




Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 10:26:41 -0300
From: Kellie Elizabeth Cass <KELLIECASS@delphi.com>
Subject: newsgroup

   I somehow got deleted from the listserve (sob!) so missed the
discussion but I gather that there is talk of making this a
newsgroup instead.
   I LOVE this listserve. I'm much too new at origami to be of
any help but oboy do I learn a lot. It is such an honor to have
the real pros on this listserve and I've gotten fantastic ideas
and directions here.
   Obviously I'm too inexperienced to merit a vote and whatever
you great CONTRIBUTORS do is great with me. However, I'd like to
point out that one problem with newsgroups is that you get tons
of adds and spams that spoil the group for everyone. Here, I'm
thrilled to hear that someone has a new book out or that videos
will soon be available and save those messages like gold. But on
a newsgroup you get adds for every product known to man plus
lots of dishonest people.
   For example on Rec.Crafts.Misc a man from aol posted about a
great apple craft video he'd bought and said it was the best
money he'd ever spent. He turned out to be the PRODUCER of that
video so tricked any sucker who ordered it. That's the kind of
stuff you get on a newsgroup - along with all the spams etc.
   In other words while you get serious origami enthusiasts on
the listserve (of all levels) newsgroups will also attract many
troublemakers and thieves and since the origami pros have much
better things to do with their time I'd just hate to see the
creeps turn them off of the group. That's all.
   Like I said I'm just a begginer and whatever you contributors
want will be great with me.
   Thankyou again for all the great things you share here!!!!!!!
This listserve is the best part of internet (and yes I'm on
other listserves and newsgroups too; they're nice but this one
is by far the very best).

.                                                          Kellie

`[1;33;41mRainbow V 1.17.0 for Delphi - Registered





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 12:43:23 -0300
From: casida@ere.umontreal.ca (Casida Mark)
Subject: Re: bookmarks

I read the discussion about triangular corner-of-the-page bookmarks with
interest.  These things are awfully handy!  They are also not difficult,
which makes them good for beginners.

I noticed that each of the models described is pretty much identical on
both sides.  That might sometimes it difficult to remember which side of
the page you were reading when you fell asleep :-)  Some time ago, I
started folding a corner bookmark which is different on the two sides.
Here's my attempt at a description [*] :

1) Begin with a square, white side up.
2) Fold two opposing corners to the center.
3) You now have a sort of squeezed hexagon with 2 long sides and
   4 short sides.
4) Fold the figure in half so that the 2 long sides come together and
   the two flaps from step (2) are on the inside.
5) This gives you a trapazoid.  Please orient it with the shorter of
   the 2 parallel sides down.
6) Fold in half to bring the two 45 degree corners together.  Crease
   and unfold.
7) The trapzoid now has a vertical crease down the center.
8) Fold each 45 degree corner down, making the creases between the center
   of the long side of the trapazoid and the (90+45=)135 degree corners.
9) What you now have is a square with a vertical slit between corners.
10) Turn over.
11) You should now have a 45 degree triangular pocket just waiting to
    receive the 2 flaps dangling below it.
12) Tuck in the flaps completely and crease nicely.
13) You now have a completed corner bookmark with one smooth face and
    a face with a sort of slit.
14) You must decide which face you prefer to mark your page with.
    My wife prefers the smooth face.  I like the other one.

That's all for now.

                             ... Mark

---------------
[*] Grandpa used to play a game with us kids where he'd ask us to describe
    something using only words, without pictures or hands.  This is especially
    tricky when it comes to origami!

--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimcn.umontreal.ca           |





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 15:32:41 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: glossy mags, art etc.

>         Well, until someone produces a large, glossy, brightly colored
> photographic coffee-table book entitled something like _Origami Models Of
> The World_, the books of origami _instructions_ can stay in the craft

Have you seen the Oru magazine? Your description fits it perfectly. Jackson has
also produced a reference/art book solely devoted to photos of ori & other paper
artwork. I refuse to join in the "debate", since it doesn't matter a jot to me
what category people use. The same thing crops up in music "it's rock/hard
rock/progressive rock etc".  An obsessive desire (generally, not yours :) to
categorise things surely detracts from the simple beauty of their existance.

Nick Robinson

            ***** "Origami isn't just for squares!" *****
          www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 16:01:50 -0300
From: casida@ere.umontreal.ca (Casida Mark)
Subject: Re: Oru Magazine

Tell us more about Oru magazine.  What is it?  Who publishes it?
In what language is it?
                                        ... Mark
>
>
> >         Well, until someone produces a large, glossy, brightly colored
> > photographic coffee-table book entitled something like _Origami Models Of
> > The World_, the books of origami _instructions_ can stay in the craft
>
> Have you seen the Oru magazine? Your description fits it perfectly. Jackson
     has
> also produced a reference/art book solely devoted to photos of ori & other
     paper
> artwork.

> Nick Robinson
>
>             ***** "Origami isn't just for squares!" *****
>           www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html
> --
>

--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimcn.umontreal.ca           |





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 16:31:42 -0300
From: billhall@computek.net (Bill Hall)
Subject: Re: bookmarks

> Some time ago, I
>started folding a corner bookmark which is different on the two sides.
>Here's my attempt at a description [*] :

<Snip the excellent directions>

I just folded one with your excellent directions, and was successful on the
first try. Thanks for another nice fold.

=================================================
 Clarinet -- Medieval instrument of torture. The only thing
worse than a clarinet is _two_ clarinets.  -- Ambrose Bierce

Bill Hall                    billhall@computek.net                     Dallas





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 16:45:10 -0300
From: billhall@computek.net (Bill Hall)
Subject: Re: glossy mags, art etc.

>>         Well, until someone produces a large, glossy, brightly colored
>> photographic coffee-table book entitled something like _Origami Models Of
>> The World_, the books of origami _instructions_ can stay in the craft
>
>Have you seen the Oru magazine? Your description fits it perfectly. Jackson
has
>also produced a reference/art book solely devoted to photos of ori & other
paper
>artwork. I refuse to join in the "debate", since it doesn't matter a jot to me
>what category people use. The same thing crops up in music "it's rock/hard
>rock/progressive rock etc".  An obsessive desire (generally, not yours :) to
>categorise things surely detracts from the simple beauty of their existance.

Yes, last week there was a raging battle on the saxophone list
(saxophone.unt.edu) concerning Kenny G. Some of us appreciate his music, and
some of the others on the list think that it's not "true jazz," and they
hate it. To each his own.

Origami is a lot of things. It's art, and it's craft. It's also beautiful,
fun, and a challenge. Well, sometimes not all of _my_ origami is beautiful
:)  but it's almost always fun and / or a challenge.

And personally, I'd like to see origami books in the Art _and_ the craft
sections of the bookstore. That way, more people would be encouraged to come
up with more neat models for me to fold :)

=================================================
 Clarinet -- Medieval instrument of torture. The only thing
worse than a clarinet is _two_ clarinets.  -- Ambrose Bierce

Bill Hall                    billhall@computek.net                     Dallas





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 17:41:41 -0300
From: Sue Sierra <ssierra@math.lsa.umich.edu>
Subject: Re: craft v. art

I like Joseph's idea that origami is not a craft because it isn't practical.  My
distinction between craft and art has to do more with creativity, though.  I,
for example, would not consider myself an origami artist because I don't do
my own models; I don't think following the instructions in John Montroll book
#27 counts as "art".  Montroll, on the other hand, is definitely an artist!

So origami is both an art and a craft, it depends who is doing it?

Sue Sierra
ssierra@math.lsa.umich.edu





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 18:44:00 -0300
From: casida@ere.umontreal.ca (Casida Mark)
Subject: mountains

Has anyone thought about the problem of an origami model of a mountain?
I think this qualifies as a tough challenge.  Many years ago I saw an
exhibit by a sculptor who was trying to creatre scultures of mountains.
He had only mixed success, concluding that size was an important characteristic
of mountains.  Still ... something with a white cone on top like Mt Fuji
in winter.  Could it be made to work?

                                       ... Mark

--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimcn.umontreal.ca           |





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 18:47:21 -0300
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: craft v. art

On Sun, 30 Jul 1995 "Sue Sierra" <ssierra@math.lsa.umich.edu> said:

>I like Joseph's idea that origami is not a craft because it isn't
practical.
>My distinction between craft and art has to do more with creativity,
though.
>I, for example, would not consider myself an origami artist because I
don't do
>my own models; I don't think following the instructions in John Montroll
book
>#27 counts as "art".  Montroll, on the other hand, is definitely an
artist!
>
>So origami is both an art and a craft, it depends who is doing it?
>

You should give yourself a little bit more credit. Most of the origami
diagrams out there give the folder a lot more artistic flexability, than
lets say a paint-by-numbers set. For starters, you have the task of picking
the paper; choosing the right medium is one of the most critical parts of
any artistic endeavor. Most models leave room for the folder to infuse some
level of expression in their finished work.As a finall note, much of the
work displayed at origami conventions was not produced by the original
designer of the work; I always find it interesting to see the range of
expression that origami artists can show in a particular model.

Marc





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 18:53:49 -0300
From: wdawes@cs.nmsu.edu ("Iron Will" Dawes)
Subject: Re: mountains

Mark-
  If I remember correctly, John Montroll's "Prehistoric Origami"
contained a volcano model. That's the closest I've seen to a mountain
model.
                              -Will





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 18:53:39 -0300
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: mountains

On Sun, 30 Jul 1995, Casida Mark wrote:

> Has anyone thought about the problem of an origami model of a mountain?
> I think this qualifies as a tough challenge.  Many years ago I saw an
> exhibit by a sculptor who was trying to creatre scultures of mountains.
> He had only mixed success, concluding that size was an important
     characteristic
> of mountains.  Still ... something with a white cone on top like Mt Fuji
> in winter.  Could it be made to work?

It's been done many times. There's a series of mountains in Kasahara's
_Origami:_El_Mundo_Nuevo_ (I think there were 5 designs by 5 different
people), and Paul Jackson has someone's "Mt. Fuji and the Sea" in his
_Classic_Origami_.

Joseph Wu      <jwu@cs.ubc.ca> | Witty quote is now back to the
Master's Student               |   drawing board due to squeamish
University of British Columbia |   readers. Any suggestions?
WWW: http://www.cs.ubc.ca/spider/jwu/origami.html (Origami Page)





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 19:00:09 -0300
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: craft v. art

On Sun, 30 Jul 1995, Marc Kirschenbaum wrote:

> On Sun, 30 Jul 1995 "Sue Sierra" <ssierra@math.lsa.umich.edu> said:
>
> >#27 counts as "art".  Montroll, on the other hand, is definitely an
> artist!
>
> You should give yourself a little bit more credit. Most of the origami
> diagrams out there give the folder a lot more artistic flexability, than
> lets say a paint-by-numbers set. For starters, you have the task of picking
> the paper; choosing the right medium is one of the most critical parts of
> any artistic endeavor. Most models leave room for the folder to infuse some
> level of expression in their finished work.As a finall note, much of the
> work displayed at origami conventions was not produced by the original
> designer of the work; I always find it interesting to see the range of
> expression that origami artists can show in a particular model.

Hear, hear! The "touch" of the artist on the paper is often recognisable
just by looking at a finished piece. For example, a Yoshizawa is
immediately identifiable as such.

Also, if I remember correctly, Montroll considers himself more of a
creator/designer than an artist. That is, the most important thing for him
is to come up with designs for others to fold, not to fold finished pieces
of art himself. Correct me on this one if I'm wrong, John!

Joseph Wu      <jwu@cs.ubc.ca> | Witty quote is now back to the
Master's Student               |   drawing board due to squeamish
University of British Columbia |   readers. Any suggestions?
WWW: http://www.cs.ubc.ca/spider/jwu/origami.html (Origami Page)





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 19:22:45 -0300
From: Kellie Elizabeth Cass <KELLIECASS@delphi.com>
Subject: glossy mags, art etc.

On 30-JUL-1995 14:44:43.7 Nick Robinson <nick@tritec.demon.co.uk> said
   N Have you seen the Oru magazine? Your description fits it perfectly.
   NJackson has

   Can someone please post info on subscribing to this?
   (I apologize if this was posted in the last week. I got
unsubscribed for a week by mistake - I'm told because Delphi was
down so much - so may have missed it).
   Thankyou so much!

.                                                          Kellie

`[1;37;42mRainbow V 1.17.0 for Delphi - Registered





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 21:15:25 -0300
From: terryh@lamg.com (Terry Hall)
Subject: Re: Re: Oru Magazine

Oru magazine is published quartely in Japan and costs Y2060 per copy. However,
the postage is another Y780. I just picked up the latest issue, which is # 9
and the total cost was $36.60 for one issue. You can order them from
Kinokuniya book stores. The magazine is excellent usually containing good
diagrams, lots of text (all in Japanese unfortunately) and excellent
photographs. The latest issue features, among others, Jeremy Shafer and Chris
Palmer from the San Francisco area. The earlier issues contained very basic
models but subsequent issues feature a spectrum of difficulty levels. The
next issue will be published in September. Each issue contains about 160
pages and many photographs of fantastic models. Some appearing to be more
complex than Robert Lang's designs (that takes a lot of doing). In addition
(for the same price, Y2060) but I do not know what the name is since it is
all in Japanese. I have seen a copy of this special issue and it contains
several models of "big name" American folders in addition to Japanese
folders. Both the regular quartely magazine and the "all diagram" issue are
worth buying for the serious folder. I have all the back copies if you need
to find a particular model.

Terry Hall





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 21:32:37 -0300
From: LEMIEUXJ@aspen.uml.edu
Subject: Computational Origami

  I recently read an article that may be of interest to some
of the more technical/engineering members of the group.

  Huang, Alan. "Computational origami: the folding of circuits
and systems." Applied Optics v31 n26 (Sep. '92) Pages 5419-5422.

  "Computational origami is an algorithm by which one can reshape
another algorithm. This reshaping permits various time-hardware
trade-offs to be explored."
.....
.....
  "Computational origami is related to the ancient oriental art
of paper folding."

  While in Canada last week, I traded a dollar bill shirt for a
Canadian dollar. Even computational origami could not help fold
that Canadian dollar. (Sorry Joseph, I don't plan to trade US
dollars for Canadian in the future.)

  Happy folding...

Bob
J. Robert A. Lemieux
lemieuxj@woods.uml.edu





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 22:06:48 -0300
From: A004773%LBVM1.profs@lbgwy.mdc.com
Subject: art vs. craft

 Hmmm, it's always been my impression that a "creator/designer" is an
 "artist", especially if his/her work is original.

 John Andrisan
 IBMMAIL: USMCDQND   Internet: a004773%lbvm1.profs@mdcgwy.mdc.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 30 Jul 1995 22:20:24 -0300
From: "MARGARET M. BARBER" <mbarber@welchlink.welch.jhu.edu>
Subject: Re: Re: Oru Magazine

what is the address of the Kinokuniya bookstore should one be intersted
in getting a copy of the ORU magazine?

On Sun, 30 Jul 1995, Terry Hall wrote:

> Oru magazine is published quartely in Japan and costs Y2060 per copy. However,
> the postage is another Y780. I just picked up the latest issue, which is # 9
> and the total cost was $36.60 for one issue. You can order them from
> Kinokuniya book stores. The magazine is excellent usually containing good
> diagrams, lots of text (all in Japanese unfortunately) and excellent
> photographs. The latest issue features, among others, Jeremy Shafer and Chris
> Palmer from the San Francisco area. The earlier issues contained very basic
> models but subsequent issues feature a spectrum of difficulty levels. The
> next issue will be published in September. Each issue contains about 160
> pages and many photographs of fantastic models. Some appearing to be more
> complex than Robert Lang's designs (that takes a lot of doing). In addition
> to the quartely publication ORU has published the first "all diagram" issue
> (for the same price, Y2060) but I do not know what the name is since it is
> all in Japanese. I have seen a copy of this special issue and it contains
> several models of "big name" American folders in addition to Japanese
> folders. Both the regular quartely magazine and the "all diagram" issue are
> worth buying for the serious folder. I have all the back copies if you need
> to find a particular model.
>
> Terry Hall





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 00:07:42 -0300
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: Re: Oru Magazine

On Sun, 30 Jul 1995 "MARGARET M. BARBER" <mbarber@welchlink.welch.jhu.edu>
said:

>what is the address of the Kinokuniya bookstore should one be intersted in

>getting a copy of the ORU magazine?
>
 There is an address in NY at 10 West 49th Street. I am sorry, but I do not
have the corresponding zip code. They are accross the street from
Rockefeller Center; it is a very exciting area to visit.

Marc





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 00:48:28 -0300
From: barber@usis.com (Alex Barber)
Subject: Kinokuniya Books in NYC [was Oru magazine]

Kinokuniya's address in New York City is:

10 West 49th St
New York, NY 10020

On my receipt from a purchase in June there are two phone numbers:

212.765.1461
212.765.7766

hope this helps
Alex

barber@usis.com | http://www.printnet.com/abarber/barber.html
                  http://www.usis.com/~barber

I will not be pushed, filed, stamped, indexed, briefed, debriefed or
numbered.  My life is my own.





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 02:48:58 -0300
From: LEMIEUXJ@aspen.uml.edu
Subject: RE: Kinokuniya Books in NYC [was Oru magazine]

In addition to the NY address there is a second location
for Kinokuniya's in NJ.

KINOKUNIYA BOOKSTORES
10 W 49TH ST
NEW YORK, NY 10020-2205
212-765-1461

KINOKUNIYA BOOK STORE
595 RIVER RD
EDGEWATER, NJ 07020-1104
201-941-4993

My last purchase was Kasahara's Origami Omnibus
at a cost of $19.00 + $5.00 S/H.

Bob

J. Robert A. Lemieux
lemieuxj@woods.uml.edu





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 05:15:50 -0300
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: art vs. craft

On Sun, 30 Jul 1995 A004773%LBVM1.profs@lbgwy.mdc.com wrote:

>  Hmmm, it's always been my impression that a "creator/designer" is an
>  "artist", especially if his/her work is original.

Perhaps. But what I said is that John does not consider himself an artist
per se, since he has no interest in folding finished origami sculptures
that can be displayed as art. In fact, many of his display models are
folded by others (case in point: John "borrowed" some of my miniature chess
tables for his exhibition in Japan). John's main interest is in designing
new origami models, mainly for other people to fold.

Of course, this is just the situation as I understand it. I'm open to
correction on this. Anyone?

Joseph Wu      <jwu@cs.ubc.ca> | Witty quote is now back to the
Master's Student               |   drawing board due to squeamish
University of British Columbia |   readers. Any suggestions?
WWW: http://www.cs.ubc.ca/spider/jwu/origami.html (Origami Page)





Return-path: <origami-l@nstn.CA>
Date: Mon, 31 Jul 1995 06:14:57 -0300
From: "Mr B.R. Stephens" <bruce@liverpool.ac.UK>
Subject: Re: USENET newsgroup issue

> Can't individuals with email access still receive the newsgroups they wish via
> email?

Not in general.  In this case, of course, it would have to be done
IMHO, because surely the newsgroup wouldn't want to do without Robert
Lang, John Montroll and others.  There's no technical reason why the
mailing list couldn't continue as it is, with a largely different
audience for the newsgroup, but a gateway between the two is more
likely.  It would be possible to do some spam-removal on messages
from the newsgroup to the mailing list (only forward messages with
no crossposting, only forward messages which contain one or more
suitably chosen keywords, etc.).

Because of the increased readership, there's likely to be more noise,
but it's not guaranteed: comp.lang.misc is remarkably noise-free, for
example.

The advantage of a newsgroup for some of us is that newreaders tend to
be better at handling largish numbers of messages: I can easily kill
all of Nick Robinson's messages, for example, if I decide I don't like
reading them, and I could easily kill all of these stupid discussions
over whether there should be a newsgroup or not.  Such things are more
difficult for me with the mail reading programs I have available.

> --
> Sheldon Ackerman
> ackerman@dorsai.dorsai.org
> sheldon.ackerman@nycps.nycenet.edu

--
Bruce                   Institute of Advanced Scientific Computation
bruce@liverpool.ac.uk   University of Liverpool





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 12:38:08 -0300
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: art vs. craft

That John creates new designs, but does not choose to display his own
works, does not make him any less an artist than the composer of music
who does not conduct or perform his own works.  And because another
origamist follows the directions that John publishes, does not make
that folder any less an artist than the musicians who follow a
published score.

        -- jeannine mosely





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 13:29:38 -0300
From: Tim Rueger <rueger@areaplg2.corp.mot.com>
Subject: diagrammed models and creativity (was Re: art vs. craft)

Hi, All,

>>>>> "jm" == Jeannine Mosely <j9@concentra.com> writes:

    jm> That John creates new designs, but does not choose to display his own
    jm> works, does not make him any less an artist than the composer of music
    jm> who does not conduct or perform his own works.  And because another
    jm> origamist follows the directions that John publishes, does not make
    jm> that folder any less an artist than the musicians who follow a
    jm> published score.

A very interesting analogy.  Engel's "Folding the Universe" explores the
connection between patterns in music and patterns in folding to a large
degree when he discusses the nature of creativity.

It's interesting to note that both music and origami have
well-established means of expressing procedural information in a
more-or-less internationally accepted, essentially graphical way.  That
is, a musician can read a piece of music written most any composer the
same way a folder can read instructions published by most any origami
designer.

This touches on an issue which I had the occasion to discuss with
Michael LaFosse.  I was concerned that all the thousands of models that
Master Akira Yoshizawa created would never be diagrammed before he
passes from this world.

He made the point that many of Yoshizawa's models were not intended to
be duplicated by others by means of diagramming.  He seemed to be saying
that just because there exists a notation for describing origami
procedures, it doesn't mean that all models *should* be diagrammed.  (Or
perhaps, that Yoshizawa thought that all of Yoshizawa's models should
not be diagrammed.)  I hope I've got this correct - it's a very subtle
point.

So does that mean that models folded from another folder's instructions
are not really art?  It's a slippery question.  It seems necessary to
decouple a model's geometrical characteristics from its expressive
artistic aspects, but I'm not sure you can actually do that.  Where does
the procedural description end, and the personal statement begin?

Sorry if this makes your brain hurt.  I'll stop rambling now...  :^)

-Tim
--
Tim Rueger             Motorola CCRL IC Design Laboratory, IL02-2921
Fax  : (708) 538-4593  Internet: rueger@areaplg2.corp.mot.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 13:46:18 -0300
From: CM2018@aol.com
Subject: Are there Newsgroups?

I guess that not reading your mail for a while puts you out of it... but...
is there any origami newsghroups?  I would like to know... thanx to anyone
who answers.





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 13:48:54 -0300
From: Richard Kennedy <KENNEDRA@ibm3090.bham.ac.uk>
Subject: Re: mountains

I've folded a 4-piece mountain/volcano by Dave Brill. I don't have a
source for the diagrams. They may appear in Dave Brill's book. The 4
pieces stack on top of one another, making a pyramid with a square
base. Careful selection of some key location points was essential to a
neat final result.

Richard K.





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 14:03:03 -0300
From: CM2018@aol.com
Subject: RE:Bookmarks

I've gotta say that your bookmark is very nifty!  It only took be about less
than 30 seconds to fold and it was very succsessful.  What also is good about
it is the fact that for small books or big, you can adjust the size of the
bookmark with different size of paper.





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 14:55:22 -0300
From: A004773%LBVM1.profs@lbgwy.mdc.com
Subject: NO SUBJECT

 I guess I can call myself a performing artist in the field of Origami,
 amateur level so far.

 John Andrisan
 IBMMAIL: USMCDQND   Internet: a004773%lbvm1.profs@mdcgwy.mdc.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 15:25:42 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: Re: Re: Tanteidan - the best??

> Check out ORU magazine, and you'll see that the Tanteidan have a rather
> good sense of the aesthetic.

Love too, but can't afford it! I know what you mean though - Langs work in the
hands of most folders (me included) ends up less than aesthetically pleasing :)
but his own examples are flawless. I await the York bash with interest!

Nick "wide open to persuasion" Robinson

            ***** "Origami isn't just for squares!" *****
          www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 15:54:31 -0300
From: kenjihtn@clubmet.metrobbs.com
Subject: Origami Books

Dear Folders,

I am looking for more books to purchase. I can readly get Montroll's and
Lang's books. And I want to aviod "gift" books. Any suggestions?

Kenji Houston





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 16:16:31 -0300
From: Jae Hyuk Lee <jaelee@WPI.EDU>
Subject: Origami WWW/FAQ/archive

Kelly:
> [.....]  I just wondered if there is any way to get the messages I
> missed for the past week?

See below.

another person:
> [....]  How come when I
> asked for origami web sites nobody answered?

Joseph Wu and I both answered your question.  Here it is again:

Origami links by Bob Shuster
http://www.netaxs.com/people/rshuster/hotlist.html#origami

Origami links by Joseph Wu
http://www.cs.ubc.ca/spider/jwu/home-other.html

Origami-l FAQ and archive (for past messages)
ftp://rugcis.rug.nl/origami/   -->  same as   ftp rugcis.rug.nl
                                              cd  origami





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 17:26:12 -0300
From: Sheldon Ackerman <ackerman@dorsai.dorsai.org>
Subject: Re: diagrammed models and creativity (was Re: art vs. craft)

>
> It's interesting to note that both music and origami have
> well-established means of expressing procedural information in a
> more-or-less internationally accepted, essentially graphical way.  That
> is, a musician can read a piece of music written most any composer the
> same way a folder can read instructions published by most any origami
> designer.
> --
> Tim Rueger             Motorola CCRL IC Design Laboratory, IL02-2921
I'm great at reading folds, but have you seen some of those folds out there!
You try folding them! :-)

--
Sheldon Ackerman
ackerman@dorsai.dorsai.org
sheldon.ackerman@nycps.nycenet.edu





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 18:10:14 -0300
From: Tim Rueger <rueger@areaplg2.corp.mot.com>
Subject: Re: diagrammed models and creativity (was Re: art vs. craft)

>>>>> "sa" == Sheldon Ackerman <ackerman@dorsai.dorsai.org> writes:

    >> It's interesting to note that both music and origami have
    >> well-established means of expressing procedural information in a
    >> more-or-less internationally accepted, essentially graphical way.  That
    >> is, a musician can read a piece of music written most any composer the
    >> same way a folder can read instructions published by most any origami
    >> designer.
    >> --
    >> Tim Rueger             Motorola CCRL IC Design Laboratory, IL02-2921

    sa> I'm great at reading folds, but have you seen some of those folds out
     there!
    sa> You try folding them! :-)

Ah, but have you seen some musical scores?  Schoenburg, Tati, or other
20th century composers?  Nasty!

-Tim





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 19:34:21 -0300
From: Kellie Elizabeth Cass <KELLIECASS@delphi.com>
Subject: ORIGAMI FISH WITH FLOWING TAIL

   Where can I find a pattern for the origami fish with the
flowing tail?
   I hear it makes a gorgous mobile but I can't find the
pattern. Thankyou so much.
                                                   Kellie





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 21:11:00 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: Re: Re: mountains

> people), and Paul Jackson has someone's "Mt. Fuji and the Sea" in his
> _Classic_Origami_.

Eric Kenneway, I believe. Dave Mitchell has a superb (unpublished) pyramids at
night" pureland design in a similar vein.

Nick Robinson

            ***** "Origami isn't just for squares!" *****
          www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 21:41:13 -0300
From: Rjlang@aol.com
Subject: Re: mountains

> Has anyone thought about the problem of an origami model of a mountain?...
> Still ... something with a white cone on top like Mt Fuji
> in winter.  Could it be made to work?

In addition to the excellent models already mentioned on this list, Gloria
Farison has a simple but effective pair of snow-capped mountains in my book,
Origami Animals (Random House).

Also, Peter Engel showed a three-dimensional mountain range at the Origami
Science and Technology conference, but I don't think he's diagrammed it yet.

Finally, my five-year old son Peter makes an excellent rendition of a
volcano, instructions reproduced below:

1) Fold the paper in half diagonally, white inside.
2) Fold down one corner on each side.

Drawing streams of lava pouring down the sides is optional.

Robert Lang





Return-path: <origami-l@nstn.ca>
Date: Mon, 31 Jul 1995 21:44:01 -0300
From: Rjlang@aol.com
Subject: Re: Computational Origami

>   I recently read an article that may be of interest to some
> of the more technical/engineering members of the group.
>
>   Huang, Alan. "Computational origami: the folding of circuits
> and systems." Applied Optics v31 n26 (Sep. '92) Pages 5419-5422.
>
>   "Computational origami is an algorithm by which one can reshape
> another algorithm. This reshaping permits various time-hardware
> trade-offs to be explored."
> .....
> .....
>   "Computational origami is related to the ancient oriental art
> of paper folding."

Not to be a wet blanket or anything, but this article has practically nothing
refers to a way of structuring computational algorithms so they can be
implemented on optical signal processors (specifically, self-electro-optic
effect devices (aka SEEDs)). Conceptually, it's like cutting up a flow chart
and reassembling the pieces onto a rectangular grid. Since it involves heavy
use of "cutting and pasting", it's not really origami.

Incidentally, AT&T (where the work was going on) has apparently canned the
entire computational origami project.

Robert





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 00:08:21 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: Re: mountains

> Has anyone thought about the problem of an origami model of a mountain?
> I think this qualifies as a tough challenge.

Tough? Two valley folds & a turn over symbol? :)

Nick Robinson

            ***** "Origami isn't just for squares!" *****
          www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 00:33:51 -0300
From: Cynthia.Pettit@virtus.com (Cynthia Pettit)
Subject: Mountains, and paper choice

As far as mountains go, it seems there was a display at the Convention with
mountains in it [it was next to the Gold Mine room].  The mountains were
basically a triangle of some dark color with the tip folded down.  It
looked like a volcano with a white snowcap.  It was so simple and looked
great!

Joseph Wu has some nice rock models he's made [no, *not* the "origami
bolders" you get after giving up on a particularly frustrating piece.
<crumple, crumple> :) ]  He used it in a goldfish display he made and as a
seat for his teddy bear.

Also a note on paper use: Joseph showed me his Wyvern [a mythological
creature like a two-legged dragon].  The most striking thing about it was
that he'd made it out of black paper with red corners -- so the tips of
wings, tail and beard were all faded to red!  It was breathtaking and I
still haven't gotten it out of my mind!  [I think I now like "tye-dyed"
paper better when the colors go out from the *corners* not the center...]

[Joseph, I still haven't had the heart to take apart the one you gave me to
"reverse engineer" it -- I'm afraid I won't get it back together!! :) ]

Cyn

Cynthia.Pettit@virtus.com        "It's not about driving down route
Virtus Corporation                66 and stopping at the Holiday Inn...
http://www.virtus.com             ...It's about *adventure*!"
(v) 919 467-9700 x24                     -- Richard Feynman





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 00:57:46 -0300
From: LEMIEUXJ@aspen.uml.edu
Subject: Computational origami

Rjlang@aol.com responded:

 > Not to be a wet blanket or anything, but this article has
 > practically nothing to do with real origami besides the use
 > of the name. "Computational origami"

You are definitely not a wet blanket Robert. Your explanation of
"Computational origami" does, more clearly, what I intended. Alert
members to the use of the term and indicate why most, including
myself, would not be interested.

Keep folding and hopefully publish more books.

Bob (A retiring Electrical Engineer & Logic Designer.)
lemieuxj@woods.uml.edu





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 10:59:46 -0300
From: DBSH47B@prodigy.com (MRS. JANET J HAMILTON)
Subject: Re: mountains

-- [ From: Janet Hamilton * EMC.Ver #2.10P ] --

> > Has anyone thought about the problem of an origami model of a
mountain?
> > I think this qualifies as a tough challenge.
>
> Tough? Two valley folds & a turn over symbol? :)

A cone or truncated cone for a mountain may not be a challenge but I
think what was requested was something a litle more realistic.  Maybe
something with some lower peaks below the main peak, a snow line, and
asymetrical faces?

Janet Hamilton





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 12:09:11 -0300
From: jdharris@lust.isem.smu.edu (Jerry D. Harris)
Subject: Re: glossy mags, art etc.

At 3:33 PM 7/30/95, Nick Robinson wrote:
>>         Well, until someone produces a large, glossy, brightly colored
>> photographic coffee-table book entitled something like _Origami Models Of
>> The World_, the books of origami _instructions_ can stay in the craft
>
>Have you seen the Oru magazine? Your description fits it perfectly.
>Jackson has
>also produced a reference/art book solely devoted to photos of ori & other
>paper
>artwork. I refuse to join in the "debate", since it doesn't matter a jot to me
>what category people use. The same thing crops up in music "it's rock/hard
>rock/progressive rock etc".  An obsessive desire (generally, not yours :) to
>categorise things surely detracts from the simple beauty of their existance.

        Actually, I can't say I have ever seen a copy, although I
continually hear about it, as well as other things like the Origami
Tanteidan.  However, I have little if any money to spend on these overseas,
exorbitant though attractive items -- it's why I'm not even a member of any
current origami organization!  Right now, I don't even have any large size
origami paper, which is particularly sad because I just got Lang's new
book!  8-(

Jerry D. Harris
Schuler Museum of Paleontology
Southern Methodist University
jdharris@lust.isem.smu.edu
        (Compuserve:  73132,3372)

---------/O\------*     --->|:|:|>     w___/^^^\--o

Humorous Quote Is Forthcoming...

---------/O\------*     --->|:|:|>     w___/^^^\--o





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 12:16:37 -0300
From: casida@ere.umontreal.ca (Casida Mark)
Subject: Re: mountains

Thank you!

I have appreciated all the responses to my question about "mountain
folds."  I confess that it was an impulsive and not very clearly
worded message about a problem which has been on my mind off and
on for some time :

What makes a mountain mountain-like?  What is the essence of mountain?

I get the feeling that most of the responses to my initial inquiry
are aimed at folding fairly simple background pieces, where the
mountain itself is not the center of attention, but rather a backdrop
for a scene made of other origami characters.  In such situations,
one can intuit from context that "two valley folds and a turn over symbol"
or a pyramid is a mountain.

However my question is subtler (I think).  Suppose you want to fold
something which sitting centrally on an otherwise empty coffee table
will be immediately recognised as a mountain (and not a cone or pyramid)?
A cone will not do in this case, nor will a pyramid, nor will "two
valley folds and a turn over symbol."  But perhaps folds which are
recognisable as particular famous mountains will do.

Now, if you think over all those mountain models which you recommended
test"?  Note that it is not technical skill which is required here but
rather a certain level of aesthetic penetration into the very essence
of the object being portrayed so that it can communicate unaided on its
own.

I see that this message is rather long.  I hope it is not too esoteric.
Thanks again for all your previous replies.

                                     ... Mark

P.S.  Janet Hamilton wrote :

> A cone or truncated cone for a mountain may not be a challenge but I
> think what was requested was something a litle more realistic.  Maybe
> something with some lower peaks below the main peak, a snow line, and
> asymetrical faces?

That's right.  That's the sort of thing I'm getting at.

--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimcn.umontreal.ca           |





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 12:24:06 -0300
From: A004773%LBVM1.profs@lbgwy.mdc.com
Subject: NO SUBJECT

 What's the origin of the term "Pureland"?

 John Andrisan
 IBMMAIL: USMCDQND   Internet: a004773%lbvm1.profs@mdcgwy.mdc.com





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 12:26:56 -0300
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: non-modular business card folds

Thanks for finding the message. Everyone on this list is so helpful.
It's very interesting that Jennifer invented a frog, since that is the
only non-modular biz card fold I have ever seen.  I wonder if her frog
is the same as everyone else's.

        -- jeannine





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 13:09:33 -0300
From: casida@ere.umontreal.ca (Casida Mark)
Subject: Re: pureland

Isn't Alice Gray (sp?) the origin of the term "Pureland"?
Pureland origami is defined (I believe) as origami which involves
nothing more complicated to fold than a crane base and preferably
much simpler.  It is in celibration of the idea that art need not
be complicated to be appreciated.

                                  ... Mark
>
>
>  What's the origin of the term "Pureland"?
>
>  John Andrisan
>  IBMMAIL: USMCDQND   Internet: a004773%lbvm1.profs@mdcgwy.mdc.com
>

--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimcn.umontreal.ca           |





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 13:29:25 -0300
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: mountains

The mountain models I suggested all pass your coffee table test.

Joseph Wu      <jwu@cs.ubc.ca> | Witty quote is now back to the
Master's Student               |   drawing board due to squeamish
University of British Columbia |   readers. Any suggestions?
WWW: http://www.cs.ubc.ca/spider/jwu/origami.html (Origami Page)





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 13:37:56 -0300
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: NO SUBJECT

On Tue, 1 Aug 1995 A004773%LBVM1.profs@lbgwy.mdc.com wrote:

>  What's the origin of the term "Pureland"?

Hmmm... an interesting question. Perhaps it refers to the fact that it only
uses "mountain" and "valley" folds? 8)

Joseph Wu      <jwu@cs.ubc.ca> | Witty quote is now back to the
Master's Student               |   drawing board due to squeamish
University of British Columbia |   readers. Any suggestions?
WWW: http://www.cs.ubc.ca/spider/jwu/origami.html (Origami Page)





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 15:16:15 -0300
From: Jennifer.Campbell@cciw.ca (Jennifer Campbell)
Subject: business card froggy

On Aug. 1, Jeannine Mosely wrote:

>Thanks for finding the message. Everyone on this list is so helpful.
>It's very interesting that Jennifer invented a frog, since that is the
>only non-modular biz card fold I have ever seen.  I wonder if her frog
>is the same as everyone else's.
>
>        -- jeannine

I'm also curious to know if my frog is one-of-a-kind or if I tapped into
the vast origami consciousness and it's been done before. Please don't
think I'm boasting about the little frog--it's just that I'm not normally a
designer so this is a small victory for me. Jeannine, do you want me to
send one to you so you can compare it to the other one?

One thing about the creative process I found: The original flowed from my
hands as if I was folding a crane. The steps followed naturally (as natural
as folding cardboard can be, anyway) It was an inspired an exciting few
minutes I tell ya. But the diagrams I drew up afterward are very awkward;
the sequence is off and the method far more difficult than need be. Guess
my diagramming could use a little work too!
Jennifer.

       /\_/\       ________
     `(     )' oo /        \
       `==='     | Maguro o |
       /   \     |  kudasai |
      |     |     \________/
      |     |
    ___\___/__jennifer.campbell@cciw.ca





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 15:39:42 -0300
From: Sheldon Ackerman <ackerman@dorsai.dorsai.org>
Subject: North American Anic

This is a flame! Where did Mr. Kawahata dream up his raccoon!
Folding is supposed to be fun. I aborted one raccoon. It now looks like two
rocks :-)

Seriously, I will give it another try with a larger square. BTW I think
there is an error in diagram 15. The bottom two dark triangles should be
white. The first time around I made it till step 51 at which point my paper
started to disintigrate.

BTW, John, love your deer! Until now Honda's deer was my favorite --the one
from two squares that involved cu..ing to form the antlers. Yours is outta
sight!

--
Sheldon Ackerman
ackerman@dorsai.dorsai.org
sheldon.ackerman@nycps.nycenet.edu





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 16:18:00 -0300
From: logician!sophie!pat@uunet.uu.net (Pat Zura)
Subject: Re: mountains

I recently saw at a BARF meeting a three peak mountain range.
They were sort of like modified tetrahedrons in three
different sizes of an identical unit that nestled into one another.
Is this one of the mountains previously mentioned?

Pat





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 16:30:07 -0300
From: casida@ere.umontreal.ca (Casida Mark)
Subject: Re: mountains

Thank you.

>
> The mountain models I suggested all pass your coffee table test.
>
> Joseph Wu      <jwu@cs.ubc.ca> | Witty quote is now back to the
> Master's Student               |   drawing board due to squeamish
> University of British Columbia |   readers. Any suggestions?
> WWW: http://www.cs.ubc.ca/spider/jwu/origami.html (Origami Page)
>

--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimcn.umontreal.ca           |





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 17:25:28 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: Origami Books to buy

> I am looking for more books to purchase. I can readly get Montroll's and
> Lang's books. And I want to aviod "gift" books. Any suggestions?

Try any of Paul Jacksons efforts or Kunihiko Kasahara. Also join the BOS (see J
Wu's page) & buy from our superb collection of privately published collections.

There's a huge world out there waiting for you!!!

Nick Robinson

            ***** "Origami isn't just for squares!" *****
          www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 17:28:30 -0300
From: Marc Kirschenbaum <contract@pipeline.com>
Subject: Re: pureland

On Tue, 1 Aug 1995 casida@ere.umontreal.ca (Casida Mark) said:

>Isn't Alice Gray (sp?) the origin of the term "Pureland"? Pureland origami
is
>defined (I believe) as origami which involves nothing more complicated to
fold
>than a crane base and preferably much simpler.  It is in celibration of
the
>idea that art need not be complicated to be appreciated.

Alice promoted the developing and teaching of simple models, but the term
Pureland was coined by John Smith. Pureland models must follow the
stringent requirement of only utilizing simple valley and mountain folds in
the folding process; reverse folds are not allowed. John has produced a
book on the subject; I believe that it is on the BOS's discontinued list.

Marc





Return-path: <origami-l@nstn.ca>
Date: Tue, 1 Aug 1995 21:04:06 -0300
From: Kim Best <Kim.Best@m.cc.utah.edu>
Subject: Re: North American Anic

On Tue, 1 Aug 1995, Sheldon Ackerman wrote:

> This is a flame! Where did Mr. Kawahata dream up his raccoon!
> Folding is supposed to be fun. I aborted one raccoon. It now looks like two
> rocks :-)
>

This is one those models that for me epitimized the dicotomy of Origami being
an art versus being a craft.

It is ART because folding it takes you on a journey that disiplines the
fingers and mind, yet takes unexpected turns that delight the spirit and
enrich the soul.

It is CRAFT because you can make it out of aluminum foil and use it as a
grave boat..  No wait serve banana splits in it!  The kids will love it.
Anyone  have suggestions for a good no-toxic coating to make the aluminum two
toned?

Kim Best                            *******************************
                                    *    Curse you Robert!!       *
Rocky Mountain Cancer Data System   *  Now my apartment is being  *
420 Chipeta Way #120                *    Overrun with insects!    *
Salt Lake City, Utah  84108         *******************************

PS. Sorry, I must have been lurking to much around alt.talk.bizarre lately.





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Aug 1995 00:54:09 -0300
From: "BOB T. LYNCH" <blynch@du.edu>
Subject: Re: mountains

Mark -

I like the mountain in Lang's Origami Animals (I think it was mentioned the
other day) I think it suffices for a center piece.

Dee





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Aug 1995 01:13:23 -0300
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: North American Anic

You'all are making me glad I did the Duck-with-Real-Duck-Feet
and the Skunk, though the later almost lived up to its
reputation as a stinker
(where did those machiavellian landmarks come from??).

     O^O
      J
    \___/

But even though the paper split at the thick places
(I used a 10 in square), its still the only
origami skunk I've seen yet that really looks like a skunk!

Guess I'll save the raccoon for a long weekend
when I'm feeling very patient...

--valerie





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Aug 1995 01:29:07 -0300
From: Leo Kin <leokatbu@acs.bu.edu>
Subject: Hello

Hello everyone,

My name is Leo and I just joined this mailing list a few days ago. I'm
not quite sure how everything works yet but hopefully I'll know soon.
I hope this is not a stupid question that doesn't belong here but
I was just wondering if there was an origami center in the Boston area.
And if there isn't, is there anybody on this mailing list that is in
the Boston area that has plans to start one. I'm sure there would be
interest, I for one always wanted to go to an origami exhibit but
either never knew where they were or they were too far to travel.

If there is anything I wrote that is foolish, please excuse me for being
naive :)
                              Leo





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Aug 1995 02:07:26 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: spare the mod & spoil the child

> Finally, my five-year old son Peter makes an excellent rendition of a
> volcano, instructions reproduced below:

:From stellated snowflake unit to pureland - your influence is waning!

Nick Robinson

            ***** "Origami isn't just for squares!" *****
          www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Aug 1995 02:16:33 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: pureland mountains

> > Tough? Two valley folds & a turn over symbol? :)

> A cone or truncated cone for a mountain may not be a challenge but I
> think what was requested was something a litle more realistic.  Maybe
> something with some lower peaks below the main peak, a snow line, and
> asymetrical faces?

If it's 2D you're after, the challenge seems simple to me and ideal for the
pureland approach (coined/named by John Smith). Shame we can't include diagrams
in here or I'd demonstrate.

When teaching I explain the phrase thus;

"Since in real life we don't have a valley without a mountain next to it, we
cannot create one in origami without the other. Fold a valley - turn it over &
you have a mountain!"

Not strictly true, I know, but people seem to cope with it.

Nick Robinson

            ***** "Origami isn't just for squares!" *****
          www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Aug 1995 02:22:02 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: The detectives

This is to Alex & anyone else who might be able to help. The BOS are
keen to extend all hospitalities to the Japanese fodlers at York. Does
anyone have a contact for them (preferably electronic) or any details
of their names, itineries(?) etc.? Please let me know soonest so we can
get onto it.

Nick Robinson

            ***** "Origami isn't just for squares!" *****
          www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Aug 1995 02:28:59 -0300
From: LEMIEUXJ@aspen.uml.edu
Subject: RE: Hello

 > I was just wondering if there was an origami center in the Boston area.

   Boston : Paperfolders in New England (PINE)
            Joyce Rockmore (617)444-4059

  This is the only group I know of in the Boston area.

Good Luck

Bob

J. Robert A. Lemieux
lemieuxj@woods.uml.edu





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Aug 1995 02:33:07 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: Re: Pureland origin

>  What's the origin of the term "Pureland"?

Two sources; firstly from two articles written by John Smith and secondly it is
     a Buddhist philosophy/concept of heaven or pureland which can be achieved
     by devotees.

Funnily enough, John has just rang me, so I've plugged him for more info - he
     never intended PL to be the same as minimalist, but to be designs that
     were simple yet had location marks for every fold. Minimalist work often
     has none! He is very keen to r
-establish his Origami Instruction Language (OIL - a math language for
     describing any set of folds uniquely) and hopes to join ori-l soon to
     share his mathematical approaches.

For more info, order John's pureland books from BOS supplies!!

Nick Robinson

            ***** "Origami isn't just for squares!" *****
          www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Aug 1995 02:37:19 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: Mountains, Zen etc.

> What makes a mountain mountain-like?  What is the essence of mountain?

For me, this is the essence of origami. A butterfly (for example) has a
simplicity of form which doesn't need the antennae, legs etc. Those that have
are invariably ugly to my eyes.

>   Note that it is not technical skill which is required here but
> rather a certain level of aesthetic penetration into the very essence
> of the object being portrayed so that it can communicate unaided on its
> own.

Exactly!!!! However, much as studying a cloud can reveal all things to all
viewers, simple origami can sometimes require a given context (verbal will do) -
once you've "seen the light", the true slendour is revealed. This is heading for
Zen territory (of which I am totally ignorant), but the beauty may be internal
apparent lack of precision in depicting the subject.

Or something like that....

Nick Robinson

            ***** "Origami isn't just for squares!" *****
          www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Aug 1995 02:41:07 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: glossy mags, art etc.

>         Actually, I can't say I have ever seen a copy,

Keep your eyes open, they are *superb*, especially the one featuring my work :)

> Right now, I don't even have any large size origami paper

I never buy ori paper as a rule - scour the craft/flower/art shops for large
sheets - they're quite cheap, eminently foldable & often more attractive than
the bold colours of standard ori paper.

Nick Robinson

            ***** "Origami isn't just for squares!" *****
          www.cs.ubc.ca/spider/jwu/Origami/BOS/nickdata.html
