"Journalism and International Discourse on Ceramics" was the topic of a panel discussion held at Kansas State University on March 11, 2002 in conjunction with the two-day symposium Global Clay. The panelists-Ruth Butler, editor of Ceramics Monthly; Dr. Ichi Hsu, editor and publisher of The Chinese Potter's Newsletter; Janet Mansfield, editor and Publisher of Ceramics: Art and Perception; and Gerry Williams, editor and publisher of The Studio Potter-were uniquely qualified to comment on the important role played by ceramics publications in an international cultural discourse. The topic for discussion was selected as timely due to recent challenges to conventional theories of globalized culture that have circulated since the late 1970s. Whereas globalization implies the displacement of diverse perspectives by a shared system of values, an international cultural discourse is characterised by heterogeneity, an exchange between voices that retain their differences even as they seek a temporary common ground.

　　For such a discourse the crafts, and ceramics in particular, occupy a position that is almost unique in material culture. There are few nations that do not possess the materials necessary for producing pottery. As a consequence, pottery provides a significant starting point for an international dialogue. Pottery is materially similar around the world-it is global in that sense-but its meanings can be highly contextual. Like other cultural products, it reflects the material and ideological conditions under which it is produced. A piece of pottery can, for that reason, be ambassadorial. The role of journals in developing this potential of ceramics is vital, yet it remains problematic. Journals that consider their role in internationalism face a number of difficulties, such as language barriers (who can read the journal and who can write for it?), the expense of subscriptions (which prohibits people from many parts of the world from gaining access to the journal at all), the necessity that a journal address the interests of its domestic subscription base first, and the need to avoid racial and cultural stereotyping. These were some of the issues the panel addressed.

　　Despite some disagreement over the degree to which an international discourse on ceramics exists or is even possible, the panelists all stressed the desirability of such a discourse and explained the measures that their publications have taken to promote communication within an international ceramics community. They discussed the various methods by which they have ordinarily acquired information and have made it available internationally. They suggested that the internet has been an especially useful tool in this respect, but that, apart from the photographs (and to a lesser degree, articles) in traditional journals, the most effective means of maintaining international communication between ceramists have been conferences, exhibitions and workshops. The endnote seemed to be the agreement that, while journalism is certainly important in sustaining an international discourse on ceramics, it cannot do the necessary work alone. A much broader effort is required from all parts of the international ceramics community to maintain a world forum for diverse perspectives on ceramics.

　　such as language barriers (who can read the journal and who can write for it?), the expense of subscriptions (which prohibits people from many parts of the world from gaining access to the journal at all), the necessity of a journal to address the interests of its domestic subscription base first, the need to

　　For such a discourse the crafts, and ceramics in particular, occupy a position that is almost unique in material culture. The task of establishing a truly international discourse on sculpture or painting, for example, is greatly complicated by the domination of an international art market by the same nations that control the most far-reaching and influential media on art. In contrast, the international topography of craft is more varied, with many of the least developed nations of the world producing some of the most highly regarded work.

　　There are few nations that do not possess the materials necessary for producing pottery. Pottery, as a consequence, provides a significant starting point for an international cultural discourse. Pottery is materially similar around the world-it is global in that sense-but its meanings can be highly contextual. Like other cultural products, it reflects the material and ideological conditions under which it is produced. A piece of pottery can, for that reason, be ambassadorial.

　　The role of journals in developing an increasingly international discourse on ceramics is vital, yet it remains problemmatic. Journals that consider their role in internationalism face a number of difficulties such as language barriers (who can read the journal and who can write for it?), the expense of subscriptions (which prohibits people from many parts of the world from gaining access to the journal at all), the necessity of a journal to address the interests of its domestic subscription base first, the need to

　　Janet Mansfield is editor and publisher of the Australian magazines Ceramics, Art and Perception , which she founded in 1990, and Ceramics TECHNICAL. For over 30 years she has been a potter and an author of books on ceramics. She is a regular participant in exhibitions, conferences and workshops around the world and has served as Vice-President of the International Academy of Ceramics. At home, she has been honored for her work by receipt of the Order of Australia in 1987 and the Australia Council Emeritus Award in 1990.

　　Dr. Ichi Hsu is editor and publisher of the Chinese Potters Newsletter, a quarterly publication first printed in September of 1998. Dr. Hsu is director of Hsu Arts Promotion pottery, a ceramics center in Beijing that includes studios and a gallery. He has been a member of the International Academy of Ceramics since 1999 and has actively promoted the work of Taiwanese and Mainland Chinese artists abroad. This year he curated exhibitions of contemporary Chinese ceramics for the NCECA conference in Kansas City and the Ariana Museum in Geneva, Switerland.

　　 Gerry Williams has been editor and publisher of The Studio Potter since he and his wife Julie founded the magazine in 1972. A potter for over 40 years, he has contributed to numerous national and international exhibitions and has participated in many workshops and conferences on ceramics. In addition to promoting ceramics through Studio Potter magazine, he formed the Studio Potter Foundation in Dunbarton, New Hampshire. In 1998 he was distinguished as New Hampshire's first Artist Laureate.

　　Ruth Butler has been a member of the editorial staff of Ceramics Monthly for more than 20 years and has served as editor since 1996. She has also edited books on ceramics and has been active in regional and national ceramics and crafts organizations. She is recognized as an authority on contemporary ceramics and has juried exhibitions such as the Kennedy-Douglass Center for the Arts National Ceramic Competition and the Bienal de Arte en Ceramica in Mexico.