




Date: Tue, 20 May 1997 13:00:05 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Bad Book

I spotted this in a bookstore a few days ago:

_Origami Boxes_ by one Alexandra Dirk.  It appears to be a complete rip-off
of Tomoko Fuse's work.  No attribution to Fuse, no mention of the origami
community.  It is published by Sterling Publishing Co. Inc., the publisher
of those other noted rip-off books by Ayture-Scheele.  This one has the same
look to the book as the Ayture-Scheele volumes, so apparently Sterling is
intent on continuing to disregard the rights of origami designers.

Carol Hall
chall@scsn.net





Date: Tue, 20 May 1997 13:08:24 -0300 (ADT)
From: Bruce Stephens <B.Stephens@isode.com>
Subject: Re: Describing folds in english

zbrown@lynx.dac.neu.edu said:
> That sounds like an interesting language. I'd like to hear more about
> it, because I have so far been under the impression that a lot of
> what I am doing is completely new to the field of compiler
> development.  For instance, in origami it is often necessary to
> defray the explanation of a given step until a later time.

Yahoo should give a bunch of references.  It's a Lisp-related language, with
emphasis on a number of graphical primitives (for moving a "turtle" around,
possibly leaving a trail---in some cases, the turtle is a real robot with a
pen).

Re your ideas for retroactively changing things.  The basic idea is,
unsurprisingly, not new.  An example you can easily get hold of is Metafont,
the language Don Knuth invented for describing the shape of letters for his
TeX/Metafont typesetting system.  It might be worth your getting hold of the
Metafont book from a library and looking at the relevant chapters.
Essentially, it allows the font designer to describe things in declarative
form (to say that a point is 1/3 of the way between two points, for example),
and as the program progresses, more and more of the ambiguity is resolved.
The kinds of ambiguity are quite restricted (and your program will probably be
more general) to simplify the detection of remaining ambiguities and
inconsistencies, but there are other examples too.  If you have access to a
university library, look around in the graphics/programming language sections
for other constraint programming languages.  Some CAD programs used interfaces
using constraint too.

One could even think of Prolog as being of this form, with things starting off
entirely ambiguous, and gradually become defined by unification!

--
Bruce Stephens  B.Stephens@isode.com
Isode Ltd.      <URL:http://www.isode.com/>





Date: Tue, 20 May 1997 14:00:06 -0300 (ADT)
From: Zachary Brown <zbrown@lynx.dac.neu.edu>
Subject: Re: Describing folds in english

> Re your ideas for retroactively changing things.  The basic idea is,
> unsurprisingly, not new.  An example you can easily get hold of is Metafont,
> the language Don Knuth invented for describing the shape of letters for his
> TeX/Metafont typesetting system.  It might be worth your getting hold of the
> Metafont book from a library and looking at the relevant chapters.
..
> If you have access to a university library, look around in the
> graphics/programming language sections for other constraint programming
> languages.  Some CAD programs used interfaces using constraint too.
>
> One could even think of Prolog as being of this form, with things starting
> off entirely ambiguous, and gradually become defined by unification!

This is fascinating! But here is a question for you: do these constraint
languages actually proceed with events that make use of the incomplete
command? Or must the, for example, MetaFont declaration be fully
clarified before it is used?

The origami retroactivity will be based on actually using the incomplete
commands as if they were complete, then taking the future result of those
subsequent operations and applying constraints revealed by the qualities
they possess, to the earlier command. The clarification then changes the
way the compiler interprets the incomplete command, which is recalculated
entirely as if the clarification had always been known. In other words,
the compiler throws out all the work that was based on the ambiguous
command, and redoes everything using the new clarification.

So the difference (if there is one), is that in e.g. MetaFont,
constraints are completed *before* activity is based on them, so no
incomplete definitions ever actually get used; while in the origami
language, the incompleteness actually forms the basis of activity that
will reveal the completion later, and then apply it while discarding all
intermediary work.

Is this accurate? I would really like to see an example of a different
language using the kind of retroactivity I am talking about. It would be a
tremendous help in designing this language and the compiler.

Zack

> --
> Bruce Stephens        B.Stephens@isode.com
> Isode Ltd.    <URL:http://www.isode.com/>





Date: Tue, 20 May 1997 14:05:53 -0300 (ADT)
From: A.Welles@student.kun.nl
Subject: Breaking the "traditional" types of Symmetry

Some models use a kind of symmetry that is not the "common" (does such a
thing exists in Origami?) kind of symmetry.

Some examples: the Fiddler Crab and Brill by Robert J. Lang from "Origami
Sea Life" and also the maybe the Cichlid and Barracuda by John Montroll
from OSL too. (Although the last two by Montroll are not really what I
am refering to, since their bases are almost completely symmetrical, but
that symmetry falls away when some flaps are not used to fold fins. The
tail-sections of both models however are quite interesting though.)

Well, as you can see there are not much examples I can mention right now.
Lang's Brill is a wonderful example of "breaking the traditional types of
symmetry". The Brill uses the technique which can be explained as the
principle of folding a square in fourths, but instead of folding both
opposite edges to the center one is folded to the center forwards and the
other one is folded to the center backwards.

I'd like to know more examples on this matter and maybe some other types of
symmetries I might have forgotten to mention (For instance: the Chambered
Nautilus Shells from both Lang (OSL) and Tomoko Fuse ("Spiral Origami"),
knowing the logorythmical type of symmetry...)

I believe this is a field of Origami that yet hasn't been completely
explored!

Arjan Welles
The Netherlands
A.Welles@Student.kun.nl





Date: Tue, 20 May 1997 16:11:13 -0300 (ADT)
From: reeds@openix.com (Reeds family)
Subject: has anyone folded THIS paper?

I can't resist forwarding to the origami list this series of messages about
an unusual kind of paper. These showed up recently on EXLIBRIS--a listserve
for people interested in antiquarian and rare books.
Karen
reeds@openix.com
******************************

From: "susie r. bock" <Bocks@Colorado.EDU>
Subject: Room freshner

We received a most curious object. Its a paper bound book, 8 cm x 5.5 cm,
of what seem to be papers you rip out and burn to purify the air in a
room. On the cover it reads "Papier d'Armenie pour Purifier L'Air des
Habitations." Its seems to have been manufactured in Paris. There is, not
surprisingly, no record in OCLC.

Anyone else ever come across something like this?

Susie R. Bock
Special Collections Cataloging Supervisor
University of Colorado at Boulder
bocks@colorado.edu
303-492-2720

============
From: Alexandra Mason <AMASON%UKANVM.BITNET@cmsa.Berkeley.EDU>
Subject: Air freshener

"Incense paper, paper impregnated with substances producing the desired
incense smell when burning (HPB 152) aromatic resins, e.g. gum olibanum.
See also FUMIGATING & DISINFECTANT.
"Fr. P. encens, d'Armenie. Ger. Weihrauchpapier, Raeucherpapier.
Du. Wierook P.  It. C. incenso.  Sp. P. de Armenia, p. incienso.
Sw. Roekelsepapper."
E. J. Labarre, Dictionary and Encyclopaedia of paper and paper-
making ... 2nd ed.  Amsterdam: Swets & Zeitlinger, 1952,  p.131

"Fumigating paper is paper soaked in potassium nitrate, dried and then
steeped in an alcoholic solution of some fragrant balsam ... An early
example of 'deodorizing' paper was that patented by P. A. Miccio in 1871 ...
for use in water-closets, etc."  Ibid., p.114

+++++++++++++++++++++++++++++++++++
From: Alain <veylita@ucrac1.ucr.edu>
Subject: Re: Room freshner

Yes, and I have used it when I was a kid in France. You'd find it at the
grocer's shop. Why would you catalog that in OCLC? Are there catalog
records for cigarette paper, too? Just curious.
Alain
**********************************
From: RDEBOOKS@aol.com
Subject: Re: Room freshner

The question on Room Freshners seems to have been answered but I wonder if
there are any records of an allied volume called ' Stray Leaves from Japanese
Papers '  71/2" x 5" x 1 1/2" in red paper paper boards with an Aesthetic
Movement design to the front cover. The adverts to the end papers include '
Bourne's Tin Floating Light for Nurseries ', ' Bourne, Johnson & Latimer
Respirators ' with view of ladies, gentlemen and carriages in a London fog
with those without respirators visibly choking and mention of ' the
extraordinary fogs which made the winter of 1879-80 notorious ' (so giving
some indication of the date) - and ' Stray Leaves...', Antiseptic and
Hygienic, 1/- a packet bound in these decorative boards or, uniform with the
above, but in paper covers price 6d each ' Nothing but Leaves, a Sequel to
Stray Leaves ' The description to the front pastedown reads " A perfectly
pure article for the Toilet and Lavatory, and a preventive of piles....The
Japanese Sanitary Paper is almost as soft as silk, and although it is very
tough, will readily dissolve in water. This paper is confidently recommended
as the best article ever produced for the particular purpose for which it is
intended. As a SANITARY PAPER it is free from all poisonous chemicals, and as
a CURL PAPER it is soft, and yet so strong as to bear a tight twist ".
Apart from the endpapers the remainder is a bound volume of loo paper,
presumably  an incunable? The subject of an intense sale-room battle with
Eric Korn at Christies South Ken in 1984 it would be interesting to know if
there are any other similarly bound examples.





Date: Tue, 20 May 1997 17:22:25 -0300 (ADT)
From: Liz Hanson <liz@zylanid.demon.co.uk>
Subject: Re: Bad Book

In message <19970520155303569.AAA181@cola51.scsn.net>, Carol Hall
<chall@scsn.net> writes
>I spotted this in a bookstore a few days ago:
>
>_Origami Boxes_ by one Alexandra Dirk.  It appears to be a complete rip-off
>of Tomoko Fuse's work.  No attribution to Fuse, no mention of the origami
>community.  It is published by Sterling Publishing Co. Inc., the publisher
>of those other noted rip-off books by Ayture-Scheele.  This one has the same
>look to the book as the Ayture-Scheele volumes, so apparently Sterling is
>intent on continuing to disregard the rights of origami designers.
>
>Carol Hall
>chall@scsn.net
>
Thanks for the warning Carol - I have made a note to avoid books from
Sterling Publishing Co. Inc.

--
Liz Hanson





Date: Tue, 20 May 1997 19:05:05 -0300 (ADT)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: Breaking the "traditional" types of Symmetry

At 02:05 PM 5/20/97 -0300, A.Welles@student.kun.nl wrote:

>Some models use a kind of symmetry that is not the "common" (does such a
>thing exists in Origami?) kind of symmetry.
>
>Some examples: the Fiddler Crab and Brill by Robert J. Lang from "Origami
>Sea Life" and also the maybe the Cichlid and Barracuda by John Montroll
>from OSL too. (Although the last two by Montroll are not really what I
>am refering to, since their bases are almost completely symmetrical, but
>that symmetry falls away when some flaps are not used to fold fins. The
>tail-sections of both models however are quite interesting though.)

I liked those models too. I came up with my own fiddler crab; here is how I
dealt with a non-symetrical subject (one claw is MUCH bigger than the
other). I took all appendages into consideration, and laid them out in as
symetrical a way possible. I started with a kite base. The long thin point
would become the large claw, while at the opposte corner, I would divide
the section into 9 equal appendages (4 pairs of legs, and a small claw). By
having the appendages point the right way, the non-symetrical effect of the
crab was achieved.

This is a general approach I have with such subjects. I will try to look at
the subject matter as being symetrical. By taking an inventory (with a
general length) of the appendages involved, you would be surprized at how
well you can divide the appendages up evenly.

>
>Well, as you can see there are not much examples I can mention right now.
>Lang's Brill is a wonderful example of "breaking the traditional types of
>symmetry". The Brill uses the technique which can be explained as the
>principle of folding a square in fourths, but instead of folding both
>opposite edges to the center one is folded to the center forwards and the
>other one is folded to the center backwards.

That is one of the kewlest examples of colour changes I know of.
>
>I'd like to know more examples on this matter and maybe some other types of
>symmetries I might have forgotten to mention (For instance: the Chambered
>Nautilus Shells from both Lang (OSL) and Tomoko Fuse ("Spiral Origami"),
>knowing the logorythmical type of symmetry...)
>
>I believe this is a field of Origami that yet hasn't been completely
>explored!

No portion of origami has been completely explored, but some of the most
popular subjects of origami (animals and geometric shapes), are symetrical
by nature. I like having non-symetrical subject matter, so I have done a
few of my own. A personal favorite of mine is my "Conductor." On one side I
made an arm with a baton, and at the other end, I made the head with an
arm. This way, the appendages divided up evenly.

Marc





Date: Tue, 20 May 1997 21:47:31 -0300 (ADT)
From: Kim Best <kim.best@m.cc.utah.edu>
Subject: Re: Removing name from list.

Magdalena Cano Plewinska wrote:
>

> No need to change _your_ ISP to get dropped, however ;). My advice
> would be to just keep trying to unsubscribe several times a day. One
> of those messages will finally get through.

Or one could break into the offices of their internet provider, and cut
the power.  If the system is down for a few hours and can't deliver
mail, the listserver will automatically drop them!

--
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         *******************************





Date: Tue, 20 May 1997 21:57:28 -0300 (ADT)
From: Zachary Brown <zbrown@lynx.dac.neu.edu>
Subject: Re: Bad Book

> In message <19970520155303569.AAA181@cola51.scsn.net>, Carol Hall
> <chall@scsn.net> writes
> >I spotted this in a bookstore a few days ago:
> >
> >_Origami Boxes_ by one Alexandra Dirk.  It appears to be a complete rip-off
> >of Tomoko Fuse's work.  No attribution to Fuse, no mention of the origami
> >community.  It is published by Sterling Publishing Co. Inc., the publisher
> >of those other noted rip-off books by Ayture-Scheele.  This one has the same
> >look to the book as the Ayture-Scheele volumes, so apparently Sterling is
> >intent on continuing to disregard the rights of origami designers.
> >
> >Carol Hall
> >chall@scsn.net
> >
> Thanks for the warning Carol - I have made a note to avoid books from
> Sterling Publishing Co. Inc.

Does the book actually use Fuse's models? Maybe we should not be too
quick to condemn Sterling until a larger number of experiences build up.
After all, if the box book is legitimate, then the Ayture-Sheele are the
only case, and a single case is certainly too few to form a hard and fast
opinion.

On the other hand, maybe they're just a publishing company and don't
deserve the benefit of the doubt. I mean that seriously. I'm the first to
trash the profit motive. Maybe it's just not important enough to worry
about whether they are guilty or not.

Or is there already a large body of evidence against them? Anybody have
the scoop?

Zack

> --
> Liz Hanson





Date: Wed, 21 May 1997 03:45:35 -0300 (ADT)
From: mplewinska@mindspring.com (Magdalena Cano Plewinska)
Subject: Re: Removing name from list.

On Tue, 20 May 1997 21:47:31 -0300 (ADT), Kim Best
<kim.best@m.cc.utah.edu>  wrote:

[about how to get unsubscribed from origami-l]
>Or one could break into the offices of their internet provider, and cut
>the power.  If the system is down for a few hours and can't deliver
>mail, the listserver will automatically drop them!

Some people will go to extreme measures to get unsubscribed! :)

   - Magda Plewinska
     Miami, FL, USA
     email: mplewinska@mindspring.com





Date: Wed, 21 May 1997 10:33:36 -0300 (ADT)
From: Bruce Stephens <B.Stephens@isode.com>
Subject: Re: Describing folds in english

zbrown@lynx.dac.neu.edu said:
> But why didn't you reply to the list? I just received a very
> encouraging  note from someone telling me they were appreciating the
> thread. Please  [...]

I assumed, perhaps wrongly, that it wouldn't be interesting to enough people
for it to be polite to continue on the list.  I'm happy to do so, however.

Dredges filesystem for backup of message...

zbrown@lynx.dac.neu.edu said:
> This is fascinating! But here is a question for you: do these
> constraint  languages actually proceed with events that make use of
> the incomplete  command? Or must the, for example, MetaFont
> declaration be fully  clarified before it is used?

It depends on what you mean by "used"!  They must be defined for certain
operations on them---for example you can't draw a line between two
incompletely defined points---and there are restrictions on the kinds of
ambiguity you can have (essentially, Metafont is allowing you to set up a
system of linear equations in a nice way, and it eliminates variables whenever
it can, noticing (and reporting) inconsistencies and redundant equations).
But you can certainly use ambiguous variables in defining more (usually)
ambiguous variables.  I'd recommend at least having a read of the chapter
covering this stuff in the Metafont book; if you want to see the code, it's
also available as a (more expensive) book ("Metafont: The Program"), and is
also freely available over the net, although you'll need a running TeX system
to read it sensibly.

This restriction on not using a value before it's defined is not a problem for
Metafont in typical usage.  One defines all of the important points of the
character being defined, and then draws the character---there'd be little
advantage in allowing "virtual penstrokes" or whatever you'd call them, which
could be moved around later.

There are much more general systems (allowing nonlinear dependencies) that
have been used in graphics systems---any academic book on computer graphics
ought to give a chapter on the subject with references.

The tricky bits in all this are detecting inconsistencies, and detecting
ambiguities: does this later constraint produce a set of constraints that
can't be fulfilled, and does it produce a genuinely unique set of results, or
are there others that haven't been noticed because of the ordering of the
constraints?

If you want to try a simpler project, why not look at Maartin's OriDraw
language, and add a preprocessor which allows a more declarative style of
defining points, I guess along the lines of what Metafont allows?  This has
the advantage that it's nicely 2D.  Depending on what you ultimately want to
do, a nice graphical interface would probably be appreciated too.  (In
something portable, preferably, Java or Tcl/Tk spring to mind, since both work
on PCs, Macs and UNIX boxes, and are freely available.)





Date: Wed, 21 May 1997 14:25:20 -0300 (ADT)
From: Zachary Brown <zbrown@lynx.dac.neu.edu>
Subject: Re: Describing folds in english

> I'd recommend at least having a read of the chapter
> covering this stuff in the Metafont book; if you want to see the code, it's
> also available as a (more expensive) book ("Metafont: The Program"), and is
> also freely available over the net, although you'll need a running TeX system
> to read it sensibly.

TeX itself (for people who don't know what TeX is, it's a typesetting
language written by Donald Knuth, the author of MetaFont), I now realize,
also has retroactive algorithms. For instance, breaking paragraphs into
lines is done very cleverly, so that lines later in the paragraph can
constrain the breaking of earlier lines.

I think this is close to what I am talking about, because the algorithm
actually uses information that will retroactively change---the location of
line breaks---as a basis for the situation that will cause that change.

> The tricky bits in all this are detecting inconsistencies, and detecting
> ambiguities: does this later constraint produce a set of constraints that
> can't be fulfilled, and does it produce a genuinely unique set of results, or
> are there others that haven't been noticed because of the ordering of the
> constraints?

Yes, that is the nightmare insanity that we must yet embrace: the key, I
believe, is to recognize when the ability to test such things is itself
breaking down, and call that a breakdown of the things being tested. That
seems the only way. If I in my folding activity, can not figure out how to
interpret a diagram (not that there are more than one interpretation, but
that I just can't see anything at all), then it's reasonable to say that
the diagram itself *might* have been better drawn. (This sidesteps the
issue of whether I merely failed to interpret the diagram correctly: the
assumption is that a reader's failure to some extent justifies an
examination of (not a complaint against) the writer, to see if the
diagram can be reconciled)

So it's true that there will be no way to completely remove the burden
from the user, but every opportunity to remove part of the burden must be
taken, even if it allows the most fantastic errors.

Modern compiler writers avoid situations like this, like the plague. They
try to imagine the plight of the person trying to debug a program written
for their compiler. And the best general purpose programming languages
are designed in part to be debugged.

But for an origami language compiler, the situation is so precarious that
we cannot afford to think about anyone but the end user. Any thought
given to making the debugger's life easier, makes the user's life a
hundred times more difficult.

I realize that in nearly all cases, the user and the debugger will be the
same person. But in answer to that, I can only say, there is no other way.
All that can be done for the poor debugger is to have the compiler provide
as intelligent error messages as possible. The language itself is so
difficult to design, and is dependent on so many shortcuts, tricks, and
traps, that to banalize it for the debugger will cause it to explode in
size, so that every description would take pages and pages of dense,
unintuitive mathematical text. We'd be right back where we started.

> If you want to try a simpler project, why not look at Maartin's OriDraw
> language, and add a preprocessor which allows a more declarative style of
> defining points, I guess along the lines of what Metafont allows?  This has
> the advantage that it's nicely 2D.  Depending on what you ultimately want to
> do, a nice graphical interface would probably be appreciated too.  (In
> something portable, preferably, Java or Tcl/Tk spring to mind, since both work
> on PCs, Macs and UNIX boxes, and are freely available.)

Here I'll just repeat and expand on what I told you in private email: my
program, "ROD" (wRapper of OriDraw) is exactly that. It preprocesses
language commands to produce text suitable for OriDraw. It allows
arbitrary variable names, complex calculations, and a ton of other things
that make it much easier to create diagrams. HOWEVER, rod was a failure
on several counts:

1) such a system will always produce greater and greater needs for
complexity, so the later diagrams will always require extremely difficult,
tedious, and complex descriptions and calculations.

2) The descriptions have nothing to do with origami, being merely images
of origami. rod itself cannot take the user's descriptions and translate
them into other ways of representing the model in progress. The reader
gets only what the writer wrote, and cannot interact in any meaningful way
with the diagrams except to fold them.

3) The language itself is alien to origami people, and would require a
good amount of learning, as well as a programmer's disposition.

If anyone wants to check rod out, it's still available at my web site
http://lynx.dac.neu.edu/home/httpd/z/zbrown/origami
and I'd like to hear from anyone venturing to try it.

As far as a graphical interface goes, I find it to be less of a good idea
than some others may feel. Moving the paper with a mouse may be a nice
novelty, but just try to imagine indicating a closed sink with just a
mouse:  specifying the layers to sink, the opening to sink them through,
and so on. And that is without any special case to make it more complex.
It just seems like a bad idea, at least for the initial construction.

The compiler I envision, however, will be extensible to include just
about anything anyone wants to add, for the interpretation of the origami
data structure. for the initial construction, I want it to be very
compact and minimalistic, leaving the fancy extensions for future
programmers.

Zack





Date: Wed, 21 May 1997 14:52:03 -0300 (ADT)
From: "Backes, Nancy J (MN17)" <nbackes@p04.mn17.honeywell.com>
Subject: Help identify Fuse box decoration

I hope someone can help me identify what one of the decorations on a
Tomoko Fuse box is supposed to be.
The book is in Japanese and translated as "Decoration Boxes" in the
Origami Source; ISBN is 4-480-87201-9.
The model in question is shown on page 45 and diagrammed on pages 42-45.
 It is the brown model in the
color pages at the beginning of the book.  For the life of me, I do not
know what it is.  My very unskilled romanization of the kana would be
"kuri".  I could not find this in a Japanese/English dictionary.  I was
able to figure out the rest of
the models (though until I translated, I thought the cat and mice was a
racoon with front legs).  Can anyone
help me with identifying this model?
Thank-you,
Nancy Backes





Date: Wed, 21 May 1997 15:03:40 -0300 (ADT)
From: Doris.L@t-online.de (Doris Lauinger)
Subject: Re: Bad Books

Alexandra Dirk's book "Origami-Schachteln" was published by Ravensburger Otto
Meier Verlag in 1993 without mentioning Tomoko Fuse. In the second edition the
Ravensburger Otto Meier Verlag gave a credit to Fuse. The layout of the English
version seems to be the same as the German and I can confirm the diagrams and
instructions are not the best.
Alexandra Dirk sells origami paper (mostly from US) too.

Origamically
Doris





Date: Wed, 21 May 1997 15:16:25 -0300 (ADT)
From: Nick Robinson <nick@cheesypeas.demon.co.uk>
Subject: J'accuse!

Contractors Exchange <contract@pipeline.com> sez

>>Lang's Brill is a wonderful example of "breaking the traditional types of
>>symmetry".

Ah, but Dave has a beard & this isn't featured on the model by the
alleged "master of accuracy" ;)

all the best,

Nick Robinson

personal email  nick@cheesypeas.demon.co.uk
homepage        http://www.cheesypeas.demon.co.uk - all new look!
BOS homepage    http://www.rpmrecords.co.uk/bos/
RPM homepage    http://www.rpmrecords.co.uk





Date: Wed, 21 May 1997 16:10:46 -0300 (ADT)
From: rick@tridelta.com (Rick Bissell)
Subject: how do you say...

A person at work was interested in a pinwheel tetrahedron that I
have on my windowsill and I began telling her a little bit about
modular origami.  The name Tomoko Fuse came up, and during the
conversation a *little voice* inside my head said,

    "hey dumbo, you don't even know if your pronouncing her name
     correctly!"

Well, you folks better set me straight before I make a total
fool out of myself!   Does FUSE rhyme with NEWS?   Fuse is her
last name, correct?

-- humbly begging forgiveness for my ignorance,

   Rick Bissell (rhymes with whistle)





Date: Wed, 21 May 1997 16:52:40 -0300 (ADT)
From: Jennifer Andre <JAndre@cfipro.com>
Subject: Prounouncing "Fuse" (more than ya ever hoped ta know)

     Are you reading, too, Javier? ;-)

     Mr. Bissell (ryhmes with "whistle") asks:
     "Does FUSE rhyme with NEWS?"

     One might guess, except that's not how it works in Japanese.  (I'm not
     going to make this simple...only a few months ago I finished paying
     off the student loans from my collegiate Japanese Studies adventure.)

     Answer #1:  "foo-say," placing no more emphasis on one syllable than
     on the other (unless she's from the Kansai region...I'm still trying
     to learn *that* dialect).

     Answer #2:  I hear some native Japanese speakers pronounce it
     "hoo-say."  (Yes, those same people pronouce that beautiful mountain
     "Huji-san" -- here "san" literally means "mountain," not "Mr./Ms.
     Wisteria.")

     Would you like to pronounce virtually any Japanese word more like the
     Japanese do? SMILE when you say it!  A linguist once explained that
     Japanese is a "side-to-side" language, unlike English, which is
     largely "back-and-forth."  There's a bit more to it, but that was a
     really good tip the gentleman taught our class.

     Mr. Bissell also asks:
     "Fuse is her last name, correct?"

     Correct by our Western custom.  Japan is one of the many countries
     where family associations are so important, the family name precedes
     the given name.  Thus, her name technically is FUSE Tomoko-san.
     (That's "Tomoko," not "Ta-MOE-ko."  I added the "-san" for politeness.
     Actually, I'm still being a little casual when talking about her as a
     third party to this conversation, I believe.)

     Thanks for bringing up the subject of one of the most fascinating
     Origami designers.  BTW, she's always sure to give credit in her books
     where credit is due.

     Happy folding!
     - Jennifer
     JAndre@cfipro.com

     Fold it, ergo sum!
     I'm leaving for vacation in a few days, so I'll use this opportunity
     to say "Virtually See You Soon!"  Uh, I think the word I really want
     is...Aloha!





Date: Wed, 21 May 1997 22:43:49 -0300 (ADT)
From: Robert Allan Schwartz <notbob@tessellation.com>
Subject: Re: Prounouncing "Fuse" (more than ya ever hoped ta know)

>     Mr. Bissell (ryhmes with "whistle") asks:
>     "Does FUSE rhyme with NEWS?"
>
>     One might guess, except that's not how it works in Japanese.
>
>     Answer #1:  "foo-say," placing no more emphasis on one syllable than
>     on the other (unless she's from the Kansai region...I'm still trying
>     to learn *that* dialect).

I could be wrong, but I believe the "u" sound is de-emphasized in Japanese,
so that instead of "foo-say", it's more like "f-say", with a very short
first syllable, and no hint of "oo". I heard the Japanese salesperson at
Satsuga pronounce it this way.

Robert

-----------------------------------------------------------------------
Robert Allan Schwartz       | voice (617) 499-9470  | Freelance instructor
955 Massachusetts Ave. #354 | fax   (617) 868-8209  | of C, C++, OOAD, OODB
PO Box 9183                 |
Cambridge, MA 02139         | email notbob@tessellation.com

URL   http://www.tessellation.com/index.html

"Physicists are wrong. The world is not divided between matter and
antimatter. The world is divided between pasta and antipasta."





Date: Thu, 22 May 1997 00:31:10 -0300 (ADT)
From: "Michael J. Naughton" <mjnaught@crocker.com>
Subject: RE: Prounouncing "Fuse" (more than ya ever hoped ta know)

Jennifer Andre wrote:

     "Does FUSE rhyme with NEWS?"
        . . .
          Answer #1:  "foo-say," placing no more emphasis on one syllable than
     on the other (unless she's from the Kansai region...I'm still trying
     to learn *that* dialect).

     Answer #2:  I hear some native Japanese speakers pronounce it
     "hoo-say."  (Yes, those same people pronouce that beautiful mountain
     "Huji-san" -- here "san" literally means "mountain," not "Mr./Ms.
     Wisteria.")

I can add my 2 cents: several years ago (perhaps the year that Tomoko Fuse was
     the "honored guest" at the annual OUSA convention) I heard Toshi Ayogi
     (who knows her) explain the proper pronunciation. He pronounced it
     "hoo-say", but with the slightest hint





Date: Thu, 22 May 1997 06:04:49 -0300 (ADT)
From: Bruce Stephens <B.Stephens@isode.com>
Subject: Re: Describing folds in english

zbrown@lynx.dac.neu.edu said:
> Here I'll just repeat and expand on what I told you in private email:
> my  program, "ROD" (wRapper of OriDraw) is exactly that. It
> preprocesses  language commands to produce text suitable for OriDraw.
> It allows  arbitrary variable names, complex calculations, and a ton
> of other things  that make it much easier to create diagrams.

I was thinking specifically of the declarative aspects.  In Metafont, I can
write:

z1 = 1/3 [z2,z3];

to say that z1 should be 1/3 of the way between z2 and z3, and I can do that
before any of z1, z2 and z3 are defined.  If I then give enough information to
define z2 and z3, then z1 will become defined; if I give enough information to
define z1 and z2 then z3 will become defined.  (Variables starting with z are
points, with z[i] = (x[i], y[i]).  With the z1 declaration above, I can add
the information "x1=2; z2=(3, whatever);" to define x3 as 5, with y3 still
undefined.)

Of course, resolving ambiguity (and deciding when to try to) is difficult in
general.  Metafont simplifies the problem by restricting the kind of
uncertainty that can be produced just to that of a linear system, which is
well understood.

I take your point about TeX's paragraph forming algorithm.  For those that
don't know, it might seem like the right way to break lines when forming a
paragraph would be to stick words together until the line is too long, then
break the line there (hyphenating if necessary), and continue until you've
finished the paragraph.  In fact, apparently that doesn't work well, producing
word spacing that differs too much between lines, and generally looking
terrible.  TeX considers the problem a whole paragraph at a time, optimizing a
function representing various features of the paragraph over the whole thing.
The result is that the number of words in the first line of the paragraph can
depend on the length of the very last word of the paragraph.

I'm not sure that this is similar enough to what you're considering (or to
what Metafont does) to be usefully relevant, however.





Date: Thu, 22 May 1997 18:00:16 -0300 (ADT)
From: Nick Robinson <nick@cheesypeas.demon.co.uk>
Subject: Re: how do you say...

Rick Bissell <rick@tridelta.com> sez

>Does FUSE rhyme with NEWS?

No, "foosay", plus she's one of the humblest most delightful people you
could wish to meet!

all the best,

Nick Robinson

personal email  nick@cheesypeas.demon.co.uk
homepage        http://www.cheesypeas.demon.co.uk - all new look!
BOS homepage    http://www.rpmrecords.co.uk/bos/
RPM homepage    http://www.rpmrecords.co.uk





Date: Thu, 22 May 1997 20:07:15 -0300 (ADT)
From: Robert Allan Schwartz <notbob@tessellation.com>
Subject: Out-of-print books found in Mass. library

I searched the Boston Public Library circulating works database today. I
looked for "Origami for the Connoisseur" and "Origami Omnibus". One copy of
each is located at the Malden, MA library. The East Cambridge library had
one copy of "Omnibus". I went there. I found and borrowed the copy of
"Omnibus". The librarian searched in their Asian collection, and found a
copy of "Connoisseur" that wasn't in the database! I told her she made my
month.

The library is located at 48 6th Street.

The call numbers are:
Connoisseur - As 736.9 K15o
Omnibus     -    736.9 K15o

Since they're basically the same, and since the database didn't know about
one of them, I guess that one of them is mis-labelled.

I confess I have never been so tempted to _not_ return a library book!

Robert

-----------------------------------------------------------------------
Robert Allan Schwartz       | voice (617) 499-9470  | Freelance instructor
955 Massachusetts Ave. #354 | fax   (617) 868-8209  | of C, C++, OOAD, OODB
PO Box 9183                 |
Cambridge, MA 02139         | email notbob@tessellation.com

URL   http://www.tessellation.com/index.html

"Physicists are wrong. The world is not divided between matter and
antimatter. The world is divided between pasta and antipasta."





Date: Fri, 23 May 1997 01:08:27 -0300 (ADT)
From: "Shi-Yew Chen (a.k.a. Sy)" <sychen@erols.com>
Subject: Public NNTP servers carrying alt.arts.origami newsgroup

I seldom visit alt.arts.origami. Not every news server carries this
group. I checked out one of the newsserver search engine -
http://mserver.lipsia.de/sdienst/html/sgroup_e.html
are still curious here is my search results:

                             SERVER
                                                      NEWSGROUP
                             news.belwue.de
                                                      alt.arts.origami
                             news.uni-hohenheim.de
                                                      alt.arts.origami
                             news.ruhr-uni-bochum.de
                                                      alt.arts.origami
                             htsrv.attack.ru
                                                      alt.arts.origami
                             cronus.bigplanet.net
                                                      alt.arts.origami
                             207.70.214.200
                                                      alt.arts.origami
                             skarjeke.ind.mh.se
                                                      alt.arts.origami
                             rznews.rrze.uni-erlangen.de
                                                      alt.arts.origami
                             sarajevo.bmc.com
                                                      alt.arts.origami
                             piggy.rz.tu-ilmenau.de
                                                      alt.arts.origami
                             lamont.ldgo.columbia.edu
                                                      alt.arts.origami
                             news.uni-erlangen.de
                                                      alt.arts.origami
                             gomorrha.rz.uni-hildesheim.de
                                                      alt.arts.origami
                             news.ind.mh.se
                                                      alt.arts.origami
                             news.coli.uni-sb.de
                                                      alt.arts.origami
                             power5.rz.uni-hohenheim.de
                                                      alt.arts.origami

Have a nice day!
|------------------------------------------------------\
|  _     Shi-Yew Chen (a.k.a. Sy) <chens@asme.org>     |\
| |_| Folding http://www.erols.com/sychen1/pprfld.html --\





Date: Fri, 23 May 1997 04:50:41 -0300 (ADT)
From: Wayne Ko <wko@istar.ca>
Subject: RE: Pronouncing Fuse/McDonalds folding toy

I'm not an expert in Japanese,  but I'm quite sure Fuse is pronounced as
"hoo-say" since F is pronounced as H in Japanese.  This little bit of trivia
comes from my interest in military history, where I learned to pronounce the
names of a bunch of WWII Japanese warships.  In all cases, ships starting
with Fu is pronounced as "hoo" or "who" and ships ending with SE is
pronounced as "say".  Hence, Fuse must be "hoo-say"

Anyone else get one of those free nifty folding toys from McDonalds yet?
This is not one of those happy meal toys, but something the workers hand out
to kids in the restaurants once in awhile.   It is a little cardboard ad
that works like a flexagon that flips from "Do you believe in Magic?" to
"When you believe in magic and I hope you do.." to "You'll always have a
friend wearing big red shoes" to "Ronald makes it magic!" There is a total
of 8 sides, but only 4 are readable. My kids have been folding up a storm
with it - daddy had to fight to get a close look at it.

Wayne





Date: Fri, 23 May 1997 08:38:41 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Kirsch)
Subject: Re: Bad Book

On Tue, 20 May 1997, Carol Hall wrote:
> _Origami Boxes_ by one Alexandra Dirk.  It appears to be a complete rip-off
> of Tomoko Fuse's work.  No attribution to Fuse, no mention of the origami
> community.  It is published by Sterling Publishing Co. Inc., the publisher
> of those other noted rip-off books by Ayture-Scheele.  This one has the same
> look to the book as the Ayture-Scheele volumes, so apparently Sterling is
> intent on continuing to disregard the rights of origami designers.

I once saw the german edition of this book, "Origami-Schachteln".  From
what I have heard from Silke Schroeder, the second chairman(1) of Origami
Deutschland, she has written to Alexandra Dirks and asked her about the
designs in the book. According to her, Dirks replied: "Why should I
mention any name? After all, it's all public."

Yours, Sebastian               sebastian_kirsch@kl.maus.de,skirsch@t-online.de

(1) Is this pc? Or should I say chairwoman? :-)





Date: Fri, 23 May 1997 08:40:39 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Kirsch)
Subject: Re: The Cutting edge

Hi Paula!

On Tue, 20 May 1997, Paula Larsen wrote:
> > For cutting, I use a solid 5mm thick and 5cm wide iron ruler. I
> > believe this is called a "Buchbinder-Lineal".
> Where does one purchase such a tool?

I don't know, because my father got it years ago, and even he does not
remember where he got it. He bought it for cutting photos. I think you
might be able to get one from a company that sells supplies for binding
books or something similar.

Yours, Sebastian               sebastian_kirsch@kl.maus.de,skirsch@t-online.de





Date: Fri, 23 May 1997 11:08:07 -0300 (ADT)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: Bad Book(s)

Sebastian Kirk wrote that the Origami Deutschland chair's inquiry to Alexandra
Dirk regarding the alledged rip-off of Fuse's Origami Boxes book.  The answer,
now third or fourth hand was: "Why should I mention any name? After all, it's
all public."

I am surprised that Fuse's publishers would not be going after the other book
company for copyright violation (unless the diagrams are substantially
different, they should at least have a claim w.r.t. derivative works!).
Sigh.

-Doug





Date: Fri, 23 May 1997 11:14:52 -0300 (ADT)
From: Daddy-o D'gou <dwp+@transarc.com>
Subject: The Magic of Origami...

In the preface to my copy of The Magic of Origami, by Alice Gray, and
Kunihiko Kasahara, is some text to the effect of "it is polite/
<whatever> to credit the creator of the models, and that is what we
have done."

There are author credits in the V'Ann's origami models database, but I
can't seem to find them in my copy of the book.  Does anyone have a
copy of the book with the creator credits?  If so, where are they, on
each page (if so, WHERE!) or in a table in the back (I can't seem to
locate it)?  Am I just unobservant?

Thanks for any light shed on this!

-D'gou





Date: Fri, 23 May 1997 12:37:21 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: Bad Book(s)

I may have this all wrong but I seem to recall several months ago reading
something by Joseph Wu noting that most Japanese are nowhere near as
litigious as we Americans; plagiarism constitutes a greater loss of face
than being sued, to oversimplify a bit.

Joseph, did I get any of that right?

At 11:08 AM 5/23/97 -0300, you wrote:
>Sebastian Kirk wrote that the Origami Deutschland chair's inquiry to
Alexandra
>Dirk regarding the alledged rip-off of Fuse's Origami Boxes book.  The
answer,
>now third or fourth hand was: "Why should I mention any name? After all, it's
>all public."
>
>I am surprised that Fuse's publishers would not be going after the other book
>company for copyright violation (unless the diagrams are substantially
>different, they should at least have a claim w.r.t. derivative works!).
>Sigh.
>
>
>-Doug
>
>

Steve Woodmansee
stevew@empnet.com





Date: Fri, 23 May 1997 14:56:22 -0300 (ADT)
From: Jan_Polish@colpal.com (Jan Polish)
Subject: OrigamiUSA update

     Hi folks ... I'd like to make two announcements for OrigamiUSA.

     First, our Administrator, Risa Miller, has left our organization. Two
     long-time volunteers, Toby Schwartz and Vyda Liaugaudas, will be
     working to ensure smooth operations until we hire a replacement. One
     of them will be in the Home-Office during all our normal hours.

     We apologize for the issues and problems that have been mentioned on
     the origami-l in recent months. Please be aware that we will be
     working hard to fix them, and will keep you all posted on our
     progress. Thank you for your patience, and thank you for the
     understanding that many of you have expressed in our support. Except
     for the administrator, everyone who works in the office is a
     volunteer ... and they have given us an amazing level of commitment,
     quality, and just plain hard work. Things will get better ... we
     promise you.

     And here's the second announcement: OrigamiUSA is pleased to announce
     the grand opening of our website, thanks to the generous contribution
     of time, server and advice from John Cornelius and to the hard work of
     Steve Matheson, our webmaster. What we've got out there is far from
     complete, but it's a start. Please take a look. The URL is

     http://www.origami-usa.org

     Right now you'll find information about OrigamiUSA, a directory of
     responsibilities and email addresses, membership information and
     forms, the convention packet (yes, you can sign up online!), and a way
     to get the latest copy of the supplies list from The Origami Source.
     What's coming next will be online ordering from The Source, and lots
     of other features.

     We'd love your feedback. You can send your comments via the email
     contact page on the website, or write me or Marc Kirschenbaum
     (marckrsh@pipeline.com) directly.

     But write me soon ... I'm leaving Tuesday night for the Origami
     Deutschland convention. Fold paper and see the world!

     Jan Polish (jan_polish@colpal.com)





Date: Fri, 23 May 1997 16:34:09 -0300 (ADT)
From: "Shi-Yew Chen (a.k.a. Sy)" <sychen@erols.com>
Subject: Re: The Magic of Origami...

Daddy-o D'gou wrote:
>
> In the preface to my copy of The Magic of Origami, by Alice Gray, and
> Kunihiko Kasahara, is some text to the effect of "it is polite/
> <whatever> to credit the creator of the models, and that is what we
> have done."
>
> There are author credits in the V'Ann's origami models database, but I
> can't seem to find them in my copy of the book.  Does anyone have a
> copy of the book with the creator credits?  If so, where are they, on
> each page (if so, WHERE!) or in a table in the back (I can't seem to
> locate it)?  Am I just unobservant?
>
> Thanks for any light shed on this!
>
> -D'gou

The credits are shown on the bottom of the page for each model diagram
in my copy.

|------------------------------------------------------\
|  _     Shi-Yew Chen (a.k.a. Sy) <chens@asme.org>     |\
| |_| Folding http://www.erols.com/sychen1/pprfld.html --\





Date: Fri, 23 May 1997 18:16:08 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Kirsch)
Subject: Re: Bad Book(s)

On Fri, 23 May 1997, Doug Philips wrote:
> Sebastian Kirk

Sorry, but I am in no way related to the famous captain of that name. My
name is Kirsch, K-i-r-s-c-h, which is german for "cherry". :-)

Yours, Sebastian               sebastian_kirsch@kl.maus.de,skirsch@t-online.de





Date: Fri, 23 May 1997 20:11:33 -0300 (ADT)
From: "MARGARET M. BARBER" <mbarber@welchlink.welch.jhu.edu>
Subject: Re: The Cutting edge

I got my "lineal" from a commercial art store in Washington, D.C.  It was
about 20 years ago after I had cut myself badly while cutting mats for an
exhibit I was preparing for.  I do not remember the name of the Store,
but it was near (within a walking distance) the Farragut North Subway
stop. I love mine, although I use it less now than I did when I got it.
Peg Barber
mbarber@welchlink.welch.jhu.edu

On Fri, 23 May 1997, Sebastian Kirsch wrote:

> Hi Paula!
>
> On Tue, 20 May 1997, Paula Larsen wrote:
> > > For cutting, I use a solid 5mm thick and 5cm wide iron ruler. I
> > > believe this is called a "Buchbinder-Lineal".
> > Where does one purchase such a tool?
>
> I don't know, because my father got it years ago, and even he does not
> remember where he got it. He bought it for cutting photos. I think you
> might be able to get one from a company that sells supplies for binding
> books or something similar.
>
> Yours, Sebastian               sebastian_kirsch@kl.maus.de,skirsch@t-online.de





Date: Fri, 23 May 1997 22:27:48 -0300 (ADT)
From: Bren Riesinger <fascfold@fascinating-folds.com>
Subject: Templates - More Styles?

Following up on the template conversation -- and assuring everyone that I
have indeed not drifted into the far beyond of Internet space :-)

The square templates have been very popular and many thanks to those of you
who lent your support to these items.
There has been a great deal of inquiries regarding whether we could make
pentagons, triangle or hexagon templates as well.  While this would seem
like a logical and fairly simple next step - it hasn't proven to be.  We've
been testing a variety of methods to cut the Lexan (or other equally durable
material) with precision - yet still keep the cost in a bearable range.  So
far no luck on combining the two factors -- until today.  I was visiting my
plastic supplier - again - and a machine supplier from Australia was there .
. . enough of the story and onto the question Bren . . . .

In order to provide triangle, hexagon or pentagon templates in precision
measurements, I will have to order a large quantity - of each style - and
each size.  Therein lies the question -- If you would be interested in
purchasing some sizes or a full set of sizes of Pentagon, Hexagon or
Triangle templates, please send me an email (before May 31) telling me what
you'd be interested in, etc.  I'll take a poll and see if I can pull this
together.

It would help greatly if the email was to:  sales@fascinating-folds.com and
the subject line read:  TEMPLATES
I wouldn't want these messages to get mixed in with the rest of them or I'll
never be able to dig myself out :-)

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





Date: Fri, 23 May 1997 22:56:04 -0300 (ADT)
From: "Michael J. Naughton" <mjnaught@crocker.com>
Subject: RE: The Magic of Origami...

------ =_NextPart_000_01BC67C4.4A19FF80

Daddy-o D'gou wrote:

 > In the preface to my copy of The Magic of Origami, by Alice Gray, and
> Kunihiko Kasahara, is some text to the effect of "it is polite/
> <whatever> to credit the creator of the models, and that is what we
> have done."

> There are author credits in the V'Ann's origami models database, but I
> can't seem to find them in my copy of the book.  Does anyone have a
> copy of the book with the creator credits?  If so, where are they, on
> each page (if so, WHERE!) or in a table in the back (I can't seem to
> locate it)?  Am I just unobservant?

I have a copy (paperback), and the credits seem in general to be at the =
bottom of the pages (bottom left for odd-numbered pages; bottom right =
for even pages). An exception is on p. 28, where it is explained that =
Lillian learned the fold from someone she didn't know, but the vast =
majority of models have credits. They are very low on the page (below =
the page number, even) - maybe your version cut them off? If you like, =
I'll bring my book to the convention (are you coming?)

Mike N
------ =_NextPart_000_01BC67C4.4A19FF80

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Date: Fri, 23 May 1997 23:38:06 -0300 (ADT)
From: steve179@ix.netcom.com
Subject: Cutting Edge

Since I asked the question about the rotary cutter a while back I thought I'd
mention I did buy one the other day ( at a Fabric & Craft store). $12 ... but
I like it. It took a little while to get used to it and realize how much
pressure I needed  ( or didn't need ) to apply.
Right near the rotary cutters were templates for squares and triangles made of
( I guess ) clear plastic. Is lexan some sort of plastic too ?  These
templates ranged fro about $6 to $15 ( depending on the size ).
Does anyone use "Fadeless Art Paper" for origami. I've used it when I went to
teach some folds at my daughters 3rd grade class ... it was an inexpensive way
of getting everyone the same size and color.





Date: Fri, 23 May 1997 23:39:11 -0300 (ADT)
From: "James M. Sakoda" <James_Sakoda@brown.edu>
Subject: RE: Pronouncing Fuse/McDonalds folding toy

>I'm not an expert in Japanese,  but I'm quite sure Fuse is pronounced as
>"hoo-say" since F is pronounced as H in Japanese.  This little bit of trivia
>comes from my interest in military history, where I learned to pronounce the
>names of a bunch of WWII Japanese warships.  In all cases, ships starting
>with Fu is pronounced as "hoo" or "who" and ships ending with SE is
>pronounced as "say".  Hence, Fuse must be "hoo-say"
>
>

>Wayne
>
I'm sorry to have to disagree with you.  It is possible to write the
sequence ha, hi, hu, he, ho in Japanese style of writing kana in Romaji
(Roman alphabet).  This method was developed shortly before World War II
and has the advantage of consistency.  The actual pronunction follows the
older Hepburn style westerners are familiar with:  ha, hi, fu, he, ho.  The
name of the writer, Husimi, for example, should be pronouncted Fushimi.
The Fu is often very short and not long and pronunced Foo, so that it can
sound like F'shimi.  But it does not sound like Hooshimi.    The same
inconsistency is found in Sa, si, su, se, so which should be pronounced sa,
shi, su, se, so.  Also, ta, ti, tu, te, to in usage sounds like ta, chi,
tsu, te, to.  It is the attempt to achieve consistency where consistency
does not exit that causes the difficulty in pronouncing  some Japanese
words.  James M. Sakoda





Date: Sat, 24 May 1997 03:05:21 -0300 (ADT)
From: AnToi@aol.com
Subject: Re: Cutting Edge

Fadeless Art Paper is indeed a handy and inexepensive method for securing
large squares (sheet size is 12" by 18") plus you can cut one sheet into 24
3" squares - perfect for modular projects. Biggest drawback is the paper
itself - it is thick and tears easily.

Regarding rotary cutters, Fiskars (the scissors people) makes a fairly decent
model that will set you back around $50. I use the one at my office :)  The
units they have at Kinkos photocopy shops retail for $250 and up, but I never
saw a sign that said "For Customer Use Only". If they hassle you, make a
copy. For less than a dime you can be a customer, too!

Ngay Mai An Toi
