Author Archives: Louis Katz

pink lotus in a pot with fallen pedals (detail of seed pod in the flower)

Life of the Bua (Lotus) 2026-02-05

The Life of the Bua. It also contains images of waterlilies. The focus of my thoughts change as I travel in Thailand, a majority Buddhist culture. Physically manifestations of Buddhism are everywhere. Thai Buddhist Temples are generally tall and ornate, they not only are visible but seem to scream for prominence. They are hard to miss.

But it is also, at least if you are there for long, hard to miss the impact of Buddhist philosophy on the culture. The quintessential Thai phrase seems to be “Mai Pen Rai” ไม่เป็นไร, often translated as “never mind”. It seems to more literally mean, “Its not a thing”. Mai Pen Rai is a request to deny attachment in the Buddhist sense, to not grasp for a particular outcome, to “go with the flow.” There are other manifestations. Thais are for the most part particularly soft spoken. This seems a manifestation of control of emotion that is emphasized as a goal in Buddhist philosophy. You are expected to be able to control emotions there and doing so makes you fit in better.

Back in 1975 Spring Semester I did not have a big introduction in my Asian Art History Survey Class to Buddhist iconography, just a little one. But we did learn of The Wheel of the Law and the Lotus flower. To my my mind these two round symbols are similar. The lotus in Buddhist art is often depicted from the top of the blossom, symetrical and stylized. Like the Wheel of the Law it is round. Round symbols make sense in a religion that stresses cycles rather than linear progressions. The big cycle in Buddhist thought, samsara สังสารวัฏ, in Thai pronounced more like “sangsarawat”, is the cycle of life; birth, aging, death, rebirth. They believe that living this cycle is to have suffering and that freedom from suffering comes from achieving nirvana, in Thai “nippan” นิพพาน. Its important to understand that the word “suffer” while close, dose not directly map to the Thai Buddhist concept (ทุกข์), and the words nirvana, samsara, and especially karma กรรม are not always quite the same. I am not an expert in this.

The Wheel of the Law, the Dharmachakra, is a symbol sort of representing the change in human understanding of existence instigated by the teachings of Buddha Sakyamuni. It also represents the Four Noble Truths, the Eightfold Path, and dependent origination. The Buddha is said in this sense to have put the wheel into motion. I see it as a symbol of a process, not static, dynamic. I am unsure if others see it this way. The lotus on the other hand is a symbol of the goal, enlightenment. It grows from the mud, impure and full of desire or grasping, rising above, without stain, into purity, nirvana (นิพพาน). In Thai both the water lily and the lotus are often called “bua” but their long names are differentiated. Both appear frequently in temple plantings, but the lotus, whose leaves are (usually) elevated from the water, the religous variety, is Bua Luang.

Stylized images of the lotus and images of the wheel of law, both round, are used throughout Buddhist art. Graphically they are similar. For me, the lifecycle of the plant is a plain representation of samsara (that I also see it as linear brings to mind the competition of frameworks as I travel). Seed – sprout – growth – flowering – going to seed – dying or drying up, sprouting again .

That most parts of the plant appear in Thai cuisine just aides its integration into the culture. The root is used in drinks, soups and other foods. The stems are used in “curries” as well as other dishes. It seems most common in orange curry. The petals are used as the wrapper for Miang Kham (often served to royalty). The leaves are sometimes used as wrappers for steaming things.

These images I am posting are organized with BuaLuang (lotus) life cycle images first. Then are the water lily images. Most of the lotus images were shot at Benchakitti Park in January of 2026. The water lily images could be from any of the 28 years preceding that although most are 2026.

The album title “Life of the Bua” is named to parallel the common title of Buddhist history, The Life of the Buddha. For me the parallels in the story of Sakyamuni, Samsara, and the growth of Lotus plants seem important. It is meant respectfully as thoughts for contemplation and understanding.

Repairology

  • Repairology

    My brother Ralph bought a car used from a dealer. It had been repaired after a collision, but the repair was not evident. He uses the car for commuting. It had a new bumper fascia put on it as part of the repair but the fascia was painted without first applying a bonding agent to the plastic.. The fascia is the soft part of the bumper. The paint is peeling off of it. For someone wanting a neat car, this car has become grungy.

    Last year a construction “barrel” ( I one of those orange and white stripped affairs designed to damage cars in construction zones), blew in front of the car on the highway. Ralph did not report it or file an insurance claim. It would have been a hassle and life is busy. The barrel ripped the fascia. He now thinks that maybe he should have filed a claim. So it goes.

    A few days ago he drilled some holes on either side of the tear in the bumper fascia and connected the two sides together with plastic cable ties. The cable ties are white. The fascia without the paint is black. According to Ralph, ” the cable ties are what I had”. This got me thinking of repairs, how they are made, and why they are made, and how they are perceived. Right now the categorization slicing instrument in my brain is slicing “repair” into five different kinds.

    Coverup. (also known by the name “Buyer Beware Repair” or repair by gonif גנב)
    This is the kind of repair that is not supposed to be seen. Cars are often fixed after collisions so that you cannot see the repair. The same brother had the case of repair that he did not see and he bought a different car with damage. In Thailand 30 years ago we saw cracked water jars being skillfully repaired in the city of Ratchaburi with cement and then covered with skillful trompe l’oeil painting. These repairs cover a perhaps functionally deficient product so that it looks undamaged. If you are tuned in to the idea of ” buyer beware” then this sort of covering up of defects is acceptable. If you believe that the seller should point out faults in a product then they are not acceptable repairs, unless we are first told of them.
    Ratchaburi Jar being painted (1989)

    Ratchaburi Jar being painted (1989)

    Dis-appearance: In Phon Bok Thailand Stoneware mortars that have chips or surface details that are not perfect have them covered up with super glue covered with ashes. These repairs cover only cosmetic “flaws” that would lower the price because of appearances. Mortars that have functional defects are used for landfill, to make decorative walls, they are not sold. The mortars have to take a lot of abuse and are not expensive. If damaged they are not worth the hassle. Even the makers do not try to cover up functional defects. This would lower the value of their products.
    Cosmetic repair in Phon Bok

    Cosmetic repair in Phon Bok



    Just Repair: This is just a repair. No, or little consideration is made concerning the repair. It is just repaired. Nothing is covered up or concealed. This is the kind of repair that is held in high regard by Soetsu Yanagi when discussing Korean wooden bowls. It has a stance of honesty, of thusness, it is what it is. The bowls are turned from green wood. When they crack, they are repaired. This is what my brother did. He repaired his bumper with available cable ties. No cover up, no intent to do anything but make it functional.

    Bumper fascia repaired with cable ties

    Bumper fascia repaired with cable ties (photo credit Ralph Katz)

    Intentious Repair:
    This is a Just Repair specifically made with the intent of looking like a just repair. Pretentiously, rather than just making the repair, the intent is to make it look like you did not care about appearances. You not only might not care, you want others to know that you don’t. Louis does these. The picture of a bumper posted to the web by a sophisticated artist, even if the art is music, makes me wonder if Ralph’s qualifies as intentious. I have not asked. Either way it has sparked my interest. I have appreciated it. The bumper, at least in my mind is interesting. Appreciated it enriches life. Appreciation appreciates the value of an object or event. 
    I have shirts that I bought in 1989 in Thailand. In Thai the name of the shirts seems to be “humble shirts”. I wore mine every wash until they got fairly worn. Others would say “worn out”, but I prefer “broken in”. After that I wore them on non-school days. My personal feeling is that these shirts still have use with a little repair, and that long use is as functional, maybe more functional than recycling. So I have repaired these shirts. They are repaired rather funkily, wow spell check has “funkily”! The repairs are so obvious and perhaps overdone that they might go beyond intentious into the next category, The Conspicuous Elevation of Repair Repair.

    Conspicuous Elevated Repair, Kintsugi.

    Kintsugi is a Japanese repair technique often used on ceramics using urishi lacquer, a natural resin. It is water proof and holds up to mild heat. The repair resin, made from the sap of the urishi tree, is sometimes filled with iron oxide, but the upper layers are often instead filled or surfaced with gold powder. This makes the repair, a record of the objects history and its breaking, obvious. It makes the damage obvious, making it impossible to ignore. It holds, displays, asserts that use becomes tangible part of an object. In highlighting use and wear it elevated repair seems to demand that bowls are drunk from and not just displayed that you know it and that you remember.

    Rather than coverup, rather than mourning the inevitable, kitsugi is an affirmative joyful appreciation of the mutual arising of creation and destruction, afe, wear and tear, and eventual breaking of ceramics. The atmospheric firing of ceramics leaves a trace of its time in the kiln, the repair is just another page in the history of the work. Art is often made in a way the reveals the process of making. With tea ware in Japan there is recognition that who has drunk tea from a bowl, how it is stored, and in what manner it is handled becomes a part of the work. So does the wear and repair. Raku, a firing technique, and shino, a type of glaze both leave a surface with a fine network of cracks. This allows tea to stain the cracks and sometimes the clay body, overtime changing the appearance and making it appear worn before there really is any wear. 
    While most of the Japanese aesthetics surrounding tea ware stresses a quiet understated natural feel, Kintsugi seems almost diametrically opposed to this. . The contrast creates a sense of importance of the issues surrounding the repair .The gold, bright, valuable, associated with the aristocracy, seems wildly antithetical to the humble nature works that are repaired. On its visual soapbox, kitsugi loudly speaks, “I am a repair” . It is an unassailable statement affirming use and wear as an aspect of an object and aesthetics. If you don’t understand this, the gold slaps you in the face with the message.


    (Look up boro repair and shashiko Japanese clothing repair)

    But all of these repair techniques, and their associated intent are in some ways the same. Each tells a story, each leaves an impression of intent, or lack of it. Each expresses an attitude on the topic of mutual arising. Each tells of human nature. The difference is in the way we perceive and the way we appreciate them, and in our understanding of the intent of the person who repaired it. The difference, for the most part resides in the viewer. It is the viewer that appreciates, the creates the great value of the repair.

    Non Repair repair
    This is repair after intentionally breaking an object, or making an object specifically to look as if it is repaired. Goro Suzuki, whose work is purposefully broken is the master of the Non Repair repair. He intentionally breaks pieces to repair them, and really builds his work with kintsugi type repair techniques. For him it does not  need to be broken to repair it. Its like he is saying, “If its not broken fix it anyways.” I am not sure that there is anything as conspicuous as this kind of “repair”. The fact that it is not broken screams for its own category . The  function of the Non Repair repair is often to teach appreciation of repair.

    The place where repair has become more a part of the aesthetic culture than elsewhere is Japan. But modern Japan is quite a throw away society. Houses get too old, cars get too old, clothes have to look new and respectable, hair is always highly tamed.  But in this atmosphere kintsugi and the boro technique and  shashiko clothing repair seem a response to this, a cultural self criticism. Not being Japanese it is hard to know. 

    The appreciation of the worn, the repaired, the aged, the imperfect, while it seems far from modern Japanese day to day life, is part of the cultural aesthetic. But it also appears elsewhere. New blue jeans in the US can almost be embarassing in youth culture. This is so true that new jeans are often bleached, stone washed and intentionally distressed in other ways before being sold. Some of the coolest “hippy” clothing were blue jean skirts sewn out of multiple pairs of worn out blue jean pants. 

    I often think of a bunch of poles or nodes pulling at the creation of worn jeans.
  • The Pragmatism Node and being a cheapskate. This is also tied to just being poor and not being able to afford or wanting to afford new cloths. Likely need and want could be separated out into separate nodes. There is overlap here with other nodes.
  • Appreciation of the look, the Wabi connoisseur.
  • Marketability, the Stone Washed Node
  • concern for the environmental impact of cotton and consumerism, the Green Node
  • the Clueless Node. This is the node of people for whom the buying of new clothes is just a distraction from the rest of their lives, they don’t notice. 

These nodes are just like little elastic straps that pull on how we deal with our jeans or other objects. My old denim-type clothing is clearly elastically attached to each of these nodes. 

Certainly I am not the first in my interest in such things. But the earliest serious interest, and just about the only significant historical cultural manifestation that I know about was the period surround what Louise Cort calls “The Teabowl Wars” and the moves in Japan from the aesthetic of  glitzy teaware to wabi and move from connoisseurship of folk pottery to the purposefully making of wabi imbued wares. 

Relation to teaware’s shift from being curated from folk pots to purposefully made to be “funky”

Timeline Maeow Afib

Timeline 2568 พฤศจิกายน 14
MaeowMaeow Wisan, whose nickname I will abbreviate as MM had a hospitalization this weekend. It started with them checking their Blood pressure. The new app attached to the cuff via Bluetooth® to their phone read, “irregular heartbeat”. Consequently they retook it several times. The blood pressure readings were all over them map, one low, one high, and it felt like the other times she went to the hospital for BP. This time however, they were feeling just fine. The next morning they got two more readings. Unsure what to do they went to the minor “Doc in a Box” where they have gotten good service medical advice before. The doc hooked them up to an ECG and the doc said, “You won’t like this, but you should go to the ER”. They told them that they did like it. They had come for advice on what to do. They thanked them and got a ride.

On the better machine, the more wires it has the better, it became clear that the problem was Afib. 

MaeowMaeow has been admitted twice before for having their blood pressure all over the place and feeling bad. They also have been to the ER once more and had a doctors visit once. Each of these times, the vastly differing readings on the BP cuff should have alerted the MDs that the problem could be Afib. Each time they missed this. They assumed hypochondriac. 

The previous times MM was getting BP readings on her cuff that were really high and really low. The readings were inaccurate because of the Afib. Those readings were typical of what you would have if you have Afib. But MM said their blood pressure was going up and down. While not true literally, the message contained the truth. Instead of being considered it was written off. 

MM and I are disgusted by this. There is an arrogance in the belief that the non-expert has nothing to say, that their observations are of no value, that if they use the wrong language what they say has no substance.This arrogance is, in our experience epidemic in the medical field. MM should have been given a monitor years ago. If asked she could have said that she has had this feeling many times without going to the hospital or doctor.  

We have read and been told that by itself A.fib is not really dangerous, but its side effects are. It increases the chance of stroke between 1 and 10 times and can also eventually lead to heart failure. It is also progressive. A.fib episodes tend to bring about more episodes although it sounds like the progression is slow. 

MM’s parents ( the Rents )had the same disease as the MDs. But rather than having low respect for the utterances of patients, the parents had low respect for the utterances of their children. Further both the Rents and the MDs often believe that something is not realy until it is proven. They believe this is true, but only about things told to them by their children and patients respectively (maybe that should be “disrespectfully”) .

MM recently had the experience of having a doctor quote a medical journal article to them. When MM mentioned another part of the same article they rolled their eyes.  

Doctors that listen well and respect what they hear are worth their weight in gold, or at least silver, and parents that do the same make the world a better place. 

Timeline Monopoly

~+7 LE
At our house we played games. Some were simple card games like Crazy 8’s , Gin, etc. There were some oddball games from Hoyles Book of Rules, like Russian Bank. We also played board games, Candyland, Park and Shop which was my first introduction to “hard problems”, Stratego, and others. Oddly we did not play Backgammon. Checkers and Chess might require another entry on the timeline.
We also played Monopoly. In our house playing Monopoly cheating was fair. But you could lose a turn if you got caught before the next turn. This could include underpayment, stealing from the bank, and moving to the wrong space. Like when stealing my nothings, my brothers would gang up on me. Somehow they could roll the dice and know exactly where they had to move their token to without counting. I was not a great student at this point and had not learned to add well although I was passing. At some point I started to do my addition on the Monopoly board.
The board is broken into four sides. Each has the originating corner, space 0 and the final corner, space ten. The spaces at 5 on each of the sides are the railroads.
So, lets say you are on space 8 and roll a 10. That would put you on the next space 8. Lets say you roll a 5. The first two gets you too the corner and three remains leaving you on a the 3 space. Or lets say you roll a 9. That almost puts you on the next 8 space, but one before.  I see this happen in my head. There are no words, A seven fills the space between 8 and 15. In my head addition is often visualized.
This year is +69 LE and I still sometimes add this way even though I have the table memorized.
The winter break before I married Gail I went to her house during Christmas. Her family plays games on Christmas day and they brought out the Monopoly set. I needed to know the rules. There are factional differences in how the rules are interpreted and I straightened these out. Then I asked, “Is cheating fair?” The silence is still reverberationg and the astonished stares are etched deep in memory. “Ok, I just wanted to make sure I understand the rules.”

Timeline Nothings

1960-62 
My conceptual art carrier began with the setup of my factory to produce nothings. Nothings come in generally three flavors, chocolate, strawberry and vanilla. Of these many more chocolate nothings were produced than the other flavors.  
Setting up the nothing factory required me to upturn my tricycle in the driveway. Making them required me to turn the wheel. If you turned it too fast it did not work. There are only so many nothings that can be produced in a day on a tricycle. Given its operation in a system of capitalism this stabilizes the price. 
My brothers, both older used to gang up on me. It was not all negative. If you want to read about that see “Timline Monopoly”. But they would gang up on me and steel my nothings. Normally I would not have noticed, but they would say, “I stole your nothings”. This would set me crying. They were mean.  It did not prevent me from making more. 
Recently I did something special for my son Ben. I said, “you owe me”. He promptly settled his debt to me by placing 5 nothings in my hand. I did not know where he got them from. He said he got them from his fiance’. 

WhatsInaCup

What is in a cup? [still writing]
An essay about a single cup,stoneware, a touchstone, vessel, works with coffee, tea, jelly beans. 

I have been using a cup that I made in Thailand since 1988. This is an essay about the areas in my life it touchs, the thoughts that are tangent to its exterior, its place in my life. 

I suppose that this starts in about 1972 when I first signed up for ceramics classes in High  School. 
I walked into school as 11th grade was about to start and got in a line. At the head of the line I was given my schedule. I had selected classes as the previous year was ending. These included Electronics, Choir, Trigonometry, I am not sure what else. I was given the schedule and looked at it. I told the teacher behind the desk, ” I can’t take this Trigonometry class”. We went back and forth with him telling me that he could not change it, getting mad when I insisted. Then I let him know that the teacher was my mother. He said, Come back here, lets see what we can do. I remember that the schedule after changing the Trigonometry class was really limited. I needed a different class for 7th hour. I tried Metals shop, Drafting, Hebrew language, Physics, Photo, probably others. There was something left called Ceramics. I think that I had to ask what it was. That is how I got started. 
We did some American Raku firing during the class. When you do this you get surfaces that are outside your direct control. They have an air of naturalness at times. By this time in the semester I was reading books about ceramics every week, lots of books. A few were about this technique, Raku.
Raku, at least in some ways, revolved around a Japanese aesthetic principal, wabiWabi describes an appreciation of the worn, the old, the imperfect, in some ways just nature. While I have been told that it is Zen in origin, I think the real origin is closer to Taoism.  In my first year in college I took a course from  Dr. Walter Spink who described a person who was perfectly in tune with the Tao, the nature of nature. This person walked down to the bridge over the raging flood in a rocky mountain stream, disrobed waited a few seconds and jumped in. Perfectly in tune with the Tao, he washed up a bit down stream perfectly clean and walked back up to get his clothes. He understood the way, the way of the world, and without much effort could chose just the time and place to jump in and get washed out. Images of streams and rocks are seen as symbolic of The Tao. The ideas and practice of Taoism predate the Buddhism and particularly Zen by many centuries. However, Wabi is attached with Zen. I am not an expert in either, nor a practitioner.  
Raku is really the granted title of a person who made teabowls. It then named the process and style of their making. The title is hereditary. The current holder is Raku Kichizaemon XVI. I met  Raku XV at The Archie Bray Foundation. I found it not that remarkable a time except that  I found it ironic that the slide projector we were using for his slide show caught fire. 
Making work in this genre that really does it for me is difficult. The skill and sensitivity is something I cannot quite grasp. Excellence always involves the intangible, but for teabowls it often seems further from my grasp.  I really started to appreciate the aesthetic early and in high school built a wood burning raku kiln in my backyard. 
I ended up in undergraduate school in Kansas City, Missouri at The Kansas City Art Institute. The department head there, Ken Ferguson, was enthralled by Wabi Sabi. The museum next door, The Nelson Atkins museum always had a few pieces of Japanese teaware on display. Between Fergusons interest, the pots at the Nelson and the general tone of American Studio Pottery at the time we were all sucked into the aesthetic.  
In the 1970’s there was a strong “back to nature” cultural push. The organic foods movement got a big boost. Gas crises helped create a low energy mindset. Home grown and home made, local production and consumption all had strong cultural support. Natural looking fired surfaces were a rage, and in some ways still are.

A group of potters associated with the late Warren Mackenzie who was an apprentice of Bernard Leach taught at Minnesota State University and a group of potters gathered in the area. Many of them were dedicated to natural surfaces in their work and used the kiln as the creative instrument to make the surfaces. They fired with techniques now know as “atmospheric firing techniques” but not raku. Raku makes good ceremonial ware, but is not a good choice for daily use. The techniques used were wood firing, salt firing, a kind of firing called residual salt, and an offshoot of salt firing, soda firing. These techniques were used at high temperatures with non-porcelaineous clays to give the works rough natural surfaces. 

Bernard Leach worked in Japan with a potter Shoji Hamada. Along with Soetsu Yanagi they were interested in what has been translated often as Folk Craft or in Japanese, Mingei. In school, Ken Ferguson was standing behind Gail and said, “I wonder how you could combine Mingei with Minnesota. Concentrating on something else Gail said, “Minegeisota”. Clearly already having this word at hand but now having someone else to blame for it Ferguson tried to use it as a putdown to these potters. Instead of it being a putdown, they embraced it. What had been known as the Warren Mackenzie style or school of pottery making became known as The Mingeisota School. 

Prior to these names, atmospheric firing, Mingeisota, or knowing the phrase Wabi Sabi, I was already enthralled. I preferred wearing jeans until thread bare. The same is true of shirts. The use, the wear, the rips, all tell a story. The story “new” tells is a false cloak of respectability. Respectable cloths do not impact the respectability of those wearing them. You are how you look is only an “ism” an illness of an imperfect society whose focus is on trivialities rather than realities. 

But when Yanagi, Hamada and Leach talked about Mingei, they were talking about ceramics outside of schools, outside of galleries, indigeneous, humble. I do not think that they were even at the beginning talking about what they made, it was too expensive. They were talking local production for local use. 

Repair rather than replace is either the mark of people without much cash, or a sign of someone who values the natural of materials, the work of hands, the environment, or economy.  People like this have values. New clothing is an affectation. I find it hard to label its draw to some as a value. 

The affectation of the worship of the new, is in some a desire to show that they earn money. This desire is understandable as our language continually mixes up values and value or qualities with quantities. I am reminded of Lung Gaeow, an old friend in Thailand with little money or possession but a great human full of humor, compassion, and hard work. 

While in school in Kansas City we were given an opportunity to order books from Kodansha Publishing on kilns in Japan and their wares. There was one book for each pottery village, sometimes two different ones. These books was about  18 inches by 12 inches with huge high quality color photographs and cost less than $5 each. A Japanese student, Akio Takamori who the community sorely misses, picked up the books and shipped them. These books introduced us to Japanese potteries, “The Six Ancient Kilns” and many others were included in these series of about 50 books. I fell in love with Bizen and Shigaraki, although there were countless others it seemed that also held my interest. 

Bizenyaki, the Bizen potteries, fire much of their work to just the temperature that the clay starts to be vitrious, but can still maintain the orange color if protected from the flame and ash. How the kilns are stacked in Bizen became the primary decorative technique leaving some areas orange, some brown. Stacking with rice straw left markings from the alkali metals in the straw.  

In graduate school a fellow student, from Thailand showed me slide images of a pottery in NE Thailand called Dankwian. The pots were almost exclusviely 20 gallon water storage jars, wood fired, no glaze, fired to about cone 7, a lot like Bizen pots. But these had never been snarfed up as teaware. They were intended for humble use. Most pots like this were long gone in Japan. 

The graduate student, now retired Professor Poonarat Pichayapaiboon, and I took courses together. His English was spotty so as I helped him with English he taught me a bit of Thai. A few years after graduate school I heard that there was a Thai potter visiting the Archie Bray Foundation. I walked up, and in Thai said, “Hello! Where is the bathroom”. She pointed. I then asked what I though meant, ” Do you know of the village of Dankwian?” Not really meaning that she responded in English “What do you mean?”. Turns out she owned a pottery there.  This is what prompted the Thai Fulbright. 

HS4CTT

In the evening on December 25 just after my children got in from a very rare snowfall in South Texas a Tsunami struck South East Asia killing a quarter of million people in 14 countries. It was devastating for countless communities and families. I remember the little video coverage I could bring myself to watch. I wondered if the couple we met at their beach house at Hat Takua Paa (Lead (Pb) Forest Beach) survived. I am nearly certain that the house did not. The beaches we visited on Phuket were certainly inundated. There is a little more about this below. The amount of fun we had that day from a very unusual snowfall was in such start contrast to the calamity that I had a profound, yet irrational sense of guilt that I was unable to exorcise for weeks.

About a week after the disaster we went south for something. It could have been an exhibition, or a La Leche League conference or perhaps just to visit the Brownsville Zoo. I am not sure. However while we were down there I was scanning around on the mobile ham radio that I have in the car. I picked up retransmission of relief efforts for the tsunami and listened to a ham on a military aircraft surveying and reporting on what he saw near Phuket. This radio transmission went to a land based Thai station and was sent via the internet using a ham radio chat program to the person in charge of what really can be thought of as one world-wide partly line or conference call who was located at an Emergency Operations Center in Alaska.

These hams were not the only ones operating. Fortunately, if anything about this tragedy can be called fortunate, the Indian Government had decided to allow a DX (ham radio jargon for long distance contact) Expedition to go and operate in Port Blair on the Andaman Islands. Hams collect records of contacts and Islands without permanent radio operators have operators visit every so often so that other hams can collect contacts with the Islands. The person who contacts the most places wins a piece of paper. When the tremor that caused the tsunami hit VU2RBI Mrs Bharathi Prasad was already set up and operating. She was able to yell “tremors” into the microphone before her power went out. Her station became the only contact with that Island operating with her hotels emergency generator.

VU2MYH S. Ram Mohan set up a station on Car Nicobar Island. He was also running a DX Expedition and had to resort to morse code for much of his communication. Morse code requires much less power, really the same thing as saying it is louder for the same strength signal or that it is much easier to pull out of noise conditions then voice. As an example my 0.43 watt morse code radio, a kit I built has been heard as far as Michigan, 1700 km. Radio is amazing.

“When all else fails there is still ham radio.” After the 9/11 attaacks in New York City some of the earliest communications out of the city were via ham radio. During Hurricane Katrina a ham provided reports of the conditions while the storm was happening. What ham radio can be during an emergency is a huge network of equipment and trained operators distributed across the world, in most countries and certainly all across the US. I am not particularly trained or equipped but I can be set up with a new antenna, and long distance radio gear powered by a car battery in less than an hour. My local communications gear is quicker. Red Cross and governmental emergency services makes frequent use of ham radio.

I am not particularly well trained, and not involved as I should be, but while I am typing I keep thinking about a “net” tomorrow morning. A net is an on- air meeting. It is, at its most basic level, a practice session for emergency communications via radio. You cannot all talk at once on one frequency and then be able to understand anyone. There needs to be a procedure and nets are where we practice. The person in charge is the Net Operator or Net Control. They ask for emergency traffic. Emergency traffic involving life always has priority on ham radio as it should. After that they ask for checkins. People check in, hopefully one at a time. The Net Control reads back the list of checkins and then asks if there are anymore. Then Net Control goes down the list and checks in with each checkin. They exchange information, but everyone gets to listen.

So, after the tsunami I thought that I should figure out how to talk with Thai Hams through a computer program that links radios up worldwide via the internet called Echolink. It is how the audio from the military aircraft got to Alaska. At my end I was talking through a computer and in Thailand my audio was coming out via ham radio repeaters across the country. The first time I got on I was nervous, my Thai language was shaky, but the Thai hams were gracious and thoughtful, and very happy to be able to talk with an American ham. There were hundreds of people that wanted to talk with me at first, and I always needed someone in Thailand to manage it. First, they know the customs on the air, and I still cannot always tell what a radio operator wants me to do, and second there is often a one second lag between here and there, sometimes longer and if people don’t allow for it communication could be quite difficult. This audio latency in Echolink has gotten better as “The Web” has gotten faster.

That initial checkin started about a ten year period of almost daily checking into a Thai Radio net called a “Check-Net” in Thai. This net just calls for checkins and then people exchange signal reports ( reports of how good your signal is). A report of 5 is excellent. A report of 3 means fair, two is poor. 1 is terrible. You would think that the function of a net like this is so that you can daily check your radio. I will not say that this is not true, but it is in my view more important in that it trains people to understand how to operate in a net. It also brings people together for a common activity. As mundane as a check net is, it creates a sense of community. You think that all you are communicating is a call sign and a signal report but there are more important and also more subtle things.

Signal reports are generally given on ham radio as 3 numbers in the format RST where R is the readability on a 1-5 scale , S is strength (1-9) and T is the quality of a morse code tone (1-9) . In the US there is a little signal inflation, reports come back better then they really are. Sometimes it is just easier to say 5 or 59 or 599 depending on the mode of reporting then to say 588 or some other report. Sometimes it seems as a put down. In Thailand, which only uses the R part on UHF voice radios, a signal has to be pretty bad with most operators before it will get a 4 report. This would seem to remove half the value of the net, But most communication is in the subtext, and all of the other operators hear you helping a weak signal ham feel good. Many of these hams are operating 30 year old radios, have cobbled together power supplies and are mostly limited to 10 watts. Its not much power.

This Check-Net is run almost every day of the year. Net control operators seem to last a few years and then get tired of it. They either change daily or sometimes weekly. I was net control once at the HS8AD Club station for the HAM CU SIAM checknet. I saw it as a big honor. It was difficult as it was all in Thai and there are records to be kept. I did OK.

For a long time there was a woman ham running the NET a few times a week. Judging by her vocabulary she was well educated, very polite, fun to talk with. She has a very sexy voice. The first few times she was on I thought, and I think it is accurate, that some hams were a bit embarrassed or shy to talk with her. It seemed that I could hear it in their voices . This improved over time people became more comfortable. It was fun to listen to. In Thai there are different words for “you” depending on how old you are, sometimes your profession, and relative to the age of the person speaking. As a foreigner if you speak Thai they will forgive almost any mistake in this. The fact that you speak Thai is enough to cover almost any language error so long as someone does not think you intend disrespect.

Khun is you. As a foreigner this is safe way to address people in most circumstances. Thaan might go as “sir” but it usually should not be used for someone younger than you. There might be exceptions. I am not sure. These days with my white hair I get call “uncle” a lot. But when at a school I am almost always addressed as “professor”. On the radio things are split but, the Thais show their concern for my feelings by not forgetting to call me professor, not that I care, but I do hear the concern. I let them, even though I prefer Louis. They feel obligated, I don’t want them to be uncomfortable. It is not my culture to try and reform.

If you are a craftsman, a woodworker, potter, a metal worker, I am not sure of the limits of this term, then you are called craftsperson or “chang”. So if I was not a professor I might be called Chang Louie. .A friend or relative that is older is refered to as P. My elder brother is P Ralph. Since I am younger he calls me nong (younger) Louis. My name is said with a rising tone like a question in Thai. Professor Louie? Your friends mother might be called “mom” mae ( Mæ̀) . Don’t get the idea you are learning to pronounce these words OK? I will try and put something together about Thai language and learning. We brought two Thai potters to the US for a conference in Tempe Arizona. One was Chang Jork which translates as Craftsman Drinking glass, and Uncle Shot Glass. They deserve a whole ‘nother essay.

Anyhow, listening to the nets, and talking informally I learn where people live, what they do, what kind of radio they have, when they spend time with family and about their family. I learn how they treat others, I try to make sense of their jokes. Very little that is serious gets talked about on radio. While it is OK to talk about politics and religion between hams in the US, these topics are not allowed between US hams and hams from other countries. The world wide ham radio laws are written to encourage countries to allow radios and to foster friendships and technical skill as well as emergency communication. I do not know if these topics are illegal on ham radio in Thailand but I don’t hear them often.

The year after the tsunami hit I was spending three hours a night talking and listening. At the end of the year I could call myself fluent in idle chit chat. My vocabulary has increased to where I can pass vocabulary tests if the apparatus, the organizing questions are asked in English. I do OK on a list of 3rd grade vocabulary. But much of this is because I am a good test taker. I cannot even come close to reading a newspaper and a third grade schoolbook is way beyond me. But I am still improving.

In 2009 I wrote a piece about a Silent Key. This is ham radio speak for a deceased ham, in this case HS4CTT. The piece, the letter. is about subtext. His call sign comes to my thoughts whenever I talk about Thai nets, and I still hear his rich voice.

HS4CTT SK

Walking to work today connected through Echolink® via my handheld and simplex node, I found out that good friend, and a fine ham HS4CTT
became a silent key. I would never have predicted it but found myself with tears streaming down my face unable to speak with HS8PID who gave me the sad news.

I have been talking with Thai Hams daily since about one month after the tsunami struck South and Southeast Asia on December 26, 2004. I use Echolink® and try to check in at least once a day.

HS4CTT was good friend. It is surprising how little I seem to know about him. I do know the important things. He was a good friend, had
a warm gracious heart,  and could be counted on. The mundane details are few and relatively unimportant. He sold radio equipment I think,
liked ballroom dancing and fishing, and seemed to like travel. When his health was good he was on the radio everyday with welcoming
conversation. I don’t even know his name, although I sent condolences to his wife.

All we ever talked about was, “How you doing”, weather, signals, what time it is. We just did it every day for years. Each greeting is connection even if small. They add up.

I speak Thai. My wife and I taught ourselves Thai from Foreign Service Institute Tapes before a research trip there in 1988-89. My Thai was sketchy in early 2005 when I started my daily chats with Thai hams. It was sufficient for long conversations about where I
lived, what grows here, the weather, and normal “idle chit-chat”. It was not sufficient to follow most communications between the Thais
themselves.

Early on I was asked to check in to the ‘Checknet’ net on the Thailand conference. The Thai checknet is a daily check-in and signal report net held in Thai Language on the Thai conference servers. It is an hour long, and handles about 60 check-ins. People check-in,
greet and thank the net control operator, give a signal report,  and ask for a signal report. Then net control returns with the same
information.

I listen to this net daily and it would seem boring, but it is not. Actors speak about ‘subtext’; the information carried in the tone
used, and in the speed and inflection. In a theatre this ‘subtext’ is more important than the script. It is the heart and soul the true
interpersonal dialogue. In real life this is true as well. It is no less true during the Checknet than other conversations. During the
Checknet I learn all sorts of things about people. I learn whether or not they are shy with women (the Checknet control operators tend to be women)
how they react to stress from difficult signals, whether or not they like a good joke, and a myriad of things too subtle for me to
verbalize. You learn their balance between politeness and functionality.

In 2007 I went to a conference on development in Siem Riap, Cambodia and on the way back to the US stopped in Thailand. The Thai hams were
very gracious. The word most similar to gracious in Thai is Nam Jai or literally water from the heart. In Thai it seems to be an open welcoming with arms wide and a smile, although do not expect hugs. The visitor is made special. It is Nam Jai, among other things, that makes Thailand a delightful tourist destination.

In Phuket I was lent a handheld [ radio] to use. Within 10 minutes of using it there was someone at the hotel where I was staying wanting to take me to breakfast. At breakfast there were 5 hams who had come together to meet me. That afternoon I had coffee and snacks at a beachside
restaurant with another group of hams. At this location, all the hams had handhelds, all the radios were on. One [thing] I found annoying as the
squelch was too low and static was breaking the squelch frequently. I think someone read my face. Rather than explaining why the radio was
on he showed me the high water mark from the tsunami. If I had a radio, I might have had my squelch low too. [They were being careful and listening for evacuation signals.]

However delightful being in Thailand as a tourist has nothing on  the joy of being a Thai-speaking ham from the US. It was hard to sleep as
people wanted to do so much with me. HS9BA drove me from Chumphon to Phuket to keep me from needing to take a bus. HS9DEK came up from the
south to Bangkok ( a full day’s drive)  to meet me. HS0NRL drove me around Bangkok. HS4CTT drove a full day for an eyeball with me. I
will miss the delight he expressed when speaking with others and his infectious graciousness. I will always remember our friendship
through radio.

Louis Katz
W0IT / HS0ZGJ (expired Thai callsign is HS0ZGJ)