tag:blogger.com,1999:blog-248634572024-03-18T12:05:19.962-04:00Hammered Out Bits<b>Darrell Markewitz</b> is a professional blacksmith who specializes in the Viking Age. He designed the living History program for L'Anse aux Meadows NHSC (Parks Canada) and worked on a number of major international exhibits. A recent passion is experimental iron smelting.
'Hammered Out Bits' focuses primarily on IRON and the VIKING AGEthe Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.comBlogger1214125tag:blogger.com,1999:blog-24863457.post-3233400481358114002024-03-18T12:04:00.004-04:002024-03-18T12:04:29.039-04:00History in the Dark - Canadian Museum of History<p> I had traveled to Ottawa in later February to give some lecture segments at a local SCA (medieval) event. I took the opportunity to add any extra day to the trip for a visit to one of the many museums in Canada's capital. I had considered both the <a href="https://diefenbunker.ca/en/" target="_blank">Diefenbunker</a>, the <a href="https://www.warmuseum.ca/" target="_blank">War Museum</a>, or the <a href="https://ingeniumcanada.org/aviation" target="_blank">Aviation & Space</a>, none of which I had seen before. Truth was I really was hoping to see something that would lead so some artistic inspiration (but not the kind of thing likely at the <a href="https://www.gallery.ca/" target="_blank">National Gallery</a>).</p><p>So I chose to go back to the <a href="https://www.historymuseum.ca/" target="_blank"><b>Canadian Museum of History</b></a>, located just over the bridge in Hull.</p><p>Now I have not been to what was once the Canadian Museum of Civilization for over a decade. I was well aware, through my contacts in the archaeology community, of the re-engineering of the museum's research, programing and presentation under Steven Harper's government from 2012 -2017. </p><p>As someone fairly familiar with the general sweep of Canadian History, I was extremely displeased with the what had been done. </p><p>It is clear that simple politics has shaped what has been included and how it has been presented. </p><p>The old presentation included simulated room settings to display objects. These started from the impressive West Coast First Nations hall, with timber building fronts and totem poles. As you moved into the modern era, there were recreated street scenes and individual buildings. All used to situate objects in context. A highlight for me was the use of living history staff, mainly working as 'animators', ie presenting set piece historic based and scripted presentations, followed with more free form public interactions. Overall the lighting was bright and the spaces airy. </p><p><i>As an important aside here, regular readers are aware that I have significant bias here. I have worked as a living history interpreter at a number of Settlement Era sites. I have made many replicas and reproductions for both static and interpretive presentations, plus worked as a consultant on a number of traveling exhibits. Most significant is my creation of the 'Norse Encampment' program for L'Anse aux Meadows NHSC, and my long association with Parks Canada for that site.</i></p><p> <br /></p><p><b>The new presentation is dimly lit, overall the feeling is being in a dark shrine to the past. </b></p><p>A very carefully selected and limited view of the past as well.</p><p> </p><p>The front public spaces now only contain First Nations related objects, primarily major modern sculptural works. Yes, I agree that these are impressive and important pieces. There had originally been a 'European' based diorama as well. This being a representation of the first landing at Vinland by the Norse, with two figures and a detailed replica of a small boat and associated goods. </p><p>This is gone now, who knows where all those pieces ended up? Sorry Mr. Harper, my feeling is that First Nations are being shoved forward, as a tossed bone showing 'see, we know you were here first' Especially since it is the monumental scale *contemporary* work of First Nations ethnic artists being featured to exclusion. (The fact that "Indigenous peoples, including First Nations, Inuit and Métis" are given free admissions, while all others pay any day but Thursday or Canada Day, kind of re-enforces this.)</p><p style="margin-left: 40px; text-align: left;">" The galleries on Level 1 of the Museum present exhibitions relating
principally to Canada’s First Peoples: their histories, cultural
identities, artistic expressions and traditional and contemporary ways
of life.</p><div style="margin-left: 40px; text-align: left;">
</div><p style="margin-left: 40px; text-align: left;">On Level 2 there are three galleries devoted to changing exhibitions.
Some of these exhibitions are designed by the Canadian Museum of
History; others are produced by Canadian as well as international
institutions.</p><div style="margin-left: 40px; text-align: left;">
</div><p style="margin-left: 40px; text-align: left;">The <strong><a href="https://www.historymuseum.ca/history-hall/">Canadian History Hall</a></strong> is located on levels 3 and 4. This exhibition traces Canada’s history from the dawn of human habitation to the present day. " <i>(quoted from the CMH web site)</i><br /></p><p>A couple of key notes to that description:</p><p>Take a look at the allocation of space, via the Museum's <a href="https://www.historymuseum.ca/wp-content/uploads/2015/10/museum-guide.pdf">printed guide</a>. </p><p>Level 2 also contains the IMAX theatre, the gift shop and significantly the <a href="https://www.historymuseum.ca/visit/childrens-museum/" target="_blank">Canadian Children's Museum</a>. Which you should note is not even listed as containing 50% of level two in the description above. </p><p>Level 3 and especially Level 4 are reduced in raw size over the lower levels. The combined exhibit space is about equal to that on Level 1. (I freely admit that I was getting burned out by the time I got to Level 4, which is 'Contemporary - post 1914', and did not view that. That gallery <u>was</u> brightly lit.)</p><p><br /></p><p>The Canadian History Hall starts with the Norse in Vinland. (French first, then English, so reduce what you see in half for duplication.) One Panel. Kind of... <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFsWMsdjUqliuUw_ki4J40y39l7fxx_tcZmYQAVfTm_wABR3gzmqpldrzHIfkTTWO2JscWVY_zdYGEAIbp6fxOGHZh47V3piHJeBps-3bYq88XNYGQgf7WL1cAo0YpjS3mH7m5Iv0EvtW63l5X3z0AJ495zL11vVsGAO7z2ZlCd9RpmAfEd08dRA/s3125/P2245887.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1401" data-original-width="3125" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFsWMsdjUqliuUw_ki4J40y39l7fxx_tcZmYQAVfTm_wABR3gzmqpldrzHIfkTTWO2JscWVY_zdYGEAIbp6fxOGHZh47V3piHJeBps-3bYq88XNYGQgf7WL1cAo0YpjS3mH7m5Iv0EvtW63l5X3z0AJ495zL11vVsGAO7z2ZlCd9RpmAfEd08dRA/w640-h286/P2245887.JPG" width="640" /></a></div><p></p><p>Objects? 1) a pile of wood chips, 2) a pile of iron smelting slag. There is absolutely no description or explanation of why either of those fragments mean anything. There are no replicas of the two most significant artifacts, the soapstone spindle whorl or the (diagnostic) bronze ring pin. (There are lots of other replicas other places.)<br /></p><p>The next case is 'Arctic People's First Interactions with Europeans' </p><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIq0UJIde_9EcNoFrOFOndQwJNIRZ9zOJe3TrQshF_9ZOwtNvVvmASMbGAFNKrQse1pGK4LlusH6EJGVYVS0Qf4S3XIs6icObYPTWqzk80Ofy5eLMZMjN8CH3fETujwCnIcZYrKtjCT2jzbLOMFnOiWEYxUIXXfv4Vbq6L-7smVjTeXp0oWXU0YA/s2709/P2245889.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1867" data-original-width="2709" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIq0UJIde_9EcNoFrOFOndQwJNIRZ9zOJe3TrQshF_9ZOwtNvVvmASMbGAFNKrQse1pGK4LlusH6EJGVYVS0Qf4S3XIs6icObYPTWqzk80Ofy5eLMZMjN8CH3fETujwCnIcZYrKtjCT2jzbLOMFnOiWEYxUIXXfv4Vbq6L-7smVjTeXp0oWXU0YA/s320/P2245889.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Object #8 - number tag is 1cm<br /></td></tr></tbody></table><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOqaMAwfpWF8IcbWIQFSPp1M9QTqQjxbIwAEruxG9QgCRaop0cKap1ykgj9aaJyySnoyNNt8BRCDl_A7VDi198EzcjjNPSdzcS6_kYyxzXQJwhIIq6oVZDAqTCyfCRoIRPVXkQoKpLJcxehW0P99SRe-TBxAcmDtWpXcBe1wQxdwEyEFhR7ZugkA/s3264/P2245891.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOqaMAwfpWF8IcbWIQFSPp1M9QTqQjxbIwAEruxG9QgCRaop0cKap1ykgj9aaJyySnoyNNt8BRCDl_A7VDi198EzcjjNPSdzcS6_kYyxzXQJwhIIq6oVZDAqTCyfCRoIRPVXkQoKpLJcxehW0P99SRe-TBxAcmDtWpXcBe1wQxdwEyEFhR7ZugkA/s320/P2245891.JPG" width="320" /></a></div><div style="text-align: center;"><i>Sorry about the image quality, shooting in the dark (see below)</i></div><p>The objects presented include about half that are actually of Greenland <u>Norse</u> origin. It is significant that the objects are actually described as being found in Arctic People's sites, so this origin is hazy at best. Especially the difference between object 10, actually of Arctic People's <u>creation</u>, (and highly significant) and the other two iron artifacts, reworked from broken European objects. (That knife badly photographed as #8 was clearly to my eyes a broken spear tip.) This major technological difference is completely glossed over.</p><p>As you proceed through Post Contact Canada, roughly equal space is given to objects from French and English European origins, and those used by First Nations. 9 about 1/3 ?) Primarily these are 'memories of the Rich and Famous' (you know : 'pocket watch of the first Governor of Quebec' ). <br /></p><p>Again, Mr. Harper? I understand that you want to ensure that everyone remembers that Six Nations on the Grand River <u>also</u> fought in the War of 1812. But the CMH has already given over roughly 50% + of the total exhibit floor space to exclusively First Nations culture and history via Level 1. </p><p><br /></p><p><b>Looking at the First People's gallery...<br /></b></p><p>Although I do understand there is a simple collections / preservation problem with First Nations materials. The bulk of the objects on display in the First People's Hall, if actually 'historic artifacts', are late 1800's dated. The bulk of these are, as expected, wood or plant material. Many objects are in fact of completely modern creation, and made by First Nations artisans. These are most often not listed as 'replicas' or 'reproductions' however (1) They are simply credited to the artisan with the actual production date. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKEsWVrgAy5PaSwogncJN80NHwUH_hbZXc0Kei5zV8dSwR4HXj2kjG45GVs78GWEO3g74rG43_SsflJgQgVptBklqOr51eMPQMGbATfmz5M_UnvfBkthYzBxKNVQR5k9yrKcNst2J5lUVFltAkoHdpQHlrjxBZQGEkeEVat0eLUZw3T0mKjRQc0g/s2918/P2245873%20copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2918" data-original-width="995" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKEsWVrgAy5PaSwogncJN80NHwUH_hbZXc0Kei5zV8dSwR4HXj2kjG45GVs78GWEO3g74rG43_SsflJgQgVptBklqOr51eMPQMGbATfmz5M_UnvfBkthYzBxKNVQR5k9yrKcNst2J5lUVFltAkoHdpQHlrjxBZQGEkeEVat0eLUZw3T0mKjRQc0g/w136-h400/P2245873%20copy.jpg" width="136" /></a></div><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUaBIjqTOvhvAQnOZBSF3xvWJ2CH_HMXzi5UYqZ9DWQLRPjO4CgUmAKwdM1X4Hnb9McHnvHLIFwN1K_3f4nK9ps_dMfUxLn9MCJqPGhV8ECIbi7T54R5Lf1kvgX_asRqBAy7nuHZKAH9Lm83bB5sR6KP2TvtDaBuMsPq0IG4YtWHWamfwcTT47Kw/s1275/P2245874.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="483" data-original-width="1275" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUaBIjqTOvhvAQnOZBSF3xvWJ2CH_HMXzi5UYqZ9DWQLRPjO4CgUmAKwdM1X4Hnb9McHnvHLIFwN1K_3f4nK9ps_dMfUxLn9MCJqPGhV8ECIbi7T54R5Lf1kvgX_asRqBAy7nuHZKAH9Lm83bB5sR6KP2TvtDaBuMsPq0IG4YtWHWamfwcTT47Kw/s320/P2245874.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Double images on object descriptions from shooting through glass</i><br /></td></tr></tbody></table><p>Note the complete lack of any detail here. This does say 'model' (one of the few so described). Is this life sized? What is it made of? What is the history behind this? Fish trap used how? What is 'Haisle' (a Nation, a Location?) Without proper context, there can not be understanding.</p><p><i>Another bias point. When I was researching '<a href="https://warehamforgeblog.blogspot.com/2023/01/what-dreams-they-had-esp-2023.html" target="_blank">What Dreams They Had'</a> I ran into a huge problem deciphering the difference between 'traditional' / historical / ancient. Too often 'traditional' came down to 'what my grand mother told me' - with no appreciation that what was done 200 years ago could possibly be different, Much less 600 years ago = pre-European. </i></p><p>I found too often the background for objects in this gallery, when presented, completely missed this quite important difference between what is well understood to be a shattered 'tradition', an a possible difference in historic practice. To be fair, the overall gallery presentation is attempting to illustrate material culture within separate regional Nations.</p><p>I do understand that museums hand over much of the control to the presentation of their collections to graphic designers, who often have little to no understanding of the objects they are presenting. Drama is more important than clarity all too often. The average viewer does not read beyond a couple of words. Context is only provided by loose groupings of objects, often shoved together for effect more than historic realities. Overall I found much of the First Peoples Gallery suffered from this stripped down information. Especially with simple things like functional objects. Why is that basket in any way different than the last basket presented?</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBdCmYQ7zcxdio5Zj8hATCpWbDsSZy08Bw2VlP_V_8t0diR6-GmdM7_Qmy4Ep_khJAr2pG0vVXeWRQ-HZzMfdGlXlcZ0fDiSWNyBCtLAl7BCnduq-wvjSDJ-SLGc6zqUefJqM6Obt_5U7lyfEY0n9Drjt49Te74FoglNmBncpL2Z5wdSOs_A1uwg/s2373/P2245880%20copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1825" data-original-width="2373" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBdCmYQ7zcxdio5Zj8hATCpWbDsSZy08Bw2VlP_V_8t0diR6-GmdM7_Qmy4Ep_khJAr2pG0vVXeWRQ-HZzMfdGlXlcZ0fDiSWNyBCtLAl7BCnduq-wvjSDJ-SLGc6zqUefJqM6Obt_5U7lyfEY0n9Drjt49Te74FoglNmBncpL2Z5wdSOs_A1uwg/w400-h308/P2245880%20copy.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">What are the materials used here? What source? Not given on the label!<br /></td></tr></tbody></table><p><b>Shooting in the Dark?</b></p><p>Look, I understand that at least SOME of the objects include paint or dye. Somewhat reduced lighting should be expected. But the First People's and History Hall Level A materials were in the dark. Most especially the 'West Coast Nations' materials. From an artistic standpoint, these were the only materials on display that caught my design eye. Below I will show the images as shot - and after considerable modifications via photoshop. (1) <i>Note that this selection is from objects that particularly struck me as possible inspiration points for my own future work in one way or another.</i><br /></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2ciXaA7YngpTViwpcj8m5bHmW62e9O9GDAmamYS19Wxu5bY9amG3QSQRgmQxiQXfTUpVSMLrXU6LHIOxglBO348tzB0sGnDAYyu2adWvsaRx_85GKg5OwmBCa9RMR6dnYL-aY0cepuD0VGb3_nqywglxg3ILjwf6eIHrKuSh8axBTfvVKCQZUzg/s3264/P2245869.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3264" data-original-width="2448" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2ciXaA7YngpTViwpcj8m5bHmW62e9O9GDAmamYS19Wxu5bY9amG3QSQRgmQxiQXfTUpVSMLrXU6LHIOxglBO348tzB0sGnDAYyu2adWvsaRx_85GKg5OwmBCa9RMR6dnYL-aY0cepuD0VGb3_nqywglxg3ILjwf6eIHrKuSh8axBTfvVKCQZUzg/s320/P2245869.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Painted, this one of the <u>better</u> lit objects!<br /></td></tr></tbody></table><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jza26KZ20SmUYjKTalZ-Wgiyu2qUQdkdciaNaTxK1yEDqXhRN18b1Dn1MLhYQzInLJuE5rqNxib8Rru4kNOftFXdPzzR-2u1eBFVYWRnqMkwM7CC3byZ2P17BzYuzshIm60ugfOcR7lL_2Fx4KU4qidl42MLn7LV7It9OtTvF3osjAhKU3znGA/s2367/P2245869%20copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2367" data-original-width="2091" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jza26KZ20SmUYjKTalZ-Wgiyu2qUQdkdciaNaTxK1yEDqXhRN18b1Dn1MLhYQzInLJuE5rqNxib8Rru4kNOftFXdPzzR-2u1eBFVYWRnqMkwM7CC3byZ2P17BzYuzshIm60ugfOcR7lL_2Fx4KU4qidl42MLn7LV7It9OtTvF3osjAhKU3znGA/w354-h400/P2245869%20copy.jpg" width="354" /></a></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi90ykuZc7343pRSrHRx0Gj_PPMRwfZKMMR2ss-YBDlauATwRaHnwG9dNx3p4neK6D_g9o5lJCYbwFiM4pNA5e7KqtZgFQeovSfrlCCrFoCplUezxahclTj42MeXXcWq_Ej44GRUshzQ5SUPWuovxF4DuY97br4ccvISBmhXDvJcN0i4xRd_kn5GA/s1085/P2245870.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="1085" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi90ykuZc7343pRSrHRx0Gj_PPMRwfZKMMR2ss-YBDlauATwRaHnwG9dNx3p4neK6D_g9o5lJCYbwFiM4pNA5e7KqtZgFQeovSfrlCCrFoCplUezxahclTj42MeXXcWq_Ej44GRUshzQ5SUPWuovxF4DuY97br4ccvISBmhXDvJcN0i4xRd_kn5GA/s320/P2245870.JPG" width="320" /></a></div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZODDyM8atMpXxZQLSiBgrnmkqzRelkSXRdyQSevkWlt2QKoJlFP0Bg6PTVikGGS0-tin3rkep9s46bodioFOkszVbI2WUGY2LrSlcxIt3Ifa6-2Uhxaxob01-upbqXZB4-_VAAChrp8lT7cg8xqEenXdxw_tr4delOUaClFaPyQ2_ZShe6n_wGw/s3264/P2245872.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZODDyM8atMpXxZQLSiBgrnmkqzRelkSXRdyQSevkWlt2QKoJlFP0Bg6PTVikGGS0-tin3rkep9s46bodioFOkszVbI2WUGY2LrSlcxIt3Ifa6-2Uhxaxob01-upbqXZB4-_VAAChrp8lT7cg8xqEenXdxw_tr4delOUaClFaPyQ2_ZShe6n_wGw/s320/P2245872.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>This was so dark, I could not get a usable image of the description.</i><br /></td></tr></tbody></table><br /><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYwaqUAirnVLT2o9ona-5vI5jw_ByUNqSWZlLmzespyIOLEkfu_3KYPmTnyojF8r51vgvUWt3V46qTkxOOzAJBuxesztJslt-poPL-dtXwzvv-bjF8UcY7O8HxKaj_bZYrgRLdgKRbmELzd8fFvKnhIa7YieVc_hjCCAn5i0sWHpHl5b3Qk4a90w/s2338/P2245872%20copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2021" data-original-width="2338" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYwaqUAirnVLT2o9ona-5vI5jw_ByUNqSWZlLmzespyIOLEkfu_3KYPmTnyojF8r51vgvUWt3V46qTkxOOzAJBuxesztJslt-poPL-dtXwzvv-bjF8UcY7O8HxKaj_bZYrgRLdgKRbmELzd8fFvKnhIa7YieVc_hjCCAn5i0sWHpHl5b3Qk4a90w/w400-h346/P2245872%20copy.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">'Headdress', worn like a helmet<br /></td></tr></tbody></table><p> </p><p>It is hard not for me to assume the whole purpose of the near darkness used in the West Coast Nations section specifically was to create an intentional 'shrine' like atmosphere. I noticed anyone attempting conversation was speaking in hushed or whispired tones. Why?</p><p>Now of course I had my drawing book - and did make my own scratch drawings of some of these pieces. <br /></p><p>If I am feeling generous, I may undertake a second blog posting illustrating some of the other objects that caught my eye... <br /></p><p> </p><p>1) The only thing I studied at all four years of art school was photography. The camera used here is a 2008 Olympus E-300 (8 mpx) with a 3.5 aperture lens. Most of the exposures were hand held (braced against the case where possible) from 1/8 - 1/4 second exposures. I freely admit my hands are not as steady as they once were. But that does not account for the lack of light to enable even vaguely correct exposures. <br /></p><p><br /></p><br />the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-26231216372008533442024-02-11T11:32:00.001-05:002024-02-11T11:32:19.753-05:00'How Dense Are You?' now available on Amazon!<p style="text-align: center;"> <img class="fullscreen" src="https://m.media-amazon.com/images/I/611V8IDqF+L._SL1293_.jpg" style="height: 487px; margin-left: 111.444px; margin-top: 10px; width: 392.111px;" /></p><div class="a-section a-spacing-none"> <h1 class="a-spacing-none a-text-normal" id="title"> <span class="a-size-extra-large celwidget" data-cel-widget="productTitle" data-csa-c-id="t1tn2j-empda9-m4dzjt-p3rziz" id="productTitle"> How Dense Are You?: Recording bloom density from experimental iron smelting. </span> <span class="a-size-large a-color-secondary celwidget" data-cel-widget="productSubtitle" data-csa-c-id="ajwphn-qu3mg7-wwo4p4-9oexda" id="productSubtitle"> Paperback – Feb. 6 2024 </span></h1><h1 class="a-spacing-none a-text-normal" id="title"><span class="a-size-large a-color-secondary celwidget" data-cel-widget="productSubtitle" data-csa-c-id="ajwphn-qu3mg7-wwo4p4-9oexda" id="productSubtitle"><a href="https://www.amazon.ca/How-Dense-Are-You-experimental/dp/B0CVC9D9F8/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr="><span style="font-size: small;">https://www.amazon.ca/How-Dense-Are-You-experimental/dp/B0CVC9D9F8/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=</span></a> </span> </h1> </div>
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<a class="a-link-normal" href="https://www.amazon.ca/Darrell-Markewitz/e/B0CV7Z9R2B/ref=dp_byline_cont_book_1">Darrell Markewitz</a> <span class="contribution">
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<div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px;"> <b><span class="a-text-bold">Key to any understanding of the ancient processes of bloomery iron smelting is assessing the actual iron that was made!</span></b><span><br /><br />‘</span><span class="a-text-italic">How Dense Are You</span><span>’
charts the density of 30 individual blooms, created by Darrell
Markewitz and his team, spanning over 20 years of experimental iron
smelting. This work specifically focused on historic Northern European
methods during the ‘Dark Ages’.<br /><br />• The ‘short shaft’ furnace, which was used for the production of blooms, is detailed.<br />• A variety ores were processed, but a dependable analog from easily available red iron oxide powder is described.<br />• A measurements from a number of artifact blooms are given for comparison.<br />• Individual blooms are charted against a total of 8 possible effective variables.<br />• This 42 page report is richly illustrated with photographs<br />• Includes web site links and formal citations<br /><br />In comparison to many academic studies, this volume centres on the </span><span><u>practical experience</u></span><span> of actually making bloomery iron. It answers the question : Can the skill of modern makers match that of the ancients?<br /><br /></span><span class="a-text-bold">Darrell Markewitz</span><span> is a professional Artisan Blacksmith, who has been investigating bloomery iron smelting since 2001.<br /></span><span class="a-text-bold">Neil Peterson</span><span> is a Project Manager in high tech, who has assisted in this experimental archaeology research.<br /><br /></span><span class="a-text-italic">Note : This work written </span><span class="a-text-italic"><u>without</u></span><span class="a-text-italic"> use of AI</span></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: center;"><div class="a-column a-span6 a-text-left swatchElement unselected celwidget" data-csa-c-id="z9tr7m-717s0i-rhd2aq-kd9io" id="tmm-grid-swatch-KINDLE"> <span class="a-button a-spacing-none a-button-toggle format" id="a-autoid-0"><span class="a-button-inner"><a class="a-button-text a-text-left" href="https://www.amazon.ca/How-Dense-Are-You-experimental-ebook/dp/B0CV61SFS6/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=&sr=" id="a-autoid-0-announce"> <span class="slot-title">
<span>Kindle Edition</span> <br /> </span>
<span class="slot-price">
<span class="a-size-base a-color-price"> $2.68</span> </span>
<span class="slot-extraMessage">
<div class="a-section"> <span class="a-size-small a-text-normal"> <i>Available instantly </i></span> </div> </span>
</a></span></span> </div> <span class="a-button a-button-selected a-spacing-none a-button-toggle format" id="a-autoid-1"><span class="a-button-inner"><a class="a-button-text a-text-left" id="a-autoid-1-announce"> <span class="slot-title">
<span>Paperback</span> <br /> </span>
<span class="slot-price">
<span class="a-size-base a-color-price a-color-price"> $13.48 </span></span></a></span></span></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: center;"><i><span class="a-text-italic">prices in $ CDN / set originally at US $1.99 / US $9.99</span></i></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: center;"><i><span class="a-text-italic"> </span></i></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;"><span class="a-text-italic">This volume (45 pages) was created largely as a test for the '<a href="https://www.go.publishing.com/7dapc" target="_blank">7 Day Amazon Publishing Challenge</a>' (*). It is a revised edition of a commentary written in 2022, considerably improved with the addition of more internet links and academic type citations. </span></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;"><span class="a-text-italic">Although now formatted for both e-pub / Kindle and as an 8 1/2 x 11 printed book, my main purpose was learning the mechanics of <a href="https://kdp.amazon.com/en_US/" target="_blank">Kindle Direct Publishing</a> - not retail sales potential</span><i><span class="a-text-italic">. </span></i><span class="a-text-italic">So to that end, I would suggest anyone wishing to support the ongoing experimental work in bloomery iron smelting here actually purchase the e-pub version. You <u>will</u> need to ether have a version of <a href="https://www.amazon.com/b?node=16571048011" target="_blank">Kindle Reader application</a> (or own a Kindle device)</span><i><span class="a-text-italic">, </span></i><span class="a-text-italic">or you can open and read via your main computer internet browser. The advantage of the e-pub (along with the reduced cost) is that all the various internet hot links contained are available on a click.</span></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;"><span class="a-text-italic">I had already started on a full book length : '<i>20 Years Before the Blast - Bloomery Iron Smelting</i>' (tentative title), which would cover observations from all the work in that area since 2001. This is being done as a legacy project, again not with expectations of sales income. On completing the 'Challenge' project, in conversation with <b>David Robertson</b>, I occurred to me that I could certainly convert my lecture '<i>Beginning Blacksmithing or Things I wish someone had told <u>me</u></i>' into a book version that might be more suited to a popular market.</span></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;"><span class="a-text-italic">Worth mentioning that David had undertaken his own first Kindle / Amazon project : </span><div class="a-spacing-none a-text-normal" id="title" style="text-align: left;"><span class="a-size-extra-large celwidget" data-cel-widget="productTitle" data-csa-c-id="6qu74a-fplrio-5j8hgf-x113g" id="productTitle"> '<a href="https://www.amazon.com/Upscale-Your-Based-Craft-Business-ebook/dp/B0CTNHVQ7C/ref=sr_1_1?crid=BOWTSMVL63VW&keywords=David+Robertson+%22craft+business%22&qid=1707667092&s=books&sprefix=david+robertson+craft+business+%2Cstripbooks-intl-ship%2C181&sr=1-1" target="_blank"><b><i>How To Upscale Your Home Based Craft Business: Boost Your Business To The Next Level</i></b></a>'</span></div><span class="a-text-italic"> </span></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;"><b><span class="a-text-italic">* ) It is perhaps fair that I make some comments about the '7 Day Challenge' here :</span></b></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;"><span class="a-text-italic">At core this is kind of pyramid scheme - so do enter with your eyes open. The process is presented <u>free of charge</u>, and you certainly do get what you paid for! </span></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;"><span class="a-text-italic">The presenters are at core attempting to promote their own business - <a href="https://aia.publishing.com/login" target="_blank">AIA Publishing</a>. They will consistently push you to sign up for their numerous (and expensive!) workshop programs on marketing, publishing and writing. They will consistently give glowing examples of individuals who have used these services (in the range of thousands of dollars cost) who then managed to generate incomes from multiple hundreds, even multiple thousands of dollars in sales - every month.</span></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;"><span class="a-text-italic">The key here is the promotion of using current Artificial Intelligence mechanisms to 'create' the entire contents. From preparing outlines, 'writing' the contents, to generating the cover graphics. At best I personally found all minimum ethically bankrupt. The hook appears to convince a gullible public to spend $3.99 US on a Kindle version with questionable value and little originality. To be fair they don't actively dissuade participants from original content creation, but more that they constantly present how easy it is to have machines do all the actual work for you instead. The marketing strategy involves generating massive amounts of these publications, so relying on the many trickles from individual offerings eventually combining into " MASSIVE INCOME!! "</span></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;"><span class="a-text-italic">One thing to be particularly aware of : All three of us (Kelly as well) who undertook the last Challenge cycle found the mechanics of layout and submission for approval of the Amazon print on demand version of our manuscripts particularly fussy and annoying. All had to work though tedious multiple submissions and revisions to get to a final print ready version. I actually spent more time on revisions than I did actually preparing the text and images contained.<br /></span></div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;"><span class="a-text-italic">To be fair, they will provide you with references to a number of available on line access points, especially outlining how the Amazon / Kindle Direct Publishing system is set up. </span> </div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;">My overall impression here is that this whole exercise represents yet another example of the 'internet bubble'. Those few who initially realized the potential of a new computer / internet sales venue have made out like bandits. Then the profits have shifted not from working that (new!!) system, but in selling 'experience' with the system to others, who are seduced by the 'get rich quick and easy!!' potential opportunity. But very quickly, that potential market is swamped and diluted, beyond any reasonable capacity. Remember E-bay, Etsy ??</div><div aria-expanded="true" class="a-expander-content a-expander-partial-collapse-content a-expander-content-expanded" style="padding-bottom: 20px; text-align: left;">So taken together, the '7 Day Amazon Publishing Challenge' will provide some useful information. I'd highly recommend ignoring all the hype, and most certainly those sales pitches. <br /></div>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-58768436851519526122024-02-05T10:53:00.006-05:002024-02-06T07:23:42.879-05:00Upcoming Lectures - SCA Practicum<p style="text-align: center;"><span style="font-size: large;"><span class="title" style="color: #2952a3;">Practicum 2024: Back to Basics</span></span></p><div class="detail-item" style="text-align: center;"><span class="event-details-label">When</span><span class="event-when"> : <b>Saturday, Feb 24, 2024</b></span></div><div class="detail-item" style="text-align: center;"><span class="event-details-label">Where : </span><span class="event-where">Rideau Park United Church, 2203 Alta Vista Dr, Ottawa, K1H 7L9 (<a class="menu-link" href="https://maps.google.com/maps?hl=en&q=Rideau%20Park%20United%20Church%2C%202203%20Alta%20Vista%20Dr%2C%20Ottawa%2C%20ON%20K1H%207L9%2C%20Canada" target="_blank">map</a>)</span></div><p style="text-align: center;"><span class="event-description"><br /><a href="https://www.google.com/url?q=https%3A%2F%2Fealdormere.ca%2Fpracticum%2F&sa=D&ust=1707576780000000&usg=AOvVaw0iYCPh-ADlC1WkAVBO7tRR" target="_blank">Practicum 2024 – Back to Basics (ealdormere.ca)<wbr></wbr></a><br /><br />Site opens: 9:30am Site closes 8:30pm</span></p><p style="text-align: center;"><span class="event-description"><i>(At point of this post, class schedules have not been published) </i></span></p><p><span class="event-description"><i> </i><br /></span></p><p style="text-align: center;"><span style="font-size: large;"><b>DARC round table on the Viking Age</b></span>
</p><p style="text-align: center;"><span class="event-description">60 minute round table style discussion
<br />best suits teens through adults</span></p><p style="text-align: center;"><span class="event-description"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDKuDd_HYUDAHBYu-34rv3VI-VsFBL9IpYGvB5R21jROU6rE-aUhtvxVDPuJiK_OYBIOQYEExccwAsBSl8uX2rj7pZ3z_let9WbW7soaWAV-ttdNYHfXFj-J3QQbCYaLM2I4DZt3Qo6xuIUlLnqH7yF75Rw4P4vfXRLVFcIPo4VsJ6z1qrqgAaw/s657/Aug_25th_180-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="657" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDKuDd_HYUDAHBYu-34rv3VI-VsFBL9IpYGvB5R21jROU6rE-aUhtvxVDPuJiK_OYBIOQYEExccwAsBSl8uX2rj7pZ3z_let9WbW7soaWAV-ttdNYHfXFj-J3QQbCYaLM2I4DZt3Qo6xuIUlLnqH7yF75Rw4P4vfXRLVFcIPo4VsJ6z1qrqgAaw/s320/Aug_25th_180-1.jpg" width="320" /></a></div><div style="text-align: left;"> </div><div style="text-align: center;"><span style="font-size: large;"><b>DARC Round Table on the Viking Age</b></span><br clear="none" /></div><div><br clear="none" />How do you approach re-creating daily life in the Viking Age? Drawing on <span></span>decades of practical experience presenting this period before (literally) tens of thousands of the general public, as well as individual lifetimes as working artisans, four prominent members of the <b>Dark Ages Re-creation Company</b> will discuss aspects and issues related to not only this historic period, but undertaking living history in general. Topics will range from the general (Viking vs Norse?), the practical (balancing historic vs modern tools and materials), to the topical (perceptions and representations of gender). Opinions are likely to differ, and discussion with the audience is expected!</div><div><br clear="none" /><p style="text-align: center;"><span style="font-size: large;"><span class="event-description"><b>Norse Iron</b> </span></span><span class="event-description"> </span><span class="event-description"></span></p><div class="detail-item" style="text-align: center;"><span class="event-description">60 minute illustrated lecture / discussion
<br />best suits teens through adults </span></div><div class="detail-item" style="text-align: center;"><span class="event-description"> </span><br /></div><div class="detail-item" style="text-align: center;"><span class="event-description"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSsCxIwTdMgp3ADggeJqTIa5fRxc3QcqIScOI_ra1YrRbr6_TLjEM4m1RC2g6Z4-mGcwpycxKtBZOoXkDMegoZnGML9yTDSnxkP-71KHtgz-7xjLyRPtxrE99vwP1t4_-fvNxjP0jo-QbqsWQyAQjOIPA42zEuw5d7U3ht_qapVIGlC_kxQMkGVg/s480/box00a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="480" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSsCxIwTdMgp3ADggeJqTIa5fRxc3QcqIScOI_ra1YrRbr6_TLjEM4m1RC2g6Z4-mGcwpycxKtBZOoXkDMegoZnGML9yTDSnxkP-71KHtgz-7xjLyRPtxrE99vwP1t4_-fvNxjP0jo-QbqsWQyAQjOIPA42zEuw5d7U3ht_qapVIGlC_kxQMkGVg/s320/box00a.jpg" width="320" /></a> </span></div><p><span class="event-description">The 'Dark Ages' are known partially through a number of truly impressive
objects made from forged iron, Sutton Hoo (Anglo-Saxon) and Oseburg
(Norse) being the best known examples. During the Viking Age, iron was
used for domestic objects, tools and weapons. Illustrated with artifact
images and physical replicas, this session will look at how iron itself
was made, the work of the blacksmith, and objects of special interest to
re-enactors.
<br /><a class="moz-txt-link-freetext" href="http://www.warehamforge.ca/ENCAMPMENT/artifact.html">http://www.warehamforge.ca/ENCAMPMENT/artifact.html</a></span></p><p><span class="event-description"><i>Note there is a slight change here, due to my own mix up with lectures at the Blue Dragon event in January!</i>
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</p><p style="text-align: center;"><b class="moz-txt-star"><span class="moz-txt-tag"></span><span style="font-size: large;">Starting in Blacksmithing for Re-enactors<span class="moz-txt-tag"></span></span></b><span style="font-size: large;"> </span>(some practical advice) </p><p style="text-align: center;"><span class="event-description">60 minute illustrated lecture / discussion
<br />best suits teens through adults </span> <br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCprZUbsrnHwXKCK515Z16mJovLdPpi3DQppHR-G-fJ97S3Oq1V3_VnhuahAFSVAd2V8C5XPoaSk0YxR_1QVZ2cIVTmvye5-25AmBYn4LDuZ9PPVm-Ctpp4339_sztMXPmxTv102DYP2uAgEuVZvVZlXBeoe1NhAvXmhwVZgEKPYHY8N5Q6887Iw/s375/ketill.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="261" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCprZUbsrnHwXKCK515Z16mJovLdPpi3DQppHR-G-fJ97S3Oq1V3_VnhuahAFSVAd2V8C5XPoaSk0YxR_1QVZ2cIVTmvye5-25AmBYn4LDuZ9PPVm-Ctpp4339_sztMXPmxTv102DYP2uAgEuVZvVZlXBeoe1NhAvXmhwVZgEKPYHY8N5Q6887Iw/s320/ketill.jpg" width="223" /></a></div><br />As popular culture exploits an interest in blacksmithing, more and more
people are drawn to a first attempt to pick up a hammer. Forget what you
see on 'Forged in Fire'! Drawing from a lifetime at the forge and
decades of teaching experience, this combination illustrated lecture and
Q & A, will look at contemporary blacksmithing equipment and processes,
with an eye to the differences between modern, traditional and historic
methods. A particular focus will be important practical advice for the
beginning smith.
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<br /><p></p><p style="text-align: center;"><b><span style="font-size: medium;">Instructor Bio </span></b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7lpZHBjRQbUAY1FjYBie21OrL4FwjeVch9HiDnd5Iur-nHJVq_IUV4HylvOIAdo-ydpqJ03fjpJ8oMhh1a9fc3X56CDjX83oL1uy_G2_UeOIcqZDH-NnQGEoDmOe4jF7IM4ZxkMnZE3paicEGiC3jhXib_EpZ9ydqBrQl-Bn-GqqudT5EMRv8UQ/s400/famous%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="265" data-original-width="400" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7lpZHBjRQbUAY1FjYBie21OrL4FwjeVch9HiDnd5Iur-nHJVq_IUV4HylvOIAdo-ydpqJ03fjpJ8oMhh1a9fc3X56CDjX83oL1uy_G2_UeOIcqZDH-NnQGEoDmOe4jF7IM4ZxkMnZE3paicEGiC3jhXib_EpZ9ydqBrQl-Bn-GqqudT5EMRv8UQ/s320/famous%202.jpg" width="320" /></a></div><p></p><p>
<br /><b>Darrell Markewitz</b> first picked up the hammer in the late 1970's, and has
worked professionally as an artisan blacksmith since the late 1980's. He
found the Wareham Forge in 1992, specializing in 'Historic Reproductions
in Metals', with work for both major museums and individual re-enactors,
as well as private commissions for his Art Nouveau based designs. Most
significant museum work is his creation of the living history program
for Parks Canada at L'Anse aux Meadows NHSC, he has provided staff
training, physical presentations and object replicas for museums
throughout North American, in Great Britain and Europe. Since 2001, he
has undertaken personal research via experimental archaeology into
bloomery iron smelting, which has included numerous conference
presentations and academic papers.
<br />As <b><i>Sylard of Eagleshaven</i></b>, he is 'Ancient of Days', holds a Laurel for
decorative metalwork, and is the original 'bastard Viking' of song and
story. He founded the <b><a href="http://www.darkcompany.ca" target="_blank">Dark Ages Re-creation Company</a></b> in 2000, and remains
it's driving force.
</p></div>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-74899350609892747872024-01-19T08:44:00.001-05:002024-01-19T08:44:28.939-05:00Elora Sculpture Project 2023 - 'What Comes Next'<p> <br /></p><p style="text-align: center;"><span style="font-size: large;">‘What Comes Next’</span><br /><br /><span style="font-size: medium;">Elora Sculpture Project - 2024</span><br /></p><p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ux27nvVPnmMqYvEG-ob9lNcy6u1C5PNByEJ-_gg8O5KjDxFrAodCjaVEFAn0EDKg_C4xg7ExYAVyX8CFfVAUWLj80ny9DAb_mnsTUXHBHfSBfP8VxChMWcsDFPZx5Iziyn5FIdi7Qw650HZkAJMt9hZR_2m3PGWjoaQumZf9LDTiKpaML6806A/s991/DM-What%20Comes%20Next.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="991" data-original-width="764" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ux27nvVPnmMqYvEG-ob9lNcy6u1C5PNByEJ-_gg8O5KjDxFrAodCjaVEFAn0EDKg_C4xg7ExYAVyX8CFfVAUWLj80ny9DAb_mnsTUXHBHfSBfP8VxChMWcsDFPZx5Iziyn5FIdi7Qw650HZkAJMt9hZR_2m3PGWjoaQumZf9LDTiKpaML6806A/w494-h640/DM-What%20Comes%20Next.jpeg" width="494" /></a><br /></p><p><br /><i>Average global temperatures for 2023 became the hottest on record, rising to 1.46 ° C above ‘pre-industrial’ average (1850). With warming will come sea level rise.</i><br /><br />The form of this sculpture is suggested by deep undersea hydrothermal vents. <br />In keeping with the concept of ‘humans once lived here’, sometime in the distant future coloured limestone formations have combined with new coral growths to cover over the debris left behind when human industrial civilization was abandoned. Despite the worst of human degradation, the sea continues to harbour life, although much has been distorted to unfamiliar forms. <br /><br /><i>I beg the indulgence of the Jury on this submission, which is more conceptional than fully rendered. The individual elements can be illustrated by past works, provided as examples of at least intended types.</i><br /><br />General Description<br /><br />The core of the sculpture is a irregularly surfaced, roughly conical stack with a number of openings at the upper side, standing about four feet tall by two feet at the base. This structure is composed of randomly coloured concrete, laid around and including various cast off pieces from plastic appliance housings and shaped scrap metal like machine parts and shot sections of pipe. Some of these are surface textured and painted to suggest mould or algae. <br />At several spots, the structure includes groups of randomly shaped ‘bubbles’, which allow for viewing into the interior. These placed so that the motion of the sculpted ‘jelly fish’ in the interior can be glimpsed (part of the mechanism described below).<br /><br />Over the surface of the stack a number of creatures crawl or are attached. These will include vaguely crab and shrimp like animals, variations on real (often bizarre) worms, coral and kelp forms - and some creatures the like of which has not been seen since ancient mass extinction events.<br /><br />Above all this, from the main central opening, number of tall sinuous curved panels rise, suggestive of the ‘smoke’ visible at some ocean vents extend a further two - three feet. Each is pivoted and counterbalanced, allowing for some motion side to side in the wind. The counterbalance weights are formed from drastically shaped and patterned steel blocks, suggesting strange jelly fish like creatures.<br />Also standing above the main form are a number of thin rods which support individual, brightly painted fish profiles, which also swivel in moving winds.<br /><br />As with past submissions, this will be a new work, created specifically for the Elora Sculpture Project.<br /><br />Prototypes <br /><br />The main point of inspiration remains images taken at deep sea hydrothermal vents:</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJWt6lum059B9-W1aodSwKvaod6wQUzIxmujDOJl7DSl7uEtBLp4O53T7lo1A8TBpmARX_YTfzI5enRKFwQ9WOqTQaIAkEDOnx-86IdIHov8YEUm58SPRqLNNdKKJoKGaMQOP3OtCWeT5GJCB8ZmPwlEVG1Y1C8oNnokAVs-owW_p7beU7ri3n8Q/s512/smoker.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="401" data-original-width="512" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJWt6lum059B9-W1aodSwKvaod6wQUzIxmujDOJl7DSl7uEtBLp4O53T7lo1A8TBpmARX_YTfzI5enRKFwQ9WOqTQaIAkEDOnx-86IdIHov8YEUm58SPRqLNNdKKJoKGaMQOP3OtCWeT5GJCB8ZmPwlEVG1Y1C8oNnokAVs-owW_p7beU7ri3n8Q/w400-h314/smoker.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Some of the ‘black smoker’ types show bright mottled colours over the
deposited materials making up the stacks.</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIOGUe5UBHSYlY4kAkRlS4i45d1gsBu6bQNV56euu3QM9tYbXhj7jdD4CIMyh-aC8azCh7ExOA87xQr6xRfVl6jOkCBkDeOQIdG1P_-ZeewJVm5t-xAnxMw79KvofXc6C3HJgwQ1gT2sf5E05jAgcbbtNR2DhLdqJJpxFdx8FJhwmmJRp3CDvWCQ/s768/Vent-life.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="582" data-original-width="768" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIOGUe5UBHSYlY4kAkRlS4i45d1gsBu6bQNV56euu3QM9tYbXhj7jdD4CIMyh-aC8azCh7ExOA87xQr6xRfVl6jOkCBkDeOQIdG1P_-ZeewJVm5t-xAnxMw79KvofXc6C3HJgwQ1gT2sf5E05jAgcbbtNR2DhLdqJJpxFdx8FJhwmmJRp3CDvWCQ/w400-h304/Vent-life.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Commonly found animals are crabs and shrimp.</td></tr></tbody></table><p> </p><p>1) Structure</p><p>Some indication of how individual metal and plastic elements will be incorporated can be seen in my ‘Mecha’ series (2015) although this was considerably more limited in scale.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizLL6XAWiiY9WjYEzxmKvcqbozgUacGZqp1RaXjmYcm1kkA5VOTaAMFyvTshiQlbzAxwjHZY-St381GDrWnQlZxII8lU3lmrKhf2gRfmjqVmCIfromTAjV5gA1NCWQiFeI8GWhtQmtixRmMgcF3D9w-GZkLDoyurDJfF_S6gzToLBAx9ndnv8OVg/s738/mecha.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="507" data-original-width="738" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizLL6XAWiiY9WjYEzxmKvcqbozgUacGZqp1RaXjmYcm1kkA5VOTaAMFyvTshiQlbzAxwjHZY-St381GDrWnQlZxII8lU3lmrKhf2gRfmjqVmCIfromTAjV5gA1NCWQiFeI8GWhtQmtixRmMgcF3D9w-GZkLDoyurDJfF_S6gzToLBAx9ndnv8OVg/s320/mecha.jpg" width="320" /></a></div><br /><p>2) Crabs / Shrimp<br />These will be at least suggestive of earlier work like ‘Burgess Crab’ (2011) and the horseshoe crab element seen in ‘Last to Sea’ (ESP - 2020), although what will be made will be considerably smaller in size.</p><p style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUiXHkcx6CWRw3juw1YGW8LK9n8lbk4koYZ75-5fhU0exezBPqHgNtx2JUORwUNHOynO2GFVTnmyQQ-QSwkHGXxfUST3q5ZydTG4Dxp9bwyaTR6Djd85WHqbWr-XgDUYmj-NUYqp3vrUp9kScNO9kl2eRF0_YES6GJMqhqJiKBDbyfxL9_pQrO3g/s648/Burgess-Crab.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="648" data-original-width="586" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUiXHkcx6CWRw3juw1YGW8LK9n8lbk4koYZ75-5fhU0exezBPqHgNtx2JUORwUNHOynO2GFVTnmyQQ-QSwkHGXxfUST3q5ZydTG4Dxp9bwyaTR6Djd85WHqbWr-XgDUYmj-NUYqp3vrUp9kScNO9kl2eRF0_YES6GJMqhqJiKBDbyfxL9_pQrO3g/s320/Burgess-Crab.jpg" width="289" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">'Burgess Crab'<br /></td></tr></tbody></table><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghIk-i2ZViizPJ1wNtschsSa51vMqc-vjMZNcA7OUw4FOiDgyyDqYpoCagW0JLJfQOitomC9GOCilImI9H4Qxs-4WQ4bVTIu6uaByPdHItsQEjTNfD-E6Hu40hfL7pGIlmW8lVyYcs_P2WApaaojVVFyEJGFDWCy576pkC6DACMPXDey1WB8aPpA/s738/horseshoe.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="554" data-original-width="738" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghIk-i2ZViizPJ1wNtschsSa51vMqc-vjMZNcA7OUw4FOiDgyyDqYpoCagW0JLJfQOitomC9GOCilImI9H4Qxs-4WQ4bVTIu6uaByPdHItsQEjTNfD-E6Hu40hfL7pGIlmW8lVyYcs_P2WApaaojVVFyEJGFDWCy576pkC6DACMPXDey1WB8aPpA/s320/horseshoe.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Horseshoe Crab element<br /></td></tr></tbody></table>3) Worms / Other<br /><p>I will certainly use the stacked plastic disks with spacers method used for ‘Roller’ (2013), although with a rigid spine. Other worm like creatures will incorporate the waving form seen along the back of ‘Hallucigenia’ (2012)</p><p style="text-align: center;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUtIpsxVEBjuFgNl7m8o7T3UdSXdDkpryyOSggrsKp_zO6o_mYQLgC32BJCC7J6Ws5x1phOiHA_7lBeUG3l-NoBezWf5W-oWoUxIl7iUQK3nT0RjpfkZFMtiOcZA2vLK_KLWN_09kEa2zHOqBxDYTEWVNtvjUo_vfsaWSEDpq2ryWeJyhKD4TAbQ/s900/roller.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="689" data-original-width="900" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUtIpsxVEBjuFgNl7m8o7T3UdSXdDkpryyOSggrsKp_zO6o_mYQLgC32BJCC7J6Ws5x1phOiHA_7lBeUG3l-NoBezWf5W-oWoUxIl7iUQK3nT0RjpfkZFMtiOcZA2vLK_KLWN_09kEa2zHOqBxDYTEWVNtvjUo_vfsaWSEDpq2ryWeJyhKD4TAbQ/s320/roller.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">'Roller'</td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAtR0sZDCz3U9YhiUTS2WHpYavJ8CTpTMDPMlGGHQN3RqV_738ci6y4j25CwbzCPjVg6oO0_TMRCutBI2RlCb9DJylyAuRkCCbOLDt4BDCzB4jnQBtXiGCF97tz_83IzYmryrTcp5M4JLWsI2uMDE2FHPBPLPUypYfgX1MNe8L093YdtPHCJZpkg/s655/Hallucigenia.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="655" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAtR0sZDCz3U9YhiUTS2WHpYavJ8CTpTMDPMlGGHQN3RqV_738ci6y4j25CwbzCPjVg6oO0_TMRCutBI2RlCb9DJylyAuRkCCbOLDt4BDCzB4jnQBtXiGCF97tz_83IzYmryrTcp5M4JLWsI2uMDE2FHPBPLPUypYfgX1MNe8L093YdtPHCJZpkg/s320/Hallucigenia.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">'Hallucigenia'</td></tr></tbody></table><p>4) ’Smoke’<br />The panels will be individually curved, as seen in ‘Celtic Winds’ (2005), although not as aggressively contoured, and starting with a narrow triangular shape before folding.<br /></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7_28DM8kEvrxSicibwXiqmcOaDDbU4Ef9leQnUkRZXeOD2LQMyKw-fROwAdnCKoe3DWOn1-WEbU7qw1K0ocB44BChHVvBJr58Dhrm2rogkUG5CB2A6icIftuV9Lo8kkL1pok60hD-9nHse5E0wD4Esh3023Kim3gWIDQYYubbAWuQ4V4TgnQgg/s504/winds.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="504" data-original-width="378" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7_28DM8kEvrxSicibwXiqmcOaDDbU4Ef9leQnUkRZXeOD2LQMyKw-fROwAdnCKoe3DWOn1-WEbU7qw1K0ocB44BChHVvBJr58Dhrm2rogkUG5CB2A6icIftuV9Lo8kkL1pok60hD-9nHse5E0wD4Esh3023Kim3gWIDQYYubbAWuQ4V4TgnQgg/s320/winds.jpg" width="240" /></a></div><br /><p></p><p>5) Kelp / Coral<br />Exact details will vary as individual elements are created. An earlier examples of potential forms can be suggested by ‘Kelp-on-Stone’ (2010)<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrDwh3h148ODSYSV9vCjSMpB2zwA6jNwU398U4nWzcYr8jfq219gF4iChSQd4EtxU54JZRKoGLzmXJpnLoqBI_IDyNzPeIcDvHTSoMYSNOl9AFZu3HE_iYtgwVURzkPrsUEWLo55Lgt_2zDqg_iq9in3dSHKouZODfGVZHfEFsiIckdFia9s9uNA/s900/kelp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="457" data-original-width="900" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrDwh3h148ODSYSV9vCjSMpB2zwA6jNwU398U4nWzcYr8jfq219gF4iChSQd4EtxU54JZRKoGLzmXJpnLoqBI_IDyNzPeIcDvHTSoMYSNOl9AFZu3HE_iYtgwVURzkPrsUEWLo55Lgt_2zDqg_iq9in3dSHKouZODfGVZHfEFsiIckdFia9s9uNA/s320/kelp.jpg" width="320" /></a></div><br /><p style="text-align: center;"><br /></p><p>Construction<br /><br />The overall height will be 6 - 7 feet (installed)<br />The overall diameter will be and irregular roughly 3 feet, with individual elements attached.<br /><br />Due to the expected weight of the total sculpture, the main structure will consist of a series of individual ‘donut’ sections about 12 inches tall. These formed of fine sand concrete mix, cast into loose wet sand forms to an estimated thickness of about two inches over wire reinforcing grid. The base concrete itself may be coloured / contain texture elements, and there will be coloured paint applied to the surface to best reflect the reference image mentioned above. The rings will have internal framing of steel and bolt through pipe fittings on the interior allowing each to be lifted in place then securely attached together. The bottom most ring will also contain a framework of 1 1/2 x 1/8 inch web angle allowing for bolting to the existing sculpture mount. <br />The concrete sections will include various found object pieces, exactly what, primarily at the whims of what can be found.<br /><br />Individual creature forms will be primarily made of forged mild steel bar, structural and sheet. Some will have decorative paint applied, some left to naturally rust patina. Use of heavy wire rope, and re-bar may be used to create interesting textures on longer kelp like elements. The ‘Roller’ element will incorporated plastic (CD/DVD) disks, others may have framework glass included. All the individual elements (save those few that move) will be bolted into place.<br /><br /> </p><p style="text-align: center;"><i>A further commentary, written for this blog<br /></i><br />And will you go to church to pray,<br />Leaving your children to atone.<br />This world you’ve left in disarray <br />Is not God’s work; it is your own.<br /><br />“God and The Orange Clown”<br />Ian Robb (1)<br /></p><p><br />Over the past years I have become more and more distressed with human impact on the Earth’s environment. Measurements for 2023 show that global warming actually rose 1.46 ° C. (2) This places any governmental attempts at limiting the impact of CO2 emissions as an means of keeping any rise in global average temperatures from increasing any more than 1.5 ° C as clearly impossible.<br />At point of writing (January 15, 2024) the actual atmospheric CO2 level was 422 parts per million. (3)<br /></p><p style="margin-left: 40px; text-align: left;">“The last time CO2 levels exceeded 400ppm was around four million years ago, during the Pliocene era, when global temperatures were 2-4C (3.6-7.2F) warmer and sea levels were 10-25m (33-82ft) higher than today.” (4)<br /></p><p><br />Look at a sea level projection of what even 10 metres higher would mean, and you will see the majority of major cities along both the USA coasts may be simply be under water by the much repeated 2050 benchmark. (5)<br /></p><p>'Oh - It will <u>not</u> be that bad, and that is still a lifetime away, I will never see this!'</p><p>Fine.</p><p>Look only as far out as 2030. About the time you will be buying your next new car (likely another F150 pickup).</p><p><a href="https://www.timeout.com/things-to-do/cities-that-could-be-underwater-by-2030">https://www.timeout.com/things-to-do/cities-that-could-be-underwater-by-2030</a></p><p> </p><p>Back in 1976 (five years after I was personally involved in the Enviromental movement, if only in a small way) Billy Joel wrote 'Miami 2017' (6). At that time this was a reflection on the New York City debt crisis, but...</p><p style="text-align: center;">Seen the lights go out on Broadway<br />I saw the Empire State laid low<br />And life went on beyond the Palisades<br />They all bought Cadillacs<br />And left there long ago<br />They held a concert out in Brooklyn<br />To watch the island bridges blow<br />They turned our power down<br />And drove us underground<br /><b>But we went right on with the show</b><br /><br /></p><p><br />1) <a href="https://ianrobb1.bandcamp.com/track/god-and-the-orange-clown">https://ianrobb1.bandcamp.com/track/god-and-the-orange-clown<br /></a><br />2) <a href="https://www.metoffice.gov.uk/about-us/press-office/news/weather-and-climate/2024/2023-the-warmest-year-on-record-globally">https://www.metoffice.gov.uk/about-us/press-office/news/weather-and-climate/2024/2023-the-warmest-year-on-record-globally</a><br /><br />3) <a href="https://www.co2.earth/annual-co2">https://www.co2.earth/annual-co2<br /></a><br />4) <a href="https://www.bbc.com/future/article/20230317-the-state-of-the-climate-in-2023">https://www.bbc.com/future/article/20230317-the-state-of-the-climate-in-2023</a><br /><br />5) The link allows you to plug in various water level increases against a zoom in world map <a href="https://coastal.climatecentral.org/map/10/-52.6278/47.426/?theme=water_level&map_type=water_level_above_mhhw&basemap=roadmap&contiguous=true&elevation_model=best_available&refresh=true&water_level=10.0&water_unit=m">https://coastal.climatecentral.org/map/10/-52.6278/47.426/?theme=water_level&map_type=water_level_above_mhhw&basemap=roadmap&contiguous=true&elevation_model=best_available&refresh=true&water_level=10.0&water_unit=m</a></p><p>6) <a href="https://www.youtube.com/watch?v=coYwBvysy3Q">https://www.youtube.com/watch?v=coYwBvysy3Q</a> <br /></p><br /><br />the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-29736539398659132332024-01-07T09:42:00.005-05:002024-01-07T09:42:30.390-05:00Upcoming : Classes at SCA events - one<p><span class="title" style="color: #2952a3;">Blue Dragon Studium 3.5</span></p><div class="detail-content"><div class="detail-item"><span class="event-details-label">When : </span><span class="event-when">Jan 20 – 21, 2024</span></div><div class="detail-item"><span class="event-details-label">Where</span><span class="event-where"> : Woodview Community Centre, 151 Cadillac Ave N, Oshawa, ON L1G 6C3, Canada (<a class="menu-link" href="https://maps.google.com/maps?hl=en&q=Woodview%20Community%20Centre%2C%20151%20Cadillac%20Ave%20N%2C%20Oshawa%2C%20ON%20L1G%206C3%2C%20Canada" target="_blank">map</a>)</span></div><div class="detail-item"><span class="event-details-label">Description : </span><span class="event-description">The Canton of Ard Chreag hosts Blue Dragon Studium IV<br /><br />website: <wbr></wbr> <a href="https://www.google.com/url?q=https%3A%2F%2Fealdormere.ca%2Fblue-dragon%2F&sa=D&ust=1705065600000000&usg=AOvVaw3qIaIVludhat96e7gxp8Lr" target="_blank">https://ealdor<wbr></wbr>mere.ca/blue-dr<wbr></wbr>agon/</a><br /><br />I will be returning to a couple of teaching style events upcoming for the Society for Creative Anachronism, here in Ontario, over the next two months.</span></div><div class="detail-item"><span class="event-description"><br /></span></div><div class="detail-item"><span class="event-description">These are the offerings I have proposed / <a href="https://docs.google.com/spreadsheets/u/0/d/1ke0dsM01p2BbdRdPD4yHmWeqIzHCpzixeMHDgf6wSL0/edit?usp=sharing&pli=1" target="_blank">are scheduled</a> for <b>Saturday January 20</b></span></div><div class="detail-item"><span class="event-description"><b> </b></span></div><div class="detail-item"><span class="event-description"><b>Historic Pewter Casting
<br />
<br />8:30 - 12:00 AM<br /></b>8 student maximum
<br />14 years and up
<br />materials fee = $10
<br />Students will be required to be masked, considerable dust generated
during carving / instructor protection
</span><br /></div><div class="detail-item" style="text-align: center;"><span class="event-description"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Jxr1gRvzV-yXmPslnhM_yYXIm7RfdY0h300SvL0PgGT-zhUJrxmyckRbl3qeshXA9jaPZPa3Z7GWfbd0JNGcgHbUwaBcv-HF-eJI9nu_tQ5cK0OJGkB9QfJzB-UdLUftvjfF2-8oBBljR5vaFHXPPbKIiUsaEH9Br_X9MPFyYUi_fVSOuf5A7A/s355/casting.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="247" data-original-width="355" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Jxr1gRvzV-yXmPslnhM_yYXIm7RfdY0h300SvL0PgGT-zhUJrxmyckRbl3qeshXA9jaPZPa3Z7GWfbd0JNGcgHbUwaBcv-HF-eJI9nu_tQ5cK0OJGkB9QfJzB-UdLUftvjfF2-8oBBljR5vaFHXPPbKIiUsaEH9Br_X9MPFyYUi_fVSOuf5A7A/s320/casting.jpg" width="320" /></a> </b></span></div><div class="detail-item"><span class="event-description">Metals have been cast into stone moulds since the Bronze Age. Simple
pendants and tokens of pewter are found throughout the Medieval period.
In this class each student will carve their own re-usable soapstone
mould, then make several finished castings of lead free (tin) alloy,
with needed tools provided *. The class includes a brief historic
overview, a discussion of mould making methods and a discussion of
designs. Students keep their mould block, which should have room for 2 -
4 objects (depending on size), 4 - 6 finished castings, a simple
technique handout.
<br />* Any students owning a demel type rotary tool are asked to bring them
(four units provided).
<br /><a class="moz-txt-link-freetext" href="http://www.warehamforge.ca/old-castings/oldcastings.html">http://www.warehamforge.ca/old-castings/oldcastings.html</a> <br /><br /></span></div><div class="detail-item"><br /><span class="event-description"><b>Norse Iron</b> </span></div><div class="detail-item"><span class="event-description"> <br />2:00 - 3:00 PM<br /></span></div><div class="detail-item"><span class="event-description">60 minute lecture / discussion
<br />no class size limit
<br />best suits teens through adults
</span><br /></div><div class="detail-item" style="text-align: center;"><span class="event-description"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSsCxIwTdMgp3ADggeJqTIa5fRxc3QcqIScOI_ra1YrRbr6_TLjEM4m1RC2g6Z4-mGcwpycxKtBZOoXkDMegoZnGML9yTDSnxkP-71KHtgz-7xjLyRPtxrE99vwP1t4_-fvNxjP0jo-QbqsWQyAQjOIPA42zEuw5d7U3ht_qapVIGlC_kxQMkGVg/s480/box00a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="480" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSsCxIwTdMgp3ADggeJqTIa5fRxc3QcqIScOI_ra1YrRbr6_TLjEM4m1RC2g6Z4-mGcwpycxKtBZOoXkDMegoZnGML9yTDSnxkP-71KHtgz-7xjLyRPtxrE99vwP1t4_-fvNxjP0jo-QbqsWQyAQjOIPA42zEuw5d7U3ht_qapVIGlC_kxQMkGVg/s320/box00a.jpg" width="320" /></a> </span></div><div class="detail-item"><span class="event-description">The 'Dark Ages' are known partially through a number of truly impressive
objects made from forged iron, Sutton Hoo (Anglo-Saxon) and Oseburg
(Norse) being the best known examples. During the Viking Age, iron was
used for domestic objects, tools and weapons. Illustrated with artifact
images and physical replicas, this session will look at how iron itself
was made, the work of the blacksmith, and objects of special interest to
re-enactors.
<br /><a class="moz-txt-link-freetext" href="http://www.warehamforge.ca/ENCAMPMENT/artifact.html">http://www.warehamforge.ca/ENCAMPMENT/artifact.html</a>
<br />
</span><br /></div><div class="detail-item"><br /><span class="event-description"><b>Experimental Archaeology for Re-enactors</b> </span></div><div class="detail-item"><span class="event-description"> </span></div><div class="detail-item"><span class="event-description">3:00 - 4:00 PM<br />60 minutes as lecture / discussion
<br />no class size limit
<br />best suits teens through adults
<br />
</span></div><div class="detail-item"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV3fhY1Gb_b0gf6wZFtP91VuFd-UxDCkU3V2QbQorentgnLUqqzpQoBoCYVGvcO57Xq_H0zOAFBYcT4E_6h0YlZ1-zDWwG1bDQ6ZS3uhluUHfOITDDyiLCAc_EmpDjH5n9aiIENlb0io6QrlAPkoQly496mVhFLJlA-zRWWw_CF3xrrIsI3u-OFA/s500/beadover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV3fhY1Gb_b0gf6wZFtP91VuFd-UxDCkU3V2QbQorentgnLUqqzpQoBoCYVGvcO57Xq_H0zOAFBYcT4E_6h0YlZ1-zDWwG1bDQ6ZS3uhluUHfOITDDyiLCAc_EmpDjH5n9aiIENlb0io6QrlAPkoQly496mVhFLJlA-zRWWw_CF3xrrIsI3u-OFA/s320/beadover.jpg" width="320" /></a></div><span class="event-description">As you gain skill and experience with Medieval craft works, your
personal experience often hits a point where references fail and you
think 'Just how <span class="moz-txt-underscore"><span class="moz-txt-tag"></span><u>did<span class="moz-txt-tag"></span></u></span> they do that?'. Without realizing, you may have
crossed the line into Experimental Archaeology! There are differences to
be considered between Experience and Experiment, but surprisingly,
adding to formal knowledge can often be the product of fairly simple
undertakings. Among case samples are the work the <a href="http://www.darkcompany.ca" target="_blank">Dark Ages Re-creation Company</a> into Viking Age glass bead making and bloomery iron smelting. </span></div><div class="detail-item"><a href="http://www.darkcompany.ca/beads/index.php"><span class="event-description">http://www.darkcompany.ca/beads/index.php</span></a></div><div class="detail-item"><span class="event-description"><a href="http://www.warehamforge.ca/ironsmelting/index.html" target="_blank">http://www.warehamforge.ca/ironsmelting/index.html </a></span></div><div class="detail-item"><span class="event-description"> </span></div><div class="detail-item"><b><span class="event-description">Instructor Bio</span></b></div><div class="detail-item"><span class="event-description"> </span></div><div class="detail-item"><span class="event-description"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpB4zL2sRUenKJWKaAfCl9Ltv8WFx1tToZ2DP7Xunf53eMZIcHwobZbwl9VC7gPXhfRsifoQWbSc4fmhCMAWy-wzmzmAT8xrpsvbLqFbEt0-3SO8MbylDR2Q5w54pvBMt0xphWD3eFDkWzUcKVTs2WdJnslEXIjUYSaWSuPxuyluHEoCkPey2qag/s375/darrellbeatingmetal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="281" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpB4zL2sRUenKJWKaAfCl9Ltv8WFx1tToZ2DP7Xunf53eMZIcHwobZbwl9VC7gPXhfRsifoQWbSc4fmhCMAWy-wzmzmAT8xrpsvbLqFbEt0-3SO8MbylDR2Q5w54pvBMt0xphWD3eFDkWzUcKVTs2WdJnslEXIjUYSaWSuPxuyluHEoCkPey2qag/s320/darrellbeatingmetal.jpg" width="240" /></a></div><b>Darrell Markewitz</b> has operated <b>the Wareham Forge</b> full time since 1992, with
experience as an artisan blacksmith spanning 45 years. He is a
specialist in the Viking Age, working closely with Parks Canada at
L'Anse aux Meadows NHSC, as well as contributing to museum programs in
Canada, the USA and the UK. A special effort for the last two decades
has been research into bloomery iron smelting, expanded into
experimental archaeology and academic papers.
<br />As <i>Sylard of Eagleshaven</i>, his involvement with the SCA extends to the
mythic founding of Eoforwic, and he is founder of the Dark Ages
Re-creation Company.
<br /><a class="moz-txt-link-freetext" href="http://www.warehamforge.ca/index2.html">http://www.warehamforge.ca/index2.html</a> <br /></span></div><div class="detail-item"><span class="event-description"> </span></div><div class="detail-item"><span class="event-description"><br /></span></div><div class="detail-item"><span class="event-description"><i>These are the session descriptions I provided after I had contacted the event organizers back in early December. You can see when you look to the event schedule, I am used to a more formal set of descriptions for session offerings (lost in the web formatting). I am also specifically stressing my real world experience, rather than using SCA personna and accomplishments - especially because of the topic areas.</i><br /></span></div></div>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-61908745533035627132023-12-29T18:29:00.002-05:002023-12-29T18:29:59.376-05:00Ticking... (10 lines)<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0-4dZqxHsbVGxiVoTdkEHn8zoTvLgeymd6LHTaEfplF3P92vWQrQws-mloI_M-BfpbS2S6pXRRTvhdIr_L1oLmq5ZGldDSG5_61E6ixNe4Qyt6aDvvQ6wcGo2sgyyWfiNzTEzmmZpDzCqMd3TqUULrBfLbh4l9R9Dxvso21Jw68WnNFfDoYZQSQ/s1500/10V%20ticking.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1001" data-original-width="1500" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0-4dZqxHsbVGxiVoTdkEHn8zoTvLgeymd6LHTaEfplF3P92vWQrQws-mloI_M-BfpbS2S6pXRRTvhdIr_L1oLmq5ZGldDSG5_61E6ixNe4Qyt6aDvvQ6wcGo2sgyyWfiNzTEzmmZpDzCqMd3TqUULrBfLbh4l9R9Dxvso21Jw68WnNFfDoYZQSQ/w400-h268/10V%20ticking.jpg" width="400" /></a><br /></p><p style="text-align: center;"><i>You’ve slept too long in silence,” Mama said<br />Remember Mama said<br />"Crazy boy, you'll only wind up<br />With strange notions in your head"<br />Hear it, hear it, ticking, ticking *</i><br /></p><p> </p><p>With ink on the new degree still fresh, the young psychiatrist, on first day of residency, was getting an initial walk through of the hospital ward.<br /> </p><p>“ An extremely quiet child, they called him on his school report; this patient has almost totally withdrawn from the world around him, exhibiting a constant rocking and muttering”, said the supervising doctor.<br /><br /><i>Tick Tock, Tick Tock…</i></p><p><i> </i><br />“Opposite, we have one of our oldest patients, with an almost textbook case of self aggrandizement, who quite simply believes himself to be God Almighty." <br />“Thou Shalt Have No Other Gods Before Me!”, shouted the sonorous voice from within the cell.<br /> </p><p>"Next we have an interesting counterpoint, despite the gender reversal, this woman believes herself to be Jesus Christ, and the frequent interaction between these last two is fascinating."<br />“Father, why have you forsaken me?”, pleaded the tear stained face within.<br /> </p><p>"The other cases here are generally less interesting, the usual assortment of paranoia, schizophrenia, self abuse, most of whom are gradually responding to standard treatments and are expected soon to be released, if heavily medicated of course." <br /> </p><p>So it came to pass, not unexpectedly, that the young doctor would spend many hours documenting the deeply embedded psychosis of the first three, especially the rumbling pronouncements of the second, and the biblical pleading of the third.<br /> </p><p><i>Tick Tock, Tick Tock…</i><br /> </p><p>Until, one day, from the room of the quiet boy, the constant voicing of ‘tick tock’ was replaced by a shrill sound mimicking a ringing alarm bell.<br /> </p><p>“So be it!” thundered the Voice of God<br /> </p><p>And overhead, without much fuss, one by one, the stars disappeared.<br /><br /></p><p><br /></p><p class="js-lyrics-module-writers">* The opening introduction and part of the second line from '<i>Ticking</i>', written by<b> Elton John & Bernie Taupin,</b> off the album 'Caribou' - 1974, which I would have been introduced to about a year later. </p><div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/SOEkDIK1XvA" title="Ticking (Remastered 1995)" width="363"></iframe></div><p><br />
Well read science fiction fans may recognize the final line, stolen outright from <b>Arthur C. Clarke</b>'s 1953 short story '<i><a href="https://en.wikipedia.org/wiki/The_Nine_Billion_Names_of_God" target="_blank">The Nine Billion Names of God</a></i>'. Still considered one of the very best SF short stories of all time, and itself proof that a complex idea can be fully realized in brief. Clarke's original story runs only four and a half pages. </p><p>A tale involving the blending of these two core ideas has been stuck in my head for a good long while. One of those formless short stories that has never been realized. It might be fair to mention the childhood impact of the classic <b>Rod Serling</b> '<a href="https://en.wikipedia.org/wiki/The_Twilight_Zone_(1959_TV_series)" target="_blank">Twilight Zone</a>', which always was the mood I had envisioned. Fleshed out in the future?<br /></p><i>Opening image scammed off the internet (no photographer credit given) : <a href="https://www.thehrdirector.com/business-news/pensions/employees-face-ticking-time-bomb-as-they-approach-retirement/" target="_blank">here</a></i><br /><div alt="0" id="SL_balloon_obj" style="display: block;"><div class="SL_ImTranslatorLogo" id="SL_button" style="background: rgba(0, 0, 0, 0) url("moz-extension://6cc188e0-3e3c-d049-8edb-cb682986e6ec/content/img/util/imtranslator-s.png") repeat scroll 0% 0%; display: block; left: 454px; opacity: 0; top: 1633px; transition: visibility 2s ease 0s, opacity 2s linear 0s;"></div><div id="SL_shadow_translation_result2" style="display: none;"></div><div id="SL_shadow_translator"><div id="SL_planshet"><div id="SL_arrow_up" style="background: rgba(0, 0, 0, 0) url("moz-extension://6cc188e0-3e3c-d049-8edb-cb682986e6ec/content/img/util/up.png") repeat scroll 0% 0%;"></div><div id="SL_Bproviders"><div class="SL_BL_LABLE_ON" id="SL_P0" 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Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-360534640707843412023-12-26T12:03:00.000-05:002023-12-26T12:03:08.713-05:00Contemporary (?) TV series...<p><span style="white-space: pre-wrap;">Some observations : On television productions - What works for me</span><br /><br /><span style="white-space: pre-wrap;">We don't get commercial TV here. Our internet connections generally too slow to allow for the current high definition streaming services like Netscape. Sorry Disney, I refuse to pay for a subscription for a 'service' I can't effectively use - then pay again to watch a single film (case for 'Black Widow' which I would have paid $20 to view at home). So I have become an active pirate of free downloads of older programs, lower quality. Obviously seriously 'behind the times'. Although this has included a lot of movies, over the last couple of months our evening viewing has been working through one per night of several series. I am most interested in solid writing and solid acting. <a href="https://en.wikipedia.org/wiki/Aaron_Sorkin" target="_blank">Aaron Sorkin</a>, <a href="https://en.wikipedia.org/wiki/Joss_Whedon" target="_blank">Joss Whedon</a>, <a href="https://en.wikipedia.org/wiki/Barbara_Hall_(TV_producer)" target="_blank">Barbara Hall</a>.</span><br /><br /><span style="white-space: pre-wrap;">One of these is <b><a href="https://en.wikipedia.org/wiki/Grey%27s_Anatomy" target="_blank">Grey's Anatomy</a></b>. </span><br /><span style="white-space: pre-wrap;">I have always liked medical related drama (remember E.R. from 20 years ago?). This week we hit season 7 episode 18, '<i><b><a href="https://en.wikipedia.org/wiki/Song_Beneath_the_Song" target="_blank">Song Beneath the Song</a></b></i>'. </span></p><p><span style="white-space: pre-wrap;">Now I appreciate that many viewers at the time were thrown by the style developed over several previous years of episodes. To state my own bias, my limited exposure to the inner workings of theatre and actors has made it clear that the vocal abilities required in that trade does in fact lead may actors to have basic, if not quite good, singing voices. (One of my favourite Buffy episodes was '<i><a href="https://en.wikipedia.org/wiki/Once_More,_with_Feeling_(Buffy_the_Vampire_Slayer)" target="_blank">Once more with Feeling</a>'</i>.)</span></p><p><span style="white-space: pre-wrap;">Truthfully, given the story arc leading into '<i>Song Beneath the Song</i>', I was already emotionally invested. </span></p><p><span style="white-space: pre-wrap;">Then you hit the critical surgical procedure crisis, underpinned by '<b><i>How to Save a Life</i></b>' (originally by <a href="https://en.wikipedia.org/wiki/How_to_Save_a_Life" target="_blank">the Fray</a>)</span></p>
<div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/vUqX0teEqj4?si=LVZtedl1bp00Cexs" title="YouTube video player" width="560"></iframe><br /></div><p> </p><p><i>The version seen above is a <a href="https://www.youtube.com/watch?v=vUqX0teEqj4" target="_blank">clip straight from the episode</a>, the action and dialog foremost. For the <a href="https://www.youtube.com/watch?v=HHNy-znJP-Y" target="_blank">cast music alone (with lyrics)</a>. </i></p><p>This sequence in the episode is so strong, it is hard for me to imagine that producer / writer <b><a href="https://en.wikipedia.org/wiki/Shonda_Rhimes" target="_blank">Shonda Rhimes</a></b> did not have it in mind as the core of that story right at the inception. I have to admit, that piece did (and continues) to break me up.</p><p><br /></p><p>We are working through right now the far lesser known <a href="https://en.wikipedia.org/wiki/The_Nevers" target="_blank">'<b>The Nevers</b></a>', created by Joss Whedon. Despite the controversy about <a href="https://en.wikipedia.org/wiki/Joss_Whedon#Accusations_of_workplace_harassment" target="_blank">Whedon's behaviour</a> on set, I have enjoyed (viewed as favourites) almost everything Whedon has created. (I had already seen the first Part one grouping of six episodes, it took a long while to find an effective download for the balance, a total of only one season / 12 episodes unfortunately.)</p><p>Although older, and something I had viewed in entirety before, the fourth series in rotation right now is Barbara Hall's <a href="https://en.wikipedia.org/wiki/Madam_Secretary_(TV_series)" target="_blank"><b>'Madam Secretary</b></a>', which ran originally from 2014 - 2019. Into season five, which aired Fall 2018 through Spring 2019, it becomes more and more clear that imagined formal statements issued by lead character Elizabeth McCord (as US Secretary of State) are direct commentaries of the antics of then president Donald Trump. There are direct echoes here of Arron Sorkin's writing for <a href="https://en.wikipedia.org/wiki/The_West_Wing" target="_blank">'<b>The West Wing</b>'</a> (which remains one of, if not the most, favourite series dramas of mine).<br /></p><p> </p><p>Taken altogether, especially given the quite different settings and themes of these three currently viewed programs (and considering past favourites including <a href="https://en.wikipedia.org/wiki/The_Expanse_(TV_series)" target="_blank">The Expanse</a>, <a href="https://en.wikipedia.org/wiki/Firefly_(TV_series)" target="_blank">Firefly</a>, <a href="https://en.wikipedia.org/wiki/Defying_Gravity_(TV_series)" target="_blank">Defying Gravity</a>, <a href="https://en.wikipedia.org/wiki/The_Newsroom_(American_TV_series)" target="_blank">The Newsroom</a>), I started wondering just what is was about these particular fictions that impact me so deeply.</p><p>It is clear on reflection that what makes these series 'work' for me is a combination of excellent writing combined with effective actors. Actor' ability is especially important for the science fiction settings. If the actors themselves do not believe the characters, no amount of special effects or elaborate props can make the story seem 'real'. (Why gave up on '<a href="https://en.wikipedia.org/wiki/The_Mandalorian" target="_blank">The Madelorian</a>' after the third episode and was extremely displeased with the pathetic attempt of '<a href="https://en.wikipedia.org/wiki/Halo_(TV_series)" target="_blank">Halo</a>'.)<br /></p><p>For the modern drama, it remains much the same. Because of the strength of the performances, those characters seem 'real'. The writing is complex and nuanced, with issues illustrated with weight (even in the case of 'Grey's Anatomy', where face it, the personal relationships of late 20's somethings are the flow). In the case of the political stories, I just want so much for <u>those</u> people to be behind the workings, not the clown car we actually do have in control. <a href="https://en.wikipedia.org/wiki/Jed_Bartlet" target="_blank">Jed Bartlet</a> for President (which actually was a real, if tongue in cheek, movement during the second George W. Bush election in 2004).</p><p>Another core quality to so many (if not all) of these series is the obvious fact that the creators and writers, despite the narrow vision of controlling senior executives, are driven by a story they want to tell. Not merely just placing bums in the seats and so appeasing short attention spans of the mass of viewers. (See any of the recent crop of Disney's Marvel Studio for an obvious example of failures in writing, acting and pure pursuit of dollars.)</p><p>I am reminded (often) by Kelly that 'They are not making these for you.' Given my activities to circumvent paying subscriptions (despite the clear fact they are not functional here) or movie tickets (Honestly, almost consistently 'I'm glad I did not pay for that turkey' results) (1), this is most certainly a fair criticism. </p><p> </p><p><i>1) However, given my current income effectively is only 3/4 of the current minimum working wage in Ontario, I expect a bit more for what works out to two hours 'income' for that movie ticket (considerably more considering the cost of gas to even get me the 150 km up and back to the closest movie house).</i><br /></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-5917977668368289182023-12-22T08:19:00.001-05:002023-12-22T09:27:14.781-05:00Caherconnell bloom forging 1<p>Preliminary Report</p><p>Yesterday I started compacting a bloom fragment recovered at the Caherconnell Furnace Festival in Ireland late August this year.</p><p>The bloom piece was found laying next the the furnace constructed by the 'Irish Builders' team (father and son) who were new to iron smelting. They undertook the build on Friday, initially working under my direction, until tension arose over their accepting instruction. This had resulted in a furnace considerably distorted from the standard layout used by others at the event. (1) They would return on Saturday and undertake several smelt attempts, working basically without supervision. Because of this, and their total lack of any record keeping, the exact method to produce the bloom that they then abandoned, is unknown.</p><p>The ore used by the majority of the working teams was Irish Derryarkin bog ore. I would call this an older deposit, found as long layers under accumulated peat (not the kind of fresh deposits as found at the stream edge at L'Anse aux Meadows). The Derryarkin is an extremely rich ore :<br /></p><p>Ore <span> </span><span> <span> </span></span>Fe2O3 <span> </span>MnO <span> </span>TiO2 <span> </span>SiO2 <span> </span>Al2O3 <span> </span>MgO <span> </span>CaO <span> </span>P2O3<br />Derryarkin <span> </span>94.5901 <span> </span>0.5823 < LOD <span> </span>0.1656 <span> </span>< LOD <span> </span>2.2201 2.0916 0.048 </p><p>You can see that the iron component as almost pure Fe2O3 (elemental iron @ 70 % = 66 %)</p><p>The standard method used at Caherconnell in 2023 was 10 kg of ore per smelt. Individual blooms were extracted and only roughly compacted, mostly striking off any clinging slag and collapsing to a pancake. I did not observe any of the teams working in the edges of their blooms. Generally teams were getting weights at that point of 1.5 to 2.5 kg, respectable return yields for such small ore amount smelts.</p><p>The bloom piece recovered was s clearly crumbly in texture and contained visible slag. It is unknown if this was the complete return from one smelt attempt, or piece broken from a larger mass.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-cCXgWy9hyphenhypheno-QOxEYk7TMuIBMkhu5Fl6TYghzwO1Jtz2_oMluAENOGeFXgH397RuYWx35-Frx8SqyKy_phTGjdWE5ZNW5NMY-viP8BtdeK5QaRq_83ZYLqI3dLWhZzSUhpO0NAFiqBp613G44GVEW2Xk2NVeLdbl7oTgOQwT7XIxte7CIAe0pHQ/s738/complete.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="690" data-original-width="738" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-cCXgWy9hyphenhypheno-QOxEYk7TMuIBMkhu5Fl6TYghzwO1Jtz2_oMluAENOGeFXgH397RuYWx35-Frx8SqyKy_phTGjdWE5ZNW5NMY-viP8BtdeK5QaRq_83ZYLqI3dLWhZzSUhpO0NAFiqBp613G44GVEW2Xk2NVeLdbl7oTgOQwT7XIxte7CIAe0pHQ/s320/complete.jpg" width="320" /></a></div> <p></p><p>It was small, only 570 gms total. The volume was measured via water displacement to 100 cc. This gives a density of 5.7 gm / cc, which is in the range of other blooms I have measured. (1)</p><p>As a further check on potential 'quality', the piece was cut in two, down the notch visible above.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4KstKDNR0ZETRzwx7J8oMR-RWFh5WJIpws2Ni7ctFTqY0pt36hXVjkIvRjZhsq_zeqHP6cO35pgoFzvNGCTb0jlQTZ3fDhLErGmM1pp7fAJm_k4yOJsX8gtrTtzvFMNcwcMdKuqZkNMTb-Tb-f1Pye3XQv3eeHY0yHXH4MJfHGFRsxiGve_d9zA/s738/cut.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="606" data-original-width="738" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4KstKDNR0ZETRzwx7J8oMR-RWFh5WJIpws2Ni7ctFTqY0pt36hXVjkIvRjZhsq_zeqHP6cO35pgoFzvNGCTb0jlQTZ3fDhLErGmM1pp7fAJm_k4yOJsX8gtrTtzvFMNcwcMdKuqZkNMTb-Tb-f1Pye3XQv3eeHY0yHXH4MJfHGFRsxiGve_d9zA/s320/cut.jpg" width="320" /></a></div><br /><p>After cutting, the total weight was 555 gms, one at 243 gm, one at 312 gm. These pieces are actually small enough to make manipulating them a bit difficult in the forge (in terms of being able to both hold them with tongs and still be able to hammer them).</p><p>The compaction process was undertook using a bituminous coal, deep fire pot, forge here at Wareham, employing a cavern styled fire . (In comparison, compaction heat at Caherconnell was using fairly shallow, coke, forges.)</p><p>The first step was to flatten each of the pieces, under the hydraulic press. These were heated to a normal welding heat, then quickly transferred over about 25 feet to the press table (so given the small size, likely means some dropping from ideal temperature).</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrEpx__n5jQ_aY0OXAK5rDCYvX9gzdiZR7jcu6NH7Wb_5M5mBgevCMJBkh9nQwINMCh_bwD_BSzow1L2NnLaPTjEGdpBnvvzuOJfwDtX7r0DyVyIMqz4lx7swNx31rziA-_uyL9yFTlDoUb7vYloyvakOZSZzotidxKQIjMZso7JVCPj-VuU1iwg/s738/B-flat.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="738" data-original-width="698" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrEpx__n5jQ_aY0OXAK5rDCYvX9gzdiZR7jcu6NH7Wb_5M5mBgevCMJBkh9nQwINMCh_bwD_BSzow1L2NnLaPTjEGdpBnvvzuOJfwDtX7r0DyVyIMqz4lx7swNx31rziA-_uyL9yFTlDoUb7vYloyvakOZSZzotidxKQIjMZso7JVCPj-VuU1iwg/s320/B-flat.jpg" width="303" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The 312 gm piece flattened <br /></td></tr></tbody></table><p></p><p>After flattening, the two pieces were both roughly the same size, but the initial 312 gm piece was reduced to 8 mm thick, the 243 gm to 6 mm thick. For additional welding heats / hand hammering was taken on the flat faces (two either end) on both pieces. Then a set of four welding cycles to work the ragged edges in. During this work on the larger piece, a fragment of 42 gm cracked off.</p><p>The plates were shaped slightly to roughly match each other. The result was two small plates, 184 gm (from 243) and 196 (from 312). The total return at this stage was 76% (from bloom). At this point they were water quenched and taken to the grinder for spark testing. The larger plate was found to spark as relatively carbon free. The smaller plate had a large difference, one end at carbon free, the other showing similar to a mid carbon (1045) content.<br /></p><p>After weighing, these plates were wrapped with a single loop of fencing wire to hold them together, returned to the forge and welded together via hand hammering</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia0QL12cbwgN02BpI_R36GTXzvwl0L7aO0WQmTDNyQtfGQMMFbaLE85OsHBQWFrdgycNZtEIC_Se9InG0takkEviTeX4LuYmhzDB90gdbbBe7OwyhGOO1LgMbXnJhGC5lJqI2gWiXwe6bQEEdDMmFHp0BbxwrGAJQHmUX9e6FKwNVu5iPPo8YK4Q/s738/weld%20A.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="738" data-original-width="712" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia0QL12cbwgN02BpI_R36GTXzvwl0L7aO0WQmTDNyQtfGQMMFbaLE85OsHBQWFrdgycNZtEIC_Se9InG0takkEviTeX4LuYmhzDB90gdbbBe7OwyhGOO1LgMbXnJhGC5lJqI2gWiXwe6bQEEdDMmFHp0BbxwrGAJQHmUX9e6FKwNVu5iPPo8YK4Q/s320/weld%20A.jpg" width="309" /></a></div><p></p><p>The majority of the wire would break off during the first welding course, and so is not considered to have added significant mass. Again a total of four welding heats were directed on the flat, four more on the edges. During this set, the bar would break into two pieces.<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCNIxMtzHEnVSO54koMX1EcmSxBHkwdsfR2T3iRqgBwkKcJl_QPCPlt8lPrJz4OEM4JzZODBmot4_41SR0ltcrUEqYuz1WZlWsr4S3keYb4dNF2HkOtRKud5kn_wifBjmT8AcGbPD14NKpqfEYqLAj0O6PjZLKzE3JPKNyKf98vYcmORQhIi5L9Q/s738/break-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="453" data-original-width="738" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCNIxMtzHEnVSO54koMX1EcmSxBHkwdsfR2T3iRqgBwkKcJl_QPCPlt8lPrJz4OEM4JzZODBmot4_41SR0ltcrUEqYuz1WZlWsr4S3keYb4dNF2HkOtRKud5kn_wifBjmT8AcGbPD14NKpqfEYqLAj0O6PjZLKzE3JPKNyKf98vYcmORQhIi5L9Q/s320/break-1.jpg" width="320" /></a></div><p></p><p>An attempt was made to compress / weld in the two ragged edges. The two pieces were forged to roughly the same size, with different thickness. Again these were looped together with wire, and hand forge welded together using a similar sequence of four / four. Over this process, the block would again fracture, several times.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXuS_Yf8kz84Q0Mjt_UiVeFJQY1dtHmMNvYrXcKEW5KpdtSrM5Ar8K20NybYCVDg-46rHT8b-ZXGRURjBVD4L_8FhlWIQu1yqPLZxy0bFcrrzsrGpR0Ok72rgl1JqxdVRk7pEba7GMtJGohcx2IOko3Ztbthf5Tw7WbJlMUNHQpi5lZd35cVvWgg/s738/pieces-2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="467" data-original-width="738" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXuS_Yf8kz84Q0Mjt_UiVeFJQY1dtHmMNvYrXcKEW5KpdtSrM5Ar8K20NybYCVDg-46rHT8b-ZXGRURjBVD4L_8FhlWIQu1yqPLZxy0bFcrrzsrGpR0Ok72rgl1JqxdVRk7pEba7GMtJGohcx2IOko3Ztbthf5Tw7WbJlMUNHQpi5lZd35cVvWgg/s320/pieces-2.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>gromp fragments recovered to right</i><br /></td></tr></tbody></table><br /><p>The overall result at this point is one small bar, showing some edge cracking, and three roughly similar square pieces. The total weight of all is 275 gm, with a further 27 gm of small fragments recovered that broke off various edges during forging. This places the effective loss (into bar) at this stage at only 50% from bloom. </p><p>The metal is continuing to be very crumbly in texture, prone to large fractures during forging. It needs to be pointed out that the metal was brought up to welding heat before each hammer cycle, and never worked below an orange heat. The reason for this cracking is not clear. The overall carbon content is low, which normally makes for easy welding up and drawing out. I had thought phosphorous content from the ore might be a cause, but on a return to the ore analysis, this element is in low concentration. (3)</p><p>This bloom is proving quite frustrating to work with, primarily because of the way it continues to break into small fragments. At this point (basically three compaction phases) it still remains a long way from a refined working bar, yet the losses are swiftly increasing. This compared to about two dozen other blooms I have rendered down into bars, where the usual return has averaged about 65%. <br /></p><p>The pieces remaining are too small now to easily manipulate in the forge. The best next step, given the small pieces, would be to 'cheat' and MIG weld the fragments on to a long bar on one edge, then weld that tall stack together.<br /></p><p><br /></p><p>1) The layout for furnaces was set for a circular 25 cm ID, stack height in the range of 30 - 35 cm. The furnace built was an oval cross section at 30 x 35 ID. This changed the internal area from the intended 156 to 265 cm2. A significant change (and potential problem) put against the fixed volume electric blowers available.<br /></p><p>2) A report covering 30 blooms created at Wareham over the last 15 + years shows the average density at 6 gm / cc : '<a href="http://www.warehamforge.ca/ironsmelting/iron2022/density/density.html" target="_blank">How Dense are you?</a>'<br /></p><p>3) It is important here to remember that the majority of blooms created at Wareham have used our red oxide analog, which contains <u>no</u> elemental phosphorus.<br /></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-21759766807668047872023-12-09T10:05:00.001-05:002023-12-09T10:05:11.678-05:00A Review : 'Iron Smelting in Viking-age Iceland' by Short & Oskarson<p style="text-align: center;"> <span style="font-size: large;">Review :</span><br /><span style="font-size: medium;">‘Iron Smelting in Viking-age Iceland: a study based on experimental archaeology’</span><br />William R. Short and Reynir A. Óskarson<br /><a href="https://www.hurstwic.com/research/iron/index.html">https://www.hurstwic.com/research/iron/index.html</a></p><p><br /><i><b>Disclaimer</b> : I had been involved, at the initial start of the Hurstwic iron smelting project, then during the lead up to the 2019 project in Iceland described in this document. I was removed from the project with only two weeks advance notice from the departure date. The reason given was ‘differences in approach’. At the time this appeared to be because of my attempts to communicate individually with other team members, specifically contributing archaeologists. It is worth mentioning that I had previous working relationships with several other team members (iron maker Jeff Pringle / blacksmith Jim Austin / archaeologist </i><i>Margrét Hrönn Hallmundsdóttir) , and had been instructed to stop any attempt to contact them and others involved privately. Bill Short of Hurstwic demanded total control of this project, needless to state that he and I came to not agree on methods, most especially the free flow of information. </i></p><p><i>This critique is presented largely in the same order as the descriptions in the text. All quotes from the report.</i></p><p>On <i>Experimental Archaeology</i> :</p><p><span><span> </span></span>This initial section attempts to validate the approaches used by Hurstwic, without detailing any specifics on the sequence, instrumentation, or record keeping that would be employed. Some of this information <u>will</u> be given through the body of the report, but not in a systematic format, with important data missing. The statement “This approach allows us to make deductive leaps and have confidence in the validity of our ideas.” suggests that established methods employed in Experimental Archaeology are not well understood here. (Specific examples of this as this commentary continues.)<br /><span> </span>Two hypotheses are presented :<br />“…it is possible to smelt high quality iron using tools, techniques, and raw materials known to have existed in Viking-age Iceland. “<br />“… high quality iron can be smelted using locally-sourced materials gathered close to known smelting sites in Viking-age Iceland. “</p><p>On <i>Archaeological Sources</i> :</p><p><span><span> </span></span>There is a long discussion about what is considered by the authors about what they describe as “…a problem we call ultimate authority…”, in this case specifically directed at what is presented as “…the widely held belief that iron smelted in Viking-age Iceland was of poor quality, a belief held by scholars and laymen alike and supposedly backed up by literary evidence.”<br /><span> </span>Throughout this report descriptions of iron ‘quality’ are often made. Significantly, there is never any attempt to define what these authors consider ‘good quality’ iron. It would appear to be related in some way to iron used for the construction of swords, as discussion of stories within the Sagas of Icelanders is made, specifically to references of swords bending during combat. (I will return to this later)<br /><span> </span>It is problematic that numerous references to the Icelandic Sagas are given (1), but there is virtually no actual descriptions of the <u>archaeological</u> finds at Icelandic iron smelting sites, beyond giving <span></span>the location names. The statement is made “Yet the excavations fail to reveal the process. How were the furnaces constructed?” The recovery of a number of furnaces at Hals (clay lined turf wall construction) and Skogar (stone base with potential turf upper) is well documented (and cited). A good number of other references are cited in the bibliography, but the bulk of these are only available in Icelandic language versions, so are not easily accessible outside Icelanders. </p><p>On <i>Viking Age Iron Smelting</i> :</p><p><span><span> </span></span>Presented as a very brief overview of the general bloomery iron smelting process, what is presented is generally accurate. <br /><span> </span>It is significant however that there is little to indicate what is specifically Viking Age / Norse about the rough description presented. No illustrations of recovered furnaces from archaeology (of which there are a significant number of examples over Northern Europe). This is especially frustrating related to the four Icelandic iron production sites mentioned in the section above, <br /><span> </span>The following production values are given : “In order to create a one kilogram finished iron bar, about 2 kg of bloom was needed, created using 4-8 kg of ore and 8-16 kg of charcoal.” There is no indication of where these (questionable) figures are derived. (2)</p><p>On <i>Research</i></p><p><span><span> </span></span>It is noteworthy that the values given for the iron ores are properly corrected from the impossible numbers published earlier by Hurstwic. (3) What is lacking is any discussion of the high variability of primary bog iron ores, certainly between physical locations, but also over time. These factors very important when considering the changes in local environments within Iceland over the last 1000 years.</p><p><span><span> </span></span>Pure bentonite has a melting point of approximately 1200 °C (a figure that should have been mentioned). Available clays can vary widely in melting points, especially as compared to the expected internal temperatures within a smelting furnace in the range of 1350 + °C. This remains a universal problem when building furnaces using locally sourced materials. <br /></p><p>“The details of the furnace construction are not clear from available evidence, but we speculated the furnace was a pile of turf blocks with a circular open central shaft lined with clay forming the stack. “ </p><p><span> </span>Although Smith’s excavations at Hals are mentioned, that evidence clearly indicates construction using a conical stack with a central shaft. Although there is certainly no reason not to use the flat stack method proposed, it is disingenuous to suggest there are no historic prototypes available. (4)<br /><br /><span> </span>The section on ‘Measured Furnace Temperatures’ lacks enough details to consider it hard science. How were the temperatures determined? Exactly where were those sensors placed both vertically and in relation to the air input? It is stated “Additionally, turf provides excellent thermal insulation, as shown by temperature measurements of experimental furnaces suggesting that a turf furnace might operate more efficiently than, for example, a free-standing clay furnace.” Potential high temperature production from burning charcoal is never a concern, outside of the dynamics of available air volumes. Heat * retention * is rarely a problem in bloomery furnaces. Given the continuing discussion in this report of the problem of the low melting point of the local bentonite clay, if anything a highly insulating wall is more likely to promote clay lining failure. The actual situation is that excess heat radiates off the exterior of free standing clay furnaces, and so thicker walls are more likely to significantly melt / erode. It is also stated “…unlike free-standing clay furnaces which suffer from cracking during repeated heating/cooling cycles…” which is definitely not the case. This may have been intended to mean ‘cracking during the initial drying process’, which certainly can be a problem with poor building technique.<br /><span> </span>There is a discussion of modifying the available bentonite clay with the addition of silica, the method of using (basalt based) sand discarded as it is felt that natural sand is not widely available in Iceland. Instead, the source for a silica component is given as ash from burning horse manure : “The horse manure ash samples were high in silica and appeared to show promise as a possible refractory material for a smelting furnace.” Worth noting here is the comment made at the start of the report “We wondered if researchers had fallen into the trap we call modern mindset, an umbrella term denoting instances where our modern-day thinking, ideas, and prejudices interfere with our investigation of ancient times. “ Without any reasonable doubt, the concept of adding sand to clay for furnace construction might have been imported into Iceland, along with the whole mechanism of iron smelting itself. That silica as a chemical even existed was centuries beyond Norse knowledge, or that burning manure and adding that ash would be a useful component could be anything but exactly an example of the modern mindset trap. </p><p>On <i>Tests and Experiments</i> :</p><p>“The tuyere, the pipe which admits the air blast into the furnace through the side, was tested using various positions and various materials for which there is evidence of use in ancient times, including ceramic, copper, and iron.”</p><p><span><span> </span></span>This statement is somewhat misleading, in so much that this section appears to imply that Hurstwic operated in a vacuum, testing unknown elements effecting furnace construction and operation, without any suggestions from others. What is missing here is that the Hurstwic team was provided with training in all these elements long previously researched, tested and documented by others, most significantly the work of the <a href="http://www.darkcompany.ca/iron/index.php" target="_blank">DARC</a> team and <a href="http://www.warehamforge.ca/ironsmelting/index.html" target="_blank">myself</a> directly. Bill Short and others from Hurstwic undertook a three day iron smelting in the Viking Age <a href="http://www.warehamforge.ca/ironsmelting/iron2018/course-18/index.html" target="_blank">training workshop</a> here at the Wareham Forge in June 2018. This included extensive descriptions of the work DARC had already undertaken on the Icelandic / Hals re-creations (at that date, a total of 8 experimental smelts, work published back to 2007, and under discussion back as early as 2002) </p><p>On <i>Protocols</i> :</p><p><span> </span>Missing important measurement : interior diameter of furnace at tuyere level. As suggested by Sauder, there is a relationship between ideal air volume delivery and cross section area at tuyere. It should be remembered that the important value for a working smelt is burn rate however (see below)<br /><span> </span>Although use of some type of tuyere is mentioned, there is no description what so ever given, other than placement to the furnace wall (base depth and angle). The material it is composed of is not stated, no measurements provided, and it is not seen in any of the images. This is a critical absence, as there is considerable discussion via the known archaeology of what air insert system may actually have been used in Viking Age Iceland.<br /><span> </span>It is stated both clay and sand were transported to the working site. No mention of distances involved, hiding behind knowledge of Icelandic locations. It remains an important consideration that far more clay is required than sand in furnace wall construction, most typically only 25 - 50 % of the total. If during the Viking Age, clay would be transported as needed, why not sand?<br /><span> </span>Some details of the testing results of various clay to ash silica mixes would be helpful, what determined the 40 ash to 60 clay ratio (so only 16.4 % silica)? (Again noting that if composed of basalt sand, the amount of that material required would not be punishing to transport.)<br />It is also worth noting that although the original premise of this experiment was the use of ‘local’ materials, the description of sources of individual components was in fact scattered over much of western and northern Iceland. So the materials were only ‘local’ as far as being all Icelandic.<br /><span> </span>Burn rate is given as 5 minutes per kg (m/kg). Ore charging is stated as initially at 10 m/kg, later increased to 5 m/kg. All of these are clearly averages, over many hours and three different tests. This reduces the value of those numbers. No information is ever given of total amounts of ore that was used in each of the three smelts. This is highly significant, as larger ore volume smelts tend to produce higher yield numbers. </p><p><span> </span>The following values are presented : <br /> • Smelt 1 = 1.4 kg / 4.7 % yield (ore at 64 % Fe / blower)<br /> • Smelt 2 = 3.1 kg / 10.3 % yield (ore at 64 % Fe / blower)<br /> • Smelt 3 = .6 kg / 2 % yield (ore at 58 % Fe / bellows)<br /><span> </span>These are extremely low (to the point of embarrassment) returns, even more so against the high elemental content of the starting ores. As has been mentioned, if extremely small total ore amounts were added, such low production values might be seen, but that begs the (unanswered) question of just why minimal ore amounts were used. There is striking difference between smelt 1 and 2, for which no attempt at explanation is given.<br /><span> </span>There is an attempt to blame the extremely bad results from smelt 3 on the presence of sulphur in the (different) ore used. This is not the effect of sulphur’s presence in an iron smelt, which is primarily an effect of the forging qualities of the resulting metallic iron (brittleness). <br /><span> </span>There is no specific information provided about the air volumes / burn rates established for smelt 3. The human powered bellows used is not described in any detail at all, no physical measurements are given. There is no information on pumping rates during operation (certainly to be variable over the number of operators required during the many hours of a smelt). Most likely the poor results from smelt 3 are due to the use of this equipment.</p><p>On <i>Results</i></p><p>“ Analysis of the iron from furnaces #1 and #2 showed that it is excellent iron, nearly 100% pure, with an excellent crystalline structure and few inclusions of slag or other impurities.”<br /><br /><span> </span>Once again the description ‘excellent iron’ is made, without any definition of what this means. There is a marked difference between the image of one of the bloom pieces shown and the microscopic analysis presented. Clearly the bloom overall is fragmented, contains considerable visible slag and voids. The piece illustrated has been barely compacted after extraction. Contained carbon is described as an ‘impurity’ (more on this below).<br /><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://www.hurstwic.com/research/iron/pix/fig39_bloom1_and_bar.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="203" data-original-width="500" height="203" src="https://www.hurstwic.com/research/iron/pix/fig39_bloom1_and_bar.jpg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bloom section and compacted bar by Hurstwic from the Icelandic smelt.</td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><p>“We subsequently used period techniques to form a part of one of the
blooms into an iron billet, further proving the excellent qualities of
the iron.”</p><p><span> </span>What exactly where the ‘period techniques’ used for compaction here?<br /><span> </span>As noted, the reported bloom to bar return of only 50% does not indicate ‘excellent qualities’ to the created iron. Although an extremely small image, the resulting working bar shows surface cracks and possibly slag inclusions, both quite undesirable qualities to blacksmith.</p><p>“It was more than good enough for making tools, weapons, or other useful products.”</p><p><span> </span>Sorry. The initial contention was that the general impression of historic Icelandic iron being ‘of poor quality’ has been specifically joined to iron of suitable characteristics for particularly sword making. <u>Low carbon</u> iron was most likely the preferred product of Norse smelting efforts, the resulting metal is easiest to forge and for processes like hammer welding. The addition of small amounts of carbon (so potentially ‘bloomery steel’) changes the characteristics of the metal. Weapons on the other hand, require the addition of small amounts of carbon within the alloy (0.2 - 1.0 %) for rigidity and hardness. A soft, carbon free blade would in fact be likely to bend in combat use. It also would have little ability to allow or retain a sharp cutting edge. <br /><br />“It is quite possible that Hurstwic's iron was the first iron smelted in Iceland for many centuries.“<br /><br /><span> </span>Incorrect. <br /><span> </span>Earlier work by archaeologist <b>Margrét Hrönn Hallmundsdóttir</b>, who not only is cited as a source, but was actually one of this project’s team members, included a number of experimental iron smelts, conducted in Iceland, using stone chamber and turf wall construction, and date back to <u>2012</u>. </p><p>On <i>Conclusions</i> :</p><p><span> </span>It is clear that this team did in fact undertake a limited set of bloomery iron smelts in Iceland, utilizing primarily materials sourced from natural sources within Iceland, resulting in some iron being produced. At least one section had been compacted to a working bar. </p><p>“We were unable to falsify our two hypotheses, and so they still stand: evidence suggests that it is possible to make high quality iron with materials and methods known to have been available to Viking-age Icelanders; and that it is possible to make high-quality iron with locally sourced Icelandic materials.”</p><p><span><span> </span></span>Throughout this section, there is repeated use of ‘high quality iron’, yet there is nothing indicated by this report (beyond simple boasting) that this was in fact the case here. The extremely poor yields from these tests do not suggest any kind of reasonable return against the considerable effort involved. So much so that a solid case could be made that if historic iron makers would even consider the methods illustrated, it would be hard not to consider both their skill and product be ‘poor’. <br /><span> </span>If a solid definition of what constitutes ‘high quality’ or ‘excellent’ had been given in concrete terms (rather than vague subjective impressions), perhaps the conclusion stated above might have some value.<br />Any attempt to link these results to the handling characteristics of Viking Age Icelandic swords is questionable at best. <br /><br />Image taken from the report as published on the Hurstwic web site (viewed directly from that source)<a href="https://www.hurstwic.com/research/iron/pix/fig39_bloom1_and_bar.jpg"> https://www.hurstwic.com/research/iron/pix/fig39_bloom1_and_bar.jpg</a> <br /></p><p><br />1) The dominance of the Icelandic Sagas as accurate accounting of historical events, even down to small practical details, in the past investigations by Hurstwic, is clearly obvious throughout their published reports, lectures and videos.<br />2) Although it could be fair to say that the authors are covering themselves with the additional comment : “The ratios are highly variable and depend on many factors.” The conversion of bloom to bar given at 50% loss is extremely poor work (based on considerable documented work by myself and others), unless the starting blooms themselves are of low quality (meaning fragmented, and / or containing many voids and excessive slag - often seen in small blooms). In comparison, the ratio given for ore into bloom is quite high, up to 50% return given (a figure more typical of very large smelts, or with use of extremely pure iron content ores). Where this number is derived is questionable, especially since the best yield from the actual experiments was reported at no more than 10 %.<br />3) Originally the same pie chart was presented, only given as pure elemental content - not as the various oxides, the ore was stated as being ’91 % iron’. Not as Fe2O3 oxide only containing in total 70 % iron, so actually at best only 64 % elemental iron. This does still remain an excellent quality ore. Published (as promotion) by Bill Short on to the ‘<i>Iron Smelters of the World</i>’ Facebook group. see commentary : <a href="https://warehamforgeblog.blogspot.com/2021/01/truth-in-reporting-sample-iron-content.html">https://warehamforgeblog.blogspot.com/2021/01/truth-in-reporting-sample-iron-content.html</a><br />4) see : Markewitz, 2007 : <a href="http://www.warehamforge.ca/ironsmelting/HALS/index.html">http://www.warehamforge.ca/ironsmelting/HALS/index.html<br /></a><br /><i><b>Note to readers : I present my clear bias right up front.</b> <br />It is painfully clear to anyone that the Hurstwic report contains more omissions than hard data. Realistically, with so few measurements given, this report documents an Experience - not an Experiment. <br />I have served as a reviewer for the EXARC Journal for several years now, specifically for submitted articles related to ‘ancient technologies’ I have to state, despite my obvious bias towards this project, that I would not recommend the Journal publish this article in its current form, but instead have it returned for considerable re-writing. <br /><br />I am personally offended by the refusal of the authors to reference the published work I know full well they based at least their initial understanding of not only bloomery iron smelting in general, but the methods used during the Viking Age, and with Icelandic turf walled construction specifically. Although it is clear that they attempted to weasel out on this lack of credit through the inclusion of a final “The authors regret any omissions in this list.”<br />When you deliberately leave off any references to training provided, consultation given freely, published documents on which your own work is founded - what do we call that?</i><br /><br /></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-58986469545776988882023-12-08T07:19:00.003-05:002023-12-08T07:19:53.845-05:00Is DARC a CULT?<p> <i>(Sparked by musings perhaps spawned by a lack of coffee this morning. Kind of low ball humour?)</i></p><p><i> </i><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhINnHvDhCDKDO2fU1E3_D83fHPi5lC65eL0Ml7UwFaAOwQkeBP-huWvnPeKJuKFfOoO26raqwxodh_lDCpEOuWxdLHmLZ6oK0wcYAqj6RctsMxmQVUPzNswOougtYOZYtA3mH6_DvIfEJEBWVFm5NfJcCon1R7LG_07gWpyiB9KsBc-RoxY0M8yg/s1024/warning-signs-checklist-of-cult-characteristics-l-76384202.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1024" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhINnHvDhCDKDO2fU1E3_D83fHPi5lC65eL0Ml7UwFaAOwQkeBP-huWvnPeKJuKFfOoO26raqwxodh_lDCpEOuWxdLHmLZ6oK0wcYAqj6RctsMxmQVUPzNswOougtYOZYtA3mH6_DvIfEJEBWVFm5NfJcCon1R7LG_07gWpyiB9KsBc-RoxY0M8yg/w400-h300/warning-signs-checklist-of-cult-characteristics-l-76384202.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://image1.slideserve.com/3053574/warning-signs-checklist-of-cult-characteristics-l.jpg">https://image1.slideserve.com/3053574/warning-signs-checklist-of-cult-characteristics-l.jpg</a></td></tr></tbody></table><br /></p><p>So - here is the thing <br /><br /><b>Is the Dark Ages Re-creation Company a CULT?</b><br /><br />So maybe a bit far fetched.<br />Or is it??</p><p><br /><span> </span>Those with drastically long memories may remember organizations like ‘<i>The Campus Crusade for Christ</i>’ (A) and ‘<i>the Moonies</i>’ who were quite active (and problematic), particularly on university and college campuses, back in the 1970’s. There were pamphlets widely circled among students, warning of ‘<i>The 10 Danger Signs of a Cult</i>’. (B) <br /><span> </span>Newly involved with the <b>Society for Creative Anachronism</b> in the mid to later years of that decade, one of the standard in group jokes at the time was that 'the SCA had nine of the ten danger signs' : </p><p>1) ‘The group has a charismatic and all powerful leader’. <br /><span> </span>The SCA failing right off the top of the list!. The SCA <u>had</u> a regional leader (a King), who a) often was not at all charismatic (won this via a martial tournament), b) had only as much real ‘power’ as anyone would grant them freely (and often did not, see point (a), and c) was subject to mandatory retirement from office every six months for an entirely new individual. </p><p><br />Other points I could remember / imagine (I have not been able to find the original list from back when) :</p><p><br />2) You will be expected to assume an alternate identity, including special modes of dress.<br /><span> </span>The SCA expected you to assume a (somewhat ?) historic based ‘personna’ / character, often with a self fulfilling fantasy element. This character is expected to be presented, often to extreme detail, as historic individuals.</p><p><br />3) You will take on a new name, used only within the group<br /><span> </span>See above. (One of the standards of having a close friend was that you actually knew their ‘mundane’ / legal name.)<br /><span> </span> </p><p>4) You will spend increasing time in activities and events for which no one other than group members are allowed<br /><span> </span>SCA events were freely open to others, but only in so much that ‘An attempt at ‘garb’ / clothing is worn which resembles that from 500 - 1650 AD’. (So, at least mimicking, if not outright joining into the group.)<br /> </p><p>5) You will be expected to use a unique language, known only to other group members.<br /><span> </span>See examples above, add as many other examples as you would like here…<br /> </p><p>6) Increasingly, you will become more an more isolated from past friends and family, interacting with group members will dominate your social activities.<br /><span> </span>Common were weekly meetings, separate weekly combat practice (itself a specialized activity), several potential day long special gatherings every month, often related craft activity nights, major multi day ‘camping events yearly, long post event parties. All of which were pretty much confined to group participants only (or those on the edges of recruitment). It was very typical for members of the SCA to meet and establish intimate partnerships with other group members. <br /> </p><p>7) Promises of advancement or special standing for following the dictates of the Cult.<br /><span> </span>Well, honours are awarded inside the SCA for activities undertaken inside of, or for the support of, the group activities. Often those recognitions were clearly more important to the individuals who held them than any achievements outside the group itself. Decision making powers and special status, often granted (even expected) as well. <br /> </p><p>8) You will be expected to strongly promote the Cult, and engage in active recruiting of new members.<br /><span> </span>For the SCA, maybe not really expected, but certainly most members do actively attempt to encourage others to become involved. There are commonly smaller specialized associations created, which can have another layer of members only activities. <br /> </p><p>9) Activities within the Cult will be kept hidden and details kept secret.<br /><span> </span>Honestly, this presents another major failing of the SCA as a potential Cult. Try to stop anyone involved from going on at amazing lengths about personal research, object making activities, who did what, where, and when. To be fair, there was a point in the early days when those involved did attempt to limit description (if not hide involvement outright) to institutions or authority figures. (Remember trying to explain to a police officer why you had a bag full of armour and swords?)<br /> </p><p>10) The Cult leadership demands large amounts of member funds or other assets be turned over to them personally. <br /><span> </span>Seriously? Yet another major fail for the SCA as Cult! Yea, everyone bitches about the cost of the basic membership, that 50 - 60 dollars a year sent off to the head office in California. Yes, individual members certainly do invest huge amounts of coin, effort and time into equipping themselves <u>personally</u> in clothing, accessories, specialized tools for craft work, extensive camping gear or portable room setting, ... Many ‘expensive’ gifts are given to others. All of this is completely voluntary (see ‘attempt at costume’).<br /><br />Ok - Spin those Signs against DARC<br /> </p><p>1) Leader<br /><span> </span>Maybe a bit charismatic? (To be fair I am aware that I do have Leadership abilities, but that may be personal ego talking!) All powerful? Not a chance! Individual group members almost all have strong personalities, plus proven abilities for organization of their own. Most are just as happy to let someone else take on the heavy lifting, but Truth be Told, it is more like herding cats… <br /> </p><p>2) Identity<br /><span> </span>Well, this is certainly true. As with the SCA however, those choices are made by the individual. A case could be made that members are ‘forced’ to pick a personna within a specified historical time frame and rough regional location (Norse or in direct contact with Norse, we even allow Saxons.)<br /> </p><p>3) Name<br /><span> </span>Also certainly true. Because members are a bit lazy and all have very wide social circles, there is a tendency to use the character names when we are together and out of historic dress as well. (Everyone knows a lot of ‘Daves’ - but there is only one ‘Grimmi’.)<br /> </p><p>4) Activities<br /><span> </span>Hardly. If there is one continuing problem it can actually getting members up here (mainly) to participate in specialist activities. All are extremely busy with all sorts of communities, well outside of DARC.<br /> </p><p>5) Language<br /><span> </span>Does Old Norse count? (although only a few of us speak it beyond the odd word) Maybe joint examples of ‘museum speak’ and in public presentation (only) attempting to maintain the ‘rhythms’ of people from a past cultural set.<br /> </p><p>6) Isolation<br /><span> </span>Again - see point 4. If anything, involvement with DARC has lead many individuals to expand into formal academics, placing themselves in front of the public at huge events.<br /> </p><p>7) Advancement<br /><span> </span>Given that within DARC there is absolutely no rank structure at all? Beyond this roles individuals have chosen for themselves (Ragnar gets blamed for everything, Kettil gets made fun of as his health fails, …)<br /> </p><p>8) Recruitment<br /><span> </span>Exact opposite! One of our largest problems right now is actually finding new people (crazy enough) to take part in our activities.<br /> </p><p>9) Secrets<br /><span> </span>‘Got a minute? Let me tell you about … (pick specialized craft, bizarre fact, most recent research topic - insert here)’ Given the number of workshops, lectures, physical demonstration, web documents, formal articles, conference presentations,... that so many members undertake? <br /> </p><p>10) Donations<br /><span> </span>You <u>are</u> kidding, right. Given the losses I have taken organizing large scale group activities over the last 20 years? At least people do buy me scotch…<br /> </p><p>I make that maybe two out of ten, both related to the use of characterizations in living history activities (and those primarily those in front of the public). A bit of fuzz on the names?</p><p><br /><b>So yes, Concerned Parent, it remains (relatively) safe to the sanity of your daughter/son to engage with the Dark Ages Re-Creation company. </b><br /> </p><p>A) A group that I personally had been involved in for a (thankfully) short time, as they expanded down to high school level. I would have been in grade 9, about 14 - 15 years old. The forceful insistence on an Us or Them (you were either ‘Saved’ or unworthy) pretty much killed any acceptance I might have entertained to the Christian Church. (I had been raised in a fairly strong Presbyterian household, a faith that both suited and well sustained my mother.)</p><p><br />B) See ‘the Cult Database : <i>Cult Warning Signs</i>’ : <a href="https://www.cultdatabase.com/articles/cult-warning-signs">https://www.cultdatabase.com/articles/cult-warning-signs</a><br /></p><p><i><span> </span>Part of the inspiration leading to this navel gazing was dealing with a
recent publication by a certain self described ’Heathen’ organization,
based in Massachusetts USA. </i><i><i>Lead by an individual who has repeatedly demonstrated an
insistence on tight control to communications and information flow. </i>Filtered by a long conversation with an old friend and trusted
academic colleague.<br /><span> </span>As
individuals within DARC age, potential new members seem harder to find
and encourage, and significantly as I personally feel declining abilities
with time, I do start wondering about the future for a group that I have
put a significant amount of myself behind over the last + 20 years.</i></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-19499256284424677882023-11-12T08:39:00.003-05:002023-11-12T08:39:50.132-05:00Jackson House Railings<p> This project, initiated back in late May, was way too long in completion. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8LzJ5zvrZndThbbG019S7Ohh2dif-L06RwAoAZRtTO-T8ZWYBWO2V7rv_CMhroZeEuGpH7HONdwJPPyomIhlOabiJDGgvFwhRg6Q0ITiE7rKd9cnj7AA7ONEnkvujYYb8g2coMgX4EVDelVgHP3fLEPzcsrkzuVu50cu2H5AaKO4N44ukU-dUlA/s903/Jackson-LongA.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="903" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8LzJ5zvrZndThbbG019S7Ohh2dif-L06RwAoAZRtTO-T8ZWYBWO2V7rv_CMhroZeEuGpH7HONdwJPPyomIhlOabiJDGgvFwhRg6Q0ITiE7rKd9cnj7AA7ONEnkvujYYb8g2coMgX4EVDelVgHP3fLEPzcsrkzuVu50cu2H5AaKO4N44ukU-dUlA/w400-h319/Jackson-LongA.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Original Concept - Top Side Railing</i><br /></td></tr></tbody></table><br /><p>The project included a set of seven small railing pieces, mounted on a series of natural limestone steps running down the side of the house from the front to a much lower back yard, with one longer segment set at the top level. Another short piece mounted at the front entrance single step up. The design 'Arts & Crafts', inspired by patterned glass set into the front door. For a fuller commentary on the design aspect, see : <i><a href="https://warehamforgeblog.blogspot.com/2023/07/inspiration-design-and-slogging.html" target="_blank">Inspiration, Art - and slogging</a></i></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXle11-TriDpkui8z1f4APfe-79ZQGJrPYbSo5eIRX5Ci2bAQ9brvKA9Ap9_T6fM8m_H-teKW9FWvz5SwSVPc5ZIS6DFTXBe9ZGXC9gV9BMu9dm8gRuJCPw1Hs7mTsus_mOoavxnZoXMK2js_-aLxKRZWnAflO-uMMIiLLOCKdPJzoO2a-b64o5A/s738/front.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="738" data-original-width="554" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXle11-TriDpkui8z1f4APfe-79ZQGJrPYbSo5eIRX5Ci2bAQ9brvKA9Ap9_T6fM8m_H-teKW9FWvz5SwSVPc5ZIS6DFTXBe9ZGXC9gV9BMu9dm8gRuJCPw1Hs7mTsus_mOoavxnZoXMK2js_-aLxKRZWnAflO-uMMIiLLOCKdPJzoO2a-b64o5A/w480-h640/front.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Front Entrance Railing - note pattern on door glass</i><br /></td></tr></tbody></table><br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsX57kGSEi_FOVvvxg_glokbf48YLQmIQHD2BIYfn50-fPyvxy7dO2N5Q47iNGQAN317d-7VPYZTlQKlJWCuGzV46U04KLqmCOh7arV-SpqWdR8slo9LHnzDtXt3w7U-bUp0dOLuqzQbXWryQci96-Yz9hX2-Febiwrm9t9BhQ_r4iujtgZ2tGdw/s738/top-close.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="735" data-original-width="738" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsX57kGSEi_FOVvvxg_glokbf48YLQmIQHD2BIYfn50-fPyvxy7dO2N5Q47iNGQAN317d-7VPYZTlQKlJWCuGzV46U04KLqmCOh7arV-SpqWdR8slo9LHnzDtXt3w7U-bUp0dOLuqzQbXWryQci96-Yz9hX2-Febiwrm9t9BhQ_r4iujtgZ2tGdw/w640-h638/top-close.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Side Top Unit - compare to layout above</i><br /></td></tr></tbody></table><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV7P9UijK0DSvM6y8p82SOwKMIy9hyBOg4SdvKri98VgzmYkpH3vC-uG91TShkqU4p1PrbDIO-AwUAZSvkU-rODKEDoh4w8i68HttxRUW8iXF3V9BWacW0WcwhL8VEmg3Bh_FuKfQzvLgWzXHvnp_vFBNDoD2IFu5kal-NDTTCSdLomILwfbxsSA/s738/side-upwards.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="738" data-original-width="554" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV7P9UijK0DSvM6y8p82SOwKMIy9hyBOg4SdvKri98VgzmYkpH3vC-uG91TShkqU4p1PrbDIO-AwUAZSvkU-rODKEDoh4w8i68HttxRUW8iXF3V9BWacW0WcwhL8VEmg3Bh_FuKfQzvLgWzXHvnp_vFBNDoD2IFu5kal-NDTTCSdLomILwfbxsSA/w480-h640/side-upwards.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Side Railing Set - looking upwards over the stone steps<br /></td></tr></tbody></table><br /><p> Those who have been following my <a href="http://www.warehamforge.ca/railing.html" target="_blank">architectural work</a> will notice the similarity in design to an earlier project, <a href="http://www.warehamforge.ca/ARCHITECTURAL/railings/Richards/Richards-RB.jpg" target="_blank">Richard's House</a> - 2009, also in Arts & Crafts style.<br /></p><p> </p><p>This is the first architectural project I have had for some time now. Truth to be told, there was more delay involved in both starting and completing this work, partially due to fitting the build and install around other previously committed projects. A major complication was due to simple aging. First * I * most certainly do not work as quickly as a was once able, and even during this build found a serious decline in ability. (At the start in June, I was able to complete six of the long tapers in three hours, by October this was down to half that production speed in a forging session.) My equipment also showed it's age over this work. I had failures of my air hammer, industrial welder, bench grinder, and problems with two corded electric drills during the last installation. <br /></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-42103622745023613282023-11-11T11:26:00.002-05:002023-12-29T18:31:42.498-05:00Remembrance (10 lines)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbazcUn9AXdHWUxQI5DUn32k_kytHGE9oDrjdQKJ9JFsFBLJRUT1oGEp6bixTBx8Ct6ts4yACKxmObgNn3ImqGhIO2ZsEy0_LtM1Ti0MV5yPUiZBi1riUOseA5mgGRxnqXA8Nc2nWjEQSbhnW9RhlNgvdMxA_crkejWz-P_bRD9NqQ0V3psEzayg/s780/10U%20remember%3F.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="439" data-original-width="780" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbazcUn9AXdHWUxQI5DUn32k_kytHGE9oDrjdQKJ9JFsFBLJRUT1oGEp6bixTBx8Ct6ts4yACKxmObgNn3ImqGhIO2ZsEy0_LtM1Ti0MV5yPUiZBi1riUOseA5mgGRxnqXA8Nc2nWjEQSbhnW9RhlNgvdMxA_crkejWz-P_bRD9NqQ0V3psEzayg/w400-h225/10U%20remember%3F.jpg" width="400" /></a></div><br /><p></p><p>So, I was in Toronto last Wednesday, November 1, on the TTC from north 417 station down to Queen east near Coxwell, then later back out. </p><p>Ok, I get it, still a week and a half from The Day, but still…</p><p>Hardly a poppy to be seen, and those almost exclusively found on older English looking males.</p><p>I kind of understand that you are originally from some part of the world far removed from Europe.</p><p>That you are young, and the conflicts since WW2 seem far away, unimportant to your self absorbed world of social media. </p><p>‘Never Again’ means to you ‘someone else’s problem’</p><p>Is there any understanding that sometimes you do have to stand up and just say No More, with raw force if required?</p><p>So you think it is fine to break the implied Moral Contract between the soldier, who has placed their own mortal body and fragile mind, and the civilian, who sleeps comfortably in a warm bed and belly full. </p><p>You can’t imagine, You don’t Remember. </p><p><b>To those who * know *, ‘Thank You For Your Service’ is never enough. </b><br /></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-73076514880065845262023-10-05T10:12:00.000-04:002023-10-05T10:12:44.179-04:00On Click Bait - and going to the Source<h1 class="jeg_post_title"><span style="font-size: small;"><span style="font-weight: normal;">I had been presented with this ...</span></span></h1><h1 class="jeg_post_title"><span style="font-size: medium;"><span style="font-weight: normal;">" </span>Archaeologists stunned by 2,900-year-old steel tools in Portugal</span></h1><h1 class="jeg_post_title"><i><span style="font-size: small;">Steel tools were believed to have only become widespread in Europe
during the Roman Empire, but a recent study challenges this assumption.
The study shows that steel tools were already in use in Europe around
2,900 years ago, during the Final Bronze Age. <span style="font-weight: normal;">" (1)</span></span></i> <br /></h1><p><a href="https://www.zmescience.com/science/archaeology/2900-year-old-steel-tools-portugal/ ">https://www.zmescience.com/science/archaeology/2900-year-old-steel-tools-portugal/ </a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://cdn.zmescience.com/wp-content/uploads/2023/09/steel-tools-portugal.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="450" src="https://cdn.zmescience.com/wp-content/uploads/2023/09/steel-tools-portugal.webp" width="800" /></a></div><p style="text-align: center;"><i>Image linked from the original article (2) <br /></i></p><p style="text-align: center;"><i>" Photos: Rafael Ferreiro Mählmann (A), Bastian Asmus (B), Ralph Araque Gonzalez (C-E) " (1)<br /></i></p><p>Go and read the article and come back...</p><p><br /></p><p>Before I get into this, did you see the link to the actual report on the Experimental Archaeology? Very last line in the article :</p><p>" The findings appeared in the <em><a href="https://doi.org/10.1016/j.jas.2023.105742">Journal of Archaeological Science</a></em>. " (1)<br /></p><p>Ideally you should read that as well...</p><p> </p><p>Ok.</p><p>Do you see any significant differences between the two? </p><p><b>I sure did!</b></p><p>I took a look at the fluff piece first, then used the link to the actual
formal paper.
<br />Two different animals.
<br /></p><p><b>The <u>article</u> substituted 'temper' for 'harden'</b>. Any blacksmith would tell you that these are not even vaguely the same. <b>Hardening</b> iron metals involves high temperature and then quenching in some liquid, attempting to create a controlled hard material, where the initial carbon alloy content of the iron is critical to both method and result. <b>Tempering</b> is another process entirely, done as the last step, carefully and at much lower temperatures, which effectively <u>removes</u> hardness to a desired area and amount.<br /></p><p><br />Going to the actual <u>report</u>: </p><p>First thing that needs to be understood that the archaeological report is centred primarily on the question of how detailed carvings were made in specifically a hard quartz-sandstone type. The experiment included test carvings with replica stone, bronze and specifically several different copies of an iron alloy artifact tool.</p><p>The object itself, on detailed examination, shows no proof of hardening
at the point sampled, which was the top of the chisel, <u>not</u> the cutting
tip. As would be expected, that part of the artifact tool was annealed.
<b>Annealing</b> is the first of the three heat treating steps for carbon alloys in tool making, involving first high temperature and then slow cooling. This effectively removes any hardness and importantly stresses from the initial forging process.<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://ars.els-cdn.com/content/image/1-s2.0-S0305440323000201-gr9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="72" data-original-width="535" height="72" src="https://ars.els-cdn.com/content/image/1-s2.0-S0305440323000201-gr9.jpg" width="535" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span class="captions text-s"><span id="cap0050"><span class="label">" Fig. 9</span>. The chisel from Rocha do Vigio, length ca. 18 cm (Photos: Ralph Araque Gonzalez) ".</span></span></i></td><td class="tr-caption" style="text-align: center;"><i><span class="captions text-s"><span id="cap0050">(3) <br /></span></span></i></td></tr></tbody></table><br /><p>The tool in question is a very basic straight edged chisel with a square cross section of about 1 cm, total is 18 cm long. A bit narrow, but otherwise a pretty standard tool shape for detailed stone carving. (4)<br /></p><p><br />The conclusion about hardening being used on the artifact is based on
their making of a replica made of 0.60 % carbon modern steel, and its <u>use
effects</u> on the same stone as was used historically. The experimental tests suggested that to carve that stone, the tools used required some type of carbon alloy, with hardening
of to some state (importantly, not analysis of the artifact itself). A reasonable
comparison, but not <u>proof</u>.
<br />
<br />The artifact shows considerable variation in carbon through the cross
section, to be expected with processing a single bloom by folding, with
the bloom material varying from 0.17 % to as much as 0.83 % carbon, four
places were tested over a 1 cm cross section. Visually the polished and etched section looking like four
separate areas of a bloom forge welded together to create the bar. </p><p>This is important to understanding exactly what the material in this tool represents. Having made more that a few iron blooms, I can state that bloomery iron is not homogeneous, with contained carbon varying between top and bottom surfaces of the same raw bloom. The process of consolidating and purifying any bloom will require repeated flattening, folding and forge welding together. (The more dense the starting bloom, the fewer of those steps needed). </p><p><br />Worth noting that this is NOT a sign of either an attempt to case harden
or specifically place harder carbon metal at one edge. (To be fair, the report does
not claim either of these methods are visible).
Than any blacksmith could tell the relative hardness of an iron bar as it was being forged is certain. (Ask any contemporary blacksmith!) The quality and carbon content of individual working bars from blooms (even areas within the same stock bar) was well known right up to the introduction of Bessemer steels in the 1850's. That an ancient smith might save 'hard iron' specifically for tool making can hardly be questioned.<br />
</p><p><br />So - typical distortion of a limited report through limited understanding into bad description and
mis-use of technical terms - for impact via the popular press. </p><p> </p><p></p><p>1) <a href="https://www.zmescience.com/author/tibipuiu/">Tibi Puiu</a><a href="https://www.zmescience.com/science/archaeology/2900-year-old-steel-tools-portugal/">, September 21, 2023,</a>
</p><p><span><a href="https://www.zmescience.com/science/archaeology/" rel="category tag">ZME Science, Archaeology</a><span class="category-separator">, </span><a href="https://www.zmescience.com/science/news-science/" rel="category tag">News</a></span></p><p><span>2) Worth noting that I think the furnace depicted here is a very bad design. The extremely large difference between top opening and base diameter is certain to have a negative impact on the fall of added ore through the reduction zone, and bloom formation. </span></p><p><span>3)</span><span style="font-size: small;"><span style="font-weight: normal;"><span class="title-text"> Gonzalez, R. A., 2023, "<i>Stone-working
and the earliest steel in Iberia: Scientific analyses and experimental
replications of final bronze age stelae and tools</i>" in Journal of Archaeological Science, Volume 152,</span></span></span></p><h1 class="Head u-font-serif u-h2 u-margin-s-ver" id="screen-reader-main-title"><span style="font-size: small;"><span style="font-weight: normal;"><span class="title-text"><a href="https://www.sciencedirect.com/science/article/pii/S0305440323000201?via%3Dihub"><u>https://www.sciencedirect.com/science/article/pii/S0305440323000201?via%3Dihub</u></a><br /></span></span></span></h1><h1 class="Head u-font-serif u-h2 u-margin-s-ver" id="screen-reader-main-title"><span style="font-size: small;"><span style="font-weight: normal;"><span class="title-text">4) I have made a number of similar stone chisels for modern artisans over the years. Most typically of a middle carbon / 0.45 alloy, hardened by oil quenching and tempered to a 'red'. With good results reported, admittedly mostly used on limestone types.<br /></span></span></span></h1><p><span> </span>
</p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-57118201900304520712023-09-11T04:38:00.002-04:002023-09-11T04:38:15.427-04:00Women Become Wise…<p> So here is a thing.</p><p>Looking to Old Norse culture ( a place I spend a lot of time ) you see a pattern (?). Old men are still expected to keep up with the young wolves, their declining physical abilities are considered more detrimental than the value of any accumulated experience. First out into the snow should times get tragically hard. (As my gang in DARK are often to remind me.)</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8NHyMjzOJVOvcFN5W0WZtzFAi9zzgTBZSpuEqcm_5Hov26h6MkgJeuv1ghkx6bvpRo89Kjq-FDfki3YrpCurr2w64XUYlKsIu6JrJ_fI7MEmqcTEyFnM5UlerH9ByFbFiiQaHbOQKEO0MnS2NM4qRghUS3M1Iiw_9w3679q85VtdFCiia1vPvNQ/s353/27856885-4EC5-4C29-AA81-B9189F8BBC77.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="353" data-original-width="236" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8NHyMjzOJVOvcFN5W0WZtzFAi9zzgTBZSpuEqcm_5Hov26h6MkgJeuv1ghkx6bvpRo89Kjq-FDfki3YrpCurr2w64XUYlKsIu6JrJ_fI7MEmqcTEyFnM5UlerH9ByFbFiiQaHbOQKEO0MnS2NM4qRghUS3M1Iiw_9w3679q85VtdFCiia1vPvNQ/s320/27856885-4EC5-4C29-AA81-B9189F8BBC77.jpeg" width="214" /></a></div><br /><p>Older Women on the other hand…</p><p>Continue to be valued and preserved for their accumulated * wisdom *.</p><p>Ok, this is most certainly a sweeping generalization and mis interpretation. But those reading here ‘of an age’ have also likely seen a pattern emerging that has struck me more and more of late, especially with my own personal increasing decrepitude. I have many male friends who are skilled, experienced and knowledgeable (all different qualities, of which I have expanded on here and other places). But it is my female friends who constantly impress me with their accumulated wisdom. Which most certainly exceeds my own. </p><p>Thank you, those Wise Women who may read this. (You likely know who you are, so naming of names is not needed.) I’m often smart enough to vaguely frame a pattern, but so often quite unable to grasp any solutions. </p><p><br /></p><p>(Apologies to the original photographer and model of the image used above, scammed randomly off the internet.)</p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-33556475937799537082023-09-07T04:51:00.000-04:002023-09-07T04:51:06.994-04:00Trapped on the Tide<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTszq0YUhO9or1BoVRTmrzC4lxItZ0aZTBbRHHRhwSm7aDtob-QgSEcU4mbTcrJe0xJuSiIshM7WdF_sQzu0g82SSW49iZwpA5pHKiXXo0QCyJ6Y5G_CJApkya0FsdrrfpbVTQALG4G3-zvgxO1czjGGSGt_m8oNOfoXsvTFPnxdXRTygdzHt9LA/s3264/4B0C80B3-6A73-4121-B411-E07CA7E34C8C.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTszq0YUhO9or1BoVRTmrzC4lxItZ0aZTBbRHHRhwSm7aDtob-QgSEcU4mbTcrJe0xJuSiIshM7WdF_sQzu0g82SSW49iZwpA5pHKiXXo0QCyJ6Y5G_CJApkya0FsdrrfpbVTQALG4G3-zvgxO1czjGGSGt_m8oNOfoXsvTFPnxdXRTygdzHt9LA/w328-h240/4B0C80B3-6A73-4121-B411-E07CA7E34C8C.jpeg" width="328" /></a></div><br /><p></p><p>Isle of Skye</p><p>I had always thought of crabs as little organic tanks, just needing a gun sticking from below their eyes. I had messed with the concept back in art school, at least to the point of making drawings and collecting plastic model parts and a large carapace on my first trip to the Atlantic coast (about 1978).</p><p>But not all explorations to the landward side work well for intrepid explorers. Especially if there is a mis-understanding of scale.</p><p><br /></p><p>I can imagine my old friend and semi-surreal painter Steve Strang more better suited to this imagining. Thinking of his submarine in a bog, floating fishing boats and ‘universal protection suit’ series.</p><p>(Sorry about the small size of the image - please view at full size! This my first attempt to add a piece using my iPad, while on travels.)</p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-11298180363760489462023-08-19T08:46:00.002-04:002023-08-19T08:46:28.015-04:00Ireland and Scotland<p>I have a major trip planned to Ireland and Scotland coming up.</p><p>This has been in the (seemingly endless) works since the start of 2023. The major purpose initially was to finally attend the <a href="https://www.furnacefestival.ie/" target="_blank">Caherconnell Furnace Festival</a> (originally Woodford) which I have missed every year since it started in <a href="https://www.furnacefestival.ie/furnace-festival-2018.html" target="_blank">2018</a>. I had been considering attending in <a href="https://www.furnacefestival.ie/furnace-festival-2019.html" target="_blank">2019</a>, but the aborted Iceland iron smelting project overlapped, and I had already committed to that. Then my involvement there was cancelled virtually at the last minute (like 7 days before departure), so I ended up missing both. </p><p>Then COVID hit...</p><p>The <a href="https://www.furnacefestival.ie/furnace-festival-2020.html" target="_blank">2020 Festival</a> was done as a virtual international smelting day, with boxes of Irish bog ore shipped out to various locations. (DARC had contemplated undertaking a smelt using this material and our standard furnace, but the cost of shipping 30 kg to Canada was beyond our reach.) I had supplied a <a href="https://youtu.be/BfUzfGHuq7Q" target="_blank">video presentation</a>, but with the everyone still not too familiar at that point in remote access, this never got included in the program. </p><p>In <a href="https://www.furnacefestival.ie/the-festival.html" target="_blank">2022</a> the Festival returned, moving to the <a href="https://caherconnell.com/" target="_blank">Caherconnell Stone Fort</a> site, but between my major effort for Parks Canada at L'Anse aux Meadows early summer and lingering concerns still over COVID, I decided not to make the trip. Significant for that year was the development of both a furnace design (short shaft with bellows plate and blow hole) and working method (multiple top extraction of smaller blooms in a continuous sequence), that ideally suited the extremely rich bog iron ore available locally in Ireland.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHYG4MDoSdpkapk-rI-OTZFhDfnVu2nFJZwsfBiUs7HkuFkbkQi2Mr39HzVYJ9dpqR8sxYUvZ4uqki8Lx1rn-JOOqEkl9s4tIvyEmDusYfE1SgnB_JAMsnHWeO-GRmpw0WDUunTtOp8iy-KuJ929slRAoLRRc083Yg-zjk-csiKSoXAsOOlfjLuQ/s567/furnacefestival2022-26_orig.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="378" data-original-width="567" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHYG4MDoSdpkapk-rI-OTZFhDfnVu2nFJZwsfBiUs7HkuFkbkQi2Mr39HzVYJ9dpqR8sxYUvZ4uqki8Lx1rn-JOOqEkl9s4tIvyEmDusYfE1SgnB_JAMsnHWeO-GRmpw0WDUunTtOp8iy-KuJ929slRAoLRRc083Yg-zjk-csiKSoXAsOOlfjLuQ/w640-h426/furnacefestival2022-26_orig.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Caherconnell Furance, 2022 - image by Jens Olesen<br /></td></tr></tbody></table><p>Between my uncertainty of the working situation at Caherconnell, and more significantly my own recent decline in physical ability, my direct involvement is expected to have shifted for
me personally from a chance for further experimentation to more limited
participation, some observation, and generally just hanging out. There
may be some chance to work with Irish blacksmiths on the bloom to bar
phase, but given the expected (normal) limitations of field equipment I'm not sure how much I will be able to
contribute. I had
initially suggested a prototype for testing slag pit furnaces (known for early
Irish at other locations) but there was less interest in that build, largely because of local surface conditions (bed rock) and limited materials supply. I certainly hope to help out my old friend <b>Jens Olesen</b> from Denmark, who will be taking on a teaching element over Thursday and Friday. Likely also 'working the rope line' explaining the combined undertakings to the visiting public (something I do have significant ability and experience with!)<br /></p><p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr7k5f65Doq_RlFU6sBq99JCKDCHM06DASkVX8AM88tb0ct29taf6kExVJei1BG3HL3wPkGnRuNx3pcXYqvvKqND82Tyr24imKjd0XzsUPIKznzV-FCpU6ZOTxP5YpfGTH-6V9UGiEpPAWLgZo82zUBM5BxLsuxXre_3ye8wc9cjVgdnpxkftdPg/s754/test%20slag%20pit.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="754" data-original-width="656" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr7k5f65Doq_RlFU6sBq99JCKDCHM06DASkVX8AM88tb0ct29taf6kExVJei1BG3HL3wPkGnRuNx3pcXYqvvKqND82Tyr24imKjd0XzsUPIKznzV-FCpU6ZOTxP5YpfGTH-6V9UGiEpPAWLgZo82zUBM5BxLsuxXre_3ye8wc9cjVgdnpxkftdPg/s320/test%20slag%20pit.jpeg" width="278" /></a></p><p></p><p></p><p></p><p></p><p><br />Another major element of this trip was the potential to present at the European Archaeology Association annual conference <a href="https://www.e-a-a.org/eaa2023" target="_blank">EAA23</a>, which was happening immediately after Caherconnell - in Belfast. I had submitted an abstract early on, and was quite pleased that the paper / presentation was accepted. Originally I did not think I would be able to physically attend, as the lodging costs in Belfast were simply astronomical (even the cheapest hotel rooms were running $300 a night, or significantly more!)<br /></p><p>Late in organizing, I did manage to get lucky on affordable lodgings for at least two nights
in Belfast, so will be able to attend part of the EAA-23 conference,
including the day of my own presentation there. This being :</p><p>
</p><table>
<tbody><tr><td colspan="2">SESSION - 729 : Friday Sept 1 </td></tr>
<tr><td colspan="2"><b>Session title</b><br />EXARC: Reconstructing Past Narratives Through Experimental Archaeology</td></tr>
<tr><td colspan="2">4. People of the Present – Peopling the Past</td></tr>
<tr><td colspan="2"><b>Presentation :</b> #2296 (set later morning)<br /></td></tr>
<tr> <td colspan="2"><b>Title </b>: <br />Experiment, Archaeology & Art - The Turf to Tools Project</td></tr>
<tr><td colspan="2">ABSTRACT<br />Turf to Tools (2014, 2016)
was originally conceived as “ ... an ongoing investigation in to
landscape, material and craft, inspired by local archeological
investigations in Rhynie, Aberdeenshire.” The archaeological foundations
centred on the work of Dr. Gordon Noble’s investigations of Pictish
sites, notably the ‘Rhynie Man’ stone, and later the excavations by Ross
Murray at the ‘Iron Age Craft Working Site’ of Culduthel, nearby. To
date, a total of nine bloomery iron smelts have been undertaken for T2T,
the two main series at the Scottish Sculpture Workshop at Lumsden
(close to Rhynie). These included tests of the unique local Macaulayite
ore and peat as a potential fuel. Local materials would be utilized
using prototypes established by the archaeology, through methods refined
by experimentation, with an aim to replicating a specific object, being
the axe depicted with Rhynie Man.<br />Taken together, this project
illustrates an interface between archaeological research and practical
experiment, extended into artistic vision.</td></tr></tbody></table><p>This all does mean a lot
more moving from one side of Ireland to the other, so I guess most of
what we will see will be through bus windows.
<br />
</p><p> </p><p>For those who may not of caught it via Facebook, the Scottish side project work on
this trip has completely fallen apart. The original intent was to mount
a public demo of iron smelting, but I could not find a hosting
organization to even offer up a location. (I was going to cover all the supplies and my lodgings - Guess I am not the draw I thought
I was). So the third project component, Turf to Tools Phase 3, has been
reduced to only a personal deposit of a replica axe into a bog, now on
Skye. (This provided I can get the consolidated from blooms made during earlier phases into the replica Rhynie Man axe in the two working days left me
before departure!) Taken together, this is overall very disappointing and demoralizing. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwUK8X3E6u8BZw6cTpLB3QbV81JZjAC5Io_O_too0F7HeEZ4x8nTrrwovSU9O5GIen9YG5hXPqrFFmKfSqMVJA8IW7l3HoPt6n7PnWfPZfcQwJMVtppqrrbZsSDDmSRAaXGtd7Ws7vU76DJZ56Qw1m3gwbXdKj5MiyQ4WH6-CSvzz7J5VBE1VsHg/s635/Rhynie-axe-scaled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="635" data-original-width="612" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwUK8X3E6u8BZw6cTpLB3QbV81JZjAC5Io_O_too0F7HeEZ4x8nTrrwovSU9O5GIen9YG5hXPqrFFmKfSqMVJA8IW7l3HoPt6n7PnWfPZfcQwJMVtppqrrbZsSDDmSRAaXGtd7Ws7vU76DJZ56Qw1m3gwbXdKj5MiyQ4WH6-CSvzz7J5VBE1VsHg/w385-h400/Rhynie-axe-scaled.jpg" width="385" /></a></div><br /><p></p><p>With no institutional support (and my applied for Canada Council grant
unknown until we return in September) this trip is quite expensive, taking a big chunk of my personal savings (especially now I am on OAS income here).
Between the costs involved and my own increasing physical decrepitude,
this was likely going to be my last major and <u>working</u> trip. </p><p><br />
</p><p><i>PS - Note to regular readers. </i></p><p><i>Sorry for the general decline in additions here. In the past I had attempted one contribution here each week, lately one every month has been more the case. A number of major writing projects, preparing for helping at the Gallery for CanIRON 13, (finally) a railing commission, the time with my co-op student in the spring - and what seemed endless fooling around trying to organize this trip. </i></p><p><i>Will try to get better into the Fall...</i><br />
</p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-16763555259414879972023-07-10T09:15:00.003-04:002023-07-10T09:15:41.719-04:00Telling of Tales (10 lines)<p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_gHK2t8aPJo4xQbAtp3BolktO7ht8QQGSzt7N3izAQKnaCV4CcJfPL1aSlmCcQ7lAIv30AKFky3wx9Is7SNBP8WjhPht4WafQxxrFeuSQtEgSYUa7EIwqPIMY-9rVXFsbmIC2cuWHYOjXehheAowisBpyG64apXKv_HmLaXP35g-R8XJ4xuoV5g/s1224/10T%20storytelling.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="705" data-original-width="1224" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_gHK2t8aPJo4xQbAtp3BolktO7ht8QQGSzt7N3izAQKnaCV4CcJfPL1aSlmCcQ7lAIv30AKFky3wx9Is7SNBP8WjhPht4WafQxxrFeuSQtEgSYUa7EIwqPIMY-9rVXFsbmIC2cuWHYOjXehheAowisBpyG64apXKv_HmLaXP35g-R8XJ4xuoV5g/w400-h230/10T%20storytelling.jpg" width="400" /></a></p><p><br />Gathered around the fire, someone asked : “Is there anyone here who remembers the Time of Troubles?”.</p><p>They turned to the one, ancient of days, and said “Tell us the story”.<br /></p><p>He gathered his dim recollections, and voice still strong, started a Tale.</p><p>“ It was a Time of Heroes, when the men where tall and wide of shoulder, strong of arm and bold; the women were slender and graceful, nimble fingered and bright.”</p><p>His speech was slow and measured, as he sought to mingle facts with coloured words and spin out past events and characters.</p><p>“But what about this person and that?” someone interrupted, not understanding that the message of the telling was more important than mere details.</p><p>So in the tale, the characters became more heroic or evil, the events more dramatic. </p><p>The truth of the past became a parable of warning</p><p>“Did I mention, It was a Time of Heroes, when the men where tall and wide of shoulder, strong of arm and bold; the women were slender and graceful, nimble fingered and bright.</p><p> </p><p>And if that was not the way it actually was, it most certainly is the way it should have been.”</p><p> </p><p><br /> </p><p>This, like the telling it outlines, is a fable of itself, based on an actual event. One late night gathered around a fire at the recent SCA Trillium War event, the question was posed, and a story of the past woven. I was quite surprised (although in retrospect I perhaps should not have been) that only one other had any personal memory of that Dark Time in the history of the North. So the telling (and the weaving of a tale) fell to me. </p><p>A standard joke about my years of the SCA in Ontario is being 'older than dirt'. Only one other from that initial core group is (like myself) still marginally active, quickly approaching 45 years ago.</p><p><br /></p><p>Image is taken (without permission, primarily as it is not indicated just who took the photo) from : <br /></p><p><a href="https://www.dipaola.me/en/storytelling-next-big-thing/">https://www.dipaola.me/en/storytelling-next-big-thing/</a></p><p>I took almost as much time attempting to find a suitable illustration, something that at least might suggest the mood I wanted to create. (Note that I don't share the view point of the blog posting that image came from, for a number of reasons that will be clear to any who really know me.)<br /></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-34454708263257469272023-07-09T07:33:00.005-04:002023-07-09T07:36:28.725-04:00Inspiration, Design - and slogging<p>I have recently negotiated the first architectural / railing project I have had in quite some time. </p><p>The project is for a set of exterior railing sections, attached to a series of large natural limestone slabs which descend down the side of a private home, from street level at the front to the walk out basement level of the back yard. </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbELpIOEKK6bacnqazehjIhSAr6nw4tHHhUIjdRE47Pb0PLZ5PRwZU_tsVOxxgnDhJDctTXGMnXLjVBAWAh2IyqFs6ZUEFQe-8om87vpTyXnTfhJj14LLcBZQGi68mXZKASpLFDrqJoULurwx_1F86Mgrlr-UuPwAmuEIx_qWplbMnKkudUwOTQg/s850/image3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="638" data-original-width="850" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbELpIOEKK6bacnqazehjIhSAr6nw4tHHhUIjdRE47Pb0PLZ5PRwZU_tsVOxxgnDhJDctTXGMnXLjVBAWAh2IyqFs6ZUEFQe-8om87vpTyXnTfhJj14LLcBZQGi68mXZKASpLFDrqJoULurwx_1F86Mgrlr-UuPwAmuEIx_qWplbMnKkudUwOTQg/w400-h300/image3.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">View from the lower level, original suggestion of elements<br /></td></tr></tbody></table><br /> The individual slabs are quite wide, in the lower section each from 18 - 24 inches wide. The typical lift between steps is 6-7 inches (so the thickness of the slabs as well)<p></p><p>The customers wanted the design of the railing units to echo the lines of a piece of sand blasted glass set into their front door:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXvFNoB4uuxMfltRkrv3f1Zjq596WrtfvuiZP8bPqPBTcHlGas66rQJQ6-Tx79ZX6K850oyhSJfOjWQkFGwZRmuQ70Oey81RNfmZq6ppAt-GsgEUQZ9MGFts5bJcy_WtrG3eJDasKiO5kuHpbUGmM1Iug_Ti6KHcWtNZ-_ZIQz8CzHRCt0zMz6tg/s2560/P1050560.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2560" data-original-width="1920" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXvFNoB4uuxMfltRkrv3f1Zjq596WrtfvuiZP8bPqPBTcHlGas66rQJQ6-Tx79ZX6K850oyhSJfOjWQkFGwZRmuQ70Oey81RNfmZq6ppAt-GsgEUQZ9MGFts5bJcy_WtrG3eJDasKiO5kuHpbUGmM1Iug_Ti6KHcWtNZ-_ZIQz8CzHRCt0zMz6tg/w300-h400/P1050560.JPG" width="300" /></a></div><br /><p>After considerable discussion, they decided they wanted a larger number of short sections (total seven at 14 inches each) placed on individual slabs, rather than the two medium length pieces I had originally suggested. There is one two step section for the front steps into the main entrance, plus one longer section at the top part of the rear side, where the stone slab steps are much closer together. That piece has a bend in the middle to match the line of the slabs :</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijgXl-US4dv-tbDvHVzJveb-VelH9G81KBlksiNYgpOCt8_djupQbSbL5ADPM0rmQ5NGUBifOk-hWEiPRMeiUT2KWcf5VPJi1U8Bt0xxLQFqpYKxTv6qMCyBClIPQmHsAcALPNxElSYkxmdn_B1_xDNPZSaa_Iwnv1iZ4zKJ5mWafvM1KjcYWKuw/s903/Jackson-LongA.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="903" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijgXl-US4dv-tbDvHVzJveb-VelH9G81KBlksiNYgpOCt8_djupQbSbL5ADPM0rmQ5NGUBifOk-hWEiPRMeiUT2KWcf5VPJi1U8Bt0xxLQFqpYKxTv6qMCyBClIPQmHsAcALPNxElSYkxmdn_B1_xDNPZSaa_Iwnv1iZ4zKJ5mWafvM1KjcYWKuw/w400-h319/Jackson-LongA.jpeg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWuuJz_sWznmztRWIBAqh5WbQB2SKLTXIcifl2vRj85ps3ERZQvmW225ukpcwU5-GGOKlwHQhBiWv9h4OBKYd7wrcxWd-tQbjO_jOeGFDS4HMMR2jVNfyfMPcjYSFdoH2M4sfRCMW5myZwb-h4VQgUng0QhLsCYYkA3JWV5zXbVLlBcvc-qpMFPA/s1100/Jackson-shortBc.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1100" data-original-width="752" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWuuJz_sWznmztRWIBAqh5WbQB2SKLTXIcifl2vRj85ps3ERZQvmW225ukpcwU5-GGOKlwHQhBiWv9h4OBKYd7wrcxWd-tQbjO_jOeGFDS4HMMR2jVNfyfMPcjYSFdoH2M4sfRCMW5myZwb-h4VQgUng0QhLsCYYkA3JWV5zXbVLlBcvc-qpMFPA/w274-h400/Jackson-shortBc.jpg" width="274" /></a></div><p>The handrail parts are made from 1 inch heavy walled square tube, which is flattened down on the diagonal to 1/2 tall by 1 1/2 wide, with the ends capped :</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjat_uaqU09BQY4mtM5MWZRo-OK01BcCXpL4vp5a5NYFONjw4FJcDV1vfiXgddf9utOxZNzoOQ7qX4rWjeG0sCgJh5rh22xUpfTj7SVBRgzFdbcnPd2agaqSEDbQhf91Rq3SaDt2YYOCkJKkU4JbvMcYVU4wUTJbVMZ4pa4z_h69TnqNltY6c7VzA/s744/handrail%3F.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="295" data-original-width="744" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjat_uaqU09BQY4mtM5MWZRo-OK01BcCXpL4vp5a5NYFONjw4FJcDV1vfiXgddf9utOxZNzoOQ7qX4rWjeG0sCgJh5rh22xUpfTj7SVBRgzFdbcnPd2agaqSEDbQhf91Rq3SaDt2YYOCkJKkU4JbvMcYVU4wUTJbVMZ4pa4z_h69TnqNltY6c7VzA/w400-h159/handrail%3F.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">sample piece (here with curved end) of the proposed handrail<br /></td></tr></tbody></table><p>The uprights are made from 1/4 x 2 inch flat bar. Each is drawn out to a long taper down to 3/8 x 1/2 at the narrow end, over the entire length. This is in the range of 32 - 34 inches long, depending where they fit to the design, some longer elements in the layout for the longest rail section. </p><p>You can see this is basically a clean lined 'Arts and Crafts' style design overall. <br /></p><p><br /></p><p>Now comes the slogging part.</p><p>The overall project requires forging out a total of <b>45</b> individual tapered pieces from flat stock. </p><p>After two days of working, I have found it takes me 30 minutes each to forge the tapers. The effective heating cycle allows for forging three pieces at a time. Completing six pieces (so all together with prep and cutting, 3 1/2 hours heavy work) is about what is sustainable for me right now. *</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXj_b71dVFbkl45_TlBVre0cAApdLdOApjEZ0wcSg5ElgsBhYGZiPOnNHbyMX0pHof2i6RMf_-7ZILbJzo1OQFWDXn9QOroJvKVBun595wjRMDzxRnrBtOPkAclIs0PZJhALeUgJ1YDMj8HZxUVRRK0SaZQtPJuzTm4MPPLbKuPQc2B4DbA5wftg/s738/P1050638.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="481" data-original-width="738" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXj_b71dVFbkl45_TlBVre0cAApdLdOApjEZ0wcSg5ElgsBhYGZiPOnNHbyMX0pHof2i6RMf_-7ZILbJzo1OQFWDXn9QOroJvKVBun595wjRMDzxRnrBtOPkAclIs0PZJhALeUgJ1YDMj8HZxUVRRK0SaZQtPJuzTm4MPPLbKuPQc2B4DbA5wftg/w400-h261/P1050638.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">working sequence of forged elements<br /></td></tr></tbody></table><p></p><p>For my initial test, I started with a piece 42 inches long, drawing the required taper on one end. This to give me an adequate cold end to hang on to. The rough forging is done on the air hammer, with evening and straightening done after by hand. In the image above, that test piece has been cut to the average for the individual elements at 32 inches.</p><p>For the production sequence, the starting bars are cut to 52 inches, enough for one taper on each end. After the first taper is completed, this stretches the bar to 62 inches as shown. With two tapers complete, the bar reaches 72 inches total (better to have a bit too much material - than not enough).</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXx5rc1LgkYvZ_WVOowqicqqkZCZW3JXj9DoOET-IRHZd-7nq5-RXxzzKLq2Xicvs74PlxAV3hYFBxujGQo9YaI2UaT0yQaNU4kecNYdXlHy7Kz8YG2264aGemsJyap0usDx7GaUwNWrypMo27uUK5GnpgHHzwPeWR5L0CnYzsT08iRDiUH71Yw/s738/P1050637.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="443" data-original-width="738" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXx5rc1LgkYvZ_WVOowqicqqkZCZW3JXj9DoOET-IRHZd-7nq5-RXxzzKLq2Xicvs74PlxAV3hYFBxujGQo9YaI2UaT0yQaNU4kecNYdXlHy7Kz8YG2264aGemsJyap0usDx7GaUwNWrypMo27uUK5GnpgHHzwPeWR5L0CnYzsT08iRDiUH71Yw/w400-h240/P1050637.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">group of three pieces in the forge, one end already tapered<br /></td></tr></tbody></table><br /> As you might guess, manipulating pieces up to six feet long poses problems in a normally tight working space. Because delays pushed the ability to start this work from the start of June to the start of July, summer heat now becomes an important consideration. For that reason, I have set up my twin burner propane forge at the entrance overhang into the workshop, placing the (considerable!) heat generated outside the building. The air hammer is set up just inside the door that is where that image was shot from, about 10 feet away from the forge. <br /><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiADajODy6yBPjcH6qxsiaB80OSJUhE2_0uo_QsBc6EU2rCSvbyyZmyEFx_g5czVbjg2Lo22EImpfNlQFJSfu7X2day2iLv14_bSR-r0MUrQRGB1cpJl0XGHldmd45M36_MX2PIxg/s738/main.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="615" data-original-width="738" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiADajODy6yBPjcH6qxsiaB80OSJUhE2_0uo_QsBc6EU2rCSvbyyZmyEFx_g5czVbjg2Lo22EImpfNlQFJSfu7X2day2iLv14_bSR-r0MUrQRGB1cpJl0XGHldmd45M36_MX2PIxg/w400-h334/main.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">main workshop floor, looking towards entrance (1)<br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><p></p><p>Hand smoothing out the lumps and evening out is done on the large fixed anvil seen to the right in the image above. Ensuring the lines are straight is being done by forging against the heavy layout table seen in the lower left. (The top is a piece of 4 x 8 foot by 3/8 thick plate which permits this). </p><p>My intent is to produce six finished tapers each working day until I have all these elements complete = a total of 8 days. I fully expect NOT to be able to maintain that pace straight through without a break. * </p><p><br /></p><p>* Now officially a 'senior', I just 'ain't the man I once was'. Three hours serious forge work, added to the usual additional three plus hours every day for writing and other shop related tasks, is about what I can manage on anything like sustained basis.</p><p>1) that image was prepared for a commentary on '<a href="https://warehamforgeblog.blogspot.com/2020/06/distancing-at-wareham-forge.html">Distancing at the Wareham Forge</a>'. It shows the workshop set up for a typical training course here, with an additional anvil (just left of centre) and extra leg vice (normally set back against the right side near the larger anvil).<br /></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-79106785429779907322023-06-17T06:27:00.003-04:002023-06-17T06:28:12.496-04:00Bloom to Bar to Blade<p> As might be expected, I have a large collection of iron blooms, after over 20 years of experimental smelting. With the assistance of <b>Neil Peterson</b>, I have been trying to get a number of at least the smaller pieces compacted down into working bars. So far this has primarily focussed on sections in 500 to 1.5 kg range, basically half or quarter sections of our typical 3 - 5 kg results. (Noting here that there are a number of much larger, still complete blooms in the 8 - 11 kg range, plus the 16 kg monster made at ’65 for 65’.)<br /></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVKy0TsDdKzYSTykeNixGhgKE4EKT81mwG39WdtKaETfaN0_wLZntgKJ9w-6qHRVCO2T4fDFasYnrz4rsWytz3RHWx33owH1FkocYdircA3xdr-e_QNUeEaYYtp9zteYut8eGXwsKfq2hl_50Od1sOuGx8rv6ui0TDpHwXz3X18RNPBCIUHA8/s900/table-o-blooms.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="464" data-original-width="900" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVKy0TsDdKzYSTykeNixGhgKE4EKT81mwG39WdtKaETfaN0_wLZntgKJ9w-6qHRVCO2T4fDFasYnrz4rsWytz3RHWx33owH1FkocYdircA3xdr-e_QNUeEaYYtp9zteYut8eGXwsKfq2hl_50Od1sOuGx8rv6ui0TDpHwXz3X18RNPBCIUHA8/w640-h330/table-o-blooms.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>table of blooms (2016, so only to smelt #72 of the current 92) </i></td></tr></tbody></table> <br />Importantly, given the various source ores used, and the many variations on furnace design and sometimes method, the actual carbon content of the individual blooms can vary widely. There is everything from soft carbon free through to ultra high carbon (even to unforgeable cast iron) metals.<br />Any individual bloom itself is likely to have differences in carbon concentration between the bottom and top surfaces as iron is deposited and held at high temperature, usually for hours. <br /><br />As any individual bloom is built up, the amount of slag also deposited has been found to vary considerably, from very spongy textures through to quite solid masses. The amount and nature of the initial consolidation hammering is obviously a factor here too. <br />The process of converting a raw bloom into a working bar most typically follows a process of compressing, folding and re-welding. The normal sequence is :<br />- flatten to a plate (or ‘book’)<br />- fold and weld into a ‘brick’<br />- fold and weld into a ‘billet’<br />- draw out into a ‘bar’<br />The amount of force required changes as the iron solidifies. This may seem obvious, but in truth just how light the strokes may be need to be at the start of this sequence is counter intuitive without experience. Even without much force, heavier hammers are best employed, to ensure penetration through the entire mass (for me this means switching from my primary 800 gm to a 1000 gm). As the pieces are forged up, it is almost ensured that the there will be additional welds both along the edges (90 degrees to the folds) and often into diagonal flaws. <br /><br />All this taken together, results in a bar that will often have a distinctive linear, sometimes distorted, physical texture. Along with potential fine lines of slag inclusions, there are blended lines of changing carbon content throughout. These variations from a uniform structure can be made visible on a final object, especially if the surface is later polished and then acid etched.<br /><br />Creating a bloomery iron bar requires considerable skill, experience, much labour and expended materials. Taken together, these bars are one of the most valuable materials available to an artisan blacksmith.<br /><br /><i>So what do you make from these small bars, most in the 200 - 500 gm range?</i><br />Generally, the highest value small objects for most blacksmiths are knives. <br /><br />Now I have mostly stayed away from making blades from my bloomery iron. There are several reasons for this, one being that my work here has always been geared towards understanding early Northern European historic examples, not best possible production yields or aiming for high carbon alloys. Bloomery iron in North America has become completely dominated by the knife makers, where the bloomery process itself is seen as only a first starting step, not an objective of itself (something I remain very unhappy about). <p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO_Dbt4Pc-xCwub6oA1ck6e8aQO2GxxCqLgqXmS1LXLr-77ZPgm29HGGdnRLp2nPbUBs7SErJXmanNv3gf2H0jwkp9ogwZ20hlQRcuJljhhsAw0GuUEmuj5ypxSF4SkIbvEDap9JGgttRlx5VNRePJ8JUNEkrQpdKNdO8jb0e8vDHT9ItzcFU/s779/bloom-knives.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="779" data-original-width="752" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO_Dbt4Pc-xCwub6oA1ck6e8aQO2GxxCqLgqXmS1LXLr-77ZPgm29HGGdnRLp2nPbUBs7SErJXmanNv3gf2H0jwkp9ogwZ20hlQRcuJljhhsAw0GuUEmuj5ypxSF4SkIbvEDap9JGgttRlx5VNRePJ8JUNEkrQpdKNdO8jb0e8vDHT9ItzcFU/w386-h400/bloom-knives.jpg" width="386" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>forged blades, rough grind at this stage</i></td></tr></tbody></table><p>To be completely fair, the blade forms here were largely a secondary consideration, with the simple tube handles almost an afterthought. This collection represents objects forged up over the last two (Covid) years, many languishing as rough forged blanks until the last month. All the low polished blades (only to 100 grit) have been lightly etched in ferric chloride to bring up variation in carbon contents within the parent blooms. This shows as either lines or mottled patches, the lightest areas having the lowest carbon content (least effected by the etch). Infrequent slag inclusions that remained show as thin dark lines, especially visible in #6 (which was also the starting bar with the highest variation in carbon content throughout).<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb5YK_gRr-01sEz1-e-N6Yog0BLXWnuI9gRyseI5DGqCVjbwfqYTx8gHCop4QmyT5RuDLDOllTbYmIn0qasn9vYb9H4-JiOzhvYZZq78D3-e3T9JpXQ1E50oBvBPcvfg9GxACqt03BK3LkNUYyNr5G-u5dD_wB0LLkClxb1QudDT1vMKn4ST8/s2046/%235%20detail.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="890" data-original-width="2046" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb5YK_gRr-01sEz1-e-N6Yog0BLXWnuI9gRyseI5DGqCVjbwfqYTx8gHCop4QmyT5RuDLDOllTbYmIn0qasn9vYb9H4-JiOzhvYZZq78D3-e3T9JpXQ1E50oBvBPcvfg9GxACqt03BK3LkNUYyNr5G-u5dD_wB0LLkClxb1QudDT1vMKn4ST8/w400-h174/%235%20detail.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>detail, #5 Tool</i></td></tr></tbody></table><br />In keeping with my general interest in Norse objects, all these knives are V grinds (not the more modern, if stronger, sabre grind). <i>(1)</i> Both #1 and #2 are commissions, so are based on specific artifact sources. Several are intended for small scale domestic use (textiles or food preparation) and generally conform within Period 4B, type C series from Coppergate, York. <i>(2)</i> The two thick and wide blades, straight backed with sweeping curved edges, are a shape suitable for wood carving (form fitting function).<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEciC3MLvNR6T4ReraCTxSW13ozigJgkqaQllgQ_3xd0FA17iypNYXR-j17Xe73fCDyWW5-QV13L37GetJiV3bi6iHPNpsdUk8AlreFE3CDydLIRJZGIpTmhQJ-aaRSk-B5CG0llST1dWXxRAv80S5MPIRbYVuxBItZZMuLEr-aZpXlZmB-1g/s2422/bloom%20knife%20group.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="914" data-original-width="2422" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEciC3MLvNR6T4ReraCTxSW13ozigJgkqaQllgQ_3xd0FA17iypNYXR-j17Xe73fCDyWW5-QV13L37GetJiV3bi6iHPNpsdUk8AlreFE3CDydLIRJZGIpTmhQJ-aaRSk-B5CG0llST1dWXxRAv80S5MPIRbYVuxBItZZMuLEr-aZpXlZmB-1g/w640-h242/bloom%20knife%20group.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>knives as finished</i></td></tr></tbody></table><p>1) Kitchen / Boning : 20 cm blade x 3 mm thick<br /> natural antler (caribou) handle<br /> core from DARC 11/08 (sparks roughly 1030+)<br /> side slabs from <a href="http://www.warehamforge.ca/ironsmelting/LAM/Vinland4/report6-10.html" target="_blank">Vinland 4 / 2010</a> (sparks roughly 1020)<br /> ‘replica’ <i>(3)</i> of grave find at Ihre, Hellvi parish, Gotland, Sweden <i>(4)</i><br /><br />2) Small Norse Domestic : 10 cm blade x 4 mm thick (distal taper) <br /> (owner will apply antler handle)<br /> from <a href="http://www.warehamforge.ca/ironsmelting/LAM/Vinland4/report6-10.html" target="_blank">Vinland 4 / 2010</a> (sparks roughly 1020)<br /> a bit longer, but closest to #2829 from Coppergate <br /></p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr24djG1446qGL2mT5683TgnaoOXJ3KUVnJ67aNMGH9yH_fmglTV6b5r_HBot5lFke-tBO9Tn1I6EIkSetoP1S-upJi7GjrWzZFWu3Qi2v554Ov-Y3CPLTPeOnwPOZnkOL1XcihTZMfDJB16XVgq6oXpkNKW7XFNLvhv3yUM66z8nv0YRv1ds/s2304/replicas.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="896" data-original-width="2304" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr24djG1446qGL2mT5683TgnaoOXJ3KUVnJ67aNMGH9yH_fmglTV6b5r_HBot5lFke-tBO9Tn1I6EIkSetoP1S-upJi7GjrWzZFWu3Qi2v554Ov-Y3CPLTPeOnwPOZnkOL1XcihTZMfDJB16XVgq6oXpkNKW7XFNLvhv3yUM66z8nv0YRv1ds/w640-h248/replicas.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Boning #1 (top) and Small Domestic #2</i></td></tr></tbody></table><p><br />3) Small Carving : 8 cm blade x 5 mm thick (distal taper)<br /> natural walnut branch handle<br /> from <a href="http://www.warehamforge.ca/ironsmelting/November11/november11.html" target="_blank">Slag Pit 2 / 2011</a> (from higher carbon end of the bar)<br /> no specific prototype<br /><br />4) Medium Kitchen : 13 cm blade x 2 mm thick (distal taper)<br /> natural walnut branch handle<br /> a bit longer than the samples, again roughly P 4B / T C from Coppergate<br /> from Aristotle Furnace demo at <a href="https://warehamforgeblog.blogspot.com/2013/07/caniron-9-personal-view.html" target="_blank">CanIRON 9 /2013</a> (sparks roughly 1075)<br /><br /><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj_JNrvxGMBX7P7eSA4B5pcMRiDHBAk3PpjwbGNNPspqL92MqkEj9DJ8QpRrC7pthyIq9MTeb9Y0qeetiY842quVm2qRu9i7Bj8ntz5pMw6AEeoKRSqNQrMqjVh4pv53WaS3yM9t9fBojSD8EaFLMVjJ2XT13ke90STud14_AtCQTilhvqeos/s2330/antler%20handle.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="2330" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj_JNrvxGMBX7P7eSA4B5pcMRiDHBAk3PpjwbGNNPspqL92MqkEj9DJ8QpRrC7pthyIq9MTeb9Y0qeetiY842quVm2qRu9i7Bj8ntz5pMw6AEeoKRSqNQrMqjVh4pv53WaS3yM9t9fBojSD8EaFLMVjJ2XT13ke90STud14_AtCQTilhvqeos/w640-h352/antler%20handle.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Small Carving #3 (top) and Medium Kitchen #4</i></td></tr></tbody></table><p><br />5) Tool : 10 cm blade x 5 mm thick<br /> natural antler (caribou) handle<br /> from <a href="http://www.warehamforge.ca/ironsmelting/November11/november11.html" target="_blank">Slag Pit 2 / 2011</a>(variable carbon)<br /> no specific prototype<br /><br />6) Small Kitchen : 9 cm blade x 3 mm thick<br /> natural antler (caribou) handle<br /> again roughly P 4B / T C from Coppergate<br /> from Aristotle Furnace demo at <a href="https://warehamforgeblog.blogspot.com/2013/07/caniron-9-personal-view.html" target="_blank">CanIRON 9 / 2013</a> (sparks roughly 1075)<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgufakPTam4aVkZlEbFeIMOgkDey2MIgUE8MxPFFI_QAXjJvNPFqRzHi4ctZ6ftzscuweyuVCuLb8eqTfsiLLsVDMl_pGOwjNpUJps-D9dhikoN6G-7XUVSS3H826__wpxdhU3SJYFjIkyBamCv9I924QVCVxQ8Id5J6n8IJeeV1TB_0NUBWs8/s2208/wood%20handle.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="996" data-original-width="2208" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgufakPTam4aVkZlEbFeIMOgkDey2MIgUE8MxPFFI_QAXjJvNPFqRzHi4ctZ6ftzscuweyuVCuLb8eqTfsiLLsVDMl_pGOwjNpUJps-D9dhikoN6G-7XUVSS3H826__wpxdhU3SJYFjIkyBamCv9I924QVCVxQ8Id5J6n8IJeeV1TB_0NUBWs8/w640-h288/wood%20handle.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Tool #5 (top) and Small Kitchen #6</i><br /></td></tr></tbody></table><p>The most probable destination for these knives will be as working tools into the hands of other members of DARC, many of whom have contributed their labour during the iron smelts that created the starting metal. <br /><b>I will be offering knives # 3 - 6 for sale at the upcoming SCA ’Trillium War’ event over June 30 - July 3.</b> The prices can be expected to be steep however, in consideration of the genesis of the material.<br /><br /><br />1) I don’t want to get into (yet another) argument here about whether ‘seax’ only refers to the ‘broken back’ shape, or any Norse knife. See an earlier commentaries: <br />2007, ‘<i>Knives from the Viking Age</i>’<br /><a href="http://www.warehamforge.ca/norse-knives/index.html">http://www.warehamforge.ca/norse-knives/index.html</a><br />2010, ‘<i>Knife? THAT'S not a knife…</i>’<br /><a href="https://warehamforgeblog.blogspot.com/2010/03/knife-thats-not-knife.html">https://warehamforgeblog.blogspot.com/2010/03/knife-thats-not-knife.html</a><br /><br />2) Ottaway, P., 1992, ‘<i>Anglo-Scandinavian Ironwork from Coppergate</i>’, 1 872414 29<br /><br />3) I don’t want to get into (yet another) argument here about ‘reproduction vs replica vs interpretation’. If interested, see a detailed commentary about these differences :<br />2020, ‘<i>Reproduction, Replica or Interpretation’, in ‘The Iron Trillium</i>’, Fall issue, Ontario Artist Blacksmith Assn.<br /><a href="https://warehamforgeblog.blogspot.com/2020/09/reproduction-replica-or-interpretation.html">https://warehamforgeblog.blogspot.com/2020/09/reproduction-replica-or-interpretation.html</a><br /><br />4) Carlson, D., 2003, ‘<i>Viking Knives from Gotland Sweden</i>’, plate ‘Iron knife6’ (top), 91 973304 5 0<br /><br /></p><br /><br /><br /><br />the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-70868058685580196162023-04-20T09:05:00.003-04:002023-04-20T09:05:24.377-04:00EAC-13 : Sessions of (personal) interest<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpa57AN0AMGuMxkV2Oz3DmE40-IekPSJGafQRZERVTtennc3GiTXE05qrhzL0RpQeO5zGi3V9Xe1baEE6jjl6o7GdLmEOpx3I4smJ9JW1t1KLouVqfbConpgQdtO6x3YmVt-FWNNA3k2ER-zCTAreTEgqm2eqGsLsPFGdNvxtzf4eJ7DY-908/s2811/Poster-EAC13-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2811" data-original-width="2000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpa57AN0AMGuMxkV2Oz3DmE40-IekPSJGafQRZERVTtennc3GiTXE05qrhzL0RpQeO5zGi3V9Xe1baEE6jjl6o7GdLmEOpx3I4smJ9JW1t1KLouVqfbConpgQdtO6x3YmVt-FWNNA3k2ER-zCTAreTEgqm2eqGsLsPFGdNvxtzf4eJ7DY-908/w285-h400/Poster-EAC13-web.jpg" width="285" /></a></div><br />
<p></p><p style="line-height: 100%; margin-bottom: 0cm;">
<a href="https://exarc.net/meetings/eac13">https://exarc.net/meetings/eac13</a></p>
<p style="line-height: 100%; margin-bottom: 0cm;"><br />
</p>
<p style="line-height: 100%; margin-bottom: 0cm;"><span style="background: #ffff00;">DARC
presentations</span></p>
<p style="line-height: 100%; margin-bottom: 0cm;"><span style="background: #adff2f;">Of
interest</span></p>
<p style="line-height: 100%; margin-bottom: 0cm;"><span style="background: #ffc0cb;">Of
interest, but outside reasonable hours</span></p>
<p style="line-height: 100%; margin-bottom: 0cm;"><span style="background: #00ffff;">Of
interest to others?</span></p>
<p style="line-height: 100%; margin-bottom: 0cm;"><br />
</p>
<p style="line-height: 100%; margin-bottom: 0cm;"><span style="background: transparent;">Times
given from Poland / converted to EST</span></p>
<p style="line-height: 100%; margin-bottom: 0cm;"><br />
</p>
<table cellpadding="3" cellspacing="1" style="width: 499px;">
<colgroup><col width="29"></col>
<col width="192"></col>
<col width="254"></col>
</colgroup><tbody><tr>
<td bgcolor="#efefef" style="background: #efefef;" width="29"><p align="left">
<strong>9:10</strong></p>
</td>
<td bgcolor="#efefef" colspan="2" style="background: #efefef;" width="453"><p align="left">
<b>Opening: </b><em>Experimental Archaeology In Poland –
History, Science and Education</em><br />
by Grzegorz
Osipowicz, Justyna Orłowska, Justyna Kuriga (PL)<br />
Location:
Room 009<br />
Moderator: Jess Shaw</p>
</td>
</tr>
<tr>
<td bgcolor="#efefef" style="background: #efefef;" width="29"><p align="left">
<strong>10:00</strong></p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="192"><p align="left">
<strong><span style="background: transparent;">Session
1.A</span></strong><br />
Location: Room 009<br />
Moderator: Jess
Shaw</p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="254"><p align="left">
<strong><span style="background: transparent;">Session
1.B</span></strong><span style="background: transparent;"><br />
Location:
Room 008<br />
Moderator: Giovanna Fregni</span></p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 1.A.1:</strong> <em>Disentangling the
Complexity of the Gönnersdorf Plaquette Engravings: manual and
robotic Experiments</em><br />
by Jérôme Robitaille<span style="font-size: small;">,</span> Lisa-Elen
Meyering (DE)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 1.B.1:</strong> <em><span style="background: transparent;">Iron
Age Combustion Structures in the Western Mediterranean: an
Approach from the Experimental Archaeology</span></em><br />
by
Maria-Carme Belarte, María Pastor Quiles, Marta
Portillo, Carme Saorin, Marta Mateu Sagués, Alessandra
Pecci, Sílvia Vila, Josep Pou, Georgina
Castells, Jordi Morer, Joaquín Fernández (ES)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 1.A.2:</strong> <em>Experimental Reproduction
of Traces Documented on Middle Palaeolithic Bone Retouchers from
the Ciemna Cave</em><br />
by Piotr Werens, Damian Stefański,
Katarzyna Zarzecka-Szubińska (PL)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 1.B.2:</strong> <em>Experimental Cremations in
Different burning Environments: Open versus semi-close Pyre in
Crete, Greece</em><br />
by Yannis Chatzikonstantinou, Evangelia
Kiriatzi, Sevasti Triantaphyllou (GR)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 1.A.3:</strong> <em>What Did Neanderthals Wear
on Their Feet? An Experimental Archaeological Investigation of
Neanderthal Footwear</em><br />
by Phoebe Baker, Andy
Needham (UK)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 1.B.3:</strong> <em>Reconstructing the
Pyrotechnological Development of The Harappans Using Ethnographic
Parallels in The Region of Ghaggar, India</em><br />
by Garima
Singh (IN)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 1.A.4:</strong> <em>Late Palaeolithic
Ornamentation in Experiments: A Case of an Ornamented Artefact
from Birów Mountain in South Poland</em><br />
by Tomasz Płonka,
Marcin Diakowski (PL)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Poster 1.B.4: </strong><em>Bone Tubes from
Corded Ware Culture as Sound Generators/Musical Instruments.
Reconstructing Manufacture and Usage</em><br />
by Dominika Tokarz
(PL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
10:50</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
Coffee Break</p>
</td>
</tr>
<tr>
<td bgcolor="#efefef" style="background: #efefef;" width="29"><p align="left">
<strong>11:15</strong></p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="192"><p align="left">
<strong><span style="background: transparent;">Session
2.A</span></strong><br />
Location: Room 009<br />
Moderator: Jess
Shaw</p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="254"><p align="left">
<strong><span style="background: transparent;">Session
2.B</span></strong><br />
Location: Room 008<br />
Moderator:
Giovanna Fregni</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
Sponsor time</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
Sponsor time</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 2.A.1:</strong> <em>Turning Roman Columns on
the Lathe: Experimental Approach and Archaeological Analysis of
Artefacts from North-Eastern Gaul</em><br />
by Nicolas
Revert & Brice Brigaud (FR)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 2.B.1:</strong> <em>Phytoliths Reference
Collection from the Experimental Perspective</em><br />
by
Aleksandra Gawron-Szymczyk (PL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 2.A.2:</strong> <em><span style="background: #ffc0cb;">Reconstructing
the Workshop from Viborg Søndersø: New Insights into Viking
Wooden Building Construction</span></em><br />
by Jim Glazzard,
Aimée Little, Steve Ashby (UK)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 2.B.2:</strong> <em>Was It Always Leather?</em><br />
by
Sally Herriett (UK)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 2.A.3:</strong> <em>All You Need is Mud: How
Open-Air Museums can Champion Sustainability in the Built
Environment</em><br />
by Caroline Nicolay (UK)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 2.B.3:</strong> <em>Traceology on Prehistoric
Wooden Artefacts, is it Possible?</em><br />
by Grzegorz Osipowicz
(PL), Justyna Orłowska (PL), Giedrė Piličiauskienė
(LT), Gytis Piličiauskas (LT)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
<b><span style="background: #ffc0cb;">6:00</span></b></p>
<p align="left"><b><span style="background: #ffc0cb;">EST </span></b></p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 2.A.4:</strong> <em>Experimental Archeology as
a Tool for Understanding the Cultural Changes of Bone Artifacts
from four Brazilian Early Holocene Sites</em><br />
by Gabriela S.
Mingatos, Mercedes Okumura (BR)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 2.B.4:</strong> <em>Prehispanic Woodcrafts in
the Canary Islands: technical Processes and experimental
Program</em><br />
by Paloma Vidal-Matutano, Antoni
Palomo, Dorota Wojtczak, Amelia Rodríguez, Idaira
Brito-Abrante, Jared Carballo-Pérez, Kiara
Ortega, Salvador Pardo-Gordó (ES)</p>
</td>
</tr>
<tr>
<td rowspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Poster 2.A.5:</strong> <em>The Saka Barrow Building
Technology: Experimenting with Turf and Logs</em><br />
by Ulan
Umitkaliev, Diana Ayapova (KZ)</p>
</td>
<td rowspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 2.B.5:</strong> <em>Smash and Burn: Apple Seed
Damage Characteristics for the Identification of Actions and
Processes Performed on Apples</em><br />
by Jessi Berndt (DE)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Poster 2.A.6:</strong> <em>Identification of Plants
in Mud Building Materials. An Experimental Archaeology Project</em><br />
by
María Pastor Quiles (ES)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
12:30</p>
<p align="left"><b><span style="background: #ffc0cb;">6:30</span></b></p>
<p align="left"><b><span style="background: #ffc0cb;">EST</span></b></p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Question & Answer Session 1.A and 2.A</strong></p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Question & Answer Session 1.B and 2.B</strong></p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
13:15</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
Lunch</p>
</td>
</tr>
<tr>
<td bgcolor="#efefef" style="background: #efefef;" width="29"><p align="left">
<strong>14:30</strong></p>
<p align="left"><strong><span style="background: #ffff00;">8:30</span></strong></p>
<p align="left"><strong><span style="background: #ffff00;">EST</span></strong></p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="192"><p align="left">
<strong>Session 3.A</strong><br />
Location: Room 009<br />
Moderator:
Jess Shaw</p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="254"><p align="left">
<strong>Session 3.B</strong><br />
Location: Room 008<br />
Moderator:
Giovanna Fregni</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
Sponsor time</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
Sponsor time</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 3.A.1: </strong><em><span style="background: #adff2f;">The
late Viking Age Warship, Skuldelev 5: exploring old
Interpretations with a new Reconstruction</span></em><br />
by
Martin R. Dael<span style="font-size: small;">,</span> Tríona
Sørensen (DK)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 3.B.1: </strong><em>Archaeological Experiments
in the Study of the Textile Economy of the Wielbark Culture</em><br />
by
Magdalena Przymorska-Sztuczka (PL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 3.A.2: </strong><em><span style="background: #adff2f;">What
can be Difficult in Building the Boat? The Experiments Released
During the First International Camp of Experimental Archaeology,
Toruń 2021</span></em><br />
by Justyna Orłowska, Justyna Kuriga,
Grzegorz Osipowicz (PL) </p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 3.B.2: </strong><em>Teeth, Fibre-Crafts, and
Health: What Experimental Archaeology can tell us about the
Textile Workers of the Ancient World</em><br />
by Anita Radini
(IE)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 3.A.3: </strong><em><span style="background: #adff2f;">The
Gislinge Boat Open Source Project: from Experimental Archaeology
to Outreach</span></em><br />
by Tríona Sørensen (DK)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 3.B.3: </strong><em><span style="background: #00ffff;">Z
for warp, S for weft. Investigating Choices of Yarn in English
Medieval Textiles</span></em><span style="background: #00ffff;"><br />
by
Kat Stasinska (UK)</span></p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 3.A.4: </strong><em>The Bronze Age Chariot of
the Sintashta-Petrovka Period</em><br />
by Igor Chechushkov
(US), Ivan Semyan (AR)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 3.B.4:</strong><strong><span style="background: #ffff00;"> </span></strong><em><span style="background: #ffff00;">How
Warped the Loom. An Examination of Loom Traces on Woven Cloth</span></em><br />
by
Jo Duke (CA)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Paper 3.A.5: </strong><em>Experimental Archaeological
Observation on the Base of Chinese Terracotta Xiao Flute Player
Figurine (202 BC-220 AD)</em><br />
by Bangcheng Tang (CN)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Paper 3.B.5: </strong><em><span style="background: #00ffff;">Tarquinia’s
Tablets: A Reconstruction of Tablet Weaving Patterns found on the
Tomb of the Triclinium’s Left Wall</span></em><br />
by Richard
Joseph Palmer (US)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
15:55</p>
<p align="left"><span style="background: #adff2f;">9:55</span></p>
<p align="left"><span style="background: #adff2f;">EST</span></p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="192"><p align="left">
<strong>Question & Answer Session 3.A</strong></p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="254"><p align="left">
<strong>Question & Answer Session 3.B</strong></p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
16:15</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
Coffee Break</p>
</td>
</tr>
<tr>
<td bgcolor="#efefef" style="background: #efefef;" width="29"><p align="left">
<strong>16:30</strong></p>
<p align="left"><strong><span style="background: #adff2f;">10:30</span></strong></p>
<p align="left"><strong><span style="background: #adff2f;">EST</span></strong></p>
</td>
<td bgcolor="#efefef" colspan="2" style="background: #efefef;" width="453"><p align="left">
<strong>Session 4</strong><br />
Location: Room 009<br />
Moderator:
Giovanna Fregni</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
Sponsor time</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
Round Table SUN including Presentations and
Discussion<br />
<a href="https://exarc.net/ukrainesupport">https://exarc.net/ukrainesupport</a></p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
18:00</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
Free Time</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
<strong>19:00</strong></p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
<strong>Dinner </strong>(Optional - at own expense - 30 EUR, need
to register & pay in advance)<br />
Restauracja Gospoda Pod
Modrym Fartuchem & Krajina Piva Pub<br />
Rynek Nowomiejski 8,
87-100 Toruń<br />
location <a href="https://www.google.com/maps/place/Restauracja+Gospoda+Pod+Modrym+Fartuchem+%26+Krajina+Piva+Pub/@53.0112114,18.6109399,15z/data=!4m2!3m1!1s0x0:0x8b13a1e421c14b34?sa=X&ved=2ahUKEwj74POLwrX-AhUCtosKHfXzAdIQ_BJ6BAh-EAg" target="_blank">Google
Maps</a></p>
</td>
</tr>
</tbody></table>
<p> </p>
<table cellpadding="3" cellspacing="1" style="width: 499px;">
<colgroup><col width="29"></col>
<col width="453"></col>
</colgroup><tbody><tr>
<td bgcolor="#efefef" style="background: #efefef;" width="29"><p>
<strong>20:00</strong></p>
<p><strong><span style="background: #adff2f;">14:00</span></strong></p>
<p><strong><span style="background: #adff2f;">EST</span></strong></p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="453"><p>
<strong>Session 5 ONLINE ONLY</strong><br />
Moderator: Phoebe
Baker</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
20:00</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
Sponsor time</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Paper 5.1: </strong><em>Searching for ‘the true
Colors’ of the Eastern European Chalcolithic painting
Techniques, through experimental and archaeometrical Approaches</em><br />
by
Felix-Adrian Tencariu, Ana Drob, Maria-Cristina Ciobanu (RO)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Paper 5.2: </strong><em>Not just for Food:
processing </em>Unio<em> sp. Shells at the Gumelnița
Communities (mill. V BC)</em><br />
by Monica
Mărgărit, Valentin Radu (RO)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong><span style="background: #adff2f;">Paper 5.3: </span></strong><em><span style="background: #adff2f;">Experimental
Beadmaking with Roman Glass</span></em><br />
by Sue Heaser (UK)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Paper 5.4: </strong><em>Rediscovering the Process of
Making Type 2 & Type 3 Aiglets</em><br />
by Gerald A. Livings
(US)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Paper 5.5: </strong><em>Experimental Tattooing and
Analysis of Preserved Skin Markings on Human Mummies</em><br />
by
Aaron Deter-Wolf (US), Danny Riday (NZ), Maya Sialuk
Jacobsen (GL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Paper 5.6: </strong><em>Exploring Rock Art
Application Techniques: An Experimental Approach To Study Rock
Paintings from La Candelaria (Catamarca, Argentina)</em><br />
by
Matías Landino, Eugenia Ahets Etcheberry, Lucas Gheco, Marcos R.
Gastaldi, Marcos Tascon, Marcos Quesada<sup>3</sup>, Fernando
Marte (AR)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
21:30</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Question & Answer Session 5</strong></p>
</td>
</tr>
</tbody></table>
<h4 class="western"> </h4>
<h4 class="western">Day 2 - Tuesday, May 2, 2023</h4>
<p>Location: Collegium Humanisticum at Nicolaus Copernicus
University in Toruń, ul. Bojarskiego 1, 87-100 Toruń<br />
(location
google maps: <a href="https://l.messenger.com/l.php?u=https%3A%2F%2Fgoo.gl%2Fmaps%2FdmcTdekSJ87nCfTE9&h=AT2cb-Fbmlx9xSLxUInMKwa0Y_tvAPALva-489-w31_R7qJeKhXz4P6OdMgVYxbdyCFwn7DZhhGPEcEOUV1MnlNfWZg_pJapqQlw-mxE5-qESb2Q38Qp3-ncMz4FkbemWeg" target="_blank">https://goo.gl/maps/dmcTdekSJ87nCfTE9</a></p>
<p>)<br />
All presentations are on the spot and online, except
evening session 10, which is online only. Please <a href="https://exarc.net/meetings/eac13/abstracts">click
here</a> for <strong>abstracts.</strong></p>
<table cellpadding="3" cellspacing="1" style="width: 499px;">
<colgroup><col width="29"></col>
<col width="246"></col>
<col width="200"></col>
</colgroup><tbody><tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: 1px double #808080; padding: 0.11cm;" width="29"><p align="left">
8:00</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: 1px double #808080; padding: 0.11cm;" width="453"><p align="left">
Registration</p>
</td>
</tr>
<tr>
<td bgcolor="#efefef" style="background: #efefef;" width="29"><p align="left">
<strong><span style="background: #ffc0cb;">9:00</span></strong></p>
</td>
<td bgcolor="#efefef" colspan="2" style="background: #efefef;" width="453"><p align="left">
<strong>Session 6</strong><br />
Location: Room 009<br />
Moderator:
Jess Shaw</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
Sponsor time</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
<strong>Paper 6.1: </strong><em>Impact of High Temperatures on
Macroscopic Features of Prehistoric Pottery</em><br />
by Jan
Ledwoń (PL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
<strong>Paper 6.2: </strong><em>The Contribution of different
Generations of Experiments on understanding the Function of past
Human Technologies and the Character of early Hominin
Decision-making Processes</em><br />
by Joao Marreiros
(DE,PT), Ivan Calandra (DE), Geoff Carver (DE), Walter
Gneinsinger (DE), Eduardo Paixao (PT), Jérôme Robitaille
(DE), Lisa Schunk (DE,PL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
<strong>Paper 6.3: </strong><em>Manual Vs. Mechanised
Experiments – Evaluating the Effect of Human Variability on Tool
Performance and Use-Wear Formation</em><br />
by Lisa Schunk
(PL,DE), Ivan Calandra (DE), Walter Gneisinger
(DE), João Marreiros (DE,PT)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
<strong>Paper 6.4:</strong><strong><span style="background: #ffc0cb;">
</span></strong><em><span style="background: #ffc0cb;">Perspectives
on the Importance of prior Understanding for an Experimental
Archaeological Project</span></em><br />
by Vibeke Bischoff (DK)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
<strong>Poster 6.5: </strong><em>Technotypes Definition and
Cultural Transmission</em><br />
by Concepción Torres Navas (ES)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
<strong>Poster 6.6: </strong><em>NFDI4Objects – TRAIL3.3: A
Workflow Tool for archaeological Experiments and Analytics</em><br />
by
Ivan Calandra (DE), Geoff Carver (DE), João Marreiros
(DE), Erica Hanning (DE), Roeland Paardekooper
(DK), Christoph Berthold (DE), Susanne Greiff (DE)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
<strong>Poster 6.7: </strong><em>PCI Registered Reports for
Experimental Archaeology: how to improve Experimental Design
before it is too late</em><br />
by Ivan Calandra (DE)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
10:25</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
<strong>Question & Answer Session 6</strong></p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
11:00</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
Coffee Break</p>
</td>
</tr>
<tr>
<td bgcolor="#efefef" style="background: #efefef;" width="29"><p align="left">
<strong><span style="background: #ffc0cb;">11:15</span></strong></p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="246"><p align="left">
<strong>Session 7A</strong><br />
Location: Room 009<br />
Moderator:
Jess Shaw</p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="200"><p align="left">
<strong>Session 7B</strong><br />
Location: Room 008<br />
Moderator:
Roeland Paardekooper</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
Sponsor time</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
Sponsor time</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 7.A.1: </strong><em>The Sound of Success in the
Early Palaeolithic; Better Knapping is Brighter, Clearer and More
Attention Grabbing</em><br />
by Kiefer Duffy, Mark White, Sally
Street (UK)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 7.B.1: </strong><em>Vounous Symposium: Present
and Future Plans</em><br />
by E. Giovanna Fregni (IT)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 7.A.2: </strong><em>Size Matters? Evaluating
Correlation between Wide to Thickness Ratio and Breakage Patterns
during Cinegetic Activities of Upper Solutrean Hunter-Gatherers.
The Winged and Stemmed Points Case</em><br />
by Martín Julio
García Natale, Samuel Castillo Jiménez (ES)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 7.B.2: </strong><em>Baltic Experimental
Archaeology and Ancient Technology Summer School Between Science,
Education, And Tourism: Conclusions after first 10 Years</em><br />
by
Artūrs Tomsons (LV)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 7.A.3: </strong><em>Is it Worth Curating?
Production, Use and Maintenance of the Neolithic Metabasite-Made
Macrolithic Tools</em><br />
by Bernadeta Kufel-Diakowska
(PL), Marcin Chłoń (PL), Michał Borowski
(PL), Radomir Tichý (CZ), Karel Kučírek
(CZ), Martin Drahorád (CZ), Aleš Panáček (CZ)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 7.B.3: </strong><em>Putting Life into a Stone
Age Dwelling Construction: A Joint Experimental Venture of
Volunteers and Academics</em><br />
by Annelou van Gijn (NL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
<span style="background: #ffc0cb;">6:00 </span></p>
<p align="left"><span style="background: #ffc0cb;">EST</span></p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 7.A.4: </strong><em>Investigating Flint Awl
Snapping in the British Mesolithic Using Integrated Methods</em><br />
by
Andy Needham (UK), Jessica Bates (UK), Aimée Little (UK), Nicky
Milner (UK), Diederik Pomstra (NL)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 7.B.4</strong><strong><span style="background: transparent;">: </span></strong><em><span style="background: transparent;">Nurture
Visitor Experience Through Experimentation: in Search of Antique
Clothing</span></em><br />
by Gaëlle Desgouttes, Laure
Vergonzanne, Céline Nicolas (FR)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 7.A.5: </strong><em>From Mould to Earth:
Experimental and Traceological Study of Lusatian Socketed Axes</em><br />
by
Kamil Nowak, Albin Sokół, Dawid Sych (PL)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 7.B.5: </strong><em><span style="background: #ffc0cb;">Hands-On
History: Teaching Experimental Archaeology in a School Setting</span></em><br />
by
Nathalie Roy (US)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Poster 7.B.6: </strong><em>Youth Science. NCU Students’
Achievements</em><br />
by Zuzanna Majbrodzka, Kacper
Baranowski, Anna Rauchfleisz, Maria Skudlarska, Maciej Urban,
Klaudia Wernerowicz (PL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
12:40</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Question & Answer Session 7.A</strong></p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Question & Answer Session 7.B</strong></p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
13:15</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
Lunch</p>
</td>
</tr>
<tr>
<td bgcolor="#efefef" style="background: #efefef;" width="29"><p align="left">
<strong>14:30</strong></p>
<p align="left"><strong><span style="background: #adff2f;">8:30</span></strong></p>
<p align="left"><strong><span style="background: #adff2f;">EST</span></strong></p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="246"><p align="left">
<strong>Session 8A</strong><br />
Location: Room 009<br />
Moderator:
Jess Shaw</p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="200"><p align="left">
<strong>Session 8B</strong><br />
Location: Room 008<br />
Moderator:
Giovanna Fregni</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
Sponsor time</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
Sponsor time</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 8.A.1: </strong><em>Experimental Study of
Grinding Installation</em><br />
by Ana Tetruashvili, Davit
Dolaberidze, Tina Davadze (GE)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 8.B.1: </strong><em>A Multitude of
Microorganisms: Mediating Historical Drink Recreation</em><br />
by
Laura Angotti (US)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 8.A.2: </strong><em>Grinding or Polishing?
Replicating grinding and polishing Traces found on Neolithic flint
Axes</em><br />
by Lasse van den Dikkenberg (NL)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 8.B.2: </strong><em>Experiments to Elucidate
Cooking Methods Using Reconstructed Pottery</em><br />
by Tetsuya
Shiroishi, Hashiguchi Yutaka (JP)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 8.A.3: </strong><em>Physics of Bipolar
Reduction: Quantitative Approach to the bipolar Mechanic through
Video Motion Analysis</em><br />
by Görkem Cenk Yeşilova, Adrián
Arroyo, Andreu Ollé, Josep Maria Vergès (ES)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 8.B.3: </strong><em><span style="background: #00ffff;">Comparative
Cheesemaking: Roman and Neolithic Cheese and the Ceramic Vessels
Used to Produce them</span></em><br />
by Scott D Stull (US)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 8.A.4: </strong><em>“Slugs” of the
Itaparica Tradition, an experimental Approach of the GO-JA-01
Collection</em><br />
by José Lucas Otero Couto, Sibele
Aparecida Viana, Edilson Teixeira (BR)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 8.B.4: </strong><em>Stypsis, Wine and Resin –
Technology of Scented Oil Production from Bronze Age Aegean and
Beyond</em><br />
by Katarzyna Gromek (US)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 8.A.5: </strong><em>Set In Stone –
Ornamentation of Stone Battle-Axes from the Experimental
Perspective</em><br />
by Wojciech Bronowicki, Tomasz
Płonka, Marcin Chłoń (PL)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 8.B.5: </strong><em>Lithics From the Neolithic
Shell-Bead Workshops from The Near East - an Experimental
Approach</em><br />
by Katarzyna Pyżewicz, Marcin Białowarczuk,
Witold Grużdź, Michał Przeździecki (PL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Poster 8.A.6: </strong><em>Unconventional Use of
Axes: Creating a Reference Collection of Polished Stone Tools Used
for Grinding Ochre</em><br />
by Anđa Petrović (UK),
Diederik Pomstra (UK,NL) Aimée Little (UK)</p>
</td>
<td rowspan="3" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Poster 8.B.6: </strong><em>First View on Functions of
Bronze Age Pottery Vessels from Southwest Poland</em><br />
by
Aleksandra Gawron-Szymczyk (PL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Poster 8.A.7: </strong><em>The Importance of
Flintknapping Demonstrations and Workshops in Order to Further
Develop Experimental Archaeology in Brazil</em><br />
by Maria
Eduarda Vilela e Donegá (BR),<sup> </sup>Rafael
Carvalho (BR), Leticia Correa (BR), João Carlos
Moreno (BR), Mercedes Okumura (BR)<span style="font-size: small;">,</span> Astolfo
Araujo (BR), Bruce Bradley (US)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Poster 8.A.8: </strong><em>The Use of Charcoal in the
Production of Rock Art from Patagonia (Southern South America). An
Experimental Perspective</em><br />
by Ariel David Frank (AR)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
16:00</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
Coffee Break</p>
</td>
</tr>
<tr>
<td bgcolor="#efefef" style="background: #efefef;" width="29"><p align="left">
<strong>16:15</strong></p>
<p align="left"><strong><span style="background: #ffff00;">10:30</span></strong></p>
<p align="left"><strong><span style="background: #ffff00;">EST</span></strong></p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="246"><p align="left">
<strong>Session 9A</strong><br />
Location: Room 009<br />
Moderator:
Jess Shaw</p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="200"><p align="left">
<strong>Session 9B</strong><br />
Location: Room 008<br />
Moderator:
Giovanna Fregni</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
Sponsor time</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
Sponsor time</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 9.A.1: </strong><em>The Origin and Evolution of
cultural Transmission in Hominins as observed in Experimental and
Experiential Archaeology</em><br />
by Maria Eduarda Vilela e
Donegá<span style="font-size: small;">,</span> João
Carlos Moreno (BR)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 9.B.1: </strong><em><span style="background: #ffff00;">“Look
at the Bones!” - Adding Bone in a Bloomery Iron Smelt. A Case
Study of a practical experimental Test</span></em><br />
by Darrell
Markewitz (CA)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 9.A.2: </strong><em>Working Vegetal Materials
with Obsidian, Basalt and other Volcanic Rocks. Exploring
Similarities and Differences through Use-Wear Analysis</em><br />
by
Idaira Brito-Abrante, Amelia Rodríguez-Rodríguez (ES)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 9.B.2:</strong><strong><span style="background: #adff2f;"> </span></strong><em><span style="background: #adff2f;">Experimental
Archaeology and Assumptions about the Products from Prehistoric
Ancient Iron Smelting Sites of Northern Thailand</span></em><br />
by
Yoddanai Sukkasam (TH)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Paper 9.A.3: </strong><em>Oxygen and Temperature may
be the Driving Factors in Deciding the Types of Necrobiome in a
Wrapped Microenvironment</em><br />
by Branka Franicevic (UK)</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 9.B.3: </strong><em><span style="background: #adff2f;">Breaking
Through the Copper Curtain: Archaeological Experiment of Copper
Ore Beneficiation and Smelting in Chalcolithic Technology</span></em><br />
by
Inbar Meyerson, Omri Yagel, Erez Ben-Yosef (IL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Poster 9.A.4: </strong><em>Mining or Ore-Processing
Bone Tools? A Case Study from Eastern Ukraine</em><br />
by Olga
Zagorodnia (UK)</p>
</td>
<td rowspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong>Paper 9.B.4: </strong><em>Does Corrosion Matter?
Experimental Study of the Influence of Patination on Use-Wear
Traces on the Copper Alloy Metalwork</em><br />
by Jakub
Michalik, Kamil Nowak (PL)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Poster 9.A.5: </strong><em>Can we identify Handedness
on the Gönnersdorf Plaquettes? An experimental Approach on the
Lateralisation of Upper Palaeolithic Engravers</em><br />
by Jérôme
Robitaille (DE), Lisa-Elen Meyering (UK)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
17:15</p>
<p align="left"><b><span style="background: #ffff00;">11;15</span></b></p>
<p align="left"><b><span style="background: #ffff00;">EST</span></b></p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="246"><p align="left">
<strong>Question & Answer Session 8.A and 9.A</strong></p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="200"><p align="left">
<strong><span style="background: #ffff00;">Question & Answer
Session 8.B and 9.B</span></strong></p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p align="left">
18:00</p>
</td>
<td colspan="2" style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p align="left">
Closing Notes</p>
</td>
</tr>
</tbody></table>
<p> </p>
<table cellpadding="3" cellspacing="1" style="width: 499px;">
<colgroup><col width="29"></col>
<col width="453"></col>
</colgroup><tbody><tr>
<td bgcolor="#efefef" style="background: #efefef;" width="29"><p>
<strong>20:00</strong></p>
<p><strong><span style="background: #ffff00;">14:00</span></strong></p>
<p><strong><span style="background: #ffff00;">EST</span></strong></p>
</td>
<td bgcolor="#efefef" style="background: #efefef;" width="453"><p>
<strong>Session 10 ONLINE ONLY</strong><br />
Moderator:
Phoebe Baker</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
Sponsor time</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Paper 10.1: </strong><em>Circle of Life: Trevisker
Ware</em><br />
by Laura-Marie Miucci (IE)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Paper 10.2: </strong><em>The Investigation of Recent
Reconstruction of Black and Red Figure Lekythoi for Restoration
Purposes Through X-Ray and X-Ray Fluorescence Spectroscopy.
Ethical Restoration Practice or Not?</em><br />
by A.P.
Panagopoulou (GR,NL), A. Mandaliou (GR), G. Rousouneli (GR), M.
Roggenbucke (GR)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong><span style="background: #adff2f;">Paper 10.3: </span></strong><em><span style="background: #adff2f;">Creating
Red: Reproducing Opaque Red Glass from Iron Age Western and
Central Europe</span></em><br />
by Rachel Wood (US)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Paper 10.4: </strong><em>A Comparison of two
Merovingian Pottery Kilns Found in Belgium. Results of the
Experiment and Tool for Experimental Research</em><br />
by Line
van Wersch, Marie Demelenne, Sylvie De
Longueville, Véronique Danese (BE)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Paper 10.5: </strong><em><span style="background: #ffd700;">Belting
Up; Building Technical Literacies in the History of Technology
Through Experimental Archaeology</span></em><br />
by Michael
Roberts (CA)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Paper 10.6: </strong><em>Experimenter's Body
Analysis: a Transdisciplinary Approach</em><br />
by Thaisa Martins
(BR)</p>
</td>
</tr>
<tr>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="29"><p>
21:40</p>
</td>
<td style="border-bottom: 1px double #808080; border-left: 1px double #808080; border-right: 1px double #808080; border-top: none; padding-bottom: 0.11cm; padding-left: 0.11cm; padding-right: 0.11cm; padding-top: 0cm;" width="453"><p>
<strong>Question & Answer Session 10</strong> and Closing
Notes</p>
</td>
</tr>
</tbody></table>
<p style="line-height: 100%; margin-bottom: 0cm;"><br />
</p>
<p style="line-height: 100%; margin-bottom: 0cm;"><a href="https://exarc.net/meetings/eac13/abstracts">https://exarc.net/meetings/eac13/abstracts</a></p>
<p style="line-height: 100%; margin-bottom: 0cm;"><br />
</p>
<p><em><span style="background: #ffc0cb;">Reconstructing the Workshop
from Viborg Søndersø: New Insights into Viking Wooden Building
Construction </span></em><span style="background: #ffc0cb;">(paper)</span><br />
<strong>Jim
Glazzard</strong><sup>1</sup><strong>, Aimée Little</strong><sup>1</sup><strong>,
Steve Ashby</strong><sup>1</sup><br />
<sup>1</sup> YEAR Centre,
Department of Archaeology, University of York, UK</p>
<p>This paper will present the methodology and interim findings of a
project that brings together experimental archaeology, artefact
studies, and the social use of space.<br />
The aim is to understand
the daily experience of non-ferrous metalworkers of Viking-age
Britain and Scandinavia using actualistic methods. The first task
involved reconstructing a Viking-age workshop at the YEAR Centre, at
the University of York. <br />
The workshop chosen for
reconstruction was excavated at Viborg Søndersø, Denmark, in 2001.
While this initially seemed to be a straightforward task, with the 3
by 5 metre building being an ideal size for a reconstructed workshop,
the idiosyncrasies of the original building have resulted in new
insights into Viking age wooden building construction.<br />
Lessons
learned from the construction process have provided a better
understanding of the original building: giving insights into the most
likely methods used, including the identification of specific
challenges likely faced by the original builders. These, in turn,
have implications for the interpretation of the building, the methods
used to build it, and the status of the artisans who worked
there.<br />
The result is that this workshop, which has been
characterised as a “primitive hut” from the excavated remains,
emerges as a deliberately sited, carefully built structure, well
suited to the work carried out inside. The idiosyncrasies of the
structure can then be explained in terms of the building methods, and
materials used.</p>
<p><br />
</p>
<p><em><span style="background: #adff2f;">The late Viking Age warship,
Skuldelev 5: exploring old interpretations with a new reconstruction</span></em><span style="background: #adff2f;">
</span>(paper)<br />
<strong>Martin R. Dael</strong><sup>1</sup> &
<strong>Tríona Sørensen</strong><sup>1</sup><br />
<sup>1 </sup>The
Viking Ship Museum in Roskilde, Denmark </p>
<p>In 1962, five late Viking Age ships were excavated from Roskilde
Fjord, in Denmark. The form and function of the Skuldelev Ships, as
they came to be known, embodies the diversity and range of seafaring
and shipbuilding in the late Viking Age: vessels for fishing, coastal
and ocean-going trade, and two examples of the most iconic Viking Age
craft of all – the long, narrow and well-rowed warships. <br />
The
Viking Ship Museum’s boatyard completed the first round of
full-scale, experimental archaeological reconstruction of all five
Skuldelev Ships in 2004. Since then, work has focused on the ‘second
generation’ of Skuldelev reconstructions and in July 2022, a
project focused on a new full-scale reconstruction of the 17,6 m long
warship, Skuldelev 5, began. <br />
The construction of Skuldelev
5 is unique when compared with other late Viking Age ship-finds. From
the outset, the ship was built using reused material taken from at
least two other vessels and the hull is also composed of several
different species of wood. These details have led to a degree of
academic discussion regarding the ship’s construction and
use. <br />
This paper will present an introduction to the
framework for the new Skuldelev 5 reconstruction project, seen from
both a boatbuilder’s and an archaeologist’s perspective. The
complexities – and peculiarities – of the original ship’s hull,
and previous interpretations of the ship-find, will be explored,
providing the foundation for a new dialogue concerning the
construction and use of the original ship-find, and the research
programme in development for the forthcoming full-scale
reconstruction.</p><p>
<br />
</p>
<p><em><span style="background: #adff2f;">What can be Difficult in
Building the Boat? The Experiments Released During the First
International Camp of Experimental Archaeology, Toruń
2021 </span></em><span style="background: #adff2f;">(paper)</span><br />
<strong>Justyna
Orłowska</strong><sup>1</sup><strong>, Justyna Kuriga</strong><sup>1</sup><strong>,
Grzegorz Osipowicz</strong><sup>1</sup><strong> </strong><br />
<sup>1 </sup>Institute
of Archaeology, Nicolaus Copernicus University in Toruń, Poland</p>
<p>This presentation reports two main archaeological experiments that
were conducted during the first International Camp of Experimental
Archaeology, which took a place in August 2021 in the Golub-Dobrzyń,
close to Toruń, Poland. During the two weeks of this event, its
participants divided into two groups have undertaken a task to
reconstruct and test two archaic boats: a dugout and a
leather-covered boat known more from ethnographic contexts as the
so-called skin-on-frame canoe. All work carried out was performed
exclusively using materials, techniques and tools known in the Stone
and Bronze Ages. One of the boats build during these experiments,
4-meter-long skin-on-frame canoe will be exposed during the
conference.</p>
<p><br />
</p>
<p><em><span style="background: #adff2f;">The Gislinge Boat Open
Source Project: from experimental archaeology to outreach
</span></em><span style="background: #adff2f;">(paper)</span><br />
<strong>Tríona
Sørensen</strong><sup>1</sup><br />
<sup>1</sup> The Viking Ship
Museum in Roskilde, Denmark</p>
<p>The Gislinge Boat Open Source Project took place at the Viking
Ship Museum from 2015-17. The idea behind the project was an entirely
new one for the Museum, namely, to explore how open source approaches
could be applied to experimental archaeology and boatbuilding. <br />
With
the aim of getting people involved in building their own version of
the Gislinge Boat - a 7.7 m long Danish boat-find dated to ca. 1125
AD - the working drawings for the boat were made available for free
download and a programme of digital dissemination communicated all
aspects of the building process, providing an informal ‘how-to
guide’ to building the boat.<br />
The initial results of the
project were presented at EAC 11 in 2017. This paper will provide an
updated account of what has happened in the interim. It’s now over
seven years since the project was formally concluded at the Museum
boatyard but it continues to have a life of its own online, thanks to
the digital community social media provides. <br />
Selected
case-studies of boats that have been built from as far afield as
Normandy, France and Connecticut, USA, will examine the potential
experimental archaeology has to reach out to, and engage with, a much
wider community than the ‘traditional’ museum-going public, and
how this in turn can generate new interest in experimental
archaeology as a discipline. The impact the project has had on the
Viking Ship Museum’s dissemination practice, and the extent to
which it continues to influence our approaches to the documentation
and communication of maritime experimental archaeology will also be
explored, allowing an opportunity to reflect on the often-overlooked
social aspects of museum outreach.</p>
<p><br />
</p>
<p><em><span style="background: #00ffff;">Z for warp, S for weft.
Investigating Choices of Yarn in English Medieval
Textiles </span></em><span style="background: #00ffff;">(paper)</span><br />
<strong>Kat
Stasinska</strong><sup>1</sup><br />
<sup>1</sup> AOC Archaeology, UK</p>
<p>Most Medieval textiles in England (9th to 15th centuries) were
woven in a specific way: with threads of weft and warp twisted into a
different direction (Z-spun yarn in the warp and S-spun yarn in the
weft). It differed meaningfully from the technological choices of the
earlier times (83 to 87% of early Anglo-Saxon textiles were woven
with warp and weft threads twisted in the same direction). The reason
for this change is not clear (with some researchers suggesting
aesthetic choice or a foreign influence). <br />
My research
aimed to discover the reason behind this transformation. I have woven
several samples from the hand-spun fleece of a Shetland sheep (Medium
type fleece, typical for late Anglo-Saxon England). I prepared 3 sets
of samples: woven in 1. tabby, 2. simple twill and 3. broken diamond
twill. <br />
I compared the physical properties of textiles
woven in ZZ and ZS techniques. I focused on comparing: </p>
<ul><li><p style="margin-bottom: 0cm;">Strength (measured by applying
weight and checking how much weight samples can take)
</p>
</li><li><p>Elasticity (measured by applying a stretching force and
checking for deformation)
</p>
</li></ul>
<p>I took under consideration an often-suggested possibility that the
change in the weaving technology was a purely aesthetic choice. To
investigate this option, I compared the difference in visual
properties such as visibility of pattern and appearance when dyed
(samples were dyed with madder, Rubia tinctorum - a dyestuff popular
in Anglo-Saxon England). A poll in person was conducted to collect
opinions about the appearance of samples woven in ZZ and ZS, both
dyed and not dyed.</p>
<p><br />
</p>
<p><em><span style="background: #ffff00;">How Warped the Loom. An
Examination of Loom Traces on Woven Cloth</span></em><span style="background: #ffff00;">
(paper)</span><br />
<strong>Jo Duke</strong><sup>1</sup><br />
<sup>1</sup>
Independent Researcher, Ontario, Canada</p>
<p>Sometime between 1000 and 1800 CE, for much of Europe, there was a
transition from weaving cloth on upright warp weighted looms to
horizontal floor looms. This transition includes the addition of a
reed beater as part of the mechanism of the loom and a switch from
the warp being held under tension by loom weights to its supply and
tensioning from a second beam. <br />
One key question is: can
the loom type be determined based on the textile remains, often small
fragments, and, if so, what features are the most useful to look for?
<br />
To address this, replicates of selected textile finds
from Europe and the North Atlantic have been woven using each of the
two loom types and the qualities of the replicated fabrics have been
examined for discriminating features. Focus was placed on the amount
of draw in, the spacing of the threads, and the regulation of the
warp tension. The use of a reed reduces draw in and adds
uniformity to the spacing of warp threads. It also removes the
need for a separate beater, and therefore changes how evenly the weft
threads are packed in the cloth. The addition of a second beam may
also reduce draw in and regulates the tension of the warp while
weaving.</p>
<p><br />
</p>
<p style="line-height: 100%; margin-bottom: 0cm;"><em><span style="background: #00ffff;">T</span></em><em><span style="background: #00ffff;">arquinia’s
Tablets: A Reconstruction of Tablet Weaving Patterns found on the
Tomb of the Triclinium’s Left Wall</span></em><span style="background: #00ffff;">
(paper)</span><br />
<strong>Richard Joseph Palmer</strong><sup>1</sup><br />
<sup>1 </sup>University
of Kentucky, USA</p>
<p>The revival of tablet weaving and its study has been primarily
focused on Northern European designs from the Iron Age to the
medieval period. These designs are very impressive and include
opulence such as wide weaves using dozens of tablets, dizzying
patterns, and inclusions of gold thread and silk. Iron Age Northern
Italian and Mediterranean tablet weaves were used in many of the same
applications as their Northern European counterparts, but less
archaeology has been done on the tablet weaves originating from these
areas. The designs for these patterns primarily survive in the art
and architecture of the Mediterranean. This experiment takes the
surviving art, depicting clothing from the Tomb of the Triclinium in
Tarquinia, and reconstructs both the patterns and the tablets
depicted. The few surviving tablet woven fragments from Etruria will
help fill in the gaps of knowledge, alongside other textile studies
from the Mediterranean and Northern Europe. This starts with spinning
thread on spindle whorls, recreating the proper thread width, and
ends with finished tablet weaves and published patterns. In
reconstructing these few patterns and tablets, the door can be opened
for more Etruscan and Classical study and tablet weaving
reconstructions to join the well-developed experimental archaeology
of Northern European textiles.</p>
<p><br />
</p>
<p><em><span style="background: #adff2f;">Experimental Beadmaking with
Roman Glass</span></em><span style="background: #adff2f;"> (paper)</span><br />
<strong>Sue
Heaser</strong><sup>1</sup><br />
<sup>1 </sup>Glass Bead
Archaeology Studio, Suffolk, UK</p>
<p>My research on Early Medieval glass beads from Britain and Europe
involves replicating ancient monochrome and polychrome beads to
identify the making and decorating techniques. I use only replica
tools and a heat source of similar temperatures to the likely
furnaces used then. This has led to a greater understanding of the
techniques of ancient beadmakers which has fine-tuned bead categories
and identified beads that were probably made by single individuals or
those from one workshop. <br />
I used modern soda-lime
beadmakers’ glass from Murano that has similar chemical
constituents to ancient glasses as shown from XRF and other analyses.
But it was important to be sure that this glass behaved in a similar
way in the flame to the ancient glasses. I needed to study the
physical properties of the ancient glass, its melting point, working
temperature range and behaviour in the flame. <br />
Roman glass
was widely used for beadmaking in early medieval times, so I
approached the Museum of London. They kindly supplied me with a
quantity of Roman cullet (waste glass) to experiment on. My
presentation will show the results of my experiments with videos of
replica beadmaking, and photographs of beads made from Roman glass,
compared with excavated beads of the period. My tests show that Roman
glass behaves almost identically in the flame to the modern soda-lime
glass which proves that the techniques I have discovered are valid. I
will also show the results from colouring Roman glass with the same
metallic oxides found in ancient glass to create colourful polychrome
replica beads.</p>
<p><br />
</p>
<p><em><span style="background: #ffc0cb;">Perspectives on the
Importance of prior Understanding for an Experimental Archaeological
Project</span></em><span style="background: #ffc0cb;"> (paper)</span><br />
<strong>Vibeke
Bischoff</strong><sup>1</sup><br />
<sup>1</sup>The Viking Ship Museum
in Roskilde, Denmark</p>
<p>In 2012, a full-scale reconstruction of the Oseberg Ship from 820,
Saga Oseberg, was launched as part of an experimental archaeological
project, designed to investigate the ship’s sailing capabilities.
The initial test-sailing was conducted in line with the principles
for handling traditional West Norwegian square-sailed boats from the
19th and 20th centuries. The ship performed badly, and the
reconstruction was judged to be incorrect. Subsequent test-sailing in
2015 undertaken with a more open and investigative methodology was
conducted, which gave rise to more positive results.<br />
In this
paper, I will present my thoughts on the importance of prior
understanding based on my experiences with the Oseberg Ship, but I
believe that there are parallels to other types of projects too,
whether they are houses built on land or ships at sea. Our prior
understanding and experience have an impact on the questions we ask
of both the archaeological material and the reconstruction – and on
the results we achieve. <br />
Focus on the importance of prior
understanding for both reconstruction and their subsequent testing,
must be addressed. Our bodily approaches as humans have such a
significant impact on all processes that it is a vital, we have an
awareness of it. Prior understanding and experience can be used to
ask relevant questions and conduct investigations, not to find
answers, as reconstructions are an interpretation of an artefact, and
the results will therefore render probabilities rather than present
concrete truths. <br />
We who work with experimental
archaeology, must be conscious, reflective and descriptive in terms
of our prior understanding in relation to the projects we work with,
because we are modern people attempting to interpret the actions of
people from another time. </p>
<p style="line-height: 100%; margin-bottom: 0cm;"><br />
</p>
<p><em><span style="background: #ffc0cb;">Hands-On History: Teaching
Experimental Archaeology in a School Setting </span></em><span style="background: #ffc0cb;">(paper)</span><br />
<strong>Nathalie
Roy</strong><sup>1</sup><br />
<sup>1 </sup>Glasgow Middle
School, Baton Rouge, Louisiana, USA</p>
<p>My Roman Technology students recreate the products and processes
of ancient Roman daily life through experimental archaeology. Each
class is a hands-on history lab in which young teens (ages 10-14)
learn about the ancient classical world by experiencing it
first-hand. They have recreated the makeup recipes of Ovid and the
hairstyles of marble statues, cooked biscuits based on the recipes of
Cato the Elder, built brick kilns to fire pottery, crushed oak galls
to make ink, etc. The class is a unique experience, but it doesn’t
happen by magic. Planning and executing each unit of study is a
complicated and time-consuming process.<br />
In this paper session, I
will talk about the specifics of the class and explain how I teach
experimental archaeology to young students in practical terms.
Specifically, I will discuss two large-scale projects to illustrate
my process. In the first, creating a twenty-foot analemmatic mosaic
sundial, students learned to cut stone tesserae and design and lay
out a Roman-style mosaic. In the second, students built a full-scale
Roman road through an open space on our campus. Through a series of
ten steps, I will detail how I researched, planned activities,
organized supplies, delegated work, reached out to experts, and
taught the lessons all while giving the students the best experience
possible.</p>
<p><br />
</p>
<p><em><span style="background: #00ffff;">Comparative Cheesemaking:
Roman and Neolithic Cheese and the Ceramic Vessels Used to Produce
them </span></em><span style="background: #00ffff;">(paper)</span><br />
<strong>Scott
D Stull</strong><sup>1</sup><br />
<sup>1 </sup>Moffett Center, SUNY
Cortland, USA</p>
<p>Cheesemaking in Europe has a history that goes back to the early
Neolithic, roughly 7000 years ago, based on archaeological evidence.
We also have good archaeological and documentary evidence of
cheesemaking from the Roman period. Through the replication and use
of the ceramic vessels from these two distinct periods, we can gain a
more complete understanding of how cheese was made in the past. This
study examines how the shape of the vessels has a significant impact
on the type of cheese possible in these forms. Different approaches
to cheese production are tested with these vessels to identify what
kind of cheese works with these different vessels, and as a result,
how that cheese would have been stored and consumed in these past
societies. The Neolithic cheese strainer in particular required
extensive experimental testing to determine how cheese could have
been produced in this kind of vessel without the use of cloth lining
or other elements to strain the curd, and these tests will be
described in the paper. </p>
<p><br />
</p>
<p><em><span style="background: #ffff00;">“Look at the Bones!” -
Adding Bone in a Bloomery Iron Smelt. A Case Study of a practical
experimental Test </span></em><span style="background: #ffff00;">(paper)</span><br />
<strong>Darrell
Markewitz</strong><sup>1</sup><br />
<sup>1 </sup>the Wareham
Forge, Ontario, Canada</p>
<p>Through 2019, much was made in the popular press suggesting that
during the Viking Age, exhumed human bone had been used in the chain
of production from iron ore through to finished swords. Contradicting
this, considerable experience with small scale direct reduction
process bloomery iron smelting furnaces indicated that at least while
creating the iron itself, the effect of adding bone would be minimal,
if any. To establish what kind of physical traces that might remain
if quantities of bone were added during smelting, in June 2020 a full
furnace build and firing was undertaken with a range of animal bones
added, then the resulting debris field recorded. <br />
The
concept, design and implementation of this experiment is discussed,
and how limits on methods, instrumentation and analyzing results
shaped the final conclusions. This discussion suggests how even a
simple experiment, if carefully recorded, can add to the body of
available knowledge, and may prove insightful both educators and
other investigators. </p><p>
<br />
</p>
<p><em><span style="background: #adff2f;">Experimental Archaeology and
Assumptions about the Products from Prehistoric Ancient Iron Smelting
Sites of Northern Thailand </span></em><span style="background: #adff2f;">(paper)</span><br />
<strong>Yoddanai
Sukkasam</strong><sup>1</sup><br />
<sup>1 </sup>The Fine Arts
Department, Ministry of Culture, Thailand</p>
<p>This paper is aimed to present a results of five years
archaeometallurgical research and Experimental archaeology research
in the basin of Li District Lamphun Province, Northern Thailand. To
present: </p>
<ol><li><p style="margin-bottom: 0cm;">The ancient iron-smelting site
from archaeological survey and excavation in Li District, Lamphun
Province
</p>
</li><li><p>The findings from the synthesis of knowledge through
experimental archaeology
</p>
</li></ol>
<p>The survey indicates that there are no less than 40 ancient
iron smelting sites in Li District, Lamphun Province. The Ancient
iron smelting sites date around 500 BC - 100 BC. The dating indicated
that the group of iron smelting site in Li District, Lumphun province
is the oldest iron smelting site in northern Thailand nowadays.<br />
The
archaeological excavation and evidence analysis of Li ancient
iron-smelting site in Lamphun Province have revealed that the Direct
Iron Smelting Process operating temperature at roughly 1,150-1,300 °C
by using a shaft furnace with a diameter between 90-100 cm. The
height of the furnace is between 180-200 cm. The furnace was formed
by moulding a cylindrical clay. There are the slots that act as air
ducts as well as observation points. In the lower part of the
furnace, four slag notches that drilled in square shape. <br />
These
results lead to the study of Experimental Archaeology which indicated
that the type of Li ancient iron smelting caused the turbulent flow
in the furnace and finally produced a Ring-Shaped Iron Bloom. This is
the unique product, and their technique is the highlight of this
ancient iron smelting furnace.</p><p>
<br />
</p>
<p><em><span style="background: #adff2f;">Breaking Through the Copper
Curtain: Archaeological Experiment of Copper Ore Beneficiation and
Smelting in Chalcolithic Technology </span></em><span style="background: #adff2f;">(paper)</span><br />
<strong>Inbar
Meyerson</strong><sup>1</sup><strong>, Omri Yagel</strong><sup>1</sup><strong>,
Erez Ben-Yosef</strong><sup>1</sup><br />
<sup>1 </sup>Tel Aviv
University, Israel</p>
<p>This study presents an experiment that aims to reconstruct
Chalcolithic copper production in the southern Levant region
(4500-3800 BCE) with a particular focus on the importance of the
beneficiation stage. While previous research on ancient copper
smelting has often centered on variables related to furnace design
and operation, it is now recognized that the unique characteristics
of individual ore bodies, including the nature of the host rock, the
quantity and purity of minerals, and trace elements, can affect
multiple stages of the smelting process. The beneficiation stage,
which involves labor-intensive and repetitive tasks such as
collecting, processing, and selecting raw materials, is often
underrepresented in archaeometallurgical research and experiments.<br />
To
address this gap in knowledge, we conducted an experiment in 2020
using ore from the Timna Valley in the southern Levant and focusing
specifically on the beneficiation stage. Our results demonstrate that
this stage is crucial to the success of ancient metal production. The
beneficiation process was carried out at various stages of the
production chain using traditional methods, and we used pXRF analysis
to show the increased copper values in the ore after each stage. In
addition, we documented the experiment in as much detail as possible,
including times, locations, weights, and images, in order to
facilitate comparison with other experiments and enable replication
of our results in the future.</p>
<p><br />
</p>
<p><em><span style="background: #adff2f;">Creating Red: Reproducing
Opaque Red Glass from Iron Age Western and Central Europe</span></em><span style="background: #adff2f;">
(paper)</span><br />
<strong>Rachel Wood</strong><sup>1</sup><br />
<sup>1</sup>
University of California, Los Angeles, USA</p>
<p><em>Opaque red glass, a popular inclusion in copper-alloy based
military gear of Late Iron Age western and central Europe, required
intense practical knowledge to create. Artists needed a great deal of
precision, ranging from the choice of ingredients, the quantity of
each, the heat of the flames, and the length of time necessary to
create a specific red color in a reducing environment. Successful
creation of opaque red glass could only be achieved if the artisan
had the knowledge and skills necessary to determine which moments of
this chaîne opératoire would create the desired effect: a “sealing
wax red” final product. In this presentation, I will focus on the
skills necessary to create opaque red glass, particularly relating to
the reducing atmosphere and time necessary in the fire, from an
experiential and experimental standpoint, and explore the opportune
moments which artisans needed to be wary of to gain the desired
results for the market. I will explain the process behind my
experimental reproduction of opaque red glass, which will begin in
January 2023. This project is part of my dissertation and began with
the initial research from previously published chemical analyses and
scholarly articles on glass production in the ancient world. It is my
hope that this project and presentation will shed light on the
experience and patience necessary for successful production of a
popular glass in the ancient world.</em></p><p>
<br />
</p>
<p><em><span style="background: #ffd700;">Belting Up; Building
Technical Literacies in the History of Technology Through
Experimental Archaeology </span></em><span style="background: #ffd700;">(paper)</span><br />
<strong>Michael
Roberts</strong><sup>1</sup><br />
<sup>1 </sup>York University,
Toronto, Canada</p>
<p>While graduate history programmes usually require language
literacies, technical literacies are not seen as necessary or
teachable skills, and most programmes lack both facilities and
methods to help researchers develop them. Outside the academy,
however, there are extensive resources for learning the skills,
habits, and sensitivities associated with the technology of the past.
In this paper, I argue that neither archives nor artifactual
remains can be fully interpreted without access to the tacit,
sensory, and procedural knowledge historical actors took for granted,
and that to achieve this access, academic historians must widen their
understanding of how historical research is conducted.<br />
Referencing
the work of William Marshall (1745-1818), as well as more familiar
works on participant observation, I offer one potential strategy for
formalizing knowledge gained through experiential methods. I will
illustrate the benefits of this type of work through my own readings
of rural engineer’s diaries conducted in the context of extensive
experiential work which I began prior to returning to academic study.
Some of this work has been conducted within a continuous
teaching tradition that reaches back to the historical actors I
study, and some is the product of reconstruction; I will present some
preliminary notes on the advantages and draw-backs of these different
methods.<br />
Technical literacies are as important to the study of
the past as language skills, but they have been undervalued within
the academy. This paper contributes to a growing effort to include
and learn from scholars outside the university tradition, and to
recognize that “other” ways of knowing are crucial to a full
understanding of the past.</p>
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<p><style type="text/css">h4 { margin-top: 0.21cm; margin-bottom: 0.21cm; background: transparent; page-break-after: avoid }h4.western { font-family: "Liberation Serif", serif; font-size: 12pt; font-weight: bold }h4.cjk { font-family: "SimSun"; font-size: 12pt; font-weight: bold }h4.ctl { font-family: "Lucida Sans"; font-size: 12pt; font-weight: bold }td p { background: transparent }p { margin-bottom: 0.25cm; line-height: 115%; background: transparent }a:link { color: #000080; so-language: zxx; text-decoration: underline }em { font-style: italic }strong { font-weight: bold }</style></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-83073210297874540862023-03-26T09:41:00.006-04:002023-03-26T09:41:28.332-04:00the News from Wareham...<p><i>tabloid style</i><br />
<br />
<b>Brother Garth Gloats!</b><br />
So far this March, there have been at best only two days with anything
like Spring like weather. Temperatures continue to hover around
freezing, light snow and icy rain continue. Currently it is plus one C
with about one centimeter snow overnight. Wareham resident Darrell is
glad he still has lots of firewood stacked up, but getting sick and
tired of daily chopping and stove lighting. (Readers should know that
brother Garth is currently living in Indonesia, and regularly sends back
images of palm trees and beaches.) <br />
<br />
<b>Fall Expedition Plans!</b><br />
Air tickets purchased for late August to mid September trip to south
west Ireland and Isle of Skye in Scotland. This long delayed trip for
Darrell and Kelly includes the Catherconnell Furnace Festival in County
Clare, the European Archaeology Assn. conference in Belfast (still
tentative), and the completion of the Turf to Tools project at south
west Skye (via Edinburgh). A total of 25 days in all. <i>House sitter from
August 21 through September 14 being sought.</i><br />
<br />
<b>Academic papers to presentations!</b><br />
Self described 'independent researcher' Darrell has had two lecture
presentations accepted for upcoming conferences. The first is for the
Experimental Archaeology Conference 13, Tuesday May 2 (session 9B.1) : "
'Look at the BONES! Adding bone to a bloomery iron smelt" This video
presentation can viewed online (for free!). The second is for the
European Archaeology Assn. 2023 conference (session #729, exact date to
be determined, between Aug 30 - Sept 2) : "Experiment, Archaeology &
Art - The Turf to Tools Project". This session most likely also to be
delivered via online video. <br />
<br />
<b>Chained to the computer!</b><br />
February and March has seen Wareham resident Darrell huddled daily by
his computer keyboard, most day for for to six hours (or more). The paper 'Look at the BONES!' has been completed
to first draft form (including the endless seeming task of checking
footnotes). A number of grants have been prepared and submitted to the
Canada Council in hopes of some financial support for the upcoming
Ireland / Scotland projects. <br /><br />
<b>'Another days worthless energy spent'...</b><br />
And it is that time of the year for the (often depressing) task of
completing and submitting income tax details to Revenue Canada. When
questioned about taxes specifically, Darrell said " It is such a pain,
and seems such a worthless exercise. I always end up with a splitting headache. 2022 had one of my largest recorded
gross incomes from the Wareham Forge over 35 years of operations. After operation expenses, even with my OAS, I
still did not end up with a personal income that hit the poverty line. Hardly enough to even have to pay any income tax." <br />
<br />
<b>Cheese saves the day!</b><br />
In Wareham, good quality cheese is on the menu. Kelly continues to work
one or two days a week at the local cheese and specialties food store in
nearby Flesherton, which is helping her finances through the dry period
in theatre contracts over the winter months. Extremely icy road
conditions around Grey County have intruded however, for two Saturdays
in a row she has had to turn around and carefully limp home when driving
was just not safe. Blame those continuing late winter weather!<br />
<br />
<b>Return to the Forge?</b><br />
The Wareham Forge is now undertaking a high school co-op program, with
16 year old Ryan working at the shop three days a week. Ryan is from
Thornehill (about an hour's drive away), so the arrangement is that he
typically comes up Monday mornings and stays at Wareham through to end
of work day Wednesday. Nights he bunks out in the 'Wendy House' and
provides his own meals. So far the normal day for him has discussions /
lectures in the shorter mornings, with forge instruction in the
afternoons. He is give some time (typically 3:30 - 5:00 pm) to work on
this own projects as his skills develop. Taken all together, this is
more like a short apprenticeship than the typical 'busy work' provided
in other co-op placements. Ryan will continue through to the end of
June, with hopes of accumulating four, 110 hour, course credits. <br />
<br />
<b>Cabin Fever!</b><br />
" The weather sure is not helping." say residents Darrell and Kelly.
Darrell especially has been spending almost his entire days over this
winter in the main room upstairs in Wareham. "Mother Nature has been an
absolute tease this year, when she is not being a stone cold bitch, but
who can blame her? Ryan's presence here for the last two weeks since his
placement started has helped some. COVID remains a reality, as much as
more and more people try to pretend it has somehow faded away" said
Darrell, " I am SO looking forward to actual warm spring weather! "</p><p> </p><p><i>Written as a response to a request for current news from my middle brother Garth, who yes, did taunt me (if unintentionally) with a dozen images of his own situation right now. </i><br /></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-29832359476043842232023-03-18T10:22:00.003-04:002023-03-18T10:25:43.777-04:00STOP! at the SIGN<p> <br />To:<br />Ontario Ministry of Transport<br />Ontario Provincial Police<br />Municipality of Grey Highlands<br />MPP Grey Bruce<br /><br />Re: Horse Drawn Passenger Vehicles = Licensing<br /><br />I live at 307377 Centre Line, Proton - Grey Highlands. This is on the corner of Centre Line (east / west) and SR 41 (north / south). There is a stop sign, both directions, on SR 41, and has been for the 35 years I have owned this home. The clear view along Centre Line is reduced in both directions, from the east by a low rise, the west by the two buildings on the north side (including my own). Centre line is also tree lined through Wareham, mature maples at least a century old.<br /><br />On Sunday, March 5, <b>a total of * eighteen * horse drawn passenger vehicles were seen to proceed through that stop sign without stopping</b>. <br /><br />Seven of these were light weight, two passenger open buggies pulled by a single horse. All of these blew through the stop sign at breakneck speed. The remainder eleven were large enclosed ‘family’ containing vehicles, pulled by a pair of horses, which although not capable of same high speeds, also violated the stop sign. In one case two vehicles did this side by side, so one was in the wrong lane entirely as it went through the intersection - as seen in the included photograph (taken from my front entrance).<br /><br />Other than the difference between single horse buggies and the large enclosed wagons, there is absolutely no way possible to identify the vehicles or their drivers. The wagons are intentionally all identical construction, painted black. The horses show some slight variation, but generally are all black or dark brown. The drivers intentionally wear identical back pants, jackets and hats. Although this is undertaken for ‘cultural / religious’ explanations, the simple fact remains there is absolutely no means what so ever of identifying the law breakers. <br /><br />There is no possible fiction that these are ‘farm’ vehicles. They are clearly designed for personal transport. In this situation specifically, the transport is being used to move people to and from gatherings at the Mennonite (only) meeting hall located north of this intersection on SR 41. <br />This situation has been repeated every Sunday since that meeting hall was constructed, typically between 11:45 to 12:15. Any attempt to address this flagrant disregard of the traffic laws made in the past has obviously been completely ineffective. <br /><br />Local motor vehicle drivers are well aware of the danger created by the careless operation of these wagons on the local roads: <br />- Launching through stop signs without stopping, including in front of of oncoming traffic.<br />- Loosing control of the horses entirely (either through poor selection or lack of training for horse or driver).<br />- Wagons travelling at night with no visible lighting. <br />- Horses suddenly darting out into the traffic lane, quite unpredictably. <br />There has been many statements made asking the local motor vehicle to ‘be patient’ and ‘make provisions’ for the inclusion of horse drawn vehicles on the roads. Given the repeated behaviour of these horse drawn vehicles, it is clear where the true responsibility for danger lies<br /><br />This is a situation that must repeat itself at every stop sign intersection in this local area - and most likely through out the Province. It is only a matter of time before there is a major collision on even this specific intersection. There have been a number of close calls I have observed, where motor vehicles have needed to suddenly brake or in several cases swerve completely around wagons who have not stopped as legally required. <br /><br />Because there is virtually no method of identifying individual offenders, it is suggested here that it is more than past time that these * personal * vehicles <b>are required to both register and visibly mount some form of license plate</b>. This is the requirement for other vehicles using the public roadways. <br /><br />Darrell Markewitz<br />(address block)<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim2196ykhu0kTWmrJQ9r0P3MK-0D3teafZN_pAdWOSjX_L8WxX2e9Mrns7ZcShoj1v3Hk-G6kJeGiGK_1T8dmzeiaXaoUKnesZJsUSPJtAs-AgDmh0I19-n-qzsh9oQYVBoKSF3MOQFIUfeCCtVhZH-9K6cx_v5BQV4HtjECIONk1UJdLPuxk/s780/two.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="780" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim2196ykhu0kTWmrJQ9r0P3MK-0D3teafZN_pAdWOSjX_L8WxX2e9Mrns7ZcShoj1v3Hk-G6kJeGiGK_1T8dmzeiaXaoUKnesZJsUSPJtAs-AgDmh0I19-n-qzsh9oQYVBoKSF3MOQFIUfeCCtVhZH-9K6cx_v5BQV4HtjECIONk1UJdLPuxk/w640-h480/two.jpg" width="640" /></a></div><br /><p style="text-align: center;">An earier post on the same problem : July 2016 - <a href="https://warehamforgeblog.blogspot.com/2016/07/red-means-stop.html">Red means STOP</a></p><p> <br /><i>It is worth noting that I was UNABLE to report this using the OPP on line reports system. </i></p><p><i><b>Any vehicle / road offense requires you to give the LICENSE PLATE</b>.</i></p><p><i>Pretty much proves the point<br /></i></p><p><br /></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-1850838575221067732023-03-08T07:21:00.005-05:002023-03-08T07:30:06.355-05:00'What Lies Beneath' - PSSP 2023<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8h8avagShQOMfIoWX8cSuJzjiV5G4Hqm4_5c7pM-BX53bWaYjvwO9TxFIIimzfaGPWnj5jRwtJNX7wqoJRqN0GfJ7XWjkpOCz4sXT1R-XFfJLK1vCy3lVSAzwkAUM4wIHAI2zfUX2LfLVgdHx32GWABvgVXCPFqup7-cgM2kRYp1pjV8Qzb8/s967/DM-Beneath.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="967" data-original-width="672" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8h8avagShQOMfIoWX8cSuJzjiV5G4Hqm4_5c7pM-BX53bWaYjvwO9TxFIIimzfaGPWnj5jRwtJNX7wqoJRqN0GfJ7XWjkpOCz4sXT1R-XFfJLK1vCy3lVSAzwkAUM4wIHAI2zfUX2LfLVgdHx32GWABvgVXCPFqup7-cgM2kRYp1pjV8Qzb8/w278-h400/DM-Beneath.jpg" width="278" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Design Rough - What Lies Beneath<br /></i></td></tr></tbody></table><br /><p></p><p style="text-align: center;"><span style="font-size: medium;"> Paisley Street Sculpture Project - 2023<br /><br /><b>‘What Lies Beneath’</b></span><br /><br /><i>(note that this is a second submission for this years competition)</i><br /></p><p><br />What gets left behind, buried under our feet? Does the remnants of our modern industrial activities become future archaeological remains?<br />A large bundle of now distorted pipes and tubes is glimpsed through the gaps of a broken limestone slab shell. <br /><br />This work is inspired from my continuing interest in archaeology, especially the fragmentary view of past material cultures via the random preservation and recovery of objects. If there is any message, it is subtle : What we bury today will become how the future will see, and likely mis-understand, about us. A jumbled confusion that may not truly represent our lives and aspirations at all. <br /><br />Description<br /><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsTcSRPS4kRoSlmkloJCcjB9jcBEG5HZNF5b9GxEP_5rWBJLVgpqJso2Moua0XPNzuuc-CTtz6gAd8IRzMIDNIuLk_KKWKmokz_RTlGabe3Wo2l7le-q1q-KFfbAeHtKari88nETnL95PA8Dqrqt0tDTgI9ONcDzRICh-6n1uFoSew4g8WzqI/s750/DM-detail.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="546" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsTcSRPS4kRoSlmkloJCcjB9jcBEG5HZNF5b9GxEP_5rWBJLVgpqJso2Moua0XPNzuuc-CTtz6gAd8IRzMIDNIuLk_KKWKmokz_RTlGabe3Wo2l7le-q1q-KFfbAeHtKari88nETnL95PA8Dqrqt0tDTgI9ONcDzRICh-6n1uFoSew4g8WzqI/s320/DM-detail.jpg" width="233" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Detail - forged pipe bundle (Peterson House)</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"> </div> The primary elements are forged from steel pipe, some bent and twisted along their length, flared / flattened / curved at their exposed ends. (For an example, see DM-detail.jpg - a similar technique used for an architectural support.) The pipe elements will be painted, most a dull black, but some darkened blue and green. Additional elements will be made of copper water pipe or galvanized electrical conduit, the ends capped with standard joint fittings. Lengths of small steel round rod and copper (gas line) tubing form occasional spiral wraps. <br />In total this central core forms a cylinder (hollow inside) about 6 1/2 feet long, about 18 inches in diameter. <br /><br />The outer shell is a series of random size and shape thin limestone slabs. The stone envisioned is a yellowish grey that contains many fossils. (What exactly is used will depend on local availability.) Each is held in place by short pieces of threaded rod welded to the core, using randomly forge shaped pieces, tapped to create ‘nuts’. The placement will create many gaps, through which the central core is visible, with the stone standing clear of the core by roughly 3 - 4 inches on the inside<br />In total the stone results in about 24 - 30 inch outside diameter.<br /><br />With the existing cut stone base, the total height will be about 8 feet - an imposing structure.<br /><br />Technical<br /><br />The central bundle will be solidly welded together and to an internal support composed of heavy angle, allowing for bolting to the existing bases. The use of pipe allows for visual, without massive physical, weight. <br />The shaped ‘nuts’ will allow the individual stone pieces to be attached on site, after the core bundle is in place. The threaded rods (two per stone for all but the smallest) would be 3/8 diameter, the holes drilled oversize to ease placement.<br />Although the overall concept would be better expressed if the steel surfaces were allowed to naturally rust, it was decided to use a protective painted coating (industrial enamel over primer) on all the the steel pieces. This primarily to avoid any possible rust stain damage to the polished stone base blocks. For this reason, all the top open ends of the pipe elements will be sealed, capped or folded downwards (to prevent rain water penetration to the interiors)<br /><br />Note that this is a design for a new work, likely only to be produced if accepted.<br /><br /><br />Artist<br /><br />Darrell Markewitz started his life long work as an artisan blacksmith as a student at Ontario College of Art in the late 1970’s. He founded his Wareham Forge in 1991, shortly after moving to lower Grey County, as his full time operation. Over the decades he has created practical and decorative objects for sale and on commission, ranging from simple candle holders to major architectural installations. Over the last decade, he has created a number of large objects for inclusion in the sculpture projects in Elora, Halliburton and most recently in Paisley.<br />see : <a href="http://www.warehamforge.ca">www.warehamforge.ca</a><br /><br />the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-73067847107473997412023-03-05T03:58:00.000-05:002023-03-05T03:58:02.093-05:00Seeking a GRANT ?<center>
<br /><br /><table border="1" cellpadding="2" cellspacing="2" style="width: 700px;">
<tbody>
<tr>
<td align="left" cellpadding="2" cellspacing="2" style="width: 550px;">I am undertaking a major, multi-event trip to Ireland and Scotland for the later part of this summer.<br />With air fares, local transportation (car hire), lodgings,
meals and materials - this is going to be an expensive
undertaking. At this point I am committed to the project,
since I have already paid for air and booked lodgings in
Ireland. <br />
So in aid of this, I have applied to the Canada Council for the Arts, most
significantly under <a href="https://canadacouncil.ca/funding/prizes/jean-a-chalmers-fund-for-the-crafts" target="_blank"><b>The Jean A Chalmers Fund for the Crafts</b></a> - Project Development and Research.
<br />
<br />
There are two primary and two secondary elements :<br />
<a href="https://www.furnacefestival.ie/the-festival.html" target="_blank"><b>Caherconnell Furnace Festival</b></a>, Ireland <br />
<a href="https://scottishsculptureworkshop.wordpress.com/2016/08/25/turf-to-tools-2016/" target="_blank"><b>Turf to Tools 3</b></a>, Scotland <br />
and<br />
<a href="https://www.e-a-a.org/eaa2023" target="_blank">European Archaeology Assn Conference</a>, Ireland <br />
<a href="https://rathobyresforge.co.uk" target="_blank">Ratho Byres Forge</a>, Scotland <br />
<br />
• I have missed the Woodford / Caherconnell event every
year since it's inception in 2019. First because of a
conflicting project (that was cancelled at the very last
minute), following years due to COVID travel restrictions
/ concerns. <br />
• Turf to Tools was started in 2014, continued in 2016,
originally at the Scottish Sculpture Workshop. Due to the
current situation at SSW, the final stage (object to
deposit) will be mounted on Skye, still working with Eden
Jolly.<br />
• I have submitted a paper / presentation for EAA-13,
which due to the raw costs of 5 days in Belfast, will be
as a video / ZOOM remote.<br />
• Since I will have to fly out of Edinburgh, I want to
make a workshop / studio visit to <b>Shona Johnson & Pete
Hill</b>, who I have worked with on other projects (notably
Ypres 1919-2019) <br />
<br />
The following is the submitted project description and
supporting images :<br />
<br />
<br />
<b>Project Description<br />
<br />
</b>- Travel from rural Grey County to Toronto - air to
Dublin, Ireland, public transport to rural Co. Clare.<br />
a) Caherconnell Furnace Festival, <br />
(lodgings and meals provided)<br />
b) European Archaeology Assn Conference.<br />
required lodgings with internet for presentation
day, meals<br />
- Travel to Dublin, required overnight hotel, air to
Edinburgh, car hire to rural Portree on Skye, meals.<br />
c) Turf 2 Tools 3 <br />
materials, lodgings and meals.<br />
- Return to Edinburgh, required lodgings, meals<br />
d) Workshop visit to Ratho Byres Forge in Edinburgh<br />
- Connecting air - Dublin to Toronto, return to home.<br />
<br />
<b>Event Descriptions<br />
<br />
</b>a) Caherconnell<br />
A gathering of Irish, UK, and European artisan blacksmiths
working with bloomery iron. The direct objective is to
share and further develop working skills with self made
bloomery iron with other artisans. Includes demonstration
/ public involvement aspect. <br />
b) EAA23 <br />
A presentation describing the interface within the ongoing
Turf to Tools’ project between traditional skills,
contemporary crafts, public demonstration, with
archaeological research (confirms March 24).<br />
c) Turf to Tools 3, originally conceived as a
collaborative project between international artists,
writers and archaeologists, ‘from the land - return to the
land’, at the Scottish Sculpture Workshop (2014, 2016).
This last phase undertakes the creation of a replica
historic object from bloomery iron made earlier, then
ceremonially depositing it into a peat bog. (Negotiations
with local arts organizations ongoing.)<br />
d) Ratho Byres Forge is one of the few architectural
blacksmith’s shops in Scotland, specializing in public
artwork installations. <br />
<br />
<b>Impact - Personal<br />
<br />
</b>a) Caherconnell<br />
Direct experience with distinctively Irish traditional
bloomery iron smelting methods. Introduce Canadian
perspective on process, extended to finished objects. I
will be the first Canadian to attend this event. <br />
b) EAA23<br />
Further enhance the contribution of experienced artisans
to archaeological research, particularly via public
demonstration of ancient / traditional techniques. I
consider myself a bridge between the maker and the
researcher related to bloomery iron.<br />
c) Turf 2 Tools 3<br />
Completion of this project, where I was the team lead. <br />
Continue and further develop the association between
Canadian and Scottish artisan metalworkers.<br />
d) Ratho Byres<br />
I had worked with Shonna Johnson and Pete Hill as part of
the build team for their panel for the Ypres 1916-2016
(Belgium) memorial, one of about a dozen Canadians
participating. Over the last decade I have increasingly
been creating public sculptures, so observation of their
working methods and insights will be invaluable.<br />
<br />
<b>Impact - Canada<br />
<br />
</b>- Bloomery Iron is a unique material, with properties
quite different from modern industrial alloys. I remain
only of only three working artisans exploring the
possibilities, certainly the one with the longest direct
experience. As one of the instigators of the ‘Early Iron’
movement in North America, I was instrumental in
re-discovering predictable methods allowing the creation
of bloomery iron, techniques which now have become widely
used. <br />
- All elements increase the international recognition of
the work and contribution of Canadian artisan blacksmiths.
The three main elements include work before larger public
audiences.<br />
- I continue to hold workshop sessions from my home
studio, transferring hard won knowledge and experience to
a new generation of artisan blacksmiths.<br />
- I remain one of the very few bloomery iron makers who
publishes working guides, ongoing research and general
commentaries on their work. This continues via web site
and regular blog postings, journal articles, book chapters
and formal lectures. <br />
- Specifically for this project, I intend to document all
elements via a dedicated series of illustrated blog
postings. <br />
- At the conclusion of Turf to Tools, the formal
description started during the earlier elements will be
completed, ideally to be submitted as a journal article.<br />
<br />
<b>Final Note<br />
<br />
</b>Bloomery Iron Smelting has a place in the early
history of Canada (Newfoundland c 1000 / Nova Scotia c
1650’s / Quebec c 1650’s + / Ontario c 1812 +) The
earliest large commercial operations almost always started
with the use of smaller test furnaces similar to the ones
illustrated here. Bloomery iron was the primary metal used
through the Settlement period, declining with technical
innovations after 1855. Although hand forging techniques
continue in use by contemporary artisan blacksmiths, all
modern work is undertaken using industrial steel alloys. <br />
The question of just how ancient to traditional iron
makers created bloomery iron was uncertain at the point I
started my own personal research in 2001. There are only
three Canadians working consistently with these methods
and metal, of which I certainly have the most overall
experience. I continue to stress the importance of
exploring the methods, and through object, the unique
properties of this material, well beyond the principle of
‘sole authorship’.<br />
<br />
<b>Images<br />
<br />
</b>The images presented here are grouped to show
differing aspects both the creation and artistic
expression of bloomery iron. As stress is seen on the
public demonstration aspect.<br />
01 - 06 : Illustrating the steps of creating ‘bloom to
bar’<br />
07 - 09 : Past work showing development of textures, use
of antique wrought iron<br />
10 - 12 : Work with bloomery iron, emphasizing the unique
textures. <br />
13 : Illustrating work with students (and within the USA)<br />
14 : The first iron smelt in Canada, the Norse circa 1000
AD (where my interest began).<br />
15 – 16 : Work at the Turf to Tools project.<br /><br />
<div style="text-align: center;"><i> click on any of the images for a larger view</i></div></td><td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxc98XRqh0MZ4Y75nLAPe8c7M2bPbyAqN5Y5wHlPQtFLqpZe2Pa2CVTKX-p6HSRdxFLQsly4UQ182HhMx6RcY9w9oHbl6CNWjUfuP8L0uAYMC3XJedEiyfj483xBM5_yO5n-J80YFPy_xagxWoWmcJxnOPlxQMAu_76qf7V508jv3Rw7vgNCo/s750/DM-01-freeing.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="563" data-original-width="750" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxc98XRqh0MZ4Y75nLAPe8c7M2bPbyAqN5Y5wHlPQtFLqpZe2Pa2CVTKX-p6HSRdxFLQsly4UQ182HhMx6RcY9w9oHbl6CNWjUfuP8L0uAYMC3XJedEiyfj483xBM5_yO5n-J80YFPy_xagxWoWmcJxnOPlxQMAu_76qf7V508jv3Rw7vgNCo/w200-h150/DM-01-freeing.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Freeing a Bloom (11/2009)<br /></td></tr></tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwR9otcG7lolxUXNivEaxF0Cc7yFfy4yh9NNyywAwvdDhfJ72desK2Y67ZrQVtr6RuAJflkWxKkM5JOX8OVL75OOy0r_gr7rr9i9S-_wrE9JdInwrqkqryAONac3VodwMsGhDV5g_vZksG8fvXGpmPCOIsi-xPrfqbkW7B0a7bi3SRx7M4cF8/s709/DM-02-extracting.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="709" data-original-width="531" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwR9otcG7lolxUXNivEaxF0Cc7yFfy4yh9NNyywAwvdDhfJ72desK2Y67ZrQVtr6RuAJflkWxKkM5JOX8OVL75OOy0r_gr7rr9i9S-_wrE9JdInwrqkqryAONac3VodwMsGhDV5g_vZksG8fvXGpmPCOIsi-xPrfqbkW7B0a7bi3SRx7M4cF8/w150-h200/DM-02-extracting.jpg" width="150" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Extraction - Goderich Celtic (8/2012)
</td></tr></tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhae5wDY8fEdpR0PbtEkRqzd1u2XwGOFio6kxrFPt9yxxnQtP7trvn6D_qhXTaIEj3qohkYaGVRHxpBJfibEpJEfXjdOG2SlXRZs5cTeNp6oOTSINqV8_sXzNtclRS28jnnk1wPzW7hNEXoRIC4OQvGyFu3_61ENHFUUjmkGPzxE-dlkmV2DSw/s738/DM-03-compaction.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="528" data-original-width="738" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhae5wDY8fEdpR0PbtEkRqzd1u2XwGOFio6kxrFPt9yxxnQtP7trvn6D_qhXTaIEj3qohkYaGVRHxpBJfibEpJEfXjdOG2SlXRZs5cTeNp6oOTSINqV8_sXzNtclRS28jnnk1wPzW7hNEXoRIC4OQvGyFu3_61ENHFUUjmkGPzxE-dlkmV2DSw/w200-h143/DM-03-compaction.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Consolidation - Quad State, Ohio (9/2008)<br /></td></tr></tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc__LpQ88tZLq63-Da--1dqa5jkfJCp3ikqT05CYRlG4W0022fGqwYJnNbqVw-Ip_MDTlysLfJQ2XJQwmE4DeS0CIN9aqPqtymHcrQsW9wkzHAR0UzhnViMAmNGxUypYy9zmtORlswfuFcxrP0zD1Oif8tmaj3QvpkjhLlSLUBqAFPDHXQ4eg/s1152/DM-04-splitting.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1152" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc__LpQ88tZLq63-Da--1dqa5jkfJCp3ikqT05CYRlG4W0022fGqwYJnNbqVw-Ip_MDTlysLfJQ2XJQwmE4DeS0CIN9aqPqtymHcrQsW9wkzHAR0UzhnViMAmNGxUypYy9zmtORlswfuFcxrP0zD1Oif8tmaj3QvpkjhLlSLUBqAFPDHXQ4eg/w200-h133/DM-04-splitting.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Splitting - ARTEfakty, Poland (9/2016)<br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX79zc0qiIPChTEzkKZHWHiBMaB4fteYer1Zxv3wVsr4-nxxfRNtuuhiyIcomaUVGGL-0Bl4bo84DUvjw1L7s1RMUuXuwYjIXPEOcSr0YDZHYEsbJ4bSKSdMT6ZQzD_dwhivfcEzUQwuz_XL-bmU1WllGLeCeC3Ype8IVmIIO2tvSEDkfbWIQ/s675/DM-05-welding.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="615" data-original-width="675" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX79zc0qiIPChTEzkKZHWHiBMaB4fteYer1Zxv3wVsr4-nxxfRNtuuhiyIcomaUVGGL-0Bl4bo84DUvjw1L7s1RMUuXuwYjIXPEOcSr0YDZHYEsbJ4bSKSdMT6ZQzD_dwhivfcEzUQwuz_XL-bmU1WllGLeCeC3Ype8IVmIIO2tvSEDkfbWIQ/w200-h183/DM-05-welding.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Welding - Bloom 2 Bar (4/2012)<br /></td></tr></tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg6f7NRrRylljU3_45CD29S6kr1eQaIyKyDl_Umt7pfgMwvyuf3gu3GEVn6N7veZbUuHInfDFx2w8lg5i7inu2ALaSO7mXVPeIch4jdAXidNw-QCIhnGYKbXt1lZMuqaE0NEf5bfCTrf-8j-sube1v0Px0lrpny3tX50pB1M2csx2KI3NmgHw/s780/DM-06-bar.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="585" data-original-width="780" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg6f7NRrRylljU3_45CD29S6kr1eQaIyKyDl_Umt7pfgMwvyuf3gu3GEVn6N7veZbUuHInfDFx2w8lg5i7inu2ALaSO7mXVPeIch4jdAXidNw-QCIhnGYKbXt1lZMuqaE0NEf5bfCTrf-8j-sube1v0Px0lrpny3tX50pB1M2csx2KI3NmgHw/w200-h150/DM-06-bar.JPG" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Working Bar - Turf to Tools - Scotland (8/2014)<br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA8mIrJnNdOIx8L6uF0eEG4sr-uxRXABsl5mGGQzy6fNs0IGXgUgeXuQX8tKlsnqC0DqHco1cT7NGzns5-2EATp3zhEg4WpKOki-Hz3ph9KLOKXttyH6Pl56XKy_Nme1nsF8U6KCEwusS83Ca4cRVUXva4uTDPPNdorVG2vft-E9icqmGDyoA/s750/DM-07-urn.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="436" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA8mIrJnNdOIx8L6uF0eEG4sr-uxRXABsl5mGGQzy6fNs0IGXgUgeXuQX8tKlsnqC0DqHco1cT7NGzns5-2EATp3zhEg4WpKOki-Hz3ph9KLOKXttyH6Pl56XKy_Nme1nsF8U6KCEwusS83Ca4cRVUXva4uTDPPNdorVG2vft-E9icqmGDyoA/w116-h200/DM-07-urn.jpg" width="116" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Segmented Funeral Urn - antique wrought iron, copper / 38 x 23 cm (2008)<br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRY27TiXl0izhLFzFjcPadb3fTSdZdokwzapdo95bec5sgaxcfMpd_CQyCk5-V4AWyxfqVxStTqrXqmV8VOIElbLMswd-oZlHn53sa2UrxyD9LhFUpwUyezZHGyO_j5_mUk_OnnaWbFkzEQ1AS9jujXy5OmZ69Z13e0OytPBW5m3Y4tRJss-k/s525/DM-08-pattern.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="394" data-original-width="525" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRY27TiXl0izhLFzFjcPadb3fTSdZdokwzapdo95bec5sgaxcfMpd_CQyCk5-V4AWyxfqVxStTqrXqmV8VOIElbLMswd-oZlHn53sa2UrxyD9LhFUpwUyezZHGyO_j5_mUk_OnnaWbFkzEQ1AS9jujXy5OmZ69Z13e0OytPBW5m3Y4tRJss-k/w200-h150/DM-08-pattern.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pattern Weld detail - antique wrought iron, steel alloys / about 6 cm wide (2000)<br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSHiwKaiStFhvWLStvaGRIiB0j3NThEkFAADRvU8QnhxU0DgF5u9cNLuIQDQx7c1oU9-8xWH_AGcmsozRCG1-nTFKtst4LOmYoH87ibktiBRfcDCsi0JNGBcPTCCng7CaioR2ZWsX-rR1lhajHSpOE30pWM2G6KKnuVdPT7p5pZuEkMZnpMfA/s709/DM-09-segmented.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="709" data-original-width="623" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSHiwKaiStFhvWLStvaGRIiB0j3NThEkFAADRvU8QnhxU0DgF5u9cNLuIQDQx7c1oU9-8xWH_AGcmsozRCG1-nTFKtst4LOmYoH87ibktiBRfcDCsi0JNGBcPTCCng7CaioR2ZWsX-rR1lhajHSpOE30pWM2G6KKnuVdPT7p5pZuEkMZnpMfA/w176-h200/DM-09-segmented.jpg" width="176" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Segmented Bowl #2 - mild steel / 24 x 16 cm (2011)<br /></td></tr></tbody></table>
</td></tr></tbody></table>
<table border="1" cellpadding="2" cellspacing="2" style="width: 700px;">
<tbody>
<tr>
<td valign="middle"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtcw9xO-1hIPDbjWcr2-D7nOBr-HvCEOEv2qJdTkl6WvObnSrbGjIMjAivX1EbG9dSb4ay7uj3YwxrsNJ3QXBlIRJ-p726eP7ZLJ10gH5Q1ADXogoQEUi9vz64xbR3turvK6PQQBO9bhKTJKoWr3fKqL1tuSedFoxx3Q3fNtDMnqhYgvs1STo/s709/DM-10-bowl2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="709" data-original-width="588" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtcw9xO-1hIPDbjWcr2-D7nOBr-HvCEOEv2qJdTkl6WvObnSrbGjIMjAivX1EbG9dSb4ay7uj3YwxrsNJ3QXBlIRJ-p726eP7ZLJ10gH5Q1ADXogoQEUi9vz64xbR3turvK6PQQBO9bhKTJKoWr3fKqL1tuSedFoxx3Q3fNtDMnqhYgvs1STo/w166-h200/DM-10-bowl2.jpg" width="166" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bloom Bowl #2 - bloomery iron / 20 x 14 cm (2011)<br /></td></tr></tbody></table></td>
<td valign="middle"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3eAeOcQuHP8wyuCpryfuFnpnKqERvMt_mrtX9m6eBZIZxCxwnLTviU5xlZUuOEjDPYbGv5IazLO_uGEgm_NqGxf3VqEl7yXb_19wUggvWZw5u6rh5shJsc3GUekEdwdqULHNSzze5f6dg-7WpDmiy0N2VEaSPPvcGsXlIzH8kRb65NPDeMWo/s709/DM-11-bowl4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="502" data-original-width="709" height="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3eAeOcQuHP8wyuCpryfuFnpnKqERvMt_mrtX9m6eBZIZxCxwnLTviU5xlZUuOEjDPYbGv5IazLO_uGEgm_NqGxf3VqEl7yXb_19wUggvWZw5u6rh5shJsc3GUekEdwdqULHNSzze5f6dg-7WpDmiy0N2VEaSPPvcGsXlIzH8kRb65NPDeMWo/w200-h142/DM-11-bowl4.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bloom Bowl #4 - bloomery iron / 15 x 12 cm (2014)</td></tr></tbody></table>
</td>
<td valign="middle"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioUMrO3pe1F4G2C0enjiWmCAPNvIs85zIz-Ydocnk37Enh2RIZx3Rvavs7B7--VrFR_aoWwOAzxS9cbtL4sZ3PxdESqznMLzDV_Ejs6DNvQRPZ-oUbUMYM2fPziV9OG5R4DNvxmszYTtce3PX-XBpoWcNFzL1g2_zRMDWg89S3cWWyxQSvxSE/s709/DM-12-hectors.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="265" data-original-width="709" height="75" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioUMrO3pe1F4G2C0enjiWmCAPNvIs85zIz-Ydocnk37Enh2RIZx3Rvavs7B7--VrFR_aoWwOAzxS9cbtL4sZ3PxdESqznMLzDV_Ejs6DNvQRPZ-oUbUMYM2fPziV9OG5R4DNvxmszYTtce3PX-XBpoWcNFzL1g2_zRMDWg89S3cWWyxQSvxSE/w200-h75/DM-12-hectors.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hector's Bane - bloomery iron, carbon steel / 26 cm long (2012)</td></tr></tbody></table>
</td>
</tr>
<tr>
<td valign="middle"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf3v9LexX2CvDiCg5wkjJpCgWvr4I-wCC2lprpX0q5gkjr0cZQqq-bqh01EppxH0xGTVaBjRclcIvOKP0EMN9KjeKXgl9lBReOg8LHAbgJBWSMw6NGihcLFJOU1I7Ai1NcuoL9YeuLH7vODK1NWg_G-6-yJqVySnbpknNpaQw-Fws2OWkd-1M/s720/DM-13-student.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="507" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf3v9LexX2CvDiCg5wkjJpCgWvr4I-wCC2lprpX0q5gkjr0cZQqq-bqh01EppxH0xGTVaBjRclcIvOKP0EMN9KjeKXgl9lBReOg8LHAbgJBWSMw6NGihcLFJOU1I7Ai1NcuoL9YeuLH7vODK1NWg_G-6-yJqVySnbpknNpaQw-Fws2OWkd-1M/w141-h200/DM-13-student.jpg" width="141" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Student Extracts - Brown University, Rhode Island (4/2011)</td></tr></tbody></table>
</td>
<td style="text-align: center;" valign="middle"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqpPJTUrx51JAIRPdRTDpSc5njnHquFLXSoyuUZiEiQEWimtETsCHGzIn4Qgl1RTB7-g5T8XKOx_ogntLpJWESBGpNFt5hfR-HKoFSbn52BN8dmsJjwO2E8xtyiKSwKekKt3xFoni_rHlRSa99wYM34XU2ZrvE4mLbHjWsO7fc56u7NnAsTdY/s1280/DM-14-Vinland.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="1280" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqpPJTUrx51JAIRPdRTDpSc5njnHquFLXSoyuUZiEiQEWimtETsCHGzIn4Qgl1RTB7-g5T8XKOx_ogntLpJWESBGpNFt5hfR-HKoFSbn52BN8dmsJjwO2E8xtyiKSwKekKt3xFoni_rHlRSa99wYM34XU2ZrvE4mLbHjWsO7fc56u7NnAsTdY/w200-h133/DM-14-Vinland.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Norse Iron Smelt at Vinland - L'Anse aux Meadows NHSC, Newfoundland (8/2010)</td></tr></tbody></table><br /></td>
<td valign="middle"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpI3Z448-dkpg9udIfSHZ-Vfd05BKvJaf88sp6wEvRRM_BmUiDstsCWyFGc7zdGougZybvaWJ9uQoN99p1jFRPILWf8vpTDUaKB5wXyz4o8dONiJzGXAvWIN66EsPb-lU0bMXgvjTPgLzFH2vfzC49C3T99G0y87hYqqt9JNJNZWRII1hAUN8/s780/DM-15-T2T-compact.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="585" data-original-width="780" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpI3Z448-dkpg9udIfSHZ-Vfd05BKvJaf88sp6wEvRRM_BmUiDstsCWyFGc7zdGougZybvaWJ9uQoN99p1jFRPILWf8vpTDUaKB5wXyz4o8dONiJzGXAvWIN66EsPb-lU0bMXgvjTPgLzFH2vfzC49C3T99G0y87hYqqt9JNJNZWRII1hAUN8/w200-h150/DM-15-T2T-compact.JPG" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Compaction, Turf to Tools 2 - Scotland (9/2016)<br /></td></tr></tbody></table>
</td>
</tr>
</tbody>
</table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQIBk72F61xAvGJWXnBC2PPKk3VPAf3gDeCvGWVRyOWC0MT4Jbs8VltA15KvJaTOQIstJCYCDL7acP4eCEm4jL80fj4vsCVOSC4L2BBmTNWTJkFAyYEJ0z9JX5tmYiu_8bod3hlHUIJ4PTuqCyVLHhayLan4y0vw1xgfpQxcI5WW_YOvDI7MI/s709/DM-16-T2Tbowl.jpg" style="display: block; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="575" data-original-width="709" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQIBk72F61xAvGJWXnBC2PPKk3VPAf3gDeCvGWVRyOWC0MT4Jbs8VltA15KvJaTOQIstJCYCDL7acP4eCEm4jL80fj4vsCVOSC4L2BBmTNWTJkFAyYEJ0z9JX5tmYiu_8bod3hlHUIJ4PTuqCyVLHhayLan4y0vw1xgfpQxcI5WW_YOvDI7MI/s320/DM-16-T2Tbowl.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Turf to Tools Bowl - bloomery iron / about 14 cm (2014)<br /></td></tr></tbody></table> </center><center> </center><p><i>I had been told by a friend who had served on a jury for the Ontario Arts Council that the first and last images were especially important to be striking. The first to grab their attention (on reviewing so many applications) and the last because it remained on the screen while they discussed your submission. </i></p><p><i>This obviously was good advice - as I am two grants out of three past applications at OAC. This is the first time I have attempted a Canada Council / Chalmers submission.</i></p><p><i>Wish me Luck!</i></p><p><i>PS: No thanks at all to Blogger / Google for the huge difficulty imposed by their 'simplified' coding system. It took four complete attempts over many hours to end up with the formatting you see here. </i><br /></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0tag:blogger.com,1999:blog-24863457.post-64522011937886579132023-03-01T08:28:00.005-05:002023-03-01T08:28:57.441-05:00"Look at the BONES!' - presentation at EAC-13<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRnJF-4DnZof4MNco2OOyMeOwCy33EjeidjS_LI8bwgUc8bwC-E_YtmgQMl9BHNoAHUUd84IMLdF7s4NRNHx_oUMgeA83Yu3oFwf6LW2eCe4PwYmz88cvhkcVvLAyCRLo5LSWRRrpWS-pFi5k_a_ir2xirsWKW8drKhtQjwRanGheMduUvTZo/s570/banner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="139" data-original-width="570" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRnJF-4DnZof4MNco2OOyMeOwCy33EjeidjS_LI8bwgUc8bwC-E_YtmgQMl9BHNoAHUUd84IMLdF7s4NRNHx_oUMgeA83Yu3oFwf6LW2eCe4PwYmz88cvhkcVvLAyCRLo5LSWRRrpWS-pFi5k_a_ir2xirsWKW8drKhtQjwRanGheMduUvTZo/w640-h156/banner.jpg" width="640" /></a></div><p></p><p style="text-align: center;"><span style="font-size: medium;">I have submitted and had accepted a presentation (with formal paper to follow) </span></p><p style="text-align: center;"><span style="font-size: medium;">for this year's Experimental Archaeology conference, EAC-13</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://exarc.net/sites/default/files/EAC13-EXARC-Torun-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="393" data-original-width="800" height="393" src="https://exarc.net/sites/default/files/EAC13-EXARC-Torun-web.jpg" width="800" /></a></div><p></p><p>
</p><div align="center" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-size: large;"><span style="font-size: small;">For more information : </span></span><span style="font-size: large;"><span style="font-size: small;"> <span class="gmail_default" style="font-family: verdana,sans-serif;"></span><a href="https://exarc.net/meetings/eac13/" target="_blank"><span class="gmail_default"></span>https://exarc.net/meetings/eac13/</a></span></span></div><div align="center" style="line-height: 100%; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-size: small;"> </span></span></div><div align="center" style="line-height: 100%; margin-bottom: 0cm;"><b><span style="font-size: large;"><span style="font-size: small;">On line viewing of the sessions is FREE</span></span></b></div><div align="center" style="line-height: 100%; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-size: small;">Conference organizers do ask that you do register (also free) <span class="gmail_default" style="font-family: verdana,sans-serif;"></span></span> </span></div><p align="center" style="line-height: 100%; margin-bottom: 0cm;"><span style="font-size: large;"> </span></p><p align="center" style="line-height: 100%; margin-bottom: 0cm;"><span style="font-size: large;">“<span style="font-family: Geneva, sans-serif;"><b>Look
at the Bones!” - Adding bone in a </b></span></span></p><p align="center" style="line-height: 100%; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: Geneva, sans-serif;"><b>bloomery iron smelt</b></span></span></p><span style="font-size: large;">
</span><p align="center" style="line-height: 100%; margin-bottom: 0cm;"><span style="font-family: Geneva, sans-serif; font-size: large;">A
case study of a practical experimental test.</span></p><p align="center" style="line-height: 100%; margin-bottom: 0cm;"><span style="font-family: Geneva, sans-serif; font-size: large;"> </span></p><p style="line-height: 100%; margin-bottom: 0cm; text-align: left;"><span style="font-family: Geneva, sans-serif; font-size: large;">
</span></p><p align="left">
<span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">Through
2019, much was made in the popular press </span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">suggesting</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">
that during the Viking Age, exhumed human bone had been used i</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">n</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">
the chain of production from iron ore through to finished swords.
C</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">ontradicting
this, c</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">onsiderable
experience with small scale direct reduction process bloomery iron
smelting furnaces i</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">ndicated</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">
that at least w</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">hile
creating the iron itself, the</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">
effect of adding bone would be minimal, if any. To establish what
kind of physical traces </span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">that
</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">might
remain if quantiti</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">es</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">
of bone w</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">ere</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">
added during s</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">melting,</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">
</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">in
June 2020 </span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">a
full furnace build </span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">and
firing was undertaken </span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">with
a range of animal bones added</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">,
t</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">hen</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">
the resulting debris field recorded. </span></span>
</p>
<p align="left"><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">The
</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">concept,
</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">design
and implementation of this experiment is discussed, and how limits on
methods, instrumentation and analyzing results shaped the final
conclusions. </span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">T</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">his
discussion suggests how</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">
even a simple experiment, if carefully recorded, can add to the body
of available knowledge, </span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">and
</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">may
prove insightful </span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">both
educators and</span></span><span style="font-family: Geneva, sans-serif;"><span style="font-style: normal;">
other investigators. </span></span>
</p>
<p align="left" style="font-style: normal;"><span style="font-family: Geneva, sans-serif;">Paper
– presented as video of narrated slides (prepared for internet, Q &
A via ZOOM)</span></p><p align="left" style="font-style: normal;"><span style="font-family: Geneva, sans-serif;">
</span></p><p style="font-style: normal; text-align: center;">
<b><span style="font-family: Geneva, sans-serif; font-size: medium;">Tuesday May 2</span></b></p><span style="font-size: medium;">
</span><p style="font-style: normal; text-align: center;"><span style="font-family: Geneva, sans-serif; font-size: medium;">Session
9 B 1</span></p><span style="font-size: medium;">
</span><p style="text-align: center;"><b><span style="font-family: Geneva, sans-serif; font-size: medium;"><span style="font-style: normal;">16:00
(local) = </span></span><span style="font-family: Geneva, sans-serif; font-size: medium;"><span style="font-style: normal;">10
am EST (Ontario)</span></span></b></p><span style="font-size: medium;">
</span><p style="font-style: normal; text-align: center;"><span style="font-family: Geneva, sans-serif; font-size: medium;">Q
& A (via Zoom)</span></p><span style="font-size: medium;">
</span><p style="font-style: normal; text-align: center;"><span style="font-family: Geneva, sans-serif; font-size: medium;">17:30
– 18:00 (local) = 11:30 – noon EST</span></p>
<p align="left" style="font-style: normal;"><span style="font-family: Geneva, sans-serif;"><style type="text/css">p { margin-bottom: 0.25cm; line-height: 115%; background: transparent }a:link { color: #000080; so-language: zxx; text-decoration: underline }</style> </span></p><p align="left" style="font-style: normal;"><span style="font-family: Geneva, sans-serif;">This will be a more formal version of the descriptions posted earlier about this June 2020 experiment - seen on the iron smelting documentation : </span></p><p style="font-style: normal; text-align: center;"><a href="http://www.warehamforge.ca/ironsmelting/iron2020/6-20-smelt/smelt.html" target="_blank"><span style="font-family: Geneva, sans-serif;">Build and Smelt</span></a></p><p style="font-style: normal; text-align: center;"><span style="font-family: Geneva, sans-serif;"><a href="http://www.warehamforge.ca/ironsmelting/iron2020/6-20-smelt/explore.html" target="_blank">Exploration</a> <br /></span></p><p align="left" style="font-style: normal;"><span style="font-family: Geneva, sans-serif;"><br /></span></p>
<p style="line-height: 100%; margin-bottom: 0cm; text-align: left;"><span style="font-family: Geneva, sans-serif; font-size: large;"><style type="text/css">p { margin-bottom: 0.25cm; line-height: 115%; background: transparent }a:link { color: #000080; so-language: zxx; text-decoration: underline }</style> <br /></span></p>
<p><style type="text/css">p { margin-bottom: 0.25cm; line-height: 115%; background: transparent }a:link { color: #000080; so-language: zxx; text-decoration: underline }</style></p><p><br /></p>the Wareham Forgehttp://www.blogger.com/profile/14584324650436543045noreply@blogger.com0