bisque fired at and glost or glaze fired (the final firing) between , which falls into the cone 06 firing temperature range. The process is known for its unpredictability, particularly when reduction is forced, and pieces may crack or even explode due to thermal shock. Pots may be returned to the kiln to re-oxidize if firing results do not meet the potter's expectations, although each successive firing has a high chance of weakening the overall structural integrity of the pot. Pots that are exposed to thermal shock multiple times can break apart in the kiln, as they are removed from the kiln, or when they are in the reduction chamber. The glaze firing times for raku ware are short: an hour or two as opposed to up to 16 hours for high-temperature cone 10 stoneware firings. This is due to several factors: raku glazes mature at a much lower temperature (under , as opposed to almost for high-fire stoneware); kiln temperatures can be raised rapidly; and the kiln is loaded and unloaded while hot and can be kept hot between firings. Because temperature changes are rapid during the raku process, clay bodies used for raku ware must be able to cope with significant thermal stress. The usual way to add strength to the clay body and to reduce thermal expansion is to incorporate a high percentage of quartz, grog, or kyanite into the body before the pot is formed. At high additions, quartz can increase the risk of dunting or shivering. Therefore, kyanite is often the preferred material, as it contributes both mechanical strength and, in amounts up to 20%, significantly reduces thermal expansion. Although any clay body can be used, white stoneware clay bodies are unsuitable for the western raku process unless some material is added to deal with thermal shock. Porcelain, however, is often used but it must be thinly thrown. Aesthetic considerations include clay color and fired surface texture, as well as the clay's chemical interaction with raku glazes. In a craft conference in Kyoto in 1979, a heated debate sprang up between Western raku artists Paul Soldner and the youngest in the dynastic raku succession, Kichiemon, (of the fourteenth generation of the "Raku" family of potters) concerning the right to use the title "raku". The Japanese artists maintain that any work by other craftsman should hold their own name, (i.e., Soldner-ware, Hirsh-ware), as that was how