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Political instability, global poverty and health, the financial crisis, religious conflicts and climate change are all issues that affect us and require long-term solutions to address substantially.

"Young people have the advantage of growing up in a globally connected world, within which we communicate more quickly and broadly than perhaps any other generation before us" Sithembile Ndema

The following section provides background information on the methods used to form, decorate, finish, glaze, and fire ceramic wares. Forming. The relatively low plasticity of the material used for making porcelain make shaping the clay difficult. In the case of throwing on a potters wheel it can be seen as pulling clay upwards and outwards into a required shape and potters often speak of pulling when forming a piece on a wheel, but the term is misleading; clay in a plastic condition cannot be pulled without breaking. The process of throwing is in fact one of remarkable complexity. To the casual observer, throwing carried out by an expert potter appears to be a graceful and almost effortless activity, but this masks the fact that a rotating mass of clay possesses energy and momentum in an abundance that will, given the slightest mishandling, rapidly cause the workpiece to become uncontrollable. Glazing. Unlike their lower-fired counterparts, porcelain wares do not need glazing to render them impermeable to liquids and for the most part are glazed for decorative purposes and to make them resistant to dirt and staining. Great detail is given in the glaze article. Many types of glaze, such as the iron-containing glaze used on the celadon wares of Longquan, were designed specifically for their striking effects on porcelain. Decoration. Porcelain wares may be decorated under the glaze using pigments that include cobalt and copper or over the glaze using coloured enamels. Like many earlier wares, modern porcelains are often bisque-fired at around 1000 degrees Celsius, coated with glaze and then sent for a second glaze-firing at a temperature of about 1300 degrees Celsius or greater. Another early method is once-fired where the glaze is applied to the unfired body and the two fired together in a single operation. A porcelain doll from the Czech Republic Firing. In this process, green (unfired) ceramic wares are heated to high temperatures in a kiln to permanently set their shapes. Porcelain is fired at a higher temperature than earthenware so that the body can vitrify and become non-porous.

Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting to convey the perception of motion.

The phenakistoscope, praxinoscope, as well as the common flip book were early popular animation devices invented during the 1800s, while a Chinese zoetrope-type device was invented already in 180 AD.[3][4][5][6] These devices produced movement from sequential drawings using technological means, but animation did not really develop much further until the advent of cinematography.

An Egyptian burial chamber mural, approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion.

The bouncing ball animation (below) consists of these 6 frames.

Georges Méliès was a creator of special-effect films; he was generally one of the first people to use animation with his technique. He discovered a technique by accident which was to stop the camera rolling to change something in the scene, and then continue rolling the film.

A 5,200 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides.