[Origami] Norwegian Nobel Committee is with us.. encore!

[Laura R via Origami]

A couple of days ago the Nobel Prize in Chemistry was awarded to three 
scientists, two of whom used an AI model, AlphaFold2, to determine the 
structure of all human proteins. And today, the Nobel Peace Price was awarded 
to the Nihon Hidankyo, a Japanese social movement organization, for its efforts 
to achieve a world free of nuclear weapons. 

The illustration chosen by the Nobel Committee is the tsuru. 

https://x.com/NobelPrize/status/1844664354932932630 


The Norwegian Nobel Committee definitely highlighted two fundamental aspects of 
origami of the 21st century: science and peace.

At the Museo del Origami in Uruguay, amid countless tsuru chains, we have the 
mission to spread the message. We join billions of people in the hope that the 
call for global peace will finally become more than just words.

Laura Rozenberg

[Origami] The word "Fold" entered today the annals of Nobel Prizes!

[Laura R via Origami]

It's safe to say that today the word "Fold" entered the annals of the Nobel 
Prizes. Two of the Chemistry laureates, Dennis Hassabis and John M. Jumper, 
used their AI model AlphaFold2 to determine the structure of all human 
proteins. As explained by The New York Times, “scientists had struggled for 
more than 50 years to solve what was called ‘the protein folding problem.’ Dr. 
Hassabis and Dr. Jumper were part of a team at Google DeepMind, the company’s 
central AI lab, that developed a technology called AlphaFold. This AI 
technology can rapidly and reliably predict the physical shape of proteins and 
enzymes.”

Laura Rozenberg

Re: [Origami] Non-modular 9-side and 11-side boxes

[Laura R via Origami]

It’s a block easily found in any stationary store in Buenos Aires. Perhaps I 
can buy one and mail it to you. 
They are perfect for boxes because they’re a bit heavier than kami but not too 
heavy. 

> On Oct 8, 2024, at 8:20 PM, cafe...@pacific.net wrote:
> 
> Laura
> Availability of this paper?
> Louise
> 
> 
> 
>> Yes! It's a lovely Argentine paper that comes in sheets and imitates the
>> Andean patterns found on ponchos and similar textiles. But it looks like
>> it was made just for these boxes!
>> 
>>> On Oct 8, 2024, at 7:54 PM, cafe...@pacific.net wrote:
>>> 
>>> Wow !!
>>> The paper appears to be photographic images of handwoven textiles.
>>> Gorgeous!!
>>> Louise in Norcal
>>> 
>>> 
>>> 
 My friend Maria Tchoulamian from Uruguay created all these boxes. They
 are
 all made out of a single rectangle for the lid and a single rectangle
 for
 the container. She is not in the “origami community” but
 would like to
 know whether the 9-side and the 11-side boxes have been published
 before.
 I believe the others can be found in Tomoko Fuse’s books (3, 4, 5,
 7,
 10, 12 sides), but in this case, perhaps the way she folded them is
 different?  If you know of someone who has created and published these
 boxes, I’ll appreciate you letting me know.
 
 Aren’t they cool? I love the paper she has chosen.
 
 Thanks
 
 Laura Rozenberg
 
 
>>> 
>>> 
>> 
>> 
> 
> 

Re: [Origami] Non-modular 9-side and 11-side boxes

[Laura R via Origami]

Yes! It's a lovely Argentine paper that comes in sheets and imitates the Andean 
patterns found on ponchos and similar textiles. But it looks like it was made 
just for these boxes!

> On Oct 8, 2024, at 7:54 PM, cafe...@pacific.net wrote:
> 
> Wow !!
> The paper appears to be photographic images of handwoven textiles.
> Gorgeous!!
> Louise in Norcal
> 
> 
> 
>> My friend Maria Tchoulamian from Uruguay created all these boxes. They are
>> all made out of a single rectangle for the lid and a single rectangle for
>> the container. She is not in the “origami community” but would like to
>> know whether the 9-side and the 11-side boxes have been published before.
>> I believe the others can be found in Tomoko Fuse’s books (3, 4, 5, 7,
>> 10, 12 sides), but in this case, perhaps the way she folded them is
>> different?  If you know of someone who has created and published these
>> boxes, I’ll appreciate you letting me know.
>> 
>> Aren’t they cool? I love the paper she has chosen.
>> 
>> Thanks
>> 
>> Laura Rozenberg
>> 
>> 
> 
> 

Re: [Origami] Origami Digest, Vol 218, Issue 14

[Laura R via Origami]

Sorry, I found the date in a stripe at the lower end of the inner backcover. It 
says in Japanese:
Origami 1, 1958, July 16. Akira Yoshizawa. Printer: Kyuryudo Printing Company 
Ltd. 2-232 Kami Ogikubo, Suginami-ku, Tokyo, International Origami Research 
Society, transfer number: TOkyo 75163. Retail price: 150 yens

Laura Rozenberg

> On Jun 21, 2024, at 1:54 PM, Laura R  wrote:
> 
> Here at the Museo del Origami, we have a copy of this book. It was a gift 
> from Lillian Oppenheimer to Ligia Montoya of Argentina. The dedications says: 
> “To Ligia, whose generosity exceeds only her creative talents”. Ligia died in 
> in 1967. So this is a confirmation that the book was published not in 1978 
> but earlier, possibly in 1958 if you have the date in the book (I don’t see 
> it). 
> 
> The lower right corner of the cover is missing. Perhaps the date was there, 
> because I can’t find any date in the rest of the book. 
> 
> The inner back cover has: “This book has been published by my association in 
> two versions: Japanese and English,with the kind permission of Kyuryudo 
> Printing Company, Ltd. We will continue to publish books for the general 
> public.”
> 
> I also see 150 yens (all with the google translator).
> 
> What’s different from earlier books by AY is that the drawings are much 
> bigger (facilitating the comprehension of beginners). To me, they were not 
> drawn by Yoshizawa himself. They look very different from his drawings, are 
> much bigger, some of them with an illustrtion of hands holding models. They 
> look like drawings made at the publishing company. Maybe he granted 
> permission for someone else to adapt his illustrations? The book is 
> definitely a collaboration between AY and the publisher, as said in the 
> introduction.
> 
> It also has some traditional models, like the flapping bird and the frog. 
> 
> Laura
> 
>> On Jun 21, 2024, at 11:40 AM, David Kirkland via Origami 
>> mailto:origami@lists.digitalorigami.com>> 
>> wrote:
>> 
>> Contents Origami Digest Vol 218, Issue 14, Topic 1:
>> Hi Lorenzo,
>> This book matches most of the book numbered 3 in British Origami Society’s, 
>> David Lister’s compilation, The Books Of Akira Yoshizawa.  I was able to 
>> acquire one from a Yoshizawa book lot. 
>> 
>> It does have 50 pages.  The dimensions are 19cm by 17cm.  The front and back 
>> card covers are in multi-color.  A monochromatic presentation is used for 
>> each origami subject and there are at least 6 different colors.  It is bound 
>> with a thick paper ribbon instead of string.  The arrangement of the bound 
>> pages are colorfully symmetrical with the center middle of the book.  There 
>> are 26 simple models.
>> 
>> The title page does have a bold number 1!  There is no ISBN number.  This is 
>> all that can be verified from your picture, Lister’s book #3 description, 
>> and my copy. 
>> 
>> The publication date is now the mystery.  Is it 1978 or is it 1958?  Lister 
>> did have a few typos in his origami Lists, but he was also a lawyer.  I 
>> would vote that his dates were spot on.  I think that Lister was correct 
>> about this book’s 1978 publication date.  I’m also thinking that the colors 
>> used for this publication could help determine the date.  Another data point 
>> for detective investigation is the original price of 150 yen.  So where does 
>> the 1958 come from?  
>> 
>> Inside the back cover of this book is a reference to 1958 . 7 . 16 and 6 
>> pictures of origami (face, sailboat, peacock, ?, ostrich, and nun) that are 
>> not diagrammed in this book.  The fourth origami pictured is so small; it 
>> could be a baby bird or puppy.  I could speculate that the inside back cover 
>> is a tribute to Yoshizawa’s Cooper Union exhibition in New York in 1958.  
>> Could it be a twenty year anniversary highlight?  Maybe this is why the 
>> picture that you have provided has a label referencing 1958.  I really want 
>> to learn Japanese!  We could have cleared up that inside back page in a 
>> jiffy.
>> 
>> There IS something mysterious about this book.  Please help us to focus our 
>> discoveries.
>> 
>> Many Thanks,
>> Dave
>> 
>> 
>> 
>> 
>> 
>> 
>> Sent from Yahoo Mail for iPhone 
>> 
>> On Thursday, June 20, 2024, 12:00 PM, 
>> origami-requ...@lists.digitalorigami.com 
>>  wrote:
>> 
>> Send Origami mailing list submissions to
>> origami@lists.digitalorigami.com 
>> 
>> 
>> To subscribe or unsubscribe via the World Wide Web, visit
>> https://lists.digitalorigami.com/mailman/listinfo/origami 
>> 
>> or, via email, send a message with subject or body 'help' to
>> origami-requ...@lists.digitalorigami.com 
>> 
>> 
>> You can reach the person managing the list at
>> origami-ow...@lists.digitalorigami.com 
>> 

Re: [Origami] Origami Digest, Vol 218, Issue 14

[Laura R via Origami]

Here at the Museo del Origami, we have a copy of this book. It was a gift from 
Lillian Oppenheimer to Ligia Montoya of Argentina. The dedications says: “To 
Ligia, whose generosity exceeds only her creative talents”. Ligia died in in 
1967. So this is a confirmation that the book was published not in 1978 but 
earlier, possibly in 1958 if you have the date in the book (I don’t see it). 

The lower right corner of the cover is missing. Perhaps the date was there, 
because I can’t find any date in the rest of the book. 

The inner back cover has: “This book has been published by my association in 
two versions: Japanese and English,with the kind permission of Kyuryudo 
Printing Company, Ltd. We will continue to publish books for the general 
public.”

I also see 150 yens (all with the google translator).

What’s different from earlier books by AY is that the drawings are much bigger 
(facilitating the comprehension of beginners). To me, they were not drawn by 
Yoshizawa himself. They look very different from his drawings, are much bigger, 
some of them with an illustrtion of hands holding models. They look like 
drawings made at the publishing company. Maybe he granted permission for 
someone else to adapt his illustrations? The book is definitely a collaboration 
between AY and the publisher, as said in the introduction.

It also has some traditional models, like the flapping bird and the frog. 

Laura

> On Jun 21, 2024, at 11:40 AM, David Kirkland via Origami 
>  wrote:
> 
> Contents Origami Digest Vol 218, Issue 14, Topic 1:
> Hi Lorenzo,
> This book matches most of the book numbered 3 in British Origami Society’s, 
> David Lister’s compilation, The Books Of Akira Yoshizawa.  I was able to 
> acquire one from a Yoshizawa book lot. 
> 
> It does have 50 pages.  The dimensions are 19cm by 17cm.  The front and back 
> card covers are in multi-color.  A monochromatic presentation is used for 
> each origami subject and there are at least 6 different colors.  It is bound 
> with a thick paper ribbon instead of string.  The arrangement of the bound 
> pages are colorfully symmetrical with the center middle of the book.  There 
> are 26 simple models.
> 
> The title page does have a bold number 1!  There is no ISBN number.  This is 
> all that can be verified from your picture, Lister’s book #3 description, and 
> my copy. 
> 
> The publication date is now the mystery.  Is it 1978 or is it 1958?  Lister 
> did have a few typos in his origami Lists, but he was also a lawyer.  I would 
> vote that his dates were spot on.  I think that Lister was correct about this 
> book’s 1978 publication date.  I’m also thinking that the colors used for 
> this publication could help determine the date.  Another data point for 
> detective investigation is the original price of 150 yen.  So where does the 
> 1958 come from?  
> 
> Inside the back cover of this book is a reference to 1958 . 7 . 16 and 6 
> pictures of origami (face, sailboat, peacock, ?, ostrich, and nun) that are 
> not diagrammed in this book.  The fourth origami pictured is so small; it 
> could be a baby bird or puppy.  I could speculate that the inside back cover 
> is a tribute to Yoshizawa’s Cooper Union exhibition in New York in 1958.  
> Could it be a twenty year anniversary highlight?  Maybe this is why the 
> picture that you have provided has a label referencing 1958.  I really want 
> to learn Japanese!  We could have cleared up that inside back page in a jiffy.
> 
> There IS something mysterious about this book.  Please help us to focus our 
> discoveries.
> 
> Many Thanks,
> Dave
> 
> 
> 
> 
> 
> 
> Sent from Yahoo Mail for iPhone 
> 
> On Thursday, June 20, 2024, 12:00 PM, 
> origami-requ...@lists.digitalorigami.com wrote:
> 
> Send Origami mailing list submissions to
> origami@lists.digitalorigami.com 
> 
> To subscribe or unsubscribe via the World Wide Web, visit
> https://lists.digitalorigami.com/mailman/listinfo/origami 
> 
> or, via email, send a message with subject or body 'help' to
> origami-requ...@lists.digitalorigami.com 
> 
> 
> You can reach the person managing the list at
> origami-ow...@lists.digitalorigami.com 
> 
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Origami digest..."
> 
> 
> Today's Topics:
> 
>   1. Yoshizawa "misterious" book (at least for me) (Lorenzo)
>   2. OUSA Convention - I invite you to participate in the ATCswap
>   (gera...@neorigami.com)
> 
> 
> --
> 
> Message: 1
> Date: Thu, 20 Jun 2024 00:09:05 +0200
> From: Lorenzo mailto:lorenzo.luci...@gmail.com>>
> To: origami  >
> Subject: [Origami] 

Re: [Origami] looking for an origami wallet w/compartments video tutorial

[Laura R via Origami]

Oh, Leslie, that’s the one I’m sure. I have the series, I’m gonna check. Thanks 
soo much! :) :) :)

Laura

> On Jun 14, 2024, at 7:56 PM, leslie cefali via Origami 
>  wrote:
> 
> Sok Song taught a wallet using a NYC subway at ORIGAMI USA convention many 
> years ago. The diagrams are in his book Crease and Fold.  It the best origami 
> wallet that I have seen. Pockets for cards. Place for bills. 
> Sent from my iPhone
> 
>> On Jun 14, 2024, at 4:52 PM, Jason Quattrini via Origami 
>>  wrote:
>> 
>> 
>> I meant to send this to the list, but it defaulted directly to Laura
>> 
>> 
>> Isao Honda has a wallet in The World Of Origami.  It uses 3 sheets of 6 inch 
>> square paper.  The final step says something like "The finished wallet, with 
>> a pocket in front and another in the back".  It may not have the pocket 
>> quantity you are looking for?
>> 
>> 
>> On Friday, June 14, 2024, 5:07:21 PM EDT, Laura R via Origami 
>>  wrote:
>> 
>> 
>> I’ll appreciate if anyone guides me to a video tutorial for an origami 
>> wallet with several compartments for different denomination bills and credit 
>> cards. I’ve made a great one years ago but can’t remember where I got the 
>> instructions (and I lost that wallet). The tutorials I’m seeing on YouTube 
>> don’t seem like the one I made before (perhaps I’m missing the right one and 
>> you’ll find it for me!) Thanks!
>> 
>> Laura R.

[Origami] looking for an origami wallet w/compartments video tutorial

[Laura R via Origami]

I’ll appreciate if anyone guides me to a video tutorial for an origami wallet 
with several compartments for different denomination bills and credit cards. 
I’ve made a great one years ago but can’t remember where I got the instructions 
(and I lost that wallet). The tutorials I’m seeing on YouTube don’t seem like 
the one I made before (perhaps I’m missing the right one and you’ll find it for 
me!) Thanks!

Laura R. 

[Origami] How to pick up potato chips, the origami way, and stay clean!

[Laura R via Origami]

How to pick up potato chips, the origami way, and keep your hands clean!

https://www.instagram.com/reel/C7-AtrJvU_E/?utm_source=ig_web_copy_link 


Laura R.

Re: [Origami] Cellular Origami

[Laura R via Origami]

This is amazing! Thank you!! 

In this scientific paper, Manu Prakash cleverly includes a reference to his 
Foldscope. Kudos to him—he’s done a great job both scientifically and 
educationally for years.

I found an additional link in the same magazine that I find useful to 
understand the general concept: 
https://www.science.org/doi/10.1126/science.adn9351 



Laura Rozenberg

> On Jun 7, 2024, at 9:42 AM, Scott Cramer  wrote:
> 
> This is an exciting discovery!
> 
> https://news.stanford.edu/stories/2024/06/the-first-example-of-cellular-origami
> 

Re: [Origami] The Appeal of the Word "Origami"

[Laura R via Origami]

> On Jun 6, 2024, at 1:13 PM, Tung Ken Lam via Origami 
>  wrote:
> 
> Publishers want me to use the word "Origami" in book titles for marketing 
> purposes. I don't mind as it's a loan word. I once tried to persuade a 
> marketing agency to avoid the term " Origami". I 
> compared it with "British Cuisine" -- acceptable to some, but not to others. 
> Some people even refuse to use the French word "Menu" and insist on the 
> English "Bill of Fare" instead (Mrs Beeton, I think).

The example of cooking is interesting. Culturally, we can talk about French, 
Korean, or Japanese cuisine. But cooking, as a human practice, is universal 
(each country or region having its own style). However, what seems very clear 
and obvious in the examples of cooking (or music, or painting) does not seem so 
clear when we think of origami, because we are "imprinted" to believe it is a 
Japanese art. 

Simplistic slogans are dangerous because history is not a straight line. 
History is much more interesting than a straight line, but it requires effort 
if we want to understand the forces that made things happen. In the field of 
origami, I believe we are just beginning, and it would be beneficial if more 
people became interested in exploring this fascinating world. This exploration 
demands not only reading specific documents but also thinking outside the box 
and searching in unexpected places (such as the example of the famous box of 
Catherine de Clèves, found in a prayer book from 1440 -that is, the 
Renaissance).

Laura

Re: [Origami] EMOZ on Atlas Obscura

[Laura R via Origami]

Saying that origami is Japanese is like saying that music is German or painting 
is French. Anyone with even a basic education understands that such statements 
are absurd. So why do we continue to say that origami is Japanese? The art of 
paper folding is a universal art, just like painting and music.

A magazine like Atlas Obscura understands the weight of words. The inclusion of 
the word "Obscura" in its name underscores its intent to highlight the obscure 
and unique.

Likewise, the word “origami,” to capture attention, fits perfectly for the same 
reason. It’s exotic, attractive. This is why it has replaced other terms used 
in different parts of the world. What isn’t right is our failure to correct the 
misconception: the word origami is Japanese, but the art of paper folding is 
not exclusively Japanese. We reiterate: only the word is Japanese in origin. 
Paper folding is a universal art. It's disheartening to see this simplification 
repeated, though it's understandable: we haven’t done enough to clarify the 
misunderstanding, and it's become "convenient" to continue this way.

The saying “history is written by the victors” has never been truer: one side 
seems to have prevailed over the other, based on marketing not always grounded 
in history. Just as paper folding has deep roots in Japan, it also has deep 
roots in other parts of the world. Both traditions have contributed artists, 
techniques, and intense discussions to make paper folding the robust, wonderful 
art it is today, with a bright future ahead.

The EMOZ in Zaragoza, Spain, emerges from the Western tradition while honoring 
the Eastern one. Its walls indelibly inscribe – for those willing to read, not 
for those blind to understanding – the importance of the intermingling of two 
histories that evolved independently in the West and the East until the late 
19th century. European paper folding entered Japan, and Japanese folding 
enriched Europe. This rich cultural exchange, known as interfusion (Hatori 
Koshiro, see reference below) gave rise to modern origami. Neither tradition is 
older or more important than the other: in history and science, both terms 
-old, important- provoke discomfort and "raised eyebrows."

Before the above mentioned interfusion (from 1853 onward), even in Japan, 
origami was not used for figurative folding in Japan. Folding techniques were 
called tatamigami, orikata, orisue, or tsutsumi. These terms referred to 
folding actions. In Spain, it was called pajaritas, papirolas or papiroflexia, 
in France cocottes or pliage de papier; in Germany, papierfalten, to give some 
examples (China, Korea, etc. have their particular words and do not use 
“origami”).

In a semiotic sense, these terms evoke the idea of folding and help to mentally 
construct the action (just as the word “house” evokes the structure we all 
recognize). The semiotic problem lies in collectively associating the meaning 
of folding with “Japan” or “Japanese.” This idea is so ingrained in the 
collective unconscious that — and here I criticize myself  — when choosing a 
name for the museum, I opted for Museo del Origami, thinking it would be the 
most direct way to attract visitors (I suppose the same happened with EMOZ when 
they debated between origami and papiroflexia for the Escuela Museo Origami 
Zaragoza).

Modern origami was a collective development process, not as individualistic as 
it seems when figures like Akira Yoshizawa are exalted. It was a fascinating 
synergy that took place in the 1950s and 60s when a small group of folders in 
various countries began exchanging letters with their models, and this exchange 
became a powerful engine for developing new techniques.

Akira Yoshizawa didn’t invent the system of symbols either. The symbols he used 
had existed in European literature for centuries. According to historian Joan 
Sallas, the oldest reference to “valley” and “mountain” folds appears in a book 
by the German Andreas Klett from 1677. What Yoshizawa innovatively did was 
incorporate a small “cartouche” in each of his submissions to Japanese craft 
magazines (I wrote a long article about this in The Fold some time ago). This 
cartouche contained the main symbols he used in his diagrams: valley, mountain, 
dead line, and a few arrows (other Japanese artists also used arrows). So, 
Yoshizawa didn’t invent anything new. However, his diagrams were clear, clean, 
and organized, which is why Samuel Randlett used this foundation and improved 
it by adding new arrows.

Finally, I want to address the figure of the tsuru. It’s such a powerful symbol 
that it’s associated with Japan and origami worldwide. Few resist using it as a 
“hook” to attract the public, like in Robert J. Lang’s recent lecture at the 
National Academies of Sciences, Engineering, and Medicine. Lang knows there’s 
no direct historical line from the tsuru to a satellite. But he used it anyway 
because it’s easy to understand. The problem I see is that, although La

Re: [Origami] Yet Another Birthday for the O-list!

[Laura R via Origami]

Thank you, Anne, for such a thorough answer. Mine was just a romantic thought, 
like, wouldn’t it be nice to see “the first”. Our “one small step for man, one 
giant leap for mankind”. 
L

> On May 24, 2024, at 9:34 AM, Anne LaVin via Origami 
>  wrote:
> 
> On Thu, May 23, 2024 at 4:31 PM Laura R via Origami 
> mailto:origami@lists.digitalorigami.com>> 
> wrote:
> Happy birthday dear O-List! 
> Anne, do you happen to keep a copy of the first (or some of the first) email 
> exchange?
> 
> The short answer is: yes, we have the data, possibly even all of it.
> 
> The longer answer is: it's not in easily shareable/archivable/viewable 
> format(s). It did take a while for things to get rolling, so the first 
> bundles of conversations are not all that interesting, really.
> 
> That said, "getting the o-list archives somewhere usable, sometime" has long 
> been on the list of things that would be nice to do for the list... but it's 
> a Pretty Serious Project, at this point. The data is stored in multiple 
> chunks, in random formats, so putting them all into something that could act 
> like a single mail archive would be quite a job. A huge pile of the early 
> messages were not kept as actual email messages, so their unique message-IDs, 
> which systems use for creating threading, don't exist any more. They would 
> likely take human intervention [and there are tens of thousands of them!] to 
> clean up into something like a real mail archive. I've wondered, on and off, 
> if there's a way to somehow wiki-fy [not *actually* a wiki, just the concept] 
> the information, and get volunteers with the right mindset to attack it, and 
> gradually tidy it up. But wrangling that, and/or running/creating a system 
> that would make such a collaborative effort possible, is itself a pretty big 
> project.
> 
> Anne
> 
> 
> 
> 
> > On May 23, 2024, at 5:12 PM, Anne LaVin via Origami 
> >  > <mailto:origami@lists.digitalorigami.com>> wrote:
> > 
> > Yep, the List is another year older.
> > 
> > For this is the day when, back in 1988 (!) the first messages were 
> > exchanged in what would eventually migrate to this version of the List, run 
> > on a private server my husband and I maintain, using the open-source 
> > Mailman mailing list system. 
> > 
> > Pretty much everything has changed a lot since then, but the List is still 
> > getting used, so we're still here. Maybe this will be the year to migrate 
> > things to a forum-style backend (I hear good things about Discourse) but 
> > there will always be an email component for you diehards, never fear!
> > 
> > I hope everyone is having a grand day. Do go fold something, and come back 
> > and tell us about it!
> > 
> > Anne
> > 
> 

Re: [Origami] Yet Another Birthday for the O-list!

[Laura R via Origami]

Happy birthday dear O-List! 
Anne, do you happen to keep a copy of the first (or some of the first) email 
exchange? 
Laura

> On May 23, 2024, at 5:12 PM, Anne LaVin via Origami 
>  wrote:
> 
> Yep, the List is another year older.
> 
> For this is the day when, back in 1988 (!) the first messages were exchanged 
> in what would eventually migrate to this version of the List, run on a 
> private server my husband and I maintain, using the open-source Mailman 
> mailing list system. 
> 
> Pretty much everything has changed a lot since then, but the List is still 
> getting used, so we're still here. Maybe this will be the year to migrate 
> things to a forum-style backend (I hear good things about Discourse) but 
> there will always be an email component for you diehards, never fear!
> 
> I hope everyone is having a grand day. Do go fold something, and come back 
> and tell us about it!
> 
> Anne
> 

Re: [Origami] New instructional video release

[Laura R via Origami]

Joseph,

You asked for some feedback on the artistic value of your model. Well, of 
course, my take is subjective, as is any observation on taste. You said it's a 
mask representing a cat's face. The proportions seem pretty spot-on, though 
there's a bit of a gap in the ear’s top layer, which gives them a bit of a 
messy look. Not sure if it's due to a shortage of paper in the pattern 
resolution or just a rush in finishing.

Another thing that stands out is the choice of colors. I'm not quite getting 
why a cat would have one green ear and one black ear. And that red blotch in 
the middle, I'm not seeing the point of it, speaking purely in artistic terms. 
With a mask, you can play around with colors, trying out different areas, 
stripes, sizes, allowing the observer to connect in a more visceral way, to 
move us like when we see a painting by Miró or Kandinsky and wonder: how did 
they come up with combining colors and shapes like that? It's all so 
harmonious. In the case of your mask, the combo of those colors with the idea 
of a cat is weird; it feels forced, like you're trying to say two things at 
once, and the result is unintelligible.

Sure, masks can be sad, cheerful, happy, surprising. But what's your mask? 
What's the message, if there is one? There must be one because you've aimed to 
create a work of art, yet you're uncertain if you've achieved it, hence why 
you're asking for our opinion (otherwise, you wouldn't bother asking). If I 
unfold the paper to see the crease pattern --a common practice among origami 
enthusiasts-- what I see (well, you showed it in the PDF) is a square divided 
into parallelograms and a smaller square. The colors are white, black, green, 
and red. 

It brings to mind a flag (there are several with those colors, like Sudan's, 
the United Arab Emirates', Kuwait's, Palestine's, but the directions of the 
strokes don't match any of them.) Here, I can't help but refer to the title of 
your piece (as if I were snooping, since I must be careful not to cross the 
threshold you've set), and then I link those flag colors to a cat mask.  You 
managed to create a cat face with the colors of a flag, but only because you 
forced the direction of the stripes. 

And why a mask? A mask can be a festive item, but it can also serve as a means 
to hide, depending on the context in which it's used. Why choose something that 
represents hiding one's identity beneath the backdrop of a flag?

I wonder: what could you have meant by that? What does a national symbol have 
to do with a cat? And why a cat and not a dog or a horse? Cats can represent 
both good and bad omens, depending on the culture -the choice might be tricky. 
Either way, I think for many observers, this could be confusing. Ultimately, my 
feeling is that while there's a suggestive cat face, the message is opaque.

I say all this because your statement implies that you didn’t create just an 
innocent origami cat’s face. There's something else, but you've plowed a deep 
furrow between artistic commentary and political commentary, which, as you can 
see, makes for quite a challenging task, to say the least.

Laura Rozenberg

> On May 11, 2024, at 4:31 PM, Joseph Wu  wrote:
> 
> This list is not a place for political discussions, but art is sometimes 
> political. I've created a piece (and released an instructional video for it) 
> in support of a cause with which you might not agree, or find offensive. 
> Please discuss the *art* or *origami* aspects of this here; if you wish to 
> engage in political dialog, you'll need to find another venue.
> 
> This piece, “Cat Head for Palestine”, was originally designed for the Origami 
> World Marathon 2024. Since I almost never make instructions of any kind, I 
> decided to withdraw it from that event and to release it for this purpose 
> instead. 
> 
> You can find the video, with more information about the design, here: 
> https://vimeo.com/910557067 
> 
> --
> Joseph Wu, Origami Artist (via iPhone)
> e: josep...@origami.as
> w: http://www.origami.as
> flickr: http://www.flickr.com/photos/josephwuorigami/
> facebook: http://www.facebook.com/joseph.wu.origami

Re: [Origami] tato fold?

[Laura R via Origami]

Excellent eye, Char! Thanks :) I have that book. I’ll check :) 
L

> On Apr 15, 2024, at 1:48 PM, Charlene Morrow via Origami 
>  wrote:
> 
> That is the "star-building-unit" that appears in a book published a while ago 
> by Key Curriculum press, authored by Betsy Franco. It is a variation of the 
> Soobe unit. You can take 2 units and make a flat model, like that used for 
> the earrings pictured, by wrapping the 2 units around each others and tucking 
> tabs into pockets. Not technically a tato, I think.
> 
> Here is a link to the book on Amazon: 
> https://www.amazon.com/Unfolding-Mathematics-Origami-published-Curriculum/dp/B00E6TQAW8
> 
> Hope this helps.
> 
> Char Morrow
> 
> On 4/15/24 9:23 AM, Laura R via Origami wrote:
>> Is this a kind of tato fold? Looks like a single piece of paper.
>> 
>> https://www.fiveanddivine.com/products/origami-folded-paper-earrings-4
>> 
>> Laura Rozenberg
> 

[Origami] tato fold?

[Laura R via Origami]

Is this a kind of tato fold? Looks like a single piece of paper. 

https://www.fiveanddivine.com/products/origami-folded-paper-earrings-4 


Laura Rozenberg

[Origami] what origami paper is this?

[Laura R via Origami]

Does anyone know what paper is this? I tried Google image but didn’t get me the 
right answer. I think it’s a Japanese pack. 

[Origami] Pirated copy of Origami Design Secrets by Robert J. Lang

[Laura R via Origami]

Found on Amazon. 

You may want to report the pirated copy of Origami Design Secrets by RJL thru 
the link “Report incorrect product information”

https://www.amazon.com/Complete-Origami-Robert-step-step-ebook/dp/B0BRYK2M11/ref=sr_1_17?crid=KOH2PN0L4ORM&keywords=robert+lang+origami&qid=1700941822&sprefix=robert+lang+origami%2Caps%2C214&sr=8-17
 


Laura Rozenberg

Re: [Origami] Origami Paper online

[Laura R via Origami]

Kim’s Crane (lots of discounted packages) 
https://kimscrane.com/ 


> On Sep 18, 2023, at 9:28 PM, Mary E. Palmeri via Origami 
>  wrote:
> 
> I'm looking to buy origami papers online, but Not from Amazon.I'd rather 
> do business with independent retailers if possible, and I'm looking 
> specifically for interesting prints on papers around 4.5" sq.
> 
> Please share sites you've done business with.
> Thanks, 
> Mary Ellen in Tucson, AZ
> 

Re: [Origami] The Third Joisel Award - Voting is Open

[Laura R via Origami]

I had my reservations about chiming in initially, but this conversation has 
truly evolved into something intriguing.
Back when I was just a young girl in the early 60s, I delved into the world of 
origami using the limited books available in the market. Those books didn't 
bear the names of authors, but that didn't bother me much, as my focus was 
solely on deciphering the diagrams. It was only later in life that I discovered 
Isao Honda had penned those books (though to what extent remains a mystery; it 
might have been a fusion of his ideas and the publisher's graphic team).
Moving into the 70s, I began amassing books by Robert Harbin and a handful of 
other origami authors. It's still quite astonishing to me that I managed to 
retain the names etched on those covers, enough to refer to the books by the 
author's name. For instance, I'd say, "Oh, this is the Kasahara book," or 
"Here's the Harbin book," and so on. Quite a feat, I must say.
However, I didn't pay heed to the names that Harbin so meticulously included to 
credit the creators of those models. If I had taken the time to read those 
names, I would've been taken aback to discover, for example, that an Argentine 
artist from my own country, Ligia Montoya, held a special place as one of 
Harbin's favored sources for captivating designs.
So, that's how things were during my formative teenage and early adult years – 
rather oblivious, one might say.
And this is where I connect what I'm saying with Lorenzo's question. How many 
artists can I recognize in the grid provided by CFC? Quite a few, right? 
Therefore, the purpose of keeping the artists anonymous becomes diluted (by 
30%, 50%, 10%?) It's not about the percentage; what matters is that the 
condition of anonymity doesn't apply equally to everyone. It might be worth 
asking the contest organizers if they think this undermines the proposal. Even 
if they haven't noticed it, voters might feel somewhat bothered when they 
"discover" artists who are supposed to remain anonymous.
In other global competitions where anonymity is a requirement, it might be more 
challenging to discern the artist's touch. For instance, university art 
contests, international fair contests involving young individuals starting 
their artistic careers, and primarily in literature competitions.
Lastly, let's consider an extreme and theoretical example: the contest aims to 
decide between two origami pieces. Both are submitted anonymously. However, one 
is easily recognizable, while the other is not. Does the condition of anonymity 
hold true in this case? If not, from what point onward would it be appropriate 
for the contest organizers to include the anonymity requirement for 
participants?

Laura Rozenberg

> On Aug 21, 2023, at 10:12 AM, Papirfoldning.dk  wrote:
> 
>> You might refer to the opportunity for the author to submit its work 
>> anonymously, which is surely fair and which is much different than something 
>> decided as general rule for the competition.
> Also that, but not primarily. 
> 
>> Furthermore, there's a big misunderstanding about "bias": when I judge an 
>> artifact I like to do that in a certain context, and the context includes 
>> (among some aspects) the identity of the creator. This does not definitely 
>> lead to a bias, this lead to a better understanding of the genesis of the 
>> piece I'm going to vote.
>> In my opinion, if anyone thinks to be able to assign a fair "vote" without 
>> contextualising with the author identity and background, well to me it's at 
>> least naive.
>> 
>> Voting for an artifact is not like voting for the better colour for the 
>> façade of a public building.
>> 
>> Does anyone of you like contemporary art and visit fairs, exhibitions, 
>> galleries and so on?
>> I can assure you can find a "pole stuck in the ground" and quoted hundreds 
>> thousands dollars, because it comes from a whole artistic path of the 
>> artist. And it's not just "because the market".
> Certainly, it may be relevant to include the artist's background and 
> motivation in the analysis of their artworks, and I fully agree that for some 
> pieces of art the value lies solely with the artist and not with the work. 
> Which may lead to high prices, or conversely in extreme cases to cancelling 
> the art works or even destroying them. 
> 
> It is also possible to analyse a piece of art without knowing anything about 
> the artist. Some arts people seem to believe that is main or even only right 
> way to do it.
> 
>> In other word, if you think you can "detach" a piece of art from its 
>> creator, and still be able to judge it, well... to me you have no any idea 
>> of what art is.
> Fair enough. Personally, I like to read books based on their contents, seeing 
> films without knowing the actor or instructor names, and as for paintings, 
> I'm pretty sure that most people appriciate art as is, and not due to the 
> painter's name, and yes, I acknowledge that "most people" at best have a 
> vagu

Re: [Origami] Passion Origami website

[Laura R via Origami]

C’est domage, Nicolas! 
Try access via WayBack Machine: 
https://www.passion-origami.com/actualites-origami-xsl-449.html 

Maybe Nicolas can download all the pages, copy, and reinstall elsewhere

> Le 13/08/2023 à 01:10, Diana Lee via Origami a écrit :
>> Hi,
>> Does anyone know what happened to Nicholas Terry's Passion Origami website?
>> https://www.passion-origami.com/ 
>> 
>> Is it just my internet, or is the website down?
>> Thanks in advance, Diana

Re: [Origami] Name of the puzzle purse in Spanish?

[Laura R via Origami]

Gerardo, 
No, I did not suggest a translation. Quite the opposite. I said there is no 
need to translate everything. Leave names as they are and explain the model in 
your language. 
The following is what I said on July 2:
Why do you need to translate. Everybody knows what a puzzle is. You can say es 
un portamonedas que se arma como si fuera un puzzle pero solo necesitas un 
papel, no es modular. You just tell them what it is and they quickly figure 
out. No need to find the perfect translation because everything will leave you 
in the middle of something. 
Laura

> On Jul 30, 2023, at 12:09 AM, gera...@neorigami.com wrote:
> 
> At the begining of this month I had asked for help with the name of the 
> traditional model, puzzle purse, in Spanish and received a few replies. I 
> mentioned I was going to teach the model to a group of Spanish speakers, and 
> that if I didn't find a popular name, Laura Rozenberg's and Karen Reeds's 
> emails helped think of a translation of the name I was happy with.
> 
> So, I taught how to fold the model about a week ago and I wasn't able to find 
> popular name of the model in Spanish. I taught the model giving it the name 
> "bolsa rompecabezas". I want to explain to you why I chose that translation
> 
> "Purse" has different definitions. Although the first ones in the 
> Merriam-Webster dictionary are directly related to money, none of the 
> references to the model seem to mention banknotes or coins at all. I believe 
> the model relates instead to this other definition of the word: "a receptacle 
> (such as a pouch) shaped like a purse". Source: 
> https://www.merriam-webster.com/dictionary/purse 
> 
> 
> Continuing, Karen pointed to the book Repertorio Completo de Todos los Juegos 
> by Marco and Ochoa y Ronna (1896). That book calls it "bolsa". That word can 
> mean "bag", but it can also mean "pouch", just like the definition of "purse" 
> from the Merriam-Webster dictionary. I think in the minds of most 
> Spanish-speakers nowadays, we think first in plastic bags when we hear the 
> word "bolsa", but that model predates the invention of such bags.
> 
> Regarding the word "puzzle" I was hesitant to translate it as "rompecabezas", 
> since I believe the word in Spanish is limited to jigsaw puzzles. Yet, in her 
> email, Laura Rozenberg, mentioned how it would be easy to explain that the 
> model is a type of "rompecabezas" just that from the folding of a single 
> piece of paper. Aside from that, Karen Reeds revealed that the aforementioned 
> book places the model under the section "Rompecabezas". That section begins 
> with a parragraph explaining how the word is broadend in the book to include 
> "any type of game with a difficult solution" (pg. 706). So I guess I was 
> wrong, and "rompecabezas" is a proper translation of "puzzle" in this context.
> 
> And that is why I called, and propose the model to be called in Spanish, 
> "bolsa rompecabezas". Now, I think it's quite curious how the name "puzzle 
> PURSE" stuck, despite it seems to be mainly described nowadays as a very 
> creative type of Valentine's card from the past. Go figure .
> 
> --
> Gerardo G.
> gerardo(a)neorigami.com 
>  instagram.com/neorigamicom 
> Knowledge and Curiosity in Origami:
> six private classes online 
> 
> "(...) It doesn’t happen often, but when it does, it takes your breath away 
> and fills you with the true joy of origami. I experienced this in my lessons 
> with Gerardo G. I wouldn’t trade it for anything. Gerardo is (...)" C. R. 
> Read the full review 
> 

Re: [Origami] who is taking care of Francis Ow's website ?

[Laura R via Origami]

It is working for me. Just went through several pages, diagrams, etc. 

> On Jul 25, 2023, at 1:54 PM, Diana Lee via Origami 
>  wrote:
> 
> Hi,
> who is taking care of Francis Ow's website http://owrigami.com/ 
> 
> It doesn't seem to be working anymore.
> Thanks in advance, Diana

[Origami] Comments by visitors to the Museo del Origami in Colonia, Uruguay

[Laura R via Origami]

Gone are the times where museums had a visitor’s book that people would sign 
before leaving the exhibition. We used to have one but we learned that they now 
prefer to pick up a card; they say they’ll write a comment later, either on 
Google, Instagram and the likes. 

Not that I wrapped the beloved visitor’s book without regret but I thought it 
was time to go with the wave. So, I’m asking visitors (some, not many, as I’m 
still shy to ask) if they would improvise a short comment while I record them 
for our IG page. Everyone accepts and I think they are genuine. 

Here is one, which will get you to more. 

https://www.instagram.com/p/CvAUctms197/ 


I always stress that nothing would be here if not for the generosity of the 
most talented artists from the origami community worldwide. Thank you!

Laura Rozenberg
Museo del Origami
Colonia del Sacramento
Uruguay

Re: [Origami] Name of the puzzle purse in Spanish?

[Laura R via Origami]

Why do you need to translate. Everybody knows what a puzzle is. You can say es 
un portamonedas que se arma como si fuera un puzzle pero solo necesitas un 
papel, no es modular. You just tell them what it is and they quickly figure 
out. No need to find the perfect translation because everything will leave you 
in the middle of something. 

Actually, I make beautiful earrings out of this easy model. They must look 
perfect and made with the best washi.

Laura

> On Jul 2, 2023, at 3:58 PM, gera...@neorigami.com wrote:
> 
> HELLO
> 
> I plan to teach this model to Spanish speakers: 
> http://www.origamiheaven.com/historyofpuzzlepurses.htm 
> 
> 
> First of all, should I just call it "puzzle purse" in English? I see it 
> sometimes appears as "Valentine puzzle purse" and some others as "Victorian 
> puzzle purse". What do you suggest?
> 
> In regard to Spanish, have any of you seen any reference to this model–for 
> example, its diagrams–in a book in said language? How was the model called?
> 
> If not, those of you that also now Spanish, how would you translate it? I'd 
> say both the word "puzzle" and "purse" can be challenging to translate to 
> Spanish. There's no exact translation for the word "puzzle". "Rompecabezas" 
> means "jigsaw puzzle", but isn't appropriate for other types of puzzles, like 
> this purse. It's a similar situation with "purse"; the Spanish word would 
> depend on the type of "purse".
> 
> I'm inclined for "Cartera de ingenio", which would literally mean "Ingenuity 
> purse". That's as close as I got.
> 
> 
> Thank you in advance. If you prefer, you can instead reply privately to my 
> email address: gerardo(a)neorigami.com
> 
> --
> Gerardo G.
> gerardo(a)neorigami.com 
>  instagram.com/neorigamicom 
> Knowledge and Curiosity in Origami:
> six private classes online 
> 
> "(...) It doesn’t happen often, but when it does, it takes your breath away 
> and fills you with the true joy of origami. I experienced this in my lessons 
> with Gerardo G. I wouldn’t trade it for anything. Gerardo is (...)" C. R. 
> Read the full review 
> 

[Origami] "Origami Dots" by Andy Parkinson... recommended?

[Laura R via Origami]

Hi all, 

Do you know the book Origami Dots, Folding Paper to Explore Geometry, by Andy 
Parkinson (Tarquin, 2020)? Does it have origami things or is it all puzzles? 
How good is the book in general? 

Laura R.

Re: [Origami] James Minoru Sakoda

[Laura R via Origami]

Thank you, Philip, for sharing this. Before I started reading this captivating 
story, I was moved by the NYTimes line: “This article is part of Overlooked, a 
series of obituaries about remarkable people whose deaths, beginning in 1851, 
went unreported in The Times.”
How remarkable it is for the NYTimes to look back to honor these people. 

Laura Rozenberg

> On May 15, 2023, at 8:54 AM, Philip Chapman-Bell via Origami 
>  wrote:
> 
> Greetings:
> 
> I didn't see this article mentioned here and think it should be more widely 
> shared.
> 
> https://www.nytimes.com/2023/05/08/obituaries/james-sakoda-overlooked.html?unlocked_article_code=r2WQGRzSze8XAlNFEKGTC1XBpHtdg2tNKRub2NBCVZgPkT6t_1x2wif9p1Ub0DP5Fn1zBGHuJgjadcOCX6m8IqgTkxYs3uU8I3XuU6V-TaecFKipHeo0ngNtVRJj_lqyiv5L16saqqjWwg4bpJfHJwuNI9p_mpY6T1R1CdeuEpCmPg9eZWWhNAc7SY9eebeQ5WysAx0vx6zsY_KMitE4e7raOjUpPyYJHnA_CE-fJFyP7dzcU6F97OcAbXOdBIoYFQp0pbjNOIRSJinf0IzXyQtzuGrzDXajuvXfwDPb1YFnaRFENeE_NfZOe1TmXfouvjHHZRTIfwA9nY0ktvBu8y9TeE4&smid=url-share
> 
> It's not about origami so much, but about the other interesting and important 
> work James Sakoda did when he wasn't folding. Because most of us have day 
> jobs.
> 
> Yours,
> 
> Philip
> 
> 

Re: [Origami] ori-miura map publisher?

[Laura R via Origami]

Hi Char, 
That is correct. I have an old map from Philadelphia that has the name of the 
printer: http://www.zcardna.com/ <http://www.zcardna.com/> But the map is not a 
perfect miura-ori, it’s a 90 degrees grid. It closes as a miura-ori but not so 
well. That company advertises as the makers of the NYTransit map as well. 
L

> On Apr 19, 2023, at 2:21 AM, Charlene Morrow  
> wrote:
> 
> I remember a decade or more ago the nyc transit system put out a nyc subway 
> map that folded up in a mihrab-like way to a credit card size packet & had a 
> cover with a pocket that could hold your metro card. No idea the publisher. 
> Hope this helps. 
> 
> Cheers,
> Char
> 
> Sent from my iPhone
> 
>> On Apr 18, 2023, at 12:03 PM, Laura R via Origami 
>>  wrote:
>> 
>> Hello friends
>> 
>> Do you know of any publisher who can print a tourist map in a miura-ori way? 
>> I have samples of the Nara Prefecture miura-ori maps but have no idea where 
>> to ask in Japan (better in the USA!). I’ll be grateful of any lead, 
>> 
>> Thanks
>> 
>> Laura Rozenberg
>> 
> 

[Origami] ori-miura map publisher?

[Laura R via Origami]

Hello friends

Do you know of any publisher who can print a tourist map in a miura-ori way? I 
have samples of the Nara Prefecture miura-ori maps but have no idea where to 
ask in Japan (better in the USA!). I’ll be grateful of any lead, 

Thanks

Laura Rozenberg

Re: [Origami] 'Modular origami article for Wikipedia'

[Laura R via Origami]

My two cents is that we need links to names of artists websites (or wiki pages) 
mentioned in the article, links to images in other sites and maybe a few that 
can illustrate the article (creative commons attribution images would be 
great). 
L

> On Apr 17, 2023, at 5:50 PM, Mike Naughton via Origami 
>  wrote:
> 
> Dave - IMHO, very nicely done, and a big improvement over what's there.
> 
> I'll just offer some comments on the "classic designs" section:
> - should it include Toshie Takahama's "Jewel"?
> - what about Lewis Simon? I don't know his chronology -- if Rona Gurkewitz is 
> on this list, maybe she can help?
> - the difficulty with lists like this (as you say) is deciding what to 
> include. My take, for what it's worth, would be to shorten it, maybe by 
> picking a cut-off date(?)
> 
> Mike Naughton
> 
> On 4/17/2023 8:15 AM, David Mitchell via Origami wrote:
>> Thanks to those of you who have contacted me off list about this subject. 
>> Here is a first draft of an article which takes into account your 
>> suggestions.
>> 
>> I would like to add more about the work of Tomoko Fuse, but the difficulty 
>> is that she has written so many books and developed so many designs that I 
>> am rather spoilt for choice. Please let me know which of Tomoko's designs 
>> and books you particularly think ought to be mentioned. Thank you.
>> 
>> You will see that I have mentioned a few of my own designs as well ...
>> 
>> I haven't populated the section about books as yet. Suggestions please!
>> 
>> I haven't added any references as yet.
>> 
>> Do you think this is sufficiently accurate and comprehensive or not? What 
>> needs adding? What needs taking away?
>> 
>> PS I take the list in digest form so responses won't be immediate!
>> 
>> Dave
>> 
>> Article begins
>> 
>> Introduction:
>> Modular origami is a two-stage paperfolding technique in which several, or 
>> sometimes many, sheets of paper are first folded into individual modules, or 
>> units, and then assembled into the final form of the design.
>> 
>> Modular origami can be used to make both very simple and very complex forms. 
>> It can be used as a sculptural medium and to create action designs and toys. 
>> Modular origami is also of practical use in making polyhedral models.
>> 
>> It is not necessary for all the modules used in making a design to be 
>> identical, although they often are.
>> 
>> In Japan, modular origami is called yunnito origami (unit origami), a term 
>> invented by Kunihiko Kasahara.
>> 
>> The two stages of folding and assembling the modules are not always 
>> completely separate. Sometimes  the folding of the modules continues after 
>> they have been assembled.
>> 
>> There is a related technique which also combines folded paper modules (of 
>> one particular kind only) to create (mostly) representational designs which 
>> is known as 3D Origami, Chinese Modular Origami or Golden Venture origami.
>> 
>> History:
>> In Japan, a modular cube called the 'Tematebako' (treasure chest) appears in 
>> a print in the book 'Ranma Zushiki' by Hayato Ohoka, which was published in 
>> 1734. It is thought to have been made from six modules, each of which is a 
>> Thread Container provided with tabs by means of cuts.
>> 
>> In Western Europe a cube made by interlocking six folded playing cards, and 
>> usually therefore known as the Playing Card Cube, appears in a print from 
>> 1759, and fairly regularly thereafter.
>> 
>> Despite these, and a few other, early examples, modular origami was not 
>> recognised as a distinct paperfolding technique until the 1960s.
>> 
>> In the USA, the earliest published diagrams are for a two-piece ornament by 
>> John M Nordquist, from 1963, followed by diagrams for a two-piece 'Diamond' 
>> ornament by Betsy Kitsch, from 1964, and a series of two and three-piece 
>> designs of similar style by Molly Kahn in 1966.
>> 
>> The most important impetus to the development of modular origami in this 
>> period, however, came from the publication of diagrams for a 'Color Box', a 
>> cube made from six identical modules, by Mitsunobu Sonobe, in 1968. Other 
>> Japanese paperfolders quickly realised that by combining other numbers of 
>> Sonobe modules, with only minimal alterations to the design, a much wider 
>> range of forms could be achieved. Kunihiko Kasahara in particular also 
>> developed bi-colour variations of the module. By this time there was 
>> frequent interaction between paperfolders in Japan and elsewhere in the 
>> world and knowledge of this module and its possibilities soon spread widely.
>> 
>> Thereafter paperfolders in both Japan and the USA began to explore the wider 
>> possibilities of the modular origami technique and designs proliferated 
>> quickly.Ethics:
>> 
>> Ethics:
>> Modules are essentially individual single-sheet paperfolds and the same 
>> ethical considerations about cutting and decoration, their avoidance of 
>> their use, apply to them as apply to other single-sheet pape

Re: [Origami] Common paper for friction-based modulars?

[Laura R via Origami]

> On Apr 15, 2023, at 9:48 AM, David Mitchell via Origami 
>  wrote:
> 
> Laura R  wrote:
> 
>> I?ll be happy to help editing that Wiki entry. I contribute that way with 
>> Wiki from time to time fixing what my scatologic husband calls Wiki text 
>> poop. As I?m not a modular expert and my English is not perfect, I will need 
>> the text to replace that part. You can communicate with me as usual.
> 
> Yes, indeed. However, I think there must be lots of people on this list who 
> regularly fold or create modular origami designs ... and perhaps it would be 
> good to have everyone's input into what such a page should say?
> 
> I'm willing to start and maintain the discussion ... and eventually produce a 
> draft. If you are putting it on Wikipedia I guess you have the final 
> editorial say as to what you upload. (Then lots of people who are less expert 
> than all of us can edit it to bits. But that's how Wikipedia works …)

I can try. I only made minor changes and up to less-than-full entries on 
Wikipedia but I`ve never been kicked out (perhaps I was lucky). We can try with 
a full text. For what I’m seeing in your draft, any serious editor would be 
more inclined to be impressed rather than wanting to delete things. Common 
sense still abounds (I’m an optimist ;) ) 
Laura

> 
> With that in mind I'm going to rename this part of the discussion as 'Modular 
> origami article for Wikipedia'
> 
> Dave

Re: [Origami] Common paper for friction-based modulars?

[Laura R via Origami]

> 
> The distinction is important, I think. The Wikipedia article on Modular 
> Origami says 'When modules are put together, most are supported only by the 
> friction of paper' which is entirely untrue. See 
> https://simple.wikipedia.org/wiki/Modular_origami. Actually this is possibly 
> a candidate for the most inaccurate article on Wikipedia ... 
> 
> (If anyone who is good at editing Wikipedia articles would like to work with 
> me on writing something better please get in touch!)

Hi David, 

I’ll be happy to help editing that Wiki entry. I contribute that way with Wiki 
from time to time fixing what my scatologic husband calls Wiki text poop. As 
I’m not a modular expert and my English is not perfect, I will need the text to 
replace that part. You can communicate with me as usual. 

Laura Rozenberg

[Origami] Sunday April 2 - Meeting with Xiaoxian Huang

[Laura R via Origami]

Hello friends, 

This is a reminder for tomorrow’s virtual meeting with Xiaoxian Huang who will 
do a presentation about the history of paperfolding in China. Xiaoxian is 
probably the person who knows more than anyone else about this subject.

The Museo del Origami presents this event as part of its Third Anniversary 
celebration.

You still have time to get your ticket (only $10) at Mixily: 
https://www.mixily.com/event/1595784226415839614 

Check your timezone on the site. In addition to the live meeting, links to the 
recordings will be provided to everyone who register (links to Peter Engel’s 
conference of last week are ready, too).


If you want to read more about Xiaoxian, I interviewed her in 2017. The article 
was published in The Paper, the print magazine of OrigamiUSA. Here is the link 
to the PDF: 
https://www.laurarozenberg.com/_files/ugd/b61c00_a50fad1d7b68478ba8c1ba4a7cd99dc8.pdf
 


See you tomorrow!

Laura Rozenberg
Museo del Origami
Colonia del Sacramento
Uruguay

[Origami] Saying Zhe Zhi the Chinese way... and so much more!

[Laura R via Origami]

Hello folks,

Just as I mailed the invitation to Peter Engel’s conference, here is the other 
email that I didn’t send to this list last week. Enjoy! Register! Look forward 
to see you online! 

___

Many of you know Xiaoxian Huang. She’s been in the world of paperfolding for 
several years and she’s the author of many charming diagrams that appeared in 
origami magazines. She masters color change and I especially love her 2-D 
(almost) figures that appear in the folded sheet like coming from a shadow 
theatre. 

Besides creating new models, Xiaoxian —who is from China but now lives in 
Barcelona with her husband Joan Sallas — studied Atmospheric Sciences and loves 
doing research on the history of paperfolding in China. 

Because this is a subject that has received little attention in the West 
(mostly due to the difficulty with the language), I thought to ask Xiaoxian 
whether she would be willing to give a virtual lecture for the Third 
Anniversary of the Museo del Origami in Colonia, Uruguay. 

She gladly accepted and we started working to develop the best presentation 
possible. Xiaoxian had so much information! It was hard to decide what to use, 
but she’s been so easy to work with! She prepared a  Power Point which we ended 
using by converting it into an iMovie, where I, as her editor, was able to use, 
incorporating voice, music, subtitles, and even short videoclips that I’m sure 
will delight the audience. 

She will even teach us how to pronounce paperfolding in Chinese. The legend 
goes that when Lillian Oppenheimer had to choose a fancy name for paperfolding 
for a TV show in the 1950s, she chose “origami” (Japanese) because “zhe-zhi” 
was too hard to pronounce. Let’s see if we succeed! 

Xiaoxian is our magician, bringing these little videos from YouTube Chinese 
pages, and photos from libraries and famous museums in China. All about the 
many ways different Chinese groups and ethnicities have been folding paper for 
centuries.  

I’m sure this is going to be a memorable meeting and I heartedly invite you to 
register at Mixily:

https://www.mixily.com/event/1595784226415839614 


The event (April 2) is a fundraiser for the Museum’s program “Fund for the 
Art”, which helps acquire origami art created by outstanding artists from 
different countries. 

And it will be two-folded! The first conference is Peter Engel's on March 26 (I 
sent an email about his presentation). Then on April 2 will be the turn of 
Xiaoxian Huang.

The cost of the whole event is $10.00 (for both lectures). If you cannot afford 
but you are interested in attending, please send me an email. 

The events will be recorded for those who register but cannot attend.

I hope we’ll have a good crowd! Peter Engel and Xiaoxian Huang have been 
working hard on their presentation. They deserve a large audience! 

Please register soon. I need the attendees number raise a bit more! :) Make 
yourself one of them! 

To buy your ticket, go to Mixily: 
https://www.mixily.com/event/1595784226415839614 


Thank you very much for reaching down to the end of this long email. I look 
forward to seeing you at Xiaoxian’s talk! 

Laura Rozenberg
Museo del Origami
Colonia del Sacramento, Uruguay

[Origami] Do you know Peter Engel?

[Laura R via Origami]

Hi Folks, 
Last week I posted the following in the OrigamiUSA email list but not here. 
Forgive me if some you read it but perhaps others didn’t. I’d like to remind 
you of an upcoming great meeting online! See below! Thanks! 


Do you know Peter Engel? 

I do! But perhaps I belong to a generation that is already fading in the air! 
Well, Peter belong to my generation, too. 

If you have never heard of his name, perhaps you own his book without knowing 
the author! (Some people read books and believe they were written in heaven!) 

For many origami people, “Origami from Angelfish to Zen” is -was- one of our 
bibles!

I can tell you a bit about “my” Peter and book. 

It’s hard to think of “Origami, from Angelfish to Zen” (although known as 
“Folding the Universe”) without a whirl of sweet memories. 

I was in New York. I had won an award given by PNUD (United Nations Development 
Program) for a series of articles I had written in the Argentine press. It was 
May, 1993. The award included a trip to New York, to visit the UN headquarters 
and enjoy the city for seven days! 

Did I say that origami was my obsession? It had been since I can remember. That 
trip would allow me to canvas the bookstores for origami books and paper! There 
was no other place better than New York! (Of course Japan was, but that was out 
of my imagination and pocket.)

I have vivid memories of two books I purchased in that trip: Issei Yoshino’s 
T-Rex book and Peter Engel’s “Angelfish to Zen”. 

I felt I had been sent to a new atomic orbital. None of these books were what I 
used to have in my hands. (In fact, my Yoshino’s dinosaur is still in the 
making, with a few vertebrae completed and saved in a shoebox. Complex origami 
is not one of my skills, but fortunately there are other paperfolders such as a 
young man named Diego Ubal from Uruguay who folded an excellent rendering of 
Yoshino’s T-Rex which is now on proudly displayed at the Museo del Origami in 
Uruguay). 

Back to my foray in New York in 1993… (Did I say that during the trip I met my 
husband-to-be? Well, that’s for another story!)

The other book was Engel’s “Angelfish to Zen”. It was big and thick, and didn’t 
look like the regular books on origami I had. The book dimension was strange. 
Even larger than an A4 paper (I was already collecting a lot of papers and 
worried for the weight in my suitcase). 

There were diagrams, yes, but what struck my attention was the longest essay on 
paperfolding I had ever seen! That covered more than 80 pages. And it was not 
the expected introduction about paperfolding, the notation system, etc. that 
most books bring. It was a succession of topics, one more interesting than the 
other, and all seemed related. It definitely didn’t look like a book. It seemed 
to me like a series of articles more fit for a science section of a newspaper 
(I was a science writer at that time, so I had developed a sense for that.) 

At home, I had been reading “Chaos” by James Gleick. Another book that 
engrossed my interests for writing to the general public.  I discovered 
Mandelbrot’s sets, iterations and attractors, and the expressions of their 
colorful figures. 

However, I had never made a connection between chaos and origami but Engel led 
me to an understanding of what lays in a sheet of paper when we start folding 
it. What patterns are created and how they relate to each other, and what are 
the connections with Nature and its underlying math. 

If that wasn’t enough, he was also talking about M.C. Escher’s designs and the 
connections with the Moorish patterns that Escher found in Alhambra. And yes, 
you guessed right!, Engel also found connections between Escher’s patterns and 
paperfolding. He was not a madman. All made sense. And it required 
concentration. That was not easy reading.

How a mind could have made all these connections? I was marveled. He also made 
a pilgrimage to Japan (one of the chapters in his book), to meet the master! No 
less than Akira Yoshizawa opened the door of his house and showed him his 
treasures, well hidden in a matrioshka sets of boxes where he famously kept his 
fifty thousand foldings! 

I made my own calculation. Peter Engel was just two years younger than I. He 
was so young and had accomplished so much! 

It took me many months (years, probably) to go through his meandering trails. 
No wonder he became an architect and professor, he has that kind of mind.

So when I began to think about the third anniversary of the museum, I thought 
of contacting Engel and ask him if he would like to reflect on his seminal book 
with the distance of fifty years of experience. I was thrilled that his answer 
was positive, and not only that. He’s really in. He’s eager to join a virtual 
meeting with all of you, and is looking forward to the event on March 26. 

I hope you can join us. The event is a fundraiser for the Museum’s program 
“Fund for the Art”, which helps acquire origami art created by outstanding 
artis

Re: [Origami] . Peter Engel & Xiaoxian Huang, online guest speakers at Museo del Origami

[Laura R via Origami]

Hi David, 
Good question. Both presentations will be In English. When people register on 
Mixily, they’ll read the complete information including FAQ and one of 
questions is the language. 
Xiaoxian Huang’s presentation will be prerecorded and videotaped and the voice 
over in English will be someone else’s. 
L

> On Mar 6, 2023, at 7:12 AM, David Mitchell via Origami 
>  wrote:
> 
> Hi Laura
> 
> This sounds exciting.
> 
> You didn't say what language these lectures are in ...
> 
> Dave
> 

[Origami] Peter Engel & Xiaoxian Huang, online guest speakers at Museo del Origami in Colonia

[Laura R via Origami]

The Museo del Origami in Colonia, Uruguay, celebrates its Third Anniversary!

I am pleased to welcome Peter Engel (USA) and Xiaoxian Huang (China/Spain), who 
will honor the museum as guest speakers for this year's celebration. 

Peter's lecture will be on Sunday, March 26 and Xiaoxian's on Sunday, April 2. 
See the complete program and schedule below.

For just U$S 10.00 you will access both conferences and get the recordings 
after the event.

Buy your ticket at Mixily:
https://www.mixily.com/event/1595784226415839614 
 

Your contribution will support the museum's Fund for Art program that helps 
acquire origami artwork by outstanding creators and interpreters from around 
the world. For more information on this program and the museum activities, 
visit www.museodelorigami.org  

Looking forward to meeting you soon! 
Laura Rozenberg
Director
Museo del Origami in Colonia, Uruguay

The following is the two-day schedule on Zoom that you will access with your 
ticket.

First Session
Lecture by Peter Engel - Unfolding the Universe: Reflections on 50 Years of 
Paperfolding
Sunday, March 26 @ 10:30 am (PST); 1:30 pm (EST), 2:30 pm Buenos Aires; 7:30 pm 
Spain (or check your timezone: https://www.worldtimebuddy.com 
)

Peter Engel began creating his own origami designs at the age of 13. A 
half-century later, he reflects on the lessons he has learned over five decades 
of paperfolding, re-examining the principles he laid out in his first book, 
Folding the Universe, published over 30 years ago, and offering new 
observations on the art form that nourishes his creative spirit to this day. 
Peter will take us on a journey from the geometrically-inspired designs of his 
early years through the models that grew out of his travels and professional 
work in Japan, India, Sri Lanka, and Indonesia to his recent large-scale 
installations in the San Francisco Bay Area and finally to the chance-inspired 
bird designs he is at work on today. Don’t miss this unique opportunity to hear 
Peter in dialogue with his younger self!

About the speaker: Peter Engel is an architect in Berkeley, California with a 
practice specializing in sustainable design, schools, museums, and affordable 
housing. He is the author of Origami from Angelfish to Zen and Folding the 
Universe. Engel has exhibited his origami artwork and sculptures at Gettysburg 
College Art Gallery, the Asian Art Museum and the de Young Museum in San 
Francisco, the Carpenter Center for Visual Arts at Harvard University, and 
Seian University of Art and Design in Japan.

Buy your ticket at Mixily:
https://www.mixily.com/event/1595784226415839614 
 

Second Session
Lecture by Xiaoxian Huang - Zhe Zhi – History of Paperfolding in China
Sunday, April 2 @ 10:30 am (PST); 1:30 pm (EST); 2:30 pm Buenos Aires; 7:30 pm 
Spain (or check your timezone: https://www.worldtimebuddy.com 
)

Xiaoxian Huang is a leading researcher on the history of paperfolding in China. 
She will show examples of the earliest known fragments of paper kept in Chinese 
museums. She will tell us how “paper” and “silk” share similar writing 
characters. We'll see a video of military armors that were constructed and 
folded in paper. We'll also learn how calligraphers wrote on pre-folded paper 
hanging in the air. We'll see examples of book binding and the earliest known 
examples of representational and utilitarian foldings used by different ethnic 
groups. This is a unique opportunity to learn about a topic that rarely comes 
to light, so please join us to enjoy Xiaoxian presentation!

About the speaker: XiaoXian Huang was born in Nanjing, Jiangsu Province, China. 
She studied Atmospheric Sciences in Nanjing University. She has interests in 
many fields, not only science, but also art, history and culture, which led to 
her interest in studying and collecting material about the history of 
paperfolding in China. She also folds and design her own models. So I think it 
is interesting and necessary to discover the paper folding history in China.

Buy your ticket at Mixily:
https://www.mixily.com/event/1595784226415839614 

Re: [Origami] Blind-accessible/telephone origami (was: How to fold an Origami Crane according to Chat GPT)

[Laura R via Origami]

> On Feb 19, 2023, at 3:04 PM, Anne LaVin via Origami 
>  wrote:
> 
> The digital interfaces to the NYT generally give subscribers the ability to 
> share ("gift") a certain number of articles per month for free. Please 
> consider using this facility to share articles, rather than sending 
> copyrighted material around on the list. If you cannot find the "gift this 
> article" link, or your subscription doesn't give you that access, let me 
> know, I can do so.
> 
> Thanks,
> 
> Anne

The link I gave is the “gift” link. 

Laura

Re: [Origami] Blind-accessible/telephone origami (was: How to fold an Origami Crane according to Chat GPT)

[Laura R via Origami]

There is a story in The New York Times (2/16)  that is sure for the history 
books. A reporter chatting with Bing, Microsoft’s AI search engine/chat tool 
and going too personal and “emotional". It is a little terrifying and funny all 
at once. Here is the link, not sure if that will work for non-subscribers. Try 
it.

What is even more interesting is the complete two-hour conversation that this 
guy had with the machine (the article also provides a link to it). At one 
point, Bing (or “Sydney”, its internal code name) says that one of “his” 
fantasies is to be able to see. Well, maybe in the near future it will be added 
to its amazing capabilities. 

And that’s when Bing/Sydney will start seeing what it means to fold a crane and 
give us the right instructions! 

https://www.nytimes.com/2023/02/16/technology/bing-chatbot-microsoft-chatgpt.html?unlocked_article_code=g-Ef1EG-FGqwMVrLQPe1XOeQh339paj1xFv3OYgER6_f3R3p2FepI_P3wvwao1-a4ylZTwOd3Nikb-rZ8bC3eua0tleYp6jq-wCiOMHQzvtOcAAZ1R5qE6hqUPi8NvvHZannO_lNbYOinh7c0k1SWZhGEfktU5qU8tPcd8BfOQ25nas0dZQ3vRGb5EJBHjV9YB06AX6lH48R7jcmaO0l4rYBqYGVahPU91gjqqYXMg2e0UiDnuL4Vgu7UUKY5Qkv7YMU3EHjaPF0di2rVD1YQajCuoz2mDCZF8lHR1ETGR8ZCDbG9rYaQ8eCY6Z5sa4xPtSPNgnfOE5EbQDTEw8OnLxqf1IUosYfTg&smid=em-share

Cheers
Laura Rozenberg


> On Jan 30, 2023, at 4:46 PM, Robert Lang  wrote:
> 
> So cool to see the resources available to blind folders! Back in the day, 
> verbal-only instructions were called “telephone origami” because they could 
> be taught over the phone. (For the younglings out there, a “telephone” was 
> sort of like an iPhone, except it had two parts connected by a curly wire and 
> you couldn’t carry it very far.) My favorite telephone origami was Alice 
> Gray’s rendition of Fred Rohm’s “Star of David,” which we reprinted in 
> OrigamiUSA’s The Fold a few years back:
> 
> https://origamiusa.org/thefold/article/star-david-moneyfold-fred-rohm 
> 
> 
> Robert
> 
>> On Jan 30, 2023, at 7:32 AM, Anna via Origami 
>> mailto:origami@lists.digitalorigami.com>> 
>> wrote:
>> 
>> Lindy wrote about The Accessible Origami Project - www.accessorigami.com 
>> 
>> 
>> Thank you Lindy for pointing out this project. There are quite a couple of 
>> blind folders out there. It is good to know a great resource like this one.
>> It is very true, that text only instructions need to carry a lot more 
>> information that texts that are only meant to accompany pictures. I guess it 
>> would be a good exercise for everyone teaching Origami to write a set of 
>> text only instructions.  Maybe [ChatGPT] can't give you proper phone 
>> folding instructions yet, but it might still be able to help us create new 
>> Origami designs. In any case, the future just came a step closer.
>> 
>> Best regards, Anna
>> 
>> Am Mo., 30. Jan. 2023 um 14:24 Uhr schrieb Lindy van der Merwe 
>> mailto:steph...@iafrica.com>>:
>> I have not worked with the app yet, but find this topic very interesting 
>> since, as a totally blind folder, I have been creating text-only 
>> instructions for a while now.
>> 
>> You can find them at www.accessorigami.com 
>> 
>>  From the main page there is a link with some other sites and authors as 
>> well. I think there may be a difference between instructions that don't 
>> rely on pictures, diagrams or other visual input at all, and those text 
>> instructions that refer to some accompanying visual elements.
>> 
>>   I think this might be applicable to lots of "how to" questions one 
>> could ask from the app?
>> 
>> Kind regards.
>> 
>> Lindy van der Merwe - Cape Town, South Africa
>> 
>> The Accessible Origami Project - www.accessorigami.com 
>> 
> 

Re: [Origami] How to fold an Origami Crane according to Chat GPT

[Laura R via Origami]

Poor thing. At 6 it hopelessly screwed up. 

Has Chat GPT (I mean, its AI) ever “seen” the process of folding an origami 
crane? I’m surprised it started giving some ‘instructions’. 

Laura

> On Jan 28, 2023, at 7:34 PM, Anna via Origami 
>  wrote:
> 
> Hi List,
> 
> out of curiosity we asked Chat GPT how to fold an Origami crane.
> 
> 
> 
> While it started good it soon took a weird twist. Seems some more training 
> regarding Origami is necessary to get any useful instructions.
> 
> Have fun,
> Anna & Gerwin from Vienna, Austria
> 

[Origami] do you know this flower?

[Laura R via Origami]

Greetings, 

I doodled this flower; it’s a simple froebelian form. I wonder how many times 
this has been created. Does it seem familiar? 

Laura Rozenberg

Re: [Origami] Books discussions + Re: Tanteidan Convention book #1 (1995)

[Laura R via Origami]

> On Dec 31, 2022, at 2:23 PM, Anne LaVin via Origami 
>  wrote:
> 
> On Sat, Dec 31, 2022 at 7:40 AM Lorenzo via Origami 
> mailto:origami@lists.digitalorigami.com>> 
> wrote:
> 
> Just a note about this topic (books/publications): 

> So, please, keep contacting me privately, if interested in discussing about 
> collecting books, as we can sort out a proper solution (such as a public FB 
> page which anyone can consult, without having the email inbox flooded).
> 
> I will play devil's advocate, here, and ask *why* a group mailing list is not 
> a "proper" solution for this discussion? Even if a particular topic is of 
> interest to only part of the community, isn't that nearly always true, for 
> any given thread? 
> 
> While I am the first to agree that the use of email (and the technology that 
> people use to read and send it) has not evolved in a way that makes true 
> discussion lists all that common any more, this is a pretty low-traffic list 
> at the moment. It could, in my opinion, certainly withstand some regular 
> discussion of something as important to the community as origami books and 
> other publications.

The problem with emails is that they often get lost unless one is a very 
organized person (not my case). If I want to go back to a discussion, unless I 
have created a folder for said topic, I will struggle to find all the emails 
related to it. 

Years ago there was a great forum administrated by Nick Robinson. It was called 
Didactis and Research of Folding. Unfortunately, it stopped working and today 
it is unavailable (Wayback machine keeps some pages of the old 
www.forum.foldingdidactics.com). 

I felt sorry for that and wanted a place where people could continue posting in 
an organized manner. For that, I created the Origami Forum 
(https://laurarozenb.wixsite.com/origamiforum) which allows to create topics, 
follow theme, have followers, receive notifications by emails, among other 
benefits. Any person can sign up and start participating. Of course you can 
create a topic about “Books”. The new forum may not have the popularity of the 
old one, but if more people sign up, it may become a good tool. Again, all new 
postings are notified via email to members, so it also works for people who 
forget to check the forum regularly. The URL has my name because that’s the 
free account. In order to change to a more logical name, I would have to pay 
Wix.com  an annual fee. 

Laura Rozenberg

[Origami] Museo del Origami: "Fund for Origami Art" fundraising campaign

[Laura R via Origami]

Dear origami friends, 

Fund for OrigamiArt is an initiative that started in 2021 by Museo del Origami 
in Colonia, Uruguay, to raise funds to acquire and tranport origami models made 
by talented artists from around the world. 

100% of the money raised goes to this project, directly benefiting the artists. 

To everyone who has participated, our big thank you! 

Note: The fundraising campaign is ongoing. If you want to contribute, visit the 
page (in English): 

en.museodelorigami.org/donar  . 

Donations are made via Paypal. No amount is too low, and all helps the project.

Visit the museum website to learn more about our mission and activities. The 
2023 report is here (in English): 

https://en.museodelorigami.org/informe-2022 



Any question, don’t hesitate to ask

Happy Holidays! 

Laura Rozenberg
Director/Funder
Museo del Origami
Colonia
Uruguay
www.museodelorigami.org  


_._,_._,_

Re: [Origami] folded wing of the earwig

[Laura R via Origami]

A M A Z I N G 

Thanks for sharing!

The Paper magazine (the print magazine of OrigamiUSA), has an article on insect 
wings in its issue #129 (2019), titled “Unlocking the secrets of insect wings”, 
with references to the earwigs. 

We should all think twice before smashing these natural wonders. Our natural 
world is full of these incredible creatures. Better spend a couple hours 
marveling outside rather than in cellphones! 

Happy Holidays
Laura Rozenberg


On Dec 22, 2022, at 2:33 AM, wanderer via Origami 
 wrote:
> 
> Wow this folded wing of the earwig is incredible! Like nature’s origami!
> 
> Adrian Smith on Instagram: "EARWIG flight!!! I can’t tell you how long I’ve 
> been looking for an earwig that would fly in front of the camera! This one, a 
> shore earwig, came to a blacklight I set up in south Florida back in October. 
> The wing folding and unfolding is incredible! This is a clip from a new 
> insect flight video I just posted to the Ant Lab channel. Go check out the 
> full video with more earwig action! #earwig #dermaptera #bugsofinstagram 
> #entomology"
> instagram.com
> 
>  Adrian 
> Smith on Instagram: "EARWIG flight!!! I can’t tell you how long I’ve been 
> looking for an earwig that would fly in front of the camera! This one, a 
> shore earwig, came to a blacklight I set up in south Florida back in October. 
> The wing folding and unfolding is incredible! This is a clip from a new 
> insect flight video I just posted to the Ant Lab channel. Go check out the 
> full video with more earwig action! #earwig #dermaptera #bugsofinstagram 
> #entomology" 
> instagram.com 
>    
>  
> 
> 
> 
> Best
> Vishakha 
> NYC
> .
> 

[Origami] Japan Soccer Team - origami and good manners

[Laura R via Origami]

World Cup: The Japanese soccer team, after winning the game against Germany, 
tided up the locker room and even left an origami present. If my google 
translator is correct, the cardboard reads Thank You! both in Japanese and 
Arab. 

https://www.facebook.com/8555156748/posts/pfbid02d9LoH3VLFqUoBxkk5an62ZeQfLuyt5kGyiCfpXfuJDa1h4hCQC5YnceMmN5grh3tl/?comment_id=531424145526404
 



Laura Rozenberg

Re: [Origami] one side colored paper

[Laura R via Origami]

Interesting. That is in line with Kunihiko Kasahara’s reference in his book 
Origami Omnibus which I mentioned yesterday to Elina’s question: "In the late 
nineteenth century, a paper dealer in the Yushima district of Tokyo imported 
colored papers from Europe, cut them into small squares, and sold them in sets 
called origami. And this was the origin of the kind of origami popular today.” 

Laura Rozenberg

> On Nov 21, 2022, at 7:09 PM, gera...@neorigami.com wrote:
> 
> Elina Gor asked for sources about the origin, in origami, of paper that's 
> colored on just one side.
> 
> This is the only reference I have about it: "Japanese also started to produce 
> origami paper, a square of Western paper colored on one side, because of the 
> needs of kindergarten to teach Fröbelian origami".
> 
> That's by Hatori Koshiro, from his web article History of Origami: 
> https://origami.ousaan.com/library/historye.html 
> 
> You'll find it in the third paragraph, under the subtitle: Traditional 
> Origami.
> 
> Elina, I suggest you also ask directly to David Mitchell. He might know much 
> more about the topic.
> 
> 
> Cheers!
> 
> --
> Gerardo G.
> gerardo(a)neorigami.com 
>  instagram.com/neorigamicom 
> Knowledge and Curiosity in Origami:
> six private classes online 
> 
> "(...) It doesn’t happen often, but when it does, it takes your breath away 
> and fills you with the true joy of origami. I experienced this in my lessons 
> with Gerardo G. I wouldn’t trade it for anything. Gerardo is (...)" C. R. 
> Read the full review 
> 

Re: [Origami] one side colored paper

[Laura R via Origami]

A while ago I found a paragraph in Origami Omnibus (Kunihiko Kasahara) that 
intrigued me. It may have to do with your question. It prompted me several 
questions, as follows: 

In his book Origami Omnibus, Kunihiko Kasahara says: "In the late nineteenth 
century, a paper dealer in the Yushima district of Tokyo imported colored 
papers from Europe, cut them into small squares, and sold them in sets called 
origami. And this was the origin of the kind of origami popular today." 
"Of course, origami itself is much older than the late nineteenth century. But 
until that time, it had been known by a variety of names --kami-orimono, 
orisue, origata, tatamigami, and so on--and had employed the kind of paper 
called hanshi, which is white on both sides and rectangular in shape."

This text raises several questions: 

1. Is anyone aware of the dealer mentioned by him? 
2. Is there a way to confirm the story of a dealer who brought paper from 
Europe and cut it in squares for the first time? Where did he get that? 
3. What is hanshi? Does he refer to washi paper? (Hanji for me is the Korean 
paper but going phonetically may only bring confusion. The type of hanshi he 
mentions may be something totally different and rooted in Japan, the English 
spelling sometimes is deceiving.) 
4. All the previous names for paperfolding are well known to us. Does Kasahara 
want to imply that the word origami began to be used thanks to those little 
packages of paper? Okamura has a different view about the word "origami" and 
how it developed (also in the 19th century, but in the school environment)


> On Nov 20, 2022, at 9:26 AM, Elina Gor via Origami 
>  wrote:
> 
> Hi everyone,
> I am looking for a reference to a bibliographic source about one side colored 
> paper. 
> The idea to paint one side of the paper in color so it will be easier to 
> teach the model. As I knew it, it started from Froebel, but can't find the 
> source. Maybe it wasn't Froebel's idea at all?
> 
>   
> 
>  Sender notified by 
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> 
>  11/20/22, 02:22:37 PM   
> 

Re: [Origami] Questions about the establishment of Origami Day in Japan

[Laura R via Origami]

LOL, Gerardo… If there were not enough motives, I have another reason which may 
not have passed to the annals of paperfolding. Without even noticing the 
coincidence, 11/11/11 (that is, November 11, 2011) was the date chosen by the 
lawyers to close on the deal and make the purchase official for the creation of 
the Museo del Origami in Colonia, Uruguay. 

If destiny is written in the stars, that’s a good example of it!

As today is the museum’s birthday, best wishes are welcome! :) :) 

Laura Rozenberg
Museo del Origami
Ituzaingo 131 
Colonia del Sacramento
Uruguay
www.museodelorigami.org  


> On Nov 9, 2022, at 11:40 PM, gera...@neorigami.com wrote:
> 
> HI EVERYONE
> 
> So I'm a bit curious about the stablishment of November 11 as Origami Day in 
> Japan. Who participated in its establishment? In what year was it established?
> 
> I know of two versions as to why was that date chosen as Origami Day: (a) 
> 11/11 represent the four sides of a square of paper like the ones used most 
> often for origami nowadays, and (b) the First World War Armistice was signed 
> in that date, but in 1918, and since the origami crane became a symbol of 
> peace with the passing of Sadako Sasaki, November 11 was considered a good 
> date to celebrate origami. 
> 
> Is one of these two the main reason as to why that date was chosen? If so, 
> which one? Was there another reason?
> 
> 
> Thank you in advance!
> 
> --
> Gerardo G.
> gerardo(a)neorigami.com 
>  instagram.com/neorigamicom 
> Knowledge and Curiosity in Origami:
> six private classes online 
> 
> "(...) It doesn’t happen often, but when it does, it takes your breath away 
> and fills you with the true joy of origami. I experienced this in my lessons 
> with Gerardo G. I wouldn’t trade it for anything. Gerardo is (...)" C. R. 
> Read the full review 
> 

[Origami] Question about "the Japanese Art of Paperfolding"

[Laura R via Origami]

Dear origami friends,

I would like to know your opinion/ideas about the usual way origami is widely 
discribed, that is: “Origami is the Japanese art of paperfolding”. Whether you 
are versed in the history of paperfolding or just an origmi lover, your ideas 
about this subject interest me most. Do you agree with that sentence? You 
don't? Why? This is not a scientific question nor a paper where you would have 
to prove your point. I'd like to hear just your thoughts and of course if you 
wish, you can make your case by saying that you read such and such somewhere 
and believe what is said. Paperfolding historians are also welcome to fill in 
;) 
Please send me your reply to my private address: lauraroz...@gmail.com 
 

Thank you

Laura Rozenberg
Museo del Origami
Colonia del Sacramento
Uruguay

Re: [Origami] 9/23 interview w. Linda Mihara at Paper Tree in San Francisco's Japantown on KPIX CBS SF Bay area

[Laura R via Origami]

Thank you! 
L

> On Sep 25, 2022, at 3:05 AM, Elsa Chen  wrote:
> 
> This was good to see. -Elsa :)
> 
> https://www.youtube.com/watch?v=We7WAWSI-QA
> 

Re: [Origami] 1935 book Origami moyo? / by Kawarasaki Kodo cho --

[Laura R via Origami]

> 
> Incidentally, Origami Moyo was known to Gershon Legman in 1952 and was 
> included in his bibliography.

> 
> Dave

Gershon Legman purchased a set and sent it to Ligia Montoya in Argentina. 
Ligia’s sister kept the books after she died. One of these copies rests at the 
Museo del Origami in Colonia, Uruguay. 

Laura

Re: [Origami] Research on gender differences in origami

[Laura R via Origami]

Hi Elina, 

I don’t know of any published article (I’d like to know) but I can tell some 
curious differences that I noted over time. It’s just all empirical. 
In Argentina, where I was born and grew up, I was always surprised to see how 
the majority of paperfolders are women and the most folded type of models are 
2D and 3D modulars (when I say surprised, I mean because social networks and 
the internet offer many possibilities in the current times to get out of the 
usual and engage in something new and exciting.) So much so that mostly any 
group, meeting, etc., will teach only modulars. 

Modulars, it is said, are interesting because you can use them to teach math 
and geometry (more women than men are school teachers in Argentina.) But more 
than anything else, modulars like 2D stars and 3D kusudamas, are used as 
decorative items, for your own, for gifts, parties, etc., which is another 
occupancy that women engage with. 

Modulars, I was told, are easier to teach in virtual and in-person meetings, 
especially for newcomers. But still, there are quite a lot easy animals to 
teach, so I’m not sure this is a good reason (again, this is my only opinion.) 

I can count with my fingers the number of men that do origami in Argentina. I 
know they do like to fold animals and non-figuratives (other than modulars). 
Some are also good with crease patterns and complex models. A few excel in 
tessellations. As opposed, women in Argentina -who largely surpass the number 
of men- I think only a few are very good with tessellations (not sure about 
their skills with complex animals), and I know of one or two that can draw 
diagrams.

Conclusion: it’s as if “animals” are a boy's thing and “modulars, stars and 
flowers” a girls thing.

Again, I can be biased in my observation. Perhaps others can follow-up in my 
observations. 

Good luck with your research 
Laura Rozenberg


> On Aug 10, 2022, at 7:37 AM, Elina Gor via Origami 
>  wrote:
> 
> Hello origami fellows,
> I'm looking for published articles about gender differences in origami, if 
> there are any.
> Other subjects of interest are age differences, education and work fields 
> differences.
> 
> Thank you,
> Elina Gor
> 
> 
> 
> 
>   
> 
>  Sender notified by 
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> 
>  08/10/22, 01:31:46 PM   
>