Ahhhh... Using a hand-drill to start a fire. Now that takes me back to my days at the Wilderness School! I'd love to try and make a pottery-kiln (I'll be researching that soon...)

#Australia - Making #lime with Primitive Technology

"When heated above 840 degrees Celsius, the lime decomposes into calcium oxide (CaO) or #Quicklime and releases carbon dioxide (CO2). When water is added to the quicklime it becomes calcium hydroxide Ca (OH)2 or #LimePutty. From here the calcium hydroxide can then be shaped into a form and allowed to set.

Carbon dioxide enters the lime putty as it dries causing it to turn back into calcium carbonate. The new calcium carbonate has then set, remaining solid and water resistant.

In my local geography, calcareous rocks such as limestone are absent leading to a difficulty in acquiring the feed stock for lime making. However, I was still able to make lime by collecting the shells of large terrestrial snails that are native to the rainforest here. The unoccupied shells of these snails were gathered up and stored at the hut. Fire wood was gathered and packed neatly into the kiln.

Importantly, the firewood was stacked on top of the grate rather than underneath it in the firebox as is the normal procedure for firing pottery. Using an ordinary updraft pottery kiln in this configuration allows it to reach much higher temperatures than would be possible during normal use. The wood was lit from above and the fire burned down towards the grate. Alternate layers of shells and wood were added on to this burning fuel bed. After adding the last layer of wood to act as a 'lid' to prevent heat loss from above I left the kiln to finish on its own, unsupervised. The whole process took about an hour and a half.

When the kiln had cooled down a few hours later, I took out the calcined shells. Not shown in the video was the fact that some shells got so hot, the dirt stuck to them turned into slag and fused to them, possibly with the lime acting a flux lowering its melting point. This extreme heat (+1200 c) should be avoided as the over burnt lime becomes 'dead lime', unable to slake in water. Most shells were still useable though. They were taken out of the kiln and had water added to them.

An exothermic reaction then ensued. Heat was produced as the lime quicklime turned into slaked lime. The water heated up creating steam and the shells decomposed into a white paste. The paste was stirred and crushed pottery was added to it as an aggregate (sand is normally used for this, I just had a lot of old pot sherds lying about to dispose of).

This lime mortar mixture was then formed into a block shape and left to dry. It took about a week and a half to set as we have had extremely humid, wet weather. The block was observed to have set demonstrating its properties.

What I created is actually lime mortar, typically used for mortaring bricks and tiles together. It’s basically the ‘Glue’ that holds together the building blocks of masonry structures. From my research 20 kg of lime mortar is used on a 1 m square section of brick wall. 5 kg of lime to 15 kg of aggregate (sand, grog etc.) per a 1 m square section of bricks. The shells, though large, are not terribly abundant. A method for finding shells efficiently needs to be made before considering making lime mortar in this fashion. From my experience sand bars in a creek sometimes accumulate snail shells from higher up in the mountains. In these spots, water velocity decreases and shells in the water tend to drop out of the water column. Additionally lime may be partially replaced with ordinary wood ash in mortar without a corresponding decrease in strength. To conclude, making lime in a land without limestone is possible but can be problematic when trying to do so on a large scale."

Watch:
https://thekidshouldseethis.com/post/making-lime-with-primitive-technology

YT:
https://www.youtube.com/watch?v=Ek3aeUhHaFY&t=46s

Wordpress:https://primitivetechnology.wordpress.com/

Patreon page: https://www.patreon.com/user?u=2945881

#SolarPunkSunday #SustainableMaterials #TraditionalTechnology #ZeroWaste #Mortar #LimeMortar #Snailshells #Adaptation #AncientTechnologies #Science #AnimalProducts #LocalMaterials

Ahhhh... Using a hand-drill to start a fire. Now that takes me back to my days at the Wilderness School! I'd love to try and make a pottery-kiln (I'll be researching that soon...)

#Australia - Making #lime with Primitive Technology

"When heated above 840 degrees Celsius, the lime decomposes into calcium oxide (CaO) or #Quicklime and releases carbon dioxide (CO2). When water is added to the quicklime it becomes calcium hydroxide Ca (OH)2 or #LimePutty. From here the calcium hydroxide can then be shaped into a form and allowed to set.

Carbon dioxide enters the lime putty as it dries causing it to turn back into calcium carbonate. The new calcium carbonate has then set, remaining solid and water resistant.

In my local geography, calcareous rocks such as limestone are absent leading to a difficulty in acquiring the feed stock for lime making. However, I was still able to make lime by collecting the shells of large terrestrial snails that are native to the rainforest here. The unoccupied shells of these snails were gathered up and stored at the hut. Fire wood was gathered and packed neatly into the kiln.

Importantly, the firewood was stacked on top of the grate rather than underneath it in the firebox as is the normal procedure for firing pottery. Using an ordinary updraft pottery kiln in this configuration allows it to reach much higher temperatures than would be possible during normal use. The wood was lit from above and the fire burned down towards the grate. Alternate layers of shells and wood were added on to this burning fuel bed. After adding the last layer of wood to act as a 'lid' to prevent heat loss from above I left the kiln to finish on its own, unsupervised. The whole process took about an hour and a half.

When the kiln had cooled down a few hours later, I took out the calcined shells. Not shown in the video was the fact that some shells got so hot, the dirt stuck to them turned into slag and fused to them, possibly with the lime acting a flux lowering its melting point. This extreme heat (+1200 c) should be avoided as the over burnt lime becomes 'dead lime', unable to slake in water. Most shells were still useable though. They were taken out of the kiln and had water added to them.

An exothermic reaction then ensued. Heat was produced as the lime quicklime turned into slaked lime. The water heated up creating steam and the shells decomposed into a white paste. The paste was stirred and crushed pottery was added to it as an aggregate (sand is normally used for this, I just had a lot of old pot sherds lying about to dispose of).

This lime mortar mixture was then formed into a block shape and left to dry. It took about a week and a half to set as we have had extremely humid, wet weather. The block was observed to have set demonstrating its properties.

What I created is actually lime mortar, typically used for mortaring bricks and tiles together. It’s basically the ‘Glue’ that holds together the building blocks of masonry structures. From my research 20 kg of lime mortar is used on a 1 m square section of brick wall. 5 kg of lime to 15 kg of aggregate (sand, grog etc.) per a 1 m square section of bricks. The shells, though large, are not terribly abundant. A method for finding shells efficiently needs to be made before considering making lime mortar in this fashion. From my experience sand bars in a creek sometimes accumulate snail shells from higher up in the mountains. In these spots, water velocity decreases and shells in the water tend to drop out of the water column. Additionally lime may be partially replaced with ordinary wood ash in mortar without a corresponding decrease in strength. To conclude, making lime in a land without limestone is possible but can be problematic when trying to do so on a large scale."

Watch:
https://thekidshouldseethis.com/post/making-lime-with-primitive-technology

YT:
https://www.youtube.com/watch?v=Ek3aeUhHaFY&t=46s

Wordpress:https://primitivetechnology.wordpress.com/

Patreon page: https://www.patreon.com/user?u=2945881

#SolarPunkSunday #SustainableMaterials #TraditionalTechnology #ZeroWaste #Mortar #LimeMortar #Snailshells #Adaptation #AncientTechnologies #Science #AnimalProducts #LocalMaterials

Et j'ai enfin terminé mon article ! Ça s'appelle "Faut-il jeter le zéro déchet à la poubelle ?" et ça parle des critiques internes du zero waste.

Est-ce que le zéro déchet est vraiment un projet trop limité, inefficace et passé de mode ? Que faire de sa dimension classiste et coloniale ? Je tente de faire le point, sans m'illusionner sur mes limites. https://blog.whoz.me/zerowaste/faut-il-jeter-le-zero-dechet-a-la-poubelle/

#zeroWaste#zeroDéchet #ecologie

Et j'ai enfin terminé mon article ! Ça s'appelle "Faut-il jeter le zéro déchet à la poubelle ?" et ça parle des critiques internes du zero waste.

Est-ce que le zéro déchet est vraiment un projet trop limité, inefficace et passé de mode ? Que faire de sa dimension classiste et coloniale ? Je tente de faire le point, sans m'illusionner sur mes limites. https://blog.whoz.me/zerowaste/faut-il-jeter-le-zero-dechet-a-la-poubelle/

#zeroWaste#zeroDéchet #ecologie

Kaja Šeruga
Fri, June 13, 2025

"Once a month between April and October, a group of stitchers takes to the streets of #EdinburghScotland, making themselves comfortable on camping chairs decorated with hand-embroidered banners inviting people to #stitchitdontditchit. Equipped with sewing baskets and mending skills, they repair their garments in public and teach interested passers-by how to do the same.

"The #EdinburghStreetStitchers, as they call themselves, are part of a growing movement that is reclaiming the ancient art of mending. Historically, mending was done in private and in ways that concealed, rather than announced, the repair. Choosing instead to mend visibly—whether through the color of the stitching or by doing it in a public location—is a statement and a conversation starter, Reasons to be Cheerful says.

" 'You are clearly stating that you have kept this from a #landfill,' says Kate Sekules, a mender who teaches fashion history at the Pratt Institute in New York City’s borough of Brooklyn, and is pursuing a PhD in the history and theory of mending. 'It’s also got the advantage of making everything you own unique and special. And when you’ve invested time and energy and thought and craft into your clothing, you value it so much more.'

"Inspired by the global #StreetStitching movement, the former pharmacist Mary Morton started the #Edinburgh group in 2022, three years after a discussion with her son sent her down a rabbit hole of research and learning about the #ClimateCrisis. 'At the end of all of that, I was absolutely horrified. I thought, ‘What can I do about it?' she recalls.

"Volunteering at the #SHRUBCooperative, which is working to reduce waste in Edinburgh, she learned about the high carbon impact of textiles—producing a kilogram of fabric releases 23 kilograms of greenhouse gases on average. 'I’ve always done a bit of sewing, so I thought teaching people how to sew and repair their garments was something I could do to help,' says Morton. She started teaching sewing at the cooperative’s #ZeroWaste Hub, but quickly realized she was preaching to the choir. 'I wanted to do something to reach out to the broader community and make them aware of the situation,' she says.

"The term 'fast fashion' was coined by the New York Times in 1989 to describe Zara’s business model, which turned a designer’s idea into a garment available to consumers in only 15 days. Today’s ultra-fast fashion retailers have further accelerated the pace of production: #Shein, for example, has created 52 micro-seasons per year and adds up to 10,000 items to its website each day. With plummeting prices and a rising throwaway culture, by 2014, people were buying 60 percent more clothes than at the turn of the millennium, and keeping them for only half as long.

"Today the fashion industry is responsible for 92 million metric tons of #TextileWaste annually, and the dyeing and finishing of textiles causes 20 percent of industrial #WaterPollution. Due to energy-intensive production and long supply chains, the apparel industry is responsible for eight percent to 10 percent of global #CarbonEmissions—more than aviation and shipping combined.

"The quiet, simple act of mending can go a long way toward reducing these impacts: According to research by the climate action NGO WRAP, 82 percent of repaired garments prevent the purchase of a new one, and extending the life of an item of clothing by only nine months reduces its carbon, water and waste footprint by a total of 20 percent to 30 percent.

" 'One of the other big benefits is to #NormalizeMending again,' says Morton. For most of human history, textiles were time-consuming to produce and expensive to buy, so mending them was second nature, says Sekules. Repairs were often visible out of necessity, since matching thread to existing fabric was a costly and often impossible proposition. One of the oldest extant examples of visible mending is a 2,000-year-old Egyptian tunic in the Whitworth Geller’s collection in Manchester, England, though the practice is far older than that. Over millennia people across the world developed their own distinct techniques of darning, embroidery and appliqué, using colorful patches or designs to hide holes and stains. 'It was made to seem deliberate, because it was a shameful sign of poverty to look as if you’ve been mended,' says Sekules.

"As mending fell out of favor in Europe and the U.S. in the late 20th century, the skills associated with it were also lost over time. 'As far as we can tell it used to be passed down the maternal line since time immemorial,' says Sekules. 'Then we forgot about it—culturally, it was just no longer a skillset we needed.'

"In recent years a growing opposition to fast fashion has coalesced under the umbrella of #SlowFashion, a movement championing quality over quantity and responsible use of resources. 'People are becoming more aware that the way we produce is harmful to people and the environment,' says Sam Bennett, maker, researcher and one-half of the duo behind Repair Shop, which takes mending commissions and offers online and in-person mending workshops. 'It’s a smaller, quieter form of #activism that I think is really exciting.'

"The resurgence of mending coincided with early Instagram, with visible mending especially well-suited to such a visual medium, and menders like Celia Pym and Tom van Deijnen started to document their mends on the platform in 2014. 'Those posts and popularity then allowed for people to create public workshops, publish books and so on,' says Bennett, who is working on a timeline documenting how mending skills have been passed on over the past 300 years. Much of the skill-sharing has also moved to virtual spaces, which makes it accessible to anyone with an internet connection. But while they serve their purpose, online workshops don’t have quite the same magic, says Bennett: 'It really started with community and sitting side by side with someone. And I think that in the end, that is still the most successful way to learn.'

https://www.yahoo.com/lifestyle/articles/stitch-don-rsquo-t-ditch-153005359.html

#SolarPunkSunday#VisibleRepair#VisibleMending#Mending#FiberArts#Crafting #DIY #MakeAndMend#RepairDontBuy#ResistFastFashion #BuildingCommunity

Kaja Šeruga
Fri, June 13, 2025

"Once a month between April and October, a group of stitchers takes to the streets of #EdinburghScotland, making themselves comfortable on camping chairs decorated with hand-embroidered banners inviting people to #stitchitdontditchit. Equipped with sewing baskets and mending skills, they repair their garments in public and teach interested passers-by how to do the same.

"The #EdinburghStreetStitchers, as they call themselves, are part of a growing movement that is reclaiming the ancient art of mending. Historically, mending was done in private and in ways that concealed, rather than announced, the repair. Choosing instead to mend visibly—whether through the color of the stitching or by doing it in a public location—is a statement and a conversation starter, Reasons to be Cheerful says.

" 'You are clearly stating that you have kept this from a #landfill,' says Kate Sekules, a mender who teaches fashion history at the Pratt Institute in New York City’s borough of Brooklyn, and is pursuing a PhD in the history and theory of mending. 'It’s also got the advantage of making everything you own unique and special. And when you’ve invested time and energy and thought and craft into your clothing, you value it so much more.'

"Inspired by the global #StreetStitching movement, the former pharmacist Mary Morton started the #Edinburgh group in 2022, three years after a discussion with her son sent her down a rabbit hole of research and learning about the #ClimateCrisis. 'At the end of all of that, I was absolutely horrified. I thought, ‘What can I do about it?' she recalls.

"Volunteering at the #SHRUBCooperative, which is working to reduce waste in Edinburgh, she learned about the high carbon impact of textiles—producing a kilogram of fabric releases 23 kilograms of greenhouse gases on average. 'I’ve always done a bit of sewing, so I thought teaching people how to sew and repair their garments was something I could do to help,' says Morton. She started teaching sewing at the cooperative’s #ZeroWaste Hub, but quickly realized she was preaching to the choir. 'I wanted to do something to reach out to the broader community and make them aware of the situation,' she says.

"The term 'fast fashion' was coined by the New York Times in 1989 to describe Zara’s business model, which turned a designer’s idea into a garment available to consumers in only 15 days. Today’s ultra-fast fashion retailers have further accelerated the pace of production: #Shein, for example, has created 52 micro-seasons per year and adds up to 10,000 items to its website each day. With plummeting prices and a rising throwaway culture, by 2014, people were buying 60 percent more clothes than at the turn of the millennium, and keeping them for only half as long.

"Today the fashion industry is responsible for 92 million metric tons of #TextileWaste annually, and the dyeing and finishing of textiles causes 20 percent of industrial #WaterPollution. Due to energy-intensive production and long supply chains, the apparel industry is responsible for eight percent to 10 percent of global #CarbonEmissions—more than aviation and shipping combined.

"The quiet, simple act of mending can go a long way toward reducing these impacts: According to research by the climate action NGO WRAP, 82 percent of repaired garments prevent the purchase of a new one, and extending the life of an item of clothing by only nine months reduces its carbon, water and waste footprint by a total of 20 percent to 30 percent.

" 'One of the other big benefits is to #NormalizeMending again,' says Morton. For most of human history, textiles were time-consuming to produce and expensive to buy, so mending them was second nature, says Sekules. Repairs were often visible out of necessity, since matching thread to existing fabric was a costly and often impossible proposition. One of the oldest extant examples of visible mending is a 2,000-year-old Egyptian tunic in the Whitworth Geller’s collection in Manchester, England, though the practice is far older than that. Over millennia people across the world developed their own distinct techniques of darning, embroidery and appliqué, using colorful patches or designs to hide holes and stains. 'It was made to seem deliberate, because it was a shameful sign of poverty to look as if you’ve been mended,' says Sekules.

"As mending fell out of favor in Europe and the U.S. in the late 20th century, the skills associated with it were also lost over time. 'As far as we can tell it used to be passed down the maternal line since time immemorial,' says Sekules. 'Then we forgot about it—culturally, it was just no longer a skillset we needed.'

"In recent years a growing opposition to fast fashion has coalesced under the umbrella of #SlowFashion, a movement championing quality over quantity and responsible use of resources. 'People are becoming more aware that the way we produce is harmful to people and the environment,' says Sam Bennett, maker, researcher and one-half of the duo behind Repair Shop, which takes mending commissions and offers online and in-person mending workshops. 'It’s a smaller, quieter form of #activism that I think is really exciting.'

"The resurgence of mending coincided with early Instagram, with visible mending especially well-suited to such a visual medium, and menders like Celia Pym and Tom van Deijnen started to document their mends on the platform in 2014. 'Those posts and popularity then allowed for people to create public workshops, publish books and so on,' says Bennett, who is working on a timeline documenting how mending skills have been passed on over the past 300 years. Much of the skill-sharing has also moved to virtual spaces, which makes it accessible to anyone with an internet connection. But while they serve their purpose, online workshops don’t have quite the same magic, says Bennett: 'It really started with community and sitting side by side with someone. And I think that in the end, that is still the most successful way to learn.'

https://www.yahoo.com/lifestyle/articles/stitch-don-rsquo-t-ditch-153005359.html

#SolarPunkSunday#VisibleRepair#VisibleMending#Mending#FiberArts#Crafting #DIY #MakeAndMend#RepairDontBuy#ResistFastFashion #BuildingCommunity