This article explores how clay artists in Singapore utilize both their scientific and sensory knowledge of clay-making in producing clay works. Based on a study of the biographies and sensory experiences of clay artists, clay artists rely simultaneously on their scientific knowledge and understanding of clay firing processes, temperatures, and glazing, together with their sensory judgment and experience of the same set of processes, to produce clay works of different design, effect, and form. Thermoreceptive understanding and knowledge of how clay reacts and behaves toward the different styles of firing are deployed by clay artists through both a scientific calibration of temperature, as well as one’s sensory evaluation—including visual and sonic judgments—of fire-control toward producing intended textures and forms. Through making sense of how scientific and sensory knowledges are concurrently enacted but not without contradictions, we make a case for how creative clay work-making straddles across different domains of learning, knowledge use, teaching, and evaluation emerging through kairotic moments. The article contributes to extant debates on art worlds, material culture, sensory knowledges, and embodied experiences through clay work as a medium of analysis.

中文翻译：

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在科学与感官知识之间：探索新加坡泥塑艺术家对粘土情感的演绎

本文探讨了新加坡的粘土艺术家如何利用他们的粘土制作科学和感官知识来制作粘土作品。基于对泥塑艺术家的传记和感官体验的研究，泥塑艺术家同时依靠他们对粘土烧制过程、温度和施釉的科学知识和理解，以及他们对同一组过程的感官判断和经验，来创作不同设计、效果和形式的粘土作品。粘土艺术家通过科学的温度校准以及火控的感官评估（包括视觉和声音判断）来部署对粘土如何对不同烧制风格做出反应和行为的热感受理解和知识，以产生预期的纹理和表格。通过理解科学知识和感官知识如何同时产生但并非没有矛盾，我们论证了创造性的粘土作品制作如何跨越学习、知识使用、教学和通过凯罗奇时刻出现的评估的不同领域。这篇文章为现有的关于艺术世界、物质文化、感官知识和通过粘土作品作为分析媒介的具体经验的争论做出了贡献。