




From: Marc Kirschenbaum <marckrsh@PIPELINE.COM>
Date: Thu, 03 Jun 1999 00:45:26 -0700
Subject: Re: To Marc Kirschenbaum

At 03:18 PM 6/2/99 -0400, Chinh Nguyen <chinhsta@GWIS2.CIRC.GWU.EDU> wrote:
>boy, i hope i didn't butcher your name.

Hey, you got it right. I have been known to miss a letter or two myself, so
I can not be too hard on people.

>
>at any rate, i was interested in your helicopter model.  is it realistic,
>or a helicopter in the glider sense?  i am also unfamiliar with the
>sources in which the diagrams are printed (both seem to be "one-time"
>print collections), so any hints on how to get said diagrams (seeing as
>how you made up the model? :)

I have two helicopter models, one in the 1988 Annual Collection and the
other in the 1987 Annual Collection (which also happens to have my
biplane). I believe the latter book is still in print (you can check
www.origami-usa.org for availability).

Both models are the same in basic structure. The sides of a square are
pleated inwards to and the pleats are stretched at one end to create
points. That same end is then waterbombed. The top two flaps of the
waterbomb contain the set of streched points, for a total of four
rotors.the side pleats are sretched outwards to create landing gear, and
the tail is truncated to complete.
>
>also, just in general, any hints on where to find realistic helicopter
>models (must be very difficult, since blades waste so much paper)?

Oddly, it does not seem to be a popular subject, white I have seen loads of
elaborate airplane designs. From a design perspective, it is a lot more
refreshing to make than your run of the mill four legged mammal.

Speaking of Annual Collections, you can order the new one whether or not
you plan to attend the OrigamiUSA Convention. It has 307 pages of diagrams
of models from all around the world and of all levels. This years book
found us growing through some changes (thank you Rob Hudson for your
database and new managing editor Andrew Borloz for your more modern ideas),
and the results are the cleanest looking yet. Of course, next year promises
to be better, but that should not stop you from getting the current edition.

Marc





From: Chinh Nguyen <chinhsta@GWIS2.CIRC.GWU.EDU>
Date: Thu, 03 Jun 1999 02:18:22 -0400
Subject: Re: To Marc Kirschenbaum

On Wed, 2 Jun 1999, david whitbeck wrote:

> How much does it cost?  And while I'm at it, does anyone know how to get a
> copy of Spirals by Tomoko Fuse?  I've been going to the local booksellers
> around here (one of them Borders) and they just scratch their head and say
> it's not in there database.

try:
http://www.sasugabooks.com (currently out)
http://www.fascinating-folds.com (good bet)
OUSA (URL eludes me right now)

borders scratches their heads b/c it is a book in japanese print (possibly
in other places in asia as well), and will likely never see light of day
in a stateside publishing company.





From: Edith Kort <ekort@MCLS.ROCHESTER.LIB.NY.US>
Date: Thu, 03 Jun 1999 05:42:24 -0400
Subject: Fuse's Spirals

I picked up a copy of Fuse's spirals at Kinokuniya book store in San
Francisco for under $20.

http://www.kinokuniya.com/

Hope this helps.
--
  ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    Edith M. Kort
    Rochester Origami Club
    Rochester NY

  ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
               Before you can be eccentric
          You must know where the circle is





From: Jeff DeHerdt <jadeherd@IUPUI.EDU>
Date: Thu, 03 Jun 1999 06:29:25 -0500
Subject: Gift for baker/caterer

        I just got married over the weekend. My bride and I didn't
believe that anyone should have to starve at the wedding reception before
we arrived and were served by the caterer, so she had baked cookies and I
folded 50 Tomoko Fuse modular boxes to put them in. All the boxes were
different, but made out of the same burgundy/silver paper. (I don't plan
on folding any modular boxes soon - it was a lot of paper to fold, plus I
got the leftovers from the reception). Everyone seemed to like the boxes,
but they thought the caterer had done them!

        The caterer did a wonderful job, and I would like to fold
something for her as a gift. Her husband created the wedding cake and she
served oregano chicken for the entree, if that helps. Hmmm, maybe I should
get the diagrams for that plucked chicken. Anyway, if anybody can think of
a good model to fold for a chef, it would be appreciated..

                                                Jeff DeHerdt





From: Module Nut <origamifreak@YAHOO.COM>
Date: Thu, 03 Jun 1999 06:32:56 -0700
Subject: Re: Fuse's Spirals

I ordered one from http://www.fascinating-folds.com
for under $20, also.

I'm *still* not done playing with that book!  :-)

anja

--- Edith Kort <ekort@MCLS.ROCHESTER.LIB.NY.US> wrote:
> I picked up a copy of Fuse's spirals at Kinokuniya
> book store in San
> Francisco for under $20.
>
> http://www.kinokuniya.com/
>
> Hope this helps.
> --
>
>
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>
>     Edith M. Kort
>     Rochester Origami Club
>     Rochester NY
>
>
>
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>                Before you can be eccentric
>           You must know where the circle is
>

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com





From: DonnaJowal@AOL.COM
Date: Thu, 03 Jun 1999 07:36:06 -0400 (
Subject: advance arrangements

Someone wrote:

"I don't know about you, but I usually like to check airfares and arrange my
roommate before I submit my forms. "

I guess OUSA will have to start announcing convention dates two years in
advance since a year doesn't seem to be enough to check out airfares and
roommates.

Bizarre.

Donna





From: DLister891@AOL.COM
Date: Thu, 03 Jun 1999 09:44:11 -0400 (
Subject: Re: Old Origami

Allen Parry asks (4th June) what was the oldest origami model that has been
folded.
He suggests a collection of Swedish Stars which were folded by his
great-grandmother.

A preliminary question that some might ask is whether the Swedish Star really
is an "Origami" model. Not mainstream origami or paperfolding, certainly, but
any decision on this must depend on the particular definition of "origami"
adopted. I think, however, that we can disregard this question as a red
herring.

I assume that Allen is referring to the oldest extant piece of paperfolding,
but he could possibly be referring to the oldest DESIGN of a paperfolded
model. Nobody could answer that with any certainty because the earliest
paperfolding is lost in he mists of time. If I were asked to guess, I would
suggest the simple paper hat folded from a rectangle or some sort of blinzing
from a square. The mecho and ocho butterflies of Japan are also very ancient
designs in their simpler forms.  I think, however, that Allen is referring
not to paperfolding designs, but to the oldest extant physical piece of
paperfolding.

Allen does not give any indication of his great-grandmother's age. But I
would guess that she was not born before 1875 and was possibly born later
than this. And at what age did she fold her Swedish Stars: as a child? Or as
a mother for her children? Or even as a grandmother for her grandchildren?

Anyway, as I wrote in my note on Froebel yesterday, there are many extant
collections of Froebelian folding in educational institutions and museums.
They are difficult to date without external knowledge. Most of them must date
from before 1914, by which time Froebelian folding was in decline. Some of
them probably date from before 1875. More research is really needed. to date
museum specimens.

But the earliest collection of paperfolded models which I can think of is the
collection of paper soldiers in the German National Museum in Nuremburg,
Germany. I was fortunate to be able to visit Nurembug last June in the
company of Paulo Mulatinho, Paulo's daughter and Kunihiko Kasahara. The
collection is kept in a glass case in the children's section of the museum
and is made up of a group of foot soldiers and a group of soldiers on
horseback. There are about thirty models in all and  they are folded in the
multiform/pajarita style of folding. We were able to take photographs
(officially without flash)

An illustration of these paper soldiers is given on pages 70 to 73 of Johanna
Huber's "Lustiges Papierfaltbuchlein", which I also mentioned yesterday. My
edition, in German is a late one dated 1964.  A variant called "Bedouin
Horsemen Riding in the Desert" is included in the late English version of the
book: Johanna Huber and Christel Claudius: "Easy and Fun Paper Folding"
(Sterling Publishing Co. Inc., New York, 1990, pages119 to 121.

These folded soldiers date from about 1820. Froebel, born in 1882 folded as a
child, but I think that it it is unlikely that anything Froebelian exists
which dates from as early as 1820.

In Japan collections of traditional folds exist which date from the 19th
century, but whether any of them go back as far as 1820, I do not know.

I put forward these ideas as a suggestion, only and I look forward to hearing
about still older models.

David Lister.

Grimsby, England.

DLister891@AOL.com.





From: Doug Philips <dwp@TRANSARC.COM>
Date: Thu, 03 Jun 1999 10:01:49 -0400
Subject: Re: Convention Numbering

Michael J. Naughton indited:
> Also, (definitely IMHO), nobody benefits from classes slapped together by
> teachers who are just hoping to jump the ticketing line. Teach because you
> think you have something to offer the people taking your class. If you're
> really
> set on learning that favorite model, don't worry about getting into the class
> -- just get plenty of sleep before the convention, because you can learn any
> model you want in the "after hours" sessions, as long as you can stay awake!g

Well said!

I have to note qualifications to Michael's qualifications: While you can learn
almost anything at the after hours folding sessions, if you miss a particular
class that you really wanted to get into (either because your ticketting
number was too high, you were volunteering/teaching, whatever), you'll need to
make an effort to be sure to find someone to teach you after hours. At last
year's convention I wanted to learn Maekawa's Dragon and Joseph Wu's Eastern
Dragon, but I didn't make them a priority. There were a lot of models and it
was easy to get distracted. The other "risk" is that if diagrams for the model
are not available, students who've only made the model once are not always
able to reproduce it. My point is that there is no "royal road," not even
"after hours" folding. ;-)

-D'gou





From: "L. Hayashi" <lmh@COMPUSMART.AB.CA>
Date: Thu, 03 Jun 1999 11:25:08 -0600
Subject: Re: Gift for baker/caterer

That cake does look good enough to eat.  Thanks for sharing and it has given me
     some ideas
to work on.





From: Doug Philips <dwp@TRANSARC.COM>
Date: Thu, 03 Jun 1999 11:32:14 -0400
Subject: Copyright again (was: Re: Winged Devil)

Ariel indited:
> Well, I almost disagree. The list is filled with " terrorist members" of the
> organization "Kopyright Liberation Group" :-) , extremists who get shocked
> at the mere idea of photocopying 4 pages of an out of print book that has
> been out of market for maybe 16 years (since its last edition from 1983).

> The "Copyright-Macarthists" outnumber the "fellow folders" by large, in my
> humble and cynical opinion.

Actually, the lurkers far outnumber those who post to this list. My guess
based on extrapolating from what I've seen at the OUSA convention is that the
"copyright infringers" are in the majority.

Its sad how this debate so easily polarizes to extremes. Clearly by publishing
diagrams the creator and publisher wish them to become known. Not so clear is
just what rights to the derived works the creator may or may not wish to
extend, as publishers usually do not permit creators that much control over
the final product. Even less clear is what a book going out of print means.
Has the publisher/creator changed their mind(s) (surely they are not
prohibitted from doing this?) and wish to withdraw the model(s) from general
circulation? Or perhaps it is just no longer financially lucrative enough to
keep the book(s) in publication? There are a number of other potential answers
as well, such as the publisher is going out business, the publisher wants to
focus on a different market, the publisher got a bad paper cut and decides to
drop all their paper art/crafts books, etc. etc. etc. Amusing as some of those
are, my guess is that most of the time it is simple economics.

Every individual is responsible for their own interpretations, and their own
actions. The "I can copy what I want, as much as I want, to do with what I
want, and the model's creator should be grateful that even one copy of their
book is sold and their model(s) are deemed worthy of being folded" crowd
creates an environment where those of us who believe that the creators have
rights have little choice but to take an opposite extreme so that a compromise
is fair, rather than being one sided.

In my experience, (I am not a desginer/creator by the way), the attitude
quoted in the previous paragraph is rampant and actual, and the reaction to it
has been rather subdued, but like any group that feels its status is
threatened, the copyright infringers are quite vocal. The social history of
origami probably inevitably leads to this dispute. The question really is, can
we let go of the bad habits of the past and move on, or do we need to struggle
on further? "It's always been done that way" is not a justification, its just
an excuse, and it cuts both ways.

-D'gou





From: madawson <madawson@SPRYNET.COM>
Date: Thu, 03 Jun 1999 13:08:19 -0700
Subject: Re: To Marc Kirschenbaum

Try the "Source" (OUSA).  I got my copy from them at Convention ('96 or
'97?).  Or perhaps Fascinating Folds.

 Check your ISBN for accuracy  (mine is  ISBN4-480-87202-7)

MASD
madawson@sprynet.com

-----Original Message-----
From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Wednesday, June 02, 1999 10:36 PM
Subject: Re: To Marc Kirschenbaum

>>At 03:18 PM 6/2/99 -0400, Chinh Nguyen <chinhsta@GWIS2.CIRC.GWU.EDU>
wrote:
>>>boy, i hope i didn't butcher your name.
>>
>>Hey, you got it right. I have been known to miss a letter or two myself,
so
>>I can not be too hard on people.
>>
>>>
>>>at any rate, i was interested in your helicopter model.  is it realistic,
>>>or a helicopter in the glider sense?  i am also unfamiliar with the
>>>sources in which the diagrams are printed (both seem to be "one-time"
>>>print collections), so any hints on how to get said diagrams (seeing as
>>>how you made up the model? :)
>>
>>
>>I have two helicopter models, one in the 1988 Annual Collection and the
>>other in the 1987 Annual Collection (which also happens to have my
>>biplane). I believe the latter book is still in print (you can check
>>www.origami-usa.org for availability).
>>
>>Both models are the same in basic structure. The sides of a square are
>>pleated inwards to and the pleats are stretched at one end to create
>>points. That same end is then waterbombed. The top two flaps of the
>>waterbomb contain the set of streched points, for a total of four
>>rotors.the side pleats are sretched outwards to create landing gear, and
>>the tail is truncated to complete.
>>>
>>>also, just in general, any hints on where to find realistic helicopter
>>>models (must be very difficult, since blades waste so much paper)?
>>
>>Oddly, it does not seem to be a popular subject, white I have seen loads
of
>>elaborate airplane designs. From a design perspective, it is a lot more
>>refreshing to make than your run of the mill four legged mammal.
>>
>>Speaking of Annual Collections, you can order the new one whether or not
>>you plan to attend the OrigamiUSA Convention. It has 307 pages of diagrams
>>of models from all around the world and of all levels. This years book
>>found us growing through some changes (thank you Rob Hudson for your
>>database and new managing editor Andrew Borloz for your more modern
ideas),
>>and the results are the cleanest looking yet. Of course, next year
promises
>>to be better, but that should not stop you from getting the current
edition.
>>
>>Marc
>
>How much does it cost?  And while I'm at it, does anyone know how to get a
>copy of Spirals by Tomoko Fuse?  I've been going to the local booksellers
>around here (one of them Borders) and they just scratch their head and say
>it's not in there database.
>
>David





From: Eric Andersen <ema@NETSPACE.ORG>
Date: Thu, 03 Jun 1999 13:13:16 -0400
Subject: Re: Experiment in recognition

On Thu, 3 Jun 1999, Maxim Candries wrote:

>If you want to know what it is supposed to be or if you want to read
>other people's answers, just go to:
>
>http://www.students.ncl.ac.uk/maxim.candries/origami2.html

That's a great page there, it's fun to see everyone's ideas all together
like that. And I actually got it right (not that anyone's right or
wrong... :-)

-Eric :-P
origami@netspace.org

/=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=\
\   Eric Andersen                                       /
/    Mathematics, Music             ~  ~ __o            \
\     and Origami                 ~  ~ _-\<'_           /
/      ema@netspace.org        ~    ~ (_)/ (_)          \
\=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=/
         *** http://www.paperfolding.com ***





From: madawson <madawson@SPRYNET.COM>
Date: Thu, 03 Jun 1999 13:16:49 -0700
Subject: Re: Gift for baker/caterer

Check out the home page for Origami Munich.  They are celebrating their
100th birthday and have a beautiful six slice German Chocolate Cake, each
slice made from a triangular box.  It looks good enough to eat!  They do not
have the diagrams there but I believe that with the right paper you could
get the desired effect that you want for a cake.

(This is the address:
www.whatsup.de/WEBSPACE/17193/WEB17193.NSF/HTMLFILE/DEFAULT.HTM

Or - if you do a search using the word "origami" using YAHOO, in the second
set of twenty hits you will find the match for Origami Munich.  They have
some interesting diagrams too.

MaryAnn Scheblein-Dawson
madawson@sprynet.com

"Fold something.  You'll feel better!"

-----Original Message-----
From: Jeff DeHerdt <jadeherd@IUPUI.EDU>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Thursday, June 03, 1999 4:28 AM
Subject: Gift for baker/caterer

>        I just got married over the weekend. My bride and I didn't
>believe that anyone should have to starve at the wedding reception before
>we arrived and were served by the caterer, so she had baked cookies and I
>folded 50 Tomoko Fuse modular boxes to put them in. All the boxes were
>different, but made out of the same burgundy/silver paper. (I don't plan
>on folding any modular boxes soon - it was a lot of paper to fold, plus I
>got the leftovers from the reception). Everyone seemed to like the boxes,
>but they thought the caterer had done them!
>
>        The caterer did a wonderful job, and I would like to fold
>something for her as a gift. Her husband created the wedding cake and she
>served oregano chicken for the entree, if that helps. Hmmm, maybe I should
>get the diagrams for that plucked chicken. Anyway, if anybody can think of
>a good model to fold for a chef, it would be appreciated..
>
>                                                Jeff DeHerdt





From: Doug Philips <dwp@TRANSARC.COM>
Date: Thu, 03 Jun 1999 13:26:10 -0400
Subject: Re: Building with Butterflies

Dave Mitchell wrote:
> Hopefully, in time, Water Trade will turn a profit - or at least break
> even - and enable me to expand the range to include books by other authors
> and pay royalties to them. But that's for the future - and largely depends
> on whether the origami community - you guys - find these books valuable or
> not.

I am wondering, does the publication industry have a lock on distribution
channels? Will you be able to sell via the existing origami establishments,
even if you are doing the publishing yourself? How about your own online site
for sales? I guess basicly the question is, for stuff from Water Trade, how
are those of us who would like to buy the books going to be able to do so?
Chicken and Egg problem: If they were supported, we could buy them, but if we
could buy them, they would be supported!

> <<The origami designs explained and illustrated in this book are the
> copyright of the author and/or of the designer named in the text and may not
> be reproduced or re-diagrammed in any form whatsoever without written
> permission from the copyright holder.

That part seems pretty straightforward.

> The owner of this book may however fold, assemble and display the designs
> for the purposes of private enjoyment or study and may also publicly teach,
> demonstrate or exhibit the designs provided that a clear acknowledgement of
> their origin is given and that no payment or fee is received in connection
> with any such public teaching, demonstration or exhibition.

That seems pretty clear, though it says nothing about the outright sale of the
models. I do have a question though. By analogy with computer software
"shareware" a lot of sharewise licenses I've seen state something to effect
that a fee cannot be charged for distributing their software, except as such
fee is charged for access to a general store of software, and that there is no
extra/special/separate/etc. fee for access to their software in particular.

Ok, as Bill Cosby would say "I told you that story so that I could tell you
this one." Referring back to a message that Joseph Wu wrote, in which he
stated that teachers, volunteers, etc. should be reimbursed/paid for the
efforts, I guess I would hope your disclaimer would read in such a way as to
permit "the reader" to receive fair compensations (though I usually waive such
things personally) for their time and materials. For example, lets say I
charge libraries and museums $5/hour for my time, when I teach at their
locations. Would I have to waive that fee if I chose to teach your models?
Would it matter if I was specificly being paid to teach "your models" versus
"origami in general"?

> Whether or not this reflects the legal position in any given country in
> which the book may be sold it at least makes the owner of the book aware of
> what rights I as an author / publisher intend them to have, and it seems to
> me to be valuable on that basis alone.

Agreed. Luckily as publisher you have the ability to insert such statements!

Thanks!

-D'gou





From: Paul Jackson <Mpjackson@BTINTERNET.COM>
Date: Thu, 03 Jun 1999 14:01:37 +0100
Subject: Good photography/photogenic models

On 2nd June 1999 Marc Kirschenbaum wrote:

> Since I think the issues of creating exhibition models and photogenic
> models are related, I was wondering what sorts of charecteristics lead to
a
> model being photogenic? Did those 35 models have anything in common?
>

This is a difficult matter to be scientific about, but generally,
photogenic models have several characteristics in common:

1.  They can be read fom one angle.
The subject matter of the model is immediately obvious from at least one
angle, which becomes the angle it is shot from.  Preferable too, the angle
reveals something of the folded structure of the model, so that the photo
is not just a pretty picture, but a kind of diagram to help the reader fold
the model.  Usually, a strong silhouette will aid recognition.  So, for
example, an elephant or giraffe is easier to recognise than a shrew.

2.  The model looks worth folding.
The 'obvious angle' mentioned above must also make a model appear
attractive, not ugly, mis-shapen, boring or bodged.

3.  The model can be lit well.
Good photography is 75% good lighting. It's really just pot luck whether a
model can be lit well.   Models with flat planes tend to be easier to light
than wet folded curves, because they usually create the more dynamic
photos.  By experimentation, I've found that what I call the 'ten to two'
method works well.  Two lights are positioned as though the hands of a
clock were at 10 o'clock and 2 o'clock, above but a little in front of the
model, one light being weaker than the other to fill in the shadows created
by the stronger light.

4.  Good choice of paper.
The right sort of paper on the right sort of background helps hugely.
Generally, any papers that are not foils (the flares look very odd), not
vibrantly patterned (which creates the illusion of flattening a model in a
photo) and not too absolutely gorgeous (the viewer admires the paper, not
the model!!) are worth a try.

So, there are separate issues here: whether a model is intrinsically
photogenic, and whether the choice of papers and lighting convey this
quality.

I hope this is helpful.

Paul Jackson





From: Holly Yang <keropi@VT.EDU>
Date: Thu, 03 Jun 1999 14:07:30 -0400
Subject: Re: Origami sequence (action camera)

----- Original Message -----
From: Robby/Laura <morassi@ZEN.IT>
To: <ORIGAMI@MITVMA.MIT.EDU>
Sent: Wednesday, June 02, 1999 12:26
Subject: Re: Origami sequence (blintz---pajarita)

<snip> There are also some that you have missed:
>
> Not missed.... I just had no more space allowed, so have disregarded the
> Yakkosan variants ! There are possibly other steps which could be
> interpreted as distinct objects, and the whole sequence is ideal to
> entertain childrens with a properly designed story.
>
> Roberto

Don't know if its been mentioned before, after step 41, it can be changed to
a highly stylized, simply-looking action camera (one has to really imagine
it to be a camera, I suppose, but I see it as one).  By slightly
overcrossing the legs/trunks of the pants (yakko?), and folding the tips of
the legs together to lock, the illusion of a camera lens is done.  Then just
hold the sides (used to be the waist of the yakko but after making the lens
should be somewhat perpendicular to the lens) with both hands and push the
convexed back.  The crossed lens will unlock and produce a snapping sound
like the shutters of a camera lens, of course to "take" more pictures, you'd
have to relock the "lens" and everything is set.  Then, you can "snap" away
at many of the other origami models created with the blintz/parjarita folds.
<g>

Keropi
keropi@vt.edu





From: Maxim Candries <Maxim.Candries@NCL.AC.UK>
Date: Thu, 03 Jun 1999 15:01:44 +0100
Subject: Experiment in recognition

Hello again,

I would like to thank everybody who participated. I had great fun
reading the answers. It's very interesting what you all came up with.
There are two or three people who noted an 'expression'  that I wanted
it to have - and that's quite amazing.
If you want to know what it is supposed to be or if you want to read
other people's answers, just go to:

http://www.students.ncl.ac.uk/maxim.candries/origami2.html

Have a good day!

Maxim (who keeps humming 'Sledgehammer')





From: Sjaak Adriaanse <S.Adriaanse@INTER.NL.NET>
Date: Thu, 03 Jun 1999 15:05:46 +0100
Subject: Re: Experiment in recognition

At 15:39 02-06-1999, Maxim Candries wrote:
>Hello everybody,
>
>Just a little test. I've created a model which I thought was really
>nice. However, when I showed it to my friends (who don't fold) they
>said: 'Cute, but what is it?'
>I am curious whether my fellow folders are better at this; have a look
>at the picture on:
>http://www.students.ncl.ac.uk/maxim.candries/origami.html
>and let me know what you think it is.
>Keep on folding!
>
>Maxim

I know what it is! Can't you see? It is a man desperately wanting to empty
his bladder, jamming his knees together to avoid a painful situation!

Greetings,
Sjaak

Sjaak Adriaanse
---------------------------------------------------------------
Tekst & Uitleg





From: Sjaak Adriaanse <S.Adriaanse@INTER.NL.NET>
Date: Thu, 03 Jun 1999 15:05:50 +0100
Subject: Re: Froebel?

At 10:37 02-06-1999, elsje van der ploeg, elst nl wrote:
>Hello
>I am new to the list
>And I would very much like to know
>If there are any diagrams of Friedrich Froebels
>Paperfolding.
>
>Elsje van der Ploeg
>Evdploeg@betuwe.net

Hi Elsje,

Welcome to the list! I do not know anything about Froebel, but I see David
Lister has already shone his torchlight on the subject.

Greetings,
Sjaak

Sjaak Adriaanse
---------------------------------------------------------------
Tekst & Uitleg





From: Ariel <ariel@DATAPHONE.SE>
Date: Thu, 03 Jun 1999 15:22:19 +0200
Subject: Re: Experiment in recognition

a rap singer as Picasso would paint it ?





From: Dave Mitchell <davemitchell@MIZUSHOBAI.FREESERVE.CO.UK>
Date: Thu, 03 Jun 1999 17:59:12 +0100
Subject: Building with Butterflies

Just got back from a holiday in the sun and read through the last
fortnight's digests. A big task, but well worth it I found!

As many of you know I write small books on specialist subjects within the
general field of paperfolding. A few of these - including Mathematical
Origami - have been published commercially but I can't find a market
prepared to pay me royalties on most of them (and I won't sign away my
intellectual property for a one-off fee!) so that I've now begun publishing
some of these books myself under the generic name of Water Trade.
Hopefully, in time, Water Trade will turn a profit - or at least break
even - and enable me to expand the range to include books by other authors
and pay royalties to them. But that's for the future - and largely depends
on whether the origami community - you guys - find these books valuable or
not.

Having followed the discussions on this list for the last few years the
latest book from Water Trade - called Building with Butterflies and dealing
with the subject of macro-modular origami - will carry the following notice
in the front, which I hope deals with all the major problems inherent in
publishing a book of origami diagrams! (Let me keep my illusions for a
minute or two, please!)

<<The origami designs explained and illustrated in this book are the
copyright of the author and/or of the designer named in the text and may not
be reproduced or re-diagrammed in any form whatsoever without written
permission from the copyright holder.

The owner of this book may however fold, assemble and display the designs
for the purposes of private enjoyment or study and may also publicly teach,
demonstrate or exhibit the designs provided that a clear acknowledgement of
their origin is given and that no payment or fee is received in connection
with any such public teaching, demonstration or exhibition.>>

Whether or not this reflects the legal position in any given country in
which the book may be sold it at least makes the owner of the book aware of
what rights I as an author / publisher intend them to have, and it seems to
me to be valuable on that basis alone.

It's too late to change the wording for the current book, which is now in
print, but your comments are very much welcome nevertheless!

Dave Mitchell





From: Susan Johnston <supersuzy2000@HOTMAIL.COM>
Date: Thu, 03 Jun 1999 19:38:40 +0100 (
Subject: Black Belt in Origami

Hi everyone!

I'd just like to ask why on comedy TV programmes, there seems to be a
confused character who comes face to face with a big guy.  Then he warns the
big guy saying he has a black belt in origami!

I myself do Taekwon-do (a martial art) and of course origami and i just
don't see why people can get it muddled up!!!

People from england - you might have seen this happen in an episode from
"Only Fools and Horses" when Del comes face to face with a big person who he
has conned (or something!)

Susan

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From: Rosalind F Joyce <fold4wet@JUNO.COM>
Date: Thu, 03 Jun 1999 17:07:42 -0400
Subject: Re: Is the OUSA Convention Numbering System Rigged?

My number for Saturday is 325 or more and I know when it was received and
put into the lottery.  I'm often at the office, too.  Is that "stacking
the deck" in my favor?  As volunteers, we don't get special consideration
for convention numbers; we get placed in the lottery like the rest.  Did
you contact OUSA to clarify how numbers are processed?  Ros

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From: Rosalind F Joyce <fold4wet@JUNO.COM>
Date: Thu, 03 Jun 1999 17:42:58 -0400
Subject: politics again?

Since there was no reply from the author, I would like a copy of most
recent mailing promised to be sent to the 'entire' OUSA list.  Again, a
select group was omitted.  Ros

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From: Allen Parry <parry@ESKIMO.COM>
Date: Thu, 03 Jun 1999 17:57:02 -0700
Subject: Re: politics again?

On Thu, 3 Jun 1999, Rosalind F Joyce wrote:

> Since there was no reply from the author, I would like a copy of most
> recent mailing promised to be sent to the 'entire' OUSA list.  Again, a
> select group was omitted.  Ros

I am assuming from your "author" word usage that you are referring to the
letter I sent out, although it is not clear.

Yes, Ros, it looks like you are making a political mountain out of a mole
hill.  Perhaps it would be better for you to just e-mail me privately
asking for a copy, rather than trying to make a public issue of it.

I have done the best job I could at distributing the letter to the entire
membership (in US and Canada).  Some names may have somehow dropped out of
the list. I am not sure I recieved a complete list originally. Dorothy
Engleman was polite enough to privately e-mail me that she also did not
recieve a letter, and I popped one into the mail to her.  If you'd like to
send me your address, I'd be more than happy to spend another 55 cents in
postage (out of my own pocket) just to make sure you get a copy of the
letter that you desire.

I must tell you, I did have to omit board members from the mailing.  I
recieved a letter from their lawyer telling me not to communicate with
them, except through their attorney.  ( I have a little problem with them
trying to restrict my rights in communicating with my elected officials,
but I have tried my best to respect their wishes.)  Non-communication has
been their choosen method of bringing resolution.  I was really surprised
Jan Polish even made any public comment on registration numbers, recently.
She is usually a lurker.

In business school, my professor told us that there are two types of
dissatisfied customers.  There are those who get frustrated and leave
without saying anything.  They are not your friends.  From them, you can't
learn anything constructive on how to make improvements.  The people who
you can benefit the most from are those who are willing to take the risk
and say something.

We continue to extend an open hand to the OrigamiUSA board.

Allen Parry
parry@eskimo.com





From: Tiffany Tam <origamiwing@HOTMAIL.COM>
Date: Thu, 03 Jun 1999 18:38:36 -0700 (
Subject: I am so sorry

Dear list members,
     I am so sorry, I know that I hve been asking this question and have
asked it more than once, but I think I have accidently deleted my e-mail
about the information on where to send the cranes to for the Colorado
shootings again.  Can someone please send me the address and any information
on this project to me, thank you!  Also, can someone tell me where to get
the correct size and color of the paper I should use to fold the cranes,
thank you

Wing

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From: Isa Miller <-isa-@EXCITE.COM>
Date: Thu, 03 Jun 1999 18:53:52 -0700 (
Subject: Re: Origami Sighting

Oh, my! I didn't mean to denigrate the math-phobes. I used to be one myself
until I discovered the fascinating world of electronic memory. A college
prof changed my life when he told me that I should take at least one
computer class "just so I will understand the concept." Oh, man! I was
hooked!

Isa

On         Sat, 29 May 1999 14:44:13 -0500, Spider Barbour wrote:

> -- [ From: Spider Barbour * EMC.Ver #2.5.02 ] --
>
> Dear Isa --
> You asked
> ++a correlation between minds that like to play with zeroes and ones and
> minds that like to work out new and different ways to fold paper?++
>
> Perhaps, but we math-phobes also like to fold and design origami!
>
> Anita

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From: Isa Miller <-isa-@EXCITE.COM>
Date: Thu, 03 Jun 1999 19:37:01 -0700 (
Subject: Re: animating folds on computer...

Wow! As a web page designer, I'm very impressed with your site. It's
wonderful. Simple, easy to follow, very nice graphics, good load time. The
animations are outstanding.
I can tell you put lots of time in there. I think you should apply for some
awards. You would win, hands down. It's an excellent site.

Isa

> I use Macromedia Freehand and Fireworks.
> I draw each frames (over 100 for the crane!) with Freehand,
> then convert them into GIF animations with Fireworks.
> You can see the animations at my site.
>
>  _ _ _ _ _
> |         |  Hatori Koshiro (Koshiro is my first name.)
> |_._._._._|          hatori@jade.dti.ne.jp
> |         |      http://www.jade.dti.ne.jp/~hatori/
> |_ _ _ _ _|_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

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From: Perry Bailey <pbailey@OPENCOMINC.COM>
Date: Thu, 03 Jun 1999 21:20:45 -0500
Subject: Re: Experiment in recognition

Maxim Candries wrote:
>
> Hello everybody,
>
> Just a little test. I've created a model which I thought was really
> nice. However, when I showed it to my friends (who don't fold) they
> said: 'Cute, but what is it?'

Hi Maxim!

I finaly got to see it today, and I called my daughter in to
look, she immediatly replied he was a really drunk man.  What can
I say, I agree!

Perry

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





From: Isa Miller <-isa-@EXCITE.COM>
Date: Thu, 03 Jun 1999 21:37:44 -0700 (
Subject: Re: Experiment in recognition

<snip>
>My warped mind clearly sees a pullet... a chicken.... plucked and
> ready for the fryer.... like the dancing ones in that Robert Palmer
video...
> or maybe I am just hungry???
>
> Larry Hart showed me a similar model made out of a dinner napkin.
> Unfortunately, I got (and continue to get) basically the same response
with
> it.  I, however, discovered if you "demonstrate" it.... manipulate the
wings
> and legs like it is dancing .... and hum some Palmer lyrics... it seems
to
> help : \
>
</snip>

*laughing*
Sounds like a great ice-breaker at dinner. Of course, a few drinks
beforehand could only enhance the experience.

Isa

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From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: Thu, 03 Jun 1999 23:42:20 -0700
Subject: You must fold this!!!!!!!!!!

Hi everybody out there.  This is David, a roughly new member to this list.
I've created an original (almost) design that is really cool!  I'm just
excited since this is my first time to actually design a fold.  Please
don't tell me someone already thought of this one.  I'll have to make
diagrams and put up on the web, but for know I'll explain and you guys can
probably figure it out.  It's a snail.  If you complete the model email me.
If you try to fold it but can't understand the directions, email me.  If
you think it's good enough to diagram and put out on the web, again email
me. Any comments on improving the model, email me.  I want to hear feedback
on this fold.  I'm very excited about creating it and I want advise,
criticism and someone besides me to fold it and tell me what they think.

1. Fold the bird base.  Put all the flaps down.
2. Fold one of the layers over so that there is one layer on the left side
and three on the right side.
3. Crease an angle bisector on the right side of the short tip.
4. Now using the crease as a guide sink all three layers, this is just like
the sink in Lang's Murex.
5. Now crease an angle bisector on the left side of the short tip.
6. Sink that remaining corner, using the crease you just made as a guideline.
7. fold up the three flaps on the right side, (one at a time) and rabbit
ear them to lie parallel to their base, just like the rabbit ears in
Kawasaki's shell.
8. Focus on the middle flap of the three: fold short stub on right in half
upwards now swivel flap on that crease to the other side (if this is
ambigious it's the same as the Kawasaki shell) repeat on the other two
flaps.
9. Now turn the model upside down, this is the end of the 2d folding for a
while.
10. Bring your three flaps up so that they are coplanar.  Now here's the
fun part: fold each flap in half such that the orientation is changed by 90
degrees (this also is like the Kawasaki shell but instead of four flaps
it's three flaps).  Repeat about 7-10 times.
11. Twist off the ends while simultaneously pulling the ends up a little to
make shell 3d like.
12. Now it's time to fold the head.  That flap that was left alone is the
snail itself.  Open up the flap.
Back to 2d folding.  If you have trouble understanding the directions,
Steps 13-23 are the same as steps 35-48 of Lang's ant.
13. Valley fold down the tip roughly any where from 1/2 to 1/3, your preference.
14. Fold up perpendicular to the side edge

\/ this is the flap, fold up so that it's ride side's partitions are colinear.

Just like you see in most of Lang's models in the sea life in insect books.
15. As you probably guessed, pull out the paper on the left side.
16. Squash fold the right side of the flap to the left.
17. Pull out the paper.
18. Now pull the flap down back on the original crease down you made in step 13.
19. Fold back up along preexisting creases to form a rabbit ear like obtuse
triangle the top with the flap to the right.
20. Squash fold the point to the left, a similar obtuse triangle like thing
will appear on the right.
21. Valley fold the flap to the right.
22. Reverse fold the flap like a preliminary fold and squash the top to
bring whole thing to the center.
23. Swing the whole thing up.
24. Rabbit ear the two flaps up perpendicular to the plane of the whole big
flap.  These are the feelers.
25. Mountain fold the flap on both sides to the middle to narrow the body.
26. This is actually another rabbit ear, now here's an optional step you
could close sink those small flaps.
27. Now back to the shell!  This is the hardest fold in the model, be
careful so as not to tear it.  Remember those two sink folds from steps 4
and 6, well unsink them and close it back up, i.e. bring the four corners
together.  If you find this step hard just unsink as much as possible.
28. Now you'll notice that two of the sides of the shell look like the same
as the Kawasaki shell, open up the layers on those two sides.  The snail is
done!

What do you guys think about step 26, which is better to employ it or omit it?





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: Thu, 03 Jun 1999 23:43:43 -0700
Subject: a little more on the snail

I just noticed one other thing, it's three sides that the layer can be
lifted not two like I stated.

David





From: RPlsmn@AOL.COM
Date: Fri, 04 Jun 1999 08:19:47 -0400 (
Subject: Re: Black Belt in Origami

none of this suprises me; being a paper belt in jui-jitsu.

        RPLSMN





From: Allan findlay <a_findlay@EXCHANGE.CREATIONS.CO.UK>
Date: Fri, 04 Jun 1999 08:39:11 +0100
Subject: Re: Black Belt in Origami

I think its basically because it sounds "oriental".
--------------------------
        Allan           (a_findlay@exchange.creations.co.uk)

> ----------
> From:         Susan Johnston[SMTP:supersuzy2000@HOTMAIL.COM]
> Reply To:     Origami List
> Sent:         03 June 1999 20:38
> To:   ORIGAMI@MITVMA.MIT.EDU
> Subject:      Black Belt in Origami
>
> Hi everyone!
>
> I'd just like to ask why on comedy TV programmes, there seems to be a
> confused character who comes face to face with a big guy.  Then he warns
> the
> big guy saying he has a black belt in origami!
>
> I myself do Taekwon-do (a martial art) and of course origami and i just
> don't see why people can get it muddled up!!!
>
> People from england - you might have seen this happen in an episode from
> "Only Fools and Horses" when Del comes face to face with a big person who
> he
> has conned (or something!)
>
> Susan
>
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com





From: Darren Scott <Darren.Scott@SCI.MONASH.EDU.AU>
Date: Fri, 04 Jun 1999 08:49:14 +1000
Subject: Re: Experiment in recognition

How about Humpty Dumpty ?

Darren





From: madawson <madawson@SPRYNET.COM>
Date: Fri, 04 Jun 1999 09:02:37 -0700
Subject: Re: Copyright again (was: Re: Winged Devil)

Just as a matter of interest, where do those fees go?  Who benefits from
them?

MaryAnn

-----Original Message-----
From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Friday, June 04, 1999 1:18 AM
Subject: Re: Copyright again (was: Re: Winged Devil)

Ariel wrote:
>Most public libraries in Europe have a photocopying machine. They adhere to
>the policy of fair use. Of course it is illegal to photocopy a whole book,
>but to copy a couple of pages from a book in a public library is classified
>as fair use, and not a copyright infringement.
>And I think that is common sense. Could it be that public libraries in
>europe are sponsoring criminality ?
In Switzerland, everybody who owns a photocopy machine now has to pay a
certain fee per year, because it is assumed that he does photocopy
copyrighted material (similar to the fee paid for every empty audio
cassette or every video tape). Even if it's his private machine and he
can prove that he only uses it to copy his own letters.

Matthias





From: Spider Barbour <spider@ULSTER.NET>
Date: Fri, 04 Jun 1999 09:12:34 -0500
Subject: Re: black belt in origami

-- [ From: Spider Barbour * EMC.Ver #2.5.02 ] --

Susan -- you asked about the joke in which a threatened person says, "Watch
out, I have a black belt in origami."
        I've never seen this on tv, but over 30 years ago, a friend of mine,
     Cyril,
actually got himself out of a mugging situation in a big city by using that
line.  He counted on the muggers' not knowing what origami was, and it
worked -- they ran off!
        When we met 30 years ago, he learned that I did origami, and he told me
     of
his experience.  Over the years, I've told the story to many people, as I am
sure Cyril has done.  Perhaps they told it to other people, and perhaps it
reached the ears of someone who writes for tv.  (My own brother is a
screenwriter.)
        Or, it could be a case of  "convergent humor."
                        Anita Barbour





From: Ariel <ariel@DATAPHONE.SE>
Date: Fri, 04 Jun 1999 09:27:37 +0200
Subject: Re: Copyright again (was: Re: Winged Devil)

>Ariel indited:
>> Well, I almost disagree. The list is filled with " terrorist members" of
the
>> organization "Kopyright Liberation Group" :-) ....

Doug:

I would have preferred that you emailed me privately if you wanted me to
clarify what I meant and what the symbols " :-) " meant ....
I just made a bitter humorous and slightly depressed remark which I did not
want to develope any further. Many people on the list, including me, are
bored of these discussions. So I actually regret that email of mine because
I could have spared myself from even writing this one.

> the attitude
>quoted in the previous paragraph is rampant and actual, and the reaction to
it
>has been rather subdued, but like any group that feels its status is
>threatened, the copyright infringers are quite vocal.

oopss !!! that sounded hard.  There are many aspects and things to answer so
that remark.

On one hand, there is a thing called policy of fair use. Unfortunately it
seems that there is not a cristal clear definition of where the limits are.
But indeed of where the **extremes** are.

Most public libraries in Europe have a photocopying machine. They adhere to
the policy of fair use. Of course it is illegal to photocopy a whole book,
but to copy a couple of pages from a book in a public library is classified
as fair use, and not a copyright infringement.

And I think that is common sense. Could it be that public libraries in
europe are sponsoring criminality ?

And naturally, I wouldn't like to be called a member of the brotherhood of
copyright infringers, because I am not. I just made a cynic remark about
extremism, and I got your extremist reply in consequence. :-)

:-)

Maybe for you most european are infringers, since, as said, most public
libraries have a photocopying machine available to the public.
Actually, and based in your next quoted remark, and according to you, most
of the people at Origami USA convention are infringers as well, which makes
me think that maybe you are a bit extreme on that :-)

here is your remark:

> My guess based on extrapolating from what I've seen at the OUSA convention
is that the
>"copyright infringers" are in the majority.

Maybe your personal definition of a copyright infringer is too hard, and
therefore encompasses the mayority of the world, starting with Origami USA
?.

As I understand Origami USA accepts the so called policy of fair use. Do you
? Can we get that definition mailed to the list once more ?

What do you consider fair use ? and what do you consider a copyright
infringement ?

>Even less clear is what a book going out of print means.
>Has the publisher/creator changed their mind(s) (surely they are not
>prohibitted from doing this?)  Or perhaps it is just no longer financially
lucrative enough to
>keep the book(s) in publication? There are a number of other potential
answers....
>Amusing as some of those
>are, my guess is that most of the time it is simple economics.

                                    ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Unfortunately. I wonder where this mentality comes from.

>Every individual is responsible for their own interpretations, and their
own
>actions. The "I can copy what I want, as much as I want, to do with what I
>want, and the model's creator should be grateful that even one copy of
their
>book is sold and their model(s) are deemed worthy of being folded"

After two years on the list, I do not recall ANY email to the Origami list
stating such thing, nor such attitude.

>...[that] crowd
>creates an environment where those of us who believe that the creators have
>rights have little choice but to take an opposite extreme so that a
compromise
>is fair, rather than being one sided.

Ok, so you are saying that you just let off your balanced and centered
opinion
and go to an extreme just to balance the scale ? ( and thereby calling the
mayority at Origami USA convention a crowd of copyright infringers ?)

I meant just a bitter remark in my old mail, and did not want to start a new
thread of the same subject once again. As you said in your email, "can we
just let off those old bad habits"?

> The question really is, can
>we let go of the bad habits of the past and move on, or do we need to
struggle
>on further? "It's always been done that way" is not a justification, its
just
>an excuse, and it cuts both ways.

if you look at the present you will see that the future looks brighter and
brighter. The past is dissapearing every second,
We even have a "new world order", where in the name of economic interests we
can do whatever we want, since they are the motor of the world. And above
all, people are getting more and more aware. So I see the future brighter
and brighter.
I am sorry if my email sounded " rampant". You misunderstood the tone behind
it.
I still believe in common sense and I hope the policy of fair use will
become clearer and clearer to all of us, without anyone abusing it.
Quoting byte magazine about litigation they said: " in a culture where you
can spill coffee on your shirt and successfully sue the company who sold you
the coffe, you can expect trouble, lots of it". I did not want to start a
new troubled thread. And I hope the future will be better.

Cheers,

            Ariel





From: Ariel <ariel@DATAPHONE.SE>
Date: Fri, 04 Jun 1999 10:17:39 +0200
Subject: Fernando Gilgado Gomez whereabouts

To the people interested in his whereabouts ( because of the interest risen
recently upon comments on his demon model): I talked to him on the phone
last night. He said that for the moment he doesn't have an email account and
that he would prefer to be contacted via standart post ( snail mail). I will
provide on private email his contact information to whoever is interested.

He said he still has many copies of his book available. Doug Philips is
coordinating a batch purchase of Fernando's  books, for those interested in
it and that reside in the US.

Fernado said he is now working feverishly on dinosaurs models, which will be
probably the main subject in his new book.

As an alternative to the whole book of Fernando models, you can buy the
swedish convention package from last year as said in a previous email from
Dino Andreozzi, which has a couple of Fernando models.

Cheers,

            Ariel





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: Fri, 04 Jun 1999 10:22:38 +0200
Subject: Re: Copyright again (was: Re: Winged Devil)

Ariel wrote:
>Most public libraries in Europe have a photocopying machine. They adhere to
>the policy of fair use. Of course it is illegal to photocopy a whole book,
>but to copy a couple of pages from a book in a public library is classified
>as fair use, and not a copyright infringement.
>And I think that is common sense. Could it be that public libraries in
>europe are sponsoring criminality ?
In Switzerland, everybody who owns a photocopy machine now has to pay a
certain fee per year, because it is assumed that he does photocopy
copyrighted material (similar to the fee paid for every empty audio
cassette or every video tape). Even if it's his private machine and he
can prove that he only uses it to copy his own letters.

Matthias





From: DORIGAMI@AOL.COM
Date: Fri, 04 Jun 1999 10:24:33 -0400 (
Subject: Re: [NO] Re: from N.J. convention packet

In a message dated 12/5/1999 11:53:31 AM, you wrote:

<<
This is an Origami discussion group.  But, it is very informal and you are
pretty free to talk about anything under one condition.  That you TAG the
subject header with [NO] which stands for NON-ORIGAMI content.





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: Fri, 04 Jun 1999 10:50:09 +0200
Subject: Realistic flying origami helicopter?

Marc Kirschenbaum wrote about his realistic helicopter designs. Now I
wonder whether there are any realistic helicopter designs that actually
fly well, either with fixed rotor blades that produce enough lift to act
like the wings on traditional paper airplanes, or with rotor blades that
actually rotate freely.

Of course the rotating blades themselves wouldn't make the model fly any
fancy maneuvers, but it might be possible to let it land halfways
graciously with autorotation.

The big problem is, I think, how to fix the rotor to the body of the
helicopter so it can rotate freely, while still keeping it as purely
origami as possible (but yes, using a separate sheets of paper for the
rotor blades is OK <g>).
Any and all suggestions, hints, etc. are welcome.

Matthias, autorotationally challenged





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: Fri, 04 Jun 1999 10:55:21 +0200
Subject: Origami Deutschland Convention

I'm going to the Origami Deutschland Convention, 25 to 27 June in
Hildesheim, which is near Hannover. Are any other members of this list
going there, too? If so, should we wear a smiley or an @ or a   (c) on
our name tags?

Matthias





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Fri, 04 Jun 1999 11:23:07 -0700
Subject: Re: NO : Ductigami anyone?

At 18:39 99/06/04 +0100, you wrote:
>Just read a publisher's advertisement for the following book.
>
>"Ductigami : the art of the tape" by Joe Wilson.  Ontario, Canada : Boston
>Mills Press 1999. ISBN 1-55046-284-9   I sure they won't mind my quoting
>them.

I've seen the book. It looks like fun, but not something I'd want to try.
Not origami, except by perhaps the loosest of definitions, and it looks
extremely messy. The projects all look like they'll work well, though. A
more accurate, but perhaps less funny, title would be "Oriducti".

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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
