




From: madawson <madawson@SPRYNET.COM>
Date: Tue, 20 Apr 1999 13:03:46 -0700
Subject: Re: OUSA Rare Book Library

Are there copyright issues to deal with regarding saving the rare book
library?

MaryAnn Scheblein-Dawson
madawson@sprynet.com

-----Original Message-----
From: George W. Hendrickson Jr. <gwhjr@BORG.COM>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Thursday, April 15, 1999 2:45 PM
Subject: Re: OUSA Rare Book Library

>Hello I'M George Hendrickson.  My wife joined this forum to get a better
>insight into origami. I happened to come across this letter and the
>discussion about your rare books. I have a suggestion that differs from
this
>most obvious methods discussed so far.  How about using one of the
currently
>available digital cameras to photograph the pages. I have used this method
>to get difficult pictures out of books.  I have also gotten text.  I use
the
>sony Mavica model MVC-FD7. This camera stores the image on a floppy disk as
>a JPEG file.  You could then pull the image into any good graphics program
>to work with it.  Since it is already digital data. The files could be
>stored on any computer and cleaned up as necessary.  You could then record
>the data on CD-ROM disks and could make unlimited copies as required using
a
>standard printer.  If you had a good OCR (Optical Character Recognition)sic
>program. You could then bring in the files as text and these would be even
>more easily worked with.





From: madawson <madawson@SPRYNET.COM>
Date: Tue, 20 Apr 1999 13:20:34 -0700
Subject: Re: OUSA & Polotics yadda yadda yadda

If it's not important to you, then skip it ----- but it is informative to
others.  Your belittleing it is unnecessary.

MaryAnn Scheblein-Dawson

-----Original Message-----
From: Marcus Hanson <hecatomb@CARROLLSWEB.COM>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Friday, April 16, 1999 11:09 AM
Subject: OUSA & Polotics yadda yadda yadda

>I could sleep through this.
>--
>-----------------------------------------------------------------------
>Marcus Hanson's Digital Gallery
>http://members.tripod.com/~MarcH_3/index.html
>last updated 4-10-99
>-----------------------------------------------------------------------
>"If you have but one wish, let it be for an idea."
>                                - Percy Sutton -





From: Florence Temko <Ftemko@AOL.COM>
Date: Tue, 20 Apr 1999 13:37:26 -0400 (
Subject: Re: Aleenes Creative Living (Dorigami)

Dorothy: And I sat through the whole hour!!  Why dont you think 2 weeks
before Mother's Day is enough time? A week to get the book and a week to make
roses.

Love from Florence.





From: martin <mrcinc@SILCOM.COM>
Date: Tue, 20 Apr 1999 16:24:02 +0100
Subject: Octagonal box with petal top

Just returned from the Converting Machinery and Material trade show in
Chicago. Deals with all sorts of paper and plastic converting equipment --
mostly for packaging of consumer products.

The most interesting thing I saw was a folded Origami box that stayed
together with no glue or locking tabs. It is really elegant and is great
for candy or gifts. Has the following essential characteristics.
1       Octagonal base is 10.5 cm. (4-1/8") across flats
2       6 cm. (2-3/8") tall
3       Closes with an overlapping petal pattern that is pushed down "over
center ". Those petals hold everything firmly in place. The petal pattern
is similar to the flat folding leather coin purses you see from time to
time.
4       When closed there is a triangular wing shaped gusset at each of the
eight vertical edges of the box
5       Is made of .012" thick polycarbonate plastic -- but would work as
well in cardstock about .025" or so.
6       Made from a 34.4 cm. (13-5/16") diameter circle. ( a base that
seems to be underused by the Origami community)
7       There are five sets of scores (all are described below as viewed
from bottom of box when it is flattened out)
7.1     Mountain scores define the octagon base
7.2     Mountain  scores radiate ( they follow the radii of the circle)
from the corners of the octagon to the outside circular edge
7.3     Mountain scores define the octagonal top edge of the vertical
sides. This octagon is 22.5 cm. (8-13/16") across the flats when the sheet
is flattened. The sides of the top edge octagon are parallel to the base
octagon.
7.4     Valley scores at 90 degrees to the octagon edges start at the
corners of the center octagon and run between the octagons
7.5     Valley scores connect the intersection of the scores in 7.4 above
with the circle circumference -- they intersect the circle circumference at
the midpoint of the arcs delineated by the scores of 7.2 above.
8       The box at the show had small sections cut out of the circumference
of the outside circle -- this added a little visual interest to the top of
the box -- but it is not a functional part of the design.

I have made a crude diagram of the box layout and would be happy to send it
by email to anyone (as a gif) that asks for it.

Please send suggestions as to how to make the diagram more accurate or how
to improve the written description above. We plan to put this up on our
website and it will be seen by lots of people who have no folding
experience -- so it is important that the instructions be understandable
and accurate.

Does anyone know if this design has been previously published? I am going
to be embarrassed if this is a well known project.

I also need a good name for the box -- any suggestions?

Also are there any folding experts out there that can tell me how to scale
up this design? Does the size of the two octagons and the circle have to be
in a certain ratio to one another? If everything is doubled, for instance,
I assume the box will be doubled in all dimensions. But how can I specify
the dimensions if I wanted to double the height while leaving the box
circumference the same?

Martin R. Carbone / 1227 De La Vina St. / Santa Barbara, CA 93101
TEL: 805-965-5574 / FAX: 805-965-2414 / EMAIL: mrcinc@silcom.com
WEBSITES: http://www.papershops.com <<<and>>> http://www.modelshops.com
<<<and>>> http://www.silcom.com/~mrcinc





From: John Sutter <sutterj@EARTHLINK.NET>
Date: Tue, 20 Apr 1999 18:44:49 -0700
Subject: Re: Octagonal box with petal top

At 04:24 PM 4/20/99 +0100, you wrote:
>Just returned from the Converting Machinery and Material trade show in
>Chicago. Deals with all sorts of paper and plastic converting equipment --
>mostly for packaging of consumer products.
>
>The most interesting thing I saw was a folded Origami box that stayed
>together with no glue or locking tabs. It is really elegant and is great
>for candy or gifts. Has the following essential characteristics.
>1       Octagonal base is 10.5 cm. (4-1/8") across flats
>2       6 cm. (2-3/8") tall
>3       Closes with an overlapping petal pattern that is pushed down "over
>center ". Those petals hold everything firmly in place. The petal pattern
>is similar to the flat folding leather coin purses you see from time to
>time.
>4       When closed there is a triangular wing shaped gusset at each of the
>eight vertical edges of the box
>5       Is made of .012" thick polycarbonate plastic -- but would work as
>well in cardstock about .025" or so.
>6       Made from a 34.4 cm. (13-5/16") diameter circle. ( a base that
>seems to be underused by the Origami community)
>7       There are five sets of scores (all are described below as viewed
>from bottom of box when it is flattened out)
>7.1     Mountain scores define the octagon base
>7.2     Mountain  scores radiate ( they follow the radii of the circle)
>from the corners of the octagon to the outside circular edge
>7.3     Mountain scores define the octagonal top edge of the vertical
>sides. This octagon is 22.5 cm. (8-13/16") across the flats when the sheet
>is flattened. The sides of the top edge octagon are parallel to the base
>octagon.
>7.4     Valley scores at 90 degrees to the octagon edges start at the
>corners of the center octagon and run between the octagons
>7.5     Valley scores connect the intersection of the scores in 7.4 above
>with the circle circumference -- they intersect the circle circumference at
>the midpoint of the arcs delineated by the scores of 7.2 above.
>8       The box at the show had small sections cut out of the circumference
>of the outside circle -- this added a little visual interest to the top of
>the box -- but it is not a functional part of the design.
>
>I have made a crude diagram of the box layout and would be happy to send it
>by email to anyone (as a gif) that asks for it.
>
>Please send suggestions as to how to make the diagram more accurate or how
>to improve the written description above. We plan to put this up on our
>website and it will be seen by lots of people who have no folding
>experience -- so it is important that the instructions be understandable
>and accurate.
>
>Does anyone know if this design has been previously published? I am going
>to be embarrassed if this is a well known project.
>
>I also need a good name for the box -- any suggestions?
>
>Also are there any folding experts out there that can tell me how to scale
>up this design? Does the size of the two octagons and the circle have to be
>in a certain ratio to one another? If everything is doubled, for instance,
>I assume the box will be doubled in all dimensions. But how can I specify
>the dimensions if I wanted to double the height while leaving the box
>circumference the same?
>
>Martin R. Carbone / 1227 De La Vina St. / Santa Barbara, CA 93101
>TEL: 805-965-5574 / FAX: 805-965-2414 / EMAIL: mrcinc@silcom.com
>WEBSITES: http://www.papershops.com <<<and>>> http://www.modelshops.com
><<<and>>> http://www.silcom.com/~mrcinc
>
>
Martin:

Better check to see if TOMOKO FUSE has already published this design in her
box books.  Maybe there's a website for her stuff.  I know she has done lots
of different polygon shaped boxes.

Ria





From: Deg Farrelly <DEG.FARRELLY@ASU.EDU>
Date: Tue, 20 Apr 1999 21:02:54 -0700
Subject: Copyright and the OUSA archival collection

> MaryAnn Scheblein-Dawson  writes:
>
        <<Are there copyright issues to deal with regarding saving the rare
book
> library?>>
>
>
This is an issue in which I have professional knowledge and years of
experience.

There may not be copyright issues regarding *saving* the collection.... that
is the purpose of having an archived special collection.

But there definitely are copyright issues regarding the *duplication* of
materials.  Under international copyright law duplication is the sole and
exclusive right of the copyright holder.  And duplication covers all forms
of duplication:  photocopy, scanning, digital photography, etc.

Some arguments may be made regarding copying limited portions of  a
publication, for personal use, within Fair Use (four simple factors which
are exceedingly complex in interpretation).  But under no circumstances
would the wholesale duplication of an entire work (not to mention multiple
copies for distribution) without written permission of the copyright holder
be legal.

deg farrelly, Associate Librarian
Media / Women's Studies / Document Delivery Program Manager
Arizona State University West





From: Rosalinda Sanchez <RRosalinda@AOL.COM>
Date: Tue, 20 Apr 1999 21:19:38 -0400 (
Subject: Re: Octagonal box with petal top

I love to make boxes and would greatly appreciate your "crude" diagrams.
Thanks for  offering.

Rosa





From: Allen Parry <parry@ESKIMO.COM>
Date: Tue, 20 Apr 1999 21:26:35 -0700
Subject: Re: The OUSA Business

On Tue, 20 Apr 1999, Michael J. Naughton wrote:

> On the Other Hand:
> What, exactly, is meant by "national representation"? What
> would OUSA gain from a "more diverse" Board? What are these
> "interests" of "other parts of the country"?

Michael, Thank you for your questions.  I will try my best at answering
them.

What we mean by "national representation"?
------------------------------------------
First off, our major request is for open elections....that any member can
run for a board positions, no matter where they live.  We're hoping that
this will mean people from all over the country will rise up and ask to
serve. Currently, we have four from diverse areas, who have expressed an
interest in doing just that.  From there on, it is up to the members to
vote on who they want.

> What would OUSA gain from a "more diverse" Board? What are these
> "interests" of "other parts of the country"?
------------------------------------------------------------------
We expect with a "more diverse" board, the perspective will be more
nationaly focused.  There is SO LITTLE from OUSA that reaches the remote
membership.  Lin set things off when she said in the Paper that we
shouldn't expect anything more than the newsletter.

My personal expectations are:

First, That OrigamiUSA's first emphasis should be to promote the creation
of new affilate groups and support the activities and improve the
resources of current groups.

In starting new groups, there is curently a catch-22 situation. You
require 5 members to become an affiliate group.  Once you are an affiliate
group, then and only then, can you get a list of the other members in your
area.  So how do you find five members if you don't know who they are?
For the Seattle group, OUSA looked the other way as they gave us a couple
of names to get started.  By the way, if anyone wants a list of the OUSA
members in their area, for the purpose of starting an affiliate group, let
me know...I will be glad to send you a list.

This shouldn't be the case.  My vision is that OUSA representatives would
travel across the country agressively trying to set up affiliate groups
all over the country.  Perhaps exhibits and classes could be set-up to
draw attention to origami within the community.  I understand that there
are only a few folders within the major metropolitian area of Denver
Colorado.  I don't believe it.  Somebody should be "in there" trying to
find the various folders and try to organize a substantial folding group.
I know Michael LaFosse has done quite a bit of this, exhibiting his work
and teaching classes in various parts of the country...but it has been on
his own.

Secondly, I'd like to see regional libraries across the country.  Not
necessarily rare books, but the more easily obtained books. I wouldn't be
surprised if publishers would be willing to donate books in return for
reviews within our newsletter.  The only condition I think we would need
to have, is that the books be held in a public accessible location (not in
someone's home).

Third, whenever someone joins OrigamiUSA.... their name should be
immediately sent to their closest affiliate group.  Currently, you have to
specifically ask for any new people in your area.

Forth, I'd like to see a telephone / answering machine for each affiliate
group... meaning that each group will have a telephone book listing.

I have many other ideas on how to promote affiliate groups...but as I
mentioned before, I don't have all the answers.  I would expect a board of
affiliate leaders could come up with a more comprehensive plan.

All of these have been mentioned to the board.  We brought these issues up
at last year's convention....but they are so over-worked maintaining New
York and their relationship with the American Museum Natural History, they
have no energy or resources to direct to others, in other parts of the
country.

------------------------------------------------------------
> If an Oregonian can't trust a New Yorker to represent his/her interests,
> why should I (in Massachusetts) trust anyone west of the Mississippi to
> represent mine? (For that matter, since I live in Western Massachusetts,
> why should I trust a Bostonian like Tom?)

Good question.  Currently, we feel the board is very New York focused.  We
find it close to impossible to get them to hear us.  Membership has been
droping.  A few years ago membership was over 2,000.  Now it's a little
over 1,800.  Something is wrong.  As Doug Philips mentioned in a previous
e-mail message on this list and what I have heard all over the country,
people are feeling as if they are not getting anything for their
membership.  Why be a member?  They're choosing not to renew.  A sure sign
there is a problem.

We're hoping its not going to be an Oregonian, Bostonian, or one from
Mississippi...but a whole collection of representatives who will be
directing policy and programs for the country as a whole....with a
national perspective.

-----------------------------------------------------
> Your platform is long on generalities and short on specifics, and it
> seems based on the premise that just because you live a long way from
> NYC you'll be a better Board member. Why?

Platforms are for candidates.  ... we haven't been allowed to run for the
board (without being told why?). We have been working on a more extensive
platform for when we are allowed to run. The above are some of the
samplings of some of my ideas....but I think something of this nature
should be developed by a much larger constituency.

I guess if I was able to make campaign promises...one of them would be
that I would be "slow to speak and quick to listen".  I want the entire
membership to take ownership in OrigamiUSA.  I don't want the
responsibility to lie on a few shoulders, but on everyone's.  The load is
so much lighter. I believe that when people have a voice in what is going
on, they are more apt to get behind the organization and do their part in
bringing greater things about.

> Also, if you really have a valuable contribution to
> make, why can't you make it without being Board members?

I see government, such as city or state, as an organization to do
something collectively, that cannot be done as individuals.  That should
be the purpose of the OrigamiUSA government... to service the national
Origami community.

All that's happening is that OrigamiUSA is going through it growth pains.
Lillian Oppenheimer's child is growing up.  Puberty was not easy, but it
was inevitable.  It's no longer an informal club; a small group meeting in
her Manhatten brownstone.  It's growing up into being a national
organization.  Michael Shall began the seeds when he charismatically grew
the organization and excelled the proselytization of people from outside
the New York area.... when the organization moved from "The Friends of the
Origami Center of America" to the declaration of being the national
organization in the title of "OrigamiUSA".

Thus far, all I hear from the OUSA board are ALL the reasons why not.
"Whoa is us! They being devisive.  It will distroy the organization."  I'd
rather have more progressive, positive thinking representatives leading us
as to what we all CAN accomplish.

> On the one hand, you say that existing Board members who might lose
> their seats shouldn't worry because they can still keep on doing the
> great things they're doing; on the other hand you seem convinced that
> you need to be Board members to accomplish your goals.  Something seems
> fishy here, too. . . .

The context of what you are mentioning is primarily from a perspective
that most of what the board is currently doing is centered in New York.
They can continue to do the convention, the annual collection, have
special sessions, and so on.  I think these are functions that should be
carried on by a regional group such as New York.  The problem is that they
are not a regional group....there needs to be a OrigamiNY.

OrigamiUSA, as a national group, should be concentrating on those
functions that only a national organization can perform, such as
centralized membership drives, the newsletter, and providing a resource to
regional groups.

> I personally don't see any great rush to come to a decision, and if
> Allen, Steve, Carol, and Sandy really disagree I think they should
> explain why.

How long do we allow membership to continue to drop off?  There are people
out there who want something for their membership dollars.  They expect
more than just a newsletter.  What about them?  Inaction has been the
status quo.  We want change.

I must say those were very good questions.  You are the first to ask them.
I would only hope that the OrigamiUSA board would respond to the questions
that you have posed to them.

Allen Parry
parry@eskimo.com





From: "Michael J. Naughton" <mjnaught@CROCKER.COM>
Date: Tue, 20 Apr 1999 21:33:29 -0400
Subject: The OUSA Business

I've been trying to follow the OUSA discussion, and I must
say it has not been inspiring. It reminds me of the food
co-op wars of the mid 1970s - what is it about organizations
founded on principles of cooperation and sharing that makes
their members so quick to jump at each others' throats? For
my part, I have learned that the most trustworthy people are
those who openly admit that they are acting in their own
self-interest (I don't always like them, but I can trust
them to pursue that interest -- and self-interest is not
always a bad thing). People who claim to be acting on behalf
of the "greater good" (or, worse, on behalf of "morality")
have a way of stabbing you in the back when you're not looking. . . .

In the current discussion, I do have some questions that
I haven't yet seen fully answered:

In Support of "The Letter"ites:
Why, exactly, can't more of the Board's functions be
decentralized? I understand that they may be more easily
performed by NYC-region residents, but "more easily" is
not the same as "necessarily". If Board seats have certain
responsibilities, why aren't they simply spelled out, with
the proviso that if the electee cannot fulfill them (s)he
will lose the seat to the first runner-up (and so on).

Also, why is there no real contest for Board seats, even
in the NYC region? The fact that there are always exactly
as many candidates are there are open seats seems more than
a little fishy. . . . (In the past, I seem to remember it
was different.)

Also, since many of the questions/issues seem to involve
where the money goes, why not simply tell us? The sheet
that gets handed out at the convention is nice, but it's
not very detailed -- especially the income and expense
portions.

On the Other Hand:
What, exactly, is meant by "national representation"? What
would OUSA gain from a "more diverse" Board? What are these
"interests" of "other parts of the country"? If an Oregonian
can't trust a New Yorker to represent his/her interests, why
should I (in Massachusetts) trust anyone west of the Mississippi
to represent mine? (For that matter, since I live in Western
Massachusetts, why should I trust a Bostonian like Tom?) Your
platform is long on generalities and short on specifics, and
it seems based on the premise that just because you live a long
way from NYC you'll be a better Board member. Why?

Also, if you really have a valuable contribution to
make, why can't you make it without being Board members? On
the one hand, you say that existing Board members who might
lose their seats shouldn't worry because they can still keep
on doing the great things they're doing; on the other hand
you seem convinced that you need to be Board members to
accomplish your goals.  Something seems fishy here, too. . . .

Finally, for both sides: what is all this talk about lawyers??
Both of you claim the other side started it, and I don't
have to tell you how lame that sounds (do I?). IMHO, involving
lawyers would be a Really Bad idea, and everyone should stop
acting as if they have any place in all this.

I think some interesting and important questions have been raised,
but I don't think it was done in the best and most constructive
way. Similarly, I think the response might have been more open and
constructive, and the result is that emotions and tempers have
been raised on both sides -- probably unnecessarily, although
perhaps inevitably. I hope everyone can cool off and agree to try
to discuss the issues in a more level-headed way. I personally
don't see any great rush to come to a decision, and if Allen, Steve,
Carol, and Sandy really disagree I think they should explain why.
In the meantime, we've got another convention coming up pretty soon
-- let's all try to make it as much fun as we possibly can!

Just my opinion,

Mike "I love humankind; it's the people I can't stand" Naughton





From: Allen Parry <parry@ESKIMO.COM>
Date: Tue, 20 Apr 1999 21:50:50 -0700
Subject: Re: Copyright and the OUSA archival collection

On Tue, 20 Apr 1999, Deg Farrelly wrote:

> Some arguments may be made regarding copying limited portions of  a
> publication, for personal use, within Fair Use (four simple factors which
> are exceedingly complex in interpretation).  But under no circumstances
> would the wholesale duplication of an entire work (not to mention multiple
> copies for distribution) without written permission of the copyright holder
> be legal.

Actually, this is not totally true.  A copyright is not perpetual.  That
is why you are recently seeing inexpensive copies of the classics on
bookstore shelves.

According to "Copyright and Publishing Law" by Ellen Kozak:

"When can you use materials created by others in your own works?  The
answer depends on copyright status of those materials- whether they are in
the public domain or are protected by copyright, and if they are
protected, who has the authority to grant permissions concerning them.

When a work is in the public domain, it has no copyright protection.  You
can reproduce, distribute, perform, display, and adapt at will.
Generally, the only time you can rely on a work being in the public domain
is when its first publication occurred more than 75 years ago.

It is possible for more recent works to have fallen into public domain,
but there is no hard-and-fast rule for determining when this has happened.
For example, works published before 1978 without propoer copyright notice
normally fall into this unprotected category.  Pre-1964 works published
with notice, if they were not renewed before their initial 28 year term of
copyright expired, also lapsed into the public domain.  And works first
published between January 1, 1978 and March 1, 1989 either without notice
or with defective notice, if they did not fall into one of the exempt
categories or were not registered within 5 years of their initial
publication, may also have lost their copyright protection.

The copyright status of works should always be checked out before you
proceed with any use of them.  If this information is not readily
apparent, the Copyright Office will investigate the copyright status of a
work for a fee."

I hope this answers your questions.....ops...did I just violate copyright
law?

Allen Parry
parry@eskimo.com





From: "Katherine J. Meyer" <kathy@SILENTWORLD.COM>
Date: Tue, 20 Apr 1999 22:27:25 -0500
Subject: Flower Translation, Italian

Hi Again:

Thanks to Kenny most of these flowers are translated. I
would appreciate it very much if someone could please fill
in the blanks, and make any corrections (if any).

Fiordaliso:
Elicriso:
Genzianella:
Soldanella:
Fiore Di Melograno:
Fiore Di Kaki:
Garofanino Di Montagna:

Bella Di Notte: Beauty of the Night
Convolvolo: Convolvulus
Fiore Di Pesco: Peach Blossom
Papavero: Poppy
Gladiolo: Gladiola
Genziana: Gentian
Stella Alpina: Alpine Star
Ranuncolo: Ranunculus, Buttercup
Ciclamino: Cyclamen, Primrose
Amaryllis: Amaryllis
Aquilegia: American Columbine
La Nicotiana (Fiore del Tabacco): Flower of Tabacco
Girasole: Sunflower
Dalia: Dahlia
Narciso: Narcissus
Pervinca: Periwinkle
Fior di Clematis: Clematis
Violetta: Violet
Orchidea: Orchid

L'albero nelle Quattro Stagioni:
Autunno: Autumn
Inverno: Winter
Primavera: Spring
Estate: Summer

Sorry for the lengthly list. I do appreciate your time and
trouble.

Kathy  <*))))><





From: Doug Philips <dwp@TRANSARC.COM>
Date: Wed, 21 Apr 1999 00:51:50 -0400
Subject: Re: Copyright and the OUSA archival collection

In reply to MaryAnn Scheblein-Dawson's query about the OUSA special collection
and copyright, Deg Farrelly indited:

+This is an issue in which I have professional knowledge and years of
+experience.

Yay!  A bona fide source and answer.

+Some arguments may be made regarding copying limited portions of  a
+publication, for personal use, within Fair Use (four simple factors which
+are exceedingly complex in interpretation).  But under no circumstances
+would the wholesale duplication of an entire work (not to mention multiple
+copies for distribution) without written permission of the copyright holder
+be legal.

Unless the copyright has expired.  But these days, that's 50 years after the
death of the author/copyright holder, so that "out" isn't there already.  Even
if the author were willing to allow such copying, my guess is that it is the
publishing houses which actually hold the copyright, and they'd probably
rather hold it to and get a few pennies selling the rights to Dover than just
out and out give them away...

I was going to suggest that maybe OUSA could get more involved in book
publishing, but the annual collections already seem to be tapping out the
resources.  Sadly, the 1995 Annual Collection is out of print.  I don't
understand why it would languish so, its obviously popular (or it wouldn't
have sold enough to go out of print), and I know of several local folders who
have been unable to buy it because its out of print.

If OUSA can't keep its own publications in print, I have little hope for any
action on the collections.  I just hope that they can be preserved even if
only for local access.

-D'gou





From: Sebastian Marius Kirsch <skirsch@T-ONLINE.DE>
Date: Wed, 21 Apr 1999 07:37:59 +0200
Subject: Re: Copyright and the OUSA archival collection

On Tue, Apr 20, 1999 at 09:02:54PM -0700, Deg Farrelly wrote:
> Under international copyright law

Err, sorry, which one? There are two major international copyright
conventions (the Berne Convention and the UCC), and as far as I know
they differ in many areas, both as regards their scope and their
requirements of the copyright holder.

--
Yours, Sebastian                                       skirsch@t-online.de
                        /or/ sebastian_kirsch@kl.maus.de (no mail > 16KB!)





From: "K. A. Lundberg" <klundber@MNSINC.COM>
Date: Wed, 21 Apr 1999 08:46:50 -0400
Subject: Re: Flower Translation, Italian

Kathy:

>Thanks to Kenny most of these flowers are translated. I
>would appreciate it very much if someone could please fill
>in the blanks, and make any corrections (if any).

>Aquilegia: American Columbine
_____________________
When you can't see the model it is difficult to identify which flower
was intended.  Aquilegia is the botanical name of the flower, colubine
is the common name.  There are several European varities of this plant
so I don't think you can call it American.  By the way does this
particular model have spurs?

>La Nicotiana (Fiore del Tabacco): Flower of Tabacco
_______________
Nicotiana would more likely be called Flowering or Ornamental Tobacco or
possibly even Jasmine.

>Soldanella:
__________________
This could be any number of small rock garden plants of the primrose
family.

Michael:
> Fiordaliso: Lily, or fleur-de-lis
______________
I did at one point have Giglio translated as the Italian word for lily
(Flori in Origami by Guido Gazzera) but I can see fleur-de-lis.  Kathy,
is this a lily model?

Michael:
> Fiore Di Kaki: 'k' is not a letter generally used, unless it is a
foreign word (I think...)
____________________
I can't resist...how about Cactus Flower? <grin>

This book sounds interesting.  How difficult are the models?  Could you
tell us the ISBN and the author's name?

Kalei





From: Michie Sahara <michies@WESTWORLD.COM>
Date: Wed, 21 Apr 1999 09:23:36 -0700
Subject: Riviera Village Festival

We will have a booth at Riviera Village Festival in Redondo Beach,
California, this Saturday and Sunday 10am to 6pm.
It will be on the street at Catalina Ave. & Ave. I.  If you are in the area,
please stop by.  Michie





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Wed, 21 Apr 1999 11:18:07 -0700
Subject: Re: Flower Translation, Italian

At 20:08 99/04/21 +0200, you wrote:
>>Fiore Di Kaki:
>        Flower of the persimmon tree, "Persimmon Blossom"

This is interesting because the persimmon is also called "kaki" in Japanese.
I wonder which language borrowed the word from the other, or if this is
simply a "coincidence".

----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t: 604.730.0306 x 105   f: 604.732.7331  e: josephwu@ultranet.ca
w: http://www.origami.vancouver.bc.ca





From: Michael Gibson <mig@ISD.CANBERRA.EDU.AU>
Date: Wed, 21 Apr 1999 14:21:00 +1000
Subject: Re: Flower Translation, Italian

>
> Fiordaliso: Lily, or fleur-de-lis
> Elicriso:
> Genzianella: Gentian variation?
> Soldanella: Blue Moonwort
> Fiore Di Melograno: flower of Pomegranate tree
> Fiore Di Kaki: 'k' is not a letter generally used, unless it is a
foreign word (I think...)
> Garofanino Di Montagna: Mountain Carnation? (pink)

Some hits, some misses. Good luck

Regards,

Michael





From: Gerard Blais <gblais@NORTELNETWORKS.COM>
Date: Wed, 21 Apr 1999 14:39:47 -0400
Subject: Origami-Montreal - next meeting

The next meeting of Origami-Montreal will be held:

Sunday, April 25, from 1 PM to 4 PM,
     at 6848 Christophe-Colomb, Montreal.

On the menu:
    - Discussions: local events, international events, new books,
      interesting news, etc.
    - Planification/Annoncement of the next meeting.
    - Folding workshop:
          "Paper Airplanes"
          presented by Pierre Girard,
          Philomene Boyer-Villemaire and
          Felix Charbonneau.
    - Free folding, discussion, etc.
    - Proposal of a complex model to be folded by the members who wish
      to improve their origami skills.  This model will be folded
      progressively at each meeting so that we can help each other.

Origami material (i.e. paper) will be provided for those who need it.

See you Sunday!  Be there or be "square"! :-)

Gerard

+-----+ Origami-Montreal
|     | Phone & fax: (450) 448-2530 (Hideko Sinto)
|     | email: origami@francomedia.qc.ca (Hideko Sinto)
+-----+ web: http://www.geocities.com/SoHo/Den/8802





From: Mette Pederson <mette.pederson@TRIFOLIUM.COM>
Date: Wed, 21 Apr 1999 14:54:27 -0400
Subject: BOS convention pictures and New Diagram

I've just returned from the BOS convention in York, England.  It was a
blast!
You can find some pictures from the convention on my web page
http://mette.pederson.com.  More pictures will follow when I get some film
developed.  I hope to post a convention write-up in a few days.

Also, I have posted the diagrams for one of my new rings.  Just go to the
"More of my Mette Units" link or the "What's new?" link on my main web page.

Now that I have returned, I am able to accept orders for my new book, "Mette
Units 3."  For more information, see my web page.

Enjoy!
Mette Pederson

mette@pederson.com
http://mette.pederson.com
MetteUnits@aol.com





From: Daniela Carboni <s134259@STUDENTI.ING.UNIPI.IT>
Date: Wed, 21 Apr 1999 20:08:44 +0200
Subject: Re: Flower Translation, Italian

Hi Kathy,
          it was really amusing to read some of the Italian to English
translations. "Flower of the Fish" was the funniest.

However Kenny did a great work.

Now I am going to look for the remaining names in my Italian - English
dictionary.

>Fiordaliso:
        "Corn Flower", or "Fleur-de-lis" in araldic context.

>Elicriso:
        It is a curative herb, I didn't know the Italian popular name until
        Kenny said it, nor the English one, of course.

>Genzianella:
        It is a mountain flower that grows in the Alps, it is similar
        in color and shape to the gentian, but it is smaller.
        "Genzianella" can be translated as "Little Gentian" and my
        Italian - English dictionary actually reports the name: "Gentianella"

>Soldanella:
        Never heard about it.

>Fiore Di Melograno:
        It is the flower of the pomegranate tree, that is: "Pomegranate
Blossom"

>Fiore Di Kaki:
        Flower of the persimmon tree, "Persimmon Blossom"

Michael Gibson wrote:
> Fiore Di Kaki: 'k' is not a letter generally used, unless it is a
foreign word (I think...)

        There are so many "K" in the word because the common Italian form
        "caco" (sing.), "cachi" (plur), that one pronounces like the other
        ("kaki"), reminds of an Italian word of scatologycal meaning.

>Garofanino Di Montagna:
        It is the wild version of carnation, it can be translated to
        "Little Carnation".
        It is a mountain flower and grows in the Alps.

>Stella Alpina: Alpine Star
        The right name is "Edelweiss", another alpine flower.
        There is a song about this flower in a Disney musical with Julie
        Andrews, set in Austria.

Kenny wrote:

>  Pervinca
    Periwinkle, maybe, is the Italian name spelled right?
    Seems like I expect another e in there somewhere.

        The italian spelling is correct. I can't figure out where to put an
        additional "e".

Ciao (Italian word for "Bye")  ;)
                                        Daniela.

/\_/\    Daniela S. Carboni
 o o     email: s134259@studenti.ing.unipi.it
= # =    -Soon I will have a new web page-





From: Robby/Laura <morassi@ZEN.IT>
Date: Wed, 21 Apr 1999 20:21:53 +0200
Subject: Re: Flower Translation, Italian

Kathy,
At 22.27 20/4/1999 -0500, you wrote:
>Hi Again:
>
>Thanks to Kenny most of these flowers are translated. I
>would appreciate it very much if someone could please fill
>in the blanks, and make any corrections (if any).

Well, perhaps it's up to me ! Following the suggestions of Kenny, who has
done an excellent work (apart from some funny misunderstandings....:-)

>  Bella Di Notte
        Seems to translate as 'Beauty of the Night'

Right. So called because it opens in late afternoon.

        maybe translates to Latin 'Bella De Nocte' ?
        Wild guess, "Night-blooming Cereus" ?
        Probably not.

No. "Mirabilis jalapa", known in English as "four o'clock".

>  Convolvolo
        Convolvulus

Yes... of course !

>  Fiore Di Pesco
        ???? Don't know, seems to say "Flower of the Fish",

HA ! "Fish" is "pescE" in Italian.... "pescO" is the peach tree, and Fiore
di Pesco is "peach blossom" as Kenny told later:

>so "Fiore Di Pesco" should mean 'Peach blossom',
>or, come to think of it, 'Flowering Peach',
>probably an ornamental variety grown only for
>the appearance or smell of the flowers, and with
>small fruits.

Not necessarily.... peach blossoms are nice flowers anyway !

>  Papavero
        Poppy, latin name is Papaver.

Right.

>  Gladiolo
       Gladiolus

Yessss !

>  Gladiolo 2
      Gladiolus 2

Hahaha.... same flower, different model !

>  Garofanino Di Montagna
        '<something> of the Mountain' ????

"Garofano" is "carnation" (Dianthus Caryophillus). "Garofanino di montagna"
is the common name of another flower (Epilobium Angustifolium) growing on
mountains, similar to carnation but much smaller. I don't know the common
English name.

>  Fiordaliso
        'Flower of Alise(?)' ?  Oh, a curative herb,
         Fiordaliso (Centaurea cyanus)

OK. In English is "cornflower" or "bachelor's button". "Fiordaliso" comes
from French ("Fleur-de-lis", literally "flower of lily").

>  Elicriso
        ? Ah. a curative herb,
        "Elicriso (Helichrysum italicum)

Right. I don't know the English name.

>  Genziana
        Maybe Gentian, the "Blue Gentian" of the folk song?

Yes, that's right.

>  Genzianella
        Another Gentian?

My dictionary gives "gentianella" (Gentiana acaulis), but this is not
confirmed on the Webster.

>  Soldanella
        This appears to be the Latin name for a genus of plants.

Again, my dictionary gives the same name in English, but not found on the
Webster.

>  Stella Alpina
        Clearly Italian for Alpine Star, but which flower is that?
        Stella alpina (Leontopodium alpinum, Leontopodium nivalis)

Yes, universally known as "edelweiss" !

>  Ranuncolo
        Ranunculus

Yes. In English is "crowfoot".

>  Ciclamino
        Cyclamen

Confirmed.....

>  Fiore Di Melograno
        Looks like Italian for 'Flower of the black grain(s)'?
        Maybe Black-eyed Susan? Wild guess.

Very wild ! This is the flower of "Punica granatum" (pomegranate).
"Melo" in this case is related to "mela" (apple = pome), not to the Greek
prefix "melo" meaning "black".....

>  Amaryllis
        Amaryllis

Amaryllis.

>  Fiore Di Kaki
        'Flower of <Kaki>(?)' ????

"Kaki" or "cachi" is the tree (of Japanese origin) commonly known as
"persimmon" (Diospyros kaki).

>  Aquilegia
        Aquilegia. "American Columbine" Aquilegia canadensis.

Right. The genus "Aquilegia" has several families.

>  La Nicotiana (Fiore del Tabacco)
        This one's easy.
        "The Nicotiana (Flower of Tobacco)", is any one of
        the varieties of ornamental tobacco plants, grown for
        their fragrant (I think white) flowers, and sold under
        the Latin name Nicotiana.

Yes, that was easy !

>  Girasole
        Sunflower
Yes.

>  Dalia
        Dahlia, probably.

Don't be shy... it's right !

>  Narciso
        Narcissus
Yes.

>  Pervinca
        Periwinkle,

Yes.
> maybe, is the Italian name spelled right?
        Seems like I expect another e in there somewhere.

No, the spelling is correct. "Vinca minor" is the Latin name.

>  Fior di Clematis
        Clematis, a flowering vine, pretty and fairly large,
        hand-sized, flowers, come in a choice of colors,
        including white, blue, purple, red.

I may add that this is one of my favourites (the plant, not the model....)

>  Violetta
        Violet, almost certainly.

Certainly....

>  L'albero nelle Quattro Stagioni
>  Autunno
        The season Autumn, not a flower.
>  Inverno
        The season Winter, not a flower,
        like the Spanish "invierno".
>  Primavera
        The season Spring, not a flower.
>  Estate
        Guessing from the context,
        the season Summer, maybe?

I'm ashamaed to confess that I don't have the book at hand now, so I don't
know what is that.  Looks like referring to a tree as it appears during the
four seasons (Quattro Stagioni). Seasons are NOT flowers, of course..... ;-)

I can add that "Gladiolo" (Gladiolus) is commonly known as "sword-grass" or
"sword-lily".

I'll forward this all to the e-mail address of Nilva Pillan, the book's
author. I'm sure she will appreciate !

Roberto





From: Howard Portugal <howardpo@MICROSOFT.COM>
Date: Wed, 21 Apr 1999 13:06:00 -0700
Subject: Origami Dimensions

Hi,

Sorry to bug the whole list with this question, but can anyone tell me the
URL for the page that has a list of models and their finished sizes when
folded from paper of certain dimensions? I think that the site also has a
list of various errors in the diagrams/folding instructions from several
books.

Thanks,

Howard

> -----Original Message-----
> From: Mette Pederson [mailto:mette.pederson@TRIFOLIUM.COM]
> Sent: Wednesday, April 21, 1999 11:54 AM
> To: ORIGAMI@MITVMA.MIT.EDU
> Subject: BOS convention pictures and New Diagram
>
>
> I've just returned from the BOS convention in York, England.  It was a
> blast!
> You can find some pictures from the convention on my web page
> http://mette.pederson.com.  More pictures will follow when I
> get some film
> developed.  I hope to post a convention write-up in a few days.
>
> Also, I have posted the diagrams for one of my new rings.
> Just go to the
> "More of my Mette Units" link or the "What's new?" link on my
> main web page.
>
> Now that I have returned, I am able to accept orders for my
> new book, "Mette
> Units 3."  For more information, see my web page.
>
> Enjoy!
> Mette Pederson
>
> mette@pederson.com
> http://mette.pederson.com
> MetteUnits@aol.com





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Wed, 21 Apr 1999 13:20:27 -0700
Subject: Re: Origami Dimensions

At 13:06 99/04/21 -0700, you wrote:
>Sorry to bug the whole list with this question, but can anyone tell me the
>URL for the page that has a list of models and their finished sizes when
>folded from paper of certain dimensions? I think that the site also has a
>list of various errors in the diagrams/folding instructions from several
>books.

Dimensions: <http://www.saliers.addr.com/origami/orgdims.shtml>
Errata: <http://lynx.dac.neu.edu/home/httpd/z/zbrown/origami/origami.errata>

Links are available from the top of my "Diagrams" page.

----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t: 604.730.0306 x 105   f: 604.732.7331  e: josephwu@ultranet.ca
w: http://www.origami.vancouver.bc.ca





From: "Katherine J. Meyer" <kathy@SILENTWORLD.COM>
Date: Wed, 21 Apr 1999 14:25:37 -0500
Subject: Re: Flower Translation, Italian

Thank you all for your help with these flower translations.
I really do appreciate all your trouble :) The list is
complete, to my satisfaction anyway.

"Origami in fiore" by Nilva Fina Pillan ISBN # 88-8039-097-X
It's a wonderful book. It has color shaded diagrams and a
beautiful six page photo gallary. Each flower has it's own
leaf diagram. I only just started folding from it. The
Stella Alpina (Alpine Star, Edelweiss) is a favorite...love
the way it pops into place.

This book does not have a "Table of Contents" page so I am
making my own.

Orchidea: Orchid
Bella Di Notte:  Beauty of the Night
Convolvol:  Convolvulus, Morning Glory
Fiore Di Pesco: Peach Blossom
Papavero:  Poppy
Gladiolo:  Gladiola
Gladiolo 2:  Gladiola 2
Garofanino Di Montagna: Mountain Carnation
Fiordaliso:  Centaurea Cyanus, Corn Flower
Elicriso:  Helycrisum, Straw Flower
Genziana: Blue Gentian
Genzianella: Little Gentian
Soldanella: Blue Moonwort
Stella Alpina:  Alpine Star, Edelweiss
Ranuncolo:  Ranunculus, Buttercup
Ciclamino:  Cyclamen, Primrose
Fiore Di Melograno: Pomegranate Blossom
Amaryllis:  Amaryllis
Fiore Di Kaki: Persimmon Blossom
Aquilegia:  Columbine
La Nicotiana: Ornamental Tobacco
Girasole:  Sunflower
Dalia:  Dahlia
Narciso:  Narcissus
Pervinca:  Periwinkle
Fior di Clematis:  Clematis
Violetta:  Violet
L'albero nelle Quattro Stagioni: Tree Showing Four Seasons
Autunno:  Autumn
Inverno:  Winter
Primavera: Spring
Estate:  Summer

Thanks again,
Kathy  <*))))><





From: Doug and Anna Weathers <dougw@RDROP.COM>
Date: Wed, 21 Apr 1999 15:37:14 -0700
Subject: Washed Paper!

Greetings, Folders.

This is my first post to the list.  Hello!

I usually carry a small pack of mixed 3" paper in my pocket for folding
while waiting for the bus, to decorate my tips, entertain children or
strangers or relatives, etc., and as was bound to happen, one day I ran it
through the wash.  My embarrassment can be your gain!  I carefully
separated the sheets, lay weights over some of them, and dried them.  Here
are some notes about the results:

Some of the foil was abraded to a dull finish, and some gained a network of
wrinkles.  It curled as it dried if not weighted.

The washi best resisted the experience, and seemed the least changed by it.

Some paper called Indian Khadi had a very interesting dye bleed pattern.
It was a purple background with black leafy vines and open gold diamonds on
it.  Only the purple dye bled onto the adjacent sheets, making a rather
nice white vines on lilac pattern.

Some high quality wrapping paper with a cloud pattern on it stayed fairly
flat, but the printing was easily scratched off the surface while wet.

Plain old kami needed pressing.  It became stiffer, and warped, and even if
it seemed to have dried flat, it behaved strangely when folded, trying to
fold along curves rather than straight.  Curious.

Also, on each type to varying degrees, the edges became uneven, and the
paper became stiffer.

So now you know!

Anna

Anna Weathers, Portland, Oregon, USA
"The future is my country."





From: Tiffany Tam <origamiwing@HOTMAIL.COM>
Date: Wed, 21 Apr 1999 15:46:31 -0700 (
Subject: Re: a question

Hi Richard,
I was at the Sasuga Japanese bookstore in Boston this Monday and saw
the 2nd and 4th issue of the books.  I think that they are very
nice.  But I did not buy them because I was looking for some books
that have complex diagrams for making complex models.  I looked
through every book but did not find one that satisfy myself. But I
bought one book and it was for making Japanese women models.

Wing

_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com





From: "Kennedy, Mark" <KennedyM@DNB.COM>
Date: Wed, 21 Apr 1999 16:59:00 -0400
Subject: Quick random thoughts

This started out as a response to Doug, but I made comments on a number of
topics.

Keeping past convention books in print.. OUSA can not afford to keep all of
its past convention books in print. They cost lots of money for printing,
many pages small press runs. We try to get suffient copies to last awhile.
In addition, they tie up our capital, the Origami Source helps fund the work
of OUSA.

>From a marketing perspective, the longer a book is out the less interest
there is to purchase the book. I suspect that you do not purchase second
copies of Origami books deliberately. I only have a few origami books of
which I have second copies. Most frequently, that is because I have
forgotten that I have that book. To a lesser extend, it is a new printing
with revisions or in a different language. In one case, I have a spare since
I lost my first one and wanted a spare since I use it a lot.

The Source is maintained in a limited space. Keeping more books entails more
space.

I would like keep them in print but it is not really feasible

To my knowledge the membership of FOCA/OUSA  has hovered between 1800 and
2000 for the past 10 years. That is not a serious drop as reported.

As to copyright protection, the world standard as issued under the World
Trade Organization (WTO/GATT) and the World Intellectuall Property
Organization (WIPO) is the life of the author plus 50 years. Under the
Trade-Related Aspects of Intellectual Property Rights (TRIPS) Agreement
negotiated under GATT and assumed by the WTO all countries will have to
become compliant with this standard. It is already in effect for the
developed countries. The developing and lesser developed countries have a
phase in period. I am not sure what this means to copyrights that expired
under the old laws as the wether they are eligible for reinstatement for
enhanced coverage.

The should be some discussion as to how the BOS loans out diagrams. My
understanding is second hand and over 15 years old. I never had a real
interest in persuing them. To borrow a diagram, you have to sign a pledge to
the effect that you will not make copies and to return the diagrams after
use within a specified period. This whole thing seems very labor intensive
to me.

As to why there are  five people running for the board and five openings,
there has always been a reluctance to run for the board. Since I joined in
1983, I can only remember one instance when there was more people running
than open seats. That was the year Tony Cheng and Bob Volker were first
elected.

Diversity of region on the board would be a good thing. Most NYers who fold
alone do so by choice. There are plenty of options to fold in the area.
There is plenty of cross fertilization that takes place between folders.
Plenty of folders move between various regional groups so that what one
group learns is filtered to the others. Larry Davis says that he can go to
nine meetings a month - only one of which the Origami Free 4 All at the
Museum.

Shameless plug: Origami Free 4 All is to be held this Sunday from 1 to 4 pm
at the museum. It is open to all members. Bring your own paper.

Mark Kennedy





From: Deg Farrelly <DEG.FARRELLY@ASU.EDU>
Date: Wed, 21 Apr 1999 17:52:16 -0700
Subject: Re: Copyright and the OUSA archival collection

Allen Parry wrote:

<<Actually, this is not totally true.  A copyright is not perpetual.  That
is why you are recently seeing inexpensive copies of the classics on
bookstore shelves.>>

I stand corrected of my omission.

Yes, once copyright has *expired* or a work is in the *public domain*, it
may be duplicated in its entirety.

But as Allen Parry's quote from "Copyright and Publishing Law" by Ellen
Kozak points out...  determining just what is expired and in public domain
is very complicated.

The Digital Millennium Copyright Act will also have impact on what can and
cannot be done with materials.

The intent of my hasty response was to point out that suggestions that the
OUSA collection be photocopied or scanned for loan or redistribution may be
a little simplistic and what is actually permissible (not to mention
feasible) is far more complicated than what may seem apparent.

deg farrelly, Associate Librarian
Media / Women's Studies / Document Delivery Program Manager
Arizona State University West





From: "Deborah P. Van Treuren" <deborahv@N-JCENTER.COM>
Date: Wed, 21 Apr 1999 19:00:34 -0400
Subject: Re: Quick random thoughts

Kennedy, Mark wrote:
>
> This started out as a response to Doug, but I made comments on a number of
> topics.
>
> Keeping past convention books in print.. OUSA can not afford to keep all of
> its past convention books in print. They cost lots of money for printing,
> many pages small press runs. We try to get suffient copies to last awhile.
> In addition, they tie up our capital, the Origami Source helps fund the work
> of OUSA.
>
> >From a marketing perspective, the longer a book is out the less interest
> there is to purchase the book. I suspect that you do not purchase second
> copies of Origami books deliberately. I only have a few origami books of
> which I have second copies. Most frequently, that is because I have
> forgotten that I have that book. To a lesser extend, it is a new printing
> with revisions or in a different language. In one case, I have a spare since
> I lost my first one and wanted a spare since I use it a lot.
>
> The Source is maintained in a limited space. Keeping more books entails more
> space.
>
> I would like keep them in print but it is not really feasible
>
> To my knowledge the membership of FOCA/OUSA  has hovered between 1800 and
> 2000 for the past 10 years. That is not a serious drop as reported.
>
> As to copyright protection, the world standard as issued under the World
> Trade Organization (WTO/GATT) and the World Intellectuall Property
> Organization (WIPO) is the life of the author plus 50 years. Under the
> Trade-Related Aspects of Intellectual Property Rights (TRIPS) Agreement
> negotiated under GATT and assumed by the WTO all countries will have to
> become compliant with this standard. It is already in effect for the
> developed countries. The developing and lesser developed countries have a
> phase in period. I am not sure what this means to copyrights that expired
> under the old laws as the wether they are eligible for reinstatement for
> enhanced coverage.
>
> The should be some discussion as to how the BOS loans out diagrams. My
> understanding is second hand and over 15 years old. I never had a real
> interest in persuing them. To borrow a diagram, you have to sign a pledge to
> the effect that you will not make copies and to return the diagrams after
> use within a specified period. This whole thing seems very labor intensive
> to me.
>
> As to why there are  five people running for the board and five openings,
> there has always been a reluctance to run for the board. Since I joined in
> 1983, I can only remember one instance when there was more people running
> than open seats. That was the year Tony Cheng and Bob Volker were first
> elected.
>
> Diversity of region on the board would be a good thing. Most NYers who fold
> alone do so by choice. There are plenty of options to fold in the area.
> There is plenty of cross fertilization that takes place between folders.
> Plenty of folders move between various regional groups so that what one
> group learns is filtered to the others. Larry Davis says that he can go to
> nine meetings a month - only one of which the Origami Free 4 All at the
> Museum.
>
> Shameless plug: Origami Free 4 All is to be held this Sunday from 1 to 4 pm
> at the museum. It is open to all members. Bring your own paper.
>
> Mark Kennedy
Mark,
Just for fun, Why not explore the idea of putting our rare origami books
on CDRom which can then be printed as a person needs them? I am sure
that copyrights will have to be considered, but wouldn't that be a cool
cool thing?????
Debs Van Treuren





From: Allen Parry <parry@ESKIMO.COM>
Date: Wed, 21 Apr 1999 19:12:07 -0700
Subject: Re: Quick random thoughts

On Wed, 21 Apr 1999, Kennedy, Mark wrote:

> Keeping past convention books in print.. OUSA can not afford to keep all of
> its past convention books in print. They cost lots of money for printing,
> many pages small press runs. We try to get suffient copies to last awhile.
> In addition, they tie up our capital, the Origami Source helps fund the work
> of OUSA.

I really liked Deborah Van Treuren's idea of putting Convention Annuals on
CDs.  The cost to produce would be less than $2 per CD made on a CD-R.
Storage would be minimal and we wouldn't have to worry about press runs.

For the non-computer owner... What about production via Copy Centers.  I
just pulled out a big annual...it was 326 pages.... at 5 cents per page
that would be $16.30 plus $2 for binding...its still less than $25.  In
college, the Copy Centers would hold a book, and you could just order a
copy directly from them.

> Diversity of region on the board would be a good thing.

I am glad you have changed your stance, Mark.  Now if we could convince
OUSA of this.

Allen Parry
parry@eskimo.com
