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Potom je majstor Jova, kao “glavni vrač”, zapalio vatrui vodio “ritual” postepenog zagrevanja peći. Zahvaljujućisvom dugogodišnjem iskustvu, on je umeo “odoka” da pogodi temperaturu u peći, po boji užarenih“test-pločica”, ali, uprkos tome, postavio je i pirometar,da bi demonstrirao ogled komparativnom metodom.Samo je magija vatre ostala ista. Privukla je pažnju iradoznalost svih prisutnih. Možda se probudilo i kolektivnopamćenje ognjišta kao kultnog mesta opstanka i trajanja.Bila je to spontana repriza “scenarija” neolitske porodice.Zapis o tim utiscima, kao dokument našeg vremena,sačuvan je u softverskoj memoriji kompjutera i CD-a.Srele su se arhetipske i virtuelne slike.Pred kraj ovog ogleda, da bi se dobila crna boja pečenihpredmeta, primenjen je drevni postupak redukcije.“Jamska”peć je zasuta poluvlažnim lišćem i zatrpanazemljom. Vatra je ugušena, a dimna zavesa je zaklonila“scenu”.Ostao je još jedan završni “čin”, ovog “post-modernogrituala”.Posle 24 sata hlađenja, peć je otkopana.“Test-pločice”i fragmenti neolitske keramike oglasili su se tihimtajanstvenim pucketanjem, kao pričom o zajedničkomkosmogonijskom putovanju kroz katarzu vatre. Tako jezavršen ovaj neobičan ogled, a programska istraživanjanastavili su eksperti.Majstor Jova priprema jamuJova chating firing the pit180Srele su se empirija i nauka u eksperimentalnoj arheologiji.Razgovor sa majstor Jovom, kao empirijskim protagonistomogleda, usmerio je fokus sa centralne teme naposebno pitanje o stanju naseg danasnjeg grncarstva,kao zapostavljenom trezoru nematerijalnog kulturnogblaga.Jedan deo tog bogatstva je sačuvan i uspešno revitalizovankao tradicionalna proizvodnja keramike naručnom točku. Ova delatnost odvija se u autohtonomambijentu sela Zlakusa (Srbija), gde već skoro deset gotedfrom direct flame by a layer of fragmented archaeologicalceramics.The members of the team, creatively excited and drivenby the wish for the experiment to work, were enthusiasticallycollecting wood for the fire from the surroundingsand bringing it to the potter.Further on, the potter Jova, just like a “head sorcerer”,lit a fire and led a “ritual”of gradual heating up thekiln. Thanks to his great experience, he was able toguess the temperature level in the kiln by the colour ofthe fired testing pieces, but he, nevertheless, set a pyrometer,in order to perform a comparative experimentalmethod.Only the magic of fire remained the same. It attractedattention and curiosity of everyone around. Perhapsthe collective memory of a home fireplace as ritual centreof revival and endurance came back. It was a spontaneousrerun of a Neolithic family “scenario”. A memoryof these impressions, as a document of our time, is savedin a software memory of a computer and CD.Archetype and virtual images were brought together.The ancient process of reduction was applied at theend of the experiment, in order to obtain characteristicblack colour of fired objects. The pit-kiln was coveredwith humid leaves and ground. The fire was put out andsmoke hid the “scene”.There was only the final act left in this “post-modernritual”.After 24 hours of cooling, the kiln was uncovered.Testing pieces and the fragments of Neolithic ceramicscould be heard as the tones of mysterious crackling, thestory of common cosmogony travel through the catharsisof fire. In this way, unusual experiment was endedand the experts continued further research.Empiricism and sciences were brought together inexperimental archaeology.Conversation with potter Jova, as the empirical leaderof the project, redirected the focus from the mainsubject to the special question of the situation our modernpottery found itself in today, as a neglected treasuryof our intangible cultural heritage.A part of this treasure is saved and successfully revitalizedas traditional production of ceramics on thepotter’s manual wheel. This activity is carried out inauthentic ambience of Zlakusa village (Serbia), havingan international significance for almost ten years already.Nevertheless, pottery made on a kick wheel, beingalso part of our cultural heritage, lacks a centre for restorationand promotion of its values.By looking at the circumstances influencing the lifeand professional practice of the potter Jova, we can alsotrace changes in social valuation of potter’s skills andthe reasons of fading away and the metamorphosis ofthis authentic arch-craft.Jova was trying to remember the community he grewup in, the community that destined his future profession.All the potters from the town of Pirot and surroundingvillages were considered “Piroćanci” (the citizensof Pirot), which was also a synonym for an appreciatedcraftsman.He was born in the village of Ponor, near Pirot, in1942. His grandfather was a potter, and his father,though not potter himself, thought that this craft mightensure his son’s bright future.Pirot was always referred to as “education centreand the centre of pottery”. Looking for job and newmarkets, “Piroćanci” were often going abroad, or to otherregions of the country. They were known as talented