




From: Deb Claypool <dsc-pod@WEBTV.NET>
Date: 16 May 2000 18:43
Subject: Age, art, e-mail

Deb Claypool here - working on 48 (in November) - planning to double it
if possible - I disagree about children keeping one young.  From the
perspective of one who has none, I have no "cut off" point, no
"us/them", no problem seeing an adult as an adult.  I think this is
worse for women who pass from maiden to matron at the birth of their
child (often confused with Miss and Mrs. because marriage, celebacy
until marriage, and ineffective birth control used to be the norm.)

Sorry if that was too unorigami, but it's on MY 1000 crane journey.  It
also relates to my "What is art?" struggles.  Mostly I make handbuilt
pottery and long ago decided to print a card saying: Pod's Produce -
works and wares by Deborah S. Claypool. (The flower child that was was
called Claypod by all the tribe and I sign things "Pod")  I think of
"wares" as the things that are intended for sale but are a pleasure to
design and create and "works" as the things that simply need to come
out, usually emotive and evocative, often not in clay at all.  So I go
with a belief that both are art but that "wares" are art that folks want
to own and "works" are stuff for collectors of the emotive and
evocative, which is special, but different.  I think an effort to sell
magnificent origami for collection would help.  Auction display pieces.
Build an audience.  The "works" in origami are specific exquisitely
executed pieces and the "wares" are more the books and papers.





From: Howard Portugal <howardpo@MICROSOFT.COM>
Date: 16 May 2000 19:29
Subject: Re: Re age

I'm old enough to know better ...

Howard

"It's a good thing the average person doesn't realize the awsome destructive
power of origami. "
Earthworm Jim





From: Christopher Holt <Ella-mae@EMAIL.MSN.COM>
Date: 16 May 2000 19:29
Subject: Re: Re age

Okay, I can play this game, I'm 3.362^3. All the best - c!!!

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

email: ella-mae@msn.com





From: drlouise <drlouise@GATEWAY.NET>
Date: 16 May 2000 19:59
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

52, been folding since I was Six (taught by Grandma)

Louise





From: collin weber <coljwebwhs@HOTMAIL.COM>
Date: 16 May 2000 21:11
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

I'm 16 years old.  Any one on the list my age?

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





From: Gillian Wiseman <gilladian@HOTMAIL.COM>
Date: 16 May 2000 21:26
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

Well, I'm not older than 35. Not younger either, though, and I feel old at
that, sometimes. I've been folding since I was 9 or 10, I guess.

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





From: Lar deSouza <fresco@SENTEX.NET>
Date: 16 May 2000 22:29
Subject: When was your first time ;) (Was Re: age.)

Hello all :)

Here's a variation on the age thread.  When did people start folding? :)

I remember discovering origami in the "O" volume of the World Book of
Knowledge Encyclopaedia when I was in grade 3 (probably about 9 years old).
 At that time I folded the whale and the penguin, but it wasn't till a
couple years later when I was 11 that the folding bug really caught me.  I
found the patterns in the same encyclopaedia but suddenly I had the
interest to go to the library and get more :)  I've been folding ever since :)

Maybe my kids just aren't old enough to catch the bug yet? :)

Later!

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

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





From: "Courtney Winter  :-)" <CoCo330@AOL.COM>
Date: 16 May 2000 22:33
Subject: Re: When was your first time ;) (Was Re: age.)

"Hello all :)

Here's a variation on the age thread.  When did people start folding? :)

I remember discovering origami in the "O" volume of the World Book of
Knowledge Encyclopaedia when I was in grade 3 (probably about 9 years old).
 At that time I folded the whale and the penguin, but it wasn't till a
couple years later when I was 11 that the folding bug really caught me.  I
found the patterns in the same encyclopaedia but suddenly I had the
interest to go to the library and get more :)  I've been folding ever since :)

Maybe my kids just aren't old enough to catch the bug yet? :)

Later!

Lar
**********
The Many Faces of Lar"

I am 14 now and I started folding when I was 11 too.





From: Leong Cheng Chit <leongccr@SINGNET.COM.SG>
Date: 16 May 2000 22:42
Subject: Re: age (Was Re: Origami sighting and a sort of a sighting...)

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

My age is the number of months I've been folding plus 41.

Cheng Chit





From: Phil Schulz <fyl@USWEST.NET>
Date: 17 May 2000 02:07
Subject: Graduation Mortarboard

I just made some rough diagrams of a graduation mortarboard. You can see
them at:
http://fyl.xymox.net/origami2.htm

I made it specifically to fit Kawahata's Yoda, who looks very academic
in a black robe and cap! :-)

Phil
--
FyL@uswest.net
Animal Stories and Star Wars Origami at:
http://fyl.xymox.net/





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: 17 May 2000 02:38
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

My contribution:  I'll be 42 this October and have been folding since I was 14.





From: Dorothy Engleman <FoldingCA@WEBTV.NET>
Date: 17 May 2000 02:38
Subject: Re: Emotional response

Julia, Kim and David,

While I'll pass on the laquered cow tongues, I think the origami world
could use some shaking up.  I'd like to see artists and designers become
more innovative in the selection and treatment of their subject matter
(for example, David Brill's non-traditional, backwards pose of his
Dragon).

Dorothy





From: Papa Joe <papajoe@CHORUS.NET>
Date: 17 May 2000 02:40
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

One half of 4 score.  ;-)

Papa Joe





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: 17 May 2000 02:50
Subject: Re: When was your first time ;) (Was Re: age.)

My first time folding:

When I was little we lived in Los Angeles, California, (US).  On weekends
we would sometimes go to Chinatown and shop, which was a big deal for me
since my $1 spending allowance could be stretched to great lengths
there.  Early on, the colorful Origami packs caught my attention and tapped
into an early paper fetish, so I would buy them and bring them home and
make....nothing.  The few diagrams included were in a language I couldn't
read, and I didn't understand any of the folding symbols, so I just kept
the paper around, occasionally buying more (including one very strange pack
of round paper).

At 14, while browsing through some books in the Junior High school library,
I found Isao Honda's World of Origami and was excited to find that I
*could* understand the directions after a while and eventually folded
everything in the book (although it must be admitted that some involved
(gasp) cutting and gluing).  Most of the more complex models in this book
are from the crane base and are often assembled from two crane bases (1 for
the head, 1 for the trunk).  With no one to show me, I have to share that
figuring out the crane base itself was a major victory for me - Honda's
book just showed a finger and thumb grasping the tips with an instruction
to "lift here" to form "this," with "this" being the completed crane
base.  I should also mention that this was coincidentally at the same time
as some of my first experimentation with foul language.

The results of my efforts were displayed for an entire month in a glass
case in the school library, and received mention in the school
newsletter.  In addition I was singled out for special harassment by a
number of leading sports figures in the school.  My 15 minutes of fame.

I never knew there was anything more to it until about 4-5 years ago when I
was laid up after back surgery and started browsing the internet and found
this list.  The *real* "World of Origami" was finally opened up to me!

Sorry for the windy answer - I was meandering through some fond memories there.





From: Allan findlay <a_findlay@CREATIONS.CO.UK>
Date: 17 May 2000 03:58
Subject: Re: CNN segment  last year

I haven't seen the CNN thing but the crease printing program sounds like
Robert Lang's "TreeMaker".

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

-----Original Message-----
From: Tina [mailto:tinan@T-ONLINE.DE]
Sent: Tuesday, May 16, 2000 9:22 PM
To: ORIGAMI@MITVMA.MIT.EDU
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: DLister891@AOL.COM
Date: 17 May 2000 04:21
Subject: D.Lister: The Yoshizawa Exhibition, Section Three, part one.

D.Lister: the Yoshizawa Exhibition, Section Three, part one

The exhibition of Yoshizawa's paperfolding was set out in the exhibition hall
on the seventh floor of the Takashimaya department store. By any standards,
it was a large display hall, perhaps over eighty feet by thirty. Part of the
exhibition was displayed on  tables protected by transparent plastic shields
rising about eighteen inches above the surface of the display table so that
one could look over them and see the models directly. Other parts of the
exhibition were displayed in fully glassed wall cases lining some of the
walls and there were more tall display cases along the centre of the hall.

After passing the two large flying dragons at the entrance, one passed
through a fairly narrow aisle and into the main part of the hall. At the far
end of the hall a large display case containing a very impressive panorama of
the seasons dominated the exhibition. This was a  landscape filed with
origami figures which started with spring on the left and shaded through
summer and autumn to the snow-covered landscape of winter on the right. The
panorama presented a wide diversity of scenes from Japanese country life in a
landscape filled with birds, animals and country people and with cranes
flying above.

Turning round the end of the hall, between the panorama and the cases along
the middle and returning down the hall, one passed further large wall-cases
before coming to another narrower aisle where there were displayed the models
submitted by chosen overseas folders and also photographs of significant
events in Mr. Yoshizawa's life. At the end one was led through half-curtains
into the sales room where the staff of Takashimaya were doing a brisk trade
in everything directly or remotely connected with origami, including books,
videos, photographs, origami paper, paper dolls and formal "noshi" envelopes.
The mixture of traditional crafts and modern technology is characteristic of
the Japan of today.

By any measure, it was a very impressive exhibition with perhaps 2000 or more
origami models, all of them folded by Mr. Yoshizawa. There were two
exceptions to this: the small display of models by the overseas folders who
had been invited to the exhibition when it took place in Tokyo, and an
Antarctic scene  in which penguins folded by members of the public during a
lesson in origami had been added to Yoshizawa's more advanced models.

Any visitor unacquainted with modern origami would be astonished by the sheer
magnitude and quality of Yoshizawa's folding. I managed to visit the
exhibition on several occasions and took notes of what particularly impressed
me. It had been well-publicised throughout Kyoto and I even saw an
advertisement in a train  On each occasion I attended there were many
visitors thronging the hall and Yoshizawa was usually to be seen chatting o
visitors young and old and explaining his work. Undoubtedly it was a very
successful exhibition and I felt sad that it seemed unlikely that the
exhibition would be seen in the West. Unfortunately Origami is not an art
form that is familiar to the organisers of exhibitions in the West and
without the resources  of the professional art world, it is difficult for
amateurs to put on major exhibitions in large western cities.

The models displayed were mostly of Mr. Yoshizawa's mature period,  rounded
3D models with closed backs. Many were wet-folded , showing the plastic
moulding that this made possible. Every kind of animal and bird was
represented and I can do no more than mention a few that caught my eye. Near
the entrance was a family of lions. The male lion was a proud creature,
though in a stylised heraldic way, resembling the lion "supporting" the coat
of arms at the head of the London Times newspaper. The lioness and her two
cubs were more naturalistic, a playfully relaxed family. Near them was an
impressive tiger impressively folded from subtly striped paper.

There was a whole group of gorillas and monkeys. They have been a favourite
subject of Yoshizawa for many years and he has published several diagrams for
them in his books. However, the published diagrams do not contain the
refinements that make it possible for Yoshizawa to breathe life into his own
models. There were several diverse variants of the gorillas with impressively
fierce facial features. I liked, too, a group of hippopotamuses which
successfully caught the enormous bulk of the animals. I was amused, too, by
the heads of hippos shown as just projecting from the water, which is, in
fact, the way they are usually seen.

Among the birds, I particularly liked a pair of parrots. They were not just
the ordinary parrots that anyone else might fold, but lively, arguing parrots
engaged in a squawking quarrel. I can think of no other paperfolder who could
depict them in this way. The same case was dominated by Yoshizawa's famous
peacocks, one with a displayed tail of pleated paper and another sitting on a
branch, with a cascading tail. I liked too, the models of the black and white
Japanese Cranes, their heads crowned with scarlet. These are the almost
mythical birds which have been rescued from near extinction and which gave
rise to all the Japanese legends and symbolism of cranes. They were
justifiably shown on one of the posters of the exhibition.

Some of the groups of models, like those of sheep showed variants which
differed greatly in complexity from very simple, almost abstract designs to
complex wet-folded models that were more realistic such as a splendid ram
with massive coiled horns  A whole collection of dogs, was folded so
accurately that their breeds could readily be distinguished.

I particularly liked two ferocious bulls about to charge each other and, in
contrast, a single hare sprawled out contentedly. One case contained insects,
exquisite jewels not very far removed from those of some of the Western
folders like Robert Lang and Alfredo Giunta who have specialised in this
miniature and tricky field.

Comtinued in Section Three, part two.

David Lister





From: DLister891@AOL.COM
Date: 17 May 2000 04:23
Subject: D. Lister: The Yoshizawa Exhibition. Section Three, part two.

D.Lister. The Yoshizawa Exhibition.  Section Three, part two.

Continued from Section Three, part one.

 By no means all of the models were of animals and birds. Yoshizawa began his
professional career with his series of Zodiac figures for Asahi Graf in 1952,
and he has not neglected this subject since then. One case contained no less
than three sets of Zodiac figures, each one quite different from the others.
One composition of which I have previously seen a photograph, I found very
impressive. This was of Romulus and Remus being suckled by the wolf, a
re-creation in paper of the famous statue in Rome.

Folding of inanimate objects is not what one associates with Yoshizawa. Yet
he has always folded them and very well, too. The Panorama of the Seasons
contained foldings of many man-made objects, which helped to make up the
picture. Another frequent  feature was the framed origami pictures similar to
those which Yoshizawa sent to Florence many years ago for display in
connection with the Pinocchio origami competition. There were pictures of
scenes from Japanese folk tales and a charming composition of a group of
small birds sitting in a row along a branch. Each bird was an individual with
a personality of its own. Two sea horses set behind glass gave the appearance
of being under water. Inanimate objects I noticed included a cottage, a
ceremonial portable shrine, sheaves of rice set out on a frame to dry and a
tiny set of carpenter's tools. Spinning tops, too, are inanimate objects and
they seem to fascinate Yoshizawa. There is a whole collection of very diverse
forms.

Another kind of folding that one does not readily associate with Yoshizawa is
abstract folding. Yet here was a group of several abstract figures
reminiscent of what  John Smith has called "curio folding" or "curve induced
origami. Another unusual concept for Yoshizawa was the folding of a series of
paper dolls on a stepped dais for the Girls' Festival on 3rd March. The dolls
were folded the traditional style and apparently used the cutting customary
in this style of folding.  However, styles of paperfolding that were
definitely foreign to Yoshizawa's repertoire and absent from the exhibition
were modular folding and geometrical folding for the sake of geometrical
folding.

A more familiar category of Yoshizawa's work is that of folding masks. He has
been folding convincing self-portraits ever since I have known of his work
and the exhibition contained yet another excellent self-portrait. There was
also a fearful mask of a devil which contrasted sharply  with a serene and
beautiful mask of a Buddha. But the mask which appealed to me most and,
indeed, which I thought was the finest model in the whole exhibition was a
strange mask of a pathetic face, possibly based on a Noh mask. The folding
used Yoshizawa's traditional techniques, but at the same time, echoed of the
masks of Eric Joisel. I found it mysterious and haunting, a great contrast
from Yoshizawa's models of animals and the vision of it has continued to
haunt me.

The final section of the exhibition contained a number of photographs of
events from different periods in Yoshizawa's life. Most  fascinating was a
school photograph taken in 1925 when he was aged 14. He had recently left
home to Tokyo to attend high school in Tokyo. Unfortunately he was unable to
afford to stay at the school for more than one year and he subsequently
continued his education by attending evening classes. Nearby, there was a
collection of books and papers of the greatest interest. they included  copy
of Yoshizawa's first  and least-known book, Atarashii Origami Geijutsu (The
Art of Origami) dating from 1954 and a collection of photographs and records
from Yoshizawa's exhibition at the Espace Pierre Cardin          in Paris in
1984. Another fold towards the final part of the exhibition that I
particularly noticed was the figure of the Goddess of Mercies, a replica of
the one that we saw in what I have termed the mausoleum room of the Kensoin
Temple during our visit.

The exhibition concluded with the small displays from the five Western
folders who had been invited to attend the exhibition when it opened in
October in Tokyo and to submit just a few models. They were all folders whom
Yoshizawa felt to have helped to make known his folding throughout he world.
They were David Brill, the present chairman of the British Origami Society,
Eric Joisel who played such an important part in organising the Paris Origami
exhibition, Jonathan Baxter of the South Eastern Origami Festival in the
United States,  Michael LaFosse, also of the United States and Carlos Pomaron
of Zaragossa in Spain. The  portrait of each of them was shown, together with
notes about them in Japanese. Much as I sincerely admire their work which is
displayed, my own candid feeling was that the space allowed to these folders
was too restricted and that the models shown by them were not sufficient to
illustrate their undoubted skills as folders. But his was Yoshizawa's
exhibition and anything more might have detracted from the special character
of the exhibition.

So we passed beneath the curtain and back into the commercial world of the
Takashimya store.

David Lister.

(The concluding Section Four to follow later.)





From: Tom May <MayTom431@AOL.COM>
Date: 17 May 2000 05:58
Subject: Re: When was your first time ;) (Was Re: age.)

O.K. everyone,

I'm seven squared and nipping at the heels of the big 5-0. I started folding
in the third grade when someone showed me the water bomb. I won't count the
cootie catcher which I learned to fold earlier. I didn't learn to fold
anything else until the mid seventies. I was working in an elementary school
with a small group of kids and decided to show them how to fold the water
bomb as an activity (with no mention of water or bombs -- I told them it was
a balloon). I showed them the fold I'd learned, and one of the kids corrected
my fold. I had been folding it in the slipshod way I had learned on the
playground which just sort of stuffed the final flaps into the pockets the
way you'd stuff a sausage. I was so impressed with the neat and obviously
correct way that the student had folded the model, that I bought an origami
book and I've been folding on and off ever since. Most of my folding has been
done in the last five years.

Happy folding, Tom May





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 17 May 2000 08:24
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

Congratulations, Collin, for two things: the models I've seen from you on
Eric Andersen's Page and for finally succeeding in making me feel old!

JC

-----Original Message-----
From: collin weber <coljwebwhs@HOTMAIL.COM>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Wed, 17 May 2000 08:24:45 -0400
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

>I'm 16 years old.  Any one on the list my age?
>
>Collin Weber
>________________________________________________________________________
>Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 17 May 2000 08:28
Subject: Re: When was your first time ;) (Was Re: age.)

Well, that's a change.

I folded my first origami model when I was in seventh grade, so I must have
been between 9 and 10 years old. I remember it was a jumping frog (not the
traditional). A couple of years later I found some models in a children's
book (of course I can't remember which ones). After that, the folder inside
laid dormant until some six years ago, when I flew to New York and saw a
model of ORIGAMI ZOO by Stepehen Weiss and Robert Lang. A year later I
discovered the local Asociacisn de Origami de Venezuela, and I've been in
folding mode ever since!

JC

-----Original Message-----
From: Courtney Winter :-) <CoCo330@AOL.COM>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Wed, 17 May 2000 08:28:55 -0400
Subject: Re: When was your first time ;) (Was Re: age.)

>"Hello all :)
>
>Here's a variation on the age thread.  When did people start folding? :)
>
>I remember discovering origami in the "O" volume of the World Book of
>Knowledge Encyclopaedia when I was in grade 3 (probably about 9 years old).
> At that time I folded the whale and the penguin, but it wasn't till a
>couple years later when I was 11 that the folding bug really caught me.  I
>found the patterns in the same encyclopaedia but suddenly I had the
>interest to go to the library and get more :)  I've been folding ever since
:)
>
>Maybe my kids just aren't old enough to catch the bug yet? :)
>
>Later!
>
>Lar
>**********
>The Many Faces of Lar"
>
>
>I am 14 now and I started folding when I was 11 too.





From: "Kevin A. Hines" <hines@ANDREW.CMU.EDU>
Date: 17 May 2000 09:04
Subject: When was your first time ;) (Was Re: age.)

On Tue, 16 May 2000 22:27:12 -0400 Lar deSouza
<fresco@SENTEX.NET> wrote:

> Hello all :)
>
> Here's a variation on the age thread.  When did people start folding? :)

I'll answer both threads...

I'm 34 next week, and I've been folding for 22 years.

My penchant for making things out of paper began earlier,
with waterbombs and paper airplanes and such, but it didn't
blossom into an awareness of origami 'til I attended a
program for the gifted and talented, which offered a
mini-course entitled "Origami and Three-Dimensional
Thinking."

Shortly thereafter I purchased my first Origami book,
Honda's World of Origami. (I still have the much-used and
tattered copy on my origami bookshelf, but like many of my
fellow folders, the shelf groans under the weight of many
subsequent purchases.)

I continued to dabble in it for a decade and a half,
folding off and on, as an occasional diversion.

Within the last five years or so, it has become a primary
hobby, something I actually set aside time to do. And,
after 22 ears, I'm just starting to develop some of my own
folds. At my present rate, I'll probably be ready to
publish something in oh, say, 2050. I guess I'm not in any
particular hurry...

I've noticed from the thread that the development of
origami as a hobby seems to often have a "gestation period"
of sorts- a time period between when one discovers origami,
and when one "really gets into it." I think that's
interesting...

----------------------
Kevin A. Hines
hines@andrew.cmu.edu





From: Paula & Gerard <su008787@WOLMAIL.NL>
Date: 17 May 2000 09:06
Subject: Re: age

 Juan Carlo Rodrmguez wrote:
> Congratulations, Collin, for two things: the models I've seen from you on
> Eric Andersen's Page and for finally succeeding in making me feel old!

What the URL of this page?

I'm 2^2 * 3^2 and I'm folding for half my life now : )

Paula from Holland.
http://www.home.zonnet.nl/gerard.en.paula/





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 17 May 2000 09:16
Subject: Re: age

>What the URL of this page?

Glad you asked.

http://www.paperfolding.com

This has some of the best pictures of models I've seen on the 'net. And
there are links to an infinity of sites, from the required Joseph Wu's site
to one with a sabre-tooth tiger!

Enjoy.

JC





From: Michael Antonette <mylor@TELUSPLANET.NET>
Date: 17 May 2000 10:22
Subject: Re: When was your first time ;) (Was Re: age.)

   Having started all this (in jest, at that), I guess I should add my own
story.
   And no, I'm not 35. That was an arbitrary number. I'm 40.5.
   As to where this (now a) thread has gotten to, I began folding when I was
eight years old, though in a roundabout manner. I was easily bored as a
child, so things had to be challenging for me to maintain interest. My
parents didn't seem to want to encourage any creative flairs, but my uncle
did. He hunted until he found something -- the most difficult book on flying
paper airplanes he could find.
   I enjoyed that book immensely. I looked in the library for more, but all
I found was a single book on origami. (not too sure what it was, now). I
kept an interest for a while, but eventually it petered out for a few years
until I was 11, when something rekindled my interest, and I've never looked
back. Someone mentioned that this seems to be a commonality with many of us.
   Origami has become a very integral part of my life, almost an obsession,
if you listen to some (like my wife). I use it as a meditation tool, stress
reliever, but I just plain love it too!

               Michael

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





From: Dee and Bob <deenbob@ECENTRAL.COM>
Date: 17 May 2000 10:32
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

I turned 40 on April 10!

Dee

> Isn't there anybody else out there who's older than 35?? (Notice I don't say
> how much older? ;)-





From: Dee and Bob <deenbob@ECENTRAL.COM>
Date: 17 May 2000 10:34
Subject: Re: When was your first time ;) (Was Re: age.)

I started folding at about 12 -- 28 years if you don't remember my age!
;-)

I was introduced to it when a librarian saw me folding a fortune teller.
She handed me Harbin's "Secrets of Origami." I couldn't figurr anything
out 'til I saw the diagrams for the cootie catcher and the light went
on.

btw: I am teaching the cootie catcher to my son's 3rd grade class as a
fact catcher. They are researching the solar system, and we thought it
would be a fun way to put some of their research to use.

Dee
> Here's a variation on the age thread.  When did people start folding? :)





From: Allan findlay <a_findlay@CREATIONS.CO.UK>
Date: 17 May 2000 10:34
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

Thoki Yenn is so old he's young!

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

-----Original Message-----
From: Dee and Bob [mailto:deenbob@ECENTRAL.COM]
Sent: Wednesday, May 17, 2000 4:31 PM
To: ORIGAMI@MITVMA.MIT.EDU
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

I turned 40 on April 10!

Dee

> Isn't there anybody else out there who's older than 35?? (Notice I don't
say
> how much older? ;)-





From: Mathieu Ciarlet <mciarlet@HOTMAIL.COM>
Date: 17 May 2000 10:59
Subject: age & stuff

Well I'm about 10301 days old (guess my birthdate ?) And I must have been
folding since I was a baby as I folded all my dad's paperworks into nice
balls (ever heard of origami a la DALI ?)
;-p

Well nice folds to you all
just had some fun with the samourai helmet of Issei Yoshino.. I'm going to
try the motorbike

Bye

Mathieu
'May the fold be with you,

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





From: Alan Shutko <ats@ACM.ORG>
Date: 17 May 2000 11:26
Subject: Re: age & stuff

Mathieu Ciarlet <mciarlet@HOTMAIL.COM> writes:

> Well I'm about 10301 days old (guess my birthdate ?)

If you're exactly 10301 days old, my calendar puts you born on March
1, 1972.  8^)

Me, I'm 9216 days old, started folding when I was in approximately
e^1.1'th grade, took a bit of a break during college, and recently
came back.

--
Alan Shutko <ats@acm.org> - In a variety of flavors!
178 days, 16 minutes, 30 seconds till we run away.
Paralysis through analysis.





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 17 May 2000 11:39
Subject: Lighter questions

OK, my last question was nice and deep. Let's go for something a little less
     serious.

Of all the infinity of models that are out there, what specific model or kinds
     of model would like to see (or see more)?

And to commemorate Master Yoshizawa's birthday, if you were honored enough to
     meet him, is there anything you would ask him?





From: "Tomlinson, Kristine" <ktomlinson@CONCORD.COM>
Date: 17 May 2000 11:45
Subject: More on Folding Pennsylvania Dutch Metamorphoses

Hi All,

On 4/24/2000, I sent an e-mail titled "Metamorphoses -- Mid-18th Century
Pennsylvania Folds" in which I quoted the text of a "changeable" picture
found in the United States.  This weekend I was lucky enough to find a book
by the same author that actually illustrated the metamorphosis -- in color
no less.  (Ironically, the book with the text has not picture, the book with
the picture has no text.)  You will note that it does not match the
sophistication of the changeable picture bases shown by Honda in the 1960s,
however, the 18th century artist more than makes up for it through his/her
design.  Also, in addition to the cupboard-base form described below, there
was also a blintz-fold form known.  Perhaps someone will turn up an example?

Here are the details:

The description of four pictures I cited previously is actually only one
panel of sixteen possible pictures. That is, a row of four pictures with
four different combinations.  From studying the photo it appears that the
changeable picture was created as follows.  The dimensions are not provided,
however, I took a sheet of 8.5 x 11" paper as an experiment and to my
surprise found that the proportions of my finished metamorphosis was very
similar to the original.

Step 1: With a sheet of paper in "landscape" layout (long side horizontal),
valley fold the paper length-wise and unfold.
Step 2: Cupboard fold the top and bottom edges to the center line made in
step 1.
Step 3: Valley fold the paper vertically and unfold.
Step 4: Cupboard fold the right and left sides to the center line made in
step 3. Unfold these.
Result: A horizontally cupboard-folded model with four equal areas.
Step 5: It looks as though the top and bottom cupboard "doors" of the model
were then cut along the folds made in step 4 to make the four equal areas
independent of one another. That is, rather than lifting the entire top or
bottom flap to change a row of four pictures, you can lift any of the flaps
to change a single picture.
Step 6: Draw a full picture in the four spaces inside the cupboard flaps and
half pictures on the top and bottom flaps when in the closed position.  For
example: you could draw bird on the inside and draw a different head and
different feet on the cupboard flaps. Manipulating the flaps by opening and
closing the top and bottom ones in different sequence produce each of the
total 16 possible scenes.

The photo is too small to see well and the text is in German. However, the
pictures seem to tell a story or flow from top left and lower right, and
perhaps from the top of each of the four rows down through the four
different combinations.  Examples appear to be: Row 1 - Adam in the Garden
of Eden and possibly a flood or mermaid transformation, Row 2 - the
lion-griffin-owl-eagle picture quoted previously, Row 3 - a man and some
Pennsylvania Dutch hearts and flowers and the same with angels, Row 4 - a
man that transforms into a skeleton in a coffin.  So, basically from
creation through death -- though it is not possible to say with certainty
not being able to read the accompanying text.

One note: the book's index lists both English and German metamorphosis
examples, although the book only shows the one.  This book may be a special
printing (?) and it may be that another printing if there is one has both
examples, or perhaps it is just an error on the part of the indexer.

Source:  [unnumbered plate 2], John Joseph Stoudt, "Sunbonnets and Shoofly
Pies: A Pennsylvania Dutch Cultural History", New York: Castle Books, c.
1973.  Published by arrangement with A.S. Barnes & Co.

Kristine Tomlinson

**********************************************************************
This email and any files transmitted with it are confidential and
intended solely for the use of the individual or entity to whom they
are addressed. If you have received this email in error please notify
the system manager.

This footnote also confirms that this email message has been swept by
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From: dan newman <dnewman@CAPITAL.NET>
Date: 17 May 2000 12:25
Subject: Re: When was your first time ;) (Was Re: age.)

i started origami to entertain my brother's oldest when she was born, she's 12
now.

Lar deSouza wrote:

> Hello all :)
>
> Here's a variation on the age thread.  When did people start folding? :)
>
> I remember discovering origami in the "O" volume of the World Book of
> Knowledge Encyclopaedia when I was in grade 3 (probably about 9 years old).
>  At that time I folded the whale and the penguin, but it wasn't till a
> couple years later when I was 11 that the folding bug really caught me.  I
> found the patterns in the same encyclopaedia but suddenly I had the
> interest to go to the library and get more :)  I've been folding ever since :)
>
> Maybe my kids just aren't old enough to catch the bug yet? :)
>
> Later!
>
> Lar
> **********
> The Many Faces of Lar
> http://www.sentex.net/~fresco/faces
>
> The ArtGuys:
> http://www.interlog.com/~artboy





From: Erica Knopper <eak@FUTUREXP.COM>
Date: 17 May 2000 12:44
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

>I turned 40 on April 10!

My daughter turned 10 on April 10! And she loves to fold and is
pretty good for her age, I think. We are going to the OUSA convention
this year for the first time.

(You can glean from this that I'm more than ten ;-)  )

Erica





From: David Whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 17 May 2000 14:29
Subject: Re: More on Folding Pennsylvania Dutch Metamorphoses

What is a cupboard fold?

David





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 17 May 2000 14:33
Subject: Re: More on Folding Pennsylvania Dutch Metamorphoses

1.- Fold a square in half through the vertical and unfold.

2.- Fold both edges to the center crease.

3.- Completed cupboard fold. You'll see this in some places as a "door
base".

-----Original Message-----
From: David Whitbeck <dmwhitbeck@UCDAVIS.EDU>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Wed, 17 May 2000 14:33:45 -0400
Subject: Re: More on Folding Pennsylvania Dutch Metamorphoses

>What is a cupboard fold?
>
>David





From: Anine Cleve <anine21@USA.NET>
Date: 17 May 2000 15:02
Subject: Creativity

Hi!

Just a short question:
What is it that makes some people creative? And why doesn't everyone like to
be creative?
Waiting for some answers :)
Have to go now,
                      Anine

____________________________________________________________________
Get free email and a permanent address at http://www.netaddress.com/?N=1





From: "Tomlinson, Kristine" <ktomlinson@CONCORD.COM>
Date: 17 May 2000 15:41
Subject: Re: Story

The Story Behind the Story:

The paper fold and cut story Juan Carlo Rodgridguez told on 14 May is a
fairly old one -- at least in the United States.  The first reference I
remember off the top of my head is around 1830-32 in The Girl's Own Book by
Lydia Maria Childs where it was called "The Three Crosses" and had no
accompanying story.  You can rearrange the "Ls" from the word H*ll to form
side-ways crosses on each side the central one.  The remaining pieces are
used for the scroll, some footstones, and so on.  This model turned up in
contemporary 19th century boy's books as a puzzle to solve (that is: no
story, just here are some shapes - now figure out how can you get them).
Later in the 1960s, Robert Harbin republished it as "The Passport" with the
configuration quoted on 14 May.

Kristine Tomlinson

**********************************************************************
This email and any files transmitted with it are confidential and
intended solely for the use of the individual or entity to whom they
are addressed. If you have received this email in error please notify
the system manager.

This footnote also confirms that this email message has been swept by
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From: Paula & Gerard <su008787@WOLMAIL.NL>
Date: 17 May 2000 16:14
Subject: Torus from PHiZZ units

Within the last week I've folded the Torus from 555 PHiZZ-units and I think
it's a great modular object, so hereby I wish to say:

    Thank you Tom, Roberto and Rosa!!!

 Tom for inventing the PHiZZ-unit, Roberto for inventing the 555
pieces-Torus with these units and Rosa for having a beautiful picture of it
on her web-site = )

Paula from Holland.
http://www.home.zonnet.nl/gerard.en.paula/





From: Thomas C Hull <tch@ABYSS.MERRIMACK.EDU>
Date: 17 May 2000 16:25
Subject: Re: Torus from PHiZZ units

Paula writes:

>>>
Within the last week I've folded the Torus from 555 PHiZZ-units and I think
it's a great modular object, so hereby I wish to say:

    Thank you Tom, Roberto and Rosa!!!
<<<

Thanks for the thanks!  For pictures of other PHiZZ unit tori,
or for anyone who would like to make a smaller, 240-unit one,
check out the following section of my "origami-math (combinatorial
geometry) class" notes:

http://web.merrimack.edu/~thull/combgeom/tori/torusnotes.html

Have fun!

---- Tom "burnin' for yule" Hull
     thull@merrimack.edu





From: =?iso-8859-1?Q?Juan_Carlo_Rodr=EDguez?= <tciprograming@TELCEL.NET.VE>
Date: 17 May 2000 16:25
Subject: Re: Creativity

>Hi!

>Just a short question:
>What is it that makes some people creative? And why doesn't everyone like
to
>be creative?

To paraphrase a certain public figure: "That depends on your concept of
'creativity' ".

First of all, let's clear something up: creativity is not necessarily a sign
of intelligence. Albert Einstein may have been a genius, but I heard his
presentations and papers sucked. (Sorry if I insulted anyone.)

As to what makes a person creative, I think that you can grow creative
depending on your vocation (although, being in advertising, where creativity
is essential, I don't think that I'm any more creative than, say, a doctor
or an engineer) and your approach to that vocation. You can either excel on
the established field or try to bring new ideas into it. And that takes a
certain amount of creative input. But I think we can all agree if you can
sit down and make up more than 50,000 origami models you qualify as
creative!

Does any one not like to be creative? I think those people are either lazy
or don't have the inclination to stand out. How could you not like to be
creative?

To those people, I give you an example: The head of a creative department in
a major advertising agency always saw a blind man begging at a nearby corner
with a sign that read "Please help this poor blind man". One day, near
Christmas, he walked up to the blind man and asked how was it going.
"Terrible", the blind man answered. "Nobody wants to give." "Do you mind if
I change your sign?" "Sure. It can't hurt me anymore." The man took the sign
and wrote a new message on the back with a magic marker, gave it back to the
beggar, and left. An hour later, the beggar was amazed to feel in his cup
and see it was almost brimming with quarters! When someone else gave him
money, he asked that they read to him the sign. The woman who gave him the
quarter read out loud:

"It's a beautiful day. Thank God you can see it."





From: Julia Palffy <jupalffy@BLUEWIN.CH>
Date: 17 May 2000 16:43
Subject: Re: Creativity

Creative people are usually those "fussy" people who are never satisfied
with things as they are, and try to make them better or different, or even
entirely different. They're those people who are always questioning things
and asking "How could I do this or What if I did that or What would happen
if...?". And they're the people who somehow  occasionnally find the time to
do nothing, just dream and doodle and fool around for fun.
They tend to drive the other people - those who are quite happy to stay put
and follow the rules and work hard - crazy with all their ideas. Maybe
that's why these others always consider the geniuses as eccentrics. And
maybe that's why a lot of people are afraid to be creative. Too risky...

Julia Palffy
Zug, Switzerland
jupalffy@bluewin.ch





From: Julia Palffy <jupalffy@BLUEWIN.CH>
Date: 17 May 2000 16:43
Subject: Re: Emotional response

Dorothy Engleman wrote:
I think the origami world
> could use some shaking up.  I'd like to see artists and designers become
> more innovative in the selection and treatment of their subject matter

I've certainly no objection to Dorothy's suggestion! Come to think of it,
when I say "provocative art" I am thinking of the kind of stuff which evokes
an "ugh!" response, and i suppose that is also what its supporters have in
mind, but on the other hand I very much enjoy what I call "thought-provoking
art" - the kind that evokes an "AHA!" response, makes you think further and
eventually generates new ideas of some interesting kind... I suppose that
could also be called provocative, though it provokes something entirely
different.
I'll keep that idea in mind, Dorothy!

Julia Palffy
Zug, Switzerland
jupalffy@bluewin.ch





From: Alan Shutko <ats@ACM.ORG>
Date: 17 May 2000 16:51
Subject: Re: Creativity

Juan Carlo Rodrguez              <tciprograming@telcel.net.ve> writes:

> Does any one not like to be creative? I think those people are either lazy
> or don't have the inclination to stand out. How could you not like to be
> creative?

First, you could have a fear of being judged.  Being creative usually
means showing other people what you've created, and the first response
of the audience is usually to judge it.  I'm sure there are many
people who shun their own creativity for fear of being judged harshly.
(It probably parallels the (imho) irrational fear of public speaking.)

--
Alan Shutko <ats@acm.org> - In a variety of flavors!
177 days, 18 hours, 48 minutes, 55 seconds till we run away.
Veni, Vidi, Vestibule:  I came, I saw, I got out in a big hurry!





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 17 May 2000 17:14
Subject: Re: Creativity

There are some interesting things in what you said Juan, but I wanted to
share my thoughts on Einstein: his papers didn't suck.  His special
relativity paper was the shortest published at that time, but extremely
elegant and one of the most groundbreaking articles published in the
history of man.  It is extremely short but important and well written.  His
paper on the photoelectric effect won him the Nobel prize.  I have read his
paper on special relativity a few months ago and it didn't suck in my
opinion.

About creativity, my opinion is that it doesn't have to come from
completely creating new things that are never seen before as we are
encouraged now a days to see that way.  Almost all of the great composers
have borrowed freely forms, themes and ideas from other composers.  You'll
find that Beethoven's Missa Solemnis has many Renaissance and Baroque
elements to it.  And he freely used double fugues in his later music.  The
whole structure of the last movement to his third piano concerto is closely
based on the last movement of Mozart's 24th piano concerto.  I mention this
example because I had an excellent class on Beethoven last quarter.  He, as
did Mozart, Handel, Haydn, Bach, ... started and used alot of ideas that
they themselves didn't develop but creatively expanded on those ideas to
create new kinds of music.  In example in Origami is Kawahata using
Yoshino's mane fold from the horse in the Dimetroden in Origami Fantasy.
He didn't just blantely copy the horse, he used the mane fold in an
ingenious way: to create a different animal!  The three headed dragon in OT
5 has a base similar to Montroll's three headed dragon.  My point is I
believe that using other people's ideas in the process of creativity is a
good thing.  I just want to express this idea to the list, which I just
have.  Happy folding!

David





From: Larry Wood <origami@TELEPORT.COM>
Date: 17 May 2000 17:16
Subject: Re: Creativity

>From my experience and work I believe everyone has some degree of
creativity.  Unfortunately, most of us aren't given the opportunity or
encouragement to discover it's existence.  Some are naturally curious and
this serves to stir, even spur their creativity.  Others need a mentor or
that "aha" moment when they allow themselves to attempt, to believe, to
dream.

Then, are we limiting our definition of "creativity" to the formal world of
"art".  I have a mechanic who, in my mind is tremendously talented and
creative, but he wouldn't see it that way.  Creativity is a relative
concept.  When I began folding I discovered that, unlike my children who can
visualize the diagrams 3 dimensionally, I can only see them 2 dimensionally.
At times that has made folding quite a challenge.  After years of work I can
now fold with some degree of ease.  Some of my colleagues tell me I'm
creative.  Yet I often struggled to see myself as creative, since I was only
copying someone else's work.  So I usually told them, it's nothing and if I
can do it anyone can.  But now I understand what they saw and why they said
what they did.

Some of us are naturally gifted.  Some of us have to sweat it out.  Some of
us need a lot of encouragement and TLC, especially if it's one of John
Montroll's diagrams.  I find some of his very challenging and taxing.  I
prefer to think in terms of what can I do to foster creativity in those
around me be it in folding or in the encouragement of some creative skill I
see but they have not yet discovered.

Sincerely,

Larry Wood

----- Original Message -----
From: "Anine Cleve" <anine21@USA.NET>
To: <ORIGAMI@MITVMA.MIT.EDU>
Sent: Wednesday, May 17, 2000 12:02 PM
Subject: Creativity

Hi!

Just a short question:
What is it that makes some people creative? And why doesn't everyone like to
be creative?
Waiting for some answers :)
Have to go now,
                      Anine





From: "Monica Crump, Lady Protector of the Realm" <monica@SCRUZNET.COM>
Date: 17 May 2000 17:41
Subject: Re: More on Folding Pennsylvania Dutch Metamorphoses

Folding two opposite sides of the paper to the center of the paper is a
cupboard fold.  The finished state looks like a cupboard, if you'll
imagine the door handles and hinges etc.

David Whitbeck wrote:

> What is a cupboard fold?
>
> David

--

You may arise.





From: Lar deSouza <fresco@SENTEX.NET>
Date: 17 May 2000 18:11
Subject: Re: Creativity

Duck and cover Anine! :)P

>Just a short question:
>What is it that makes some people creative? And why doesn't everyone like to
>be creative?

Gee - why not ask a simple question, like what's the formula for cold
fusion? :)P

I don't know if everyone is born creative or not, but I do believe it's a
'use it or lose it' sort of ability.  I credit a renewed sense of how
important creativity is to the burst of interest in home crafts, house
decorating, Martha Stewart-esque lifestyles, gourmet cooking etc etc. in
recent years.  Creativity feels good!  It fulfills a basic human need, or
else why would our cavemen forebears have bothered to paint the walls with
such amazing scenes?  For those who don't make the effort I'd like to
believe that it's not a question of 'liking' to be creative so much as it
that creativity for them has lain dormant so long they don't realize what
they're missing and it's no longer an option for them.

I'm sure the many creative members of this list (ie: all of us :) have
often found innovative or at least interesting solutions to everyday
dilemmas :)  Or have gone out of our way to do something the 'hard' way
because it was more fun or more rewarding in the end.  We think creatively
as a matter of course.  Use it or lose it, folks.

Later!

Lar

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

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





From: Atsina <atsina@HOOKED.NET>
Date: 17 May 2000 18:28
Subject: Re: Creativity

Larry Wood wrote:
>
 When I began folding I discovered that, unlike my children who can
> visualize the diagrams 3 dimensionally, I can only see them 2 dimensionally.

When I was working on my MFA degree we had endless discussions about this
phenomenon. People either seem to be 2d or 3d. There are artists of both
persuasions.

In my first language there is no word for "art". I find this to be tremendously
liberating. I just make my work, experiment with shapes that interest me and
textures that please me. These days one would have to have a rather large living
room to have my work in it, but some folk do.

In my opinion creativity is the trick or quirk of perceiving something in a
slightly different way from most people, and being able to communicate your
perception to others. This definition encompasses a number of pathological
behaviors including being an artist by profession.

This is probably one of those questions to which there is no definitive answer,
but which it is vastly worthwhile to discuss. I'm certainly finding it useful.

Kim





From: Cathy <cathypl@GENERATION.NET>
Date: 17 May 2000 18:53
Subject: gestation

I've noticed from the thread that the development of
origami as a hobby seems to often have a "gestation period"
of sorts- a time period between when one discovers origami,
and when one "really gets into it." I think that's
interesting...

----------------------
Kevin A. Hines
hines@andrew.cmu.edu

It is--the same thing happens in amateur astronomy.  All kids love
astronomy, but nearly all lose interest when the hormones kick in.  Later,
when they have time to stop for a breather, they notice and appreciate the
sky again.

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

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





From: Weldon MacDonald <weldon.macdonald@SYMPATICO.CA>
Date: 17 May 2000 19:57
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

only in my dreams
Weldon "43 and counting down" MacDonald

----- Original Message -----
From: "collin weber" <coljwebwhs@HOTMAIL.COM>
To: <ORIGAMI@MITVMA.MIT.EDU>
Sent: Tuesday, May 16, 2000 9:10 PM
Subject: Re: age (Was Re: Origami sigting and a sort of a sighting...)

I'm 16 years old.  Any one on the list my age?

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





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 17 May 2000 20:02
Subject: Re: gestation

Speaking of gestation periods: I've found that my skill in folding improves
over the periods that I don't fold.  I will fold for awhile and get tired
of it, and in that period there will be folds that I will have tried but
didn't succeed.  When I get back into folding I find that my skill and
patience has improved.  Maybe it's because when I produce some good models
I get overconfident and greedy for more models and start to folder faster,
faster than I should and keep botching up models.  When I just start in the
game I take my time on the models and make less mistakes than I did.  I
myself didn't have a gestation period when I first started folding but
several times I've periodically left origami for a few months.  I find that
I really enjoy folding during the spring and summer, but not much in the
fall and winter.  I'm wondering if I'm not the only one since this list is
busy now, but last fall it wasn't nearly as busy and exciting.  That was
one of the reasons I left the list is that it slowed down.

David





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 17 May 2000 20:12
Subject: apology and OUSA stuff

I want to apologize to people for making it clear several months ago that I
was going to the PCOC and not showing up at all.  I was busy with finals
(it was smack in the middle of finals week here at UCD), and I was so
preoccupied with my schedule (6 upper division classes) that I didn't even
think about it.

On the second matter: I'm thinking of buying some paper from OUSA and was
wondering how long it usually takes (I live in California.)  I've bought
Fuse books from there before but since I had to wait for them to be shipped
overseas it doesn't really count.  So anyone out there with experience from
ordering from OUSA have any idea?  I'm thinking of joining OUSA at the same
time.  It would be good to receive the discounts and the Paper.

David





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 17 May 2000 20:20
Subject: odd paper

I recently bought a pack of origami paper that was very thin, translucent.
It felt kind of like wax paper, maybe a little like tissue paper.  For
those who have folded with paper like this, what would you suggest are good
things to fold with this?  Bad things?  And why?  In other words your
opinion on the qualities of the paper is asked for.

David





From: Papa Joe <papajoe@CHORUS.NET>
Date: 17 May 2000 21:11
Subject: Re: odd paper

> I recently bought a pack of origami paper that was very thin, translucent.

It sound's like a good paper for Mini-gami. :-)





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: 17 May 2000 21:59
Subject: Re: odd paper

Sounds like glassine.  I buy mine from Fascinating Folds and it comes in
beautiful translucent colors (yellow, red, pink, green, etc.).  The
Kawasaki Rose looks stunning made from this stuff, IMHO.

At 05:20 PM 5/17/00 -0700, you wrote:
>I recently bought a pack of origami paper that was very thin, translucent.
>It felt kind of like wax paper, maybe a little like tissue paper.  For
>those who have folded with paper like this, what would you suggest are good
>things to fold with this?  Bad things?  And why?  In other words your
>opinion on the qualities of the paper is asked for.
>
>David





From: Leong Cheng Chit <leongccr@SINGNET.COM.SG>
Date: 17 May 2000 22:48
Subject: Re: Creativity

Juan Carlo Rodrguez wrote:

> Albert Einstein may have been a genius, but I heard his
> presentations and papers sucked. (Sorry if I insulted anyone.)
>

Perhaps not, but he did stick his tongue out, and that's creative.

Cheng Chit
