Podcasts about new york state college

An American born artist dedicated to developing new techniques of glass working, Joshua Hershman combines optical physics with the fluidity of glass to make his contemporary sculpture. By harnessing light though hand-polished lenses, he employs unique methods of casting, coldworking, and photography in his boundary pushing work.  Hershman states: “My work offers meditations on the complexities within the concept of photography and the repercussions of the camera's impact on culture. The incredibly creative and destructive nature of photography is both inspiring and alarming to me. It has helped bring our global society closer together but also driven us desperately apart. It can teach us or deceive us, show us the furthest reaches of space, or the closest representations of matter itself. It is these contrasting realities that exist within photography, which inspire my works of contemporary art.” Being born with no peripheral vision or depth perception, decades of vision therapy led Hershman to his lifelong fascination with the complex nature of the visual system and the science of light and optics. By using cameras themselves as frames for his experimental photographic processes, he asks us to look more closely into the simple act of taking a photograph. His work focuses on the significance that film and photography have played on the development of contemporary global culture.  More recently Hershman's work has focused on the torus — the most common shape found in galaxy formations and human cellular biology. His series, Messier Objects, was named after the French astronomer Charles Messier, who famously catalogued anomalous objects that confused his search for comets in the night sky. Originally from Colorado, Hershman was born in 1981 and first began working with glass at the age of 17. In 2004, he graduated from the Craft and Design Program at Sheridan College in Ontario, Canada. In 2008, he went on to earn a BFA with Distinction from the California College of the Arts in Oakland, California. Most recently, he completed the Master's program at the New York State College of Ceramics at Alfred University in Sculptural/Dimensional Studies.  In 2009, Hershman had his first solo exhibition at Pismo Glass in Denver and went on to participate in many group exhibitions and art fairs including Sofa Chicago, the Armory Show, Art Hamptons, SF Art Market, the Habatat Invitational, and many others. He loves to teach and has led workshops and lectures at California College of the Arts, Public Glass in San Francisco, Pittsburgh Glass Center, and at D&L Glass Supply in Denver. Hershman has received numerous awards, was included in the Bullseye Emerge international glass competition, Young Glass 2017, and can be found in numerous private collections. His work is included in the permanent collection of the Ebeltoft Museum in Denmark, The National Liberty Museum in Philadelphia, and Museum of Glass, Tacoma (MOG). In fact, MOG exhibited Hershman's sculpture in the nation's first LGBTQ+ glass exhibition titled Transparency. He has been invited to participate in several artist-in-residence programs including North Lands Creative Glass in Scotland, D&L Art Glass in Colorado, the Appalachian Center for Craft in Tennessee, and most recently completed a semester-long residency at Southern Illinois University at Carbondale. The artist worked for Berengo studio in Murano, Italy, where he made work for the world's leading contemporary artists. Living and operating a private studio in Los Angeles, California, Hershman makes his personal work and also operates the Glass Foundry, which provides casting and coldworking services to other artists. Additionally, he is employed at Judson Studios, where he's currently working on a large-scale architectural glass project for James Jean. “Casting glass was something I could do in isolation in my studio which was a huge advantage during the pandemic. Without the need for a furnace or lots of facilities, this process allowed me to make a highly challenging sculpture without the need for a team of assistants or expensive equipment. I think what draws me most to lost wax casting is the constant challenge and problem solving that is required to get a high-quality casting.”

Glass is a solution to many modern challenges, and there remains ample opportunities for further improvements. William LaCourse, Emeritus Professor of glass science in the New York State College of Ceramics at Alfred University, shares how several serendipitous encounters with giants in the glass field led to his employment at Alfred, highlights some of the untapped markets for ion-exchanged glass products, and gives some fun anecdotes from his time as the Alfred sports announcer for football and basketball.View the transcript for this episode here.About the guestWilliam LaCourse is Emeritus Professor of glass science in the New York State College of Ceramics at Alfred University. He has conducted extensive research in the field of glass strengthening, with a current focus on ion-exchange processing of commercial soda-lime-silica glasses, as described in the May 2025 ACerS Bulletin.About ACerSFounded in 1898, The American Ceramic Society is the leading professional membership organization for scientists, engineers, researchers, manufacturers, plant personnel, educators, and students working with ceramics and related materials.

self-described loner, Joel Philip Myers developed his skills in relative isolation from the Studio Glass movement. With works inspired by a vast array of topics ranging from his deep love of the Danish countryside to Dr. Zharkov, the artist avoided elaborate sculpture in favor of substantial vessels that are simple yet powerful. States Myers: “In 1964, on the occasion of an exhibition titled Designed for Production: The Craftsman's Approach, I wrote in an essay in Craft Horizons magazine: ‘My approach to glass, as it is to clay, is to allow the material an expression of its own. Press the material to the utmost, and it will suggest ideas and creative avenues to the responsive artist.' The statement was sincere and enthusiastic, but decidedly naïf. I never thought when I wrote it that it would be the one statement of mine that would continue to be repeatedly quoted, throughout my 46- year-long career, as my defining philosophy. I have no defining philosophy. I am a visual artist, not a philosopher. Thoughts and ideas and opinions do not constitute a philosophy, and my thoughts and ideas and opinions have evolved and matured and changed in the time that has passed since 1964.” He continues: “As an artist I like to think of myself as a visitor in a maze, trying to find a solution to a dizzying puzzle. As in a maze, I have, through blunders and exploration, arrived at solutions, and embraced the manifold possibilities that the material offers: plasticity, transparency, opacity, translucency. I am sensitive to the wonders of the visual world and inspired by the forms and colors of the natural world. My training as a designer has enabled me to understand and exploit organization and structure, adding a rational perspective to my intuitive, emotional self.” Myers earned his degree in advertising design from Parsons School of Design in 1954. He studied in Copenhagen, Denmark, before earning a B.F.A. and M.F.A. in ceramics from the New York State College of Ceramics at Alfred University in the early 1960s. In 1963, he was hired as design director at Blenko Glass Company in Milton, West Virginia. Captivated by the drama of this thriving glass factory, he learned glassblowing through observation and practice.  In 1970, Myers established the nascent glass department at Illinois State University in Normal, Illinois, where he served as Distinguished Professor of Art for 30 years until he retired from teaching in 1997. He is an Honorary Lifetime Member, 2012 Lifetime Achievement Award Winner and past President of the Glass Art Society, a Fellow of the American Crafts Council, and the recipient of a National Endowment for the Arts Fellowship. His work is represented in prominent museum collections around the world, including The Corning Museum of Glass, Corning, NY; The Art Institute of Chicago, Chicago, IL; the National Museum of American History, Smithsonian Institution, Washington, DC; the Smithsonian American Art Museum, Washington, D.C; The Museum of Decorative Arts, Prague; Hokkaido Museum of Modern Art, Japan; Musee des Arts Decoratifs, Palais du Louvre, Paris, France; and Musee de Design et d'Arts Appliques Contemporains, Lausanne, Switzerland, amongst others. Of his sculpture, Myers states: “My work is concerned with drawing, painting, playing with color and imagery on glass. I work with simple forms and concentrate on the surface enrichment. I prefer the spherical, three-dimensional surface to a flat one, because as I paint and draw on the glass, the glass form receives the drawing, adapts to its shape, distorts and expands it as it clothes and envelops itself in my drawing. I feel a communication with the material, and a reciprocation from my subconscious, as I continually search for new insights into my unknown self.” Enjoy this enlightening conversation with Myers, who at 91 has a near photographic memory of the events and developments that spurred the Studio Glass movement forward in its early days, as well as the ideas and processes of his personal work in glass – some of the most successful and collected of its day.  

Lisa Orr is a professional potter and has been a student of ceramics for more than 40 years. After completing her MFA in 1992 at the New York State College of Ceramics at Alfred University, she received a Fulbright and an MAAA/NEA grant to continue her studies. Her work is shown in numerous public and private collections including the Fine Arts Museum of San Francisco, and the permanent collection of WOCEF in Korea. A full-time studio potter, she also teaches, lectures, and shows nationally and internationally. http://ThePottersCast.com/1046

There is a turf war between veterinarians and non-veterinarians, both wanting to provide horses with preventive dental care. It started in the late 1990s and has gained protection behind laws meant to protect horse owners. But is there proof that any approach to floating is better than another? Or is it just positioning based on territorialism? I used the following script to make this podcast, but I also added to it freely to emphasize several points. This podcast is more formal than usual because I am reading a script I wrote in response to a graduate of my dentistry school challenged by the Veterinary Medical Association of her area. She is a non-veterinarian working in equine dentistry. Most of the United States allows individual states to determine what a profession is, and most states broadly state that veterinarians are the ones to perform medicine, surgery, and dentistry on any animal. This statement includes fish, reptiles, birds, and any other animal other than humans. It is the prerogative of the veterinary board to investigate anyone who does any work on any animal in their state. However, routine care of animals, including preventive medicine, is usually avoided. You can purchase and administer vaccines and dewormers, adjust angles on hooves, apply therapeutic shoes, prepare any mixture of medicinal supplements, breed horses, deliver foals, apply linaments, clip the hair of horses not shedding, splint crooked legs of foals, adjust bones, massage muscles, use red light, PEMF, and a dozen more things to a horse without being a veterinarian. But you cannot remove the unworn parts of the cheek teeth in horses, digging their sharp edges into the tongue and cheeks and causing pain with every movement of their jaw and tongue. I have been training veterinarians and non-veterinarians in the technique of Horsemanship Dentistry. My definition of this form of working on the teeth of horses is as follows: 1) Removing sharp points from horses' cheek teeth by filing them to a smooth edge is commonly called "floating teeth" but is also known as odontoplasty. The root cause of most dental problems is pain in the tongue and cheeks caused by sharp enamel points. Therefore, routine maintenance of the horse's teeth removes pain from these sharp points. Secondary to the removal of sharp points is finding pathology and addressing this. 2) Administering sedatives to horses for routine floating is unnecessary; instead, horsemanship skills are used for 97% of horses (from annual data consistent over the past decade). The remaining 3% are horses that are reactive to pain, fear the process, or have a painful procedure done, such as extracting a fractured cheek tooth. With those, I administer pain and anxiolytic medications. My name is Geoff Tucker, and I am a veterinarian who graduated from The New York State College of Veterinary Medicine (Cornell) in 1984. I have worked professionally with horses since 1973, starting on a Saddlebred farm in Ohio and moving to a Thoroughbred breeding and training farm in New York that same year. I completed my undergraduate degree at Cornell University in 1979 and graduated from veterinary school in 1984. In my autobiography, I tell my story: "Since The Days Of The Romans; My Journey Of Discovering A Life With Horses." It's available on Amazon, and I have also read it here on "The Horse's Advocate Podcast." While in veterinary school, my mentor told me the importance of maintaining horses' teeth. With him, I floated my first horse in 1983 and made this a part of my practice in 1984. Since then, I have logged the number of horses I have worked on or who I have taught. In February 2024, I recorded my 80,000th horse. But I always continued learning about horses' teeth and oral cavities. I have attended many continuing education courses offered by veterinary professional organizations in person or online.  The New York State Equine Practice Committee invited me to join them in 1996. The reason for this invitation to the board, they told me, was because I performed more dental care on horses in NY than any other vet at that time, and veterinarians were becoming interested in claiming this aspect of horse care for themselves. Non-veterinarians did much more, including all the racehorses at Belmont, Aqueduct, and Saratoga. As one board member stated, this discrepancy between veterinarians and non-veterinarians floating horses was because no good horse vet has time to add floating teeth to their busy schedule. There was one practitioner on the board who, at that time, was stating that only veterinarians should be floating horse teeth. I and the others were somewhere in the middle of these two thoughts. We could not reach a consensus, and we dropped the discussion, knowing it would require much more work than anyone wanted to do for an issue being done well by non-veterinarians.  The interest of the practice committee and the NY veterinary board came from the introduction of sedation and power floating equipment, and veterinarians started claiming their position from the non-veterinarians to broaden their base. There was no discussion that a non-veterinarian was less able to float teeth, nor were non-veterinary dentists cheating owners with poor quality of service. Cases of lapses in integrity came from both sides, mainly because floating horse teeth is hard work and requires horsemanship skills, and visualization of the finished float by the horse owner is within the depths of the mouth. In 1999, I attended the Ocala Equine Conference, where a non-veterinarian spoke about filling cavities in horses' cheek teeth. I was shocked when he stated, without any evidence, that horses would live, on average, five years longer if we all started performing this procedure. This same man was later banned from working on horses in several states, became the president of the IAED (International Association of Equine Dentistry), and became the director of equine dentistry at the University of California - Davis veterinary school. While this non-veterinarian was working at this vet school teaching veterinary students, he caused injury to a client's horse. According to her (she emailed and called me all of this information), the man was sued, and then he and the director of the veterinary hospital who had hired him were fired from the school. On another front, a non-veterinary equine dentist taught non-veterinarians how to float teeth in South Dakota in the late 1980s and 1990s. He was vocal that veterinarians should not be allowed in the horse's mouth because they had no training. His voraciousness upset the veterinary board, forcing him to leave the state and reestablish his school in Idaho.  Throughout the turf battle of who should be allowed to float teeth, I continued to apply and improve my skills throughout New York. In 1984, no textbooks on equine dentistry were available except one written by a non-veterinarian: "Sound Mouth, Sound Horse," by Ed Gager (published in 1983). Toward the end of the century, more veterinarians started to stand for horse owners' protection by demanding that only veterinarians work on horses' teeth. More textbooks by veterinarians came in 1998 through 2011, but few have come since. In the United Kingdom, veterinarians and non-veterinarians made up an exam so that non-veterinarians passing the exam would be listed officially and allowed to float horse teeth.  In 2002, I flew to Glasgow, Scotland, to attend the annual BEVA (British Equine Veterinary Association) conference, which focused on horse dentistry. I attended because of this subject, but I was one of only two veterinarians interested in equine dentistry traveling from the United States to attend. When the conference coordinator heard about my presence, she arranged for me to have a one-on-one lunch with Professor Paddy Dixon of the Veterinary College at Edinborough, Scotland. He has authored or co-authored more published papers and textbooks on Equine Dentistry and the teeth of horses than anyone. He presented the Frank J Milne State Of The Art lecture to the AAEP (American Association of Equine Practitioners), the highly prestigious, invitation-only lecture, where he discussed the evolution of the horse and equine dentistry. The interest could have been better, as seen by the mostly empty seats in the 1000+ seat lecture hall. The following day, he joined a panel discussing equine dentistry, which maybe had 80 people attending. Only the best get invited to give this talk at the AAEP conference, yet very few attended. This is because (then and now) only a few equine veterinarians are interested in equine dentistry. Let me address this. There is a crisis in equine veterinary medicine, where only 1.4% of all veterinary graduates in the United States (58 out of 4000 in 2023) go into a practice limited to horses. Of these, 50% quit within five years (these statistics are found on the AAEP and the AVMA (American Veterinary Medical Association) websites. The number of new veterinarians entering horse practices is less than those leaving, and the AAEP and the AVMA are moving fast to entice new graduates to join our ranks and, more importantly, stay. They do this by increasing the starting salaries, among other incentives. The cost of employing veterinarians or maintaining the horse practice places more pressure on owners to generate an income. Some look to dentistry to help with their profits, which is a good plan, but there are drawbacks. One of the first hurdles to becoming good at equine dentistry is becoming good at doing this. It is a skill that takes time to improve and becomes more challenging when the patient moves or objects. The solution for many is to sedate the horse automatically, doing nothing for the pain they are experiencing. Is this the best option for the horse? How does any medication affect horses that are healthy or who have underlying conditions, such as metabolic syndrome or gut ulcers? All medicines, such as antibiotics, antiinflammatories, and sedatives, cause a change in the gut microbiome (dysbiosis), leading to malabsorption and even ulceration. Would a technique that floats the horse while minimizing their pain without medication be better? Another hurdle is the lack of scientific evidence proving the causation between any dental disease espoused by the American Veterinary Dental College—Equine and their solution. For example, recently, a board-certified veterinary equine dentist suggested that removing all incisor teeth is an acceptable treatment for a disease (EOTRH) they don't have a cause for, nor any proof that tooth removal is more than palliative. Worse, alternative options with a history of helping these horses are not only not mentioned but laughed at publically, as I heard several times at the AAEP meeting with Dr Dixon—laughed at! An even more complex problem exists in areas where only veterinarians are allowed to float teeth. This limitation prevents horse owners from choosing what is best for their horses without evidence of a superior technique (hand floating without medication versus power equipment on restrained and sedated horses). Many owners do not want their horses automatically drugged, often to the point that they fall to the ground. They don't want their horses immobilized through medications, speculums, braces, stocks, and helpers holding their heads. However, with the restrictions imposed by government regulations, the horse owners have only three choices: They don't have their horses' teeth maintained. Suffer through a technique they don't like. Ship their horses to a place where floating is legal. This last choice places a financial and time burden on the horse owner and increases the horse's risk. The first choice neglects the pain the horse suffers from sharp teeth but addresses the suffering the owner goes through as their horse becomes an object. Further, what if the horse owner feels that the veterinarian isn't good at this job? They can't mention this observation because there are too few veterinarians willing to come to their farm as it is without offending the floating veterinarian with their concern about their competency. Worse, many veterinarians include dentistry in their annual wellness visit, forcing the techniques veterinarians use on the horse and owner because of the discount given for the wellness visit package.  In other words, forcing horse owners to use a veterinarian for routine dental maintenance performed for over 100 years by non-veterinarians is unfair to owners wanting to use a time-tested approach to dentistry for their horses. But let's look at time-tested, observational, anecdotal evidence and ask if it is better or worse than peer-reviewed, randomized, controlled trials (RCT). The first thing to do is find quality RCT papers in equine dentistry; none are available. Quality comes from various factors including, but not limited to, confounding variables, the power of the study (how many horses), the statistical analysis (significance), and bias of the subjects and the study in general. The papers and texts I read on dentistry in horses published in veterinary journals or presented at veterinary conferences are mostly case reports or collections of case reports to establish a pattern. These collections often have dozens to hundreds of horses nicely grouped by age, breed, or pathology. Occasionally, an RCT appears with 10 to 20 horses selected due to age or breed, and an attempt to show causality made using poorly formed statistics for all horses on the planet. It is ridiculous to think that a dental disease studied in Thoroughbreds stabled at a race track eating pounds (kilos) of grain will have any association with the outcome of horses living in another country fed differently with a different use. No RCTs determine the long-term outcomes of floating teeth using any technique. This statement means no person can accurately say what is best for horses regarding their dental care. All there is is anecdotal evidence and observational studies. Yet, in the past 25 years, no governing body has asked me to contribute my accumulated knowledge from 41 years of looking at 80,000+ horses. Instead, they say I do not "fit the standard of practice," according to a handful of people unwilling to find the answers needed to help the horse. These same few people determine the laws based on no scientific evidence of what they say. There are good and bad equine dentists, regardless of having a degree in veterinary medicine. What counts is experience, but more importantly, sharing this experience. I have done so since 2007 on all social media platforms, several websites, and my podcast. Horse owners know there are other approaches to dentistry, but because of laws, they cannot use them. Veterinarians are worried about their practice, either in the solvency or their credibility, if non-veterinarians float teeth. However, we became horse vets to help horses, and we can do this by using non-veterinarians to be our eyes on the dental issues of the horses we care for. Legislation in the US states where non-veterinarians are allowed to work on horses' teeth states that they only use hand floats and do not give any medications. Allowing them to work frees up the veterinarian's time. They can even be part of the practice, bringing in a portion of that income without the time needed to perform the routine float. With training, non-veterinarians are sentinels for further problems, and the veterinarian can apply the training and skills required to address the pathology. This approach of working together becomes a win-win for the horse, the horse owner, the non-veterinary floater, and the veterinarian. Further, in an age where the supply of equine veterinarians is shrinking, and their location of care is focused on urban areas, the following can occur: Horse owners will be more willing to provide their horses with the necessary routine care, which is a win for horses. More people can make a living income in the horse industry by providing horse maintenance, which farriers have done. The vet can employ a non-veterinarian to increase their income by offering floating through their practice. The owner can choose between the non-veterinarian's hand floating or the veterinarian's "advanced" approach. The horse owner can feel confident that if pathology is discovered by the routine floating, the veterinarian can follow up. After 51 years of working with horses and 41 years of floating their teeth, it is becoming evident that the turf battle between the veterinarian and the non-veterinarian over who should be floating horses is doing nothing but making it difficult for horse owners to get the routine care they need. We can create a better solution for our horses if we all start working together. More horse vets are needed, especially in rural areas, to provide basic care, but the number of them is growing smaller. Owners cannot afford the time or money to ship their horses to a clinic for this routine care, and they don't have the skills, and possibly the physical ability, to float horses. Horsemanship dentistry is teachable and can be done effectively without medication. I know this because of my experience with the number of horses I have floated and the success of students learning this technique.  A simple fact about horses' teeth remains: If a horse is chewing, the teeth need doing (floating). With the decline in available horse vets in rural areas, their work is spread thin among the horse population. Non-veterinarians are performing a needed service, and veterinarians can learn to work with them as they have with other non-veterinary horse professionals. They are not there to diagnose, but as primary service providers with eyes and ears, they can help promote the local veterinarian for things they are well trained for.

Join Matt as he dives deep into kilns with Freddy Frederickson, the legendary founder of Fredrickson Kiln Company. For over 30 years, Freddy wasn't just building kilns at The New York State College of Ceramics at Alfred University, he was perfecting the craft as their master kiln builder. In this first episode of our two-part interview, Freddy shares his remarkable journey. From the evolution of electric kiln technology to filling and firing an even kiln, listen in as he answers some of your burning questions about using your electric kiln.   Today's episode is brought to you by: Bray Poxy archiebrayclay.com   This week's episode features the following topics: Electric Kiln, Firing, Kiln, Kiln Troubleshooting, Kiln load, kiln firing

Blog: www.taminglightning.net Instagram @taminglightning Support on Ko-fi.com/taminglightning and Patreon.com/taminglightning Hello Lightning Tamers this is episode number 52. And in today's podcast, recorded Dec 2nd, 2021, I'll be joined by Light and Space Artist, Ethan Samaha. Ethan Samaha holds a BFA in Art + Design,a  focus in Sculpture and Dimensional Studies, with minors in Performance Design and Technology and Dance, from the New York State College of Ceramics at Alfred University. Ethan is visiting here in Pittsburgh for the week, and had reached out me to meet up and talk about neon and plasma. I was working in studio , and suggested we'd meet at the Pittsburgh Glass Center. After giving a tour of PGC, and about 2 hours of nerding out about plasma illumination, we decided to record a podcast.  In the next episode, we have the pleasure of hearing from Ethan himself as he delves into his fascinating color choices and palette for pulling tubing using the furnace blown glass and color. Get ready for an insightful discussion you won't want to miss! Music Credits:  Preview - Retro by ONE  The opening theme -Taming Lightning by Trav B. Ryan    Patreon Promo  - Next Time by Hayku Credits - Walking by Ras-Hop

Ara Koh was born in Seoul, South Korea from a fashion designer mother, and an industrial designer father. She received her BFA in Ceramics and Glass from Hongik University, Seoul, South Korea in 2018, and was an exchange student at California State University, Long Beach in 2016. Ara graduated with an MFA in Ceramic Art at New York State College of Ceramics at Alfred University in 2020. Her works are installations claiming space. The intensity of the labor, repetitiveness, and palliative obsessiveness manifested in her sculpture brings a fresh reveal to the ageless themes of body, architecture-shelter and landscape.Her works had been exhibited in South Korea and in the United States. Ara received numerous awards including the Minister of Foreign Affairs Honor by the Korean government. Her works are collected by Alfred Ceramic Art Museum, Daekyo Culture Foundation, Winell Corporation in Korea, and many personal collectors. As an educator, she teaches at Maryland Institute College of Art, George Washington University, and American University. Ara Koh currently lives and works in Washington DC.Creators & Guests Rob Lee - Host The Truth In This Art, hosted by Rob Lee, explores contemporary art and cultural preservation through candid conversations with artists, curators, and cultural leaders about their work, creative processes and the thinking that goes into their creativity. Rob also occasionally interviews creatives in other industries such as acting, music, and journalism. The Truth In This Art is a podcast for artists, art lovers and listeners interested in the creative process.To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts. ★ Support this podcast ★

Cristina Cordova received a Bachelor of Arts from the University of Puerto Rico and continued to earn a Master of Fine Arts in Ceramics from the New York State College of Ceramics at Alfred University. In 2002 she entered a three-year artists residency program at Penland School of Crafts where she later served on the board of trustees from 2006 to 2010. Recognitions included a USA Artist Fellowship, and American Crafts Council Emerging Artist Grant, a North Carolina Arts Council Fellowship, a Virginia Groot Foundation Recognition Grant and several International Association of Art Critics Awards. Her work is part of the permanent collections of the Renwick Gallery of the Smithsonian American Art Museum, the Fuller Craft Museum, the Mint Museum of Craft and Design, the Museum of Contemporary Art of Puerto Rico, the Everson Museum and the Mobile Museum, among others. She currently lives and works at Penland. You can follow along with her work on Instagram. Find and follow your hosts Katie Freeman and Katie Thompson on Instagram.

Brian R. Jones grew up in Syracuse, NY and is now an artist living and working in Portland, OR. He has been a resident artist at Watershed Center for Ceramic Arts in Newcastle, ME and The Clay Studio in Philadelphia, PA. He has earned degrees from The New York State College of Ceramics (BFA) and Southern Methodist University (MFA). He was a presenter at the Utilitarian Clay VI: Celebrate the Object at Arrowmont School of Arts and Crafts in September 2012. In 2013, Jones was selected as an Emerging Artist by the National Council on the Education in the Ceramic Arts.

On this weeks episode of The Beats with Kelly Kennedy, we it down with Melatonin Master - Dr. John Lieurance. In this conversation Dr. John shares his story, the almost 15 year journey that he went through in order to regain his health. In doing so he acquired knowledge and insight about what the body needs to function optimally. His wealth of knowledge on mitochondria, melatonin and NAD+ is extremely impressive and we are so excited to get his message out to the world. Dr. John attended St Luke's Medical School & Parker College of Chiropractic, and has a BA in Anatomy from New York State College. He has been involved in an integrated practice for over 25 years, practicing with MD's, DO's, AP's, PT's & DPM's in an integrated setting. With the successful integration of Neurology, Chiropractic, Naturopathy, LumoMed and Nutrition, he sees excellent clinical results! He has successfully treated himself for Chronic Lyme disease & CIRS. He uses some of the most cutting edge treatments to treat others with many chronic conditions. a few of these treatments are: CVAC, 10 pass hyperbaric ozone, silver IV, IV laser (LumoStem), hyperbaric oxygen, the shoemaker protocol and other natural means. These treatments have been proven very successful for treating many chronic neurological and chronic infection conditions. Dr. Lieurance believes that toxins and infections are at the root of many conditions including Autoimmune, Parkinson's, Alzheimer's, Inner Ear Conditions, and most Degenerative Neurologic Conditions. He is the chief scientific officer of MitoZen a cutting-edge health care technology company which has a focus on powerful delivery systems such as nasal sprays, suppositories, and liposomal preparations. Many of the products created are designed to be used for support for alternative practitioners to apply to chronic conditions such as mold toxicity (CIRS), heavy metal toxicity, autoimmune conditions, neurological diseases, and chronic inflammation. Also, many “BioHackers” find them helpful to enhance cognition and physical performance. He is also the director of the Functional Cranial Release Research Institute (FCRRI), whose purpose is to study the neurologic mechanisms behind specific endo-nasal balloon inflations. His main clinical interest is in cranial morphology, as well as cranial rhythm and its influence in brain function. He developed the “Ultimate Guide to EWOT” a DVD (with manual), that describes setting up EWOT out of your home or office. John Lieurance founded UltimateCellularReset.com, a web based educational portal, which sends out weekly videos on health and wellness tools for overcoming disease, longevity and vitality. He has been featured in many podcasts and documentaries, including Ben Greenfield Fitness and Pain Revealed. 0:00 | Introduction 3:08 | Dr John's Story 7:17 | How did Dr. John resolve his Lyme disease? 10: 40 | why didn't Dr. John give up on his trying healing journey? 14:00 | The Melatonin, why you need it! 17:30 | We need to be challenged, the importance of stress 20 :40 | Let's understand the Kreb's cycle ...it's really important! 26:30| Do we need more then 5-6 hours of sleep? 30:00 | How can we get into a parasympathetic healing more 32:00 | What is Heart Rate Variability really telling us? 36:30 | Achieving vitality 38:35 | What is NAD+? 39:36| What effects NAD+? 41:00 | What is NADH? 41:20 | How do we get naturally occurring NAD+ 45:00 | Ways to get NAD+ into the body 51:40 | What is Dr. John's message to the world? Resources discussed|| Parascelusus Clinic Melatonin Amazing Benefits of the Miracle Molecule By: Dr John Lieurance Sandman Dr. Peter Martone and necknest.com Dr. John's Mitofast Connect with Dr. John! Melatonin Amazing Benefits of the Miracle Molecule By Dr. John Lieurance Visit Dr. John in Sarasota, FL Advanced Rejuvenation MitoZen.com Ultracellular Reset Education Program

Gianna Commito is an artist who earned a BFA from The New York State College of Ceramics at Alfred University, Alfred, NY and an MFA from the University of Iowa. She has been included in exhibitions at Fleisher/Ollman Gallery, Philadelphia, PA; The Akron Art Museum, Akron, OH; Lehman College Art Department, New York, NY; Webster State University, Ogden, UT; MOCA Cleveland, Cleveland, OH; National Academy, New York, NY; and the Drawing Center, New York, NY; among others. Gianna is the recipient of numerous awards and fellowships, including the Ohio Arts Council Award; the Cleveland Art Prize; Artist in Residence at Yaddo, Saratoga Springs, NY; and the Pollock-Krasner Foundation Grant. In 2018, her work was featured in the inaugural edition of the FRONT International: Cleveland Triennial for Contemporary Art in Cleveland, OH. She lives and works in Kent, OH, where she is a Professor of Painting at Kent State University and is represented by Rachel Uffner Gallery in New York, NY.

Kait Rhoads creates stunning glass art sculptures that have been exhibited all over the world - from the USA to the UK, to Italy, Belgium, China, Japan and lots of points in between. She earned a Bachelor of Fine Arts in Glass from the Rhode Island School of Design and a Master of Fine Arts in Glass from Alfred University, New York State College of Ceramics. She also received a Fulbright Scholarship to study her craft in Venice, Italy.Kait has been recognized with numerous awards and been an Artist in Residence many times, including at the Massachusetts College of Art, and the Tacoma Museum of Glass. Her work can be found in public collections internationally, including at the Carnegie Museum of Art, the Corning Museum of Glass, the Seattle Art Museum, the Shanghai Museum of Glass, and the Toyama Institute of Glass Museum in Japan.She's been published extensively and taken on teaching roles at many different institutions.On this episode, host Angela de Burger chats with Kait about why she was drawn to glass blowing, how her experience of growing up on a boat in the Caribbean influences her sculptures, her creative process, and how she developed her personal design style.Say hi to Kait:  Website: https://kaitrhoads.com   Jewellery website: https://kaitrhoadsdesign.com   Instagram  Facebook ----Creative Pulse Podcast socials:  Instagram https://www.instagram.com/creativepulsepodcast  Twitter https://twitter.com/CreativePulseTWMusic credit: https://www.purple-planet.com

In 1969, Professor Larry Hench developed a glass that can grow with bones. His close friend and colleague, David Greenspan, helped Professor Hench develop the material into BioGlass, a product that is used in orthopedic and dental bone graft materials. David, a native of Brooklyn, wanted to be a drummer but turned to glass blowing instead. His big insight into entrepreneurship? “Never lie to yourself.” *This episode was originally released on September 25, 2018.* TRANSCRIPT: Intro: 0:01Inventors and their inventions. Welcome to Radio Cade a podcast from the Cade Museum for Creativity and Invention in Gainesville, Florida. The museum is named after James, Robert Cade who invented Gatorade in 1965. My name is Richard Miles. We’ll introduce you to inventors and the things that motivate them. We’ll learn about their personal stories, how their inventions work, and how their ideas get from the laboratory to the marketplace. Richard Miles: 0:39Glass that lives. That’s the subject of our Radio Cade podcast today and in the studio with me, I have David Greenspan. David, welcome. David Greenspan: 0:47Thank you very much. It’s a pleasure to be here and it’s great to see the Cade Museum alive and well. Richard Miles: 0:52Thank you. Thank you. All right. Before we talk about you, David, which is, I know probably your favorite subject, right? Of course. Let’s tell the listeners a bit about BioGlass, which is the invention that you’re associated with. Just explain to me in very simple terms, what is the core technology underneath it and sort of how does it work and then we’ll come back later and talk about the applications in the market and that sort of stuff. David Greenspan: 1:15Bioglass is a bio material and there are lots of biomaterials you can think of. Metals for hips, knees, materials for wound healing, gauze, bandages, all biomaterials heart valves, some are synthetic some are natural. Bioglass is a form of glass and of course glass itself as a chemistry has lots of different compositions, lots of different properties within that category. BioGlass is unique because when it’s implanted, and originally it was used as a bone regenerative material. When it’s implanted in bone, it actually reacts like sugar dissolves. Well, much more slowly BioGlass the atoms, the Ions in BioGlass will react and actually stimulates bone healing and that was the core Aha moment. Richard Miles: 2:05I see. David Greenspan: 2:06So basically that was the concept and the original material and from that and from learning about how this glass reacts and how you could change the composition slightly and change, the reactions, the field kind of broadened out into applications well beyond just trying to help bone healing. Richard Miles: 2:25So that sounds both fascinating and incredibly complicated at the same time because unlike what your earlier examples about a metal hip, there you’re basically just taking an object, sticking it in the body and it replaces the previous object, but BioGlass really sounds quite different in that it is actually interacting with the body itself. David Greenspan: 2:44Yeah, it is different and when professor Larry Hinch actually invented the material, the first experiments, and he had a whole series of thought processes, which actually we can explore that, but it actually wasn’t… she wasn’t… I’m going to make a material that’s going to bond to bone. It was I’m going to make a more compatible material that we can put in the body. There’s a great quote by Isaac Asimov that I’m going to butcher right now, but basically he said the most profound moment in science is not “Eureka”, but “gee, that’s interesting” and that’s what it was. I mean, in the late sixties when Larry invented this, we were trying to make a material that the body wouldn’t reject. Richard Miles: 3:24I see. David Greenspan: 3:25And what he found as a result of the first experiment was that the material actually attached to the bone and that set an entirely new path for everybody coming later who was developing biomaterials. Richard Miles: 3:38You make a great point. Referring to Larry. Larry was the actual inventor, this Larry Hinch. We both knew Larry, you knew him, much better than I did. Um, and like a lot of inventors, Larry was an interesting guy, let’s shall we say, can you give our listeners a snapshot of maybe Larry’s career, but also his personality. David Greenspan: 3:57 Larry, was just in awe about the world and everything and he was curious. And that’s the best thing that I learned from Larry is there’s always another question to ask. You do an experiment. You get some information. That information that you get should lead you to ask three or four more questions. He was curious about everything. You knew him. I knew him. He was like a big grown up kid. And his interests were much more than just beyond science and biomaterials and bone regenerative medicine. I mean, he painted of course Boing Boing the Bionic Cat series of books that he wrote and authored, it wasn’t enough for him to write the book, but then he thought that he could make science kits for kids in seventh, eighth, ninth grade to do experiments based on the subject matter of the book. He was an incredible thinker. He was kind, generous, wonderful, and just had a love of life. Truly a PhD, a Renaissance Man, arts, painting, music, all of that. Richard Miles: 4:53I remember my wife Phoebe and I went and visited him I guess probably about five years before he died and he was showing us around his condo at the time and he was just, like you said, a little boy. I can’t remember what he was showing us, but there were various toys and devices and whatnot. And he was thrilled to be showing them off. And I remember he… didn’t he also record his own song. Uh… David Greenspan: 5:12Yes he did Richard Miles: 5:13I think you can find it on Youtube, right? About a mechanical part. David Greenspan: 5:17Yes. Yes, he did. And in fact there was a conference for bioceramics, bioglass and bioceramics and Larry was one of the co-founders. It was an international conference that rotated between Europe and America and the Far East, Japan or China. And at one of the first ones, which I was lucky enough to attend, the three Bill Bonfield and Tadashi Kokubo and Larry decided that at the banquet, the Europeans and the Americans and the Japanese and folks from the Far East and Australia would each get up and do a song and that became a regular thing at the banquets. So yeah, he was gregarious. He loved life and… Richard Miles: 5:56It was quite amazing. All right, let’s talk about you for a second you’re a Brooklyn boy and tell us sort of growing up, what were you like as a kid? What were your interests in any role models or were you just sort of like at aimless troublemaker? David Greenspan: 6:08I was a… Richard Miles: 6:09I understand it’s not mutually exclusive. You could be both, but go ahead. David Greenspan: 6:12I was… the first six years of my life, I grew up in the projects. We didn’t have a lot of money and so the projects were a little rougher than a really nice suburban sort of household and I kinda shied away, but when we did finally… my parents saved enough. We got into a house. It was a huge park that had a dozen baseball fields, three football fields. I was out the back door and they wouldn’t even bother calling me for dinner. Richard Miles: 6:38We’re still talking about Brooklyn. David Greenspan: 6:39Still Brooklyn Marine Park, Brooklyn born and raised, went to James Madison high school, Bader Ginsburg, Chuck Schumer, lots of other famous people. Graduated from James Madison. I had a large extended nuclear family and so growing up I did the normal getting into a little bit of trouble. I wasn’t a truant or anything and it was nothing conscious, but I just knew I had to do well in school, but my mother also thought “Oh, you should do music. You should learn art.” And I used to like to draw, so my first love was always sports, but my second first love was painting. I got to take art lessons from a professional artist who was a friend of my mother’s and she was kind of impressionist and so I studied that and I loved it and time would pass. Richard Miles: 7:21And you’re a drummer in a rock band currently. David Greenspan: 7:23Yeah, I played music so I had instrumental music in junior high school so that I got to play in the orchestra and the band and I love drumming and got together with friends, you know, it’s the 60s, 64 65 and… Richard Miles: 7:34So when they kicked Pete Best out of the Beatles, you’re on the shortlist. David Greenspan: 7:37I was ready. I was ready. Richard Miles: 7:37You never got the call. David Greenspan: 7:40One of one of my early most humbling experiences was we got to cut a demo record BT Puppy Records, the tokens in the happenings owned the little record company in Manhattan and we cut a demo and listened to what we sounded like and that’s when I realized music was not in my future. Richard Miles: 7:58It’s a nice way of putting it. But you did decide that glassblowing was in your future and how did that happen and how did that end up into ceramic engineering? David Greenspan: 8:05So being from New York, we would go on vacation, the summers in the Finger Lakes region in western New York is beautiful. So for everybody who hasn’t been up there go. And there’s a little town, Corning, New York, and you’ve probably heard Corning Glassworks, they had a museum a Glass Museum and part of that back then was Steuben glass company was blown crystal and it was gorgeous. So we’re in the museum. I’m at that point still painting, doing art. Richard Miles: 8:30So you’re in high school, at this point. David Greenspan: 8:32Just high school and there they were doing glassblowing. We watched them for 15 or 20 minutes and my parents said let’s go get lunch. And I said nope. And they said, come on David. And I said, you bring me back something. And they did. They went, they went to get lunch and I sat there for an hour and a half and decided right then and there I wanted to be a glass blower. Watching glass being blown was the most fascinating thing to me. Richard Miles: 8:55Do you remember what about it that was really compelling? David Greenspan: 8:57The fact that you could take something that’s red, hot, yellow, glowing shape it mold it put a puff of air, into it and it expands and then it cools down and it’s malleable and you can make all these beautiful forms and you could see through it and it’s shiny, and then at the end of the line some of the pieces would have engravings and you’d watch these artists engrave. It was pure art and that trip was obviously the seminal moment in my life. It’s sad. Richard Miles: 9:26So later on, where did you go to college? David Greenspan: 9:29When I got back, I announced to my whole family I was going to be a glassblower and there were three coronaries because nice Jewish kid from Brooklyn should be a doctor or a lawyer, you’re going to starve if you’re an artist. And I did really well in school. School was pretty easy for me and I had a cousin said, “I know a college that gives courses in glass blowing.” Richard Miles: 9:49This is on the down low… David Greenspan: 9:52Yes… and so she said, go to glove Joy’s college catalog. I don’t know if anybody remembers. They used to have these big catalogs that had all the schools. So we went to the library. Alfred University, upstate New York, right near the Finger Lakes, not too far from Corning is a private university, but they had a College of Ceramics, so it was New York State College of Ceramics, but it was administered by Alfred University and the Premier College for ceramics. They have the best number one ceramic art college in the world, I believe. Still do and they… Richard Miles: 10:21Was there a formal relationship with Corning. Did Corning’s name fund some of this or no? David Greenspan: 10:25No, this was started by a potter because they had terracotta clay at Alfred, but it became this worldclass college and I said, okay, well if I can’t be an artist there’s this technical stuff, and back then in the late sixties it was rocket nose cones. This metal oxide semiconductors was just very new, so there was all this new science and technology around ceramic materials in general and that led me to Alfred. Richard Miles: 10:51So Brooklyn boy goes to college in upstate New York and here we are in North Central Florida. Something happened in between. How did you end up in Gainesville working with Larry Hinch? David Greenspan: 11:02Well, of course this is the late sixties, so there’s the whole Vietnam thing. I wasn’t sure I wanted to go work in industry. I’ve loved research, you know, a senior projects and doing research and what I was doing was trying to develop materials for an early artificial kidney so that kind of brought in the biomedical stuff and I was looking around to do graduate work in glass and there’s a very limited number of people that do work in glass. And Larry Hinch was at the time looking at developing glass that would withstand radiation damage in outer space because we had a space program and they were going to get astronauts up into space and they had windows but the windows would fog. So he was working on that and there was some very specific technical properties about glass. Glass is normally an insulator. Think back to early 1900s. There were all these electrical insulators that were made from glass because it doesn’t conduct well. Larry, a lot of other people found that you could change the elements in the glass composition and you could conduct electricity slightly or do other things. And Larry was working on that in the late sixties and so that fascinated me. So I applied to there and to a few other schools, Clemson University and Virginia Polytechnic Institute, which is Virginia Tech now. Basically why I came down to is I got the best research assistantship offer from the University of Florida and Larry’s work was interesting so I said I’m going to go there. So I get to the university and I sit down with Dr. Hinch and I say, well I’d like to work on these style electric properties of glass. And he said, well I don’t have any more funded research there but I have this new thing that we just started and it’s a ceramic biomaterial. It wasn’t called BioGlass in 1972 when I started was a ceramic biomaterial. He said you could work on that. He said, but if you want to work on the other stuff, you could do a teaching assistantship. So I could teach labs and then do my studies and then do my research or I could have a research assistantship and not bother with the 20 hours a week of labs and grading papers, so I said yes, I’ll do that. Dr Buddy Clark, who is still at University of Florida in the College of Dentistry was I think the first PhD student and I was the second working on the development of BioGlass. Richard Miles: 13:16So from what you describe, David, it sounds like this is a technology that industry would love. Did BioGlass immediately start making a bunch of money or… tell us about the commercialization. Now I do know Larry really didn’t make any money off of his invention for a number of different reasons, but explain to me what happened after it was established as a thing who bought it? David Greenspan: 13:38Sure. I think first 30 years later, overnight success. The concept that Larry put forward, that a synthetic material can be implanted in the body and stimulate repair was so far into everybody working in the field. Nobody believed it. I mean it literally took 15 years to convince other biomaterial researchers that it was real and it worked and because we didn’t know how or why. But in fact, by 1973, Larry had posited his five-stage reaction for bioactive glass. First it releases sodium and then silicon ions dissolve a little bit and then they reprecipitate on the surface and then that causes calcium-phosphate to precipitate and then collagen comes in there and it bonds to the bone and then it crystallizes to hydroxyapatite, which is bone mineral and all that’s well and good, but that’s not really the answer, but it was put out there and as you know, if you put it out there enough it becomes real. Richard Miles: 14:34Right. David Greenspan: 14:35So it was really tough. But sticking with it, finally, we found applications that were necessary where there was an unmet need basically and that’s what you have to do. It’s fine to have a material, but you need the unmet need and that was in dental bone grafting and… Richard Miles: 14:52That was already you said 15 years in… David Greenspan: 14:54Yeah 15 years… mid to late eighties. There had been an attempt with a startup company to actually commercialize it, but the people were less than upstanding and the company failed miserably and university got the technology back and then another group of investors came in who were more reasonable. Larry actually drove that and we actually started properly going through all the FDA regulations and all the processes to get a material into the marketplace. Richard Miles: 15:22And this was for dental… David Greenspan: 15:24Dental, bone graft, yes. Richard Miles: 15:25Eventually became a toothpaste as well. Or was it different? David Greenspan: 15:29 That was different. This was called perio glass, so it… take the BioGlass, crush it up into a powder and for people who that have periodontal disease, they have bone loss between the teeth and your teeth can fall out and it causes a lot of problems. So he put a little bit of this in that pocket where the bone is resorbed and you suture the gums up over it, cleaned it all out and it helps regrow the bone and save the teeth. And at the time there were other calcium phosphate, hydroxyapatite bone mineral types of products being used for that. So basically the synthetic bioglass was pulled along in this developing market for the periodontist and the oral surgeons who were looking for better solutions. And that’s what it always is. Richard Miles: 16:13So I got to ask David, and you can take the fifth amendment on this one, but was the University of Florida any help during this process at all? Or were they just sort of on the sidelines or… David Greenspan: 16:22It’s a complicated question. They tried to… Richard Miles: 16:25I said you can take the fifth on this. David Greenspan: 16:26No, no, no, no. Hindsight’s always 20 20. At the time they were doing, I think what they felt was best. They were looking not proactively, but if somebody came, they were willing to license technology. Larry always had a hand in continuing to do research that was funded by the company, so companies that licensed the technology to commercialize it had a component that was giving Larry money directed towards some of what the company wanted to do, but back in the seventies and the eighties and of course there’s a very famous case of another inventor who invented some electrolyte drink and the university didn’t know what to do. So we were all very naive back then. Richard Miles: 17:05That’s one of the reasons I was asking. I couldn’t help but be struck by the timing in that. You said it was 1972 right… David Greenspan: 17:10When he invented, yeah… Richard Miles: 17:11And that’s right when the University of Florida chose to sue Robert Cade, the namesake of this podcast over Gatorade, and so I imagined that wasn’t the best environment maybe to… David Greenspan: 17:22But the university didn’t know they licensed. I mean the first license was to an orthopedics implant company, Howmedica. And the university did have a licensing agreement. It wasn’t as favorable to the university as it might have been. It wasn’t prohibitive to the company, but the university is so much better these days at knowing that… a lot of them. Yeah. Richard Miles: 17:42Tell us about now what applications is bioglass currently being used and I know of at least one NovaMin, the toothpaste. I know there’ve got to be other ones. David Greenspan: 17:51So BioGlass was something that we trademarked while I was still a graduate student. We needed a name I can remember… was in the conference room on a Friday afternoon in the materials building and there was a lot of beer and a lot of graduate students and we were looking for names for this ceramic biomaterial and bioglass one, and from that one composition, people started playing with others. So 45, S5 Bioglass’s one particular composition. There are a lot of others. The first materials were solid implants to replace the three smallest bones in the middle of the year, the malleus, the incus, and the stapes based middle ear prosthesis. Very successful clinically, not a big market, was not successfully commercialized. Perio glass was. Following that was Nova Bone, which… for orthopedics and there’s a very large market there in spine fusion. Probably 85 percent of bioactive glass used in orthopedics is used for spinal fusion surgeries. Beyond that is Novamin, very, very, very fine particle of that same composition used for tooth desensitization, but there are also other compositions and other companies. Biomin is a British company that is using bioactive glass in toothpaste. There’s a company, most eyeglass that produces a board, not a silicate glass, but a Bor, a glass which is bioactive has the same sort of properties that’s used in treating chronic wounds. It’s FDA approved. There are other glasses, bioactive glasses that have silver, which is an antimicrobial used in wound healing and a few other applications. Most of it is hard tissue, some wound healing, and a lot of oral applications. Richard Miles: 19:28Wow. So quite a few opportunities out there. David Greenspan: 19:31Oh yeah. Richard Miles: 19:33So David, here’s your chance to dispense pearls of wisdom. If you were to come across, and I’m sure you probably have come across, say academic researchers who remind you of yourself years ago or maybe remind you of Larry and let’s say they’ve done the same thing. They have a technology and they’re going to take it to market. They’re all excited. What are one or two things you would say definitely do this and then one or two things you’d say definitely don’t do that. David Greenspan: 19:57Well, the first thing I tell people is, look, I’m 68 years old. I’ve been at this for 43, 44 years now from the time I was a graduate student. I don’t think I have any advice that I can give you cause I’ve been through a lot, but the biggest, most important thing is as you’re developing it, there were so many pressures. Don’t fool yourself. Okay? Richard Miles: 20:17Always tell yourself the truth. David Greenspan: 20:18Always tell yourself the truth. It’ll be what it’ll be. The second thing is that it is a process, right? And that you really, really learn from your failures and as a species we’re not too good about admitting we’re wrong or that our beliefs might not be correct, right? But step back because it’s just a process. You won’t know it going forward, but 30 years later when you look back, you’ll go “ah ha”, we always think when we have a failure, it’s the end of the world. So occasionally it is okay, I’m sorry, but most of the time it’s not. If you think your idea is good and if you’ve really been honest with yourself and you’ve vetted it, don’t worry when you fail, if you fail, you should find out the reasons and overcome that and there’s gotta. Be a way of overcoming it. If your technology is good, if it’s true, if it’s going to be because… Richard Miles: 21:11And that’s the first part. If you haven’t lied to yourself right now… David Greenspan: 21:14If you haven’t lied to yourself, the worst thing you can do in research is create a dozen experiments, all of which succeed perfectly just according to your theory. That means you haven’t had the right hypothesis otherwise. It’s not research. If everything I did was going to be successful, then I have all the answers that’s going nowhere. That’s not researched. The beauty and the fun of it. I’ve managed lots of people and people would come to me with studies that were abject failures and I would get like really excited and everybody thought I was crazy, which is true, but that’s another story. In all seriousness, I get excited when something went wrong because we would sit down and go, okay, let’s figure out what happened, how and why it’s not going to be easy, it’ll be stressful, but we’ll learn something from it and we’ll advance. Richard Miles: 22:02Well, that sounds pretty wise to me. I got to say they would. So I think we’re going to figure out a way to track down the individual listeners of this episode and if any of them make it big, we’re going to make sure some royalties go your way we’re charging you for that advice. David Greenspan: 22:14You know, it’s… that should be the joy of science. Every results should lead you to ask two or three new questions and oftentimes I see people who get a result “Okay, I got the result.” I sit back with my arms folded and say, “okay, so?” and I get these curious looks. I said, “so doesn’t that bring any other questions to mind”? and it should if you think about where you were 30 years ago, oh, there’s some great advance. That’s the end. It’s never the end. Richard Miles: 22:44Well unfortunately it is the end of this episode. So perfect segue. Anyway, David, thanks very much for being on the show. Hope to have you back and it was really a pleasure talking to you. David Greenspan: 22:54Thanks. Outro: 22:57Radio Cade would like to thank the following people for their help and support. Liz Gist of the Cade Museum for coordinating Inventor Interviews. Bob McPeak of Heartwood Soundstage in downtown Gainesville, Florida for recording, editing, and production of the podcasts and music theme. Tracy Columns for the composition and performance of the Radio Cade theme song featuring violinist Jacob Lawson. And special thanks to the Cade Museum for Creativity and Invention located in Gainesville, Florida.

  Jane Bruce is an independent artist and educator based in New York City. She teaches and exhibits internationally and her dual careers of artist and maker have taken her around the world, from Europe to the USA, to Australia and back again. Bruce works in a range of techniques to create objects and mini installations, primarily through the processes of kiln forming, blowing and coldworking glass.   Born in England, Bruce received a Master of Arts from the Royal College of Art, London, and undertook further postgraduate study at the New York State College of Ceramics at Alfred. She has been the recipient of a range of fellowships, visiting artist awards and grants, including fellowships from the Creative Glass Center of America and the New York Foundation for the Arts; artist-in-residence at The Studio of The Corning Museum of Glass, visiting artist at Museum of Glass, Tacoma, and a New Work Grant from the Australia Council. Exhibiting internationally, her work can be found in many major museum collections worldwide, including those of the Victoria and Albert Museum, London; European Museum of Modern Glass (Europaisches Museum fur Modernes Glas, Kunstsammlunger der Veste Coburg) Germany; Los Angeles County Museum of Art; The Corning Museum of Glass, New York; Toledo Museum of Art, Ohio; and The Powerhouse Museum, Sydney, Australia.   As an educator, Bruce served as senior lecturer in the Glass Workshop of  the Australian National University Canberra School of Art (1994 - 2001) and was Head of Workshop (2001-2003). She was artistic and technical director for Northlands Creative Glass, Caithness, Scotland (2003-2007) and continues to organize annual symposiums there for British and international artists and students. She has also taught workshops in the US at UrbanGlass in Brooklyn, New York, Bullseye Glass Co., in Portland, Oregon, and Pilchuck Glass School, Stanwood, Washington.   Bruce’s Vase, Bottle, Bowl series furthered the artist’s exploration of the vessel, which is deeply rooted in the history of the decorative or applied arts. Interested in the essential object, she reduces the vessel to its central and fundamental parts and attributes. She says: “If I were to pick an adjective to describe this work, it might be formal. As well as abstracting the vessel and presenting its elemental nature, it is also important as to how composition, color, light, proportion, and the juxtaposition of positive and negative space work within the object, and how a group of objects form a resolved statement.”   On the other hand, Bruce’s Houseseries explored a more personal concern related to landscape and loss in a particular place. In what became known as The Clearances, (1760-1830), the Highlands of Scotland were emptied and became a wilderness. Even today, with many ruined crofts still dotting the Caithness landscape, there continues to be a strong sense of loss and desolation in that place. “Inspired by this history and what remains, the current house forms seek to evoke thoughts of loss, the past and what might have been.”   Bruce is working on two related series currently categorized as Indefinite Objectsand Deep Space Panels, both addressing deep and never-ending space. As the viewer moves around the works they seem to change and reconfigure as the viewer’s viewpoint changes. These new series will be on view in an exhibition titled Constructs: The Thing About Space Is That It Just Keeps Going, at River House Arts, Toledo, Ohio, from October 4 – November 16, 2019. Although these new works contain very little glass, and the Deep Space panels contain none at all, they are about space and light, which Bruce considers to be inherent qualities of glass.   From November 5 through December 10, 2019, Bruce will teach her workshop, Color, Light, Glass: An Introduction to Kilnformed Glass at UrbanGlass. In June 2020, the artist will travel to North Lands Creative Glass for an international artist symposium that will look at issues of home and place and which she founded and has coordinated since 2010.      

As an artist, potter and designer Lindsay Scypta is deeply interested in textile pattern, Victorian etiquette, architectural tracery, and the history of the table. Lindsay began her ceramics investigation in high school and continued into college, completing a BFA in Art & Design from the New York State College of Ceramics at Alfred University. For two remarkable summers Lindsay immersed herself in the artist community at Anderson Ranch Art Center as a summer intern, filling her ceramic toolbox with techniques and tools. Finally after two years as an artist-in-residence at Ashland University, Lindsay arrived at The Ohio State University where she completed her MFA in ceramic art. Lindsay was blessed with the opportunity to follow her thesis research to England, where she visited the Wedgwood Museum, the Victoria & Albert Museum and the Brighton Palace. Some influences over the past years have been the softness of tufted Victorian sitting room chairs, and the architectural motifs and quatrefoils of European Gothic cathedrals. Following graduate school Lindsay spent one year as an Artist-in-Resident at Clay Art Center in Port Chester, New York. Currently Lindsay is an adjunct ceramics professor at Owens Community College in Perrysburg, Ohio. Working strictly with porcelain clay, the work is thrown, trimmed, altered and decorated, then fired to cone six in an electric oxidation atmosphere. Lindsay ism still continuing to push her ideas and am excited to incorporate new research into her studio practice!

Well of the Sea Presented by Margaret Carney, PhD Margaret Carney, director and curator of the International Museum of Dinnerware Design will present Well of the Sea, all about the acclaimed seafood restaurant located in Chicago’s Hotel Sherman between 1948-1972. Why was dining there so memorable? Culinary historians may be captivated by the menu — bouillabaisse, rijstafel of seafood, cafe disable, and flaming rum punch.; Mid-Century Modern art connoisseurs have fixated on the abstract undersea murals designed by Richard Koppe; while dinnerware collectors cannot own too many place settings of the sturdy Shenango China restaurant quality dishes with abstract fish motifs. Cuisine, recipes, restaurant reviews, menus, distinct dinnerware, architecture and interior design will all be presented. Why did Bogey and Bacall attend the funeral of the hotelier and restaurateur who made his idea of the Well of the Sea a reality? Were the ultraviolet lights, which enhanced the sensation of dining under water, really beneficial to one’s health? It’s your best opportunity to get the true flavor of the Well of the Sea and then wish you could go back in time and dine there. Margaret Carney is a ceramic historian with Ph.D. and Master’s Degree in Asian art history, and a B.A. in anthropology/archaeology. Dr. Carney is a Fellow of the American Ceramic Society and an elected member of the International Academy of Ceramics in Switzerland. Grants received include Senior Fellow at the Smithsonian Institution’s National Museum of American Art and the Renwick Gallery, as well as from the Tile Heritage Foundation and the Cumming Ceramic Research Foundation. She served as the founding director of the Museum of Ceramic Art at Alfred, in Alfred, New York. She has curated 50 exhibitions, presented over 100 public lectures, and authored 80 books, catalogues, and journal articles. She has taught ceramic world history, as well as other courses, at the New York State College of Ceramics at Alfred University, the Ohio State University, and elsewhere. She was director and curator of the Blair Museum of Lithophanes in Toledo, Ohio, for nine years, writing the first book on the topic in 180 years. She currently serves as founding director and curator of the International Museum of Dinnerware Design (IMoDD), Ann Arbor, Michicago, which was established in 2012. Recorded on June 9, 2019 at Bethany Retirement Community. www.GreaterMidwestFoodways.com

Today on the Tales of a Red Clay Rambler Podcast I have the second of two interviews with John Gill. In this episode we continue with a conversation about the lineage of teachers at Alfred and discuss how John’s dyslexia has influenced his creative problem solving. John is one of the truly unique thinkers and educators in American ceramics. Gill started teaching at the New York State College of Ceramics at Alfred in the mid 1980’s and has helped shape a generation of ceramic artists pushing the boundaries of the field. He is a member of the International Academy of Ceramics and in 2014 became a Fellow of the American Crafts Council. His work is represented in the collections of the Brooklyn Museum, New York; the Victoria and Albert Museum, London; Newark Museum, New Jersey and the Los Angeles County Museum of Art, California. To see examples of his work, visit www.harveymeadows.com.     Hey Red Clay Rambler fans, I need your help to keep this show on the air. We need 10 new patrons to reach our monthly fundraising goal. Visit www.patreon.com/redclayrambler to pledge your support and become a sustaining member. We have a batch of rewards to offer including the new Vintage Radio shirt, handmade pots, posters and much more. Visit www.patreon.com/redclayrambler to sign up today.

Today on the Tales of a Red Clay Rambler Podcast I have the first of two interviews with John Gill. John is one of the truly unique thinkers and educators in American ceramics. Gill started teaching at the New York State College of Ceramics at Alfred in the mid 1980’s and has helped shape a generation of ceramic artists pushing the boundaries of the field. He is a member of the International Academy of Ceramics and in 2014 became a Fellow of the American Crafts Council. His work is represented in the collections of the Brooklyn Museum, New York; the Victoria and Albert Museum, London; Newark Museum, New Jersey and the Los Angeles County Museum of Art, California. In our interview we talk about his teaching philosophy, developing a personal sense of touch and becoming a “visual journalist”. To see examples of his work, visit www.harveymeadows.com.     Hey Red Clay Rambler fans, I need your help to keep this show on the air. We need 10 new patrons to reach our monthly fundraising goal. Visit www.patreon.com/redclayrambler to pledge your support and become a sustaining member. We have a batch of rewards to offer including the new Vintage Radio shirt, handmade pots, posters and much more. Visit www.patreon.com/redclayrambler to sign up today.

Does a discussion about dinnerware just include the work of either skilled potters or gifted designers? When beauty and function intersect with a certain type of (possibly twisted) visionary genius, anomalies and curiosities of dinnerware are created. Illustrative of the short list of 20th and 21st century artists who took standard plates, cups and saucers, place settings, and teapots, and elevated each to the level of an anomaly and curiosity and perhaps a masterpiece never to be forgotten, includes (but is not limited to), surrealist Meret Openheim, Pop artist Roy Lichtenstein, modernist Constantin Brancusi, feminist artist Judy Chicago, conceptual artist Howard Kottler, photographer Cindy Sherman, noted artist and epicure Kitaoji Rosanjin, and contemporary artists such as Katie Parker, Guy Michael Davis, and Dirk Staschke. This wild and creative genius can also be seen when examining the works of well-known companies that produced basic dishes and then went one step further to produce memorable, even unforgettable tureens, teapots and sauce boats, such as Meissen, Minton, and Wedgwood. Through the imagery and stories shared in this presentation, the audience will witness inspirational makers, mentors and milestones. Margaret Carney is a ceramic historian with Ph.D. and Master’s degrees in Asian art history, and a B.A. in anthropology/archaeology. Dr. Carney is a Fellow of the American Ceramic Society and an elected member of the International Academy of Ceramics in Switzerland. Grants received include Senior Fellow at the Smithsonian Institution’s National Museum of American Art and the Renwick Gallery, as well as from the Tile Heritage Foundation and the Cumming Ceramic Research Foundation. She served as the founding director of the Museum of Ceramic Art at Alfred, in Alfred, New York. She has curated 50 exhibitions, presented over 100 public lectures, and authored 80 books, catalogues, and journal articles. She has taught ceramic world history, as well as other courses, at the New York State College of Ceramics at Alfred University, the Ohio State University, and elsewhere. She was director and curator of the Blair Museum of Lithophanes in Toledo, Ohio, for nine years, writing the first book on the topic in 180 years. She currently serves as founding director and curator of the International Museum of Dinnerware Design (IMoDD), Ann Arbor, Michicago, which was established in 2012. Recorded at Kendall College on November 1, 2017 http://culinaryhistorians.org/anomalies-curiosities-dinnerware/

Lauren Gallaspy received her BFA in ceramics at the University of Georgia in 2005 and her MFA from the New York State College of Ceramics at Alfred University in 2007. From 2009 to 2012, Gallaspy served as co-director and owner of Trace Gallery in Athens, Georgia alongside artist, educator, and collector Andy Nasisse. In 2013, she was recognized by the National Council on Education for the Ceramic Arts as an Emerging Artist in the field. Additionally, she was one of 25 artists awarded the prestigious Joan Mitchell Painters & Sculptors Grant for 2012. Her work has been featured in Ceramics:Art & Perception, Ceramics Monthly, Ceramics Now, Clay Times, Lark Book's The Best of 500 Ceramics and 500 Cups, Rocky Mountain Artists, and the recently published Glaze: The Ultimate Ceramic Artist's Guide to Glaze and Color.  Gallaspy has exhibited nationally and internationally in over 60 group and solo exhibitions since 2007, including in the highly publicized “State of the Art: Discovering American Art Now” at Crystal Bridges Museum in Arkansas.  Lauren was an Assistant Professor of Fine Arts from 2012 to 2015 at the University of Utah in Salt Lake City. She is currently a long term resident at the Archie Bray Foundation in Helena, Montana.

Kate Maury received a Bachelor of Fine Arts from Kansas City Art Institute and a Master of Fine Art from the New York State College of Ceramics at Alfred University. Currently she resides in St. Paul, Minnesota where she is a studio resident at the Northern Clay Center and teaches full-time as a Professor in the School of Art and Design at the University of Wisconsin-Stout. Her work is featured in both juried and invitational shows at regional, national and international venues. In addition Maury’s work is published in contemporary ceramic art books such as Making Marks: Discovering the Ceramic Surface by Robin Hopper, 500 Bowls, Lark Books, The Art of Contemporary American Pottery by Kevin Hluch, and High-Fire Glazes by Lark Books. She has taken part in two residencies at the Archie Bray Foundation, three residencies at the Sanbao Ceramic Art Institute in Jingdezhen, China and most recently completed two residencies at the International Ceramics Studio in Kecskemet, Hungary. 

Join Anna K. as she interviews artist Patrick Renner.   Patrick is a native Houstonian and received his BFA from the Kansas City Art Institute in 2004 and his MFA from the New York State College of Ceramics at Alfred University in 2006.  He has exhibited at the local, state, and national level.  Sculpture is Renner's primary artistic mode, with an interest in re-purposing discarded material, especially architectural refuse.  Renner teaches art at the high school level at Houston ISD's first 6-12 charter, Sharpstown International School, whose students have received a prize for each car entered in the Houston Art Car Parade over the last three years.  He is a founding member of {exurb} multimedia arts collective, which works out of Campus, a multifaceted creative collective.  Renner is also a long-time contributor to el Rincon Social, an east side Houston arts warehouse, now opening an extension called Alonzo Gallery on Main St.  His first large-scale public commission, Funnel Tunnel, a 180-foot wood and steel sculpture snaking through a Montrose median, has garnered much positive critical response.

November 3, 2012 With Debera Johnson, Sanjit Sethi, and Ezri Tarazi; moderated by Rosanne Somerson. Within art and design institutions a variety of models for inter–disciplinary, industry–sponsored, and community–based research have emerged that hold great potential for building infrastructure and “best practices” to support collaborative and partnered research. At the same time, these approaches raise a range of practical and ethical questions regarding, for instance, the educational benefits and ethical challenges of collaborating with industry, and broader concerns regarding the ways in which creative research is used, credited, and (occasionally) monetized within these “partnered” relations. Rosanne Somerson received her BFA from RISD in 1976 and joined RISD’s faculty in 1985. After serving as interim provost for the 2011–12 academic year, she has been appointed provost effective July 1, 2012. In addition, she served as interim associate provost for Academic Affairs from 2005–07. After a sabbatical in 2007–08, Somerson resumed her position as professor and head of Furniture Design. From 1985–95 she ran the MFA Graduate Program in Furniture Design in Industrial Design, and from 1995–05 was head of the newly formed Department of Furniture Design at RISD. In addition to her academic roles at RISD, Somerson has maintained her own studio since 1978, where she designs and makes furniture for exhibitions and by commission. She is also a partner in DEZCO llc, a production furniture company whose projects include design and manufacture of the furnishings for the 500 bed living quarters in 15 West at RISD. Debera Johnson leads Pratt’s commitment to integrate sustainability into academics in her role as Executive Director of the Center for Sustainable Design Studies (CSDS). Founded in 2008, the CSDS interdisciplinary thesis lab supports industry based research projects in design, architecture and urban planning. The CSDS is the campus resource for sustainable design and has published open source evaluation tools and programming, workshops for faculty development, and documented case studies by students, faculty and alumni. Sanjit Sethi’s work focuses on issues of trauma, culture and community collaboration and the ways that art, design, and architecture can be utilized to address this complex topic. Of particular interest to him is the ways institutions of higher education can redefine themselves through the process of greater community engagement at the local, national, and global level. Sanjit received a BFA in 1994 from the New York State College of Ceramics at Alfred University, an MFA in 1998 from the University of Georgia, and an MS in advanced visual studies in 2002 from the Massachusetts Institute of Technology. He is currently Director of the Center for Art and Public Life, Chair of the Community Arts Program and Barclay Simpson Professor of Community Arts at the California College of the Arts. Ezri Tarazi is an industrial designer and the head of the Industrial Design department at Bezalel Academy of Art and Design in Jerusalem. During the past 15 years, Ezri has been active as a designer, realising a large body of experimental and practical work for a number of clients; as a writer; and as a curator, a participant, and the subject of a range of exhibitions. Host Organizations