




Return-path: <origami-l@nstn.ca>
Date: Tue, 29 Oct 1996 22:40:06 -0400 (AST)
From: hull@MATH.URI.EDU
Subject: Re: Shared and Artistic Origami (LONG!)

Robert Lang wrote:

> In response, I would say that the true artist engages a dialog with the
> paper, drawing it into a dialectical materialism that transcends the utter
> inhomegeneity of the worldly experience: his art speaks to the viewer,
> saying, "yes, I am", in defiance of conceptual genres, while refuting the
> banal conventions of modern society. It evokes loquacity, perturbs
> flourescence; it grabs the viewer by the collar and makes snorting sounds in
> its nose. Etc., etc., etc.

        Ha ha.  Very funny, Robert.  I suggest you try to get it published
(wink), but I'm afraid I must defend Joseph here.  I think you're missing
the main point of what he was saying.
        I've found myself becoming very sympathetic to the arguments
one hears from creators like Yoshizawa, Jackson, or LaFosse.  I think
such creators often find themselves defending their decisions about
origami, and because of this they feel the need to define the difference
between the kind of origami they do and the kind people do when they
fold from a book.  Why make such a distinction?  All you need to do
is look in the archives to see why.
        I remember not too long ago (perhaps over a year ago) when there
was quite a bit of discussion on this list about the origami habits
of Akira Yoshizawa.  I remember more than one person critisizing
Yoshizawa-san heavily for not diagramming more of his models.  I think
the argument was that Yoshizawa-san, who has invented hundreds, if not
thousands of folds has diagrammed only a small fraction of them, and
this was a crime - look at what the origami community will lose after
Yoshizawa-san is gone and so few of his models have been diagrammed?
(Or so the argument went.)  At the time I agreed.
        But now I don't, not after seeing Yoshizawa-san in action,
hearing more personal stories about him and conversing with Paul Jackson
and Michael LaFosse about these issues.  All three of these guys have to
continually defend themselves from such criticisms.  Michael tells me
that he always gets asked, "Why won't you diagram your Toucan, or
your Kazo Bat?"  If I understood him correctly, Michael often feels
offended by such complaints, since they assume that his artwork could
easily be reproduced by a set of diagrams, which is totally untrue.
        Let's look at a specific example.  I remember buying my first
Yoshizawa book, which I think was called "Origami Animals I" (or was
it "Origami Museum I"????) and trying to fold his classic puppy.
I was very dissappointed.  I thought, "Yes, this is a puppy, but
what's so great about it?"  That book, those diagrams *completely
failed* in trying to teach to me the aim behind Yoshizawa-san's origami,
and as a result my young, very naive self walked away with a somewhat
lesser opinion about Yoshizawa.  It wasn't until years later, when I
saw a photograph (in ORU, I think) of a bunch of Yoshizawa-san's puppies,
that very same model, that I realized what a fool I was!  That picture
showed several puppies, all the same fold, but each had ** character **!
One was rolling over, another begging, another washing itself!  All
were from that same puppy that I tried to fold from his book, but
each had the breath of life blown into it - the one critical element
that I had completely missed when trying to follow his diagrams.  Furthermore,
it's an element that no diagram can teach you.  It must have taken
Yoshizawa-san years of studying puppies and playing with that model
before he was able to create such wonders of art.

        Robert, I can fully understand why such creators feel the need
to defend what they do, defend it from people (like myself in my younger
days) who think them snobby for refusing to diagram their models, or who
can't see the value in their efforts, or who find them conceited for
labeling their work "Art".  They defend themselves by defining what
they do, and drawing attention to the differences with "normal" origami.
        It makes perfect sense.  Frankly, I look at it as another amazing
development in the evolution of origami.  Discussing it is absolutely
nessecary as well!  It's certainly helped me understand things better.
Now I don't think of Yoshizawa-san as conceited, snobby or protectionist
at all (which is how many people have and do discribe him).  I think
I understand him better now, and can see through the prejudices.

        On the other hand, I must agree with you that words like "artistic"
are loaded with connotations.  By labeling one style of origami as
"artistic" we imply that other styles of origami are less artistic,
which I personally think is a bad path to follow.
        But language is such a tricky wicket, isn't it?!

--------- Tom "pepperoni machine" Hull
          hull@math.uri.edu
          Wakefield, Rhode Island, USA





Return-path: <origami-l@nstn.ca>
Date: Tue, 29 Oct 1996 22:44:18 -0400 (AST)
From: dragon@freenet.edmonton.ab.ca
Subject: Origami Festival

Just wanted to let you know about an Origami Festival that we are having
here in Edmonton, ALberta  Canada.  I think this is the 6th year that
 the Friends of Folding are gathering to do this.  It is a small festival
where people can show their talents and spread the word and interest in
Origami.  The festival dates are November 9 and 10 and will be held in the
Edmonton Public Library, 1 Sir Winston Churchill Square.  This is the main
branch of the Library and is now called the Stanley Milner Library. The
times of the festival are November 9 from 10 am to 5 pm and November 10
from 1 pm to 4 pm/.  If anyone is in the Edmonton area please drop by I
know the folders will be glad to see you.
Lynda Hayashi
                                     email: dragon@freenet.edmonton.ab.ca





Return-path: <origami-l@nstn.ca>
Date: Tue, 29 Oct 1996 23:13:02 -0400 (AST)
From: klwillis.juno@juno.com (Kevin L Willis)
Subject: _-^-_ 8-legged Crab _-^-_

Does anyone know where I can find instructions on how to make an
8-legged crab on the WEB?

Many thanks.

  Kevin Willis

*************************____ o/ __         "Beauty is truth, truth
beauty,
* klwillis.juno@juno.com **   (\   --_       that is all/Ye know on
earth,
*    "Net Surfer"        *** __/)___  -_____ and all ye need to know".
*****************************~~~~~~~~~~~~~~~                    -John
Keats





Return-path: <origami-l@nstn.ca>
Date: Tue, 29 Oct 1996 23:35:29 -0400 (AST)
From: Bill Hall <billhall@computek.net>
Subject: Re: origami video (false advertising?) and origami.com

I recently read a magazine article on this subject. (Can't remember where
-- I read a lot.) The committee that grants the site names takes the
requests on a first-come, first-serve basis. There are instances where a
name that is associated with a particular group has been taken by a group
that is opposed to said group, or the name of a well-known company has been
taken by someone else. The committee apparently  takes the position that
they should not make a judgment.

----------
> From: Eric Andersen <Eric_Andersen@brown.edu>
>         On another note, has anyone taken a look at www.origami.com? It
> annoys me that the domain is now owned by Teleport Internet Services,
whose
> site has *absolutely* nothing to do with origami. In fact, if you search
the
> entire site for the keyword "origami", only two obscure references turn
up!
> It's frustrating that the word "origami" is being used to promote
someone's
> business when instead Joseph Wu's site or another comprehensive origami
site
> should be located there.





Return-path: <origami-l@nstn.ca>
Date: Tue, 29 Oct 1996 23:45:39 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Shared and Artistic Origami (LONG!)

On Tue, 29 Oct 1996, Kim Best wrote:

>After reading Joseph Wu's and Robert Langs remarks on "Artistic Origami" it
>seems to me that a lot depends on how you read the term.  You can't read
>it as two words "Artistic" and "Origami", but rather as one term,
>"Artistic Origami".  In other words, we are not talking about a label
>that covers all forms of Origami which is Artistic.  But rather a school
>of thought which some folders have followed in order to make thier
>Origami more Artistic.

Most of Sapporo was cut off from the Internet for about 12 hours earlier
today, so I'm afraid I missed Robert's comments, although the snippets
I've seen quoted in other messages make me think that it would be best not
to have seen them! 8)  (Seriously, could someone forward that message to
me?)

Anyway, I suppose that, as so often happens, we have been reduced to
arguing about semantics. I must hasten to point out that I did not choose
the words "shared" and "artistic" as relates to origami, but simply used
them for lack of a better expression. Perhaps that was unforgivable on my
part, as it perpetuates a mistaken notion. I apologise, anyway. Kim's
description seems rather apt: "a school of thought which some folders have
followed in order to make their origami more artistic". If someone can
come up with a better term for this, please do!

>I can appreciate the desire to free onself of the constraints of
>diagramability.  But to say that just because a piece of origami is
>diagramable and therefore shareable, makes it not artistic is very
>misleading.  I believe much, (maybe even most) of the art in origami is
>in the folding process.  And diagrams aid in making this art avialable to
>others.  True you can't create a paint by numbers "Mona Lisa".  But
>you can create sheet music for "The Ode to Joy".

Again, that is not the point. Many "artistic" models are diagrammable. But
diagrams cannot convey the whole picture. Remember what I said about
Michael LaFosse's use of video because he felt that he could convey more
of the "artistry" of his models that way. Other models are, and should be,
one time works, to be shared only as a fine painting is shared, by viewing
it. Even the artist cannot reproduce it.

I've often used the music metaphor for origami before. I think that this
"new" vein of creativity should be compared more to fine art (painting,
sculpture): work that is made to be appreciated, but not to be duplicated.
The artist interacts with the paper on one level (and experiences the art
inherent in the folding process), while the audience interacts on a
different level.

>Maybe the distinction should be between "Shared Origami" and "Free Origami".

No...then people will think that we're giving it away! 8)

>Kim Best                            *******************************
>                                    *          Origamist:         *
>Rocky Mountain Cancer Data System   * Some one who thinks paper   *
>420 Chipeta Way #120                * thin, means thick and bulky *
>Salt Lake City, Utah  84108         *******************************

For you definition, Kim, I think it would be better punctuated as:

Origamist: Someone who thinks 'paper thin' means 'thick and bulky'.

Sorry to pick that nit! 8)

          Joseph Wu           Faith: When you have come to the end of all the
  origami@planet.datt.co.jp   light that you know and need to step into the
 Webmaster, the Origami Page  darkness of the unknown, Faith is knowing that
http://www.datt.co.jp/Origami one of two things will happen: either there will
 Webmaster, DATT Japan Inc.   be something solid to stand on or you will be
    http://www.datt.co.jp     taught how to fly.                --Anonymous





Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 00:05:14 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Robert's message.

I've got a copy. Thanks!

          Joseph Wu           Faith: When you have come to the end of all the
  origami@planet.datt.co.jp   light that you know and need to step into the
 Webmaster, the Origami Page  darkness of the unknown, Faith is knowing that
http://www.datt.co.jp/Origami one of two things will happen: either there will
 Webmaster, DATT Japan Inc.   be something solid to stand on or you will be
    http://www.datt.co.jp     taught how to fly.                --Anonymous





Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 00:27:13 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: origami video (false advertising?) and origami.com

On Tue, 29 Oct 1996, Eric Andersen wrote:

>        I need some advice...I got an email today from someone encouraging
>me to advertise a new set of origami videos for children (the "Explainer
>Origami" video series). According to the web site, these videos use origami
>to "spark interest in other subjects such as science and math!"
>        Has anybody ever seen these videos or heard about Explainer's Inc?

I came across them a while ago (March, I think), when they were still
listed at a different site. I just went to check their link from my page
and found that the old site is now not working. This sort of nonsense is
annoying, however, and I will remove them from my list and will send a
message to them telling them why. We'll see what they say about that!

          Joseph Wu           Faith: When you have come to the end of all the
  origami@planet.datt.co.jp   light that you know and need to step into the
 Webmaster, the Origami Page  darkness of the unknown, Faith is knowing that
http://www.datt.co.jp/Origami one of two things will happen: either there will
 Webmaster, DATT Japan Inc.   be something solid to stand on or you will be
    http://www.datt.co.jp     taught how to fly.                --Anonymous





Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 01:11:07 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Shared and Artistic Origami (LONG!)

On Tue, 29 Oct 1996 Rjlang@aol.com wrote:

>Joseph Wu, in response to Steven Casey, wrote:
>> ....No, no, no, no, no, and no! While the point about landmarks and
>> no landmarks is a part of the distinction between "shared folding"
>> and "artistic folding", it is not the main distinction. It is much
>> more subtle than that, and, I will probably get in trouble with a
>> lot of people as I try to explain....
>Well, you sure got in trouble with _me_. Skipping over Michael LaFosse's and
>Paul Jackson's versions of "artistic," Joseph sums it up as

Uh-oh! Time to crawl under a rock and die, I think! 8)

>> So what it all boils down to is attitude. Are you an artist or are
>> you not? What is your motivation? Are you trying to created the
>> next technical wonder, the next most complex model? Are you happy
>> folding other people's designs, and always in search of the next
>> harder challenge to tackle? Do you want to trade ideas and models
>> with each other? Fine and good. But that is not artistic folding.
>Oh puh-lease! I always thought you should judge art by the quality of the
>product, not by the attitudes and motivations of the artist. How are you
>going to know that anyhow? Get the artist to fill out a questionnaire with
>every model?

Ah, we see the reappearance of the Robert Lang who wrote famous Tekkamaki
articles in British Origami! While I can't usually write in that style
(mainly because I end up regretting what I said and how I said it), I'll
try to answer some of the points.

Yes, for the viewer, the only option is to judge by the quality of the
product. But, for the person engaging in the process, the questions I
posed are relavent. I would argue, however, that in many cases the
"artistry" (for lack of a better word; see my other e-mail about
semantics) can be discerned from the product. The viewer may not be able
to know what the artist was thinking of, but the fact that there is
something more to the piece than the physicality (is that a word?) can be
seen in the piece.

>> An artistic folder must fold. The paper speaks to him, urging him
>> to explore its potential. And yet, that is only because it is his
>> chosen medium.
>I don't know about you, but when the paper "speaks" to me, it's not urging me
>to "explore its potential" ("Hi Robert, I'm Wyndstone... explore me!"). In
>fact, most of the time, it's more like, "Oh please, don't do that, I'll be
>good...no, no, NO, NOT THE CLOSED UNSINK!!! ARRGGHHH! I'M GONNA RIP!! NO!!
>AAAAAAAAHHHH!"

Hahahahaha! Okay. Let my try to put it another way. The artist is seized
with the urge to fold a piece of paper, to explore its potential. I admit
to being a little metaphorical in anthropomorphizing the paper in that
way, but I think I made up for it with the following sentence.

>Joseph continues:
>> There is something more, something deeper, inside
>> that compells him to create, to express the unexpressible. First
>> and foremost, he is an artist, and he has something to say.
>In response, I would say that the true artist engages a dialog with the
>paper, drawing it into a dialectical materialism that transcends the utter
>inhomegeneity of the worldly experience: his art speaks to the viewer,
>saying, "yes, I am", in defiance of conceptual genres, while refuting the
>banal conventions of modern society. It evokes loquacity, perturbs
>flourescence; it grabs the viewer by the collar and makes snorting sounds in
>its nose. Etc., etc., etc.

Taking that bit of bombastic verbosity in the spirit in which it was
written, I have absolutely nothing to say.

>This whole riff got started because someone wanted to make a distinction
>between completely landmarked designs and those that required judgement
>folds. Things got confused when the concept of "artistry" -- which is an
>independent quality -- got dragged into the discussion. You're _never_ going
>to get agreement on what constitutes
>"artistic" -- so I think it best to avoid the term altogether.

John Smith started this riff, with reference to Paul Jackson's comments
about discussions that took place at the SEOF in North Carolina. Since I
was party to those discussions, I thought I should clarify what was talked
about there. We definitely did NOT talk about the distinction between
landmarked designs and judgement fold designs.

Perhaps we will never get to an agreement on what constitutes "artistic".
But, as Doug Phillips said, that does not preclude our discussion of it.
As it stands, the term "artistic folding" was not introduced by me, and I
used it only as a way of labelling what I was talking about (perhaps a bad
choice of words). A bad choice of terms, perhaps, but the topic itself is
important enough.

>When you have come to the end of all the
>light that you know and need to step into the
>darkness of the unknown, Faith is knowing that
>one of two things will happen: either there will
>be something solid to stand on or you will be
>taught how to fly.                --Anonymous
>
>Reality is plummeting to your death on the sharp
>rocks below.                --Anonymous's widow

I'll stick with Anonymous, thanks. They never did find the body! 8)

          Joseph Wu           Faith: When you have come to the end of all the
  origami@planet.datt.co.jp   light that you know and need to step into the
 Webmaster, the Origami Page  darkness of the unknown, Faith is knowing that
http://www.datt.co.jp/Origami one of two things will happen: either there will
 Webmaster, DATT Japan Inc.   be something solid to stand on or you will be
    http://www.datt.co.jp     taught how to fly.                --Anonymous





Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 02:49:36 -0400 (AST)
From: Eric Andersen <Eric_Andersen@brown.edu>
Subject: Re: origami.com

At 11:36 PM 10/29/96 -0400, you wrote:
>I recently read a magazine article on this subject. (Can't remember where
>-- I read a lot.) The committee that grants the site names takes the
>requests on a first-come, first-serve basis.

It's actually a company, and it's called InterNIC. Domains names go for $50
a year these days, and they go pretty quickly...

>There are instances where a
>name that is associated with a particular group has been taken by a group
>that is opposed to said group,

As in the case of Princeton Review buying kaplan.com in order to put up a
comparison page (Kaplan sued and won).

>or the name of a well-known company has been
>taken by someone else.

As in the case of MTV DJ Adam Curry taking the domain name mtv.com while he
worked for MTV. When he quit, MTV sued for copyright infringement and won,
even though Curry claimed that most people on the Web knew "mtv.com" as his
personal home page.

>The committee apparently  takes the position that
>they should not make a judgment.

Right. They give the domain names out to whomever asks for it first (for the
most part). They let the sides fight it out in court, not on their end.

Back to origami.com...

Does anyone know why Teleport Internet Services has bought this domain and
what they plan to use it for?

They don't seem to be using the name for advertisement purposes now, but I
wouldn't be surprised if they begin to advertise their company with a crane
logo, or even just use the familiarity of the name itself to get people to
use their service. It's really easy to remember the name "origami", and all
you have to do is type the single word into the location box in Netscape 2.0
or 3.0 (a single word typed in defaults to http://www.singleword.com). They
would essentially be capitalizing on the word "origami" and its
associations. Would you rather go to a site called "origami.com" or
"teleport.com" (or "world.std.com", etc.). Maybe I'm biased, but I think
that a website called origami.com would be *much* cooler than one called
teleport.com.

So can we do anything about possible misuse of origami.com? Probably not.
But we should still try to do something about it. Any ideas?

-Eric  :-P
Brown University, Providence, Rhode Island, USA!

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
      A                   A
     /|\            \    /|\
    / | \            \\ / | \ /7\            /-\.
   /__|__\            \/__|__\/            a miniature
   \  |  /             \_/ \_/               Kawahata
    \ | /             Flapping                stegosaurus
     \|/                bird
      V                       Eric Andersen   origami@brown.edu
  Bird Base             http://www.netspace.org/~ema/origami.html





Return-path: <origami-l@nstn.CA>
Date: Wed, 30 Oct 1996 04:25:49 -0400 (AST)
From: Wayne Ko <Herman_Ko@mindlink.bc.CA>
Subject: Re: False advertising

This happened to me a little while back as well!  Someone emailed me about
Origami claiming to be a 13 years old girl who needed info.  I emailed back
with info and asked her to confirm her correspondence with cyberstrangers
(is there such a word?) with her parents.  She disappeared and wham I got a
string of junk mail!  I didn't give it too much thought then, but since it
has also happened to someone else, I guess we should all be a little more
careful.

Wayne

(Vancouver, BC, Canada - chalk one up for my high school French teacher -
some of the francais postings made some sense - we're not all complete
anglophones out here in the West)

Valerie wrote:

[snipped in various locations]
> I've had mail from people claiming to be children, interested in origami,
>....I'm wondering if some sleaze-balls are trying to identify
characterictics >of address for mailing lists, and maybe even are
particularly interested in >address of children, or of people "interested"
in children...





Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 06:29:31 -0400 (AST)
From: DLister891@aol.com
Subject: Re Akira Yoshizawa (arising out of Gershon Legman).

Arising out of my unreasonably long e-mail about Gershon Legman (for which I
humbly apologise), Janet Hamilton asks If Akira Yoshizawa was not an engineer
who started paperfolding in order to make 3-D models.

I'll leash myself in and struggle not to inflict on you another long
diatribe. Anyway, I have other things to do and still have not dealt with the
backlog from my holiday in Skiathos!

In short, Janet is partially right, though Yoshizawa was never a qualified
engineer. He was born of farming parents in 1911 and attended elementary
school. After he moved to Tokyo at the age of 13, he continued his education
at evening closses and started work  in a metal machining factory, where he
was later singled out to instruct the junior employees. Among other subjects,
he had to teach them geometry. Since he was interested in paperfolding,
Yoshizawa hit upon the idea of using paperfolding as a way of teaching
geometry. His employers gave him every support and permitted him to study
paperfolding in work time. As far as I know, Yoshizawa was not then using
paperfolding to make 3-D models. Three dimensions came much later.

Later, Yoshizawa left the factory to try to concentrate on paperfolding. At
one time he considered, instead, "Bonkei", the art of creating miniature
landscapes. He clearly had an artistic vocation and we may be glad that he
chose paperfolding. This was before the war, about 1937 or 1938. To keep body
and soul together, he took on a whole succession of jobs, and lived in
comparative poverty. During the war he was called up into the Japanese
Medical Corps and spent some time in Hong Kong until he himself was taken ill
and returned to Japan. During the war, in 1944, some of Yoshizawa's models
appeared in "Origami Shuko", a book published by Isao Honda. Even if any
copies of this book survive, it is extremely rare.

After the war, Yoshizawa resumed his previous way of life, always continuing
selling "Tsukudani" from  door to door, though it was not such a menial task
as one might suppose. (Tsukudani is a delicacy made by simmering a broth of
soy sauce, sake and sweet cake containing dried tuna, clams, seaweed or small
fish until the liquid has been completely reduced).

 About 1951 (when he was age 40) Yoshizawa's skills in paperfolding came to
the notice of IIzawa Tadasu, the distinguished editor of the Japanese picture
magazine "Asahi Graf" (sometimes written as "Asahi Graphu" or "Asahi
Gurafu"). The story goes that he was installed in a good hotel, kitted out
with new clothes and asked to create a series of twelve Signs of the Zodiac
to be published in the magazine Yoshizawa struggled day and night to fulfil
the commission, and we can imagine how he was driven by his passion for
perfection. His designs appeared in the issue of "Asahi Graph" forJanuary,
1952. This was the unveiling of Yoshizawa's genius to the world and it would
be very interesting if the article from "Asahi Graph" could be reproduced.

Iizawa Tadasu continued to sponsor Yoshizawa, arranging commissions,
demonstrations and teaching sessions for him until Yoshizawa was able to
stand on his own feet. Undoubtedly the remote and unlikely chance that
Gershon Legman got to know about Yoshizawa so soon after the his appearance
in "Asahi Graph" was a tremendous help in promoting Yoshizawa's career.
Yoshizawa became as well known, (if not better known) in the West as in the
East, just at the time when interest in paperfolding was burgeoning.

Some day, I hope to write the full story of Yoshizawa, but perhaps this
answers Janet's question.

David Lister

Grimsby, England.

Dlister891@AOL.com





Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 08:27:51 -0400 (AST)
From: Michael & Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: Re Akira Yoshizawa (arising out of Gershon Legman).

DLister891@aol.com wrote:
> Some day, I hope to write the full story of Yoshizawa, but perhaps this
> answers Janet's question.

Thanks for the answer David - and I look forward to seeing the full story in
     the future!

Janet Hamilton

--
mailto:Mikeinnj@concentric.net
http://www.concentric.net/~Mikeinnj/





Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 09:28:19 -0400 (AST)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Etiquette  ( Re: francais, aussi )

>Janet Hamilton
>Piscataway, New Jersey
>
>I understand Piscataway is a Native American (Lene Lenape Indian) word that
means something like 'land of
>perpetual twilight'.  Apparently, this large suburb in what is now the most
densely populated state in the USA
>used to be so heavliy forested that little light reached the ground.
>
>--
>mailto:Mikeinnj@concentric.net
>http://www.concentric.net/~Mikeinnj/

Apparently the woods once looked like that around here too, but that was
long ago....I have trouble convincing kids that bears once roamed where they
now have shopping malls.

    Cathy





Return-path: <origami-l@nstn.CA>
Date: Wed, 30 Oct 1996 10:52:00 -0400 (AST)
From: jeanroy@attmail.COM (Jean Charles Roy)
Subject: RE: francais, aussi

In principle, I like the idea of one international list - if I don't unde=
rstand the language of a message, I can always skip reading it.  In pract=
ice, however, the volume of messages in English on this list has become a=
lmost unmanageable.  As a practical matter, it may be better to set up a =
separate French language list so that, as those who are French-speaking a=
re encouraged to participate, the flood of messages on the mostly-English=
 list won't explode even further.  Those of us who can read both language=
s can subscribe to both lists.

Perhaps it would  be a good idea to encourage behavior that reduces the v=
olume of messages seen by the entire list.  I've seen several cancellatio=
n requests recently motivated by the number of messages pouring through t=
he list.  Could someone come up with a proposed =22style=22 for responses=
 to messages?  In some cases, a message contains statements or questions =
whose response can be of general interest.  For example, where to find an=
 out-of-print book, tips on folding particular models, etc.  Responses sh=
ould go to the whole list.  In other cases, responses are likely to only =
be of real importance to the author of the original message.  I'd like to=
 see those responses made directly to the originator without going to the=
 list - if only to reduce the huge number of messages we have to look at.=
  For example, thanking someone for providing the answer to a question is=
 wonderful, and public thanks are usually even better - but for our purpo=
ses could be done to the individual, not the list, to save the rest of us=
 some time.  Don't worry, if the rest of us don't see your thank-you note=
, we won't think badly of you=21

Well, maybe my examples aren't very good and someone else could suggest a=
 better way to keep the message flow under control, including perhaps spe=
cialized sub-lists.  It would be nice if someone could quickly create lis=
ts for particular topics.  Oops=21 I just realized that I may be triggeri=
ng another flood of messages that won't interest most readers=21  Sorry=21=
  Feel free to respond in person, if you wish.  =

Jean Roy
jeanroy=40attmail.com

p.s. Sorry, my French is far too rusty  for me to compose a French versio=
n of this memo. Although I was born in Montreal, we moved to the warmer c=
ountry next door when I was 8 years old.  I'm still enough in touch with =
my roots to be unhappy that the computer industry (and the Internet) in t=
he U.S. chose 7-bit ASCII as a character set standard, which makes it tou=
gh to include accented characters in e-mail messages.  C'est la vie.  The=
 up side, of course, is that this happened because English doesn't use ac=
cents, for which I will forever be grateful=21


qqqqqqqqqqqqqqqqqqqqqqqqqqqqqq


Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 11:34:03 -0400 (AST)
From: Rjlang@aol.com
Subject: Re: Shared and Artistic Origami (LONG!) (And getting longer)

Ah, nothing like a good rousing discussion!

Tom Hull sez,

>>>>
I've found myself becoming very sympathetic to the arguments
one hears from creators like Yoshizawa, Jackson, or LaFosse.  I think
such creators often find themselves defending their decisions about
origami, and because of this they feel the need to define the difference
between the kind of origami they do and the kind people do when they fold
from a book...
..I can fully understand why such creators feel the need
to defend what they do, defend it from people (like myself in my younger
days) who think them snobby for refusing to diagram their models, or who
can't see the value in their efforts, or who find them conceited for labeling
their work "Art".  They defend themselves by defining what they do, and
drawing attention to the differences with "normal" origami.
<<<<

I have no problem with drawing attention to the differences with "normal"
origami (whatever _that_ is -- origami is already too diverse for there to be
any norm, IMHO). The thing that sets me off is the implication -- sometimes
overtly stated -- that a particular artist's way of doing origami is the
"right" way and all others are shallow pretenders -- and I got this strongly
from Joseph's definition of "artistic [not shared] folding" (which, I point
out to be fair, he was primarily quoting others).

With regard to non-diagramming folders defending their decision not to
diagram, I don't see what the problem is. Among other possibilities, they
could simply say, "what I'm trying to do with origami can't be communicated
by diagrams." A folder I admire greatly gets frequently asked, "why don't you
do wet-folding/display models?" and he simply says, "that's not what I do" --
all the answer that is needed.

Tom continues:

> ...By
> labeling one style of origami as "artistic" we imply that other
> styles of origami are less artistic, which I personally think is a
> bad path to follow.

So do I, which was why I responded as I did.

Kim Best said,

>After reading Joseph Wu's and Robert Langs remarks on "Artistic
>Origami" it seems to me that a lot depends on how you read the term.
>You can't read it as two words "Artistic" and "Origami", but rather
>as one term, "Artistic Origami".  In other words, we are not talking
>about a label that covers all forms of Origami which is Artistic.
>But rather a school of thought which some folders have followed in
>order to make thier Origami more Artistic.

And Joseph came back with

> As it stands, the term "artistic folding" was not introduced by me,
> and I used it only as a way of labelling what I was talking about
> (perhaps a bad choice of words). A bad choice of terms, perhaps,
> but the topic itself is important enough.

Got no problems with the school; got no problems with the thought; got big
problems with the name. "Artistic" is a label that already has a lot of
meaning in origami. If you use it as a label for a school, artistic origami
isn't necessarily "Artistic Origami." (Another problem is that in spoken
conversation, it's hard to convey the capital letters.) Come up with a better
name for it and I'll shaddup.

Robert J. Lang
rjlang@aol.com





Return-path: <origami-l@nstn.CA>
Date: Wed, 30 Oct 1996 11:17:43 -0400 (AST)
From: Mark Morden <marmonk@eskimo.COM>
Subject: Diagrams for the $-bill Arched Cat are on-line

Finally, finally, finally the diagrams for the Arched Cat are on-line and
available for your viewing pleasure.  This is a dollar bill fold. The
original model was designed by Toshie Takahama for a square piece of paper.
Her cat was published in Paul Jackson's "Classic Origami."  What I have done
is adapt the original model to dollar bill proportion paper.  The diagrams
are in .gif format.  I hand-drew the figures and then added text, so I hope
it is clear.  Please e-mail me directly if you can't make out part of the
instructions or diagrams.

The URL for finding the diagrams is in my .sig file below.  Follow the link
diagrams are at the bottom of that page.

Thanks to those who "bugged" me for the diagrams, which I promised would be
posted.  With out your prodding it would never have gotten finished.

Happy folding

Mark

 P.S.  My apologies if this is a resend to some people.

Mark Morden == marmonk@mail.eskimo.com
http://www.eskimo.com/~marmonk/
--------------------------------------------------------
I believe in Christianity as I believe that the Sun
has risen; not only because I see it, but because by it
I see everything else.
                       C.S. Lewis, "The Weight of Glory"





Return-path: <origami-l@nstn.CA>
Date: Wed, 30 Oct 1996 11:24:00 -0400 (AST)
From: jdharris@post.cis.smu.EDU (Jerry D. Harris)
Subject: Keeping Message Volume Down

>Perhaps it would  be a good idea to encourage behavior that reduces the v=
>olume of messages seen by the entire list.  I've seen several cancellatio=
>n requests recently motivated by the number of messages pouring through t=
>he list.  Could someone come up with a proposed =22style=22 for responses=
> to messages?

        As a possible model, I offer the dinosaur list server's recent
shift in policy.  That list has become a moderated one, and as such has
some rules enforced by the moderator.  Now, for the origami list, I am
_NOT_ suggesting moderation!!!  However, the rules put in place for the
dinosaur server limit any one person to 10 postings per day.  I also
encourages posters to combine responses to several people -- when the topic
is the same -- into one single post, rather than fire off separate posts to
every person individually.  In the case of the dino server, the moderator
occasionally steps in and combines the messages before releasing them (and
altering subject headers to reflect the appropriate topic when thread drift
occurs) to the list to help keep the number of messages per day down,
though I'm not necessarily suggesting that here.    Because that list is
moderated, message topics are strictly watched:  no non-dinosaur oriented
messages get through.  I don't see any reason to subject the origami server
to such a narrow bandwidth, though, but I do think it would be reasonable
to encourage people to take non-origami chats to personal e-mail, rather
than posting them to the list.

        As for those persons who are overwhelmed by the volume of messages,
I personally would encourage them to investigate the possibility (on all
lists to which they are subscribed) of subscribing in "digest" format.
That way, you'll still get all the messages, but you'll get them in one or
two "packets" per day, and your mailbox won't overflow.  It does have the
downside of delaying one's ability to contribute to a thread if one so
wishes, but the amount of time is usually negligible.

        BTW, I personally am subscribed to 4 list servers, one in digest
format, and I _do_ have to deal with a large number of messages each day,
so I empathize with those who have spoken up on the issue!  8-)

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

"Robert got into dinosaurs when he was about 3...It's a power thing:
children like the idea of creatures that were much, much bigger and
stronger than mommies and daddies are.  If a little boy is doing something
bad, such as deliberately pouring apple juice onto the television
remote-control device, a mommy or daddy can simply snatch the little boy up
and carry him, helpless, to his room.  But they would not dare try this
with _Tyrannosaurus rex_.  No sir.  _Tyrannosaurus rex_ would glance down
at Mommy or Daddy from a height of 40 feet and casually flick his tail
sideways, and Mommy or Daddy would sail directly through the wall, leaving
comical cartoon-style Mommy-or-Daddy-shaped holes and the _Tyrannosaurus
rex_ would calmly go back to pouring apple juice on the remote-control
device."
                                            .           -- Dave Barry
                                           //
                                          / /
                                         / /
                                 ____   / /
                                (    \ /O /
                                 \    V@ /
                                  \_   _/
                     ,,,           / _/         ,,,
                _____\\\     ___  / /  ___     ///_____
            ___/_____)^^^-_-/   \ ! ! /   \-_-^^^(_____\___
        ___/___/,,,,,,,`-._,----\ \! !/ /--._,---'     \___\___
      _/___/,,,,,,,,,,,,,,,,,,,,,\     /,,,,,,,,,,,,,,,,,,,\___\_
    _/_/,,,,,,,,,,,,,,,,,,,,,,,,,/     \ ,,,,,,,,,,,,,,,,,,,,,,\_\_
   /_/,,,,,,,,,,,,,,,,,,,,,,,,,,(       ) ,,,,,,,,,,,,,,,,,,,,,,,\_\
  //,,,,,,,,,,,,,,,,,,,,,,,,,,,, \     / ,,,,,,,,,,,,,,,,,,,,,,,,,,\\
 //,,,,,,,,,,,,,,,,,,,----    \  !     !  /    ----,,,,,,,,,,,,,,,,,\\
/________-----/                \ !     ! /              \-----________\
'                               \! ! ! !/                              '
                                 ! ) ( !
                                 // V \\





Return-path: <origami-l@nstn.CA>
Date: Wed, 30 Oct 1996 12:29:53 -0400 (AST)
From: Maarten van Gelder <M.J.van.Gelder@rc.rug.nl>
Subject: Re: Keeping Message Volume Down

m> >Perhaps it would  be a good idea to encourage behavior that reduces the v=
m> >olume of messages seen by the entire list.  I've seen several cancellatio=
m> >n requests recently motivated by the number of messages pouring through t=
m> >he list.  Could someone come up with a proposed =22style=22 for responses=
m> > to messages?

Ok Jerry, but why do you enclose a large signature ???
That will also be archived ...

Maarten van Gelder,           Rekencentrum RuG,  RijksUniversiteit Groningen
M.J.van.Gelder@rc.rug.nl                         Nederland





Return-path: <origami-l@nstn.CA>
Date: Wed, 30 Oct 1996 12:40:21 -0400 (AST)
From: jdharris@post.cis.smu.EDU (Jerry D. Harris)
Subject: Re: Keeping Message Volume Down

>m> >Perhaps it would  be a good idea to encourage behavior that reduces the v=
>m> >olume of messages seen by the entire list.  I've seen several cancellatio=
>m> >n requests recently motivated by the number of messages pouring through t=
>m> >he list.  Could someone come up with a proposed =22style=22 for responses=
>m> > to messages?
>
>Ok Jerry, but why do you enclose a large signature ???
>That will also be archived ...

        True...I forgot about the sig line.  8-)  I can turn that off in
future posts, such as this one.  Does that help?  8-)

                                                -- Jerry





Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 12:41:30 -0400 (AST)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: Origami Sighting in the Movies!

At 07:37 PM 10/29/96 -0400, you wrote:
>     In "The Associate" (a recent release in the US), actress Whoopi
>     Goldberg wears a pin that looks like two fans glued together in an
>     attractive manner.  The pin appears in only one or two scenes (I
>     think), so you must be quick if you want to see it!
>
>     - Jennifer (Portland, Oregon, USA)
>     JAndre@cfipro.com
>
>     Fold it, ergo sum.
>
Not only does Whoopi wear the folded fans, she later works her way through a
rolodex, crumpling them and tossing them into the trash one by one.
Eventually she folds a paper airplane out of one of them and sails it to the
trash (it missed).  A bit of a stretch, but still notable (great movie too!)

"Origami: Welcome to the Fold!"

Steve Woodmansee,
stevew@empnet.com





Return-path: <origami-l@nstn.CA>
Date: Wed, 30 Oct 1996 12:58:26 -0400 (AST)
From: vann@tredgar.cardiff.COM (VAnn Cornelius)
Subject: Re: Keeping Message Volume Down

> ...  I also
> encourages posters to combine responses to several people -- when the topic
> is the same -- into one single post, rather than fire off separate posts to
> every person individually.
>
        I hope single postings with multiple subjects don't happen.
        I really like subject lines that
        relate directly to the content. This lets me follow a thread in a
     reading
        rather than jump from topic to topic. It also enables me exclude
        topics of my choice.

        Also, Jean Roy's idea works for me.

        V'Ann





Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 13:11:25 -0400 (AST)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: origami.com

<<misuse of origami.com>>

Unless someone else has trademarked "origami.com",
the folks who registered it as a domain can use it
however they like, or not use it, even.

Why don't you email the site Webmaster and ask why
the company reserved it and or its relevance to their
operations? A domain name holder can relinquish it
to someone else. Maybe they just wanted to control
who got it eventually.

I mentioned in correspondence with OUSA and some
OUSA committee/board members a long time ago that
the domain names were going fast, and if they wanted
their first choice they needed to act. Its also looking
like if you're really serious about a specific domain
name, its a good idea to get it trademarked while you're
at it...

We had a case locally of one TV station reserving all the
most appropriate domain names of all the other TV stations
and radio stations in the area who hadn't gotten on the
'Net yet. It caused quite an uproar...

--valerie





Return-path: <origami-l@nstn.CA>
Date: Wed, 30 Oct 1996 16:58:06 -0400 (AST)
From: Edward Crankshaw <ejcranks@hiwaay.NET>
Subject: Sculpture Piece

For those of you interested in seeing the piece of sculpture I on
display during my show last month, I have managed to get a decent black
and white scan of it. It can be seen at:

http://fly.hiwaay.net/~ejcranks/sadako.html

Hopefully, I will soon have a color scan which will illustrate the piece
as it appeared in the gallery.

Edward Crankshaw





Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 18:17:29 -0400 (AST)
From: casida@ere.umontreal.ca (Casida Mark)
Subject: Re: francais

Hi all,

I am afraid that my previous message to the list may have been a bit too hasty
to communicate what I really think.  As an American living in Montreal,
integrating into a French environment, and as a scientist constantly exposed
to the very international nature of science, I am sensitized to language
issues.  If there is sufficient interest, please do generate parallel
origami lists in French, Spanish, etc.  I believe that the ability to
communicate origami in one's own language is important for popularizing
origami.  At the same time, I am an internationalist who very much enjoys
the type of exchanges we've seen on the Origami-l.  (Thank you, guys!
You make it all worth while!)  In this context, there is nothing wrong
that I can see with an occasional message in (say) Italian reporting the
visit of a favorite author to a local club in Italy.  However I realise
that this attitude is not going to lead to a decreased list volume.  (Don't
forget to use subject lines and where the delete key is.)  Sorry about the
low origami content of this message.  Take care,

                                ... Mark

P.S. I'd just like to add a small note about Americans and second languages.
     Although a good knowledge of a second language is less common in the
     U.S. than in some other countries, many Americans have become adept
     in a second language.  About 20 years ago, the most common second
     language for an American was French.  I have heard that the most
     common second language for an American now is Spanish (and with
     reason.)

Bonjour a tous,

J'ai peur que mon message precedent a ete ecrit trop vite pour bien communiquer
ce que j'ai en tete.  Dans ma position d'un Americain qui habite a Montreal,
qui est en train de s'integrer dans une culture francophone, et comme
scientifique entouree par la culture internationelle de la science, je
me trouve sensible aux questions de langue.  Si l'interet est suffisant,
je vous encourage d'etablir des liste parallele en francais, espagnole,
etc.  L'abilite de communiquer dans la langue maternelle est vachement
important pour la popularisation de l'art de pliage de papier.  Simultanement,
je suis internationellist qui aime bien la sorte d'echange qu'on trouve
sur notre chere liste Origami-l.  (Je vous remercie pour tous ces petits
moments de bonheur que j'ai passe en lisant vos messages.)  Dans ce
context, il n'y a pas de mal s'il y a un message occasionnelle en (disons)
italien qui donne un compte rendu d'une visite d'un auteur favorit a un
club d'origami en Italie.  Mais je sais que mon attitude ne va pas diminuer
la volume de correspondance sur l'Origami-l.  (N'oubliez-vous pas a mettre
un sujet et comment enlever les messages qu'on veut pas lire!)  Je m'excuse
du pauvre continu d'origami dans ce message.  Mes meilleurs salutations,

                                ... Mark

P.S. J'aimerai juste ajouter une petite commentaire sur les americains
     et leur soi-disant difficultes apprenant une deuxieme langue.
     Bien que une connaissance d'une deuxieme langue est moins commune
     aux Etats-Unis que dans certains autres pays, il y a pas mal d'americains
     qui se debrouille dans une deuxieme langue.  Il y a 20 ans, la
     deuxieme langue la plus repondue aux E-U a ete le francais.  J'ai
     entendu-dire que c'est maintenant l'espgnole.

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





Return-Path: origami-l@nstn.ca
Date: Wed, 30 Oct 1996 18:32:41 -0400 (AST)
From: Doris.L@t-online.de (Doris Lauinger)
Subject: Re: Francais ou autres langues

Hello, allo, hallo, ola.....
let's talk about origami again - nous voulons parler d'origami, la=DFt uns=
 wieder=20
=FCber Origami sprechen, parliamo di origami,  origami tsuite hanismasho=
 ne....

Doris





Return-path: <origami-l@nstn.ca>
Date: Wed, 30 Oct 1996 18:34:28 -0400 (AST)
From: Kim Best <Kim.Best@m.cc.utah.edu>
Subject: Re: origami.com

On Wed, 30 Oct 1996, Eric Andersen wrote:

>
> So can we do anything about possible misuse of origami.com? Probably not.
> But we should still try to do something about it. Any ideas?
>

Maybe a nice friendly letter promising not to hurt them if they include
links to all the cool origami sites.

Not any worse then IBM's Electric Origami Page...

Kim Best                            *******************************
                                    *          Origamist:         *
Rocky Mountain Cancer Data System   * Some one who thinks paper   *
420 Chipeta Way #120                * thin, means thick and bulky *
Salt Lake City, Utah  84108         *******************************










Return-Path: origami-l@nstn.ca
Date: Wed, 30 Oct 1996 19:01:30 -0400 (AST)
From: Kim Best <Kim.Best@m.cc.utah.edu>
Subject: Re: Keeping Message Volume Down

On Wed, 30 Oct 1996, Jerry D. Harris wrote:

> >
> >Ok Jerry, but why do you enclose a large signature ???
> >That will also be archived ...
>=20
>         True...I forgot about the sig line.  8-)  I can turn that off in
> future posts, such as this one.  Does that help?  8-)
>=20

Except for the first time after you change them, I think they're cool.

I put in a vote for leaving things as they are.  At least the letters are=20
mostly on topic and interesting.  And there ain't a lot of ads for "Get Rich=
=20
Quick Scemes" and "Online Nekkid Women".

I found the french, more humorous, than anything else.

 Kim Best                           *******************************
                                    *          Origamist:         *
Rocky Mountain Cancer Data System   * Some one who thinks paper   *
420 Chipeta Way #120                * thin, means thick and bulky *
Salt Lake City, Utah  84108         *******************************





Return-Path: origami-l@nstn.ca
Date: Wed, 30 Oct 1996 19:25:44 -0400 (AST)
From: "Bernie Cosell" <bernie@fantasyfarm.com>
Subject: Railroad train models?

Anyone know of a source of diagrams for a railroad train.  Something like=20
a steam engine and a car or two would be great if I could find it..

Thanks!
  /Bernie\
--=20
Bernie Cosell                     Fantasy Farm Fibers
bernie@fantasyfarm.com            Pearisburg, VA
    -->  Too many people, too few sheep  <--         =20





Return-Path: origami-l@nstn.ca
Date: Wed, 30 Oct 1996 19:42:51 -0400 (AST)
From: Michael & Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: Shared and Artistic Origami (LONG!) (And getting longer)

Rjlang@aol.com wrote:
> Got no problems with the school; got no problems with the thought; got big
> problems with the name. "Artistic" is a label that already has a lot of
> meaning in origami. If you use it as a label for a school, artistic=
 origami
> isn't necessarily "Artistic Origami." (Another problem is that in spoken
> conversation, it's hard to convey the capital letters.) Come up with a=
 better
> name for it and I'll shaddup.

Well, in other areas of creative pursuit, a school is usually named after
the person who originated or at least=20
greatly influenced the idea.  I'd have to point to Yoshizawa-san as the
greatest influence on origami as=20
something more than a child's diversion.  So maybe what we have been calling
"artistic origami" should instead=20
be called the "Yoshizawa School".

Some other ideas - since the type of origami we seem to be talking about
seems to be mostly made up of models=20
of biological subjects, perhaps this could be "bio-realistic origami".  Or
since the goal is to capture the=20
essence of a subject, maybe "essence origami".

Which leads to a question - did any of the discussion at the SEOF address
modular origami?  IMHO, the models on=20
Valerie Vann's modular pages are art as mush as LaFosse's Toucan.

Janet Hamilton

--=20
mailto:Mikeinnj@concentric.net
http://www.concentric.net/~Mikeinnj/





Return-Path: origami-l@nstn.ca
Date: Wed, 30 Oct 1996 20:18:21 -0400 (AST)
From: casida@ERE.UMontreal.CA (Casida Mark)
Subject: Re: Gershon Legman (Very Long)

> Mark Casida asked on 28th October 1996 who is or was Gershon Legman.

Mark Casida would like to give a big thank you to David  Lister for
an interesting and inspiring answer to his question.  That was simply
super!  Now how do you fold that bowtie?  ;-)

--=20
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimcn.umontreal.ca           |





Return-Path: origami-l@nstn.ca
Date: Wed, 30 Oct 1996 20:45:35 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: paper cranes for Make-A-Wish Taipei, Taiwan (fwd)

Well, here's the rest of the info on this matter.

          Joseph Wu           Faith: When you have come to the end of all=
 the
  origami@planet.datt.co.jp   light that you know and need to step into the
 Webmaster, the Origami Page  darkness of the unknown, Faith is knowing that
http://www.datt.co.jp/Origami one of two things will happen: either there=
 will
 Webmaster, DATT Japan Inc.   be something solid to stand on or you will be
    http://www.datt.co.jp     taught how to fly.                --Anonymous

---------- Forwarded message ----------
[This part is an intro to Make-A-Wish. The details are in the next
paragraph.  --JW]

Thank you so much for your prompt response.  Here is the brief info
regarding this coming campaign as initiated by 7-11 stores of Taiwan. But
first of all, a brief " jigoshokai"( self-introduction ).  I am the founder
and president of Make-A-Wish Taipei, the official international affiliate of
Make-A-Wish Foundation International of Phoenix, Arizona. We are one of the
18 countries that are presently involved in Make-A-Wish. Our mission is to
grant wish to those children between the age of 3 and 18 who are suffering
from life-threatening diseases.  It is our believe that these children
deserve a break form the daily hospital chemotherapy treatment and should
enjoy what other healthy children are enjoying. There are approximately 90
chapters through out United States and have granted over 48000 wishes
eversince the first wish was granted to Chris, an 8 year old boy suffering
from Leukemia who wanted to be a policeman, 16 years ago.  MAW-Taipei was
officially chartered in Taiwan in April 30, 1994 and our members are made up
of Rotarians from 3 Rotary Clubs in Taipei.  We granted 12 wishes on the 1st
year, 38 wishes in 1995 and so far have granted 62 wishes as of today with
20 more wishes being processed.  We have catagorized the wishes into 4
different catagories: 1/ I wish I could go.. 2/I wish I could meet 3/I wish
I could have 4/I wish I could be.....   Out of the 48000 wishes granted in
the past 16 years, over 50 percent were the Disneyland Wish.  FYI:  we have
sent 24 Wish Child and their families to Los Angeles Disneyland already in
the past two years.  All expenses paid.

[Here are the details!  --JW]

As for the coming campaign by 7-11 stores of Taiwan, the official campaign
will kick off on Nov. 11th with "paper crane" as the campaign's symbol. A
group of kindergarten schools with some 2000 children will start folding
paper cranes and hope to reach the 99000 paper cranes mark before Dec. 21st.
The final 1000 paper cranes will be folded at the site of Paper Cranes Event
on Dec. 21st with a countdown ceremony.  I will be meeting with the event's
sponsor Friday afternoon and they will decide then where to send the paper
cranes and what to do with the thousands of cranes collected.  Personally, I
will make a suggestion to the sponsor that we will ship out some of the
paper cranes to Hiroshima and Seattle.  More to follow after our meeting on
Nov.1st..  Will keep you informed. Also for our future mailing need, please
send fax or send us your mailing address. ( Carol and Joseph)  Thank you.
Kennie Chen.  Our address:  Make-A-Wish Taipei, # 283, Sung Chiang Road, 4th
Fl., Taipei, Taiwan.   Fax: 886-2-508-2480. Tel: 886-2-508-2541. .  May Your
Dream Come True.
