




From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 15 May 2000 16:31
Subject: Story

Cute story I want to share. I read it years ago in DISCOVERY magazine, =
and it's never lost its charm to me. First prepare a "model" with the =
included diagrams (John Montroll I'm not...), and you're ready to start =
telling the story.

Two young men were born the same year in a small town. When they both =
reached 16, they left their hometown to seek fortune. One of them, Paul, =
became a notorious crook, dealing in anything that could be illegal, =
becoming known as Black Paul. The other, Peter, became one of the most =
renowned doctors of the land, not only because of his extraordinary =
ability but because of the kindness he demostrated towards his patients. =
As fate would have it, the same day Paul was killed in a gunfight with =
the police, Peter died in a car accident. They met in the road to =
Heaven, and Paul noticed that Peter had a piece of paper like the one =
you have in your hand. "Hey, kid, what's that", Paul asked. "It's  my =
pass to Heaven", Peter answered. "What happened to yours?" "Must of =
dropped it in the coffin", Paul lied. "Can you give me part of yours, so =
that there's no problem when I get in?" Peter, of course, said OK. (Cut =
on line "a" on the diagrams.) As they approached Heaven's Gates, Paul =
started to get nervous (duh). "Hey, hold on, he told Peter. "Your piece =
is bigger than mine, what's up with that? Give me another piece so we're =
even." And Peter obliged. (Cut on line "b".) When they finally reached =
the gates, they were greeted by an angel. Paul nudged ahead, and =
produced his "pass". "What's this?", the angel asked. "That's my pass, =
what else?", Paul answered. "Very well", the angel said, "then open it. =
You must go where it tells you to." (Open up the pieces made from cut =
"a" and "b", and arrange them. No, I'm not tellling you how! It's part =
of the magic!) When Paul saw his fate, he howled in rage and pain. But =
he suddenly remembered: "Hey, wait a minute! I got this from the guy =
behind me! He shares my fate!" The angel turned to Peter and said, "Open =
your pass, my son. You must go where it indicates." (Open up the last =
piece of paper, and Peter's fate will be clear.)

I hope it was worth it!

JC





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 15 May 2000 16:35
Subject: Re: Origami sigting and a sort of a sighting (2)

OK, I'm satisfied. Thanks to both of you who replied back. Many happy
foldings!

-----Original Message-----
From: slickwillie@MYLAPTOP.COM <slickwillie@MYLAPTOP.COM>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Mon, 15 May 2000 16:35:22 -0400
Subject: Re: Origami sigting and a sort of a sighting (2)

Well I'm younger than you.  I'm only 20 years old.  Will be 2 in
august.

> I'd like to take this chance to ask a rather personal question: I'm 28
years
> old, 29 on July 17th. Am I the youngest on the list?
>
> -----Original Message-----
> From: Monica Crump, Lady Protector of the Realm <monica@scruznet.com>
> To: Juan Carlo Rodrmguez <tciprograming@telcel.net.ve>
> Date: Lunes 15 de Mayo de 2000 03:31 PM
> Subject: Re: Origami sigting and a sort of a sighting (2)
>
>
> I just subscribed to the list, and I didn't realize how experienced you
> were.
> Sorry for the verbose instructions!  I've been folding for just a few
months
> and
> I've been taking origami into my children's elementary school.  I guess
> you're a
> bit more experienced than the average third grade child ;-)
>
> ~Monica, the ninny
>
> Juan Carlo Rodrmguez wrote:
>
> > Trust me, Monica, when it comes to anything about Japanese culture, I
can
> > never get enough. Thank you very much!
> >
> > Which model is that, Robert Neale's? In what book?
> >
> > -----Original Message-----
> > From: Monica Crump, Lady Protector of the Realm <monica@scruznet.com>
> > To: Juan Carlo Rodrmguez <tciprograming@telcel.net.ve>
> > Date: Lunes 15 de Mayo de 2000 01:37 PM
> > Subject: Re: Origami sigting and a sort of a sighting
> >
> > Juan,
> >
> > Here's some quick notes about haiku.  I have only the obvious
suggestions
> > for
> > origami to fold for your sweetheart: Robert Neale's kissing greeting
card,
> > any
> > of the joined cranes, a bowl filled with folded hearts, etc.  Happy
> > anniversary :-)
> >
> > Haiku -
> > 5 syllables
> > 7 syllables
> > 5 syllables
> >
> > The poem should appeal to two senses.  It generally contains some
seasonal
> > reference.
> >
> > Japanese Haiku is understated and "almost-stated", that is it should
make
> > references or allusions to an idea but should remain unfinished or
> > incomplete.
> >
> > A good reference about haiku (more than you wanted to know, I'm sure):
> > http://mathlab.sunysb.edu/~bleen/haiku/index.htm
> >
> > Hope this helps!
> >
> > ~Monica
> >
> > Juan Carlo Rodrmguez wrote:
> >
> > > Aha! Mark, come clean... did you do it? Somebody DID tell me that the
> hard
> > > disk sort of got "creased"...
> > >
> > > OK, bad joke. But we can't all be serious all the time, now, can we?
> > >
> > > JC
> > >
> > > P.S.: People, before I forget, I'm celebrating my first
> "month-i-versary"
> > > with my girlfriend. I want to write a Haiku for her, but I keep
> forgetting
> > > the amount of syllables and other rules for it. Please refresh
memory...
> > > Also, any romantic paperfolding ideas would come in handy. (She also
> likes
> > > origami, by the way, but I'm the addict.)
> > >
> > > -----Original Message-----
> > > From: Dee and Bob <deenbob@ECENTRAL.COM>
> > > To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
> > > Date: Lunes 15 de Mayo de 2000 12:00 PM
> > > Subject: Origami sigting and a sort of a sighting
> > >
> > > >The other day I pulled out some newspapers to put on the kitchen
table
> > > >so my daughter could paint her papier mache dinosaur project and lo!
> > > >There was a double page spread of an origami diplodicus! It was by M.
> > > >VanGelder! Tina was really impressed when I told her I had "met" this
> > > >person over the internet!
> > > >
> > > >The sort of sighting was rather funny. During the "Iloveyou" virus
> > > >scare, one of our local television stations did a report while
showing
> > > >someone's email screen on the tv. The name that kept appearing over
and
> > > >over with this ILoveYou as the subject was MARK KENNEDY! I have no
idea
> > > >if it was OUR mark Kennedy. I just thought it funny!
> > > >
> > > >Dee
> > > >
> >
> > --
> >
> > You may arise.
>
> --
>
> You may arise.





From: Howard Portugal <howardpo@MICROSOFT.COM>
Date: 15 May 2000 16:37
Subject: Re: Story

So Juan, where are the diagrams???

-----Original Message-----
From: Juan Carlo Rodrguez [mailto:tciprograming@TELCEL.NET.VE]
Sent: Sunday, May 14, 2000 1:29 PM
To: ORIGAMI@MITVMA.MIT.EDU
Subject: Story

Cute story I want to share. I read it years ago in DISCOVERY magazine, and
it's never lost its charm to me. First prepare a "model" with the included
diagrams (John Montroll I'm not...), and you're ready to start telling the
story.

Two young men were born the same year in a small town. When they both
reached 16, they left their hometown to seek fortune. One of them, Paul,
became a notorious crook, dealing in anything that could be illegal,
becoming known as Black Paul. The other, Peter, became one of the most
renowned doctors of the land, not only because of his extraordinary ability
but because of the kindness he demostrated towards his patients. As fate
would have it, the same day Paul was killed in a gunfight with the police,
Peter died in a car accident. They met in the road to Heaven, and Paul
noticed that Peter had a piece of paper like the one you have in your hand.
"Hey, kid, what's that", Paul asked. "It's  my pass to Heaven", Peter
answered. "What happened to yours?" "Must of dropped it in the coffin", Paul
lied. "Can you give me part of yours, so that there's no problem when I get
in?" Peter, of course, said OK. (Cut on line "a" on the diagrams.) As they
approached Heaven's Gates, Paul started to get nervous (duh). "Hey, hold on,
he told Peter. "Your piece is bigger than mine, what's up with that? Give me
another piece so we're even." And Peter obliged. (Cut on line "b".) When
they finally reached the gates, they were greeted by an angel. Paul nudged
ahead, and produced his "pass". "What's this?", the angel asked. "That's my
pass, what else?", Paul answered. "Very well", the angel said, "then open
it. You must go where it tells you to." (Open up the pieces made from cut
"a" and "b", and arrange them. No, I'm not tellling you how! It's part of
the magic!) When Paul saw his fate, he howled in rage and pain. But he
suddenly remembered: "Hey, wait a minute! I got this from the guy behind me!
He shares my fate!" The angel turned to Peter and said, "Open your pass, my
son. You must go where it indicates." (Open up the last piece of paper, and
Peter's fate will be clear.)

I hope it was worth it!

JC





From: "Kennedy, Mark" <KennedyM@DNB.COM>
Date: 15 May 2000 16:48
Subject: Touching all of the threads

I don't have time to post to each thread so here is a round of the current
discussions:

I love you virus: It was already known in my company by the time I got in at
8:45 am. I was warned before I got to my desk. I had over 50 "I love you"
messages at that time. Ah! the benefits of working for a global company with
MS Outlook. Sorry Dee that was not me send all of those stories on the
Denver news. Dee, I had to do some paper mache for work we had to make
piatas to celebrate Cinco de Mayo, I found that if I used the
methyl-cellulose (a.k.a. wall paper paste 3 teaspoons per pint of water)
that it would dry over night instead of three days to a week with flour and
water. This is the same mixture that I use for wet folding.

Cooper Hewitt exhibition: In about 1964-68, I took a visit into the Cooper
Museum. They let me go through a large "shoe-box" full of origami. I was
able to reverse engineer a G. Baggi fold for a human figure. Basically a
bird base with one flap cut, which was squashed and petal folded to form the
arms; two other flaps were inside reversed folded and then petal folded to
form the legs; the model was folded in half along the vertical crease with a
couple of inside reverse folds the head and nose were formed. The model is
very basic but very pose-able. There were examples of two fencers and a
small marching band included in the box. The balance of the box is not in my
long term memory file.

Origami Joke: I use this when I teach I have a large folded "O" with me.
Origami is a compound word. Ori means fold; Gami means paper! What would you
get if you folded a letter "O?" ........................... Ori - Os a.k.a.
oreo. Note: Oreo's were one of Michael Shall's favorite cookies.

Origamido Book: I saw the book. It is great. I will wait until  the OUSA
convention to buy it so that I can have Michael autograph it and I don't
have to pay for postage. Also I drive to convention, so carrying it on a
plane or train is no big deal. I would recommend the same to everyone.

NEW Thread: OUSA convention. I have done a preconvention field trip to the
TODAY show at Rockefeller Plaza on the Friday before convention. The bad
news is that since they have a concert on Friday's during the summer it gets
verrry crowded. That means that you need to arrive before 6 am for a 7 am
show to get a spot near the guard rails for a chance to be seen on TV for a
few seconds. Some how Robin Macey has been able to get on air twice with 30
second interviews.  The choice of music may or may not be to our liking. I
have not checked the website for the list of guest although last year, they
were not published weeks in advance.

My question is: Is anyone else interested in continuing this tradition? I
will show up in NYC Thursday night so as to be able to make the trip. There
is a reasonable priced cafeteria nearby for breakfast afterwards. Also
Kinokunia (sp?) is next door and they open up at 9:00 am so you can hit the
book store early.

Mark Kennedy





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 15 May 2000 16:52
Subject: Diagrams for the story

The diagrams didn't get included, people, so I'll try to explain it here.
     Please excuse the lack of clarity, but for some reason

1.- Use a letter- or A4-sized paper. I've done this with cocktail napkins
and it works beautifully, as long as it's rectangular.

2.- Bisect the upper-left angle by folding the top edge over to the left
edge -- you know, as if you're trying to get a square from a rectangle.

3.- Valley-fold the resulting triangle in half by folding on the diagonal
(fold the upper corner to the right corner).

4.- Mountain-fold the lower, rectangular part up flush with the base of the
triangle. There should be a point sticking up over the traingle, if you're
using letter-sized paper.

5.- Valley-fold the entire "model" in half.

You're ready to start telling the story.

The cuts divide the lower rectangle roughly in thirds. You must hold the model
     with the triangular point on the left side. Cut "a" is about a third from
     the right edge to the left. Cut "b" is a third from "a", and is made on a
     line that runs from the inte





From: Joel Stern <Joel_Stern@CANDLE.COM>
Date: 15 May 2000 18:28
Subject: Re: Origamists as artists

I'd like to join in the discussion regarding future directions of origami.
First of all, as to what to call ourselves.  I don't think it matters much, but
for the record, the term "paper engineer" has already been taken -- these are
the people who engineer pop-up books, which either perform their magic when
opened, or when tabs are pulled by the reader.  (I actually worked in this
profession for a time, and after the freedom of using knife and glue it was
actually quite difficult for me to return to the restrictions of origami.)  But
the kinetic aspect of these books, which is part of their appeal, might inspire
some of us to develop more action-oriented models, such as those created by
Robert Lang or Jeff Beynon.  After all, how many of us were first inspired to
try our hand at origami because of the Flapping Bird?  I know that when a person
(of any age) who has never heard of origami asks me to show them a
representative model, this is the one I show them, mainly because it
demonstrates for them, simply and elegantly, the magical, surprising,
kinesthetic experience that can be found in folding a square of paper.

Joel





From: Eileen Tan <eileen@TRISTAN.TN.CORNELL.EDU>
Date: 15 May 2000 18:32
Subject: Re: Diagrams for the Story

Hi all,

  Some quick and dirty diagram for the story - not that great, but
hopefully clear enough.

http://www.people.cornell.edu/pages/et33/story.gif

Eileen





From: Faye Goldman <FayeG@IX.NETCOM.COM>
Date: 15 May 2000 18:43
Subject: Friday at convention

You can count on me.  I don't think Brian will make it.
Faye

<My question is: Is anyone else interested in continuing this
tradition? I
will show up in NYC Thursday night so as to be able to make the trip.
There
is a reasonable priced cafeteria nearby for breakfast afterwards. Also
Kinokunia (sp?) is next door and they open up at 9:00 am so you can
hit the
book store early.>

Mark Kennedy





From: Michael Antonette <mylor@TELUSPLANET.NET>
Date: 15 May 2000 21:23
Subject: Football

   Hi all!

   I'm looking for a fold that creates a football. I seem to recall seeing
one somewhere, but I can't remember if it was in a book or on a website. Any
ideas?
   Thanks in advance!

                                     Michael

"The great square has no corners."  -- Lao Tzu





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 15 May 2000 23:23
Subject: Re: Emotional response

In response to Julia's email:

When I fold a model, I want the essence of the animal to be there.  I
sometimes don't care about the details and will even change some of the
steps in the model to make it feel like the animal I have in my head.
Which actually makes me quite different from how Juan folds (I liked your
response BTW).  I usually fold a model only three times from typewriter
paper, and one last time from either xerox paper or origami paper.  Each
one looks different because I've actually tinkered with aspects of the
model.  That's not to say that sometimes I fold a model many, many times,
or to say that sometimes I don't follow a model to the letter.

David





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 15 May 2000 23:23
Subject: Re: Football

There's somethig that looks like a football in Unit Origami by Tomoko Fuse.

David





From: Michael Janssen-Gibson <mig@ISD.CANBERRA.EDU.AU>
Date: 16 May 2000 00:27
Subject: Re: The Yoshizawa Book

Oh David how cruel!!

To mention a new Yoshizawa book and then give us so little to go on if we
want to order a copy.

If anyone is successful in obtaining a copy of this book (and I mean as a
"mere mortal" ie. ordering it from a supplier, rather than receiving a
gracious gift), I would be most interested in hearing about it.

I have often seen the phrase "books may be ordered directly from Akira
Yoshizawa" in the older origami books, but was not sure if this was still
a possibility. I am guessing there would be a similar arrangement to
Galllery Origami House, where only yen or postal money orders are
accepted?

Of course what I really want to hear is that the book could be obtained
through TRC - a long shot, but hearing this would make my day.

regards

Michael

On Mon, 15 May 2000 DLister891@AOL.COM wrote:

> The title is: "Akira Yoshizawa: Origami" and the book has two brown origami
> elephants, an adult and  youngster, on the cover.  Th book measures eight
> inches (20 centimetres) square, and is paperbacked and with 140 pages. The
> first 108 are coloured photographs of some (not all 2000 or so!) models in
> the exhibition and the remaining pages have diagrams for a limited number of
> models.
>
> There is no ISBN number and I do not know the name of the publiser, unless it
> is Asahi Shimbun, the Tokyo newspaper which sponsored the exhibition.
> Presumably the catalogue can be obtained from Mr. Yoshizawa, but I do not
> know the price.





From: Krystyna i Wojciech Burczyk <burczyk@MAIL.ZETOSA.COM.PL>
Date: 16 May 2000 00:36
Subject: Re: Football

Michael Antonette wrote:
>    I'm looking for a fold that creates a football.

You can find two designs of the modular football on our page:
http://www1.zetosa.com.pl/~burczyk/origami/g2-11-en.htm

Wojtek





From: Julia Palffy <jupalffy@BLUEWIN.CH>
Date: 16 May 2000 00:58
Subject: Re: Football

There's a modular football in Kasahara's book "Origami no subete" (ISBN
4-537-01213-7), which is on catalogue at Viereck Verlag, Germany.

Julia Palffy
Zug, Switzerland
jupalffy@bluewin.ch

> -----Original Message-----
> From: Origami Mailing List [mailto:Origami@MIT.Edu]On Behalf Of Michael
> Antonette
> Sent: mardi, 16. mai 2000 04:23
> To: ORIGAMI@MITVMA.MIT.EDU
> Subject: Football
>
>
>    Hi all!
>
>    I'm looking for a fold that creates a football. I seem to recall seeing
> one somewhere, but I can't remember if it was in a book or on a
> website. Any
> ideas?
>    Thanks in advance!
>
>                                      Michael
>
>
> "The great square has no corners."  -- Lao Tzu





From: Allan findlay <a_findlay@CREATIONS.CO.UK>
Date: 16 May 2000 03:56
Subject: Re: Story

Very good, I had to wait for Eileen'd diagrams before I could do it though
(I'm rubbish at visualization).

Be careful you don't open it the upside down if you are telling the story to
someone......

-------------------------
        Allan   (ICQ 65208096)

-----Original Message-----
From: Juan Carlo Rodrguez [mailto:tciprograming@TELCEL.NET.VE]
Sent: Sunday, May 14, 2000 9:29 PM
To: ORIGAMI@MITVMA.MIT.EDU
Subject: Story

Cute story I want to share. I read it years ago in DISCOVERY magazine, and
it's never lost its charm to me. First prepare a "model" with the included
diagrams (John Montroll I'm not...), and you're ready to start telling the
story.

Two young men were born the same year in a small town. When they both
reached 16, they left their hometown to seek fortune. One of them, Paul,
became a notorious crook, dealing in anything that could be illegal,
becoming known as Black Paul. The other, Peter, became one of the most
renowned doctors of the land, not only because of his extraordinary ability
but because of the kindness he demostrated towards his patients. As fate
would have it, the same day Paul was killed in a gunfight with the police,
Peter died in a car accident. They met in the road to Heaven, and Paul
noticed that Peter had a piece of paper like the one you have in your hand.
"Hey, kid, what's that", Paul asked. "It's  my pass to Heaven", Peter
answered. "What happened to yours?" "Must of dropped it in the coffin", Paul
lied. "Can you give me part of yours, so that there's no problem when I get
in?" Peter, of course, said OK. (Cut on line "a" on the diagrams.) As they
approached Heaven's Gates, Paul started to get nervous (duh). "Hey, hold on,
he told Peter. "Your piece is bigger than mine, what's up with that? Give me
another piece so we're even." And Peter obliged. (Cut on line "b".) When
they finally reached the gates, they were greeted by an angel. Paul nudged
ahead, and produced his "pass". "What's this?", the angel asked. "That's my
pass, what else?", Paul answered. "Very well", the angel said, "then open
it. You must go where it tells you to." (Open up the pieces made from cut
"a" and "b", and arrange them. No, I'm not tellling you how! It's part of
the magic!) When Paul saw his fate, he howled in rage and pain. But he
suddenly remembered: "Hey, wait a minute! I got this from the guy behind me!
He shares my fate!" The angel turned to Peter and said, "Open your pass, my
son. You must go where it indicates." (Open up the last piece of paper, and
Peter's fate will be clear.)

I hope it was worth it!

JC





From: Dave Mitchell <davemitchell@MIZUSHOBAI.FREESERVE.CO.UK>
Date: 16 May 2000 06:24
Subject: Emotional response

Julia Palffy wrote:

>Sometimes this kind of art - the one which evokes strong emotions - may be
>necessary. But I think it's easier to provoke than to create something
>beautiful

Yes, I agree.

>and I find that deep down, it's still beauty and truth I'm
>looking for

To my horror I find I agree with this too. And so I guess will most of the
rest of the origami community.

I have occasionally perpetrated mild pieces of art of the emotional response
kind on the origami community .... a half-finished modular ball, an SF
seascape, half a flapping bird entitled 'the sound of one wing flapping'
.... not wanting to shock or perplex too much you understand .... and while
there is always a small group of folders to whom these ideas appeal the
majority of folk just regard them as bad, odd or unfinished.

And in a sense this is the crux of the problem. Art as it is understood by
the modern art establishment is not 'nice' or 'comfortable' or 'pretty' ....
but origami usually is, even what we like to call artistic origami is
usually all three of these things. It doesn't challenge, it doesn't
frighten, it doesn't shock. We would all love to have it displayed in our
living rooms ...

Dave Mitchell





From: Jorma Oksanen <tenu@SCI.FI>
Date: 16 May 2000 08:11
Subject: yes Yes YES: Excessive quoting

Oh please, people, stop quoting the whole message you are replying to,
I hate to see people quoting 4kB message for two-line comment.  This is
made worse by sending messages with HTML-code, more than doubling the size.

Why is this YES (Yes, Extremely Sad) instead of NO (Not Origami) is that
it's so sad that you are wasting my (any many others') time and money,
both resources I would like to have more.

--
Jorma 'poor and busy' Oksanen   tenu@sci.fi

Weyland-Yutani - Building Better Worlds





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 16 May 2000 08:15
Subject: Re: Football

You of course mean American football, don't you? Remember, I'm Latino, and
"football" for us is "soccer" for y'all.

JC

-----Original Message-----
From: Michael Antonette <mylor@TELUSPLANET.NET>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Tue, 16 May 2000 08:15:37 -0400
Subject: Football

>   Hi all!
>
>   I'm looking for a fold that creates a football. I seem to recall seeing
>one somewhere, but I can't remember if it was in a book or on a website.
Any
>ideas?
>   Thanks in advance!
>
>                                     Michael
>
>
>"The great square has no corners."  -- Lao Tzu





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 16 May 2000 08:17
Subject: Re: Diagrams for the Story

Eileen, thanks so much. I did make some diagrams, but the list kept
rejecting them. Hope you enjoyed the story.

JC

-----Original Message-----
From: Eileen Tan <eileen@TRISTAN.TN.CORNELL.EDU>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Tue, 16 May 2000 08:17:14 -0400
Subject: Re: Diagrams for the Story

>Hi all,
>
>  Some quick and dirty diagram for the story - not that great, but
>hopefully clear enough.
>
>http://www.people.cornell.edu/pages/et33/story.gif
>
>Eileen





From: DLister891@AOL.COM
Date: 16 May 2000 09:51
Subject: Re: The Yoshizawa Book

Very reasonably, Michael Janssen-Gibson is thrown into consternation because
I have mentioned a new Woshizawa book, but not given any instructions for
obtaining it.

I am writing today to Mr. Yoshizawa and will ask him where copies of the
Catalogue of his Exhibition may be obrtained. It may be that the BOS, OUSA
and perhaps commercial suppliers will wish to stock the book if this is
possible.

I do agree about the difficulty of making payments to Japan. It is easier on
a commercial basis than for small one-off payments.

I hope that the first part of my  Report on the Yoshizawa Exhibition came
through in intelligible form.  The copy sent back to me from Origami-L was as
I intended, but it may have been mangled up by some people's mail programs.

I shall be sending the second section in two parts later today. I feel I
should spread it about a bit to avoid clogging people's systems.

David Lister.





From: DLister891@AOL.COM
Date: 16 May 2000 10:17
Subject: D.Lister: the Yoshizawa Exhibition. Section Two, part two.

DLister: The Yoshizawa Exhibition. Section Two, part two.

Continued from part one:

Afterwards we were taken to other parts of the complex, including a large
library in the basement and a "mausoleum" room, lined with stepped shelves
where tokens and mementoes of deceased persons could be kept and where they
could be remembered. On the wall at the end of the room was an origami figure
of the goddess of mercy that Mr. Yoshizawa had folded for the temple. Mr.
Yoshizawa was clearly very devoutly attached to this temple in Kyoto, even
though he lives many miles away in the Tokyo area As we passed through the
burial ground which surrounded the temple, we noticed a plot marked as
reserved for him.

After lunch, Mr. Inui took us on a walking tour of the neighbourhood, passing
several small temples and shrines and one larger shrine, with the small
garden bright with spring flowers and with an ancient Camellia tree about a
hundred years old. Temples are Buddhist, shrines are Shinto. Buddhism and
Shinto have different historical origins, but they co-exist and most Japanese
people adhere to both religions. We came to a stream which it was pointed out
to us was once used for making paper. Further on we passed a little shop
where I noticed some formally folded "noshi"  wrappers on sale. We walked a
long way and I couldn't help admiring the way Yoshizawa staunchly kept up
with the tour, supported by Mrs. Yoshizawa, who held his hand. Eventually we
crossed a wide road and came to the entrance to a very large shrine set in a
park. Two large traditional stone komainu or lion-dogs lions guarded each
side of the entrance to repel evil. Here we parted company with Mr. and Mrs.
Yoshizawa, who returned to their hotel by taxi.

This was the Kitano Tenmangu Shrine.  I was a big complex of buildings. We
walked up a wide path lined with statues, stone lanterns and small shrines
and under two gigantic torii, the typical Japanese square gates having a
double lintels cross the top. The torii mark the entrance to the sacred
enclosure. We  entered the shrine proper through the roofed main entrance and
we found a cluster of buildings both large and small. What especially
interested me were the sacred shimenawa ropes which hung over the entrances
to every shrine, big or small. These mark the boundary between the sacred and
the profane. The shimenawa ropes had tied into them bundles of rice straw and
o-shide, the white papers cut and folded into zigzags that are another
indication of the sacredness of the place. If rocks and trees are considered
sacred, they will also have their own shimenawa with rice straw and o-shide
tied round them. Within the shrines we could often see a go-hei, which is a
double o-shide attached to the top of a wand. I understand that the go-hei
signifies the presence of the god. One of the buildings was a museum, full of
fascinating exhibits, to enter which we had, as usual, to remove our shoes.

The next day, Saturday we were taken on a coach trip round Kyoto, visiting
another large temple complex with two worship halls, one of them of truly
enormous dimensions. We also visited the Nijo Castle which is where the
Shogun stayed when he visited Kyoto. I was fascinated by the corridors of the
castle, the wooden floors of which were deliberately made to squeak to warn
of the presence of intruders. They were delightfully named the "nightingale"
floors and that is how they sounded as we walked along them.

 We then went on to Tenru-Ji, the famous Golden Pavilion, which is overlaid
with gold leaf and shimmers across the lake in which it stands. It is set in
an exquisite garden, surrounded by shrines and subsidiary temples. From there
we were taken to a craft centre. Here we had lunch and had an opportunity of
touring the building massed with examples of Japanese workmanship. I was most
impressed by some
"used" kimonos, which were magnificent in their richness, colour and
workmanship, but I limited my purchases to a small "Moroccan" twisted purse
and some toothpicks dressed up as paper dolls.

On Sunday we were taken on a spectacular trip through a deep and narrow
wooded gorge, along the bottom of which flowed a fast-flowing river. We
travelled upstream by an antique "toast-rack" railway, going across bridges
and through several tunnels and able to look down on the river below. Our
return was even more spectacular and was in boats resembling  sampans, each
one steered and rowed by three hard-working men. It was an exciting journey
down the cascading river, shooting the many rapids. Fortunately the boats
were stable and none of us got wet. At one point, where there was a small
station on the railway on which we had travelled, there were rows of
streamers in the form of carps strung across the river. They were in
anticipation of the coming Boys' Day which would be celebrated on 5th May.
Throughout Kyoto we saw flagpoles decorated with strings of carps, regarded
as the most valiant of fish. Downstream, a motor boat selling food drew up to
us and we travelled linked to it  for a few minutes downstream while some
people bought snacks and our boatmen took a well-earned rest. The river
widened and our boat trip came to an end. The area we landed was a holiday
area, busy with cafes and souvenir shops. A feature of the area was the many
smart modern  rickshaws with pneumatic tyres pulled by energetic young men
and available for hire. We visited a restaurant to enjoy an elegant lunch
under the weeping cherry trees in a pretty garden overlooking the river.
During the afternoon, we visited to another temple with a lake set in a
remarkably serene and beautiful garden ablaze with spring blossom and then
walked though a forest of bamboos to see another small complex of shrines,
before finding a place for coffee and catching the bus back to the centre of
Kyoto

Our formal visit came to an end on the Monday, when we again visited the
exhibition at Takashimaya and Mr. and Mrs. Yoshizawa entertained their
overseas guests to a farewell tea-party with some of the people who had
helped us in our visit. The Revd. Masahiro Inui was also invited. At first we
didn't recognise him because he had discarded  his formal robes for civilian
dress with a colourful woollen sweater. It was another happy occasion at
which we ate tea and cakes, chatted with our new-found Japanese friends and
took many more photographs. Eventually it was time to go and we reluctantly
took leave of Mr. and Mrs Yoshizawa, deeply grateful to them for providing us
with such a unique and rewarding experience.

David Lister.





From: DLister891@AOL.COM
Date: 16 May 2000 10:21
Subject: D.Lister: The Yoshizawa Exhibition. Section Two, part one

D.Lister: the Yoshizwa Exhibition. Section Two, part one.

My Visit to Kyoto

After a twelve-hour over-night flight from Amsterdam I arrived at Kansai
Airport, constructed on an artificial island in the Bay of Osaka at  8.30 am
on Thursday, 27th April. Against my expectation, I was met by Mr. Yoshizawa's
representative and we took the express train to Kyoto where we were met and
driven by car to the Sun Hotel in the centre of Kyoto, where a room had been
booked for me.  For all its historical reputation and the many temples and
shrines scattered throughout the city, Kyoto is very much a modern city,
thronged with crowds of people and with streets of taxis, cars and buses
seemingly in a perpetual gridlock. That afternoon, I met Mrs. Jean
Baden-Gilette, the President of Origami USA who was also a guest of Mr.
Yoshizawa and we were taken the short distance to the Takashimaya department
store at the busy cross-roads in the centre of Kyoto where the exhibition was
being held. Takashimaya at Kyoto is one of the great department stores of the
world, very extensive, spacious and very elegant. We took the lift to the
seventh floor and to the entrance to the exhibition. I was asked to sign the
visitors' book, the first entry not in Japanese, and then I had my first
sight of the exhibition, being first confronted by two large flying dragons
and a large and impressive model of Godzilla. I began looking round, but
before long a lady came up to me, asked me my name and I was taken into a
private room where Mr. and Mrs. Yoshizawa were waiting for me and warmly
greeted me. I was introduced to other people, including Mr. Katsuji
Tachikawa, the Cultural Projects Officer of the Asahi Shimbun newspaper of
Tokyo, who were the sponsors of the exhibition and the manager of exhibitions
for Takashimaya, who explained that  the promotion of artistic exhibitions in
department stores was a tradition in Japan. They had previously held an
exhibition of the Impressionist paintings from the Courtauld Collection of
London and he generously presented me with a copy of the sumptuous catalogue.

As we talked, we were joined by Giovanni Maltagliati, the secretary of Centro
Diffusione Origami, the Italian origami society and his wife, Gianna. We
presented our gifts and then went out to see the exhibition. I didn't expect
to be able to take photographs, but I thought it worth asking and was
pleasantly surprised to be given an armband  which made me an official
photographer, which would protect me from interference by the several smartly
uniformed security guards. Mr. Yoshizawa was full of life and we took the
usual group photographs, exchanging cameras so that everone would have a
record of the occasion.

Then it was time for the celebration dinner held downstairs in the store's
luxurious restaurant. Far from being Japanese,  the meal was of  French
cuisine with wines, and elegantly served. I and the other overseas guests
were seated with Mr. and Mrs Yoshizawa, and with two Japanese ladies who
acted as very capable interpreters. The other tables were occupied by about
twenty members of Mr. Yohizawa's International Paperfolding Society. Before
the meal, Mrs. Yoshizawa gave a short speech of welcome and I, followed by
Jean Baden-Gilette and GiovannI Maltagliati replied and said how honoured and
happy we were to be there. Mr. Yoshizawa presented all the guests with a copy
of the catalogue of the exhibition which he autographed for us. I was seated
opposite Mrs. Hiroko Ichiyama who had been a member of the staff of Reader's
Digest at the time of the publication of the article about Yoshizawa in 1970
and we were able to discuss how Leland Stowe came to write it and how a
longer preliminary version the article came to be printed in the Beacon
Magazine of Hawaii.

Our entertainment was far from over with the completion of the meal. The next
morning, Friday, we were taken by taxi to the Kensoin Buddhist Temple, hidden
away in the narrow streets of an obscure part of Kyoto. The overseas guests
were joined by a group of members of Yoshizawa's society. Here, the priest in
charge was  the Revd. Msahiro Inui, a friend of Mr. Yoshizawa and a cheerful
friendly man. He greeted us in his dark blue robes as a Buddhist priest and
after we had removed our shoes he welcomed us into the worship room of the
temple. It was an impressive and sacred place with its ornate altar
illuminated on either side by  cascades of white "fairy" lights on either
side and with a magnificent gilt chandelier suspended above. Mr. Yoshizawa
knelt devoutly before the altar and those who wished to do so were invited to
burn incense. We were then taken to another room at the back of the temple,
where we were seated in a square on cushions on the floor and Mr. Inui gave
us an account of the temple. In deference to his age, Mr. Yoshizawa was
permitted to sit on a chair. There followed a Tea Ceremony presented by a
young lady in a kimono. She was a teacher and had learnt the art from her
mother. Several other ladies who were associated with the life of the temple
helped by carrying bowls of tea to each of us.. Later,  we were then shown
round the temple, which was very different from the large temples we were
subsequently to visit. These were largely public monuments, but this was an
active working temple, used for regular worship and study and it had much the
same atmosphere as a busy working church in the West. There were two main
buildings, one for worship and formal meetings and one for living, with
bedrooms, living rooms and kitchens. They were of recent construction and as
we were shown round, the bosses at the ends of the main roof timbers were
pointed out to us. They took the form of fierce faces intended to frighten
away evil spirits. We were told that these were reproductions of a paper mask
and that they had been specially created by Yoshizawa. We later saw the paper
original of this mask.

We were taken back to the meeting room for a "luncheon box " meal, as always,
tasty and fascinating and, of course, according to Buddhist tenets,
vegetarian. Unaccustomed to sitting back on my heels, I somehow managed to
fold up my western legs into a reasonably comfortable position which I was
just able to maintain. During the meal Mr. Inui presented each of us with a
fine coloured picture book of the temple, showing its construction, its
dedication and its activities.

Continued in Section Two, part two.

David Lister.





From: Dr Stephen O'Hanlon <fishgoth@HOTMAIL.COM>
Date: 16 May 2000 11:13
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

> > I'd like to take this chance to ask a rather personal question: I'm 28
>years
> > old, 29 on July 17th. Am I the youngest on the list?

>Melissa Dawn :)

If its any consolation, I'm younger...but only by just. I'm still a baby
doctor ;-(

Dr Stephen O'Hanlon MA(oxon) MB.BChir(cantab)
Origami Web page  - http://www.geocities.com/paperfolder.geo
Visit this site!  - http://www.thehungersite.com

Phone : 0118 969 4644
Mobile: 0771 327 8855

________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com





From: Roel Espe <r_espe@YAHOO.COM>
Date: 16 May 2000 11:57
Subject:

hello!

I need help!  How do I remove myself from the mailing list?

__________________________________________________
Do You Yahoo!?
Send instant messages & get email alerts with Yahoo! Messenger.
http://im.yahoo.com/





From: Lar deSouza <fresco@SENTEX.NET>
Date: 16 May 2000 12:01
Subject: Re: The Yoshizawa Exhibition

Dear David,

I just needed to take a moment to thank you for your recent posts regarding
your wonderful visit to Japan and the Yoshizawa Exhibition.  I am very
grateful that you shared your experience with us, and appreciate the time
it took to compact what was a fantastic trip into a relatively brief
format.  Your writing style is easy and descriptive, helping my imagination
to conjure up how you felt during the trip, even if I can't imagine exactly
how it is to visit Kyoto (never having been there myself :).

Again, thanks for taking the time to share your experiences.  I would like
to envy you, except that would take away from the pleasure I've gotten from
reading your posts :) and I don't want to do that!

Later!

Lar

**********
The Many Faces of Lar
http://www.sentex.net/~fresco/faces

The ArtGuys:
http://www.interlog.com/~artboy





From: Perry Bailey <pbailey@OPENCOMINC.COM>
Date: 16 May 2000 12:26
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

"Melissa D. Johnson" wrote:
>
> On Sun, 14 May 2000, [iso-8859-1] Juan Carlo Rodrmguez wrote:
>
> > I'd like to take this chance to ask a rather personal question: I'm 28 years
> > old, 29 on July 17th. Am I the youngest on the list?
>
> I'll be 29 in October.
>
> Melissa Dawn :)
> http://MelissaDawn.Johnson.org/
>
>Hi y'all!

        I will be 20 in July so I think that makes me younger.

Erralee Bailey

--
"Continental chambermaids
are very hard to shock,
first they wait until your naked
then they enter, then they knock!"

Victor Buono from "It could be verse"

http://www.afgsoft.com/perry/           <--Website w/ diagrams!





From: Ronald Koh <ronkoh@SINGNET.COM.SG>
Date: 16 May 2000 12:51
Subject: Re: Young origami talent in Singapore

david whitbeck wrote:
>
> There must be something about Singapore!  These models are amazing!

Sorry for picking up on this thread several days late. I've been up to
my eyebrows in work, and have hardly enough time to read my mail
regularly, let alone fold.

We have been having an exciting time in Singapore indeed! Thanks to the
efforts of Albert Sng, we managed to get the local Chinese press to
publicize some of our activities. This helped to draw some paper
folders, who were largely on their own, to our group. Andy Lim was one
of the people who responded to our call, and we were pleasantly
surprised by his origami.

Prior to the recent exhibition at Kim Seng CC, which was made possible
by the efforts of Cheng Chit, we had about 20 people in our group.
During that exhibition, another 27 people, most of whom are or were into
origami, indicated their interest to either join our group, or some of
our activities. We have since formed an Origami Interest Group
(Singapore), and hope to formalize the society in about two years. Cheng
Chit, by the way, was unanimously elected to head the group.

Through the efforts of Francis Ow, we have been invied to hold yet
another exhibition from 3 to 4 June at the Bukit Merah Branch of the
National Library. We have invited T P Kong of Malaysia to join us. We
are also working towards having an origami demo on 19 June at local
Borders Bookstore.
>
David also wrote:

> ps Ronald Koh, how is the book coming along?

Sorry, David: Not good at all. As you know, I have a medical condition
which has required me to cut back drastically on my PC and TV time. It
has not gotten any better. My work schedule has not helped either. I am
still working on the book, but not at the pace that I would have liked.

Thanks for your continued interest.

Ronald
(Non-artistic, self-referential, and idiosyncratic 'origami model maker'
and proud of it) ;o)





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: 16 May 2000 13:20
Subject: Will you stay, Erralee?

Erralee!

So nice to see your posting - are you going to stay with us?  We'd love to
have you carry on in the Bailey name!!

At 11:25 AM 5/16/00 -0500, you wrote:
>"Melissa D. Johnson" wrote:
> >
> > On Sun, 14 May 2000, [iso-8859-1] Juan Carlo Rodrmguez wrote:
> >
> > > I'd like to take this chance to ask a rather personal question: I'm
> 28 years
> > > old, 29 on July 17th. Am I the youngest on the list?
> >
> > I'll be 29 in October.
> >
> > Melissa Dawn :)
> > http://MelissaDawn.Johnson.org/
> >
> >Hi y'all!
>
>         I will be 20 in July so I think that makes me younger.
>
>Erralee Bailey
>
>--
>"Continental chambermaids
>are very hard to shock,
>first they wait until your naked
>then they enter, then they knock!"
>
>Victor Buono from "It could be verse"
>
>http://www.afgsoft.com/perry/           <--Website w/ diagrams!





From: Lar deSouza <fresco@SENTEX.NET>
Date: 16 May 2000 13:29
Subject: Re: The Yoshizawa Exhibition

Dear all,

Apologies for the last post.  I meant to just send it to David.

Lar





From: Rob Hudson <FashFold@AOL.COM>
Date: 16 May 2000 13:58
Subject: list instructions

At the risk of being flamed, I will ask the following question (probably seems
     a bit backwards)--

How do I return from digest mode to normal postings?  As much as I like getting
     the mail condensed, I cannot reply in as timely a manner as I would like.

Thanks!





From: Michael Antonette <mylor@TELUSPLANET.NET>
Date: 16 May 2000 14:15
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

   Good grief! This thread (however it got started) is making me feel old!
Isn't there anybody else out there who's older than 35?? (Notice I don't say
how much older? ;)-
   Thank goodness I have kids. They keep you feeling young... except for all
the bending over to pick stuff up, of course...

                                   Michael

"The great square has no corners." -- Lao Tzu

> "Melissa D. Johnson" wrote:
> > On Sun, 14 May 2000, [iso-8859-1] Juan Carlo Rodrmguez wrote:
> > > I'd like to take this chance to ask a rather personal question: I'm 28
years
> > > old, 29 on July 17th. Am I the youngest on the list?
> > I'll be 29 in October.
> >Hi y'all!
>         I will be 20 in July so I think that makes me younger.
> Erralee Bailey





From: Marion Riley <marion-r@WEBTV.NET>
Date: 16 May 2000 14:25
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

 56 been folding 35yrs.

                               Marion

http://community.webtv.net/marion-r/ModularOrigami

http://community.webtv.net/marion-r/WHATTHEHELLDOWECALL





From: Scott Cramer <scram@LANDMARKNET.NET>
Date: 16 May 2000 14:29
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

>Isn't there anybody else out there who's older than 35??

My age is the product of a squared prime and the next prime.

Scott  ;^)





From: Larry Wood <origami@TELEPORT.COM>
Date: 16 May 2000 14:33
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

Indeed, young and folding at 52.
Larry Wood
----- Original Message -----
From: "Michael Antonette" <mylor@TELUSPLANET.NET>
To: <ORIGAMI@MITVMA.MIT.EDU>
Sent: Tuesday, May 16, 2000 12:14 PM
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

>    Good grief! This thread (however it got started) is making me feel old!
> Isn't there anybody else out there who's older than 35?? (Notice I don't
say
> how much older? ;)-





From: Dorothy Engleman <FoldingCA@WEBTV.NET>
Date: 16 May 2000 14:37
Subject: Re: age (Was Re: Origami sighting and a sort of a sighting...)

I'm young at heart.

Dorothy "fairy tales can come true, they can happen to you" Engleman





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 16 May 2000 14:41
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

Sorry, Larry, my fault. But hey, remember, to be a "paper-teer" is to be
young forever!

-----Original Message-----
From: Larry Wood <origami@TELEPORT.COM>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Tue, 16 May 2000 14:41:43 -0400
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

>Indeed, young and folding at 52.
>Larry Wood
>----- Original Message -----
>From: "Michael Antonette" <mylor@TELUSPLANET.NET>
>To: <ORIGAMI@MITVMA.MIT.EDU>
>Sent: Tuesday, May 16, 2000 12:14 PM
>Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)
>
>
>>    Good grief! This thread (however it got started) is making me feel
old!
>> Isn't there anybody else out there who's older than 35?? (Notice I don't
>say
>> how much older? ;)-





From: Kim Best <kim.best@M.CC.UTAH.EDU>
Date: 16 May 2000 15:18
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

Scott Cramer wrote:
>
> >Isn't there anybody else out there who's older than 35??
>
> My age is the product of a squared prime and the next prime.
>
> Scott  ;^)

Wow!  you pretty bright for 12 year old!





From: DLister891@AOL.COM
Date: 16 May 2000 15:33
Subject: The Yoshizawa Exhibition, Section two, part two

Gerard Blais has pointed out that the Golden Pavilion is not Tenru-ji. Its
correct name is Kinkaku-ji. I really did know this, (honest!) but the
typographical gremlins have  been at work again. Please correct the error in
your copies.

Tenru-ji is another temple with a very beautiful lake and garden. If you ever
have the opportunity of doing a tour of the 2000 temples in Kyoto Tenru-ji is
one to choose.

David Lister.





From: Lar deSouza <fresco@SENTEX.NET>
Date: 16 May 2000 15:58
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

Michael,

>   Good grief! This thread (however it got started) is making me feel old!
>Isn't there anybody else out there who's older than 35?? (Notice I don't say
>how much older? ;)

Coming up on 37 myself :)

>   Thank goodness I have kids. They keep you feeling young... except for all
>the bending over to pick stuff up, of course...

Yeah, but sharing stops when it comes to daddy's toys in this household ;)

Lar

**********
The Many Faces of Lar
http://www.sentex.net/~fresco/faces

The ArtGuys:
http://www.interlog.com/~artboy





From: Mad <madhawn@CONCENTRIC.NET>
Date: 16 May 2000 16:00
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

Shh, . . . hush, child . . . .    :-)
Old is a while yet.

If it's any comfort, I'm 49 = 7^2  .

I'm growing older, but not growing up.

  :-D

Aloha,
  Kenneth M. Kawamura

Michael Antonette said
>  Good grief! This thread (however it got started) is making me feel old!
>Isn't there anybody else out there who's older than 35??





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 16 May 2000 16:10
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

OK, that's enough! Before I bring anybody else down, let me just say this:
not one of you sounds -- or "reads" -- older than me! And besides, amongst
folders, we're all brothers, not fathers and sons/daughters!

I would like to quote the original introduction to ORIGAMI OMNIBUS, where
Lillian Oppenheimer describes meeting Kunihiko Kasahara. She says that he
looked so young, that she had to ask him his age. Smiling, Kasahara asked
the typical "How old do I look?" She answered around thirty. And I think he
answered "I'm 52". Ms. Oppenheimer ponders if his active paperfolding could
have contributed to his youthful appearance. I'll leave that for all of YOU
to answer!

JC

P.S.: I'm betting a lot of you have kids who still aren't into origami,
right? Well, doesn't that make you feel a little younger? I for one intend
to do as Kenneth says: I'm growing up, not growing older. :-)

!Saludos!

-----Original Message-----
From: Mad <madhawn@CONCENTRIC.NET>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Tue, 16 May 2000 16:10:33 -0400
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

>Shh, . . . hush, child . . . .    :-)
>Old is a while yet.
>
>
>If it's any comfort, I'm 49 = 7^2  .
>
>I'm growing older, but not growing up.
>
>  :-D
>
>
>Aloha,
>  Kenneth M. Kawamura
>
>
>Michael Antonette said
>>  Good grief! This thread (however it got started) is making me feel old!
>>Isn't there anybody else out there who's older than 35??





From: Julia Palffy <jupalffy@BLUEWIN.CH>
Date: 16 May 2000 16:27
Subject: Re: Emotional response

Dave Mitchell wrote:

 To my horror I find I agree with this too. And so I guess will most of the
> rest of the origami community.

Why does it horrify you? Why must art be something nobody wants to display
in their living-room? Why should the function of art be only to puzzle and
to shock, rather that just to be appreciated? What's wrong with beauty? Why
should one want to identify with an art establishment which thinks that way?

Come to think of it, it reminds me of Andersen's fairy tale "The Emperor's
New Clothes". Who will dare to say the Emperor is naked?

If that's how things are, then I prefer not to consider origami as an art,
it would be insulting.

Julia (?!??!!???!!!) Palffy





From: Tina <tinan@T-ONLINE.DE>
Date: 16 May 2000 16:27
Subject: CNN segment  last year

Hi everyone,

   I've been meaning to ask this for a long time, but I hope someone still
remembers even now: last summer (end of July), I saw a segment on CNN
(international) on a folder. He had a big dinosaur skeleton in his room, and
he had written some computer software that would allow you to print out
crease patterns. This is what got me into Origami in the first place, and
now I just can't remember who this man was... I thought it might have been
Robert Lang, but I have no idea if that could be at all right...

   Thanks for your help, as always,

         Tina

http://www.tinaspages.de   <--- Origami





From: Atsina <atsina@HOOKED.NET>
Date: 16 May 2000 16:41
Subject: Re: Emotional response

Julia Palffy wrote:
>
 Why
> should one want to identify with an art establishment which thinks that way?
>
I don't know if it is comforting or not, but there are many of us in the
mainstream art community who feel the same way. In fact the whole "origami as
art" conversation feels very much like the "weaving as art" conversation that
took place in the 70s. The answer seemed to be that if you can pitch a show in
artspeak to a gallery (must start at that level as no one ever starts their art
career in the Met) they will tend to take it. If, however, the dialog begins
"See here, I know that you don't think this is art..." it doesn't do the cause
much good.

After years and years of art school I can now discuss work like some I saw
recently that consisted of 32 lacquered cow tongues nailed to a wall. But I
still wouldn't want to make that sort of art, nor does it interest me
particularly. It's already considered a bit tired by even the proponents of
shock art.

Someone should write up a heartfelt bit about the temporary nature of origami
and how that relates to it's purity as a form. Anything difficult to archive is
very popular these days :).

Kim





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: 16 May 2000 16:59
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

Perry Bailey <pbailey@OPENCOMINC.COM> sez

> I will be 20 in July so I think that makes me younger.

I have a mental age of 12 - does that count?

all the best,

Nick Robinson

email           nick@cheesypeas.demon.co.uk
homepage        www.cheesypeas.demon.co.uk
BOS homepage    www.britishorigami.org.uk





From: Cathy <cathypl@GENERATION.NET>
Date: 16 May 2000 17:15
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

At 12:14 PM 00-05-16 -0700, you wrote:
>   Good grief! This thread (however it got started) is making me feel old!
>Isn't there anybody else out there who's older than 35?? (Notice I don't say
>how much older? ;)-

I'm 49--really!

                Cathy
******^^^^^*****^^^^^*****

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





From: THOKI YENN <thok@THOK.DK>
Date: 16 May 2000 17:21
Subject: Re age

We have been through this a few times
but why not ?
Here goes:

Thoki Yenn is 81= 3^4
have a look at our Website and
see how young he still is.
http://www.thok.dk/origami.html

Greetings from
The Great and Glorious Kalmon of the North.





From: Ella-mae <Ella-mae@EMAIL.MSN.COM>
Date: 16 May 2000 18:28
Subject: Re: Will you stay, Erralee?

----- Original Message -----
From: "Steve Woodmansee" <stevew@EMPNET.COM>
Subject: Will you stay, Erralee?

> We'd love to
> have you carry on in the Bailey name!!

I have to agree, there is something warm, fuzzy and comfortable about seeing
his name on posts, still.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~
With clear melting dew,
I'd try to wash away the dust
of this floating world
                      -Basho
~~~~~~~~~~~~~~~~~~~~~~~~~~~~

email: ella-mae@msn.com





From: "Kennedy, Mark" <KennedyM@DNB.COM>
Date: 16 May 2000 18:38
Subject: Ageism

I was 50 shortly before PCOC and I will be folding for 40 years on Election
Night in November.

As to the youngest, my dentist son had been on the list but he has not
posted in awhile.\

David, great report on Japan. Sorry I could not go, not that I was invited.

Nick, I am glad that your paper purse is holding up. I have to replace mine
before convention.

Mark
