being an agent of deforestation, pollution and environmental damage it was an expensive way to cook. The stoves were very inefficient. 

A newer project to produce stoves resulted in the Tao Mahasethee เตามหาเศรษฐี stove or “Billionaire Stove”. Because of the name when they show up in the press they are immediately ridiculed. Online posts about charcoal stoves in Thailand often ignore the earlier work.  ( see Stove Production in Korat)

 



What they make
Process,
progressive paddling and strength
Firing Rice Straw
Small wood
Stands

materials
Grog Balls

Thixotropy?

Market shift

Temperature Drift in Ceramic Kiln Control Systems

Thermocouples drift for a lot of separate reasons. As the wires thin (the voltage is created by the temperature differentials along the wires, not by the tip) the amperage that they create lessens. They have to be very very thin before this in and of itself is going to cause much drift that matters.
The gizmo that reads the voltage, an analog to digital converter, generally has a very high input impedance. The cheap chip that I use in microcontroller projects has 60,000 ohms impedance. A 1Ω change is going to cause a very small drift in measured temperature. The resistance at the tip is going to have to change a lot before this is significant. I would only expect a problem right close to failure. I am unsure if kiln controllers monitor the resistance of the thermocouple or if they just detect open circuits. Its a good question for Bartlet Control or Skutt Technicians.
Much of the voltage output drift can happen because the alloys change over time when hot. This is called alloy drift. While it happens with type R &S thermocouples, especially if not in a specially designed protection tube, it is a much faster and more significant problem in type K thermocouples. I believe, but do not know, that it also happens in the lead wire if it gets too hot. Thermocouple lead wire should not contact the kiln case. I have wondered how much of the drift is caused by corrosion at the joining of the dissimilar metals at the thermocouple and the controller board.
Over the last 20 years I have come to the belief that all kilns should be equiped with Type R or S thermocouples. They are long lived, and much more accurate. They drift slower. They are much more expensive. But they are less expensive than a load of ware.
I had the joy of using an very expensive Nabertherm branded kiln for a number of years with a type R thermocouple. I used witness cones in each firing.I kept the last set on top of the kiln and compared them. Mostly the firings were cone 9. I adjusted the top temperature each firing. Often this was less than 3 degrees F. It was never has high as 15 degrees F except the first firing to a new temperature or a radically new firing schedule near the end point. I think at the very least you should be able to see the actual speed a kiln fired at. I suspect new better controllers on kilns have the ability to see and record this.
Other sources of drift are slower firing speed as elements get slower. The controllers on US kilns to my knowledge fire to and end temperature only, not a cone. So if you have a fast speed set and your kiln slows down you can end up taking more time to get to that temperature and then you are at a higher cone. Because of this I think that people should slow down the last few hundred degrees of their firing to a speed significantly slower than a new set of elements is capable of. The second part of this is that a cooling profile should be used that is slower than a full kiln cools naturally at. It does not need to be much slower. Older elements is frequently the reason the cones get more mature as the kiln is used more.

There are two temperatures that are easy to produce at home. Both use distilled water. They
have to be calibrated for barametric pressure although elevation is enough. The two temps are 0 degrees celcius, the temperature of ice water in a well insulated container and the boiling point of well insulated water.
 
There are two junctions of dissimilar metals in a thermocouple system. One is at the thermocouple tip, the hot junction. The other is at the meter, the cold junction. Meters used to be calibrated for a specific cold junction temperature. Both connections to the meter were held at the same temperature with a heat sink. The standard was to hold this junction at the temp of ice water or to compensate for the temperature, Ice Point Compensation or Cold Junction Compensation. Digital meters take care of this if they are any good. This compensation circuit is why we don’t use regular volt meters for reading thermocouples. They do not usually hold the two junctions at the same temperature.



This is the most detailed description of my understanding of this issue I have written. There is more that needs to be said including kilns getting leakier, ice point adjustments, non-linearity in thermocouples, how to slow alloy drift. I know nothing about drift in Analog to Digital Converters. Likely they are less perfect over time than we acknowledge. Texas Instruments has a paper on this, https://e2e.ti.com/…/adc-accuracy-effect-of-temperature… I have not read this.

What the Thai cave rescue tells us about “Mai pen rai”

–this incident seems to illustrate many positive aspects of the Thai character and as they work through this human disaster that we all hope will have a happy ending it seems a good time to talk about it.

The children spent nine days in a cave with no light, now they have light. I am not sure when the last flicker of a flashlight was, and it really does not matter. Yet when met by the divers the children are calm, relaxed, in my vernacular, they are “chill”. There is probably a real lack of energy from a lack of food. But to be calm about trouble is something Thai children are trained in. Mai Pen Rai (it’s not a worry) is almost the national philosophy. It is certainly part of it. People are trained to let go of things that are out of their control, or already over, or unavoidable. When you skin your knee as a child there is the pain, and then there is the suffering, much of which you inflict on yourself by acknowledging the pain, by focusing on it, and by allowing it to control your state of mind. Mai Pen Rai acts like a verb in Thailand. When there is trouble you “Mai Pen Rai”, you “let it go”. It was amazing but perhaps should have been expected how popular Bobby McFarren’s “Don’t Worry Be Happy” song was over there.

Part of this “Mai Pen Rai” state of mind is that little inconveniences are seen as things that should not be bothered with. This includes the time for group photos, accepting and giving of presents in a rather formal way, and at least to some extent waiting for things to happen. You can be expected to wait quietly for an incredible amount of time in Thailand. In the US waiting is something that gets under our skin. Our desire for at least the appearance of productivity is reinforced, bred in, pushed. I remember sitting on the couch relaxing as a child and being told to “go have fun” as if this always required an activity. Being “chill” just hanging out was not acceptable, although in my house if you had a book in your hand you would get left alone. You did not have to actually be reading, just looking like you were. It was the only way I could just sit on the couch. If I was sitting there I would be told to “go play”. At least once, my mother turned the TV on for me. She was trying to be helpful.

The outward display of emotion, at least strong ones, tears, can be seen as rude in Thailand. A strong expression of emotion takes what you are feeling and places it on others. I have not heard this expressed this way but it seems to be what I see. It is impolite to show negative emotion.

The two divers that first got to the children were from the UK. These two men were Rick Stanton and John Volanthen. There were two times at least where they clashed or at least bumped into the culture. On the way in one of them brushed off the press with something like, “Leave us alone, we have work to do”. And on the way out they had little time for what often seems to me even after a short lecture, the incessant lets take a picture, another one, smile here is a little knick-knack, now more pictures. I am cool with it now, I just go along, set my head in glide mode and accept it, but I was not always that way. The divers allowed a few photos, but just got back on the plane and went. They had a job to do and did it.

It is important to understand that in Thailand it is an obligation to thank someone, and an obligation to allow yourself to be thanked. There are numerous ceremonies paying respect to this person or that, to teachers, to heroes, to public figures. As a teacher, I find these embarrassing sometimes. But to not allow it is to not fill a social obligation. It comes with the package of being in Thailand. You have to, as a teacher, allow the students to honour you.

I read what a friend wrote about this in regards to the divers just packing up and leaving. She, like me, spends time, in both cultures. She felt the need to explain to Thais. I am paraphrasing, “The divers did not come to get congratulations, free dinners, photographs. They came to help us find these children and they did. If they don’t have time for photographs we should let them go but still be thankful.” What looked in Thailand like rudeness was just a different set of cultural priorities and needs.

Often we are faced with choices of ways to go about tasks. When comparing Thai and US customs as a young adult, I heard this question, “Would you rather chase the cows or fix the fence”? To my eyes, in the US, the answer to this question is obvious, “Fix the fence”. It is more efficient. We place a large priority on work efficiency. In Thailand, this question, at least sometimes, is restated, “Which is more fun?”. Sanook, fun, is another aspect of Thai philosophy. You are expected to be fun. To survive there you must learn to not be, “not fun”. Anything that you ask for with a smile on your face, and a soft voice is at least possible. Almost nothing is possible in Thailand without smiling, without a touch of Mai Pen Rai (it’s not a worry or big thing) and a touch of sanook (fun).

In describing this “fix the fence” question it makes Thailand seem ineffective, laissez-faire, etc. The thing people have to understand about this is that sometimes it is more fun to make money, sometimes more fun to be efficient, to fix the fence. Thailand can seem very chaotic and disorganised at times. But it would be a mistake to miss the power of the people of Thailand. When push comes to shove, when times are very difficult, when there is trouble, they know how to pull together and get things done. In pipe organ terminology, they know how to “pull out all the stops.”

In 1989, someone placed a very large order for beads in the pottery village where I lived. I suspect someone was in trouble and had an obligation to meet for these beads. I went to eat some noodles across the street. After my food was cooked, the waitress rolled beads. We went to the post office to buy stamps. The postman was rolling beads. There were no stamps to buy. He said, try again next week. Children came home from school and rolled beads. When the His Majesty the late King Bhumipol The Great died, there was a traffic jam on the roads into the capital. People came out to the road with food and water and help for those stuck. They started cooking. They were united. I suspect that the offers to help in the search of Yellow Cave were overwhelming and that a staff was gathered just to turn down supplies. It would be a mistake to take Mai Pen Rai as a statement that nothing matters, that Thai’s are chill with everything. They let the little things slip off their backs better than most people though.

So, I was struck by the overlay of cultures, needs, and little bits of conflict in that cave with those sweet children and the out of breath divers whose hard breathing you can hear on camera. The children are calm, controlled, chill. The divers spend really only a minute talking. They have a hard job, and a hard dive ahead of themselves, they are thinking that as soon as the operation can get out of search mode and into recovery mode the better. After only a minute of talk, a small amount of social need fulfilment, they start concentrating on the return. They are not abrupt or disrespectful to the children but answers get short, they are thinking about other things.

The children, whose English does not seem advanced, ask polite questions quietly, politely, no demands, and very clearly thank the men. This is an obligation that they must fulfil. It is the only place the emotion of the children who are in American terms very reserved but in Thai terms, so wonderfully Thai. The thank you and the “We are very happy” is the place where the emotion of the children comes out, and it only leaks out a little. We all see it anyways. The lack of emotion, they restraint by those children, has in it a level of respect for these divers, and a piece of pragmatism. I would love to meet these children. They seem kind, sweet, controlled, and Thai Thai to me. It is hard to believe that I feel like I can know from just a minute of glorious yet bad quality video, but I feel like I can.

The interesting thing to me, the relaxing and letting go of emotion, is the same thing that is needed for difficult diving. Emotion, fear, excitement, anything that consumes more oxygen is a real hazard on long difficult dives. The fear of taking the children out is that they will panic and consume too much time, and too much oxygen. It is the same state, the letting go of emotion, both jubilation and fear that you can sense in the divers. In the children, this is needed in the dive out of the cave. My hope is that Mai Pen Rai becomes a useful tool that the children can deploy while they are successfully extracted from the cave. While Mai Pen Rai is useful, don’t ever think that it some universal truth. Thailand is riveted to the media for news. People are praying, providing support for neighbours and friends and hoping for a photo of the children coming out of the cave. But the calm bravery of these children, in many ways, seems very much to me like the calm bravery of the divers.