




Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 01:35:27 -0300 (ADT)
From: marckrsh@pipeline.com (Marc Kirschenbaum)
Subject: Re: Sink folds

On Apr 24, 1996 19:04:55, 'Patrick Antouly <100332.1710@compuserve.com>'
wrote:

>Could someone explain me what is the difference between a "open" sink and
a
>"closed" sink.

A sink is the term used when describing a procedure used to invert a point
that is comming from the middle portion of a paper. An example of such a
point would be the tip of a waterbomb base (the other points do not com e
from the middle; rather they come from the corners). The procedure for
sinking usually begins with precreasing along the amount of the point that
you wish to sink. In the case of our waterbomb base, we would form a
horizontal valley fold (where this fold lies will affect the depth of the
sink), and unfold. You would then unfold your point, and reinforce the
sqare ring created at the center with mountain folds. If you reform your
waterbomb base while keeping the mountain folds in place, and pushing in at
the center, you will be performing a sink.

Actually, to be more specific, you would be performing an open sink, but
since the term close sink only first appeared (to my knowledge) only about
ten years ago, it is assumed that a sink is of the open variety. With an
open sink, the number of mountain folds needed to define the area to be
sunk is equal to the number of panels the point consists of. In the case of
the waterbomb, the top point has four panels, and the area to be sunk looks
like a square (four sides), when opened up. If we were to sink the tip of a
frog base (whose point consists of eight panels),  the sunken region would
be an octagon.

With a closed sink, we do not open the point entirely when inverting the
point. In the case of the waterbomb, it is possible to open only one side
to form what would look like a pyramid. If we were to push in the point in
this formation, and then close the model back up, this could be called
sinking triangularly (since you would be pushing in a triangularly shaped
region). Another way of looking at this would be to call this a hybrid
sink. The half that was opened prior to sinking would resemble an open
sink, while the other side would resemble a closed sink. From the outside,
the two sides would look the same, but on the closed side, the flaps would
be locked at the top.  A true closed sink (in the case of the waterbomb),
would be where the point is inverted without openingthe model's sides (yes
I know; easier said than done). You would essentially be sinking thoug a
two sided shape.

Marc





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 05:58:09 -0300 (ADT)
From: Martin Gibbs <mrg1001@hermes.cam.ac.uk>
Subject: Re: origami equal to performing music

On Wed, 24 Apr 1996, Mark Morden wrote:

> 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.

  I also made Kawahata's pegasus.  The moves were nice but towards the end
I found that the paper was terribly thick to work with, particularly
around the neck/front leg area and I coudln't help wondering whether the
paper could have been used more efficiently.  That said, if made well, the
finished model does look, yes, elegant and seems to have caught the shape
of a horse perfectly.  The wings also seem to flow out the body whereas
some winged origami mythical beasts look like the creator's thought - I've
made a horse - let's stick some wings on and call it a Pegasus.

  Martin Gibbs.
  mrg1001@hermes.cam.ac.uk





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 06:38:53 -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> writes:]
>> 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,
>> [...]
>       ?  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).

Well, a drive that burns CD-ROMs (and music CDs) costs
less than $1,200.  (And Acrobat Pro, BTW, which includes
Distiller, costs less than $500 -- though there is
already software that does this type of conversion almost
perfectly for free.)  But *you* don't have to buy the
equipment if it's too expensive, the publisher will do it
for you (and in the case of CD's, with much better
quality).

In the case of CD's, the publisher will also soak you for
huge profits for a copy in the new format.  But there are
not likely to be any substantial costs in sending out
purely electronic versions of a document in a new format,
to people who have already paid for it in the old format.

Remember, I am not talking about publishing on CD-ROM, I
am talking about selling individual documents over a
global internetwork.  Even if your disk drives are someday
made obsolete by the next great technology, you are going
to transfer your data from the old media to the new.  And
if (say) the Acrobat format is made obsolete by the next
great e-document format, you will convert your PDF files
to the new format.

As to the archival qualities of various media, I will only
point out that books offer no choice.  I have seldom seen
a book offered, for example, on cheap paper for one price,
and on high-rag acid-free archival paper for a slightly
higher price.  You get what the publisher wants to sell.

With electronic documents, the kind of people who take
good care of their books and store them on sturdy shelves
behind glass doors, will probably make and maintain
multiple backups of their e-documents, or store them on
a less volatile medium like optical disk, and transfer
them whenever the medium looks like it might succumb to
a competing technology.  Meanwhile, the people who store
their books in cardboard boxes on the floor of their damp
basement will probably store thier e-documents on floppy
disks and throw them into the back of a drawer somewhere.
And everything in-between.

>>                                      This is in part why
>> Laser Discs have never been able to replace VHS, despite
>> how similar to their musical counterparts they appear.
>>
>                                 How is this relationship between
>       CD's and LP's different from Laser Discs and VHS tapes ?

Though some recordings get digitally remastered when
they go to CD, they don't have to be.  CDs can be
recorded directly from the original masters without too
much difficulty or expense.  (Now that many newer
recordings are digitally mastered, you can do this
without losing any information.  Audiophiles who want
to complain that the sampling rates for these digital
formats are too low to preserve your music properly,
please respond via email,  :)  this is already straying
too far off-topic for Origami-L.)

You cannot, however, cut a Laser Disk from the masters
of the videotapes, because a *lot* of information gets
lost on videotape, and the aspect ratio is different
(laser disks are usually letterboxed, while with VHS
they usually just chop off parts of the picture --
ruining many a movie), etc.  As a result, to make a
Laser Disk, I believe you have to make a new master
of it from the original celluloid.

This is why it is so much harder and more expensive to
make new LaserDisks from old movies, than to make new
CDs from old albums.  Of course, problems like these
don't apply to things like the Origami model diagrams
we were originally talking about, which were drawn in a
digital form to begin with.

  -- 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: Thu, 25 Apr 1996 06:54:19 -0300 (ADT)
From: "C:WINSOCKKA9QSPOOLMAIL" <nick@homelink.demon.co.uk>
Subject: origami elegance

Eric_Andersen@brown.edu writes:

> I find most finished complex models praiseworthy because they took a
> great deal of effort on the part of the folder.

I can appreciate the effort invovled, but this doesn't necessarily make the
fold any good! We should praise effort, but not let it sway our artistic
sensibilities...

> 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...

I would be impressed because they had plumped for elegnace rather than
complexity & this would indicate a well developed critical facility (it's
more difficult to appreciate simplicity). The time spent on a piece of art
has no direct bearing on it's value, I would contend.

cheers!

Nick Robinson

nick@homelink.demon.co.uk





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 09:11:15 -0300 (ADT)
From: Jennifer.Campbell@cciw.ca (Jennifer Campbell)
Subject: small Japanese translation (non-origami)

Hello all,

I hope you don't mind me asking for a little help with three words I need
Japanese translations for/from.

My coworker is adopting an Akita. He already has a 125-pound male Akita
named "Sumo"! The new dog's name is "Matsu" and he is wondering what it
means. My knowledge of Japanese words is limited to food ingredients and
cooking techniques. I think matsu means some kind of box (???) but I hope
someone on this list can tell me for sure.

He may want to change her name, depending on how she adapts to it, so since
she's a black and white pinto pattern (spotted), he would like to know the
Japanese words for "spot" and "panda"

Any help greatly appreciated! Sorry for the non-origami content (although
you may remember a long time ago I asked for akita models--that was for
this guy too).

Thanks,
Jennifer.

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





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 10:33:14 -0300 (ADT)
From: mike <76003.3034@compuserve.com>
Subject: Re: origami equal to performing music

  I have not posted to this list often, but here is my .02.

 I also  read the Paul Jackson interview in the Paper. I agree with Joseph Wu.
There is beauty  in all kinds of arts(paperfoding).  I am  a student of the
martial arts, I like to watch them all just like I like to see all kinds of
paper folding.
 It seems to me that some arttist do  not so normal things(weird or down right
wrong) just get attention. One comes to mind is that several years ago a
"artist" urinated into a jar and then put a crucifix inside and called this art.
There were alot of people shocked by this. There other shocking part was that he
had a grant from the government and the U.S. tax payers payed for this.
  Just like some people like modulars, some like animals, and so on.... Beauty
is in the eye of the beholder but beauty is not stange or weird.

 Hope I have not rambled to much.

                                  Mike Henerson
                                  76003.3034@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 10:43:49 -0300 (ADT)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: origami elegance

Nick Robinson wrote:
+Eric_Andersen@brown.edu writes:
+> 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...
+
+I would be impressed because they had plumped for elegnace rather than
+complexity & this would indicate a well developed critical facility (it's
+more difficult to appreciate simplicity). The time spent on a piece of art
+has no direct bearing on it's value, I would contend.

I agree with Nick on this point.  It is easy to be wowed by complexity without
any artistic evaluation.  Time spent on a piece of art is a strange thing to
use to evaluate.  After all, don't beginners spend more time on something
than experts do?  Does that mean beginner's art should be worth more, or be
more appreciated?  If you fold your favorite model ten times in a row, I'd bet
that not only is the 10th model the best of the bunch, but that it would take
you less time to fold it that it took to fold the first one.  And probably
less conscious effort.  And what about the artistic choice of size and kind of
paper (paper used in the loosest sense of bendable/foldable material).

-Doug





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 10:44:18 -0300 (ADT)
From: "S. Wenger" <wenger@blue.weeg.uiowa.edu>
Subject: Re: small Japanese translation (non-origami)

In Japanese, matsu is a verb meaning "to wait"  or "expect" and it can also
mean "pine tree".  Panda is "panda" spelled in katakana instead of in
hiragana. I don't know what spotted is, so maybe someone else can help
with that translation.

I have made origami boxes before that were called masu, which is just a
little bit different.





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 11:37:47 -0300 (ADT)
From: Wolfgang Roeckelein <wolfgang.roeckelein@wiwi.uni-regensburg.de>
Subject: Re: Fold Hierarchy

osele@worldnet.fr i (V\ironique et Vincent OSELE) wrote:
> IMHO Comparing folds is a good idea, but is there an official list of
> fold's terminology?
>
> Is it possible to do an exaustiv glossary? Here some terms I take in book
> or I heard:
> - mountain
> - valley

Well, these are really easy...

> - stairstep
> - inside reverse fold
> - outside reverse fold
> - crimp

- double-crimp

> - petal (I don't know exactly what is it, I never use it)

This is used on the western style dragon available on one of the web pages.

Could anybody be so kind and explain how this should be done? All times I
have tried it, I was probing and probing and eventually made it, but I could
never realized what the straightforward way would be.

> - rabbit

- double-rabbit

> - sink
> - open sink? closed sink? (don't know too)

For this, we have now a great explanation thank to someone on this list.

> - squash
> - box pleating? (don't know too)
>
> Do you know other or synonym ?
>
> Could you send me signification of terms that I don't understand or I don't
> know (with gif image if you have), because I will try to do a 'web
> glossary' in my page if not exists elsewhere.

This owuld be really helpfull. I am having the same problems as my mother
tongue is also not english....

In a few weeks I will have access to a digital camera and I can do some
shots of these basic folds and put them on the web.

  Wolfgang





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 11:38:08 -0300 (ADT)
From: Kristine Tomlinson <ktomlinson@platinum.com>
Subject: Re: Fold Hierarchy and first historical reference to folds

    Hi,

    >>Osele Vincent wrote about being interested in a creating fold
    hierarchy, with synonyms and pictures.

    SOME MORE NAMES ...

    There are also these simple folds (actually specific valley folds
    referred to as verbs).

    Book   (fold paper in half vertically)
    Cupboard (establish a vertically center line and fold the left and
    right sides to the center)
    Blintz      (fold the corners to the center, also a base name)
    Diaper      (fold along one diagonal)
    Radial

    Most basic books carry good descriptions and pictures of the folds.
    You might try there.

    HISTORY OF ...

    What I would find most useful is a list of the *earliest printed
    reference* of the individual folds.  Have any of our historian-folders
    tackled this?  Previous messages seem to imply that complexity of folds
    has been traced over time between China and Japan at least.

    I'm especially interested in the first printed appearance of the
    characters for "mountain" and "valley" folds.  Obviously, this isn't an
    accurate date for their oral usage, but it's a starting point.

    Kristine
    ktomlinson@trinzic.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 12:05:05 -0300 (ADT)
From: David Holmes <cm4bcdmh@bs47c.staffs.ac.uk>
Subject: Re: origami equal to performing music

On Wed, 24 Apr 1996, Doug Philips wrote:

> 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).
>
How about Pink Floyd, maybe ?

(BTW, this is a good thread)

David M Holmes                  cm4bcdmh@bs47c.staffs.ac.uk
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
British Origami Society        Association of C & C++ Users
http://www.geocities.com/Tokyo/2162/       (in development)





Return-path: <origami-l@nstn.CA>
Date: Thu, 25 Apr 1996 12:09:02 -0300 (ADT)
From: unhinged@yrkpa.kias.COM
Subject: Re: small Japanese translation - origami

I was wondering if anyone knew the translation for "bone folder" I'd like
to impress my friends by claiming its made from the bones of expired
Japanese Masters.

Rob





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 13:00:29 -0300 (ADT)
From: David Holmes <cm4bcdmh@bs47c.staffs.ac.uk>
Subject: Re: Fold Hierarchy

On Thu, 25 Apr 1996, Vironique et Vincent OSELE wrote:

> IMHO Comparing folds is a good idea, but is there an official list of fold's
> terminology?
>
> Is it possible to do an exaustiv glossary? Here some terms I take in book or
> I heard:
> - stairstep

This sounds like it could be a pleat fold, where you make a mountain and
valley fold parallel with each other.

> - petal (I don't know exactly what is it, I never use it)

A petal fold is used to create the wings in the flapping bird model.

David M Holmes                  cm4bcdmh@bs47c.staffs.ac.uk
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
British Origami Society        Association of C & C++ Users
http://www.geocities.com/Tokyo/2162/       (in development)





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 13:07:43 -0300 (ADT)
From: fredless@exon.massart.mass.edu
Subject: Fwd: Fwd: origami and design -- re hats

>From: Ellen Do Yi-Luen <ellendo@spot.Colorado.EDU>

>I taught 65 college environmental design students (architecture and
planning or design studies majors) simple origami.
>I gave them an assignment to design/invent an origami hat.
>Now we have a whole drawer of hats.
>We need to figure out a way to give them scores.
>Does anyone have any insights to share? (on how to grade them?)

>Assignment: Design an Origami Hat
----------------------------------------------------
>Design a hat using a piece of rectangular shape (square or rectangle)
paper, (wrapping paper, newspaper, or paper of any kind).  Document the
instructions (words, illustrations) of how to make your product.
>Hand in the hat folding instructions on regular size 8 1/2 * 11 paper.

I passed this on to a colleague and here is her response:
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
When grading or discussing student 3D work I like to keep what I think of
as the 6 senses in mind:   touch, sight, sound, smell, taste, wit.
In this case:

TOUCH: does the hat feel comfortable? does it stay on? does it try to fly in
a breeze? does it keep the head warm or too warm? does it provide shade?
do children want to touch it? does it have fly paper on it so it keeps the flys
off your face?

SIGHT: is it so outstandingly ugly it makes everyone laugh? is it a bridal
veil of irridescent transparent paper 7 feet long, shimmering and wafting
elegantly in the air? is it a kids hat that looks like a stegosaurus and can be
made and worn by children in a chemotherapy ward? is it one of many
tear-out pages in an origami book where the instructions are placed on the
page in such a way that when followed that same page can be turned into a
hat with all its construction steps still visible in the final product?

SOUND: does the hat have an appealing rustle when the wearer walks?
does the hat make an amusing flapping sound? can it be flattened for
carrying in the pocket then pulled into a hat with a satisfying snapping
sound?

SMELL: has the hat been impregnated with oil of camphor and eucalyptus
to help clear the nasal passages of a wearer with a cold? is it made from
smelly blood smeared meat wrapping paper and worn by vegetarians
protesting cruel slaughter practices? does it have a nose guard feature to
filter out bad smells? does it smell excremental and have a picture of
Newt Gingrich on it?

TASTE: is the hat a survival hat made of edible paper impregnated with
vitamins? is the hat made of apricot fruit leather paper so it can be worn as
a party favor then eaten as a healthy snack later? is it designed for teething
babies, and so has a strap piece that is safe for the baby to chew on?

WIT: is the hat a crib sheet with all the standard integrals on it designed to
be worn to a calculus final exam? is the hat made from newspaper with an
article on the decline of hat wearing in our society? is the hat made of
recycled paper and does its shape allow you to also use it as a drinking
vessel when hiking? is it lightweight, portable in the pocket, made of
reflective paper that is waterproof, cheap, and effective against both sun
and rain? is the hat made from a marriage certificate and designed for
wear at a divorce party? is it made from a map of ManHattOn, shaped like
a skyscraper and designed to be given to the lost male New Yorker who
refuses to ask for directions, ever, by his long suffering wife?

Anyway, you get the idea. One can design with common sense and
uncommon sense, for all of the senses.
These remarks from Meg Hickey, Chair of Environmental Design,
Massachusetts College of Art.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Fred Wolflink
Acting Director Computer Arts
Massachusetts College of Art
Boston MA





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 14:01:08 -0300 (ADT)
From: Gretchen Klotz <gren@agora.rdrop.com>
Subject: MATH: The Origami/Music Connection

Howdy -

I've been intrigued by the origami/music thread, and wanted to get back to
a link that occurred to me when reading Pat's first post that no one has
mentioned.  This link is the relationship between both origami and music
to mathematics.  Having said this, I must also say that I can't contribute
much information on the music/math connection.  Can anyone else out there?

(Yet another time I wish my mom were subscribed to this list!  She was
co-curator of an exhibit at the Franklin Institute in Philadelphia in the
late seventies on the relationship of mathematics to the arts.  She is
primarily a visual artist, and also a musician, and was responsible for
the music section of the exhibit, so I'm sure she'd have lots to say.)

I suspect I'm not the only modular fanatic (or any type of folder, really)
who is *always* entranced by the magic of the geometry of origami, no
matter how many units I most fold for a single model.  When I teach, I
like to show the students the crease pattern in the paper before we start
folding.  I tell them that their paper will look like that when we're
finished, and they don't need to use a ruler or any other tool to
accomplish it.  Part of what makes it so awe-inspiring with boxes is that
the crease patterns are (usually) not symmetrical.

Some thoughts, too, on Mark's comments on the space/time difference
between origami and music, and the performance aspect.  While the object
produced by the act of folding exists in space, it still took time to get
to that space.  I think performing music *is* equivalent to folding paper,
although it's easy to get stuck on the word "performance" because it
implies that an audience is present.  Performing and folding are both
verbs that move through time, acts of creation which bring into being a
"composition," whether done alone or with an audience, with paper or an
instrument.

The joy, the rush that I feel when folding a model I love is the same as
the excitement and satisfaction I feel when singing a song that I love.
And sometimes when I try to do both at once, well, I just get transfixed
by the overwhelming beauty of it all and have to stop everything and savor
the magic of the universe...

- Gretchen, a little shy at sharing that last bit, and eager to *do* some
of both!

--
gren@agora.rdrop.com         http://www.ogi.edu/~gren/





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 14:10:35 -0300 (ADT)
From: Steve Arlow <yorick@conch.aa.msen.com>
Subject: Correction! (+ObOrigami)

[Note: ObOrigami follows at end]

I recently wrote:
>                    (And Acrobat Pro, BTW, which includes
> Distiller, costs less than $500 -- though there is
> already software that does this type of conversion almost
> perfectly for free.)

I was misremembering some postings from comp.text.pdf when
I wrote this.  There is source code available for two free
alternative PDF viewers, but no distiller.

My statement is still half-true, though:

There are freeware PostScript viewers (which have been
discussed here in the past), these would of course allow
you to do a simple Distiller-like PS->PDF conversion
without Acrobat Distiller, but only the base package for
Acrobat, which is < $200.

  -- Steve Arlow

ObOrigami:  Someone recently mentioned using ballpoint
            pens as aids to performing closed-sinks.  I
            find a lacquered chopstick to be ideal for
            this use, and I carry one in my small
            portable origami kit (along with 6" metal
            ruler, cutting mat, Xacto knife, sponge,
            and paper), which fits into a videotape-
            sized plastic box.  Has anyone else made
            such a kit for themselves?

               -- SEA

--
 "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: Thu, 25 Apr 1996 14:29:12 -0300 (ADT)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: origami equal to performing music

David M Holmes wrote:
+On Wed, 24 Apr 1996, Doug Philips wrote:
+
+> 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).
+>
+How about Pink Floyd, maybe ?

Yeah, Umma Gumma (if I wrote that right) esp.  But most of their early work
would count. ;-)

-Dug





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 14:34:02 -0300 (ADT)
From: Lisa_Hodsdon@hmco.com
Subject: Re: MATH: The Origami/Music Connection

Gretchen commented:
<< This link is the relationship between both origami and music
to mathematics.  >>

While aware of the common notion that there is some link between
math and music, I'll admit that I've never seen it myself.

But, Gretchen's comment reminds me of my first thought when
I started seeing things like "folding modulars is like being forced
a non-standard connection between math and music in which he
connected various branches of math to different styles of music.
(Rather than talking about the mathematical aspects of music
or the musical aspects of math.)

I can't give you an example, because, here again I don't see the
connections (or I don't feel I know musical genres well enough).
But I know there's a few of you out there who will enjoy this
game as much as the last one!

Lisa
Lisa_Hodsdon@hmco.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 15:23:23 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: MATH: The Origami/Music Connection

>Gretchen commented:
><< This link is the relationship between both origami and music
>to mathematics.  >>
>
>While aware of the common notion that there is some link between
>math and music, I'll admit that I've never seen it myself.

        I think that the formal studies that have looked into this must
have produced either ambiguous or conflicting results.  Just a couple
months ago, I participated in a survey being done by a sociology student
who was looking into this issue (adding links to computer abilities), and
she was kind enough to later report to me a brief note about her
conclusions, which were that she found no support for a music-math link.
This, of course, doesn't mean that there aren't underlying connections
between mathematics and musical arrangement (I think Engel did a good job
of showing this), but it may mean that musical people aren't necessarily
also good at math.  I've been told that I've got a lot of musical talent,
but I stink at quantitative math:  I can deal well with concepts, but not
formulae.

        But then again, I recall being taught that mathematics is simply
the written language of logic, so anything that has a logical aspect could
theoretically be explained in mathematical terms.  Music has patterns, and
thus logic, so some aspects of music can be demonstrated mathematically.
However, music clearly trancends mere logic and has a more ephemeral,
emotional (and thus, as Mr. Spock would say, an illogical quality) to it as
well, which cannot be explained with math (at least any math I've ever
heard of!  8-)  )

        I think origami is similar to music in these respects.  It's
clearly got a geometric framework, although it's also quite clear that one
need not understand the nuances of this to be able to fold!  But, as an art
(like music), it also has that trancendental quality as well.  As for
people being able to do both...well, I know _I_ can.  But, if not music,
then I'd be willing to be that people who do origami also have at least
_one_ other artistic ability!

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: Thu, 25 Apr 1996 15:36:22 -0300 (ADT)
From: Kim Best <Kim.Best@m.cc.utah.edu>
Subject: Re: Sink folds

On Tue, 23 Apr 1996, Jerry D. Harris wrote:

> 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

Not neccasarily so!  For many models it is possible to duplicate the
creases of a closed sink by folding an open sink, spreading some paper,
reaching underneath and folding over a flap.

To illustrate try this: get two sheets of paper and fold a water bomb
base on both.  Now take the first sheet and close sink the tip by pushing
the paper in.  Now take the second sheet and do the following:

1) open sink the tip to the same depth as the first.

2) reverse fold the two inside corners of the fold, press the paper to
sharpen the new creases.

3) Unfold the paper until you see an elogated hexagon shape in the
creases of you sink fold. Pinch a valley fold all along the horizontal
center line of this hexagon.

4) Reach under the model and mountain fold the sloping creases that meet
in the center, allowing the sides of the paper to swing back into place.

If you compare the two pieces of paper you will see that the crease
patterns of the two models are identical.  But the second model is much
neater.

I have found that many closed sinks can be accomplished in a simular
manner, as long as you can open up the model and reach underneath.  But
other times this is not possible, and you just have to push the paper in.

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         *******************************





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 15:46:57 -0300 (ADT)
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: points vs. art....

John Marcolina <jmarcoli@stratacom.com> offered the following pearls of
wisdom....

>But if a model *does* happen
>to have a lot of points, is it less artistic? How could it be!?

If a model has lots of points, there is little chance that it will have
elegance of form, by the very nature of creating those points. The
essence of beauty is (I feel) refinement of form, capturing the essence
of a subject. Many of the advanced butterflies I have seen are
praiseworthy on a technical level, but rarely are beautiful. I don't
think technical folders aim for beauty, but for "all points present". I
don't knock it myself, but few of these creators seem to have an eye for
elegance (RL being a rare exception).

Perhaps Mr.Montroll might like to comment as to his aims when creating?

cheers,

Nick Robinson

nick@homelink.demon.co.uk
http://alf2.mrc-lmb.cam.ac.uk:1500/nickdata.html

Turnpike evaluation. For Turnpike information, mailto:info@turnpike.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 16:24:33 -0300 (ADT)
From: Ninety Six Elementary <frick@emeraldis.com>
Subject: Re: Origami CD-ROMs, OUSA collections

 I hope origami books are in use forever, or at least till I die.  I don't
have any computer stuff at home,  my 286 died a couple of years ago and I
can't afford a new computer yet.  In addition, I haven't learned how to
print postscript stuff yet.  I'd love to learn but money, time, access and
expertise are small impediments to my goal of becoming an ancient retired
teacher computer hack. :-)

Marsha DuPre





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 16:28:45 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: small Japanese translation (non-origami)

I seem to recall seeing "masu", in the context of
"a traditional origami/paper masu/box" as meaning
a "measuring box". I assumed that this was something
like the original meaning of a "bushel basket", i.e.
a basket that held one bushel, so that a "masu" was
a certain size of paper box traditionally used to
transfer a standard amount of something like rice.

Anyone??

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 16:29:04 -0300 (ADT)
From: billlise@gol.com (Bill Lise)
Subject: Re: small Japanese translation (non-origami)

At 9:11 PM 96.4.25, Jennifer Campbell wrote:
> The new dog's name is "Matsu" and he is wondering what it
> means. My knowledge of Japanese words is limited to food ingredients and
> cooking techniques. I think matsu means some kind of box (???) but I hope
> someone on this list can tell me for sure.

Matsu in a person's name is often *pine*. This could be a play on the name
Matsugoro, which I believe was the name given to a dog in a movie about
ten years ago. It is also the name of a Rickshaw puller in a popular story a
very long time ago, a Rickshaw puller in love with the wife of his
employer, btw.  Just conjecture about the real reason this is given.

No real equivalent for spot, although in terms of frequency of usage and
"feel" *pochi* is probably closest.

Panda is simply panda in Japanese. Sorry not to be able to offer anything
more "Japanese". They use the same word.

Bill Lise  / Tokyo Translator & Interpreter
1-5-9-1101 Higashiyama, Meguro-ku, Tokyo 153
Tel: 03-3791-6870     Fax:  03-3715-2748
Cellular phone:  030-00-90023     Email:  billlise@gol.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 16:35:49 -0300 (ADT)
From: billlise@gol.com (Bill Lise)
Subject: Re: small Japanese translation - origami

At 0:09 AM 96.4.26, unhinged@yrkpa.kias.com wrote:
> I was wondering if anyone knew the translation for "bone folder" I'd like
> to impress my friends by claiming its made from the bones of expired
> Japanese Masters.
>
> Rob
You have provided the opportunity for a pun you probably did not realize.
Hone wo oru (to "fold" bonds) in Japanese really means to break a bone, and
"bone-breaking work" is the expression used for extremely difficult work.
ahses a family receives at a cremation, and so use of bone in this sense
would be at least confusing to many Japanese who are not accustomed to
the element of surprise that is essential in Western humor.

Let me work on this one.

Bill Lise  / Tokyo Translator & Interpreter
1-5-9-1101 Higashiyama, Meguro-ku, Tokyo 153
Tel: 03-3791-6870     Fax:  03-3715-2748
Cellular phone:  030-00-90023     Email:  billlise@gol.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 16:39:55 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: Origami CD-ROMs, OUSA collections

<<Well, a drive that burns CD-ROMs (and music CDs) costs
less than $1,200. >>

Well, there's a LITTLE more to it than that: you need a
fast computer, a very big very fast hard drive, the
appropriate software, and a lot of patience: there are
a bunch of things that can (and will) go wrong, resulting
in frustration and a spoiled CD...

--valerie





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 17:29:53 -0300 (ADT)
From: Doug Philips <dwp+@transarc.com>
Subject: Origami "kits" (was: Re: Correction! (+ObOrigami))

Steve Arlow wrote:
+ObOrigami:  Someone recently mentioned using ballpoint
+            pens as aids to performing closed-sinks.  I
+           find a lacquered chopstick to be ideal for
+           this use, and I carry one in my small
+           portable origami kit (along with 6" metal
+           ruler, cutting mat, Xacto knife, sponge,
+           and paper), which fits into a videotape-
+           sized plastic box.  Has anyone else made
+           such a kit for themselves?

Interesting that you should mention this.  I have been toying with a kit
for several months, but I haven't yet settled on either contents or
container.  For a while I carried around several books and several different
sized stacks of paper.  I used a bookbag (actually a Notebook computer
bag).  But that got to be too bulky, and I never used the books anyways.
Then I started just carrying misc. paper around, but again, I never pulled
it out.  Most recently I have taken to carrying 3" paper in my shirt
pocket.  When I wear T-shirts I put the paper into one of the bubble wrap
containers that you can get from OUSA and stick it into my pants pocket or
jacket pocket.  3" is small enough to almost always have some handy and it
is also small enough to "fold in the air" even on a crowded bus!  I used to
also carry a bone folder with me, but now I have them stashed in my most
common folding places (since you need a surface to press against,
air-folding can't use a bone folder).  It never occurred to me to also carry
around a cutting mat, knife and such!  Hmmm.....

-Doug





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 17:43:04 -0300 (ADT)
From: Eric Andersen <Eric_Andersen@brown.edu>
Subject: Re: MATH: The Origami/Music Connection

At 03:23 PM 4/25/96 -0300, you wrote:
>>Gretchen commented:
>><< This link is the relationship between both origami and music
>>to mathematics.  >>
>>
>>While aware of the common notion that there is some link between
>>math and music, I'll admit that I've never seen it myself.
>
..
>        But then again, I recall being taught that mathematics is simply
>the written language of logic, so anything that has a logical aspect could
>theoretically be explained in mathematical terms.  Music has patterns, and
>thus logic, so some aspects of music can be demonstrated mathematically.
>However, music clearly trancends mere logic and has a more ephemeral,
>emotional (and thus, as Mr. Spock would say, an illogical quality) to it as
>well, which cannot be explained with math (at least any math I've ever
>heard of!  8-)  )

        This is all very interesting to me, being a (not yet declared)
double major in mathematics and music. There are quite a few math/music
majors here at Brown, including the conductor of the Brown Marching Band, a
few orchestra members, and a bunch of people in a cappella groups. In fact,
most math majors I know are somehow involved with music at Brown. I probably
couldn't say the reverse, though. Music seems to be a much wider discipline
in terms of left-brained and right-brained, etc.

        I believe that in general the link is a lot stronger than most
people think. People who are very interested in mathematics see a beauty and
elegance (there's that word again...) in mathematical concepts. It is not a
beauty that can defined in so many terms, but more an inner feeling much
akin to the love one feels for certain pieces of music. Math is not just
sheer logic, there's a lot of emotion involved!

        Concerning the patterns and form of music relating to math, I
certainly agree. Last year I took courses in advanced music theory and
enjoyed them so much that now I'm the Teaching Assistant for those courses.
Chord structures and sequences are very mathematical in nature. For
instance, the minor chord is an "inversion" of the major chord. Also, the
circle of fifths and other musical patterns that seem natural to the ear are
very mathematical concepts. Twelve-tone music (like that of Schoenberg) has
a defined structure, and involves ideas such as interval classes,
cardinality, and set theory (set meaning a collection of pitches).

        By the way, if anyone has any ideas for a possible thesis topic in
math and music, let me know! (especially if it involves origami  :-)

-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: Thu, 25 Apr 1996 17:55:31 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: Sink folds

>On Tue, 23 Apr 1996, Jerry D. Harris wrote:
>
>> 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
>
>Not neccasarily so!  For many models it is possible to duplicate the
>creases of a closed sink by folding an open sink, spreading some paper,
>reaching underneath and folding over a flap.

        Gee, y'know, I never thought of that!  8-)  I'll have to give that
a shot at some point.  Your strategy will undoubtedly make some people
breathe a bit easier who ordinarily balk at the words "closed sink."
Thanks for sharing that tip!

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: Thu, 25 Apr 1996 17:55:09 -0300 (ADT)
From: Rjlang@aol.com
Subject: Re: points vs. art....

I've been holding off on responding to this thread, which started with Paul
Jackson saying,

 "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..."

and John Smith chiming in with

"The pursuit of points as a sort of token realism seems to me absurd..."

and finally, Nick Robinson wrote:

"If a model has lots of points, there is little chance that it will have
elegance of form, by the very nature of creating those points..."

Now I've heard enough. Gentlemen, you all are missing something: "technical
folding" and "artistic merit" are orthogonal attributes. There are clunky
technical folds and clunky non-technical folds, just as there are elegant
non-technical folds and elegant technical folds. No fold should be considered
artistic or not because of the tools one uses to design it. (Similarly, as a
previous sub-thread suggested, the time it took to fold a model shouldn't
enter into the judgement of the model; maybe you took 2 hours because you
didn't know what you were doing.)

No one that _I_ know suggests that the artistic level of a model should be
judged on the number of points. I may admire the design of a many-pointed
model on its technical merits, just as I may admire the virtuoso fingerwork
of a skilled violinist. But this is not the same as saying that the model is
artistic -- a distinction that seems to be lost on some.

Furthermore, there is a level of technical folding that many people
appreciate, which is the mathematical structure of the design itself; how the
paper is utilized, how the layers stack and line up, and so forth. A lot of
people (myself included) find this aspect of technical designs to be as much
or more aesthetically appealing than the finished model. Just because you
guys don't appreciate this aspect of a design, it is narrow-minded to pretend
that it doesn't exist.

(For a parallel situation, I've mentioned elsewhere that most modular folds
leave me cold; but I regard that as an indication that _I_ am lacking the
"loves modulars" gene, not that the rest of the world is screwed up.)

In summary: the techniques of technical folding are tools that may be used
for art, for practice, or for dreck, depending on how they are wielded. You
should judge the final fold on its own merits and recognize that there are
different levels and criteria of aesthetic appeal.

So there. Phphphthpt!

Robert J. Lang
rjlang@aol.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 18:31:16 -0300 (ADT)
From: Brett <BrettAndJill@OIA.Net>
Subject: Re: Origami "kits" (was: Re: Correction! (+ObOrigami))

Actually the thing I use most is a simple (not many attachments) swiss army
knife. It Has;

Small Knife
Screwdriver/Nailfile
Small Scissors
Tweezers
and a toothpick

Knife and Scissors to cut papers to size, Screwdriver blade to recrease sink
folds, tweezers for those teeny tiny legs and things, and finally a
toothpick to pick my teeth with after I EAT that occaisional crappy model
that I make ;)

Haven't found a use for the nailfile . . . . . yet.

Brett
BrettAndJill@OIA.Net





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 19:07:44 -0300 (ADT)
From: Jack.Thomas.Weres@att.com
Subject: politically correct origami

fellow folders of paper,

i just realized that the display i just put together
here at work
is Politically Correct, or is it???

i made the following 6 faces of historical faces
from eric kenneway's book "folding faces"

        nixon
        stalin
        castro
        de gaulle
        shakespeare
        dr. schweitzer

and put up a sign that says
"can you guess the 6 historical figures???"

although there are diagrams for hitler
i chose NOT to fold and display him
due to the possibility of it offending someone at work

then again
i could be offending
communists or totalitarians or anti-vietnam war protesters or illiterates

hitler is a historical figures
but i guess this time around
i'll just let him stay in my folded origami box

  /-=-=-=-=-=-=-=-=-=-=-///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: Thu, 25 Apr 1996 19:23:44 -0300 (ADT)
From: Eric Tend <eric@hpisdaja.ptp.hp.com>
Subject: Dollar Bill Folds

Well, another SF Cherry Blossom Festival origami exhibit has successfully
come and gone with a big flow of people circulating through each day.
I was talking to Charles about the mailing list and he mentioned that
someone was looking to a source for my original dollar bill folds.  I've
been out of the designing scene for a few years now do to lack of time.

The few that have made it to the diagramming phase include:

  1) Dollar Bill Kangaroo - Annual Collection Convention '90
  2) $ Bug-Eyed Jumping Frog - Annual Collection Convention '91
           reprinted in - Making More With Money
  3) $ Bear Cub - Annual Collection Convention '92
  4) $ Cobra - Annual Collection Convention '91 (is Hoan Bui's
     fabulous design with eyes on the back of it's hood!)

All are available through Origami USA's mail order bookshop.

I still haven't had time to diagram or submit my pending 2 $ Demon
with wings.

Hope this helps,
--Eric--

==============================================================================
     ____/__/__/__/__/__/__/ | "Its all in the reflexes"
      __/         __/        |                       -- Jack Burton
_______/__/      __/         |================================================
    __/         __/          | Eric Tend
 ____/__/__/   __/           | eric@hpisdaja.ptp.hp.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 20:10:03 -0300 (ADT)
From: "David M. Phillips" <phillips@qxo.com>
Subject: Why do wet folding

I've seen explanations of What wet folding is, but now can
someone help me understand Why you do it, that is, what it
accomplishes?
--
David M. Phillips  512-288-2887
QXO Corporation    512-288-1386 Fax
Austin, Texas
phillips@qxo.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 20:31:02 -0300 (ADT)
From: lina@trilogy.net
Subject: Re: Origami CD-ROMs, OUSA collections

IN> I hope origami books are in use forever, or at least till I die.  I don't
IN>have any computer stuff at home,  my 286 died a couple of years ago and I
IN>can't afford a new computer yet.  In addition, I haven't learned how to
IN>print postscript stuff yet.  I'd love to learn but money, time, access and
IN>expertise are small impediments to my goal of becoming an ancient retired
IN>teacher computer hack. :-)

IN>Marsha DuPre
IN>
IN>

FROM THE BERGEN RECORD (NJ, USA) 4/25/96:

In a cost cutting move, the Whitman Adminstration has vetoed publishing a
monthly bulletin listing state, county and local civil service jobs and
instead plans to advertise the positions in cyberspace.
<snip> <end>

Yes, despite the fact that a large percentatge of the state has neither
internet access nor a library in their county providing it, The State of
New Jersey has made the topic of this thread a reality.

lina@unix.trilogy.net





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 21:26:46 -0300 (ADT)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: points vs. art....

Robert Lang wrote:
[Many things with which I hearitly agree. -dwp]
..
+In summary: the techniques of technical folding are tools that may be used
+for art, for practice, or for dreck, depending on how they are wielded. You
+should judge the final fold on its own merits and recognize that there are
+different levels and criteria of aesthetic appeal.

I find this last paragraph, quoted above, to be a bit troublesome.  But maybe
I'm just lookin' fer trouble! ;-)

Once you abandon evaluative criteria that consider the tools, you abandon
the ability to prefer folded points over cut ones.   Or of the clever use of
both sides of the paper versus "painted" models.  Or of one sheet versus unit
construction.  It seems a slipperier slope than I wish to traverse!

An earlier message said that beauty was in the eye of the beholder, but that
it didn't include the strange or weird.  I find that to be an untenable
middle ground, for strange and weird are relative to the particular
"beholder."  Perhaps there is another intermediate position?

+So there. Phphphthpt!

Thanks for that Raspberry, it is a perfect topping!

-Doug "Make Mine Double Raspberries!  Phphphpt! Phphphphppht!" Phphphphilips





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 21:30:32 -0300 (ADT)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: Origami "kits" (was: Re: Correction! (+ObOrigami))

Bret wrote:
+Actually the thing I use most is a simple (not many attachments) swiss army
+knife. It Has;
+
+Small Knife
+Screwdriver/Nailfile
+Small Scissors
+Tweezers
+and a toothpick
+
+Knife and Scissors to cut papers to size, Screwdriver blade to recrease sink
+folds, tweezers for those teeny tiny legs and things, and finally a
+toothpick to pick my teeth with after I EAT that occaisional crappy model
+that I make ;)
+
+Haven't found a use for the nailfile . . . . . yet.

I am curious about the knife and scissors.  The only time I find a knife
worth using is with a straight edge.  I have tried folding a sharp crease
and then using a knife to cut along it, but I guessI haven't practiced
enough because I never end up with as clean an edge as just tearing along
the crease gives.  And I can't imagine using scissors at all!

As fo the nailfile, well, how else can you turn a piece of Kami into faux
Washi if not by roughing it up with a nailfile? ;-)

-Doug





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 21:56:16 -0300 (ADT)
From: JovianSoft@aol.com
Subject: Re: points vs. art....

Well,

As far as I'm concerned, a cool origami figure is a cool origami figure. I 'm
of the sort that likes the finished product. The folding sequences to get
there are interesting to the extent that they present a challenge to my
spatial perceptions, and any "good-moves" that may be present.

But I *have* noticed several things:

1) I like lotsa points (Nolan's Anemone w/clown fish)
2) I like simplicity (Neale's "With Child")
3) I like "hints" vs "absolute flaps" i.e. suggestions over actual folds (Van
Goubergen's "Reader")
4) I like "painted" origami (LaFosse's "Koi")
5) I like modulars (Fuse "Bow Tie Cube")
6) I LIKE IT ALL, AND I DON'T QUIBBLE!

-Guess that makes me pretty easy to please!

Just a thought (pedestrian though it may be!)

Neil





Return-path: <origami-l@nstn.ca>
Date: Thu, 25 Apr 1996 22:03:01 -0300 (ADT)
From: Steve Arlow <yorick@conch.aa.msen.com>
Subject: Re: Why do wet folding

>I've seen explanations of What wet folding is, but now can
>someone help me understand Why you do it, that is, what it
>accomplishes?

Because it gives beautiful results.  You can use a heavy,
textured paper even for moderately complex models, because
it becomes easier to work with when wet.  Then when it
dries, it holds its shape perfectly, where had you folded
dry out of the same paper it would have either cracked and
torn, or else would be coming right back apart again.  And
the places where you put curves stay rounded.

Finished wet-folded models tend to have a real feeling of
three-dimensional solidity to them.  You don't do this
with plain-old origami paper, though, it is best for the
heavier papers.  (I get good results from Thai "Unruyu".)

  -- 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: Fri, 26 Apr 1996 01:00:49 -0300 (ADT)
From: Kathryn Burlingham <psu07050@odin.cc.pdx.edu>
Subject: Re: MATH: The Origami/Music Connection

Gretchen commented:
> << This link is the relationship between both origami and music
> to mathematics.  >>

So, is that why supposedly deterministic models can under certain
circumstances become chaotic? Robert Lang: Strange Attractor.

--Kathryn
