




Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 02:01:56 -0300 (ADT)
From: deg farrelly <ICDEG@ASUVM.INRE.ASU.EDU>
Subject: Origami for the Connoisseur

There is still an available copy of "Origami for the Connoisseur".

|:^}>

deg farrelly
1601 West Sunnyside Drive, #115       E-Mail:  deg@asu.edu
Phoenix, Arizona  85029               Phone:   602.943.8175





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 02:13:00 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: The Art in Origami (was Re: photocopying diagrams)

On Mon, 26 Aug 1996, Jerry D. Harris wrote:

<long discourse analyzing the nature of art and artists deleted>

> instincts.  Granted, what little I've produced of my work thus far makes
> that difficult, but that's not because it isn't returning to me a profit,
> but solely because of a persistent lack of time!  8-(  From what few

<remainder of long discourse analyzing the nature of art and artists deleted>

Jerry, why, pray tell, do you suffer from a lack of time? Perchance because
you cannot pursue your art full time and must do other work to support
yourself while you produce your art? (Actually, this is probably not true
for you, based on what I know of you. I realize that many of us have other
interests beyond origami. But the "stereotypical artist" faces this
problem.) But it all boils back down to money, doesn't it? The "ouvre"
to create is all fine and dandy, but the need to feed is a more
fundamental reality. No matter how you slice it, the artist must eat,
and, if he cannot eat the fruits of his creativity, he must divert
precious time and energy towards doing something else by which he can
support himself. And so, theft from the artist (yes, I do mean theft),
in whatever form, harms the artist either by direct loss of the work, by
loss of distinct identification with the work, or by loss of time required
to create new and better refined work.

In origami, I would suggest that we not judge all of the creators by the
same rule. There are those who feel strongly that "origami is for sharing"
and freely distribute (and freely allow distribution of) their works. There
are others who feel that they should have some sort of compensation for
their efforts, especially given the "something extra" that they provide.
Neither view is wrong, and neither view should be condemned. Rather, we
must respect the wishes of the creators themselves. If origami is TRULY
about sharing, then we will not lambaste those creators who try to make a
living doing what they do best. Rather, we should support them so that they
can excel and go on to make better and better works that continue to
astound us and to give us pleasure.

          Joseph Wu           | There are no ordinary people. You have never
  origami@planet.datt.co.jp   | talked to a mere mortal. Nations, cultures,
 Webmaster, the Origami Page  | arts, civilisations--these are mortal....
http://www.datt.co.jp/Origami | But it is immortals whom we joke with, work
  Webmaster, DATT Japan Inc.  | with, marry, snub, and exploit....
    http://www.datt.co.jp     | --C.S. Lewis, "The Weight of Glory"





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 02:16:53 -0300 (ADT)
From: Ann McGrath <mcgrath@enter.net>
Subject: Re: Origami for the Connoisseur

deg farrelly wrote:

Oh, my!

I didn't send you a mail today because I thought I'd have absolutely no
chance of getting OftC.

I _would_ like it, please, if no one else replies first.

> There is still an available copy of "Origami for the Connoisseur".
>
> |:^}>
>
> deg farrelly
> 1601 West Sunnyside Drive, #115       E-Mail:  deg@asu.edu
> Phoenix, Arizona  85029               Phone:   602.943.8175
>

--
Ann A. McGrath          email: mcgrath@enter.net
Jewelry Design          voice: (610)253-7588
1841 Washington Blvd    data: (610)253-9751
Easton, PA 18042        A bead! A bead! My kingdom for a bead!





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 03:03:23 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: The Art in Origami (was Re: photocopying diagrams)

Joseph Wu writes:

<< Neither view is wrong, and neither view should be condemned.
<< Rather, we
<< must respect the wishes of the creators themselves.

Hear, hear!

The definition of "sharing", whether to "share",
when, & how much, are all the perogative of the person who
has something to "share". "Sharing" (like "charity") is not
a democratic process (i.e. cannot be mandated by majority rule),
nor is it something that can done on behalf of one person by
another, nor should  be imposed on anyone by "peer pressure";
nor should anyone condemn or denigrate someone's else's views
or philosophy of sharing.

Joseph, certainly, with his wonderful origami web site (I think
of it as the "mother ship of origami"), is a sterling example
of a generous philosophy of "sharing"; but no one has a right
to expect it of him or anyone else.

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 03:07:24 -0300 (ADT)
From: Charles Knuffke <knuffke@sirius.com>
Subject: Re: photocopying diagrams

Douglas Zander wrote:

>  I think one thing we have to remember is if we like an origamists
>  work, *especially if we really like the model* then we shouldn't photocopy.
>  One way an author knows he's good and will continue making the models
>  we like is by the income his books get.

While I'm in agreement with the comment above, I think Douglas statement
overlooks the reason most Origami diagrams are photocopied...

If the book's out of print, I can't buy it!

Witness the commotion recently on this mailing list about "Origami for the
Connoisseur". I'd rate this book as a "Must Have" for anyone intermediate
or higher in Origami skills, but unless the publisher re-prints the book,
people who've recently gotten into Origami are outta luck. A photocopy of
Kawasaki's Rose diagram may be the only way they'll get to see that model.

> Shareware is programs given out for free with the condition that if the
> user likes it and decides to keep it then he is expected to pay the
> programmer for the program.

When it comes to photocopying, I've arrived at (rationalized ???) my own
rule - I'll photocopy diagrams, but only if I can't find the book to buy.
And if I later find the book, I've committed myself to buying it. I feel
that this is akin the the shareware metaphor described.

I've been looking for some "classic" origami books for a long time now -
most of Harbin's works, Randlett's Art of Origami, Kasahara's Viva Origami
and up till recently, several of Yoshizowa's books. And I'm not talking
about just looking through the racks at Borders and Books or the Kinokunya
Bookstore (whick I do regularly). I'm constantly searching used bookstores
including those in cities that I travel to for business, I post "Wanted To
Buy" messages in Usenet Book Marketplace newsgroups, I'm posted to Bren
Riesinger's Fascinating-Folds Classified Web page
<http://www.fascinating-folds.com/paper> , and I check bookstores that have
Internet Accessible Databases. I'm trying everything I can think of to find
these books, but until these books are re-printed, at least I've got
photocopies of a few of the incredible models from the texts.

And if the British Origami Society is sucessful in re-printing any of
Harbin's books in the near future, I'll gladly throw out my photocopies and
buy the books immediately upon release.

Regards.

*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
Charles Knuffke       "Amen the Thunderbolt in the Dark Void"
153 Divisadero                                  -Jack Kerouac
San Francisco CA 94104
mailto://knuffke@sirius.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 03:11:17 -0300 (ADT)
From: Charles Knuffke <knuffke@sirius.com>
Subject: Re: Favorite Animals in Origami

At 8:42 PM -0800 on 8/25/96, Joseph Wu wrote:

>
> Yoshino Issei's book contains a very good looking cat. (I've seen the cat,
> but I've not seen the book. Yamaguchi-san told me that the cat would appear
> in the book.)
>

Joseph:

Which book are you refering to? The only book I know of by Yoshino Issei is
"The Skeleton of Tryannosaurus Rex".  Is this something that is already
out, or soon to be released?

Regards.

*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
Charles Knuffke       "Amen the Thunderbolt in the Dark Void"
153 Divisadero                                  -Jack Kerouac
San Francisco CA 94104
mailto://knuffke@sirius.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 03:35:23 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Favorite Animals in Origami

On Mon, 26 Aug 1996, Charles Knuffke wrote:

> Joseph:
>
> Which book are you refering to? The only book I know of by Yoshino Issei is
> "The Skeleton of Tryannosaurus Rex".  Is this something that is already
> out, or soon to be released?

Just announced in the latest issue of the Tanteidan newsletter is
Yoshino-san's long-awaited book. The title is something like "Issei Super
Complex Origami", although I don't have the newsletter in front of me, so
I'm not sure. I've not yet ordered the book, but I guess I should!

          Joseph Wu           | There are no ordinary people. You have never
  origami@planet.datt.co.jp   | talked to a mere mortal. Nations, cultures,
 Webmaster, the Origami Page  | arts, civilisations--these are mortal....
http://www.datt.co.jp/Origami | But it is immortals whom we joke with, work
  Webmaster, DATT Japan Inc.  | with, marry, snub, and exploit....
    http://www.datt.co.jp     | --C.S. Lewis, "The Weight of Glory"





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 03:49:00 -0300 (ADT)
From: Charles Knuffke <knuffke@sirius.com>
Subject: Re: Can you help?

TrekDBob@aol.com (aka Dee) wrote:

>
> I would like to ask that you all be very careful to whom you give other
> people's e-mail addresses to and where you might leave them lying around.
>
> I have been getting some strange messages from someone at
> "@suffolk.lib.ny.us" that have started getting a little bit strange.
>

Dear Dee:

I saw your message, and the responses so far. Very sorry to hear that
you've had to deal with annoying E-Mails.

Wanted to mention that as an AOL member, there's one other place where
people can get information about you, and that from your AOL Profile. Any
AOL member can get a listing of your profile if they know your screen name,
or can search the entire AOL profile database for any word included in the
profile to find out your screen name.

One female friend of mine got a little freaked out when she recieved an AOL
"Instant Maessage" from someone who knew a) She was single, b) The town
where she lived, and c) That she was in the mental health community. The
person who sent the message wouldn't tell her how he knew everything, but
when she told me what happened, it was pretty easy to figure out. The guy
searched for every single female who lived in his town, and found my
friends name.

One possible solution is to delete out all the info in your AOL profile.
Then you can't be found thru any standard search. Also, stay out of AOL
chat rooms (since your name appears to everyone else in the room).

Unfortunately, it seems like privacy concerns are going to increase as we
become    more internet connected. Search engines like Digital's Alta-Vista
can find every web page or Usenet posting that has your name on it. AOL's
newest software has a "Buddy" feature to let you find out when any other
specified AOL member is on-line (I use it to see when friends or AOL
members into Origami are on-line). You can exempt yourself from being
included in other people's "buddy view", but it's not automatic.

Sheldon Ackerman had the right idea - Get the system administrator of the
other system involved and let them know that you're being harassed -
usually an E-Mail to sysop@ or postmaster@ will get you to the right person.

I've enjoyed your posts in the past to the Origami-L list, and look forward
to seeing more in the future. Hope that this one negative person doesn't
cause all of us on the list all to lose an Origami Friend.

Regards and Best Wishes.

*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
Charles Knuffke       "Amen the Thunderbolt in the Dark Void"
153 Divisadero                                  -Jack Kerouac
San Francisco CA 94104
mailto://knuffke@sirius.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 04:23:43 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: beckoning cat

On Sat, 24 Aug 1996, Carol Hall wrote:

> Anyone know of a model for manekeneko (sp?), the beckoning cat found as a
> symbol of welcome in many parts of Asia?  This is the sitting cat with one
> paw raised in a very distinctive pose.  I've seen lots of the figurines, but
> don't think I've ever seen an origami version -- seems kinda strange.

I was issued that particular model as a challenge a few months ago. I've
made absolutely no headway in its design. For those of you who don't know
it, this is the fat white cat sitting back on its haunches with its front
right paw held up in what looks like a waving gesture. Originally Japanese
in design (I think), it has spread to many Asian shops (it's a symbol of
good fortune in business).

          Joseph Wu           | There are no ordinary people. You have never
  origami@planet.datt.co.jp   | talked to a mere mortal. Nations, cultures,
 Webmaster, the Origami Page  | arts, civilisations--these are mortal....
http://www.datt.co.jp/Origami | But it is immortals whom we joke with, work
  Webmaster, DATT Japan Inc.  | with, marry, snub, and exploit....
    http://www.datt.co.jp     | --C.S. Lewis, "The Weight of Glory"





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 04:36:50 -0300 (ADT)
From: Robert Maldonado <robert_maldonado@csufresno.edu>
Subject: Re: Favorite Animals in Origami

>
> On Mon, 26 Aug 1996, Robert Maldonado wrote:
>
> > What about Montroll's Bobcat in North American Animals?
>
> You mean, Kawahata's Bobcat in Montroll's book.
>

I had a feeling it was Kawahata's as soon as I sent it, but I didn't
have the book at the computer to check it.  Sorry.

Robert Maldonado
Philosophy Dept.
CSU, FResno
Fresno, CA 93740-0105, USA
(209) 278-2879





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 05:04:58 -0300 (ADT)
From: "Na. (NAKANISHI Ken-ichi)" <nakanish@pd.scei.sony.co.jp>
Subject: Re: Toshikazu Kawasaki Rose

In mail <Pine.SUN.3.91.960823195652.7508G-100000@planet>
    Joseph Wu <origami@planet.datt.co.jp> wrote:
> Not quite true. Kawasaki-san taught the rose at the Origami USA convention
> in 1994, where I learned it. I taught it to Winson Chan of Vancouver, and
> he has made diagrams of it.

It might be his mistake.

> > By the way, the copyright of photographs of creations are not
> > for the creators but for the photographers in the same reason.
> > The exception is the portrait photos.  People are considered to
> > have the rights of their own portraits.  So the permission of
> > both photographer and the person who is taken pictures of is
> > needed to distribute them.
>
> Not true in the USA. Copyright of photographs belong to the photographer,
> not to the subject. As far as I understand it, of course.

I'm sorry, but I made mistake.

Portrait is not the exception of copyright.  Even the copyright
is not held by the subject.  THE RIGHT OF PORTRAIT (I don't know
legal terms, but it's called "Shouzou-ken" in Japanese) IS NOT
THE PART OF COPYRIGHT, but the subject still has the right.

I used some search engines to find descriptions about the right,
but many pages say "We should respect the right of the portrait"
but there are no sentences of the right.

--
nakanish@pd.scei.sony.co.jp (NAKANISHI Ken-ichi, not Kenichi Nakanishi)





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 07:16:05 -0300 (ADT)
From: Laurie Bisman <lbisman@sirranet.co.nz>
Subject: Cats, waterbombs and catnip.....

Slightly non-origami but as we're talking about cats and such......

We have tried to grow catnip for our brood of cats (25 of them) and had =
very little success as the little darlings decide to eat/roll/drool etc =
over any new shoots that show themselves above ground.

In desperation, I put wire netting (chicken wire?!) over the garden plot =
very close to the ground.

Came home from work one day to find one of our larger felines had =
managed to get itself underneath and was quite happily lying on top the =
new shoots 'spaced out'

I might try the 'waterbomb filled with catnip' trick next!

Laurie Bisman
lbisman@sirranet.co.nz





Return-path: <origami-l@nstn.CA>
Date: Mon, 26 Aug 1996 10:12:01 -0300 (ADT)
From: Miss Emma Jane Griffiths <emmajg@cardiffcybercafe.co.UK>
Subject: Re: Origami for the Connoisseur

Yes the book is available in Wales and it takes about 2 weeks to order it in.
It's 18.95 uk pounds and about 5 uk pounds for postage to the states.
Em*

At 02:01 26/08/96 -0300, you wrote:
>
>There is still an available copy of "Origami for the Connoisseur".
>
>|:^}>
>
>deg farrelly
>1601 West Sunnyside Drive, #115       E-Mail:  deg@asu.edu
>Phoenix, Arizona  85029               Phone:   602.943.8175
>
>
>
---------------------------------------------------
             Miss Emma Jane Griffiths
      E-mail: emmajg@cardiffcybercafe.co.uk
  URL: http://www.cardiffcybercafe.co.uk/~emmajg





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 10:27:36 -0300 (ADT)
From: "Lauinger,p15" <Lauinger@06.bonn02.telekom400.dbp.de>
Subject: Brill's Flexicube

I have also to glue this wonderful cube. Therefore I'm a
little bit disappointed.
I used rather thick paper, but the problems are the short
flaps.
Does anyone have an idea how to fold the flexicube without
gluing?

Not a happy flexicube folder

Dorisris





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 10:54:23 -0300 (ADT)
From: Robert Bossy <rbossy@Email.ENST.Fr>
Subject: Re: Origami for the Connoisseur

Miss Emma Jane Griffiths said:
>
> Yes the book is available in Wales and it takes about 2 weeks to order it in.
> It's 18.95 uk pounds and about 5 uk pounds for postage to the states.

Please, where do I order ?

--
Robert Bossy
Robert.Bossy@enst.fr
2 rue Lechapelais, 75017, Paris (FRANCE)





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 11:13:15 -0300 (ADT)
From: Javier Cubero <jcubero@magicnet.net>
Subject: Re: WaterBombs/cat toys

Carol Hall wrote:
>
> Toshie's Jewel (3 piece Sonobe) is a much sturdier cat toy, especially when
> folded with office-weight paper.

Where would I find this model, I'd like to try it.

> Incidentally, I have an informal project making these cat toys and giving
> them to people who do good work for animals.  Staff at the vet's office, the
> volunteers at stray rescue organizations, etc.  Started doing this when my
> kitty was in the hospital for a month having radiation treatments for
> cancer.  Couldn't concentrate on anything, couldn't visit her, so I folded
> cat toys by the score.  It's the "Polar Bear Project" (named after my
> now-healthy cat).  It is nice that when someone adopts a stray cat, they can
> take a handful of toys home at the same time.

That's wonderful!  As a cat lover and rescuer of 3 cats from shelters
(plus a siamese
I couldn't resist at a pet shop) I think that's a great thing to do.
Maybe I can get
our local group doing something like this....





Return-path: <origami-l@nstn.CA>
Date: Mon, 26 Aug 1996 11:17:13 -0300 (ADT)
From: DLister891@aol.COM
Subject: Books by Akira Yoshizawa

I have been asked to compile a list of Yoshizawa's books. I have almost
completed this, but I have two references which I cannot explain.

The first is to  a book called "Life Affluent Origami". I have never come
across this book before and have no information other than the title. It may
be quite recent.

The other reference is to "Tanoshii Origami" ("Pretty Origami"). This is
included in the list of Yoshizawa's books at the end of his English language
"Origami Museum 1". However, he also includes in this same list his earlier
"Tanoshii Origami" , which is translated as "Joyful Origami" and which was
first published in 1963. It was  reprinted in a new edition in 1978 and  more
recently the ISBN:  4 - 308 - 00091 - 2 has been allocated to it.

It seems strange that Yoshizawa should have published two books with the same
Japanese title, which translates differently in English as "Joyful Origami"
and as "Pretty Origami". Is "pretty" an acceptable translation of "tanoshii"
or "tanoshi" as I find the word is variously Romanised?

Can anyone tell me me about "Pretty Origami" and also about "Life Affluent
Origami" please?

When my list is complete, I intend to post it in Origami-L.

David Lister

Grimsby, England,

DLister891@AOL.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 11:36:38 -0300 (ADT)
From: Miss Emma Jane Griffiths <emmajg@cardiffcybercafe.co.uk>
Subject: Re: Origami for the Connoisseur

If you email me personally with your postal address and details on
how to pay i.e. postal cheque, cash, whatever.

Em*

At 10:54 26/08/96 -0300, you wrote:
>Miss Emma Jane Griffiths said:
>>
>> Yes the book is available in Wales and it takes about 2 weeks to order it in.
>> It's 18.95 uk pounds and about 5 uk pounds for postage to the states.
>
>Please, where do I order ?
>
>--
>Robert Bossy
>Robert.Bossy@enst.fr
>2 rue Lechapelais, 75017, Paris (FRANCE)
>
>
>
---------------------------------------------------
             Miss Emma Jane Griffiths
      E-mail: emmajg@cardiffcybercafe.co.uk
  URL: http://www.cardiffcybercafe.co.uk/~emmajg





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 11:54:57 -0300 (ADT)
From: bryan@sgl.ists.ca (Bryan Feir)
Subject: Re: beckoning cat (NORM)

> On Sat, 24 Aug 1996, Carol Hall wrote:
> > Anyone know of a model for manekeneko (sp?), the beckoning cat found as a
> > symbol of welcome in many parts of Asia?  This is the sitting cat with one
> > paw raised in a very distinctive pose.  I've seen lots of the figurines, but
> > don't think I've ever seen an origami version -- seems kinda strange.
>
> I was issued that particular model as a challenge a few months ago. I've
> made absolutely no headway in its design. For those of you who don't know
> it, this is the fat white cat sitting back on its haunches with its front
> right paw held up in what looks like a waving gesture. Originally Japanese
> in design (I think), it has spread to many Asian shops (it's a symbol of
> good fortune in business).

   I actually saw the story about this about three years ago on a special
on cats from A&E; I'll probably mangle this a bit, but the basics of the
story follows:

   A nobleman was travelling down a forested road when a storm hit.  Unable
to see more than a few feet in front of him, he travelled slowly down the
road, looking for a place to find shelter.  Suddenly he stopped, as he saw
a cat sitting in the middle of the path which seemed to be waving to him.
The cat looked up at him, then disappeared down a path to the side which
he hadn't seen before.

   As he turned his horse down the path, lightning struck one of the trees
ahead of him, causing it to fall across the path, right where he would have
been if he hadn't stopped for the cat.  After finding the temple at the end
of the branch path and taking shelter there, he gave thanks for his good
fortune and helped support the temple and the cat that had saved his life.

   So that cat has been a symbol of good fortune ever since.

   I'm sure some of the Japanese members could clean this up a bit...

---------------------------+---------------------------------------------------
Bryan Feir           VA3GBF|"This Santa Claus business is played out.  It's a
bryan@sgl.ists.ca          | sneaking, underhand method, and the sooner it's
jenora@istar.ca            | exposed the better."     -- Stephen Leacock





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 11:55:50 -0300 (ADT)
From: Yusri Johan <gs01yyj@panther.Gsu.EDU>
Subject: YA Origami Sighting

Hi all -
        Here is another origami sighting!  In the latest issue of the Koi
USA Magazine, July/August 1996, V 21 Is. 1, the cover features Michael
LaFosse's Koi (from the Koi and Sea Turtle video).  According to Michael,
this is the first time the magazine has an origami koi other than the usual
picture of living koi on the cover.  Kudos to Michael.  Also, inside the
magazine, there is an article (pp. 38-9) about Michael and pictures of his
origami models.
        Koi USA is also online at this URL: http://www.koiusa.com.  If
you forgot the address, you can also access it from Alexander Blace & Co.
online web site at http://www.origamido.com under the Links/Resources page.

Later,
Yusri





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 11:59:46 -0300 (ADT)
From: Yusri Johan <gs01yyj@panther.Gsu.EDU>
Subject: SEOF update

Hi again,
        Here is the latest information on the SEOF.  I was told by
Jonathan Baxter that John Montroll will be coming festival.

Later,
Yusri





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 13:39:05 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Re: beckoning cat

>I was issued that particular model as a challenge a few months ago. I've
>made absolutely no headway in its design. For those of you who don't know
>it, this is the fat white cat sitting back on its haunches with its front
>right paw held up in what looks like a waving gesture. Originally Japanese
>in design (I think), it has spread to many Asian shops (it's a symbol of
>good fortune in business).
>
>          Joseph Wu

Aw, come on, Joseph, you can do it!!!!!!  :-)

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 14:23:48 -0300 (ADT)
From: Alex Barber <barber@dazed.nol.net>
Subject: Model database on web site

I've got another addition to my web site. I've imported the model
database from the ftp archive into a searchable database similar to the
folder database already on my site.

Feel free to come visit and see how many cat models there are or search
for the myriad crustaceans by Montroll and Lang.

I realize this is not a complete list of models (I need to go in and
update the database for recent titles), but with 3600 records the
database is pretty comprehensive.

Have fun
Alex Barber
barber@nol.net
http://www.nol.net/~barber





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 14:31:08 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Re: WaterBombs/cat toys

>Carol Hall wrote:
>>
>> Toshie's Jewel (3 piece Sonobe) is a much sturdier cat toy, especially when
>> folded with office-weight paper.
>
>Where would I find this model, I'd like to try it.
>
>> Incidentally, I have an informal project making these cat toys and giving
>> them to people who do good work for animals.  Staff at the vet's office, the

>That's wonderful!  As a cat lover and rescuer of 3 cats from shelters
>(plus a siamese
>I couldn't resist at a pet shop) I think that's a great thing to do.
>Maybe I can get
>our local group doing something like this....

The unit for this modular is found in....Origami for the Connoisseur.  BUT
it is also found in _The New Origami_ and _Amazing Origami for Children_,
both by Steve and Megumi Biddle; and in Araki's _Origami for Christmas_; and
probably in many other books as well.  I notice that the unit is labelled
traditional (or maybe that is the 6-unit cube); the three-unit "jewel" is
attributed to Toshie Takahama.  I think that there is only one assembly
configuration so that 3 units fit together, although my assembly process
differs from what is usually shown in the diagrams. (I don't put them
together so that they need to be "popped" up or out.  Just seems easier to
me to keep the sides out to begin with.)

I'm glad cat-lovers like the idea of folding cat toys for "animal saints".
The Polar Bear project lives! As I tell people, not only do the cats love
the toys, it provides me an opportunity to use some of that paper I've
accumulated....  I use 3 inch squares of regular office paper, usually in
three different colors for the different units.  The cats don't seem to
notice the difference, but humans are more intrigued with the toys if they
are colorful.

I might point out, if I didn't in the original posting, that disposable toys
are great to give to strays during quarantine periods.  There is a lot of
FeLeuk and FIV out there and no need to spread it.

It occurs to me that people who want to fold a "catnip delivery device"
would be better off to fold the traditional waterbomb.  Since it is more
fragile, the catnip is easier to get to; since it has less paper, there is a
smaller chance of the cat consuming lots of paper to get to the treat.  (Or
maybe is is only Valerie Vann's and my cats who eat their way through....)
Of course, we could all just plant the catnip under chicken wire and observe
the learning techniques of the kitties!

One warning for those of you folding these things for your own cats:  Ms.
Polar Bear sits and watches me fold one, grabs it, swats it under the
refrigerator, and comes back asking me to fold another one.  She knows where
they come from!  And I have learned to use paper with colors visible under
the refrigerator.

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 19:59:56 -0300 (ADT)
From: DLister891@aol.com
Subject: Copyright in photographs

This preoccupation with Copyright just will not lie down. I don't suppose it
ever will, because there just isn't a straight answer to everyone asking
questions about every aspect of it  that will kill the subject stone dead,
much as we would like one.

Now a new angle has been raised about copyright in photographs. I may be able
to throw a little light on this, so I'll stick my neck out. But remember, I'm
an English lawyer and a very rusty one at that so treat what I say with
caution when applying what I say to United States copyright law, or for that
matter the copyright law of any other country. In general, however, the
copyright laws of all the countries signatory to the Berne Covention are much
the same. They do vary in detail, and remember that whatever the Berne
Convention may state, it is, in general, the domestic law of each country
that applies within  its own jurisdiction.

Copyright in photographs is the same as copyright  in anything else which is
a matter of human creativity. In general, as soon as a photograph is taken,
it is subject to the same rules restricting copying as a piece of writing or
music or anything else, (with the exception of inventions falling within the
law of patents, which are governed by a separate set of rules). There are,
however some peculiarities relating to photographs.

I.  As with other created works,copyright prima facie belongs to the
photorapher, because it is he/she woh creates it. But he may be under
contract to take the photograph for someone else, and if the conract provides
that the copyright in the photograph belongs to that someone else, probably
the person commissioning the photogrph, then ownership of the copyright will
not belong to the photographer. Photographers like to retain the copyright,
so they do not normally raise the subjcec of ownership, in the hope that the
person commissioning th photograph won't seek to request the copyright.
Photographers also take care to rubber stamp on the backs of photographs a
reservation of copyright to themselves, to make sure of the matter. Copyright
is money in their hands!

2   Even if there is no contract providing that the person commissioning the
photogrph shall own the copyright in it, the copyright can still be assigned
to any other person. As an extreme example, a blackmailer-photographer may
offer to sell the negatives and prints and also the copyright in a photograph
he has managed to take of Princess Lulu in a compromising situation for a
huge sum of money. Or photographic libraries may be prepared to pay large
sums for particularly stunning photographs of popular subjects, so that they
can sell copies themselves, but prevent anyone else from copying them and
limiting their market Like the writer of a book, a photographer may be
willing to sell his copyright for a fixed sum on the basis that a bird in the
hand is worth any amount of possible royalties in the bush. Anyone can assign
his copyright to anyone else for money or without payment. On the death of a
photographer his copyrights, if he has not parted with them, will pass under
his will or according to the rules of intestacy of that country which apply
to him.

3   Employers will often insert a term in the contracts of employment of
their employees providing that the copyright in any materials created by the
employee in the course of his or her employment will belong to the employer,
whether writings or photographs or designs. This is a perfectly reasonalble
thing for an employer to insist on, if the work is done o his behalf. So, the
employer of a photographer will own the copyright in the photographs he takes
while on his employer's business.

4. The same applies to paintings. An artist may paint many pictures and sell
the actual canvasses but reserve copyright in the pictures to himself Then he
may hope that if his paintings are worth reproducing, he may have an income
to keep him in his old age.

5.  A problem arises with photographs take of other objects in which
copyright already exists.. This commonly arises with buildings. If a
photographer takes a photograph of a building which is still subject to
copyright (and copyright under the Berne Covention lasts for fifty years
after the death of the creator, in this case, the architect), then the
photographer, if he publishes the photograph of the building, may well be in
breach of the architect's copyright Notwithstanding this, the photographer
will himself have a copyright in the photograph as opposed to the building,
but the architect's copyright may well limit the extent to which the
photographer can benefit from his copyright.

    I deliberately write "may well" in the last sentence. Obvously, this
principle does not have to be take far before it becomes utterly absurd. Is
an architect to have control over every photograph that casually includes his
building in the background? If the law went as far as that no-one would ever
be able to take a photoraph in public without fearing that he would become
the recipient of a writ claiming damages for breach of copyright. The taking
of photographs would soon be frozen out of existence. So the law provides
that photographs of buildins taken only incidentally in the background of
photographs will be exempt. It is a question of degree: is the main subject
of the photograph the church, in which its architect takes great pride, or is
it John and Mary standing at the door of the building where they have just
been married?

5.   It has been suggested that individuals may have a copyright in their own
faces. Is this so? Copyright in facial features is not provided for in the
Berne Convention, but that does not mean that individual countries or legal
jurisdictions cannot make their own laws on the subject. It is, therefore a
matter for the domestic law of each legal jurisdiction. There is no such
provision in English law and in this country, nobody can prevent a
photographer from taking his or her photograph and publishing it on the front
page of the Daily Shocker as was demonstrated two or three years ago. But
other countries may have enacted laws to prevent this; I have no information
on what they may have done. It is an area  where the need to protect
individual privacy is in conflict with the need to preserve the freedom of
the press and liberty of expression. Apart from the enormous difficulty of
drawing up effective legislation in this field, governments in free contries
are very reluctant to place limitations of any kind on free speech.

  I think that's enough on a subject that bristles with difficulties. We can
console ourselves that provided we go about our paperfolding and photography
with common sense and do not deliberately tread on the toes of other people,
the law of copyright will remain a matter for theoretical speculation. Just
look where you go!

David Lister.

Grimsby, England.

DLister891@AOL.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 20:26:05 -0300 (ADT)
From: Gretchen Klotz <gren@agora.rdrop.com>
Subject: Re: stringing cranes for plaques

Greetings -

With regard to stringing cranes, I thought I'd add what I learned from
doing it, and offer some pointers to crane websites as requested.

As Jeannine mentioned, regular or buttonhole thread (for longer strands of
larger cranes) works best.  I like to use a bead at the bottom of the
strand, with a spot of glue on the knot.  I prefer to string cranes "flat"
(before opening the wings down) which keeps them in place just fine, belly
resting on the back below with heads and tails pointing the same
direction.  I thought the rubberband idea was very unattractive, and used
beads instead (it wouldn't be so bad if you could color-coordinate your
rubberbands, cut them in a circle instead of a square, or they didn't show
because the wings were folded down).  Use a long, sharp needle.  Count
your cranes ahead of time -- then you won't have to keep track while
you're stringing them.

Alternately, placing the cranes in an attractive jar or vase is a lovely
idea.  Sue Parker gives 1000 gold foil cranes in a clear vase as a wedding
gift -- sounds lovely!  She figures that people are more likely to have
room for a vase than a mobile.

Check out her website (she even has instructions for *folding* the
cranes!) at:

        http://www.he.tdl.com/~sparker/cranes.html

I have a few more details on stringing cranes at mine, but you have to
scroll down aways before you get to them:

        http:///www.ogi.edu/~gren/cranes.html

Good luck, and keep us posted!

- Gretchen, now having heard of someone giving cranes in consolation

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





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 20:57:32 -0300 (ADT)
From: Gretchen Klotz <gren@agora.rdrop.com>
Subject: Young People in Clubs

Hello -

We are starting a folding group here in Portland, Oregon.  I am curious
how other groups/clubs deal with young people becoming members, as we are
trying to come up with a guideline.

I really want to encourage kids who are serious about origami to join, and
to foster the skills I have already seen in many of my teaching forays.
However, I have also heard horror stories from several people who have
belonged to various origami clubs through the years about young children
dropped off at meetings by their parents, where the meetings turned from
an origami adventure into a childcare nightmare.  I proposed that children
12 and under be accompanied by a parent for the duration of the meeting,
with flexibility to account for varying rates of maturity.  Another member
of our group then raised some concerns about insurance issues, since we
meet in private homes.  What if a child (unsupervised by their parent) is
injured when using a guillotine papercutter, or some other club-related
activity?  I agreed to post the question here, to see what other groups do
about young members and the potential hazards of the dangerous art of
origami. ;-)

Please respond to me privately, and I will post a summary if there is
general interest.  Thanks in advance!

- Gretchen

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





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 21:19:35 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: beckoning cat

On Mon, 26 Aug 1996, Carol Hall wrote:

> >I was issued that particular model as a challenge a few months ago. I've
> >made absolutely no headway in its design. For those of you who don't know
> >it, this is the fat white cat sitting back on its haunches with its front
> >right paw held up in what looks like a waving gesture. Originally Japanese
> >in design (I think), it has spread to many Asian shops (it's a symbol of
> >good fortune in business).
>
> Aw, come on, Joseph, you can do it!!!!!!  :-)

It's funny, Carol, because just this morning, as I was leaving for work, I
had a flash of inspiration for how to do this model. I'll try it and then
report back on how it worked out. I'm beginning to think that this first
idea is a bit over-complex for the subject at hand.

          Joseph Wu           | For me, a poem is the crossroads of my thoughts,
  origami@planet.datt.co.jp   | my feelings, my imaginings, my wishes and my
 Webmaster, the Origami Page  | verbal sense: normally these run parallel. Often
http://www.datt.co.jp/Origami | two or more cross. But only when all three cross
  Webmaster, DATT Japan Inc.  | do you get a poem - Bash! Whop! Klok! Doing! -
    http://www.datt.co.jp     | Poem, Yippee!       --Philip Larkin, poet.





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 21:32:59 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: Young People in Clubs

I can't actually answer any of Gretchen's questions, but her query
about young origamists puts me in mind of OrigaMIT's youngest
member. Gus is 5 years old and began folding when he was 4.  He reads
only a few select phrases, such as "repeat behind" and "sink here". He
can fold Montroll's Apatosaurus from memory, and this summer he
invented and diagrammed his first fold, a cat.  Most of us probably
wouldn't mind if his parents dropped him off at the meetings, but they
always stick around.

        -- Jeannine Mosely





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 21:33:53 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Books by Akira Yoshizawa

On Mon, 26 Aug 1996 DLister891@aol.com wrote:

> The first is to  a book called "Life Affluent Origami". I have never come
> across this book before and have no information other than the title. It may
> be quite recent.

This is the "Inochi Yuta Ka Na Origami" that was mentioned on this list
recently. Here's the info: ISBN4-916096-31-3, published by Sojusha, Inc.
(the people who publish Oru) in 1996. The translation that my co-workers
give me is "Full of Life Origami".

> The other reference is to "Tanoshii Origami" ("Pretty Origami"). This is
> included in the list of Yoshizawa's books at the end of his English language
> "Origami Museum 1". However, he also includes in this same list his earlier
> "Tanoshii Origami" , which is translated as "Joyful Origami" and which was
> first published in 1963. It was  reprinted in a new edition in 1978 and  more
> recently the ISBN:  4 - 308 - 00091 - 2 has been allocated to it.
>
> It seems strange that Yoshizawa should have published two books with the same
> Japanese title, which translates differently in English as "Joyful Origami"
> and as "Pretty Origami". Is "pretty" an acceptable translation of "tanoshii"
> or "tanoshi" as I find the word is variously Romanised?

I also remember seeing two different "Tanoshii Origami" books. (BTW, the
"correct" romanisation is "tanoshii", although technically, it might also
be "tanosii". Always with 2 i's at the end, though.) I'm pretty sure that
two different books exist. I'll look that up tonight when I get home. I'm
not sure I have both of them, though.

          Joseph Wu           | For me, a poem is the crossroads of my thoughts,
  origami@planet.datt.co.jp   | my feelings, my imaginings, my wishes and my
 Webmaster, the Origami Page  | verbal sense: normally these run parallel. Often
http://www.datt.co.jp/Origami | two or more cross. But only when all three cross
  Webmaster, DATT Japan Inc.  | do you get a poem - Bash! Whop! Klok! Doing! -
    http://www.datt.co.jp     | Poem, Yippee!       --Philip Larkin, poet.





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 21:53:21 -0300 (ADT)
From: Pam & Namir <pgraben@umich.edu>
Subject: Re: Cats

>Yoshino Issei's book contains a very good looking cat. (I've seen the cat,
>but I've not seen the book. Yamaguchi-san told me that the cat would appear
>in the book.)
>          Joseph Wu

He has a book?  (I can't  find it in the Source, Powell's or Amazon)
     Interesting.
Is it forthcoming?  Got any details?

I saw the tiger in the Annual Collection (wow, like, wow) and was impressed in
     that
after a long hunt for a cool tiger (all the others seem to look like pumas or
     lionesses or
other big cats) (no offense).  This one captures the ruff around the cheek that
     only
tigers have, and is brimming with personality.   I haven't tackled it yet, but
     be assured it's high up on my large backlog of wanton folds!
by the Annual Collection, as it is my first.  The biggest collection of origami
     I've seen
 to date, twice as thick as my currently thickest book.  Oh, my kingdom for a
     27 hour day...

!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-
     !

Pamela Graben,         We and the world, see, we got
Namir Gharaibeh                this understanding!

          pgraben@umich.edu





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 21:54:12 -0300 (ADT)
From: Pam & Namir <pgraben@umich.edu>
Subject: Dusty Origami

>Since they are so small, I would put them in a tall glass.  It would look
>pretty, and the little cranes wouldn't be collecting dust and getting
>scrappy-looking.
>                                    Cathy

What does everyone else do to keep their "too good to give away" origami that
     sits on the
computer monitor, shelf, car, whatnot?
       How big would a glass be to hold 1000 cranes?  Perhaps use many glasses?
I forget where, but I remember seeing something where someone used a shadow box
(like a picture frame that are used to mount butterflies) and arrange the
     cranes in a
pattern of somehting.  Perhaps double sided tape could be used for the actaul
     mounting.
  I mention this because it is one idea I have for my fiance's surprise wedding
     present.
I'm also using the 1" squares, a very large savings on space when secrecy is
     desired!

!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-
     !

Pamela Graben,         We and the world, see, we got
Namir Gharaibeh                this understanding!

          pgraben@umich.edu





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 21:59:38 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Re: Young People in Clubs

I think that meeting in private homes may give you a bit more control than
meeting in a public place, like a library.  Presumably, parents wouldn't
feel quite as comfortable dropping a child off there, as compared with a
library where they may well have dropped them off for a different sort of
gathering.  (But with the world being what it is, even this may be wrong.)

I taught a class at a summer camp once where I specified both to the camp
and to the parents that no one under 10 was permitted.  When the 6 or 7 year
old waltzed in -- without parent, of course -- I was furious.  As it turned
out, that child was the best folder in the bunch, but I had no way of
knowing that.  And the parents didn't see fit to talk with me beforehand.
So even though it turned out in the end in this case, I'm still very willing
to impose some strict rules about accompanying parents. (I like the phrase
"for the duration".)

With luck, you can prevent the baby sitting.  If not, when the parent shows
up, present a bill for $30/hr for baby sitting services.  You won't collect,
but you will nip the problem in the bud.  The word gets out quickly.

As for sharp instruments, I'd try to avoid them altogether.  If possible,
cut paper beforehand.  If that won't work, have all of that set up in a
separate room and/or an "adult area" or an "only with parent" area.

Your question about insurance gives me a queasy feeling.  I hate to think
that folks can't have folks over without this sort of consideration.
Methinks "I'll think about that tomorrow."

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 22:35:14 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: The Art in Origami (was Re: photocopying diagrams)

>Jerry, why, pray tell, do you suffer from a lack of time? Perchance because
>you cannot pursue your art full time and must do other work to support
>yourself while you produce your art? (Actually, this is probably not true
>for you, based on what I know of you. I realize that many of us have other
>interests beyond origami. But the "stereotypical artist" faces this
>problem.)

        Agreed...but my own lack of time stems more from the usurption of
my time by my scholastic obligations -- homework and research!  They have
deadlines, and thus must take precedence over my deadline-free origami.
8-(  Of course, part of the reason I do origami these days is because it
relaxes me somewhat.  As for my doing other activities to generate income
for basic necessities...well, I don't know that I have to tell anyone about
the subsistence living that most graduate students call a "life!"  ;-)

>But it all boils back down to money, doesn't it? The "ouvre"
>to create is all fine and dandy, but the need to feed is a more
>fundamental reality. No matter how you slice it, the artist must eat,
>and, if he cannot eat the fruits of his creativity, he must divert
>precious time and energy towards doing something else by which he can
>support himself.

        While this is true, in the grander scheme of things, this is true
only because of the way society has set itself up in the present.  For a
plethora of reasons, society has gotten to the point where it is willing to
allow, for example, teachers (a virtual necessity) to be grossly underpaid
while such figures as sports personae (a virtually complete frivolity) are
grossly overpaid.  Artists have also gotten the shaft; on this, I think
we're in agreement.  And yes, it would be wonderful if artists were
compensated appropriately for their efforts; unfortunately, art has been
devalued to the point where most artists must look elsewhere for income.

        However, my point wasn't intended to be that artists are
undervalued, but instead that most artists -- some might argue, the _best_
artists -- create art because it is their means of communicating with the
world.  Art as a whole, IMHO, exists to communicate in a more universal and
very subtle language of emotion.  While it is perhaps less frequent with
origami, we've even seen that origami can, too, be used in this medium:
we've seen it with the 1000 cranes repeatedly, and more recently with the
boat person plight.

>In origami, I would suggest that we not judge all of the creators by the
>same rule. There are those who feel strongly that "origami is for sharing"
>and freely distribute (and freely allow distribution of) their works. There
>are others who feel that they should have some sort of compensation for
>their efforts, especially given the "something extra" that they provide.
>Neither view is wrong, and neither view should be condemned.

        I agree...though I personally find it difficult to identify with
the concept of art-solely-as-a-means-of-income position, which was probably
the overtone of my previous message.  My apologies if I offended anyone!

> Rather, we
>must respect the wishes of the creators themselves. If origami is TRULY
>about sharing, then we will not lambaste those creators who try to make a
>living doing what they do best. Rather, we should support them so that they
>can excel and go on to make better and better works that continue to
>astound us and to give us pleasure.

        Oh, I do!  Despite making xerox copies of hard-to-obtain material,
I almost always buy originals when they come my way, and trash the xeroxes
(which are always inferior to originals)!  I _do_ want to give my support
to all origami artists, and I will, for the most part, still buy books that
come around.  I was speaking more to the fact that, with out-of-print or
otherwise difficult-to-obtain material, I believe that xeroxing is viable
and, in fact, necessary, because of the "sharing" nature of (as I perceive
it) the origamic community -- an origami "zeitgeist," if you will.

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

"Tyrannosaurs, though rarely seen, are certainly still around.
And no one knows just where or when the next one will be found."

                                  -- Calvin (aka Bill Watterson)
                                    .    .
                              .-_  /:\  /'\ .
                             /'''\/:::\/'''/:\
                         .---_'''/:::::\''/:::\----.
 .  .            .    .  \::: \''\:::::/''\:::/'__/_ .
 \\_\\_       /\/:\/\/:\/ \_:::\__\---/----\_/'/ :::/
  \ \\_\______\_\_/\/\_/\__\\_/    o  o  o  \_/::::/ ___ .
   \___\__________              o           o    \//''''/
                  \______     o                o   \''_/   _----_
                        \__  /     '            o  \/:\  / ....-/





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 23:23:13 -0300 (ADT)
From: "Na. (NAKANISHI Ken-ichi)" <nakanish@pd.scei.sony.co.jp>
Subject: Re: beckoning cat

Just a correction on Japanese.

> Anyone know of a model for manekeneko (sp?), the beckoning cat found as a

It's "maneki-neko", correctly.
           =

--
nakanish@pd.scei.sony.co.jp (NAKANISHI Ken-ichi, not Kenichi Nakanishi)





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 23:30:49 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: The Art in Origami (was Re: photocopying diagrams)

On Mon, 26 Aug 1996, Jerry D. Harris wrote:

>         I agree...though I personally find it difficult to identify with
> the concept of art-solely-as-a-means-of-income position, which was probably
> the overtone of my previous message.  My apologies if I offended anyone!

No offense, Jerry. Just using your original comments to springboard into
the broader issue.

>         Oh, I do!  Despite making xerox copies of hard-to-obtain material,
> I almost always buy originals when they come my way, and trash the xeroxes
> (which are always inferior to originals)!  I _do_ want to give my support
> to all origami artists, and I will, for the most part, still buy books that
> come around.  I was speaking more to the fact that, with out-of-print or
> otherwise difficult-to-obtain material, I believe that xeroxing is viable
> and, in fact, necessary, because of the "sharing" nature of (as I perceive
> it) the origamic community -- an origami "zeitgeist," if you will.

The problem here is that too many people assume that everything is hard to
get (or simply don't care!). I'll get off my soapbox now. 8)

          Joseph Wu           For me, a poem is the crossroads of my thoughts,
  origami@planet.datt.co.jp   my feelings, my imaginings, my wishes and my
 Webmaster, the Origami Page  verbal sense: normally these run parallel. Often
http://www.datt.co.jp/Origami two or more cross. But only when all three cross
  Webmaster, DATT Japan Inc.  do you get a poem - Bash! Whop! Klok! Doing! -
    http://www.datt.co.jp     Poem, Yippee!       --Philip Larkin, poet.





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 23:34:45 -0300 (ADT)
From: Wayne Ko <Herman_Ko@mindlink.bc.ca>
Subject: Out of Print Books;Photocopying;I've missed the boat

Charles Knuffke wrote:

>
>If the book's out of print, I can't buy it!
>
[snip snip]
>
>And if the British Origami Society is sucessful in re-printing any of
>Harbin's books in the near future, I'll gladly throw out my photocopies and
>buy the books immediately upon release.
>

I always try to buy any good Origami books when I come across them; I
consider this to be part of the fun.  However, sometimes it is extremely
frustrating when a book is out of print or difficult to get.  I'd prefer not
to photocopy, but if there is no other way to get the diagrams, I'd be
sorely tempted.  I have a keen interest in Napoleonics and would dearly love
to add Patricia Crawford's 3 masted ship to my collection; I've been
searching for quite some time since I saw it in David Brill's bottle.  Also
my first Origami book was one by Robert Harbin from my local library; I'd
gladly pay an arm and a leg (not my folding hands though) for this and other
Robert Harbin books that I've missed.

Wayne





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 23:38:47 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: beckoning cat

On Mon, 26 Aug 1996, Na. (NAKANISHI Ken-ichi) wrote:

> Just a correction on Japanese.
>
> > Anyone know of a model for manekeneko (sp?), the beckoning cat found as a
>
> It's "maneki-neko", correctly.
>            =

Thanks, Nakanishi-san. Here's an update on the progress of this design.
I've got a basic body structure (same as for my teddy bear, actually) that
seems to work, but there are two problems. The cat is TOO fat, being almost
as wide as it is tall, and it has a very rudimentary face. Both of those
problems should be easy to fix. I really should get my hands on a "real"
maneki-neko to make sure I get all of the features correct. Oh, I should
also note that it currently has no tail...

          Joseph Wu           For me, a poem is the crossroads of my thoughts,
  origami@planet.datt.co.jp   my feelings, my imaginings, my wishes and my
 Webmaster, the Origami Page  verbal sense: normally these run parallel. Often
http://www.datt.co.jp/Origami two or more cross. But only when all three cross
  Webmaster, DATT Japan Inc.  do you get a poem - Bash! Whop! Klok! Doing! -
    http://www.datt.co.jp     Poem, Yippee!       --Philip Larkin, poet.
