




From: a b <origamifreak@HOTMAIL.COM>
Date: Wed, 19 May 1999 15:37:50 -0700 (
Subject: Folders in Montgomery County MD / DC Area?

Hello,

I'll be relocating soon and wonder if anyone can tell me if there are groups
in/near Montgomery County, MD?  If not, DC would be OK.  I did see a group
listed there.

Thanks in advance,

anja

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





From: Edward Crankshaw <ejcranks@HIWAAY.NET>
Date: Wed, 19 May 1999 15:53:09 -0500
Subject: Re: A class in origami

One topic I came up with which might take up a class period is: What
makes a model look like the object it's supposed to represent? How does
pureland origami capture the essence of the item being modeled?

Some simple models can look more like a representation of an item than
more difficult models and vice versa. Discuss the breaking down of the
diminutive aspects of an object and recreating them to give an
unmistakable impression that the model is a bear and not a pig or dog.

How did the modeller, diagrammer, or creator of the model achieve the
appearance of the object? What could the creator have done to better
represent the object?

Enjoy my ramblings.

- Ed





From: Kevin Kinney <kinneyk@MSM.EDU>
Date: Wed, 19 May 1999 15:55:30 -0400
Subject: A class in origami

Well, I've a question which I hope will spark as much interest as the ongoing
     one on "origami capitalism."

It appears that there is a slight chance that I will have an opportunity to
     teach a real, honest-to-goodness, university-type class in origami this
     January.

The school I'll be working for as of this fall has a winter session, January
     3-30, during which they offer a variety of classes which are outside the
     normall curriculum, but still academic to some extent.  Since I have to
     teach one, I thought I might try
 o propose an origami class.  Seems reasonable to me, as they also offer other
     art-type classes such as ceramics and beadwork.

So, I want to pitch it to the person in charge, and I am coming up with an
     overall outline (though I should be concentrating on the Immunology class
     I'll be teaching starting September!).  The idea is for a class that meets
     2-3 hours per day, 5 days a wee
 , for 4 weeks.    My thought is to combine lecture-style teaching on aspects
     of origami history and math with quite a bit of folding.

Here are the sorts of topics I've come up with:

History:
        In Japan and elsewhere, including comments on the "modern" era and
     development of the form over the past 40ish years.

Math
        Including such htings as the Haga Theorem, Dividing a side/angle,
     Tiling, Tesselations

Techniques:
        Basics (the symbols, the folds, etc)
        Backcoating
        Wetfolding

Action Models
        Flying Models
        Sound-Generators
        Performance Models

Internet resources

Modular structures
Practical Objects

Design
        (Including, possibly, the ideas behind Lang's
Treemaker program)

And I'd like to conclude with a Large Project, such as the skeletons done for
     SEOF the last couple of times.

So, questions:

        Has anyone tried teaching a class of this sort, with academic as well
     as art content?  Any more suggested topics?

        Anyone know of a good "final project?"  Personally, I'd love to try
     another skeleton, such as Lang's Allosaurus, but of course, would need the
     diagrams, as I can't design such a thing myself (yet).

        Any other random thought?

Kevin Kinney
kinneyk@msm.edu





From: Christopher Holt <Ella-mae@EMAIL.MSN.COM>
Date: Wed, 19 May 1999 17:52:12 -0700
Subject: Re: A class in origami

>It appears that there is a slight chance that I will have an opportunity to
teach a real, honest-to-goodness, university-type class in >origami this
January.

Where will the class be taught? I'm amazed that it's not offered more
regularly in schools!-c





From: Deg Farrelly <DEG.FARRELLY@ASU.EDU>
Date: Wed, 19 May 1999 17:58:31 -0700
Subject: NO: Seeking permission  (Was:  Re: origami capitalism (even longe r))

> Matthias Gutfeldt wrote:
>
>For the record, I did ask the authors for permission to sell their
>models, both by mail and by e-mail. When none of them answered, I sent
>another mail (and yes, I did verify that the address is correct). Still
>none of them answered. Is this "difficult enough" for you?

Joseph Wu responded:

<<Technically, one could argue that you still have not received permission,
but I would think that if any of them cared enough to object, they would
have answered your request.>>

While this discussion is not about copyright, there are correlations in this
discussion to elements of copyright

There are several provisions about seeking permission which pertain to
document delivery or library reserves.

Within Library Reserve, under some circumstances, after permission has been
requested an item may be placed on reserve while awaiting the copyright
holder's response.  If the response is negative, the item must be pulled
from reserve.  In this case we are talking about use of a copied item.  The
use pending permission falls under general considerations of Fair Use.

In cases involving the permission to use another's work (say as an
illustration in a book), merely requesting permission is not sufficient.
Permission must be *granted* before the item may be used.  No response
*cannot* be construed as permission.

This correlates more closely to the discussion of seeking permission to sell
models designed by another.  Commercial use almost never meets the Fair Use
test.

deg farrelly
Program Manager, Document Delivery
Arizona State University West





From: Marcus Hanson <hecatomb@CARROLLSWEB.COM>
Date: Wed, 19 May 1999 19:07:35 -0500
Subject: Re: cats Wait Try this one first !

Breech of eMail etiquette aside I tried and enjoyed the cat model
myself.
For that i can forgive you
--
-----------------------------------------------------------------------
Marcus Hanson's Digital Gallery
http://members.tripod.com/~MarcH_3/index.html
last updated 5-9-99
-----------------------------------------------------------------------
"If you have but one wish, let it be for an idea."
                                        - Percy Sutton -





From: "Michael J. Naughton" <mjnaught@CROCKER.COM>
Date: Wed, 19 May 1999 21:31:45 -0400
Subject: Re: [NO] origami capitalism (long)

Joseph Wu wrote:
> how can folders expect designers to continue to want to share if
> they do not respect the designers' wishes regarding their models?

And how can folders be expected to know those designers' wishes if
the designers do not make them clear? Without a formal mechanism
such as ASCAP provides in the music world in place, I think it is
unreasonable to assume that every creator desires payment for any
commercial use of his/her design. I agree that attempts should be
made by folders to contact creators, but without an easy way of
doing so many of these attempts may not be successful. You have
a web page and are an active voice in the "origami community"
(whatever that means!), so you are easy to contact; others are less
so.

Joseph Wu wrote:
> The folders' point of view is already well developed. The
> designers' side is the one that is often ignored . . . .

This sounds as if all designers agreed, which is clearly not
the case. There are plenty of designers out there (myself
included) who freely share their creations and don't care a
fig if folders ask their permission to sell them or exhibit
them or make wedding favors or leave them as tips. Equally
clearly, other designers do care. You is speaking for
himself and some other designers you know, but I think it
misrepresents the case to say that you speak for all (or even
most) designers. How could you? How would you know? You don't
speak for me . . . .

Joseph Wu wrote:
> Technically, one could argue that you still have not received
> permission, but I would think that if any of them
> cared enough to object, they would have answered your request.

I suppose, but one could argue equally "technically" that any use
of a creator's model which is not specifically forbidden is allowed.
I think one's choice of viewpoint is more likely to depend on one's
goals (the creator, to maintain control; the folder, to act freely)
than on any "technical" merits of either side. Joseph, you argue
eloquently for respect for creators; how about advising creators to
respect folders by clearly describing any restrictions on their
designs' use and by providing clear instructions on how to contact
them if permission is to be obtained?

Joseph Wu wrote:
> The fact is, when it comes to diagramming, designers share
> because they want to, often at their own expense. . . . how can
> folders expect designers to continue to want to share if they do not
> respect the designers' wishes regarding their models?

I agree that designers often share at their own expense, but they are
not the only ones. What about the hundreds of people who teach classes,
stage exhibits, run conventions, and organize folding clubs? How can
designers expect these people to continue to do all this for free
when they see designers like Joseph raking in the bucks? Joseph
seems to think that none of these people would have anything to do
without the designers, but I think a case could be made that it is
these volunteer efforts that have made such an encouraging environment
for designers today. If all designers stopped tomorrow, these efforts
would continue on -- there are plenty of models already in circulation,
both traditional and recent, and the joy of showing someone something
new would continue to be there. On the other hand, if all these
volunteers were to suddenly demand decent wages for their time and
compensation for the materials they use, how long would the designers
continue to enjoy the success they now have? I think origami as we
know it would dry up overnight, survived only by small pockets of
die-hard enthusiasts (possibly like magicians, being designers who
share their secrets with each other but make the public pay. . .)
I'd like to suggest that the "origami community" is what it is today
because of *lots* of different people who have shared freely of
their time, their money, and their talent -- designers are an important
part of the mix, and I think we should all be grateful for their
contributions, but they are not the only factor (and I believe that
teachers and organizers actually deserve more of the credit).

Respect is a two-way street.

Mike "It's better to earn than to demand" Naughton





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: Wed, 19 May 1999 21:37:24 +0200
Subject: Re: Meguro

Joseph Wu schrieb:
> diagrams that I know of. However, he has corresponded with a few folders
> outside of Japan. I believe that he and Robert Lang have discussed his
> "bunshi" (molecules) method, and that he shared his sea urchin technique
> with Hans Birkeland of Norway.

As is often the case with truly amazing designs, the basic construction
idea for the sea urchin is rather simple and straight-forward.

The 145 point sea urchin has been diagrammed by Hans Birkeland in 1994
and appeared in the Origami Tanteidan 1st Convention '95 book. It's the
same book where Jun Maekawa's demon is in.

Matthias





From: Robby/Laura <morassi@ZEN.IT>
Date: Wed, 19 May 1999 21:50:10 +0200
Subject: Re: cats Wait Try this one first !

Carlos,
At 08.45 18/5/1999 -0300, you wrote:

>Although I have (yet) none of these limitations, I'd advise you before
posting
>a large image to put it in a Web page (or the origami archives) and
>advertising the URL instead. Otherwise, at least mention in the subject
>line that it's a large message.

I agree with your message except for this last statement. I don't think you
can check the subjects "on the server" and then decide what to do with
every single message. You may read the subject and decide to trash the
message and/or its attachments without reading, but only AFTER you've
downloaded the whole stuff and wasted time, money etc.... so that's pretty
useless ! ;-)

Roberto





From: Michael and Janet Hamilton <mikeinnj@CONCENTRIC.NET>
Date: Wed, 19 May 1999 23:02:22 -0400
Subject: Re: A class in origami

Kevin,

I recall someone in the past had taught a similar class where the final
project was for each student to design and diagram a hat.  The projects were
graded on the clarity and correctness of the diagrams, and the esthetics and
utility of the final object.  I suppose a category other than hats could be
used as well.

I think you might be able to expand on the modular topic also, and consider
somthing like the Sonobe, that can have handedness and subtle variations,
kusudama, quilts, geometrics and molecular shapes, and using units of
different types.  I believe there is a teaching guide available as a
companion to Fuse's "Unit Origami".

And don't forget origami vocabulary - book fold, diaper fold, sink, frog
base....

It would be great if you could post your course outline when you are done!

Janet Hamilton

mailto:Mikeinnj@concentric.net
http://www.concentric.net/~Mikeinnj
----- Original Message -----
From: Kevin Kinney <kinneyk@MSM.EDU>
To: <ORIGAMI@MITVMA.MIT.EDU>
Sent: Wednesday, May 19, 1999 3:55 PM
Subject: A class in origami

Well, I've a question which I hope will spark as much interest as the
ongoing one on "origami capitalism."

It appears that there is a slight chance that I will have an opportunity to
teach a real, honest-to-goodness, university-type class in origami this
January.

The school I'll be working for as of this fall has a winter session, January
3-30, during which they offer a variety of classes which are outside the
normall curriculum, but still academic to some extent.  Since I have to
teach one, I thought I might try to propose an origami class.  Seems
reasonable to me, as they also offer other art-type classes such as ceramics
and beadwork.

So, I want to pitch it to the person in charge, and I am coming up with an
overall outline (though I should be concentrating on the Immunology class
I'll be teaching starting September!).  The idea is for a class that meets
2-3 hours per day, 5 days a week, for 4 weeks.    My thought is to combine
lecture-style teaching on aspects of origami history and math with quite a
bit of folding.

Here are the sorts of topics I've come up with:

History:
        In Japan and elsewhere, including comments on the "modern" era and
development of the form over the past 40ish years.

Math
        Including such htings as the Haga Theorem, Dividing a side/angle,
Tiling, Tesselations

Techniques:
        Basics (the symbols, the folds, etc)
        Backcoating
        Wetfolding

Action Models
        Flying Models
        Sound-Generators
        Performance Models

Internet resources

Modular structures
Practical Objects

Design
        (Including, possibly, the ideas behind Lang's
Treemaker program)

And I'd like to conclude with a Large Project, such as the skeletons done
for SEOF the last couple of times.

So, questions:

        Has anyone tried teaching a class of this sort, with academic as
well as art content?  Any more suggested topics?

        Anyone know of a good "final project?"  Personally, I'd love to try
another skeleton, such as Lang's Allosaurus, but of course, would need the
diagrams, as I can't design such a thing myself (yet).

        Any other random thought?

Kevin Kinney
kinneyk@msm.edu





From: Chinh Nguyen <chinhsta@GWIS2.CIRC.GWU.EDU>
Date: Thu, 20 May 1999 00:51:50 -0400
Subject: Re: Meguro

On Wed, 19 May 1999, Matthias Gutfeldt wrote:

> The 145 point sea urchin has been diagrammed by Hans Birkeland in 1994
> and appeared in the Origami Tanteidan 1st Convention '95 book. It's the
> same book where Jun Maekawa's demon is in.

How wonderful that it's currently out of pring :(.





From: Kimberly Crane <kcrane@KIMSCRANE.COM>
Date: Thu, 20 May 1999 06:06:19 -0400
Subject: Re: From Japan

Hello Joaquin:

I am sorry but we are a business and are very busy thus unable to answer your
     question.  Please do a
search on the internet and there are many sites that deal with origami and
     might just answer your
question.  We are sorry but we get many questions like yours all the time and
     we just cannot answer them
all and fill customers orders too.
Sincerely,
Kimberly Crane

Joaquin Oleastro wrote:

> Dear Mr/Ms:
>
> My name is Joaquin Oleastro from Argentina, studding in the Kyushu
> Institute of Design, Fukuoka City, Japan (Mombusho Scholarship), masters
> course 2nd year.
>
>                 If it is not annoyance, I would like to ask you about
> bibliography or any kind of information related with origami designs
> (paper folding, tessellations) and nature $B!G (Bs geometry.
> Patterns in nature applied to folding, deployable, lightweight
> structures.(To put it in a simple way: anything related with
> architecture and origami will be perfect)
> I am very interested in how can I use these designs in my projects.
> My research is related with the geometry of these patterns, and the
> possibility of applying them to architectural design.
>
>  Thank you very much,
>
> Arch. Joaquin M. Oleastro
> Fukuoka City, Minami-ku,
> Shiobaru 4-5-10
> Shiobaru Shyutaku 4F-1406
> Kyushu 815-0032
> JAPAN
> e-mail: e98m27@kyushu-id.ac.jp
>
>   ------------------------------------------------------------------------
>
>   Joaquin M. Oleastro <e98m27@kyushu-id.ac.jp>
>   Architect / ICQ: 5732657
>   University: Kyushu Institute of Design
>
>   Joaquin M. Oleastro
>   Architect / ICQ: 5732657
     <e98m27@kyushu-id.ac.jp>
>   University: Kyushu Institute of Design                               HTML
     Mail
>   Shiobaru 4-5-10, Shiobaru Shyutaku 4 F-1406, Fukuoka-shi, Minami-ku  Work:
     092-553-4490
>   ICQ Web Page: http://wwp.mirabilis.com/5732657                       Fax:
     092-512-7670
>   Zip: 815-0032                                                        Home:
     092-562-5906
>   JAPAN (EmailExpress: 5732657@pager.mirabilis.com)
     Netscape Conference Address
>
     Netscape Conference DLS Server
>   Home page: http://members.tripod.com/~Oleastro/index.htm
>   Additional Information:
>   Last Name   Oleastro
>   First Name  Joaquin M.
>   Version     2.1





From: Michael LaFosse <info@ORIGAMIDO.COM>
Date: Thu, 20 May 1999 07:00:55 -0400
Subject: Re: Creased Paper Question

To the following request:

Without seeing the quality of the mulberry paper, or the creases, I can only
suggest some possibilities.  If the mulberry paper is not 100% kozo (wood pulp
blend, which is rather common these days) then the creases may be impossible to
remove.  Anyway, here goes:  1.) Lightly wet the paper with water (use a spray
bottle) and attach the wet paper to a board by pasting down all four edges (you
only need to spread a half-inch wide margin of paste along the four edges of the
paper). Let the paper dry and cut it free from the board. This method of wetting
and drying sheets of quality paper works wonders.  You do, however, loose your
trim edges.  2.) Back-coat method: Fully paste the mulberry sheet to another
sheet of similar quality.  Many times you can smooth out a crease and make it
invisible with this method because the paste layer allows you to smooth out the
defect: be gentle!   Use starch paste or methyl cellulose paste for this.
Attach the pasted sheet to a board, in the same manner as above, and let dry.

If she is making a book jacket, and she needs the paper to be durable, the
back-coating method is best. If she has to go out and buy another sheet to add
to the back of the mulberry paper then she will likely wish to let the creased
sheet become the back side of the piece.

Best of luck to your friend.

Sincerely,

Michael LaFosse

Peggy Van Norman wrote:

> Hello everybody,
>
> A friend of mine has some mulberry paper, which she would like to use for a
> book jacket, but it has creases.  She would like to know if there's a way to
> get the creases out, does anyone have any suggestions that I can forward to
> her?
>
> Thanks in advance,
>
> Peggy





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: Thu, 20 May 1999 08:41:25 +0100
Subject: Booking for the Bristol BOS convention/airplane compo

Hi - if you're at all interested in paper planes, you'll want to check
out the next BOS convention, this Autumn in Bristol. We're having
another international airplane contest, as well as the usual BOS
convention goodies.

To make time for the contest, we're having Friday as a full convention
day. More details at the BOS web-site (under "meetings"

happy flying!

Nick Robinson

email           nick@cheesypeas.demon.co.uk
homepage        http://www.cheesypeas.demon.co.uk - now featuring soda syphons!
BOS homepage    http://www.rpmrecords.co.uk/bos





From: "Chamberlain, Clare" <Clare.Chamberlain@HEALTH.WA.GOV.AU>
Date: Thu, 20 May 1999 08:45:24 +0800
Subject: cranes reply

Dorothy and other folding friends

Good morning

I fully appreciate that you (Dorothy) are a caring person, and I certainly
do not mean to imply that you are wrong to fold cranes, or that to do so is
at the expense of doing something 'more useful'.  I guess my real sorrow is
that a symbol that I grew up with meaning love and longevity (as it does
throughout many parts of Asia as cranes live for decades and are mate for
life), is now associated by most in the West with terribly sad events.  I
myself have taught children how to fold 'cranes for peace' but ensured that
they did NOT go on monuments of remembrance.  Rather they were handed out to
people attending memorial services and carried as garlands on a peace bus
travel this continent nation.

This is very hard to put into words, but the short of it is probably that
symbolism notion, associating cranes with death and massacre - YOU use the
crane to promote hope, I know, but I believe most LAY people only see
origami cranes at sites where dreadful things have happened, thus my
concern.

Maybe we should start donating cranes to help very premature babies, and
give them at births, wedding, graduations.........
Clare





From: Darren Scott <Darren.Scott@SCI.MONASH.EDU.AU>
Date: Thu, 20 May 1999 09:29:33 +1000
Subject: Re: cats Wait Try this one first !

To Everybody I am Very Very Sorry for sending the large file to the list
I didn't think it was going to the list !
I know how much of a pain it is to download large files
Once again I'm Sorry

Darren

Carlos Alberto Furuti wrote:
>
> Darren, I appreciate your willing effort (I still haven't checked the
     picture),
> to help, but please consider:
> - some people must download the whole message from the provider before
> it can be seen (and since you didn't use a good subject line, before even
> knowing what it is). Downloading 250KB can be slow
> - some people have limited mailboxes. If it fills up, further messages
> can be lost
> - some people *pay* per each received byte.
>
> Although I have (yet) none of these limitations, I'd advise you before posting
> a large image to put it in a Web page (or the origami archives) and
> advertising the URL instead. Otherwise, at least mention in the subject
> line that it's a large message.
>
>         Sincerely,
>                 Carlos
>         furuti@ahand.unicamp.br www.ahand.unicamp.br/~furuti





From: Peggy Van Norman <peggy@VANNORMAN.COM>
Date: Thu, 20 May 1999 09:35:24 -0700
Subject: Re: Creased Paper Question

><good, detailed instructions on how to remove creases>
>
>Best of luck to your friend.

Thank you very much, Michael LaFosse.  I forwarded your suggestions to my
friend, and I'm sure she'll find them very helpful.  By the way, I wasn't
aware of your "Make It With Paper" series until recently, and I bought the
entire set....very nice books, with lots of interesting and fun ideas.
Thanks!

Peggy





From: Jorma Oksanen <tenu@SCI.FI>
Date: Thu, 20 May 1999 09:41:52 +0200
Subject: Checking mail on server (Was: Re: cats Wait Try this one first !)

On 19-May-99, Joseph Wu (josephwu@ULTRANET.CA) wrote:
>At 21:50 99/05/19 +0200, Robby/Laura wrote:

>>I agree with your message except for this last statement.  I don't
>>think you can check the subjects "on the server" and then decide
>>what to do with every single message.  You may read the subject and
>>decide to trash the message and/or its attachments without reading,
>>but only AFTER you've downloaded the whole stuff and wasted time,
>>money etc....  so that's pretty useless !  ;-)

>There are a number of tools that will allow you to do this.  I
>believe Bernie mention some before.  I don't use one myself.

Yes there are, but most people don't know of them, don't know how to
install them no matter how clear the instructions are, or can't
install them because they aren't allowed to install anything on the
machine they use (work/school/ library environment).  Others can
probably think of more reasons why it's not just 'I-don't-care-enough'
issue to not use such tool.

Besides, without meaningless subjects it's not possible to decide
whether to delete or keep a message without reading it first.

--
Jorma Oksanen   tenu@sci.fi

Weyland-Yutani - Building Better Worlds





From: Binzi <binzi@MUENSTER.DE>
Date: Thu, 20 May 1999 10:01:55 +0200
Subject: Re: origami capitalism (long)

>You've answered your own question. As a graphic designer, when you put
>together a project, don't you have to pay for the artwork or photographs
>that you use?

That depends on how much I change the model, or make it unrecognizable.
It may also be a matter of importance. If the object isn't the center of the
artwork.
For example:
I never heard of an artist, who wants to present a collage made out of 30
different magazines or shoes, having to ask each designer for permission
first.

>However, if  I sell it, it is not, and neither is it private to put a piece
in an exhibition.

...except:  I sell the picture and say the Origami on it is free. :o)

Take it with humor, Joseph!
Evi





From: Richard Abbott <ra3@COLUMBIA.EDU>
Date: Thu, 20 May 1999 10:10:29 -0400
Subject: Origami Digest Navigation Tip

The following 'discover', which may be well known already, has been
helped me avoiding painfully slogging my way through the Origami List
Digest that I receive:

By placing "Date: " (without the quotation marks) in the  FIND facility
within the EDIT commands on my browser (Netscape 4.51) I am able to
easily  skip from one message header to the next without the need to
carefully scroll through screens.

Although the text "Date: " does appear occasionally internally, for the
most part using FIND makes it very convenient to review all the message
subjects without the frustration of trying to find what may be the one
or two messages of greatest interest within the entire daily digest.

Richard Ethan Abbott





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Thu, 20 May 1999 10:32:10 -0700
Subject: Re: Sea Urchin (Re: Meguro)

At 12:11 99/05/20 -0400, you wrote:
>Maybe I'm wrong but isn't it Robert Lang who made the "basic" sea urchin
>(which was published in the Origami Sea Life)?

Meguro's sea urchin uses a much simpler folding method than Robert's. It
does not give spines that are as long (compared to the body size), but is it
is easier to make more points.

----------------------------------------------------------------
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: Peter Budai <peterbud@MAIL.DATATRANS.HU>
Date: Thu, 20 May 1999 12:11:38 -0400
Subject: Sea Urchin (Re: Meguro)

Joseph Wu wrote:

>> I believe that he and Robert Lang have discussed his
>> "bunshi" (molecules) method, and that he shared his sea urchin technique
>> with Hans Birkeland of Norway.

Maybe I'm wrong but isn't it Robert Lang who made the "basic" sea urchin
(which was published in the Origami Sea Life)?

Seriousness aside, now let's fold a 1000-sea-urchins (of course the one in
which each urchin is connected with four others).... ;-)

Peter Budai





From: Peter Budai <peterbud@MAIL.DATATRANS.HU>
Date: Thu, 20 May 1999 12:13:44 -0400
Subject: Re: The Human Condition

At 11:54 PM 5/15/99 -0700, you wrote:

>>Hi!
>>
>>At 08:59 AM 5/14/99 EDT, you wrote:
>>>How about geneticly researched miniature folding variations on a full sized
>>>DNA Double Helix model?
>>>                                                           -RPlsmn-
>>
>>Hm well... you could go on the modular approach and fold it atom-by-atom.
>>Jeremy Shafer has a good realistic C-atom, so the foundation is there!
>>
>>Good luck... ;^D
>>
>>Peter Budai
>
>But then your model would have to account for the Heisenberg Uncertainty
>Principle, which would be very difficult to accomplish.  And how would you
>distinguish in your folds fermions and bosons or even strangeness, and
>charmness, etc. in quarks?
>
>David
>

Well, I think the most intriguing part would be joining the modules (atoms)
especially if you want to represent the deformation of the electron-cloud.

And be careful with the folds! A bit of inaccurateness can lead to nuclear
chain reaction (in the case when you have mistakenly folded instable
isotopes)!

Peter Budai





From: Carlos Alberto Furuti <furuti@AHAND.UNICAMP.BR>
Date: Thu, 20 May 1999 12:31:56 -0300
Subject: Re: cats Wait...one! - the end?

Oh my, only today I checked the "wait try this one" image. It's
Anibal Voyer's nice cat! Since Paul Chabot had recently mentioned that
the diagrams for the _very same_ model could be found at the AEP site,
you _really did_ screw netiquette up by not paying enough attention,
Darren (:-P !!! Luckily we origami-l'ers are (usually) patient people and
(mostly) cat lovers...

On a more serious note, Jose Anibal Voyer is a young talented Spaniard
folder. His first privately-published book has no ground-breaking new
techniques, but he skillfully manages the origami repertoire in order to
create nice african animals and a bat. Like several creators from Spain
(Luis Bas, Gabriel Alvarez, Eduardo Clemente to cite a few) he deserves
better recognition.

Also, in a previous mail I suggested Patricia Crawford's "stalking cat"
but forgot the title of Harbin's newest reprint. It's "Origami Step
by Step", and its price is usually US$3.95, not 2.95. Still, extremely
inexpensive for such classic models (kangaroo, three-masted ship, mermaid,
scorpion, squirrel+log, motorboat and many others).

And we are still waiting for the Mad Corsican's press-release. Will
Xuxa let all us down?

        Sincerely,
                Carlos
        furuti@ahand.unicamp.br www.ahand.unicamp.br/~furuti





From: Joaquin Oleastro <e98m27@KYUSHU-ID.AC.JP>
Date: Thu, 20 May 1999 17:09:30 +0900
Subject: From Japan

Dear Mr/Ms:

My name is Joaquin Oleastro from Argentina, studding in the Kyushu
Institute of Design, Fukuoka City, Japan (Mombusho Scholarship), masters
course 2nd year.

                If it is not annoyance, I would like to ask you about
bibliography or any kind of information related with origami designs
(paper folding, tessellations) and nature $B!G (Bs geometry.
Patterns in nature applied to folding, deployable, lightweight
structures.(To put it in a simple way: anything related with
architecture and origami will be perfect)
I am very interested in how can I use these designs in my projects.
My research is related with the geometry of these patterns, and the
possibility of applying them to architectural design.

 Thank you very much,

Arch. Joaquin M. Oleastro
Fukuoka City, Minami-ku,
Shiobaru 4-5-10
Shiobaru Shyutaku 4F-1406
Kyushu 815-0032
JAPAN
e-mail: e98m27@kyushu-id.ac.jp





From: Mark and Theresa <mark@HOBBITON.FORCE9.NET>
Date: Thu, 20 May 1999 18:20:39 +0100
Subject: Re: Japanese book

> > Anyway, the ISBN is 4537014938, and I can't give you the title because I
>
> I think I have a copy of this book. It's from the Ai series? and quite a
> small format (around A5, perhaps a little smaller)?? There's a red dragon
> on the cover??? I found my copy a few years ago in London (probably the
> Japan Centre Bookshop).

I think it is probably the same book, same time, and same place of
purchase! Any ida of the name?

--
Mark





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Thu, 20 May 1999 11:19:17 -0700
Subject: Re: [NO] origami capitalism (long)

At 21:31 99/05/19 -0400, you wrote:
>And how can folders be expected to know those designers' wishes if
>the designers do not make them clear? ... I agree that attempts should be
>made by folders to contact creators, but without an easy way of
>doing so many of these attempts may not be successful. ...

Fair enough.

>This sounds as if all designers agreed, which is clearly not
>the case. There are plenty of designers out there (myself
>included) who freely share their creations and don't care a
>fig if folders ask their permission to sell them or exhibit
>them or make wedding favors or leave them as tips. Equally
>clearly, other designers do care. You is speaking for
>himself and some other designers you know, but I think it
>misrepresents the case to say that you speak for all (or even
>most) designers. How could you? How would you know? You don't
>speak for me . . . .

No, I think I do speak for you. What I said is that we need to respect
designers' wishes. Your wishes are that anyone can use your designs freely.
Others, like myself, want people to ask permission (and reserve the right to
say no). Others, and I honestly don't know of anyone who has actually done
this (myself included), want to receive a royalty. But the common thread is
a desire to have their wishes respected.

>I suppose, but one could argue equally "technically" that any use
>of a creator's model which is not specifically forbidden is allowed.
>I think one's choice of viewpoint is more likely to depend on one's
>goals (the creator, to maintain control; the folder, to act freely)
>than on any "technical" merits of either side.

Bad choice of words. I should have said, "legally".

>Joseph, you argue
>eloquently for respect for creators; how about advising creators to
>respect folders by clearly describing any restrictions on their
>designs' use and by providing clear instructions on how to contact
>them if permission is to be obtained?

Also fair enough. You'll notice that there is such a notice on the diagrams
page of my website. I'll need to update the diagrams themselves so that they
contain such a notice. (There's never enough time to do everything I need to
do!)

>... What about the hundreds of people who teach classes,
>stage exhibits, run conventions, and organize folding clubs? How can
>designers expect these people to continue to do all this for free
>when they see designers like Joseph raking in the bucks? Joseph
>seems to think that none of these people would have anything to do
>without the designers, but I think a case could be made that it is
>these volunteer efforts that have made such an encouraging environment
>for designers today. ...
>I'd like to suggest that the "origami community" is what it is today
>because of *lots* of different people who have shared freely of
>their time, their money, and their talent -- designers are an important
>part of the mix, and I think we should all be grateful for their
>contributions, but they are not the only factor (and I believe that
>teachers and organizers actually deserve more of the credit).

I do not think that these people are unimportant. In previous discussions on
this topic, I have pointed out that designers are often in the thick of such
activity. Designers teach classes, stage exhibits, run conventions, and
organize folding clubs, too. I think that all people who do these things
should be rewarded for what they do. Whether that reward is in the form of
money, or the pleasure of seeing people enjoy themselves, or the
satisfaction of a job well done is up to the person doing it. This is really
a separate issue from what was being discussed.

>Respect is a two-way street.

Yes, it is. I argue the side that I see being under-represented, that is all.

----------------------------------------------------------------
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: Tiffany Tam <origamiwing@HOTMAIL.COM>
Date: Thu, 20 May 1999 12:30:53 -0700 (
Subject: Re: children - well YOUNGER people!

I am  18, is that old?

>From: Susan Johnston <supersuzy2000@HOTMAIL.COM>
>Reply-To: Origami List <ORIGAMI@MITVMA.MIT.EDU>
>To: ORIGAMI@MITVMA.MIT.EDU
>Subject: children - well YOUNGER people!
>Date: Thu, 20 May 1999 19:57:42 BST
>
><< multipart1 >>

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





From: Marcus Hanson <hecatomb@CARROLLSWEB.COM>
Date: Thu, 20 May 1999 13:23:49 -0500
Subject: Re: From Japan

>Name: vcard.vcf
>Part 1.2          Type: text/x-vcard
>Encoding: 7bit
>Description: Card for Joaquin M. Oleastro

it's even more rude to attach a doccument you need special extentions
for

--
-----------------------------------------------------------------------
Marcus Hanson's Digital Gallery
http://members.tripod.com/~MarcH_3/index.html
last updated 5-9-99
-----------------------------------------------------------------------
"If you have but one wish, let it be for an idea."
                                        - Percy Sutton -





From: Doug and Anna Weathers <dougw@RDROP.COM>
Date: Thu, 20 May 1999 13:28:36 -0700
Subject: Re: a must

Yes, Origami for the Connoisseur is a great book, too.  It's my second
favorite of the books I own.  But the folds start at intermediate and go up
-- it would be a frustrating first book for many people.  It seems (though
not among the readers of this list) that many people enjoy simple folding,
and never move beyond that level.  So if your interests are in quickly
accomplished, fun and easy folds, Origami for the Connoisseur is absolutely
not a must.

At one time, there was a web accessible summary of books recommended on
this list.  Last I checked, it was only on FTP, and had not been updated in
some time.  Anyone know the location and status of that project?

Anna

Anna Weathers, Portland, Oregon, USA
"In paradox truth."





From: RPlsmn@AOL.COM
Date: Thu, 20 May 1999 14:24:52 -0400 (
Subject: Re: The Human Condition

In a message dated 5/20/99 11:14:10 AM EST, peterbud@MAIL.DATATRANS.HU writes:

<< >
 >But then your model would have to account for the Heisenberg Uncertainty
 >Principle, which would be very difficult to accomplish.  And how would you
 >distinguish in your folds fermions and bosons or even strangeness, and
 >charmness, etc. in quarks?
 >
 >David
 >

 Well, I think the most intriguing part would be joining the modules (atoms)
 especially if you want to represent the deformation of the electron-cloud.

 And be careful with the folds! A bit of inaccurateness can lead to nuclear
 chain reaction (in the case when you have mistakenly folded instable
 isotopes)!

 Peter Budai >>

you also would have to be very careful not to color change in any anti-matter
                                            -RPLSMN-





From: RPlsmn@AOL.COM
Date: Thu, 20 May 1999 14:41:40 -0400 (
Subject: Re: The Human Condition

In a message dated 5/20/99 1:25:57 PM EST, RPlsmn@AOL.COM writes:

<<
  And be careful with the folds! A bit of inaccurateness can lead to nuclear
  chain reaction (in the case when you have mistakenly folded instable
  isotopes)!

  Peter Budai >>

 you also would have to be very careful not to color change in any anti-matter
                                             -RPLSMN-
  >>
 you could blow a poor individual's whole blastopore right off       -rgr-





From: Paul Chabot <OrKman15@AOL.COM>
Date: Thu, 20 May 1999 16:31:43 -0400 (
Subject: Re: children - well YOUNGER people!

Well I'm almost seventeen. Still too old?

Paul Chabot





From: good man <jess2800@WEBTV.NET>
Date: Thu, 20 May 1999 16:38:02 -0400
Subject: Cats

I know that the folder who originally asked for models of cats wanted
"lifelike" ones, many of which have been mentioned.  I,too, am an ardent
cat lover and just couldn't refrain from mentioning my favorite cat
folds.  They include some of the reaallistic ones but these are highly
stylized:

1)Seated Cat by Patricia Crawford (Origami 2) The Art of
Papefolding-Robert Harbin, p.84

2)Elegant Cat by Adolpho Cerceda in the reprinted edition of Fascinante
Papiroflexia - Vincente Palacios (in english ), p.116.  Made of two
pieces of paper.

3) Curious Cat by Alice Gray from the 1985 Friends of the Origami Center
Convention Booklet

4) Cat by Stephen Weiss (10981)

Even though these models were created a while back, I belive that they
can be found in more recent publcations for their charm and imagination
will be an ongoing source of delight for folders who just love to see
the paper come to life.

Keep an eye out for them.

                                  J.





From: Sandra P Hoffman <ghidra@CONSCOOP.OTTAWA.ON.CA>
Date: Thu, 20 May 1999 17:13:42 -0400
Subject: Re: a must

On Thu, 20 May 1999, Doug and Anna Weathers wrote:

> Yes, Origami for the Connoisseur is a great book, too.  It's my second
> favorite of the books I own.  But the folds start at intermediate and go up
> -- it would be a frustrating first book for many people.  It seems (though
> not among the readers of this list) that many people enjoy simple folding,
> and never move beyond that level.  So if your interests are in quickly
> accomplished, fun and easy folds, Origami for the Connoisseur is absolutely
> not a must.

In fact, I had a lot of trouble finding an easy and interesting book for
my children to learn to fold from. My daughter would pick up Origami Made
Easy by Kasahara, and get very frustrated. I would tell her that the title
really means Origami made not impossibly hard. A few months ago, I found
Simple Traditional Origami by Tomoko Fuse. This book is working out very
well, The Diagrams are clear, the folds fairly easy and the subjects
interesting enough for my children to want to do them. I Like Kasahara's
books, not because I especially like the subjects or the folds, but
because he makes me think past simply folding.

sph

Sandra P. Hoffman ghidra@conscoop.ottawa.on.ca
http://www.flora.org/sandra/
It's a thankless job, but
I've got a lot of karma to burn off.





From: Emery Pramann <EMERYALAN@AOL.COM>
Date: Thu, 20 May 1999 17:44:34 -0400 (
Subject: Re: children - well YOUNGER people!

Hi!

        I'm Emery Pramann and am 15, and will be 16 soon... my birthday is
July 12. I first subscribed to this Origami List in February or so this year,
because we were doing personal essays in English which required research. I
chose to write about Origami because it was one of my interests, and I did
not know much about the roots of Origami aside from Japan. I thought it might
help to hear what other people wrote and thought about Origami, and it did.

        I think I was in third or fourth grade when I first became Interested
in Origami. We were doing a study of Japan, and had at least one new origami
model each month. I had always had fun making paper airplanes, and that may
have been one of the reasons origami interested me. Origami also requires
some degree of preciseness, and that is my nature. Ever since, I have
collected a few Origami books and am always pleased when I get some Origami
paper for Christmas. Recently, for Mother's Day, I folded a heart which I
quickly realized could be made into a card with no cutting.

-Emery





From: Ian McRobbie <Ourldypeac@AOL.COM>
Date: Thu, 20 May 1999 17:49:05 -0400 (
Subject: Re: children - well YOUNGER people!

Hello again,
   I am most likely the 14 year old person who replied to you before.
GREETINGS!!  My name is Ian McRobbie.  Happy folding!
                    -Ian McRobbie





From: Cathy <cathypl@GENERATION.NET>
Date: Thu, 20 May 1999 18:47:28 -0400
Subject: Re: a must

At 08:17 AM 99-05-19 -0400, you wrote:
>Evi indited:
>
>+Well, let's change the subject. Which books do you recommend "a must for
>+origami lovers"?
.............................................. would have to list several
dozen books, most of
>which others will probably list anyways, so I'll just mention one that
doesn't
>get a lot of "mind time"
>        Classic Origami by Paul Jackson
>
>-D'gou

Yes, and another of his in the same style, Step By Step Origami.  I'll buy
just about anything by Montroll, now that I can afford it, and one that I
keep going back to is The Omnibus by Kasahara.

                        CAthy
******^^^^^*****^^^^^*****

Cathy Palmer-Lister
Ste. Julie, Quebec
Canada
cathypl@generation.net





From: Susan Johnston <supersuzy2000@HOTMAIL.COM>
Date: Thu, 20 May 1999 19:57:42 +0100 (
Subject: children - well YOUNGER people!

This is a multi-part message in MIME format.





From: CASALONGA Jean-Jerome <jj-casalonga@MAGIC.FR>
Date: Thu, 20 May 1999 22:36:41 +0200
Subject: Re: children - well YOUNGER people!

        My girlfriend and some of my friends say that I sometimes act like a 5
     years old kid.   Is it OK ?

                            JJ CAaaaaaaaaaaaaaaaasalongaaaaaaaaaaaaaaaaaaaaaaa





From: Emmajg <emmajg@CUSTARD.ORG>
Date: Thu, 20 May 1999 23:15:22 +0100
Subject: Re: a must

Ooooh that's a difficult one, I do like my Paul Jackson ones and Origami for
the Connoisseur is excellent but I'd have to say Gay Merrill Gross :o)
happy folding
Emmajg*
http://chocolate.custard.org/origami
-----Original Message-----
From: Doug and Anna Weathers <dougw@RDROP.COM>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: 20 May 1999 21:33
Subject: Re: a must

>Yes, Origami for the Connoisseur is a great book, too.  It's my second
>favorite of the books I own.  But the folds start at intermediate and go up
>-- it would be a frustrating first book for many people.  It seems (though
>not among the readers of this list) that many people enjoy simple folding,
>and never move beyond that level.  So if your interests are in quickly
>accomplished, fun and easy folds, Origami for the Connoisseur is absolutely
>not a must.
>
>At one time, there was a web accessible summary of books recommended on
>this list.  Last I checked, it was only on FTP, and had not been updated in
>some time.  Anyone know the location and status of that project?
>
>Anna
>
>Anna Weathers, Portland, Oregon, USA
>"In paradox truth."





From: Rjlang@AOL.COM
Date: Thu, 20 May 1999 23:22:49 -0400 (
Subject: Re: Meguro

> >I wanted to know if anybody knows about
> >Meguro, has he published any diagrams, what is this origami molecules
> >method?  Or does he keep his amazing tricks as trade secrets...  If anyone
> >has any information about Meguro please reply to this email or email me at
> >dmwhitbeck@ucdavis.edu
> [Joseph wrote]
> Hopefully, Hatori-san will answer this better than I can. As far as
> I can remember, Meguro is something of a recluse and a fanatic for
> coming up with new and difficult ways of folding....I believe that
> he and Robert Lang have discussed his "bunshi" (molecules) method...

That's right. I met Meguro-san in Japan and we have also corresponded by
mail. There are many similarities between my TreeMaker theory and his bun-shi
techniques (we both use circle packings, for example), and I have
incorporated several ideas I learned from him, such as his method of
overlapping circles (what I call "Meguro stubs" in my writings). So if you
want to learn more about geometric techniques for design, a good starting
point would be the TreeMaker documentation (Trmkr40.pdf) at the rugcis ftp
site.

I will also be giving a talk on TreeMaker design techniques at the OUSA
convention on Monday (assuming that there are any survivors after what
promises to be a lively Annual Meeting on Saturday).

Robert J. Lang





From: Dorothy Engleman <FoldingCA@WEBTV.NET>
Date: Fri, 21 May 1999 00:13:00 -0700
Subject: OrigamiUSA Newsletter

Does anyone have any information about why "The Paper" is so late and
when it will be mailed to members?

Dorothy





From: Imtiaz Razvi <imtiazrazvi@HOTMAIL.COM>
Date: Fri, 21 May 1999 01:21:15 -0700 (
Subject: Teapot & new site

In the LINKS on Joseph Wu's wonderful site there is a new web site from Hong
Kong/China. It features instructions for many models includinG a wonderfully
cute puppy which I am sure many of you will love. The sight which also
features a variety of chinese lanterns is well worth a visit.

However one that caught my eye was a teapot by Janson Chow. Unfortunately
there are no diagrams for this one. Has anyone got these diagrams that they
could send me or at least give me an address for Janson Chow ?

Regards

Imtiaz Razvi

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com





From: Perry Bailey <pbailey@OPENCOMINC.COM>
Date: Fri, 21 May 1999 04:23:49 -0500
Subject: Re: OrigamiUSA Newsletter

Dorothy Engleman wrote:
>
> Does anyone have any information about why "The Paper" is so late and
> when it will be mailed to members?
>
 Dear Dorothy, and others,

I recieved my copy of the paper 2 days ago, usualy here in Iowa I
am about the last to recieve it, so I would suggest that it is in
the mail and should be ther in the next few days, if you haven't
recieved it in a week then worry.

Perry

--
pbailey@opencominc.com
http://www.afgsoft.com/perry/  <---- Origami Web Page with
Diagrams!
ICQ 23622644





From: Lisa Hodsdon <Lisa_Hodsdon@HMCO.COM>
Date: Fri, 21 May 1999 09:19:18 -0400
Subject: Re: a must/ thank you

If you want easy to understand diagrams and a range from
easy to somewhat hard, try one or both of Tom Hull's books:
 _Origami: Plain and Simple_ (w/Robert Neale) and
_Russian Origami_ (w/Sergai Afonkin). Tom's diagrams
are easy to read & very supportive of the reader (with
warnings about the rough spots and congratulations just
when you need it).

Not in the least bit intimidating in spite of his reputation
around these parts as a math geek.

Lisa (another math geek)
Lisa_Hodsdon@hmco.com





From: Binzi <binzi@MUENSTER.DE>
Date: Fri, 21 May 1999 09:32:09 +0200
Subject: a must/ thank you

Hi folders,

thank you for recommending your favorite books.
So far I ordered the Connoisseur and from Japan Dokuhon2.

I already got
Lang insects (which I like very much, difficult)
Lang/Weiss origami zoo (nice)
Montroll/African animals and animal for enthusiast (interesting)
Origami Boxes/Tomoko Fuse (nice)
Peter Engel Angelfish to Zen (very good)

Since I am a beginner I just like looking at the diagrams. Just folded few
of them yet. May be one fine day in the future I'll manage to fold the
difficult ones too.
Hope, you are not bored to death now. :o)

Happy folding!
Evi





From: RPlsmn@AOL.COM
Date: Fri, 21 May 1999 09:46:40 -0400 (
Subject: Re: children - well YOUNGER people!

the year is 1967 ... I got the Beatles "Revolver" and this record by a black
guitarist called "Are You Experienced" for my 13th birthday... all the kids
in my school are talking about all these new recreational chemicals ... is it
tomorrow, or just the end of time? ...
                                                               -Billy Pilgrim-





From: Mirjam Van Vroonhoven <mirjamv@THEOCHEM.KUN.NL>
Date: Fri, 21 May 1999 10:05:24 +0200
Subject: Re: Origami Digest Navigation Tip

On Thu, 20 May 1999, Richard Abbott wrote:

>By placing "Date: " (without the quotation marks) in the  FIND facility
>within the EDIT commands on my browser (Netscape 4.51) I am able to
>easily  skip from one message header to the next without the need to
>carefully scroll through screens.

I also get the emails from Origami-List in Digest format, but I get each
message as an attachment. So I get one message with a lot of attachments. And
my mail reader (text mode PINE, quite unknown) makes a nice list from all the
attachments, with subjects and sizes and mime-types of the attachments, and
you can just browse through it. I think that will also be possible with
Netscape.

The only thing you have to do is send an email to the list-server (adress:
   LISTSERV@MITVMA.MIT.EDU
) with the command
   SET ORIGAMI MIME

Greetings,

Mirjam van Vroonhoven. (who still has to look for a nicer .signature)
--------
E-mail:           mirjamv@theochem.kun.nl
Homepage:         http://www.theochem.kun.nl/~mirjamv





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: Fri, 21 May 1999 10:16:12 -0700
Subject: Re: a must/ thank you

>Hi folders,
>
>thank you for recommending your favorite books.
>So far I ordered the Connoisseur and from Japan Dokuhon2.
>
>I already got
>Lang insects (which I like very much, difficult)
>Lang/Weiss origami zoo (nice)
>Montroll/African animals and animal for enthusiast (interesting)
>Origami Boxes/Tomoko Fuse (nice)
>Peter Engel Angelfish to Zen (very good)
>
>Since I am a beginner I just like looking at the diagrams. Just folded few
>of them yet. May be one fine day in the future I'll manage to fold the
>difficult ones too.
>Hope, you are not bored to death now. :o)
>
>Happy folding!
>Evi

You have to get Montroll's Mythological Creatures and the Chinese Zodiac,
it's just alot of fun.  I especially like the three-headed dragon.

David





From: Thomas C Hull <tch@ABYSS.MERRIMACK.EDU>
Date: Fri, 21 May 1999 10:46:51 -0400
Subject: Origami sighting on David Letterman

Hey -

I was up late last night and ended up flipping the TV over to
The Late Show with David Letterman, only to see him wearing
an origami dollar bill ring!!!  He was making a big fuss over it
and kept asking the cameraman to get a close-up of the ring.  Apparently
someone in the audience folded it for Dave (I didn't see that part).
Then when Dave's first guest, Hellen Hunt, came out, Dave asked
her to marry him (like he always does with female guests) and
gave her the dollar bill ring.  So then Hellen Hunt was
flashing it around.

It was great publicity for dollar bill folding.  However, throughout
it all I don't think the word "origami" was ever spoken.  It still
got me all excited, though.

--- Tom "what's sleep for, anyway?" Hull





From: Jane Rosemarin <jfrmpls@SPACESTAR.NET>
Date: Fri, 21 May 1999 11:42:15 -0500
Subject: Re: OrigamiUSA Newsletter

I got mine a few days ago.





From: Tiffany Tam <origamiwing@HOTMAIL.COM>
Date: Fri, 21 May 1999 11:46:43 -0700 (
Subject: Re: Littleton Origami Group (LOG) meeting Tuesday night May 25, 1999

I will not be about to make it that day, I am going to have to go to an
award ceremony at my school.  I received a mail yesterday noticing my family
that I will be receiving an award, I am so happy, I wonder what that is
about!

Wing

>From: "Brannon, Dennis" <Dennis.Brannon@COMPAQ.COM>
>Reply-To: Origami List <ORIGAMI@MITVMA.MIT.EDU>
>To: ORIGAMI@MITVMA.MIT.EDU
>Subject: Littleton Origami Group (LOG) meeting Tuesday night May 25, 1999
>Date: Fri, 21 May 1999 12:22:07 -0500
>
>The Littleton Origami Group (LOG) [Littleton, MA USA]
>will be meeting the last Tuesday of the month at the Littleton
>library in the "Small Meeting" room downstairs next to the elevator.
>
>Dennis Brannon
>
>
>When: Tuesday,  May 25, 1999, 7:00 - 9:00pm.
>Where: Reuben Hoar Public Library, Shattuck Street, Littleton, MA
>Telephone: (978) 486-4046.
>
>Directions:  Get to the junction of routes 2A/110, 119 and 495.
>This intersection is in the center of town at the only traffic light.
>There's a Mobile station and Bob's Solid Oak nearby.
>
>1. Coming from 2A East take a left at the lights onto King Street (110/2A
>West) toward Ayer, MA.
>Coming from 119 West take a right at the lights onto King Street toward
>Ayer, MA.
>
>2. You'll pass Bob's Solid Oak and a Shell station on the right, then a
>cemetery.  At 2 tenths of a mile from the light is a right hand fork --
>this
>is one entrance to Shattuck Street.
>
>If you miss it, continue on 110/2A for 5 tenths of a mile.  The other
>entrance to Shattuck Street is on the right opposite Badger Funeral home.
>The sign says Town Offices.
>
>There is free parking to the left and rear of the building.

_______________________________________________________________
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From: "Brannon, Dennis" <Dennis.Brannon@COMPAQ.COM>
Date: Fri, 21 May 1999 12:22:07 -0500
Subject: Littleton Origami Group (LOG) meeting Tuesday night May 25, 1999

The Littleton Origami Group (LOG) [Littleton, MA USA]
will be meeting the last Tuesday of the month at the Littleton
library in the "Small Meeting" room downstairs next to the elevator.

Dennis Brannon

When: Tuesday,  May 25, 1999, 7:00 - 9:00pm.
Where: Reuben Hoar Public Library, Shattuck Street, Littleton, MA
Telephone: (978) 486-4046.

Directions:  Get to the junction of routes 2A/110, 119 and 495.
This intersection is in the center of town at the only traffic light.
There's a Mobile station and Bob's Solid Oak nearby.

1. Coming from 2A East take a left at the lights onto King Street (110/2A
West) toward Ayer, MA.
Coming from 119 West take a right at the lights onto King Street toward
Ayer, MA.

2. You'll pass Bob's Solid Oak and a Shell station on the right, then a
cemetery.  At 2 tenths of a mile from the light is a right hand fork -- this
is one entrance to Shattuck Street.

If you miss it, continue on 110/2A for 5 tenths of a mile.  The other
entrance to Shattuck Street is on the right opposite Badger Funeral home.
The sign says Town Offices.

There is free parking to the left and rear of the building.
