Podcasts about pinholes

Morten Handberg, Principal Consultant at Wind Power LAB, returns to discuss blade damage categorization. From transverse cracks and leading edge erosion to carbon spar cap repairs, he explains what severity levels really mean for operators and why the industry still lacks a universal standard. Sign up now for Uptime Tech News, our weekly email update on all things wind technology. This episode is sponsored by Weather Guard Lightning Tech. Learn more about Weather Guard’s StrikeTape Wind Turbine LPS retrofit. Follow the show on Facebook, YouTube, Twitter, Linkedin and visit Weather Guard on the web. And subscribe to Rosemary Barnes’ YouTube channel here. Have a question we can answer on the show? Email us! Welcome to Uptime Spotlight, shining Light on Wind. Energy’s brightest innovators. This is the Progress Powering tomorrow. Morten, welcome back to the program. Thanks, Allen. It’s fantastic to be back again. Boy, we have a lot to discuss and today we’re gonna focus on categorization of damage, which is a super hot topic across the industry. What does a cat five mean? What does a category three mean? What does a category 5.9 I’ve I’ve seen that more recently. Why do these defect categories matter? Morten Handberg: Well, it matters a lot because it really tells you as, uh, either an OEM or as an operator, how should you respond to your current blade issue. So you need to have some kind of categorization about what the defect type is and what the severity is. The severity will tell you something about the repairability and [00:01:00] also something about the part of the blade that is affected. The type of the defect tells you something about what is the origin From an operational point of view, it doesn’t make as much sense in a way because you really just wanna know, can this be repaired or not? You know? And you know, what does it need to repair? That’s what you need, what you really need to focus on as an operator, whether it’s then del elimination, erosion, peeling. Uh, transverse cracks, it’ll all come down to repairs. It does matter for you because it will tell you an underlying, you know, are there reason why I’m keep seeing all these damages? So that’s why you need to know the category as well. But purely operational. You just need to know what is the severity side know, what does it take to repair it? Allen Hall: So as the operator, a lot of times they’re getting information from different service providers or even the OEM. They’re getting multiple inputs on what a damage is in terms of a category. Are we getting a lot of conflicting information about this? Because the complaint from [00:02:00] I hear from operators is the OE EMM says this is a category four. The ISP says is a category five. Who am I to believe right Morten Handberg: now? Well, there is a lot of, a bit different opinions of that. It almost becomes a religious issue question at some point, but it, it really dives down to that, you know, there is no real standardization in the wind industry. And we’ve been discussing this, uh, I wanna say decades, probably not that much, but at least for the past 11 years I’ve been, been hearing this discussion come up. Uh, so it’s, it’s something this was just been struggling with, but it also comes down to that. Each OEM have their own origin. Uh, so that also means that they have trended something from aeronautics, from ship building industry, from, you know, uh, from, from some other composite related industry, or maybe not even composite related. And that means that they are building their own, uh, their own truth about what the different defects are. There is a lot of correlation between them, but there is still a lot of, lot of tweaks [00:03:00] and definitions in between and different nomenclature. That does add a a lot of confusion. Allen Hall: Okay, Morten Handberg: so Allen Hall: that explains, I mean, because there isn’t an industry standard at the moment. There is talk of an industry standard, but it does seem like from watching from the outside, that Europe generally has one, or operators specifically have one. Uh, EPRI’s been working on one for a little while. Maybe the IEC is working on one, but there isn’t like a universal standard today. Morten Handberg: There is not a universal standard. I mean, a lot of, a lot of OEMs or service providers will, will, will claim that they have the standard, they have the definition in wind power lab. We have our own. That we have derived from the industry and in, in general. But there is not an, uh, an industry agreed standard that everyone adheres to. That much is true. You could say in Europe, a lot of owners have come together, uh, in the Blade Forum, and they have derived, there’s a standard within that. Um, uh, and with a lot of success, they’d written, the [00:04:00] Blade Hamburg I think was very helpful because it was operator driven, um, approach. Allen Hall: So there is a difference then between defects that are significant and maybe even classified as critical and other defects that may be in the same location on the blade. How are those determined? Morten Handberg: The way that I’ve always approached is that I will look at firstly what kind of blades type it is. So how is it structured? Where are the load carrying elements of the blade? That’s very important because you can’t really say on a business V 90 and a Siemens, uh, 3.6 that the defect in the same position will mean the same thing. That’s just not true because they are structured in very different ways. So you really need to look at the plate type just to start with. Then you need to look at, is it in a. In a loaded part of the blade, meaning is it over the, the load carrying part, um, uh, laminates? Is it in a, in a shell area? And you know, what is the approximate distance from the roof? Is that, that also tells you something [00:05:00] about the general loads in the area. So you know, you need to take that into consideration. Then you also need to look at how much of the blade is actually affected. Is it just surface layers? Is it just coating or is it something that goes, uh, through the entire laminate stack? And if that is on the, on the beam laminate, you’re in serious trouble. Then it will be a category five. If the beam laminate is vectored. And if you’re lucky enough that your blade is still sitting on the turbine, you should stop it, uh, to avoid a complete BA bait collapse. Uh, so, so you need, so, so that, you know, you can, that, that is very important when you’re doing defect categorizations. So that means that you need Allen Hall: internal inspections on top of external Morten Handberg: inspections. If you see something, uh, that is potentially critical, then yeah, you should do an internal inspection as well to verify whether it’s going through, um, the entire lemonade stack or not. That that’s a, that’s a good, good, good approach. Um, I would say often, you know, if you see something that is potentially critical, uh, but there is still a possibility that could be repaired. Then I might even also just send up a repair [00:06:00] team, uh, to see, you know, look from the outside how much of the area is actually affected, because that can also pretty quickly give you an indication, do we need to take this blade down or not? Sometimes you’ll just see it flat out that, okay, this crack is X meters long, it’s over sensitive area of the blade. You know, we need to remove this blade. Uh, maybe when, once it’s down we can determine whether it’s repairable or not, but. We, but it’s not something that’s going to be fixed up tower, so there’s not a lot of need for doing a lot of added, um, add added inspections to verify this, this point. Allen Hall: Let’s talk about cracks for a moment, because I’ve seen a lot of cracks over the last year on blades and some of them to me look scary because they, they are going transverse and then they take a 90 degree and start moving a different direction. Is there a, a rule of thumb about cracks that are visual on the outside of the blade? Like if it’s how, if they’re [00:07:00] closer to the root they’re more critical than they’re, if they’re happening further outers or is there not a rule of thumb? You have to understand what the design of the blade is. Morten Handberg: Well, I mean the general rule of thumb is transfers cracks is a major issue that’s really bad. That’s, uh, you know, it’s a clear sign, something. Severely structural is going on because the transverse crack does not develop or develop on its own. And more likely not once it starts, you know, then the, uh, the, the strain boundaries on the sides of the cr of the crack means that it requires very little for it to progress. So even if in a relatively low loaded area with low strain, once you have a, a transverse crack, uh, present there, then it will continue. Uh, and you mentioned that it’s good during a 90 degree. That’s just because it’s doing, it’s, it’s taking the least path of the path of least resistance, because it’ll have got caught through the entire shell. Then when it reaches the beam, the beam is healthy. It’s very stiff, very rigid laminate. So it’s easier for it to go longitudinal towards the [00:08:00] root because that’s, that, that, that’s how it can progress. That’s where it has the, uh, you know, the, the, the strain, uh, um, the, the strain high, high enough strain that it can actually, uh, develop. That that’s what it would do. So transverse cracks in general is really bad. Of course, closer to root means it’s more critical. Um, if there is a crack transverse crack, uh, very far out in the tip, I would usually say, you know, in the tip area, five, 10 meter from the tip, I would say, okay, there’s something else going on. Something non load related. Probably causes, could be a lightning strike, could be an impact damage. That changed the calculation a little bit because then, you know, it’s not a load driven issue. So that might give you some time to, you know, that you can operate with something at least. But again, I, I don’t want to make any general rules that people then didn’t go out and say, well, I did that, so, and, but my blade still broke. That’s not really how it works. You need to really, you need to, to, uh, look at cracks like that individually. You can’t make a a common rule. Allen Hall: Another [00:09:00] area, which is under discussion across the industry are surface defects and there are a variety of surface defects. We’re seeing a lot of hail damage this year. Uh, that’s getting categorized as lightning damage. And so there’s obviously a different kind of repair going on. Hail versus lightning. Are there some standards regarding surface defects? Uh, the visuals on them? Is there a guideline about Morten Handberg: it? Well, I mean, uh, some of the, uh, some of the, how do you say, omic couture, some of the, uh, some of the standards, they do provide some guideline to determine which surface kind of surface defect it is, you could say, on the operational points, as long as it’s surface related. Then the repair methodology is the same, whether it’s peeling, erosion, voids, chipping scratches, the repair is the same. So that in principle does not change anything. But in the reason why it matters is because we need to understand the [00:10:00] underlying issue. So if you have lot of peeling, for instance, it means you have a very low quoting quality, and that is something that is either post post repair related or it’s manufacturing related, depending on the blade, on the age of your blade. So that’s very important for you to know because if you have peeling somewhere, then more likely than not, you’ll also have have issues with it elsewhere because, you know, tend to, they tend to follow each other, you know, coding quality issues. So that’s a good thing to know for you as an operator that you, this is just one of many, erosion is important, but often gets miscategorized because erosion is a leading edge issue. Um, so we only see it on the, on the very edge of the leading edge. So approximately 40 millimeter band. That’s typically what we see, and it’s straight on the leading edge. So if someone’s claiming that they see lead, leading edge erosion on the, on the pressure side, shell or ide, shell, it’s miscategorizing because that’s what you, that’s not why they have to have the ring. Uh, impacts ring can still, still [00:11:00] hit the shells, but when it hits the, the, the shell areas, it will ricochet because it hits it at an angle. Leading edge gets straight on. So it gets the entire impact force and that’s why you get the erosion issue because of, of fatigue essentially. Uh, coding fatigue. So that’s very important. There is something that you know you can really utilize if you just know that simple fact that it’s always a leading edge, it’s always uniform. It, you can track that. And if you have leading edge erosion in one area, you will have it in the entire wind farm. So you don’t need to do that much inspection to determine your erosion levels, voids, pinholes. They are manufacturing driven because they are driven by either imperfections in the coating, meaning you have a sand, grain dust, or you had, uh, air inclusions underneath your coating. And they will weaken the structure. And that means that, um, rain effect or other effects causing strain on your coating will accelerate a lot faster. So they will develop and create these small, um, yeah, uh, how do you [00:12:00] say, small defined holes in your coating. So that’s why it’s important to know. But if you’re running a wind farm 15 years, 10 years down the line. Then it’s more important for you to know that it’s a surface defect and you need to fix it by doing coating repair. You don’t need to think so much about the, the underlying issue, I would say. Allen Hall: Okay. I think that’s been miscategorized a number of times. I’ve seen what I would consider to be some sort of paint adhesion issue because it’s sort of mid cord and not near the leading edge, but sometimes it just looks like there’s massive peeling going on and maybe, uh, it’s easy to assume that maybe is erosion. It’s just a weak adhesion of paint. That that’s what you’re saying? Morten Handberg: Yeah. If it’s, if it’s midspan, if it’s shell related, then it’s, it’s a, it’s a coating quality related issue. It doesn’t really have anything to do with erosion. Um, you could say erosion. We can, we can, we can, uh, we can look at in, in, in two areas. So you have the out or third of the leading edge. [00:13:00] That’s where you would have the theoretical leading edge erosion breakdown, because that’s where you have rain impact high enough that it will cause some kind of degradation, but that all of your leading edge will suffer in the same way because the tip speed of the outer four meters of your blade. Versus the re the other, you know, uh, 10, 12 meters depending on length of your blade. Sometimes it’s a lot longer, but they are getting degraded in a much different way. So the out of pew meters, they can get what’s called structural erosion. So that means that the erosion goes fast enough and it’s progressive enough that you can start to damage the laminate underneath. You won’t see that further in because the, the impact is just not that great and you will likely not see structural erosion over the lifetime, but the out a few meters, that’s important. And that’s where you need, need to focus your, that that’s where you need to pay attention on what kind of materials you add because that can save you a lot of repair, re, re repair. And, uh, down the line, how do you categorize Allen Hall: leading edge erosion? A lot of [00:14:00] times I see it, uh, from operators. Let’s say it’s, uh, category four because it’s into the fiber. But is it always a structural issue? Is there a lot of loading on the leading edges of these blades where you would have to come back with structural applies to repair it? Or is it just a aerodynamic shape and does it really depend upon who the OE Em is? Morten Handberg: Well, I mean, I’ve seen erosion category five as well, and I think it’s a mis misinterpretation. I think it’s, you know, people are trying it to raise awareness that, hey, there was a serious issue with erosion, but it’s a wrong way to use the severities. Because if we look at severity five, severity five, if you have a critical issue, your blade is about to come down if you don’t do anything. So category five means you need to stop your turbine. Maybe you can repair it, but that really depends on the, uh, on what is damaged by, on, on, on the blade. And you can determine that once you removed it and looked at it on, on, on the ground. But you need to stop. Category four is a severe structural damage. It’s not something that [00:15:00] is causing an immediate threat, but it’s something that will progress rapidly if you don’t do anything. So here you need to look at the damage itself. So how does it affect the structure and can you operate it curtailed, uh, or can you operate it, uh, or can you operate normally and repair it within a short time window? That’s what you can use because it’s something that is. Uh, that can, that can develop into an, into an imminent issue if you don’t react to it. Severity three is more for your, is more your annual maintenance schedule. So that is your, your minor structural damages and it’s your erosion issues. So that’s something that there is a severity Three, you need to look at it for next year’s budget. Severity two means that. Something that’s gradually degradating your coating on the blade, but it’s not something that means anything at this point in time. So one is your coating, is your surface damage or minor surface damage. Pinholes uh, contamination. It’s really light issue, so it’s not something you really need to consider. So. [00:16:00] Severity ones, you, you really mean that, that it’s, you don’t need to think about this anymore. You know, it’s, it’s not an issue. So erosion will fall typically within severity two to severity four. Severity four being you have a hole in your blade from erosion, basically. Uh, because you can still have structural degradation of deleting it and still being a severity three, because it does not really change your maintenance cycle in any, in any way. You don’t need to do anything immediate to fix it. Um, so that’s why I would put most of erosion defects in severity three and just say, okay, it’s something we need to plan a leading edge, a leading edge ERO repair campaign next year or the year after, depending on the severity of it. That’s why, how I, I would approach, Allen Hall: that’s good insight, because I do think a lot of operators, when they do see a hole in the leading edge, think I have to stop this turbine. But at the same token, I have seen other operators with holes. I could put my fist through. That are continuing to use those blades and they will say, it’s not structural, it’s not [00:17:00] great aerodynamically, but the, we’re still making power here. We’re still making rated power. Even with the hole and the leading edge, it’s not going to progress anymore. It’s a, it’s a, it’s a progression that we understand. That’s how they describe it. It will get worse, but it’s not gonna get catastrophic worse. Morten Handberg: I mean, if you run it long enough, at some point, something secondary will happen. Sure. But again, that’s also why we use the severity four category for erosion, where you have severe structural degradation because it does starting to mean something for the integrity of the blade. It will not mean that it’s coming down right away when you see a hole in the blade from erosion. That’s, that’s the entire purpose of it. But it does it, you use it to raise awareness that there is something you need to look at imminently or at least react to, uh, and make a plan for. You can’t just pull, you can’t just delay it until next year’s, uh, maintenance campaign. We have an active issue here, so that’s why I think severity four applies to erosion. That has penetrated all structural layers. Allen Hall: Are there some [00:18:00] blade damages that are just can’t be repaired or, or just have too much difficulty to repair them, that it’s not worth it? And how do you know? How do you understand? That blade is not repairable versus the one next to it which looks similar, which can be repaired. What goes into that assessment? Morten Handberg: So one is, is the, is the beam laminate damaged? If it is, then uh, either it comes down to a commercial decision. It’s simply not fixable and, and restoring it in, you know, restoring it back, uh, to original form ship. And there’s also the, the, uh, the, ever, ever, ever, ever, ever, uh, returning element of carbon fiber, because carbon fiber adds another level of complexity repairs, because you’re so dependent on the pristine quality of the carbon for it to, to, for, to utilize the, the, uh, mechanical strength of carbon. And if you, if you don’t apply it in the right way, then you can create some high stress zones. Where, you know, the [00:19:00] cure is as bad as the disease really. So that’s why you have to be extra careful with carbon repairs. But they can be done. But it, you know, it really comes down to a commercial decision then. So in principle, unless the blade is deformed, uh, or, or, or damaged in such a way that you have to remove a large part of the s shell lemonade in a loaded area, then most things they can, in principle, be repaired. It’s just a matter of is the, is the cost of the repair. Cheaper than the cost of a new blade. And that calculation might, you know, depend on are there any, any spare blades available? Is this blade, uh, still in production? And if I don’t repair this, then I don’t have any blade for my turbine and then I can’t operate anymore. That also changed the calculus right along quite a lot, so I think. For a lot of damages. It, it’s more of a, it’s often more of a commercial decision rather than a technical, because ca glass fiber is very forgiving. You can repair a lot, even if it’s really severe. I mean, I’ve seen blade repairs that took [00:20:00] 3000 hours, but it was deemed worthwhile because you couldn’t get a, a bare blade. And in most other cases, that would’ve been been scrapped, you know, without, you know, without blinking. Um, so, so, you know, if you really want to, you could repair it. In a lot of cases, Allen Hall: how difficult is it to repair carbon protrusions, because it does seem like when they manufacture those protrusions, there’s a lot of quality control going into it. The fibers have to be in the right direction all the time, and they’re really compacted in there. They’re tight, tight block of carbon that you’re purchasing and sliding into into this blade. Are they really repairable in sections or is it you have to take out the whole length of a pultrusion and replace it? I’m, I’m trying to understand the difficulty here because there’s a lot of operators in the United States now that have some portion of their fleet is carbon spar cap, not a lot of it, but some of it. How [00:21:00] difficult is that to repair? Morten Handberg: Well, it’s difficult enough that a lot of OEMs, they will say if you have a damage to the carbon, it’s a non-repairable defect. That is to a large extent the general rule. Um, there are, there are, uh, there are ways and some of it is replacement of the protrusion. Um, other, another method is, is to do a vacuum infusion lamination. I’ve also seen some repairs with success where, uh, glass fiber is utilized instead of carbon fiber. So you reply, so you, you, um, you calculate the mechanical strength of the carbon. And then replace that with an equal amount, you know, strength wise of glass fiber. The problem is you are to a degree playing with little bit with fire because you are then changing the structure of the blade. You are increasing the thickness and thereby you are changing the stiffness. So it’s, you have to be really [00:22:00] careful, uh, it’s possible. And uh, again. All if all other options are out and you want this blade really to get up and running again because it’s your only option. Maybe it’s worthwhile to, to investigate, but it requires a lot of insight in and also a little bit of, uh, how do you say, uh, you don’t, you shouldn’t be too risk adverse if you go down that that route, but, but again, it is possible. It is technically possible. But it’s something you do for the outer, uh, outer areas of the blade where you have less loads and you’re less sensitive. Allen Hall: Can those carbon repairs be done up tower or are they always done with the rotor set or the blade drop down to ground? Morten Handberg: I know some carbon repairs have been done up tower, but in general it’s down tower also, just because if you have damage to your carbon, it means you have a severe structural issue. So you wouldn’t generally try to do it that well, I would, not in general, but, but the, the, the cases I’ve seen that, that has been downturn repairs. Yeah. Allen Hall: Do you think about the categories differently? If it includes carbon [00:23:00] as a structural element? Morten Handberg: No, because carbon is part of the load carrying laminate. If you’re to the load carrying laminate, then it becomes a four or five immediately. Um, so, uh, so I would say the same rule applies because ag again, it’s a very rough scale, but it applied, but it gives you a sense of where, you know, what is the urgency, which is what I think we in generally need. And I like the more simple model because it’s more applicable to the general industry and it’s easier for, uh, you know, it’s easier to, to implement. Um. And it is easier to understand than if you have a too too gradual, uh, scale because it’s difficult for the people who are sitting and assessing to determine if, uh, you know, what, what category it is. And it’s difficult for the people who have to read the report afterwards. And it’s also about, you know, what is the purpose? And in general, I would say, well, this, the defect categorization, the severe categorization is to determine can this be repaired or not? That’s what we use it [00:24:00] for. So that, that, that’s how we, it should be applied. Allen Hall: Is the industry going to have a universal standard? Soon. Is that possible? Or is this really gonna be country by country, region by region? How we think about blade defects and blade repairs? Morten Handberg: I think that. Given the, uh, the, how do you say, the individual interests in having their own model from the different OEMs or service providers? I think the, when they’re choosing a pope, they have an easy task ahead of them, you know, deciding that. Then we have the agreeing on an on inte standard and on plate. Allen Hall: Pope is currently an American, so that tells you something. The world has shifted. There is still hope. Maybe there is still hope because it, it is a very difficult problem and I hear a lot of conflicting opinions about it and they’re not wrong. The opinions I hear when they’re explained to me, they have a rationale as to why. They’re calling something a cat four versus a cat three. [00:25:00] It all makes sense, but when you get two engineers in the room, they’re rarely are going to agree. So I’m just thinking maybe, maybe there isn’t a, a yeah, maybe there isn’t a time where we’re all gonna come together. Morten Handberg: I think that, you know, it’s, it’s also about what are you willing to accept and what are you willing to s. You know, as an OEM, as a blade engineer, as a service provider, in order to make common agreement. Because I think if we were willing to, you know, set aside differences, um, and then agree on, okay, what is the, what, what is that, what is the, the ma the industry needs and what, what fulfills the purpose? We could agree tomorrow, but that’s not where we are, uh, at the moment. So, so I don’t see that happening anytime soon. But yes, there, there was a way to do an in to make an international standard. Um, for blades and I, I would say maybe it’s, if the IC made, made, made one, then maybe that that could, uh, that could fix it. Uh, maybe if, uh, they’re starting to become more [00:26:00]focused from governments, uh, and you know, that it wind industry becomes recognized as critical infrastructure. That then there is a requirement for international standards on what are defects, to make it easier to determine what is critical or not, so that proper reaction can be made. That will also help it. But again, as long as it’s only about late experts having to agree with each other and that’s the only then, then we’re, then we will not get to a point where we’re going to agree on, on everything. No. Allen Hall: Wow. This is a continual discussion about blade defects and categorization and Morton. I really appreciate. You’re giving us your thoughts about it because I trust you one and two, you’re on the leading edge of what the industry is thinking. So it’s very good to get you in here and explain where categorization is and, and two operators that are listening to this podcast understand you’re probably getting a lot of different opinions about categorization. You need to sit down and figure it out for yourself, or reach out to Morton who can explain what you should be thinking and how you should be [00:27:00]thinking about this problem. Morton, how do people get ahold of you to learn more? Morten Handberg: Easiest way is to reach out to me on LinkedIn. Um, I have a very active profile there. You can always write me and I’ll always write, write, write it back. You can also write to me on my company email, m me h@windpowerapp.com. Um, those are the two easiest way to get, uh, get in, in, uh, get in touch me. And I would say, as an owner, what you need to know. Is it a structural issue or is a surface issue you have? And then plan your repairs from there. That is, that is the. Basic, yeah, that, that you need to have, and then forget about the others, the other side of it, you know, if it’s one defect type or another, that’s not necessarily what’s going to help you. It’s all about getting the blades repaired. And, uh, and the turbine up and running again. That should be the focus. Allen Hall: Absolutely. Morton, we love having you on the podcast. Thank you so much for joining us. It’s good to be here. See [00:28:00] you.

Welcome to the #ShareYourHotness Podcast episode 170! Al Richards is an Internationally Certified Crisis & Recovery Coach, host of AR – The Other Side of Addiction Podcast, and Co-Founder of the Healing Utah Success Summit. His story isn't just about surviving addiction—it's about rising through it. He's walked the painful road of losing a 24-year career, battling through addiction, navigating the heartbreak of a spouse who struggled with alcoholism, and, most recently, facing a life-changing below-the-knee amputation. Just weeks later, he lost his wife. But here's what Al has learned: Faith, resilience, and learning to harness our emotions are what help us grow stronger—not despite our pain, but because of it. Al speaks from lived experience, and he speaks from his heart. Al's goal is to remind others that they're not alone, and that transformation is possible—no matter how far down they've gone. Support The #ShareYourHotness Podcast by contributing to their tip jar: https://tips.pinecast.com/jar/the-syh-podcast Find out more at https://the-syh-podcast.pinecast.co

Bodies drifting aloft through the endless night. Alone. Aimless. Remnants from the assembly of existence. Celestial slag cast into the void. A building block of creation in search of a new creator. To the United Colonies, these unbound boulders are nothing more than a nuisance. God's refuse en route to a cosmic waste bin. The KERKHOVEN, a United Colonies mapping vessel, is manned by a four-person crew. Their pervue is the documentation of meteors, comets, and other orphaned celestial debris that threatens the shipping routes between the Alpha Centauri and the independent systems. Most days are dull and produce no object in which to judge at all. But one day in particular will bring, not the judging of space rocks, but the value of human life...Transmission 1.4....commence.CAST:Carson Holbrook, Captain, Kerkhoven | ALEX JAMES KANEGinger Eix, First Mate, Kerkhoven | DoraTrix DORATRIXKellen “Salsa” Verde, Science Officer, Kerkhoven | BEC HUEGGSEston Bloom, Maintenance, Kerkhoven | DR. MARK HAUSWIRTHLouis La Claire, Captain, Pendleton | Cal Caerwynt CAL CAERWYNTDesmond Vanderlee | JOSH SMITHThe Assassin | JEREMY MONTALVOCREDITS:Edited by PANDORA BEATRIXWritten by MIKE MALLOWSound effects by Epidemic Sound and ARTLIST.IOBased on the video game STARFIELD by Bethesda Game StudiosEmail and business inquiries: ⁠⁠⁠⁠⁠fchad@fallout76podcast.com⁠⁠⁠⁠⁠ We'll see you out in the Starfield Official Site: ⁠https://starfieldpodcast.com/⁠ Join Our Discord: ⁠https://discord.gg/37GENNH⁠ Patreon: ⁠https://www.patreon.com/fallout76chadpodcast⁠ Facebook: ⁠https://www.facebook.com/fallout76podcast/⁠ YouTube: ⁠http://bit.ly/YouTubeChad⁠ Frontier: Stories from Starfield and its websites are not affiliated with, endorsed by, or sponsored by Bethesda Softworks LLC, ZeniMax Media Inc., Microsoft Corporation, or their affiliates or subsidiaries. All logos, designs, and product and company names are trademarks or registered trademarks of their respective holders. It does not reflect the views or opinions of either company or anyone officially involved in producing or managing Starfield. All other content on this site is copyright by the author, and is licensed under a ⁠⁠⁠⁠⁠Creative Commons Attribution-ShareAlike 4.0 International License⁠⁠⁠⁠⁠. Audio program ©2023 Kenneth Vigue - All Rights Reserved. The rights of each individual story are exclusively held by their respective authors. No reproduction of this content is permitted without express written consent. This content is protected by Digital Millennium Copyright Act Services Ltd. © Hosted on Acast. See acast.com/privacy for more information.

Pin holes are a pesky issue in ceramics, largely because multiple glaze defects are often called pinholes. The gang talk about the myriad issues with pinholes, and if you can fix them on an already fired pot. They also discuss why commercial glazes have wide firing ranges. They start the show laughing and questioning the existence of removable ceramic stickers. Do you have questions or need advice on glazes? Drop us a line at ForFluxSakePodcast@gmail.com and you could be featured on an upcoming show.   This week's episode features the following topics: pin holes, glaze void, refiring, reglazing, glaze temperature range, commercial glaze   Today's episode is brought to you by Bailey Pottery Equipment and Cornell Studio Supply.

In this episode, I chat with Pinholes Graham, a fellow content creator who, in my opinion, produces the best hockey-related videos on YouTube. If you haven't seen his work yet, start with his most popular video, "You Are Being Mythologized (Do Not Resist) – The Career of Carey Price," which has garnered over 130,000 views at the time of writing this. After that, dive into his captivating "Playoffs Past" series, where he explores nostalgic playoff matchups from the late nineties and early two-thousands – you won't regret it. Once you've finished, don't miss his hilarious "LOHL" series, where he straight-facedly covers an entirely fictitious league with absurd player names (and is only updated once a year, on April Fool's Day). Thanks for listening! - Nuckhead

Lichen is a strange presence on this planet. Traditionally, scientists have understood lichen as a new organism formed through symbiosis between a fungus and an algae. But the science is evolving. It seems that there may be more than one species of fungus involved in this symbiosis, and some scientists have suggested that lichen could be described as both an ecosystem and an organism. Lichen may even be immortal, in some sense of the word.In lichen, the poet Forrest Gander finds both the mystery of the forest and a rich metaphor for our symbiosis with one another and with the planet, for the relationship between the dead and the living, and for how our relationships with others change us indelibly. In his poem, “Forest,” lichen are a sensual presence, even erotic, living in relationship to the other beings around them. They resemble us, strangely, despite our dramatic differences.The words of the poem teem with life, like the forest they explore, and Forrest's marvelous reading of the poem adds a panoply of meanings and feelings through his annunciation, his breaths, his breaks. It's phenomenal.This poem, and his work more broadly, is about nothing less that who we are on this Earth and how we live—how we thrive—in relationship.Forrest Gander writes poetry, novels, essays, and translations. He is the recipient of many awards and honors, including a Guggenheim Fellowship and the Pulitzer Prize in poetry for his book, Be With. As an undergraduate, like me, he studied geology, which became foundational to his engagement with ecological ethics and poetics.Forrest often collaborates with other artists on books and exhibitions, including a project with the photographer Sally Mann. His latest book of poetry is a collaboration with the photographer Jack Shear, called Knot (spelled with a “k”). He recently collaborated with artist Ashwini Bhat on an exhibition at the Shoshana Wayne Gallery in Los Angeles, called “In Your Arms I'm Radiant.”His poem, “Forest,” is from his 2021 collection of poems, Twice Alive.Forrest has taught at Harvard University and Brown University. He spoke to me from his home in Northern California, where he now lives.This episode of Chrysalis is part of the Chrysalis Poets series, which focuses on a single poems from poets who confront ecological issues in their work.You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!Forrest GanderBorn in the Mojave Desert in Barstow, California, Forrest Gander grew up in Virginia. He spend significant years in San Francisco, Dolores Hidalgo (Mexico), Eureka Springs, and Providence. With the late poet CD Wright, he has a son, the artist Brecht Wright Gander. Forrest holds degrees in both Geology and English literature. He lives now in Northern California with his wife, the artist Ashwini Bhat. Gander's book Be With was awarded the 2019 Pulitzer Prize. Concerned with the way we are revised and translated in encounters with the foreign, his book Core Samples from the World was a finalist for the Pulitzer Prize and the National Book Critics Circle Award. Gander has collaborated frequently with other artists including photographers Sally Mann, Graciela Iturbide, Raymond Meeks, and Lucas Foglia, glass artist Michael Rogers, ceramic artists Rick Hirsch and Ashwini Bhat, artists Ann Hamilton, Tjibbe Hooghiemstra, dancers Eiko & Koma, and musicians Vic Chesnutt and Brady Earnhart, among others.   The author of numerous other books of poetry, including Redstart: An Ecological Poetics and Science & Steepleflower, Gander also writes novels (As a Friend; The Trace), essays (A Faithful Existence) and translates. Recent translations include It Must Be a Misunderstanding by Coral Bracho, Names and Rivers by Shuri Kido, and Then Come Back: the Lost Neruda Poems. His most recent anthologies are Pinholes in the Night: Essential Poems from Latin American (selected by Raúl Zurita) and Panic Cure: Poems from Spain for the 21st Century.Gander's books have been translated and published in more than a dozen other languages. He is a United States Artists Rockefeller Fellow and has received fellowships from The National Endowment for the Arts and the Guggenheim, Whiting, and Howard Foundations. In 2011, he was awarded the Library of Congress Witter Bynner Fellowship. Gander was the Briggs-Copeland poet at Harvard University before becoming The Adele Kellenberg Seaver Professor of Literary Arts and Comparative Literature at Brown University where he taught courses such as Poetry & Ethics, EcoPoetics, Latin American Death Trip, and Translation Theory & Practice. He is an Emeritus Chancellor for the Academy for the Academy of American Poets and is an elected member of The Academy of Arts & Sciences.Gander co-edited Lost Roads Publishers with CD Wright for twenty years, soliciting, editing, and publishing books by more than thirty writers, including Michael Harper, Kamau Brathwaite, Arthur Sze, Fanny Howe, Frances Mayes, Steve Stern, Zuleyka Benitez, and René Char.“Forest”By Forrest GanderErogenous zones in oaks slung with stoles of lace lichen the sun's rays spilling through leaves in broken packets a force call it nighttime thrusts mushrooms up from their lair of spawn mycelial loam the whiff of port they pop into un- trammeled air with the sort of gasp that follows a fine chess move like memories are they? or punctuation? was it something the earth said to provoke our response tasking us to recall an evolutionary course our long ago initation into the one- among-others and within my newborn noticing have you popped up beside me love or were you here from the start a swarm of meaning and decay still gripping the underworld both of us half-buried holding fast if briefly to a swelling vastness while our coupling begins to register in the already awake compendium that offers to take us in you take me in and abundance floods us floats us out we fill each with the other all morning breaks as birdsong over us who rise to the surface so our faces might be sprungRecommended Readings & MediaForrest Gander reading his poem “Unto Ourselves” from Twice Alive.TranscriptIntroJohn FiegeLichen is a strange presence on this planet. Traditionally, scientists have understood lichen as a new organism formed through symbiosis between a fungus and an algae. But the science is evolving. It seems there may be more than one species of fungus involved in this symbiosis. And some scientists have suggested that lichen, and could be described as both an ecosystem and an organism. Lichen may even be immortal in some sense of the word. In lichen, the poet Forrest Gander finds both the mystery of the forest and a rich metaphor for our symbiosis with one another and with the planet, for the relationship between the dead and the living, and for how our relationships with others change us indelibly. In his poem, "Forest," lichen are an essential presence, even erotic, living in relationship to the other beings around them. They resemble us strangely, despite our dramatic differences. The words of the poem teem with life, like the forest they explore, and Forrest's marvelous reading of the poem as a panoply of meanings and feelings through his enunciation—his breaths, his breaks; it's phenomenal. This poem in his work, more broadly, is about nothing less than who we are on this earth, and how we live; how we thrive in relationship. I'm John Fiege, and this episode of Chrysalis is part of the Chrysalis Poets series. Forrest Gander writes poetry, novels, essays, and translations. He is the recipient of many awards and honors, including a Guggenheim Fellowship, and the Pulitzer Prize in poetry for his book Be With. Forrest often collaborates with other artists on books and exhibitions, including a project with a photographer Sally Mann. His latest book of poetry is a collaboration with a photographer Jack Scheer called Knot. He recently collaborated with artist Ashwini Bhat on an exhibition at the Shoshana Wayne Gallery in Los Angeles, called In Your Arms I'm Radiant. His poem, "Forest," is from his 2021 collection of poems, Twice Alive. Forrest has taught at Harvard University and Brown University. He spoke to me from his home in Northern California, where he now lives. Here is Forrest Gander reading his poem "Forest."PoemForrest Gander“Forest”Erogenous zones in oaks slung with stoles of lace lichen the sun's rays spilling through leaves in broken packets a force call it nighttime thrusts mushrooms up from their lair of spawn mycelial loam the whiff of port they pop into un- trammeled air with the sort of gasp that follows a fine chess move like memories are they? or punctuation? was it something the earth said to provoke our response tasking us to recall an evolutionary course our long ago initation into the one- among-others and within my newborn noticing have you popped up beside me love or were you here from the start a swarm of meaning and decay still gripping the underworld both of us half-buried holding fast if briefly to a swelling vastness while our coupling begins to register in the already awake compendium that offers to take us in you take me in and abundance floods us floats us out we fill each with the other all morning breaks as birdsong over us who rise to the surface so our faces might be sprungConversationJohn FiegeThank you. It's so wonderful hearing you read it, the intonation and the flow of the words and your emphasis is just like completely new hearing you read it, rather than just reading it myself. I want to start with the sexual imagery. You begin with "erogenous zones in oaks, slung with stoles of lace lichen." And that last line, "stoles of lace lichen the," that was one of the things that jumped out to me, is the is at the end of the line there. And you read it as if it was the end of the line rather than pausing and using it as part of the next stanza. But in addition to these, this erogenous zone, you've got thrusting mushrooms in a layer of spawn, and sexual imagery doesn't often accompany decomposition, and decomposers like lichen and in fungi, but this combination brings a strong sense of the interconnectedness of life and death of reproduction and decomposition. And so this is the cyclical world we live in, even though we're often myopically or delusionally, focused on some kind of progressive, linear, supernaturally immortal view of our lives. How are you imagining the reader encountering the beginning of this poem, and its images of sexually charged decomposition?Forrest GanderI'm, uh, trying to connect decomposition and eros, or the merging of more than one species, one individual, into a community. And I'm trying to use a syntax, which you notice, that also doesn't easily separate itself into clear, discrete sentences, but seems to be connected at both ends. And the sense is for us to lose our security in reading our feeling that we dominate the reading that we can figure it out quickly and divide it up into these parcels, and instead, create a kind of reading experience that mimics the kind of experience that we actually live, where everything is connected, and, and where the erotic and the decomposing are involved in the same processes.John FiegeYeah, and thanks to Governor Jerry Brown, lace lichen is now the official California state lichen making...Forrest Gander(Chuckles) Isn't that great? John Fiege...making California the first state to recognize a lichen as a state symbol. And the poem, like you were saying, how the syntax is mimicking the organic world. Visually, the line breaks and the varied intended indentations appear as local lace lichen itself. Can you talk about your relationship with lichen?Forrest GanderYes. You know, I think like you think, which is why you're doing these podcasts, that we're in an exigent historical moment where the environment is rapidly changing, and species are rapidly disappearing. And we've been hearing about this for decades without really responding in a sufficient way to the exigency of our situation. So I'm trying to find models of, instead of just heaping on more climate information horror, I'm trying to find models of other ways of thinking about our relationship with the world. And one, since I have a background in science—I have a degree in geology—is a scientific one. And I worked with a mycologist, named Anne Pringle, who taught me to see fungus and lichen in places where I hadn't been seeing them before. And it turns out lichen covers about 92% of the world you can find lichen in. And despite that, most people know what it is. They've seen, like on rocks, green, brown, little spots. It turns out, scientists don't really know what lichen is.John FiegeIt's cool to find something that scientists don't feel like they know that much about.Forrest GanderIt is! And yet, it seems like there's more more of those things that we don't really know that we can't measure, that we can't feel like we are in control of it all. And lichen is these two—more actually, it's not just an algae and cyanobacteria, or Sienna bacteria and fungus that get together it there's more organisms that are involved that come together, and are transformed completely and can't go back to what they were. And they formed this new organism that acts completely differently. And we're not so different from that, that our own bodies are full of other organisms, and even our DNA contains DNA of parasites that long ago became incorporated into our system. So lichen gives us a way of thinking about the mutualities that our lives are really made of.John FiegeYeah, and this poem, "Forest," is part of that collection, Twice Alive, where you have "Post-Fire Forest" and other poems related to wildfire and the aftermath of them, and that collection follows on the heels of your previous collection, Be With, which, you know this moving series of eulogistic poems to your late wife. It seems that Be With wrestles with and processes personal grief, while "Twice Alive" adds the element of ecological trauma. How are those two realms of trauma-related phenomena—the personal and the ecological? And how do they play out in the poem?Forrest GanderThe poems of "Be With”… they are so personally painful to me, I couldn't even read from the book after I published it. I think I read twice and then stopped reading from it. And one, as Albert Camus says, you can't live on in a grief or depression that's so terrible that it doesn't leave you with any openings. And so I wanted to find positive things to write about. But we're living during an ecological crisis. So I'm, and I've been writing about that crisis through really most of my adult life. But I wanted to find positive ways of reimagining our relationship with the world and maybe with death also. Because in lichen, and in the metaphor of like, and work, to two or more things come together and are transformed. I thought of human intimacy and the way that my relationship, my close relationships, I'm transformed in those relationships, I become something else. And that thing, which is welded in love, has a durability, and lasts. And in the same way, scientists—some scientists are saying that our whole idea of death comes out of our mammalian orientation. And that may be because some things don't die, and have theoretical immortality, and lichen, given enough nutrients, may be one of those things.John FiegeThat's amazing. How does it make you feel to think about the possibility that there's something that actually has some kind of immortality?Forrest GanderHow does it make us feel? I think it checks what we have always thought we've known. And it checks our instinctual perspective. And that kind of check, I think, is really helpful in terms of how we begin to reimagine our place in a world of other species that are completely different from us, and yet, share so much DNA.John FiegeCan you tell me about the Sangam literary traditions that you've referenced as an important element of your recent work in Eco-poetry?Forrest GanderSure! What brought me to Sangam was looking for other models of relationships between the human and the nonhuman. And it turns out that, you know, 2000 years ago, in Southern India, there was a blossoming of literature, which came to be called Sangam, which means convergence, and that one of the two styles of that poetry, which is called Akam, it was considered not only unethical but impossible to write about human emotions, as though they were independent of the landscape around us, which affects our perceptions. And, it impacts how and what we feel. And so, using that model for poems and finding that the same five landscapes that come up in the Sangam poems are the same five landscapes that one can find in California, where I live, I used those Sangam poems as a kind of model for writing poems that expressed that mutuality of, of the human and the nonhuman in the five landscapes of California in my home.John Fiegeisn't that so satisfying on so many levels to be able to look so far back in history? And to see people encountering the world in ways that are so resonant with the ways you are, we are encountering the world today in a completely different part of the planet, even? It's kind of amazing.Forrest GanderIt is! And yeah, I think it's what we will find everywhere that, you know, the Native Americans in what we now called the United States. They didn't think that these European invaders would last very long because the European invaders hadn't lived for thousands of years, with animals and plants of this continent. And so they thought we would fail. And we have failed, we've failed to live in a way that takes into account our interdependence with the nonhuman world.John FiegeWell, jumping back into the poem, your word choices and juxtapositions and the sounds, and the rhythms of the words in the poem are so powerful. Here's a section that begins at the end of a stanza and carries on to the next, "a force call it nighttime thrusts mushrooms up from their lair." I like this idea of nighttime as a force that has the power to push things up out of the earth. And nighttime is when we rest, but also maybe when we have sex, or maybe when we don't have sex often enough. But how is nighttime of force for you?Forrest GanderBecause there are so many processes, especially plant processes, that take place after the sun goes down. And that often, we're not thinking about night being a reenergizing process for other species. And also, I'm connecting nighttime, and that darkness with the half-buried to the things that go on in the dark, the things that go on underground.John FiegeRight! Well, here's another section I'd like to dig into. If you don't mind me reading, I feel bad reading your poem as you read it so beautifully, but just to go through it again. Like memories, are they or punctuation? Was it something the earth said to provoke a response, tasking us to recall an evolutionary course, our long-ago initiation into the one among others? So in this section of the poem, you shift from third person into first person plural, and we don't exactly know what the 'we' or the 'us' is, but I'm imagining it to be our species collectively speaking with the earth here. I personified a personified Earth. And each of us is merely one among others, one person among other people, but also humans are just one among many other species on the earth. So what's going on here, with the earth being provocative, the shift to first person plural, and to us thinking about our evolutionary course?Forrest GanderSo I'm thinking of mushrooms as kind of exclamation marks that come up and call our attention to the nonhuman, and also how memories are like that, that they pop up from the darkness of our mind into our conscious mind. And that, what they remind us of, what any contact with a nonhuman reminds us of, is our involvement with them; our long ago initiated course as an interdependent species, as a community in a community, that we are one among many others, as you say, and that if we forget that, then we don't take care of the earth because we don't recognize that it's part of taking care of ourselves. And for many human communities and cultures earlier, this was de rigueur, it was understood that, that we were involved. Our lives were educations in how to live with the world around us. But we've become so separated from that in our urban cultures that we need reminding.John FiegeRight, right. Well, and that reminds me of another section of the poem, we have this phrase "newborn noticing." So the stanza it's in is, "and within my newborn noticing, have you popped up beside me, my love? Or were you here from the start?" And I love this idea of newborn noticing it suggests that we're noticing a new, but also noticing, as a newborn does, like Lao says—‘newborn baby, unbiased, undistracted, nonjudgmental.' And this section feels like it touches on our deeply ingrained, anthropocentrism and ignorance of other species, and maybe how poetry can help us notice the world around us more fully, especially the other-than-human world. What is this 'newborn noticing' to you?Forrest GanderRight, I'm so glad you bring up Lao Tzu, also. Lao Tzu says, "Those who are not in constant awe; surely some great tragedy will befall them." And hear the 'newborn noticing,' again, that earlier passage you mentioned, that connects the punctuation to coming out of the ground of the mushrooms, to memories that come out of the darkness of our mind into our conscious mind. That's also the birth of something.John FiegeSo here's... oh, go ahead.Forrest GanderI just like that you've been, I mean, some people ask, you know, what can we do in this environmental crisis, and one of the things we can do is to try to have a chorus of not just scientists and biologists, but a chorus of artists and priests, and poets. And that's what you've been doing: putting together that chorus of responses to our crisis. And I think it's going to take the voices of a lot of people from a lot of different trajectories, to affect any kind of change. So I'm proud of what you're doing.John FiegeYeah, I totally agree. And I'm glad you notice and appreciate that (chuckles). You know, one thing I say all the time is, you know, our environmental discourse is dominated by science, economics, and policy. And those three things are all extremely important, and we have to keep on top of all of them. But it's leaving out the whole rest of the human experience. And if we are not all focused on this problem, and dealing with it in the ways that we know how, and the ways that we know how to interact with the world, we just... we can't get there because the problem is... it's so overwhelming as it is to leave it up to a small portion of the population to address is not sufficient,Forrest GanderRight? Or it would have changed already. And I think what art and poetry and literature can do is add a kind of an emotional and psychological approach to it, that can add it to the science, and can be more convincing,John FiegeRight? And not even just like, a way to convince people, but just a way to, to understand and feel the problem is so much beyond, you know, just a reason-based problem that you can solve or not, you know, but that it's part of who you are and what you value in the world and what you know, get you up out of bed every morning.Forrest GanderThat's beautifully put. Yeah, I agree with you.John FiegeWell, here here's another line I love from the poem, "A swarm of meaning and decay." And this goes back to that cyclical view of life and death; birth and decomposition. And it also brings in this concept of meaning—this thing that humans are obsessed with. Our perpetual question of why—what is the meaning of life? And so much of the foundation of our understanding of meaning is bound up in the perpetuation of life. And oftentimes, in the avoidance of death, despite the need for death to bring life. Can you talk more about this "swarm of meaning and decay?"Forrest GanderSo the "swarm of meaning and decay" comes just a moment after my "newborn noticing." And here, the poem merges the human—we don't really know for sure whether I'm talking about human beings, or I'm talking about other forms of life that are emerging from the underworld, like fungus, for instance. And in that merging of subjectivity and world, I'm trying to emphasize how the human life and the processes of the life—lives that aren't human—are completely related to each other. It's interesting to me that the kind of poetry that I write is sometimes categorized as eco-poetry, the idea of Eco-poetry is that there might be a way of writing in which human subjectivity and the non-human aren't so discrete from each other and that we might be able to show in writing, a different way of experiencing, or really, the real way of experiencing our relationships with otherness, which is that our subjectivities merge into otherness. That we're made of multiple creatures and were made by multiple interactions with the world. And I think that's what art has always done, is that it's expanded our way of thinking of the human.John FiegeDefinitely, definitely. Well, let me jump into the last two stanzas in the poem, which read, "And abundance floods us floats us out, we fill each with the other all morning breaks as songbird over us who rise to the surface, so our faces might be strong." And again, there's so much richness in this language. But to start off with, how does abundance, both flood us and float us?Forrest GanderWell, our lives are abundant; the world is abundant. And that sense of merging with another in intimacy, in love, and merging with the world is a sense of expanding. This, you know, the notion of the self, and that's an abundance, it's recognizing our collaborative relationship with otherness. And it floats us out of ourselves so that we're not locked into our own minds, our own singular psyches, we fill with each other. And then again, here, the syntax is working in two ways. We fill with each other, we fill with the other "all morning". And then we revise that as we, as we make that break. We fill with the other "all morning breaks as birdsong over us." And I'm thinking here about how human beings, Homo sapiens, from the start, almost all of human beings have experienced birdsong since we were born, since early in our lives. We've grown up with the songs of birds infused in our minds, in our hearing. And how much of a part of us birdsong is. We're rising to the surface like the mushrooms coming from underground to blossom so that our faces might be sprung. And here again, the human and the nonhuman? Am I talking about mushrooms here? Or am I talking about human beings? I'm purposely talking about both in a way that is perhaps indistinguishable.John FiegeAnd as you mentioned, the poem starts with the imagery of the mushrooms thrusting upward. And then, at the end here, it seems that the we in the poem rises to the surface. And the last line of the poem is, so our faces might be sprung. This sense of emergence comes to that most intimate thing—our faces—and this vague 'we' suddenly has a face. And we are like flowers or emergent mushrooms in the nighttime. Where does this poem leave you? And how do you think about where you'd like to leave the reader at the end?Forrest GanderI think in that uncertainty about where the human and where the non-human begins, I think that's the strategy of the poems, which is presenting not some romantic notion of our involvement with others, but I think a form of realism, it's recognizing that our involvement with otherness is entire, that were composed of otherness. So I think the feeling of what a mushroom is, is just the face, it's this little—fruited body, they call it—of an organism that's underground that we don't see at all. And, in a way, that's what our lives are also: this brief flourishing of the face of something that's connected to a body that's much larger than ours. And that ambiguous space is what I'm interested in, in thinking about.John FiegeAnd does that noticing or that knowledge calls us to do something? In particular, do you think?Forrest Gander  32:43Well, I don't want to turn the poem into a didacticism. But the poem presents a vision. And that vision can contribute to the way that we see ourselves in the world. And the way we see ourselves in the world forces us to make ethical decisions about how we are and what we do. So in, I want to provide a vision or share a vision. And I want readers to do with it what they feel called upon to do. There have been different ways that we've understood our relationship and our role in a living Earth, through time and in different cultures. And the worldview that we have now, which is using the Earth very transactional, can be changed. And that art can inspire us to imagine those kinds of changes. In some ways, we're like the yeast that gets put with grapes to make wine. The yeast, which is a fungus, eats the sugar, and it secretes basically alcohol. That's what where we get alcohol from, and it proliferates and proliferates, and keeps producing alcohol until at about 13%. The yeast kills itself it dies because it can't live with an alcohol content greater than that. And we're like that yeast on this earth. We're using up all of the resources, and we're proliferating, and pretty soon, there's not going to be room for us to live on the world will pollute ourselves out of existence, and the world will go on. It's just that we won't be part of it.John FiegeThat's a beautiful place to end; with yeast, and lichen, and erogenous zones. All swirling around together. Can you end by reading the poem once again?Forrest GanderSure. So, 'forest' is one of the five major landscapes that appear in the Sangam poems.[See poem as transcribed above]John FiegeForrest, thank you so much. This has been wonderful.Forrest GanderThanks a lot, John. I'm really pleased to be a part of your series and to be part of the chorus of voices that you're putting together.John FiegeAnd it's a beautiful voice that you've brought to it. OutroJohn FiegeThank you so much to Forrest Gander. Go to our website at chrysalispodcast.org, where you can read his poem "Forrest" and find our book and media recommendations. This episode was researched by Elena Cebulash and edited by Brody Mutschler and Sophia Chang. Music is by Daniel Rodriguez Vivas, mixing is by Juan Garcia. If you enjoyed my conversation with Forrest, please rate and review us on your favorite podcast platform. Contact me anytime at chrysalispodcast.org, where you can also support the project, subscribe to our newsletter, and join the conversation. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.chrysalispodcast.org

In this episode I hang around the beach with a bunch of cameras and try to tick some things off my list. ⁠⁠Support the show on Ko-fi⁠ Buy my ⁠Strangefinder zine⁠ Buy my ⁠Large Format Zine⁠ Email the show at: ⁠talesfromthemagicbox@outlook.com⁠ Instagram: talesfromthemagicboxpodcast Music from: -Mike Gutterman: ⁠https://mikegutterman.bandcamp.com/⁠ -Sea Hero: ⁠https://seahero.bandcamp.com/music⁠ -https://filmmusic.io: "Cold Sober" by Kevin MacLeod (https://incompetech.com) Licence: CC BY (⁠http://creativecommons.org/licenses/by/4.0/⁠)

There are only Apertures in a Distributed Web. Empty, Whole, Nothing, Everything, Freedom, Love. You're this Web of Pinholes without Identity or Location. Deathless AF. Stop giving your camera a name and comparing it to others, creating delusion and suffering. Or don't, Free to be whatever. Under it All is Love as Always. ⭐ Our trusted funnel of projects ► https://allensaakyan.com

The ceramic production process - after the early stages that from the formation of the tile under the press lead to the applications of the glazing line - usually involves a final application of grit or glaze. Sometimes in huge amount.If you do not meet the proper parameters of the process, this application can lead to several problems able to compromise the ceramic surface, both technically and aesthetically.The formation of pinholes is one of the most frequent. What are the roots of the problem and what can we do to prevent it?

Born in the Mojave Desert in Barstow, California, Forrest Gander grew up in Virginia and spent significant years with the poet CD Wright, in San Francisco, Dolores Hidalgo, Mexico, Eureka Springs, AR, and Providence, RI. With CD Wright, he has a son, the artist Brecht Wright Gander. Forrest holds degrees in both geology and English literature. He lives now in northern California with the artist Ashwini Bhat.Gander's book Be With was awarded the 2019 Pulitzer Prize. Concerned with the way we are revised and translated in encounters with the foreign, his book Core Samples from the World was a finalist for the Pulitzer Prize and the National Book Critics Circle Award. Gander has collaborated frequently with other artists including photographers Sally Mann, Graciela Iturbide, Raymond Meeks, and Lucas Foglia, glass artist Michael Rogers, ceramic artists Rick Hirsch and Ashwini Bhat, artists Ann Hamilton,Tjibbe Hooghiemstra, dancers Eiko & Koma, and musicians Vic Chesnutt and Brady Earnhart, among others. The author of numerous other books of poetry, including Redstart: An Ecological Poetics and Science & Steepleflower, Gander also writes novels (As a Friend; The Trace), essays(A Faithful Existence) and translates. His most recent translations are Alice Iris Red Horse: Poems of Gozo Yoshimasu, Then Come Back: the Lost Neruda Poems and Fungus Skull Eye Wing: Selected Poems of Alfonso D'Aquino. His most recent anthologies are Pinholes in the Night: Essential Poems from Latin American (selected by Raúl Zurita) and Panic Cure: Poems from Spain for the 21st Century.Gander's books have been translated and published in more than a dozen other languages. He is a United States Artists Rockefeller Fellow and has received fellowships from The National Endowment for the Arts and the Guggenheim, Whiting, and Howard Foundations. In 2011, he was awarded the Library of Congress Witter Bynner Fellowship. Gander was the Briggs-Copeland poet at Harvard University before becoming The Adele Kellenberg Seaver Professor of Literary Arts and Comparative Literature at Brown University where he taught courses such as Poetry & Ethics, EcoPoetics, Latin American Death Trip, and Translation Theory & Practice. He is a Chancellor for the Academy of American Poets and an elected member of The Academy of Arts & Sciences.

by Kyce Bello in Refugia

Jack Walker and Paul Atzemis discuss common forms of coating failure. They dissect the differences between the commonly interchanged terms of blisters, bubbles, pinholes, and craters. 0:00 – Intro and the Karate Kid 2:28 – Bubbles, blisters, Pinholes, and Craters 3:11 – Fitz’s Atlas of Coating Defects 4:19 –  Pinholes - Identification, causes, prevention, and treatments 6:10 – Cratering - Identification, causes, prevention, and treatments 10:00 – Bubbling - Identification, causes, prevention, and treatments 12:17 – Blisters - Identification, causes, prevention, and treatments 15:22 – Wrap Up Subscribe via iTunes, Google Play, or Spotify. This podcast is powered by Pinecast.

Alan Watts talks about the pinholes in life. --- Support this podcast: https://anchor.fm/sabrina-borja/support

We go in deep on some cartoon conspiracies! Some large black holes! And Roman gives us some weird news again and it involves sausage vending machines... Our IG: @nottodaysatanpod

When the heart has been breached, damage left untreated will grow. What begins as a small and treatable wound can consume us if we are not careful. Let us decide today to take our pain to the Father and start the healing process. - C.C.

E15 Pinholes and Hammers Graham talks about sliding down the fidelity curve (11:30) and why he likes film that has been boiling in a Bulgarian warehouse for 20 years than good fresh film for taking pictures with pinhole cameras. He also talks about the commonalities between early computer-generated animation (https://www.youtube.com/watch?v=tN1A2mVnrOM) and the pinhole camera (27:30). They start talking about the physical principles and qualities that go into a pinhole for a pinhole camera (31:15). Pinhole size is very important and they talk about that pinhole size and how to calculate the right size for the focal length and film size using the calculator on MrPinhole.com website (33:30). Sources of laser-drilled pinholes: Fireseller66 on eBay: https://www.ebay.com.sg/sch/fireseller66/m.html James Guerin (Reality So Subtle): https://aupremierplan.fr/ Now that the pinhole has been taken care of, they begin a discussion of the body that will transport the film and keep the dark in (53:50) including oatmeal containers, matchboxes, Harry’s Razors boxes, and paperboard. Plus, they discuss what paperboard is! Graham moves his Scamera project off of the back burner and into the sink (1:25:30) and Nick talks about his Big Build. He also talked about selling a camera design through an Etsy shop (1:32:50) with details to be released via Instagram (@grahamhomemadecamera) and Flickr (FreezerOfPhotons).   Shoutouts this week to Lucus Landers (@cropped_camera on Instagram and http://lucuslanders.com/) who is using cast and machined metals to build homemade rangefinder cameras. Also noted is a new podcast called WTF What the Film !? (https://www.stitcher.com/podcast/anchor-podcasts/wtf-what-the-film) hosted by a mysterious unnamed voice.   The makers of the Pin-Blad are Light Leaks Lab (look them up on Facebook).    

Did you know that the ancestor of our smartphone cameras was just a box with a tiny hole in it? This week, Joy Dolo and kid co-host Elena explore the wide world of cameras with the help of reporter Paulina Velasco. Ancient philosophers, French inventors, and one frustrated businessman team up across space and time to bring us the modern camera. And we’ll meet a scientist who wants to use cameras to help the blind see. You can support Brains On and Forever Ago at brainson.org/donate.

The CWMD store is open again and for those who remember the last time it was, it has anything and everything. You wanna hole for instance? What kind? Pinholes, blackholes, mouseholes, Andy Warhols, keyholes, doughnut holes, knotholes, holes for your sock and holes for your flute. You get the idea. The Store has everything. Plus, Bob Berman, astronomer, is talking about Mars on this continuing series on the planets. Listen to his podcast, Astounding Universe https://www.stitcher.com/podcast/jim-metzner/astounding-universe

Today's episode is all about paintings, pinholes, and pina coladas! I'm in Maui and I'm talking to Hawaii based artist/teacher Wendy Kawabata. Aloha!

Dalam episod ni, kami sembang tentang selesema, forum Taka di UIA, lagu baru Taka bersama The Pinholes, mini-series Tapau.tv, persembahan Pasca Sini di Intun Nation dan The Bee, perkara untuk dilakukan sebelum mati, benda wajib dibawa keluar rumah, perkara wanita perlu tahu, perkara untuk tidak cakapkan kepada lelaki, nak jadi lemah atau nak jadi sakit, tidak membuat janji serta lagu-lagu Brockhampton kegemaran Anwar. Semoga bermanfaat dan semoga terhibur! Ajukan soalan anda kepada buahmulutpodcast@gmail.com

Dalam episod ini, kami bersembang tentang Pasca Sini bermain di Merdekarya, Cyberjaya Music Fest ’17, The Pinholes punya elancaran album, pengalaman Anwar ke kenduri aqiqah, Skillshare, pendata kami berdua tentang forum dimana semua ahli panel adalah lelaki, kemungkinan kami untuk jadi orang arus perdana, perkara kami wish kami tahu sebelum perkahwinan, hadiah terburuk kami pernah terima, detik dimana kami perasan bahawa kami mempunyai perasaan terhadap satu sama lain, perkara yang kami tak mahu pasangan kami lupakan, pendapat kami tentang budak yang mempunyai barang mahal serta apa maksud keyakinan. Semoga terhibur dan semoga bermanfaat! Ajukan soalan anda kepada buahmulutpodcast@gmail.com

Famie from The Pinholes is cool to have a chat with me. We talked about being the Pinholes, how the band was formed. We too talked about finding one self and being genuine about one's self and getting lost both metaphorically and literally. We talked about our school days and what is it like to be in a neighbourhood school or public school. The mischief we did and the very first sex tape scandal that rocked the nation (Sorry Tammy).   Not Again Podcast Facebook Page: https://www.facebook.com/notagainpodcast/ Not Again Podcast website: https://notagainpodcast.com

This episode, join Sean & Charles as they talk about Larry Cohen's film The Stuff, Simon Strantzas' short story Pinholes in Black Muslin, and all the times they pooped and peed themselves. Music: Eyes Gone Wrong Kevin MacLeod (incompetech.com) Show Notes: Simon Strantzas - Pinholes in Black Muslin /r/WeirdLit Madonna & Rosie O'Donnell on the ArScheerio Paul Show

In this episode, the Crackman discusses Leaking Tie Rods, Snap Ties, and Pinholes in Basement Foundation Walls and how to repair and maintain them.

Dr Phil joins dr Karl to discuss how alcohol makes us drunk, why looking through a pinhole sharpens poor vision and weighing planets.

In this episode Adam and Thomas talk about doing different kinds of photography to stretch yourself. They also share a bunch of cool links to inspiring photography. Download the Episode Here. This Weeks Featured Photographer: Kent Weakley Links: It’s not the camera, it’s you. Phillip Bloom Winkler + Noah (Sometimes NSFW) ThomasFlight.com Redesign Aria Creative Ryan Carl (Instagrammer)

Download Audio File Typically, when you coat a fluid onto a substrate, the fluid flows to the limits of the coating head and provides a solid layer of fluid over the substrate. Sometimes, however, the fluid resists this reformation and coating defects occur. Pinholes, ribs, and beading-up of the [...]