




Return-path: <origami-l@nstn.ca>
Date: Tue, 23 Apr 1996 19:50:03 -0300 (ADT)
From: marckrsh@pipeline.com (Marc Kirschenbaum)
Subject: Re: origami equal to performing music

On Apr 23, 1996 15:58:18, 'John Smith <jon.pure@paston.co.uk>' wrote:

>I personally long for the day when we admire the sheer beauty of a great
>model, which has been folded superbly in an elegant sequence of moves. We
>are in danger of saying how incredible, this model has got 89 points from
a
>square and looks like a stag or beetle, therefore it is something
praisworthy.
>
>The pursuit of points as a sort of token realism seems to me absurd. Is
>anyone else interested in Paper Folding as an art in it's own right?. A
>total art of elegant performance and a satisfying aesthetic outcome.
>Perhaps we could exchange views and seek ways of encouraging the beautiful

>in Paper folding.
>

I have found that both creators of complex origami as well as simpler
origami have been guilty of being inelegant. At least the unelagant model
might be somewhat vindicated by virtue of it's complexity. I do have to
admit I am sometimes won over by the technical marvel of a model, rather
than it's artistic (if any) merit. With that statement aside, many of the
things I have seen on display do have artistic merit, both complex and
simpler models. Even for the simpler models, as with any other art,
technique is the facilitator that allows an artist to be able to express
his/her ideas. Even the simplest one-crease Paul Jackson model is the
result of years honing various artistic techniques (I, for one, have yet to
cultivate the skills in lighting necessary to showcase such works).
Creating lots of points is easy. An example wouild be the traditional fan,
whose pleats constitute a multitude of points. In my opinion, this is not a
very artistic model. The artistry of the more technicaly inclined creator
is apparent in the proportions of appendages the his/her model showcases.
It is a skill to be able to adjust the proportions of a multitude of
appendages when designing a model. If an origami artist does not possess
that skill, I feel what is being created is more the result of luck, rather
than art. This skill is not unique to the creators of complex models;
creators of simpler models have exibited this skill as well by being able
to consistentenlly come up with elegantly proportioned models. The ability
to have this level of control over the paper comes from cultivating
technique. I hope this little discourse will help stop people trivialising
technique in origami, as well as art in general.

Marc





Return-path: <origami-l@nstn.ca>
Date: Tue, 23 Apr 1996 20:25:12 -0300 (ADT)
From: CThackeray@aol.com
Subject: Re: Origami CD-ROMs, OUSA collections

I like the idea. I usually buy a book for one or two models. An unlockable CD
would allow me to buy just the ones I want.





Return-path: <origami-l@nstn.ca>
Date: Tue, 23 Apr 1996 20:32:35 -0300 (ADT)
From: "Kimball O. Pomeroy, Ph.D." <koper@getnet.com>
Subject: Sink folds

Can anyone give me some ideas on the best way to do sink folds. Do you
try to just push them in (mine end up creasing the paper in the wrong
places), do you partially unfold the paper, or is it best to unfold the
model all the way?
--
Kimball O. Pomeroy, Ph.D.
Laboratory Director
Samaritan Institute of Reproductive Medicine

"You can't change the direction of the wind,
 but you can change the set of your sails."

koper@getnet.com





Return-path: <origami-l@nstn.ca>
Date: Tue, 23 Apr 1996 22:05:19 -0300 (ADT)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: Origami CD-ROMs, OUSA collections

Sheila Davis wrote:

+       True.  But doesn't it seem a bit round about to put the diagrams
+       on an electronic medium only to obtain a hard copy, when
+       one could start with a hard copy (book) in the first place?

I was hoping this particular point would come up!  There is validity to the
point of only wanting to buy the models one wants, rather than having to buy
a whole book to get just a few desirable models.  To date, Alan Kay's
"Dynabook" is still a dream.  Palmtops, Newtons, PDAs, etc. are not
Dynabooks, not yet.  On the other hand, book-on-demand printing is already
possible.  The missing, and undoubtably temporary, link is to be able to
request the printing of your own "custom" book of your favorite/most-desired
models.  There is another point, which is that international shipping is
neither quick nor cheap, and certainly not both!  Having to get stacks of
inky paper over an ocean can be frustrating.  With electronic transmission,
delivery time _and_ expense are reduced!  How much better it would be to
have your own custom book printed "in country" and in your hands within a
few days!  As with all things, esp. technology, solutions are compromises.
Even the "book on CD" is but a compromise. ;-)

+       I don't begrudge those who like their electronic toys having
+       books *also* available on CD-ROM.  I'm just bucking the trend
+       to that advocates electronic publishing as the "most desirable" or
+       as the "wave of the future".

Agreed.  It reminds me a bit of a line from an Episode of "Yes, Minister" in
which Humphrey (I think I got the name right) remarks on his Minister's
behaviour: "Something needs to be done.  This is something.  Therefore it
needs to be done." ;-)  Only in this case it is more like:  "Hey, we can put
these digrams on CD, just like Adobe's Font-on-Forking-over-the-bucks.  Yeah,
that solves the I-bought-a-book-just-for-three-models problem!  Therefore it
is the right solution!"  Well, it struck me as amazingly and amusingly
resonant anways.

Just as in the "simple" vs. "complex" debate, there is room for multiple forms
of "publishing" origami instruction (diagramming being a means, not an end!).
Perhaps not quite the same as in the "simple" vs. "complex" debate, the
proponets of "books on CD" have more of a tendency to lose track of the
downside of their solution.  In part because it is easier to ignore downsides
when the solution is a proposal and not an actual "disk in the hand". ;-)
Which is why I and others are pointing out the downsides.  Not to minimize the
utility and pluses of CD, but to provide balance and counter point to the
starried eyed.

-Doug





Return-path: <origami-l@nstn.ca>
Date: Tue, 23 Apr 1996 22:24:24 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: Sink folds

>Can anyone give me some ideas on the best way to do sink folds. Do you
>try to just push them in (mine end up creasing the paper in the wrong
>places), do you partially unfold the paper, or is it best to unfold the
>model all the way?

        It depends:  if you are doing open sinks, then yes, it is easiest
(and neatest) to open the paper and remake the necessary creases so that a
point goes the other way.  For closed sinks, there is no way around it:
you simply have to push the paper in.  Most closed sinks can be done
neatly, though, if you work the paper out inside after the initial icky
mess is pushed in (a blunt tool of some kind may help you do this).  BTW,
in most diagrams where they don't specify "open" or "closed" sink, it's an
open sink.  Mostly, but not always!  ;-)

Jerry D. Harris                       (214) 768-2750
Dept. of Geological Sciences          FAX:  (214) 768-2701
Southern Methodist University         jdharris@post.smu.edu
Box 750395                            (CompuServe:  73132,3372)
Dallas  TX  75275-0395

      \\             _^
      \\\         __/   >     "...having...seen those Grounds, out
       \ \\     _/       >    of which are digg'd up _shells_, and
   /    \ \\  _/         >    such like other things cast out by the
 _//_----\ \-/          >     Sea, and that everywhere we might es-
/   ( )    o           >      timate the number of times...the Sea
v--_                 >        had troubled here and there..."
    )     \ \   \_ >
^--/       \\  /                         - Nicolaus Steno, 1671





Return-path: <origami-l@nstn.ca>
Date: Tue, 23 Apr 1996 22:52:27 -0300 (ADT)
From: slider@ims.mariposa.ca.us (Pat Slider)
Subject: Re: Origami CD-ROMs, OUSA collections

Just want to point out that, while I love my books and don't really like to
have to fold with my computer as company, an origami CD has potentials that
a book can never have. An example is the Kittyhawk paper airplane CD that
animates folds....These animations can be a lot easier to understand than a
diagram in a book.

CDs these days can also include actual video clips....Now wouldln't be nice
if you could play a little movie when you hit one of those difficult steps?
See Robert Lang do that sink himself? Maybe even from multiple viewpoints?

Why not enjoy the best of all mediums? Although, I must say that I don't
think the world is ready for an Origami book on tape...but then maybe it
would be good for traffic jams :->.

By the way, surely "pay by the model" was a joke? I often never know
whether or not I like a model until I try it....

pat slider





Return-path: <origami-l@nstn.ca>
Date: Tue, 23 Apr 1996 23:02:11 -0300 (ADT)
From: terryh@lamg.com (Terry Hall)
Subject: Re: origami equal to performing music

Hi Pat,

I too have often compared music to origami, but not as extensively as you
have in your email. Would you give permission to let me publish your
comparisons in the West Coast Origami Newsletter, please?

Terry Hall
terryh@lamg.com





Return-path: <origami-l@nstn.ca>
Date: Tue, 23 Apr 1996 23:46:06 -0300 (ADT)
From: Steve Arlow <yorick@conch.aa.msen.com>
Subject: Re: Re: Origami CD-ROMs, OUSA collections

Peggy Van Norman writes:
>Steve Arlow <yorick@CONCH.AA.MSEN.COM> wrote:
>
>> You do a much better job of "playing the Luddite" than
>
>Gee, thanks.
>
>> Sheila Davis does!  ;)  Since when is origami just books?

(sigh)  One smiley is never enough.  I'll learn that some day.

>> What about [...other origami examples...]
>
>I did not propose ignoring other methods of publishing, and I'm
>not afraid of technology - I only suggested that people think
>about ease of access.  I was drawn to origami as a shy child,
>through a pair of books which were given to me, and I would
>never have gotten involved through the other methods you
>describe.

You wrote that you feared origami becoming a high-tech,
expensive, elitist concept, that would leave poor people,
children, and starving students out in the cold...  *That's*
what I found so (bathetically) funny, because it seemed so
completely overblown.

Even if CD-ROMs someday replace books altogether (something
I *don't* see happening in the forseeable future, or at all
for that matter), it would only happen when the cost of the
equipment dropped to the "Walkman" level.  And if that day
ever comes, shy children will be getting CD-ROM for gifts
instead of books.

(I will address the issue of older formats becoming
obsolete in another post)

>describe.  I know it's only one person's experience, but it
>makes me think about each person's situation and whatever
>limitations they might be experiencing.  I think every idea with
>great potential also has its downside, usually equally great,
>and it's important to look out for what might be lost in the shuffle.

I understand, and I agree.

  -- Steve Arlow

--
 "Your dog stuffs his tongue up your nose.   |  Steve Arlow, Yorick Software
  It's a good omen.  You press on."          |  39336 Polo Club Dr. #103,
     -- Bernie E. Mireault, in _The JAM..._  |  Farmington Hills, MI  48335
            (.sig contest has been won)      |  http://www.msen.com/~yorick





Return-path: <origami-l@nstn.ca>
Date: Tue, 23 Apr 1996 23:55:39 -0300 (ADT)
From: unhinged@yrkpa.kias.com
Subject: Re: Origami CD-ROMs, OUSA collections

Why not sell them door to door?  The salesman could bring a box of
finished figures for the individual to assess, then the person could
select a few, and the salesman could pop open a laptop and copy the
diagrams to a floppy.

"OrigamiGram!"





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 00:05:26 -0300 (ADT)
From: Bren Riesinger <fascfold@fascinating-folds.com>
Subject: Re: WEB Pages

John -

This is what the "Origami Classified" page is supposed to do - at least for
Origami.  If you've got a wish list, please email me and I'll be happy to
add you to the page.  I just added it to the website, and it's still very
small - would like to be able to help everyone find out-or-print Origami books.

Thanks -
Bren
>
>
> Perhaps someone could set aside a WEB page for people looking for books
> and for people who found books. The page should permit interactive
> updating and searching.
>
> John Andrisan, departing soon...
> IBMMAIL: USMCDQND   Internet: a004773%lbvm1.profs@lbgwy.mdc.com
>
>
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - -
Fascinating Folds
Rediscover the ancient craft of Origami, Japanese paper-folding, with
our extensive line of Origami papers and books.
http://www.fascinating-folds.com/paper





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 00:12:52 -0300 (ADT)
From: Bren Riesinger <fascfold@fascinating-folds.com>
Subject: Re: Origami for the connoisseur

OK, I have an idea --  but I'll need help.

1.  If memory serves me (sigh) the Publisher was Putnam.  Will someone
please look in their copy and confirm this.

2.  Please email me at by business address (so it will be on the header
information) your requests that this book be reprinted.  I will use these
"consumer requests", contact the publisher again, and see if I can lend any
support.

Business email is:  bren@fascinating-folds.com

P.S.  The more emails the better!

Thanks -
Bren
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - -
Fascinating Folds
Rediscover the ancient craft of Origami, Japanese paper-folding, with
our extensive line of Origami papers and books.
http://www.fascinating-folds.com/paper





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 00:16:45 -0300 (ADT)
From: Steve Arlow <yorick@conch.aa.msen.com>
Subject: Re: Origami CD-ROMs, OUSA collections

Sheila Davis <sew@hpfisew.fc.hp.com> writes:
> [ Steve Arlow <yorick@msen.com> wrote: ]
>> First, a general point:  Everyone seems to be forgetting that
>> you could print hardcopy of the models.  If you are buying
>> them on a per-model basis, why not print the ones you want
>> hardcopy of on a per-model basis.  We are only talking about
>> a few pages here, and everyone has a laser printer or at least
>> a bubble-jet printer these days, right?
>>
>       True.  But doesn't it seem a bit round about to put the diagrams
>       on an electronic medium only to obtain a hard copy, when
>       one could start with a hard copy (book) in the first place?

Um, no.  <puzzled look>  When I order a book from
the UK, for example, I have to wait until a time of
day when their business hours overlap my waking
hours, place a very expensive phone call, then wait
days or weeks while the book makes its way across
the Atlantic Ocean.  Compare this cost and delay
with that of making a local phone call, downloading
100 KB or so, and then waiting for the printer.  :)

Also, there is the matter of being able to lay the
diagrams out flat while working on them, though
someone else already made that point in another post.

Finally, when I travel, I have to pick which four or
five origami books to take with me.  How much nicer it
would be to have the whole library with me instead,
and not have all that extra weight to lug around!

>> That is another reason not to use CD-ROM, but electronic
>> delivery instead.  Even if the hardware becomes obsolete,
>> the format is not likely to.
>
>       It would be nice to believe this, but I'm skeptical.
>       How many readers/printers now fully support troff or
>       nroff, the "standard" from a decade ago?  Working in
>       the computer industry, I see cutting edge products
>       become utterly unusuable in the space of 20 years.  This
>       is a *long* time for computers.  It's silly to compare
>       this to the longevity of books.

Yes, but no new format ever gets adopted without there
being some way to make material in its predecessor
readily available in it.  Compact Discs could never have
replaced phonograph records if it had not been possible
to make a large body of extant recordings available in
the new format.  Likewise, Acrobat Distiller allows the
conversion of old PostScript files into the new format,
and troff produces DVI files which can be converted to
PostScript, etc..  Whatever comes along to replace one
standard will always have to be able to convert the
material in it to the new standard.  This is in part why
Laser Discs have never been able to replace VHS, despite
how similar to their musical counterparts they appear.

>       But this is getting rather off topic.

Yes, I suppose so.

  -- Steve Arlow

--
 "Your dog stuffs his tongue up your nose.   |  Steve Arlow, Yorick Software
  It's a good omen.  You press on."          |  39336 Polo Club Dr. #103,
     -- Bernie E. Mireault, in _The JAM..._  |  Farmington Hills, MI  48335
            (.sig contest has been won)      |  http://www.msen.com/~yorick





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 00:20:25 -0300 (ADT)
From: Eric Andersen <Eric_Andersen@brown.edu>
Subject: Re: Sink folds

At 08:32 PM 4/23/96 -0300, you wrote:
>Can anyone give me some ideas on the best way to do sink folds. Do you
>try to just push them in (mine end up creasing the paper in the wrong
>places), do you partially unfold the paper, or is it best to unfold the
>model all the way?

        Just to add to what Jerry said, there are some special techniques
for doing closed sinks, and I find them helpful when doing Lang and Montroll
models:

1) If the point to be sunk is a fairly wide angle (greater than 90 degrees)
and there is some room in the surrounding paper, you can valley fold the
flap and then gently pull the extra paper out from underneath the flap. If
done carefully enough, this method can often be very neat.

2) If the point to be sunk is a narrow point (between 60 to 90 degrees, I
don't think I've ever closed sunk a point less than maybe 45 degrees), you
can crease along the line to be sunk and then fold each of the sides of the
point to that line (or you can rabbit ear, if it is easier). You should now
have a point that is much less sharp than your original point. For example,
a 90 degree point becomes 135 degree point).
        Now you can sink this wide-angled point and then push in the
rabbit-eared or valley-folded parts. I find that this is the only way I am
able to neatly completely some closed sinks.

Did this make any sense at all? Do any of you have other closed sink
techniques??? Maybe someone could clarify my methods, I don't think I
explained them very well...

-Eric  :-P

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
      A                   A
     /|\            \    /|\
    / | \            \\ / | \ /7\            /-\.
   /__|__\            \/__|__\/            a miniature
   \  |  /             \_/ \_/               Kawahata
    \ | /             Flapping                stegosaurus
     \|/                bird
      V                       Eric Andersen   origami@brown.edu
  Bird Base      http://techhouse.brown.edu/~tech/eric/origami.html
     Robert Lang models online! Coming soon: Origami Fantasy Page!





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 00:30:41 -0300 (ADT)
From: Steve Arlow <yorick@conch.aa.msen.com>
Subject: Re: useless books...

>side comment about the cd-roms with models including your credit card number.
>you would have to lock the figures or anything associated with the figures up.
>Could you imagine someone stealing your pc and distributing models or files out
>on the internet?!

Hmm.  Well, I guess that the "embedded credit card info" was
probably a bad addition to a good idea.  I already gave one
scenario under which one would want to strip that out, and it
seems better all the time to not bother putting it in in the
first place.  I just had sudden thoughts of poetic justice.  :)

But the problem you raise is valid even without the CC into.
Would "someone stole my PC and posted the files" be an
adequate defense in a lawsuit over copyright violation?  If
so, it undermines the whole premise.  Rather, the contract
should require both indemnification and due diligence on the
part of the buyer.  That way, if the above scenario takes
place, the author still recoups some of his loss from the
buyer's insurance company.

Of course, I have been subscribing to a digitally-distributed
daily publication since Jan. 1, with I don't know how many
subscribers at $60.00/yr.  So far, I have not seen any of this
material (which is not dated) posted to the net in violation
of contract, even though anyone could do so with an anonymous
remailer.  The honor system seems to be working so far, since
as far as I know, no stego-marking is being employed.  (At the
end of the year, the subscribers will get the entire year
archived on CD-ROM.)

  -- Steve Arlow

--
 "Your dog stuffs his tongue up your nose.   |  Steve Arlow, Yorick Software
  It's a good omen.  You press on."          |  39336 Polo Club Dr. #103,
     -- Bernie E. Mireault, in _The JAM..._  |  Farmington Hills, MI  48335
            (.sig contest has been won)      |  http://www.msen.com/~yorick





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 00:51:44 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: Origami CD-ROMs, OUSA collections

Shelia commented on
<<20 years obsolesence of computer formats/hardware/
media>>

Indeed: the shelf-life/useful life of much of the current
media isn't even well known. (Try reading a tape 3-5 yrs
old, even if you've got the hardware and the software.)

5.25 floppy drives are getting scarce. So are harddrives
in sizes below 500MB. A government agency we deal with
microfilmed all their oldest drawings 15 years ago and
dumped the originals. Trouble is, the resolution of the
enlarged microfiche is not good enough to read the fine
print, and the media isn't in the best of shape either...
And did you know that thermal faxes/copies, mimeographs,
carbon copies deteriorate rapidly depending on storage?
And even xerographic copies and laser printing isn't for
ever either: the toner-binder breaks down and the toner
(print) starts to fall off after about 20-30 years.

And let me show you our stack of 360K floppies and tapes
from the HP85 computer we retired 3 yrs ago. :-)

On the other hand, we've got perfectly good books, maps &
drawings circa 1870-1900 ...

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 01:08:30 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Fold Hierarchy

Hello All -

        The recent subject of sink folds brought to my mind some memories
of my former Denver-based group, the FROG (Front Range Origami Guild).  The
group consisted mostly of older Japanese ladies (who insisted on
embarassing me like crazy by calling me "sensei!!!") who were _not_
advanced folders but who were always eager to try to fold some of the more
complex things I'd bring in for show and tell.  While I was thankfully
almost always able to get them through the model, some types of folds
seemed to vex them more than others.  They especially seemed to dread any
time I would say either "sink" or "rabbit ear."  (And God help me if I ever
said "Closed sink this double rabbit ear.")  No one has, to my knowledge,
applied a classification system to fold types (not that I'm saying we need
one), but in my experience, things kinda work out that way.  For example,
no one has problems with mountain and valley folds (doing them, not reading
them off diagrams!).  Inside reverse folds don't seem to be too difficult
to grasp after watching them a time or two.  Most petal folds are a bit
harder, but seeing as how many people can make cranes, they can't be that
hard.  Rabbit ears are next up the difficulty ladder, along with stretches
(regular and Elias).  Open sinks are easier than most closed sinks, but
both seem to be harder to grasp than any of the other folds thus far, and
so rank as more difficult moves.  Harder still would be some of the rarer
moves, like box pleating and twist folds, and yet harder would be those
evil "unsinks" that Mr. Lang has been using in lots of his models of late
(e.g. the "Atlantic Purple Sea Urchin").

        Anyway, I was just wondering if anyone else who has observed or
experienced folding in a progressive manner has noticed that, as one moves
from beginner to advanced folder, that they master certain moves quicker
than others, and if it was anything like the one I outlined above.

Jerry D. Harris                       (214) 768-2750
Dept. of Geological Sciences          FAX:  (214) 768-2701
Southern Methodist University         jdharris@post.smu.edu
Box 750395                            (CompuServe:  73132,3372)
Dallas  TX  75275-0395

      \\             _^
      \\\         __/   >     "...having...seen those Grounds, out
       \ \\     _/       >    of which are digg'd up _shells_, and
   /    \ \\  _/         >    such like other things cast out by the
 _//_----\ \-/          >     Sea, and that everywhere we might es-
/   ( )    o           >      timate the number of times...the Sea
v--_                 >        had troubled here and there..."
    )     \ \   \_ >
^--/       \\  /                         - Nicolaus Steno, 1671





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 01:18:22 -0300 (ADT)
From: Steve Arlow <yorick@conch.aa.msen.com>
Subject: Re: Origami CD-ROMs, OUSA collections

Valerie Vann <75070.304@compuserve.com> writes:
>Shelia commented on
><<20 years obsolesence of computer formats/hardware/
>media>>
>
>Indeed: the shelf-life/useful life of much of the current
>media isn't even well known. (Try reading a tape 3-5 yrs
>old, even if you've got the hardware and the software.)

That is why I want to eliminate the medium from the
equation -- the medium is whatever the recipient wants
to use.

>  [...]
>And let me show you our stack of 360K floppies and tapes
>from the HP85 computer we retired 3 yrs ago. :-)

Sure, but I'll bet that you can show me whatever
important data was stored on them before you retired
that computer.

  -- Steve Arlow

--
 "Your dog stuffs his tongue up your nose.   |  Steve Arlow, Yorick Software
  It's a good omen.  You press on."          |  39336 Polo Club Dr. #103,
     -- Bernie E. Mireault, in _The JAM..._  |  Farmington Hills, MI  48335
            (.sig contest has been won)      |  http://www.msen.com/~yorick





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 01:37:42 -0300 (ADT)
From: Eric Andersen <Eric_Andersen@brown.edu>
Subject: Re: Origami for the connoisseur

At 12:13 AM 4/24/96 -0300, you wrote:
>OK, I have an idea --  but I'll need help.
>
>1.  If memory serves me (sigh) the Publisher was Putnam.  Will someone
>please look in their copy and confirm this.
>

Origami for the Connoisseur (by Kasahara and Takahama) was published by
Japan Publications, Inc. (in Tokyo and New York). My book is copyright 1987
and says that the original Japanese-language edition was published by Sanrio
Co., Ltd., Tokyo in 1985.

There are also a number of distributors listed, including Harper & Row
Publishers. Maybe Putnam published a later version of the book? I got my
copy about six years ago and it was given to me by a friend who got it as a
gift from her boyfriend, who got it from another friend, and so forth.
Amazingly enough, it's still looks almost new!

-Eric  :-P

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
      A                   A
     /|\            \    /|\
    / | \            \\ / | \ /7\            /-\.
   /__|__\            \/__|__\/            a miniature
   \  |  /             \_/ \_/               Kawahata
    \ | /             Flapping                stegosaurus
     \|/                bird
      V                       Eric Andersen   origami@brown.edu
  Bird Base      http://techhouse.brown.edu/~tech/eric/origami.html
     Robert Lang models online! Coming soon: Origami Fantasy Page!





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 02:17:52 -0300 (ADT)
From: Eric Andersen <Eric_Andersen@brown.edu>
Subject: Re: John's and Paul's comments about origami elegance

At 03:58 PM 4/23/96 -0300, John Smith (jon.pure@paston.co.uk) wrote:
..
>an article on the views and ideas of my good friend Paul Jackson who has done
>more than anyone else to awaken folders to the sheer beauty of folds in paper.
>
>Asked about technical folding (=complex) paul says;-
>
>"It's awesome stuff, some of it, but it's not for me. It's so
>uncreative--you take a base or principle and milk it for all it's worth.

    I feel that some of the "awesome stuff" is extremely creative! However I
don't think creativity has to do with the compexity at all. There can be
both simple models and complex models which are equally creative in their
design and folding sequence.

>It's folding by numbers. It's model making, not paper folding, and it's
>rather banal. It's very clever, but if you accept it as a substitute for
>something beautiful, i find that unacceptable....."

        Model making isn't paperfolding??? Now I often fold without knowing
what I'm folding (I call it origami "doodling"), and I guess this wouldn't
be called model making per se, but I consider everything else model making,
whether it be simple or complex. I completely agree with Joseph Wu, who said
that "there is beauty in all types of paperfolding, and it is where we
choose to find it." If complex models are not for you, that's fine, but I
don't think it's right to question their value as art. I think
Michelangelo's artwork has just as much artistic value as that of someone
like Mondrian, for instance.

>I personally long for the day when we admire the sheer beauty of a great
>model, which has been folded superbly in an elegant sequence of moves.

     Don't we all long for this? It's just that the elegance of a folding
sequence is very subjective...what is superb? What is elegant?

>We are in danger of saying how incredible, this model has got 89 points from a
>square and looks like a stag or beetle, therefore it is something praisworthy.

        I find most finished complex models praiseworthy because they took a
great deal of effort on the part of the folder. If I spend two hours making
a Lang model and two minutes making a crane, I would be disappointed if
someone I showed them to was more impressed by the crane...

>The pursuit of points as a sort of token realism seems to me absurd. Is
>anyone else interested in Paper Folding as an art in it's own right?. A
>total art of elegant performance and a satisfying aesthetic outcome.

        Each creator has his or her own ideals. I think anyone reading this
is interested in paperfolding as an art. Each painter, sculptor, composer,
author, chef, programmer (or any other analogies you can think of) has his
or her own aesthetics. Our ability to grow comes in learning to appreciate
all of these different aesthetics.

-Eric  :-P

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
      A                   A
     /|\            \    /|\
    / | \            \\ / | \ /7\            /-\.
   /__|__\            \/__|__\/            a miniature
   \  |  /             \_/ \_/               Kawahata
    \ | /             Flapping                stegosaurus
     \|/                bird
      V                       Eric Andersen   origami@brown.edu
  Bird Base      http://techhouse.brown.edu/~tech/eric/origami.html
     Robert Lang models online! Coming soon: Origami Fantasy Page!





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 03:25:18 -0300 (ADT)
From: anneakin@reach.com (Anne Eakin -- Third Millennium - New York)
Subject: Re: bookweights and

Pat-

>From a Levenger catalogue fan, you're right, I have their wire
book stand, and while it was perfect for my college books, tall
thin books tend to make it collapse.  But here's a pitch for those
cookbook stands.  My mother, a wonderful gourmet cook, has had one
for years and it works very well.  It never occured to me to use
one for my origami books!  They are adjustable and very solid.

Anne

*======== Regarding ========*

Date: Tue, 23 Apr 96 02:39:40 EDT

>"breaking back of book"
>
>Shudder. Yes, even tho I'm
>a book nut, I do this occasionally. One thing to be
>said for Dover, they've got good bindings for paper





Return-path: <origami-l@nstn.CA>
Date: Wed, 24 Apr 1996 10:49:14 -0300 (ADT)
From: Brett <BrettAndJill@OIA.NET>
Subject: Re: Fold Hierarchy

Well,

I don't have any teaching experience other than one on one.  But, my own
folding levels have gone up quite a bit in the last year.  When I fold for
enjoyment I would read the diagrams before I started a model and avoided
anything with even a permutation of the word sink in it.

But, also in the background (regardless if I knew the model was beyond my
skill level) I would keep a "pet" ridiculously complex model on the
backburner.  I did this to learn the mechanics of the more difficult moves.

Recently my brother-in-law (age 12) became interested in Origami, I stepped
him through all of the simple and low I models and gave him a few books.  I
told him  which models he would have no trouble doing on his own.  And, I
also mentioned my habit of trying the complex models even though I knew
ahead of time that I would not finish.  He seems to do very well.  One thing
I did notice is that when I went back after a few weeks, he did at least
have the terminology and the theory down.  He knew what a rabbit ear was and
how to start it, same with a sink.

It is much easier to teach when you say rabbit-ear and the persons reply is
not HuH?  Maybe a technique class would be good where you show complex moves
on a simple base, (I ususally use a waterbomb base from 3" paper for the
narrower points) to illustrate a difficult move.

Brett
BrettAndJill@OIA.Net





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 11:07:05 -0300 (ADT)
From: Lisa_Hodsdon@hmco.com
Subject: Re: Origami CD-ROMs, OUSA collections

Valerie Vann commented:

<<On the other hand, we've got perfectly good books, maps &
drawings circa 1870-1900 ...>>

True, though some of those 1900--1950 books have turned
into dust on the shelf. A while ago (4 months?) NPR reported
that their archive of recordings is turning into dust as well.
Acid free paper certainly seems to be the most permanent recording
device (unless you are considering returning to stone tablets!)

Steve Arlow comments (in response to Valerie Vann):
<<>Indeed: the shelf-life/useful life of much of the current
>media isn't even well known.

That is why I want to eliminate the medium from the equation --
the medium is whatever the recipient wants to use.>>

Remember that this information *is* stored on some
form of media! Electronic files do not exist in the
ether! In 100 years, when my granddaughter is doing
research on the art of origami in the late 1900's,
she will want to refer to the bound versions of _OFTC_
and _Folding the Universe_ because they will still exist.

My own comment:
I own many origami books from which I have folded 0-5
models. I can't help myself; I simply have a need to buy
books. I doubt I will ever buy diagrams for a single model
electronically, because I have neither found the need
to fold a specific model nor felt the need to own a CD-ROM.
Different strokes for different folks . . .

Lisa (gotta go edit!)
Lisa_Hodsdon@hmco.com





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 12:28:26 -0300 (ADT)
From: jan_polish@colpal.com
Subject: Yes, We Will Have a Convention!

     Good news .... the forms for Origami USA's Convention '96 (including
     Techniques Day on Monday), have been completed (whew!), and are being
     stuffed into envelopes as we speak. We will mail them from the Main
     Post Office this Sunday. Yes ... snail mail for everyone!

     Any questions, suggestions, problems ... I'm at jan_polish@colpal.com.
     See you in New York June 28-30 and July 1! .... Regards, Jan





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 12:41:40 -0300 (ADT)
From: Mark Morden <marmonk@eskimo.com>
Subject: Re: origami equal to performing music

At 03:58 PM 4/23/96 -0300, John Smith wrote:
>How refreshing to talk about the aesthetic side of paper-folding.

>I personally long for the day when we admire the sheer beauty of a great
>model, which has been folded superbly in an elegant sequence of moves. We
>are in danger of saying how incredible, this model has got 89 points from a
>square and looks like a stag or beetle, therefore it is something praisworthy.
>
I have recently been working on the Pegasus from Origami Fantasy. (I don't
know the author's name.) It is a complex model but the folding sequence
flows so nicely.  Each step seems to set-up the next ones so that there are
no paper gymnastics needed to make it work.  Elegant was the word that
popped into my head as I went through the process.  I think Lang's musicians
are also very well designed.

Mark

Mark Morden == marmonk@mail.eskimo.com
--------------------------------------------------------
I believe in Christianity as I belive in the rising sun;
not because I see it but by it I see all else.
                                           C.S. Lewis





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 12:42:01 -0300 (ADT)
From: Mark Morden <marmonk@eskimo.com>
Subject: Re: origami equal to performing music

At 12:09 AM 4/23/96 -0300, Marc K. wrote:

>I would compare really complex models to classical, for it's reliance on
>having to follow heavily and intricately landmarked procedures. Conversely,
>jazz would be simmilar in style to simpler models, for ther depandance on
>folder improvisation. I always thought geometric models would be akin to
>techo or dance music, with it's strong repetitive rhythms. To be specific,
>folding a modular would be like having to listen to Phillip Glass. Avant
>gard might be simmilar to some of Paul Jackson's one-fold excrusions.
>Jeremy Shafer's bizzare work might be well compared to the eqally bizzare
>compositions of Frank Zappa.

This can be a fun game to ponder while one is folding away.
I tend to think of complex folds being akin to a concerto.
Classic, "simple" folds remind me of folk music.
Money folds make me think of the Blues. Not because the lack of money can
cause the Blues, but it is a limited, unique structure in which to work.
[3:7 and unique paper vs. 3-chords and 12-bars (or 8 or 16)]
I too thought of Jeremy's Shafer and Frank Zappa together for their refined
technique and off-beat subject matter.

Does anybody have anymore comparisons to throw out into the mix?

Mark

Mark Morden == marmonk@mail.eskimo.com
--------------------------------------------------------
I believe in Christianity as I belive in the rising sun;
not because I see it but by it I see all else.
                                           C.S. Lewis





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 13:53:59 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: origami equal to performing music

Marc and Mark wrote:

   >I would compare really complex models to classical, for it's reliance on
   >having to follow heavily and intricately landmarked procedures. Conversely,
   >jazz would be simmilar in style to simpler models, for ther depandance on
   >folder improvisation. I always thought geometric models would be akin to
   >techo or dance music, with it's strong repetitive rhythms. To be specific,
   >folding a modular would be like having to listen to Phillip Glass. Avant
   >gard might be simmilar to some of Paul Jackson's one-fold excrusions.
   >Jeremy Shafer's bizzare work might be well compared to the eqally bizzare
   >compositions of Frank Zappa.

   This can be a fun game to ponder while one is folding away.
   I tend to think of complex folds being akin to a concerto.
   Classic, "simple" folds remind me of folk music.
   Money folds make me think of the Blues. Not because the lack of money can
   cause the Blues, but it is a limited, unique structure in which to work.
   [3:7 and unique paper vs. 3-chords and 12-bars (or 8 or 16)]
   I too thought of Jeremy's Shafer and Frank Zappa together for their refined
   technique and off-beat subject matter.

   Does anybody have anymore comparisons to throw out into the mix?

Sure.  Folding business cards (or most modulars) is like modern
"process" music -- Philip Glass or Steve Reich.

        -- jeannine mosely





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 14:29:20 -0300 (ADT)
From: Sheila Davis <sew@hpfisew.fc.hp.com>
Subject: Re: Origami CD-ROMs, OUSA collections

> Yes, but no new format ever gets adopted without there
> being some way to make material in its predecessor
> readily available in it.  Compact Discs could never have
> replaced phonograph records if it had not been possible
> to make a large body of extant recordings available in
> the new format.  Likewise, Acrobat Distiller allows the
> conversion of old PostScript files into the new format,
> and troff produces DVI files which can be converted to
> PostScript, etc..  Whatever comes along to replace one
> standard will always have to be able to convert the
> material in it to the new standard.  This is in part why
> Laser Discs have never been able to replace VHS, despite
> how similar to their musical counterparts they appear.
>
        ?  I've lost your analogy here.  There's no way I, as a
        user, can transfer my LP collection to CD.  The only way to
        listen to my old music after the last of my turn tables
        break is to buy replacement music in CDs (which is, BTW,
        exactly my point about obsolete electronic mediums as
        a method of publishing).  How is this relationship between
        CD's and LP's different from Laser Discs and VHS tapes ?

Regards,

  Sheila Davis        Hewlett-Packard IC Business Division
 sew@hpfisew.fc.hp.com          Fort Collins, Colorado





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 14:33:28 -0300 (ADT)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: origami equal to performing music

Having thoughts on this which I am struggling unsuccessfully to turn into
coherent comments, I am just going to toss in a few off the cuff...  All these
are my own personal opinions, of course. ;-)

Classical music and traditional Japanese origami are highly related.
The more recent "mathematical" folding and the "no cuts" rule remind me more
of Philip Glass and co.  Some recent models remind me of John Cage.

Jazz is less easy to map.  It has structure, but not always what you think
or anticipate.  For example, in Montroll's Eagle (book at home, I don't
recall which one), as you are working on it, what you think is going to be
the head becomes the tail instead, and visa versa!  That kind of "structure"
strikes me as Jazz, though Jazz folding is certainly more than just that.

Unit/Modular origami is very meditative and reminds me of some kinds of
Space/Minimilist/New Age music, or recordings of natural sounds (esp. rain
and thunderstorms).

Particular creator's "repetiore" of folding sequences/maneuvers might
sometimes fall into those categories, but I tend to think of them instead as
individual "signatures."

-Doug





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 15:10:15 -0300 (ADT)
From: contract@pipeline.com (Contractors Exchange)
Subject: Re: origami equal to performing music

On Apr 24, 1996 12:42:01, 'Mark Morden <marmonk@eskimo.com>' wrote:

>Does anybody have anymore comparisons to throw out into the mix?

Many of David Brill's models remind me of the compositions of Charles
Mingus. Both are thoroughly composed, yet provide a provision for
improvisation within each section of the model/composition.

Marc





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 15:18:43 -0300 (ADT)
From: Brett <BrettAndJill@OIA.Net>
Subject: Re: Origami CD-ROMs, OUSA collections

At 01:07 PM 4/24/96 -0500, you wrote:
>       ?  I've lost your analogy here.  There's no way I, as a
>       user, can transfer my LP collection to CD.  The only way to
>       listen to my old music after the last of my turn tables
>       break is to buy replacement music in CDs (which is, BTW,
>       exactly my point about obsolete electronic mediums as
>       a method of publishing).  How is this relationship between
>       CD's and LP's different from Laser Discs and VHS tapes ?
>
>  Sheila Davis        Hewlett-Packard IC Business Division

I though that CD-R (cd recordables) could master a music cd.

Not sure on the procedures though or the software.

Brett
BrettAndJill@OIA.Net





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 16:02:34 -0300 (ADT)
From: Brett <BrettAndJill@OIA.Net>
Subject: Origami.db

I did a web search on ORIGAMI, and found a file called Origami.db.

It Seems to be a flat file text origami book database.  Nice.  I imported it
into MS Access and am using it to keep track of my own books and library
searches.

Only the information seems to be about 4 years behind.  Does anyone know if
anyone updates this file ?

Also anyone interested in a copy of the Access database Email me at the
address below.

Brett
BrettAndJill@OIA.Net





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 16:17:21 -0300 (ADT)
From: rmoes@blue.weeg.uiowa.edu (Rob Moes)
Subject: Re: sink folds

Eric Andersen writes:

2) If the point to be sunk is a narrow point (between 60 to 90 degrees, I
don't think I've ever closed sunk a point less than maybe 45 degrees), you
can crease along the line to be sunk and then fold each of the sides of the
point to that line (or you can rabbit ear, if it is easier). You should now
have a point that is much less sharp than your original point. For example,
a 90 degree point becomes 135 degree point).

Yes, I've done this same trick myself without always realizing it!

Jennifer Campbell and I were just talking the other day about that rather
difficult hexagonally-based sink (a derived point of 30 degrees in this
case) in Ted Norminton's daffodil.  Fortunately here the model can be
opened up and creases made circumferentially to help invert the point.

But there is one additional trick that has been very helpful to me.  The
pattern of alternating mountain and valley folds that converge on that
central point has to be reversed beyond the sink line.  (Change mountains
to valleys and valleys to mountains.)  I sometimes use a blunt instrument
like an worn-out ballpoint pen to help reverse the folds, particularly with
small scale models or where I'm using foil or foil-backed paper.

Other examples where this would be helpful is the treacherous triple
octagonal sink for Kawasaki's sea-snail shell or another notorious triple
sink done off squares for Max Hulme's spider and also fly.

--Rob, who loves vanquishing evil sinks!





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 16:24:09 -0300 (ADT)
From: Eric Andersen <Eric_Andersen@brown.edu>
Subject: Re: Origami CD-ROMs, OUSA collections

At 02:29 PM 4/24/96 -0300, you wrote:
>> Yes, but no new format ever gets adopted without there being some way to
make >> material in its predecessor readily available in it.  Compact Discs
could never have
>> replaced phonograph records if it had not been possible to make a large
body of
>> extant recordings available in the new format.  Likewise, Acrobat
Distiller allows
>> the conversion of old PostScript files into the new format, and troff
produces DVI
>> files which can be converted to PostScript, etc..  Whatever comes along
to replace
>> one standard will always have to be able to convert the material in it to
the new >> standard.  This is in part why Laser Discs have never been able
to replace VHS, >> despite how similar to their musical counterparts they
appear.
>>
>       ?  I've lost your analogy here.  There's no way I, as a
>       user, can transfer my LP collection to CD.
..
       How is this relationship between
>       CD's and LP's different from Laser Discs and VHS tapes ?

    The point is not that the individual should do the conversion but
instead the industry. It is possible to convert existing LPs into CDs but
not VHS tapes into Laser Discs (or at least it is much more difficult or
costly). This is the distinction being made.
        Putting existing origami books on CD-ROM would be great in terms of
portability and storage, but there's no substitute for a good old-fashioned
book.  :-)

-Eric

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
      A                   A
     /|\            \    /|\
    / | \            \\ / | \ /7\            /-\.
   /__|__\            \/__|__\/            a miniature
   \  |  /             \_/ \_/               Kawahata
    \ | /             Flapping                stegosaurus
     \|/                bird
      V                       Eric Andersen   origami@brown.edu
  Bird Base      http://techhouse.brown.edu/~tech/eric/origami.html
     Robert Lang models online! Coming soon: Origami Fantasy Page!





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 16:53:20 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: Origami CD-ROMs, OUSA collections

Steve writes:
<< I'll bet that you can show me whatever
important data was stored on them>>

Yup, you bet! They're printed out on paper.

--valerie





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 17:33:11 -0300 (ADT)
From: Sheila Davis <sew@hpfisew.fc.hp.com>
Subject: Re: Origami CD-ROMs, OUSA collections

>
>     The point is not that the individual should do the conversion but
> instead the industry.

        Ok.  But then I don't see how this applies to my concern
        about the inability to keep an electronic origami collection
        usuable (short of buying upgrades).

> It is possible to convert existing LPs into CDs but
> not VHS tapes into Laser Discs (or at least it is much more difficult or
> costly). This is the distinction being made.

        I'm still lost.  Why is it not possible (or more difficult or
        costly)?

Regards,

  Sheila Davis        Hewlett-Packard IC Business Division
 sew@hpfisew.fc.hp.com          Fort Collins, Colorado





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 18:23:17 -0300 (ADT)
From: Jack.Thomas.Weres@att.com
Subject: Books in a Star Trek: The Next Generation World

what the heck!!!
               i'll jump in and contribute my thoughts
               regarding Books and Electronic Media

even in a "Star Trek: The Next Generation" World
there is a need for books
                      as i remember that Jean-Luc Picard
                      was found of reading Shakespeare
                      FROM A BOOK

sure
    whatever physical books we may purchase from book stores
    are stored electronically somewhere

    PEOPLE IN THE END LIKE BOOKS

we've heard in the past
about the demise of books
but yet look at these hugh book stores
like borders, barnes and noble, crown superstore, etc

all of them stacked to the walls with books

i believe that most people enjoy the PHYSICALNESS of a book
-- it is HERE and it is NOW and it is FOR EVERYONE

not to put down my computer
but i do really get tired of looking at these pixels
-- it is much harder on the eyes
   &
   you cannot lounge back in a chair with it (even with a laptop)

books are made from paper and it's natural
and therefore will always hold a place in EVERYMAN's heart
because even with all this technology around us
man still remains a natural being

  /-=-=-=-=-=-=-=-=-=-=-///plieur de papier\\\-=-=-=-=-=-=-=-=-=-=-=-=-\
 /=-= jack thomas weres                       jtweres@psp.ih.att.com =-=\
/=======================\\\================///===========================\
"Let Go and Let Fold"                               "One Crease At A Time"





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 18:26:40 -0300 (ADT)
From: Brett <BrettAndJill@OIA.Net>
Subject: Re: Origami CD-ROMs, OUSA collections

Wow, this string really took off.

Just one point about the Books.

I don't think anyone suggested doing away with books all together.

I assumed that the CD's/Electronic Transfers/Portable Elecrtonic Files/<Put
your Idea Here>  would be an additional way of distribution, for computer
geeks like myself who have become accustomed to "INSTANT GRATIFICATION". <-
there really is something to be said for that, good bad or indifferent ?

Brett
BrettAndJill@OIA.Net





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 19:04:55 -0300 (ADT)
From: Patrick Antouly <100332.1710@compuserve.com>
Subject: Re: Sink folds

Hi folks,

Could someone explain me what is the difference between a "open" sink and a
"closed" sink.
It may be obvious to you but I don't know if I don't understand that because I
don't read well enough english (I'm french) or because I'm a beginner in Origami
:-)

Thanks,
        Patrick





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 20:32:41 -0300 (ADT)
From: Doug Philips <dwp+@transarc.com>
Subject: National Call for Bird Models!

The Origami Club of Pittsburgh is look for models for the National Aviary
Exhibit.  Below is the information contained (in ascii only form) from the
web-page referenced.  There are two addendums to that info which I am putting
up here:
    First, any models of "flying things" EXCEPT for airplanes, aircraft,
        UFOS, etc. are elligible.  Dragons are OK, flying insects are OK,
        etc.  If you have any doubt, contact Mark (info below) before you
        start folding!

    Second, a deadline alteration.  Mark writes:
        The official deadline for receiving models for the Aviary exhibit is
        May 1, but if you provide me with the name of the model, the name of
        the creator, and your name by then (plus the approximate size of the
        model), you can take an extra week to fold it.

-Doug

Here is the web site info:

Call for Origami Bird Models
----------------------------

The Origami Club of Pittsburgh, in conjunction with the National Aviary,
presents an exhibit of origami birds, to be held during the summer of 1996
at the National Aviary in Pittsburgh.

Submission Information
----------------------

Submissions of high quality origami bird models for the exhibit are due by
May 1, 1996.

The exhibit will have room for approximately 300-500 models.  Obviously, we
are seeking a variety of bird models, so that the exhibit will contain as
many different species of birds as possible.

Individual bird models should be no larger than about 5 inches in length,
width, and height, with smaller sized models being prefered.

Dioramas, in which several origami birds (and possibly other models) are
arranged into a scene, are also welcome.  Dioramas should be no more than 10
inches in depth.

Submissions should be sent to the address listed below, and will not be
returned.  Please enclose with each model a sheet of paper listing the name,
address, and telephone number of the folder, the name of the model
(including the species of bird), and the name of the creator(s) of the
model.

These submission guidelines are not intended to be inflexible.  If you have
a suggestion or submission which would enhance the exhibit but which does
not quite meet these requirements, please contact the curator of the
exhibit.

For More Information

 Curator:
           Mark Kantrowitz, 412-268-2582
 Email:
           origami@andrew.cmu.edu
 Submissions:
           Origami Club of Pittsburgh - University Chapter
           Box Number 6158
           4902 Forbes Avenue
           Pittsburgh, PA 15213
 URL:
           http://www.contrib.andrew.cmu.edu/usr/origami/aviary-exhibit.html

Origami Club of Pittsburgh, University Chapter
origami+@andrew.cmu.edu





Return-path: <origami-l@nstn.ca>
Date: Wed, 24 Apr 1996 21:42:24 -0300 (ADT)
From: Bren Riesinger <fascfold@fascinating-folds.com>
Subject: Magic Using Origami

I have a folder in the UK who uses Origami in his magic act.  He only uses
two effects currently and would like to use more Origami in his routines.
If anyone would like to share some ideas, you can email me and I'll send
them on or you can email him (Paul) directly at:  paolo@paolo.demon.co.uk

If you email Paul directly, please let him know how you got his email
address, so he won't be surprised.

Thanks -
Bren

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Fascinating Folds
Rediscover the ancient craft of Origami, Japanese paper-folding, with
our extensive line of Origami papers and books.
http://www.fascinating-folds.com/paper
