Re: [Origami] One Model A Day (OMAD)

[Lorenzo via Origami]

Hi Peter,

Congratulations, I didn't know your blog (
http://www.wonko.info/365origami/ ) and I discovered it is a source of
inspiration.

Who knows how many blogs there are out there. Would anyone recommend me to
others?

Regards,
Lorenzo

On Thu, 15 Aug 2024 at 03:02, Peter Wonko Whitehouse via Origami <
origami@lists.digitalorigami.com> wrote:

> Hey,
>
> My origami blog started in 2011 with the first of 2 x 365 projects (aka
> OMAD) - I resolved to fold a new (to me) model everyday for a year and blog
> about it. A couple of years after the first I was mad enough to do it
> again. My family said there would be an intervention if I considered it a
> third time - it takes time and planning
>
> It was rewarding however, I think I developed some mad skills, a blog post
> naming nomenclature (each "new to me" blogged model got a post number,
> currently at 1144 and counting), and I have a record of what I did, how and
> who the designer was for each also
>
> Setting the Crease is that living legacy:
> http://www.wonko.info/365origami/
>
> Kindest regards,
>
> Peter Whitehouse (Wonko/PDub*)
> *some assembly required
>
>
> On Thu, Aug 15, 2024 at 6:06 AM ANNE MCCOMBS via Origami <
> origami@lists.digitalorigami.com> wrote:
>
>> I did a year-long project in a different pastime a while back, and found
>> it to be rewarding and memorable, so I wish you luck.  There will be times
>> when you wonder why you did this to yourself — in my case, when I was
>> completing my days task standing in the rain, after dark, after a 13-hour
>> shift at work — but those turn out to be the best memories (AFTER the fact)!
>> Anne
>>
>> > On Aug 14, 2024, at 12:00 PM, origami-requ...@lists.digitalorigami.com
>> wrote:
>> >
>> > One Model A Day (OMAD)
>>
>>

-- 
Lorenzo Lucioni
Duesseldorf - Germany
lorenzo.luci...@gmail.com

[Origami] Sipho Mabona

[Lorenzo via Origami]

Hi everyone,

I am trying to contact Sipho, but have had no luck on Facebook and don't
know his e-mail address. Can anyone help me?

Regards,
Lorenzo

-- 
Lorenzo Lucioni
Duesseldorf - Germany
lorenzo.luci...@gmail.com

[Origami] Miyuki Kawamura

[Lorenzo via Origami]

Hi everyone,

I'd love to get in touch with Miyuki Kawamura, for some questions about
origami publications. Can anyone forward me her email address, please?

Regards,
Lorenzo

-- 
Lorenzo Lucioni
Duesseldorf - Germany
lorenzo.luci...@gmail.com

[Origami] OrigaMIT 2023 Convention

[Lorenzo via Origami]

Hi Everyone,

OrigaMIT ( http://origamit.mit.edu/ ) is going to hold the 2023 Convention
in November. I read on their page that they will hold a small book shop
there, with some of their old convention books available.

Are any of you going to attend and would be so kind as to help me by
purchasing a specific one for me? It would be of great help to me.
Please write me privately ( lorenzo.luci...@gmail.com )

Many thanks in advance ❤
Lorenzo

-- 
Lorenzo Lucioni
Duesseldorf - Germany
lorenzo.luci...@gmail.com

Re: [Origami] Third Joisel Award

[Lorenzo via Origami]

Hi Donna,

actually the example you have brought to our attention is quite specific.
Yes, in professional contexts anonymity is quite common, as the outcome of
the competition can be a contract or scholarship, or in general, benefits
related to the profession. Winners usually get more than just a prize, and
therefore it's very important to reduce the minimum potential
malicious judgments by the jury.
Furthermore, in these cases a professional jury is involved, and it's not a
vote from the people from the entire community.
I'm sure you get the significant difference which leads to the strict need
for anonymity.

On the opposite side, I'm surprised you would consider it pretty normal in
our context.

Lorenzo



On Tue, 22 Aug 2023 at 20:48, Donna Walcavage via Origami <
origami@lists.digitalorigami.com> wrote:

> The American Institute of Architects and American Society of Landscape
> Architects require totally blind entries for their awards programs at the
> national (including international projects) and the local level (including
> NYC and various local chapters in states or metro areas) .  In fact if you
> submit and the name of the firm or architect or landscape architect is on
> the submitted materials for review by the jury, the project will be
> disqualified.
>
> I'm surprised that people find it to be an issue, it is pretty standard
> in the design world, so as far I think Ilan and team are right on to do it
> that way.
>
> Donna
>


-- 
Lorenzo Lucioni
Duesseldorf - Germany
lorenzo.luci...@gmail.com

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

[Lorenzo via Origami]

Dear Hans, dear Laura, stimulating replies, yours.
Thanks Ilan for the clarification.

Here are my comments, long comments :(

Hans, first of all, please don't take this personally, because I used "if
you think..." combined with harsh tones. I wasn't referring to you, it was
my way of saying "if someone thinks...".

I well know (and I agree) that most of the time we all inherently separate
the artifact from the creator, in any field, in any art form or production.
Although it makes sense at the level of mass consumption (in which numbers
count almost exclusively), this for me does not help to promote, support
and enhance art in general, and artifacts in particular. For this reason,
while acknowledging that knowing the author (writer for a book, director
for a film, creator for an origami...) doesn't change anything for most of
us, I will always oppose the tendency to put secondly the identity of those
who are behind a creation, of any kind.
For me, the only way to promote something is to promote who (or what)
creates. All the rest is sterile, pure and unique exercise in style, an end
in itself.
In the case of the competition in question, therefore I wonder what it can
lead to origami itself, a competition that ignores the creator, and focuses
on the final result. I don't understand its meaning, and for me this is,
somehow (at the end) to the detriment of Origami.

The last ten years of my life have been dedicated to frequenting
contemporary art, between large international fairs and important European
galleries, and the first thing that greets me when I approach a work at Art
Basel is the gallery owner who begins by speaking to me of the artist and
of the genesis of the work, even before the art piece in itself. And this
is how I became terribly passionate about contemporary art, which tends not
to be understood by contemporaries themselves, precisely because they don't
know how to approach it, they are not helped, guided in this (as happened
to me).
I learned that there is no work without knowing its creator, there is no
film without knowing the director or screenwriter, because for me even the
mere technique is the fruit of the creative process (and the latter is
strictly personal, nominal).

Regarding the bias, I believe that what is called prejudice for me is, on
the contrary, the necessary completion, is part of the artifact, because in
my view you will never be able to separate creation by creator, without
subtracting something (value?) from the creation.
Let me give you a rather clear example. One of the artists who most excites
me is Joseph Beuys (moreover - pure coincidence - born and lived in the
same city where I have lived for 7 years, and his family home at the time
is 100 meters from my house). Beuys joined the Nazi youth, and went to war
fighting for Nazism. And this is also what I want to know, because in this
way I can form an opinion on his artistic development and on why he managed
to interpret artistically those 70s and 80s so intensely and well. Anyone
could have done his works (as they always say in the field of contemporary
art), but at that time he only did them, and for me it is essential to
understand why.
Of course, I don't go that far in origami, I'm much less involved and
committed, and to me, probably, the name of the creator of a model will say
little, but it doesn't matter, because the fact remains that it is only
knowing the author that I will be able to grow my knowledge and passion for
Origami.

As for what "art" is, I don't think it's relevant, nevertheless here I
would like to be clear: I speak of "origami art" only for convenience, for
simplicity, because everyone uses this definition, but I really don't
consider Origami at all as art. For me it is a sophisticated and very
complex and intriguing craftsmanship, but craftsmanship remains, because I
really don't think I'm able to identify any artistic and expressive path in
origami, as I know it when I look at the forms of art that I know and that
they fascinate me.

In the first part of Laura's email, I perceive a sort of importance of the
creator's identity and She might regret not having paid enough attention to
it at the time. Here, this is precisely one of the things that I consider
very important: to raise awareness of the knowledge of who is behind a
work, in all their life and personality. And since this is a very
complicated path, it is essential that this type of origami activism is
alive and growing.

Regards,
Lorenzo



On Mon, 21 Aug 2023 at 15:19, 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 d

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

[Lorenzo via Origami]

Hans, Miranda,

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.

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".

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.

Lorenzo

On Sun, 20 Aug 2023, 23:07 Papirfoldning.dk,  wrote:

>
> On 20 Aug 2023, at 22.26, Mizu-randa  wrote:
>
>
>
> *From:* Lorenzo via Origami 
> *Sent:* 20 August, 2023 21:50
> Have you ever seen an artistic competition where you, voters, didn't know
> anything about the author?
>
>
> it’s not uncommon for a competition (especially artistic) to be under
> motto or pseudonym.
>
> Yes, that is common.
> Just search for: art competition "anonymous"
> and you will see plenty of anonymous cases and considerations regarding
> securing a more fair competition, including avoiding conflicts of interest,
> discrimination towards genders or minorities, etc. (in a huge number of
> results is due to information in cookies being "anonymous", but even
> excluding those there are plenty).
>
> These considerations are rooted in real issues, and pending your goals and
> circumstances may be well founded.
>
> Historically, specifically authors have used pseudonyms (i.e. being
> anonymous) to avoid being unfairly treated, not the least women, but also
> men for various reasons.
>
> Regards,
> Hans
>
> Hans Dybkjær
> http://papirfoldning.dk
> Society: http://foldning.dk
>
>

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

[Lorenzo via Origami]

Dear Gerardo,

your explanation is, of course, what I already guessed.

Nevertheless, I'm quite (let's say: very) surprised that anyone wanted to
hide the creators' name, as it seems to me like a rather crude "military
act of force", an imposition that I don't think has any equal in any of the
votes, that I can think of, in any artistic or creative world I know out
there.

Have you ever seen an artistic competition where you, voters, didn't know
anything about the author?
I never have.

And, I'm sorry to say, but if you assume that those who vote in your
competition can do it in a "mischievous" way, well then you explicitly
doubt the good faith of the same people you invite them to vote (WTF!), and
for me (no ifs, ands or buts) you are the least suited person to organize
anything aimed at the community.

I will never vote for a work whose author I don't know, especially when the
hiding of the name is due to the fact that it is believed that I may be
conditioned.
This offends and disgusts me.

In my life I have learned never to lose faith in people, and the day people
learn to have sincere and heartfelt faith in others will be a better day.
If you don't trust people, don't expect they will trust you.

Greetings.


On Sun, 20 Aug 2023 at 16:52, gera...@neorigami.com 
wrote:

> Lorenzo is asking why don't the names of the nominated creators and
> folders appear on the award entries webpage. This page
> https://cfcorigami.com/award-entries-2023
>
> I'm not a part of the awards' organizers or anything like that. I am just
> an origamist that is very interested in this project as well as other
> projects related to the origami community. Now, I can tell you that the
> awards try to exclude the names of the people nominated, during the
> voting and judging phase, in order to reduce the related bias during the
> process. Conscious or unconsciously, some participants might vote for a
> nominated work because it was made by an origamist they admire, or not vote
> for another because it was made by someone they don't like so much or
> someone they just don't know. That wouldn't be OK.
>
> Here's a quote from the awards related with that:
>
>
> "Rules and Definitions
>
> (...)All nominations must include (...)
>
> 3. Images should not convey who the creator is, as well as the descriptive
> text! The voting is anonymous!!"
>
>
> Source: https://cfcorigami.com/joisel-awards-2023
>
>
> The names of the creators and folders can become a hidrance during the
> voting and judging phase, but I do hope they become public after that phase
> is over. I hope that answers your question.
>
> --
>
> *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*
> 
>
>
>

-- 
Lorenzo Lucioni
Duesseldorf - Germany
lorenzo.luci...@gmail.com

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

[Lorenzo via Origami]

Is it me, or is there no name of the creator for each model in the
competition? If so, why?
It's the first time in my life that I see this kind of thing.

Lorenzo


On Sun, 6 Aug 2023 at 10:10, Ilan Garibi via Origami <
origami@lists.digitalorigami.com> wrote:

> Dear Origami Lovers,
>
> The voting for the Third Joisel Award is open!
>
> We have a record number of more than 200 nominations, showing some of the
> most intriguing and artistic models created since last August.
>
> Your choosing will determine the Popular Vote Award in all 8 categories.
> You have to be registered at the CfC site
>  in order to vote.
>
> You can vote on multiple models in each category, but you cannot give more
> than one vote per model, so there is no point to log in twice and double
> your vote.
>
> Just remember, voting for all makes no sense, so give your votes only to
> the best works!
>
> To vote, you have to click on the model's image, and then click on the
> thumb-up icon once. Now you can go back and continue your judging.
>
> Voting will be closed on the 25th of September, and winners will be
> announced in October. More details about that will come soon.
>
> Best,
>
> Ilan GARIBI and Nicola TERRY
> CfC Managers
>


-- 
Lorenzo Lucioni
Duesseldorf - Germany
lorenzo.luci...@gmail.com

[Origami] PCOC past conventions

[Lorenzo via Origami]

Dear Origamists,

I'm looking for details about Origami Collections from the past PCOC
Conventions.

>From the OUSA Website (https://origamiusa.org/conventions) I see:

Pacific Coast OrigamiUSA Convention 2019 (Portland, OR), see also photo
galleries
Pacific Coast Origami Convention 2017 (Redondo Beach, CA), see also photo
galleries
Pacific Coast OrigamiUSA Convention 2015 (Boulder, CO), see also photo
galleries
Pacific Coast OrigamiUSA Convention 2013 (Albuquerque, NM), see also photo
galleries
Pacific Coast OrigamiUSA Conference 2011 (Bellevue, WA)
Pacific Coast OrigamiUSA Conference 2009 (San Francisco, CA)
Pacific Coast Origami Convention 2007 (Vancouver, BC, Canada) photo
galleries

I would like to know if the Collection book was printed for the 2007, 2009,
2011, 2013 and 2017, and (if possible) how they look.
If you know that, or better if you own some of them, could you please post
a picture of the cover, and/or contact me (lorenzo.luci...@gmail.com) ?

Thanks in advance,
Lorenzo

-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

[Origami] Origami Tanteidan Special Issues

[Lorenzo via Origami]

Hi everybody,

I'm looking for some second hand Origami Tanteidan Special Issues to buy.
If you own some, and want to make some money, please write me an email (
lorenzo.luci...@gmail.com)

Regards,
Lorenzo

-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

[Origami] Kasahara cube from GOC2

[Lorenzo via Origami]

Hi everybody,

Does anyone know where this Kasahara cube was published?
I learned it at the last GOC2 online event.

It's a 12 module cube, but when looking into Gilad website, and browsing
all the Kasahare cubes made by 12 modules, I only find two and neither of
them are the one depicted here.

[image: 326512724_732582181591850_9054213274077222542_n.jpg]

Kind regards,
Lorenzo


-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

Re: [Origami] White back side for origami paper

[Lorenzo via Origami]

Thanks Nicolas,

That's a good hint, if you like to prepare paper for your models, surely.

I was just wondering if anyone already compared different brands and
checked which ones offer a good quality in terms of "support" (the white
paper which is then coloured), in terms of hiding the color (with as little
transparency as possible, preserving a fair thinness).

If any of you would check its paper storage, and check the red/white paper
(the red color seems to me the most easy to be recognized on the other
side, in transparency) from different types of paper.. and publish a
picture, I would appreciate it a lot, in comparison with my finding.
The best "photo comparison" would be putting the origami paper on the white
side up, aside of a bright white photocopy paper, and everything on a
white/light surface.

Thanks in advance,
Lorenzo



On Mon, 30 Jan 2023 at 13:18, Nicolas TERRY  wrote:

> When I want a pure white, I like to use a foil with a white face.
> Whatevere that you will glue on the other face, the foil will hide it.
>
> > Le 30 janv. 2023 à 12:01, Lorenzo via Origami <
> origami@lists.digitalorigami.com> a écrit :
> >
> > 
> > Hi everyone,
> >
> > maybe Ilan Garibi (as he made some paper reviews), or Nicolas Terry (as
> expert reseller) can help on that?
> >
> > I recently wanted to fold a model where the white side plays an
> important role, and needs to be white as much as possible.
> >
> > Have you already had experience with this, and could you recommend a
> good paper, in this regard?
> >
> > In the picture below you can see two Red/White sheets of paper, one
> aside of the other (in the middle of the picture) from two distinct
> producers.
> > The left one is clearly better, and that could be because it is also a
> bit ticker (I just feel that with my hand).
> >
> > Both of them, when sharply folded back and forth (fold and reverse the
> same fold) 3 times, get "damaged" on the color side, in the meaning that
> the color "crumbles" along the crease (and this just to mention that both
> bring the same quality in terms of colouring).
> > 
>


-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

[Origami] OrigaMIT

[Lorenzo via Origami]

Dear list,

I was trying to contact OrigaMIT, specifically for purchasing some old
convention books.

Do you know to who I could write?
I found
Xinhe Zhou (xmz...@mit.edu) and origamit-sa...@mit.edu but I've not had
much success.

Regards,
Lorenzo

Re: [Origami] Books discussions - FB Group

[Lorenzo via Origami]

Hi everybody,

I really hope not to annoying anyone, if I provide you all of the FB Group
link here, and hope list admins can forgive me, if it's not proper for me
to share it:

https://www.facebook.com/groups/origamipublications

I received some requests from you, to be added to the group, and almost
immediately I recognised that I had given a feeling of confidential nature
to that FB Group which, at the opposite, is meant to be totally public and
open to anyone.

It needs to grow as much as possible, because it's mainly intended to be a
place where people can ask questions and find answers, and for that it
requires a wide audience. Then, please, share it as much as you can.

I really hope not to be perceived as opposing to this list, I really didn't
intend to create an alternative to this list, as I think Mailing Lists and
FB Groups have a quite different scope, purpose and use.

Kind regards,
Lorenzo



On Sun, 8 Jan 2023, 15:13 Lorenzo,  wrote:

> At the end, I created a public FB group.
>
> I'm not going to publicize it here, as I don't know if it would be well
> perceived.
> If you are interested just drop me an email (lorenzo.luci...@gmail.com)
> or a msg on FB (you can find me as "Lorenzo Lucioni" and freely ask FB
> "friendship" without worries). And if you are going to join, feel free to
> share with your own friends or commuinities.
>
> I really (really) don't know if it will be helpful to anyone, if it will
> be participated or not, if it is going to grow, or simply abandoned.
> People and contents will decide. It could easily be there was/is no any
> needs for that, I really don't know and I don't expect anything.
> Just... let's see.
>
> Happy Sunday to everybody,
> Lorenzo
>
>
> On Sun, 8 Jan 2023 at 07:37, Papirfoldning.dk 
> wrote:
>
>> On 8 Jan 2023, at 01.15, Lorenzo via Origami <
>> origami@lists.digitalorigami.com> wrote:
>>
>> So, I turn the question in: Why there are not so many discussions ongoing
>> in this list? Is it just because of lack of topics, or maybe because other
>> media replaced this list?
>>
>> When the oLlist was created, the digital world was much smaller, and the
>> IT-savvy origamists likely a smaller group, and hence knit-together. Even
>> in the years I've seen, the participants have changed. The current ones
>> still make discussions, it's just not your old "oh, I know that person".
>>
>> Anne, how old is the oList, and how many subscribers does it have today?
>>
>> Today, the SoMe world is fragmented. Lorenzo mentions Facebook which has
>> already hundreds, if not thousands, of origami groups - even in Danish
>> there is a handful - so which ones to follow? Instagram, YouTube, Quora,
>> mailing lists (I'm a member of at least 5 different origami lists), forums,
>> ... nobody is everywhere. I know many people who do not bother to use
>> Facebook, many for principled reasons, so you will never reach them there.
>>
>> When I communicate and coordinate, people propose WhatsApp (I don't have
>> it), sms (texting, including images), Facebook private messages (aka
>> messenger), a dedicated forum (who's to administrate it? It's even more
>> cumbersome that being a mailing list admin), Facebook groups (same
>> question), SnapChat (I don't use it), and likely more in different parts of
>> the world.
>>
>> That is likely the one advantage of mail: If you have a digital presence
>> at all, you have an email address and can read the mails sent to you. If
>> using anything but the oList with its stringent rules (bordering
>> frightening for any but the dedicated few), you can also include pictures.
>> And writing text and including images in emails are way easier in emails
>> than in Facebook (see, people have different preferences, as Lorenzo states
>> the opposite).
>>
>> The hope of getting a common place for specialised origami discussions is
>> in vain. XKCD captures the idea perfectly for standards:
>> https://m.xkcd.com/927/.
>>
>> Lorenzo has strong points about why a mailing list is not good for his
>> purposes, even if in the end it boils down to personal preferences and
>> personal connectedness.
>>
>> Lorenzo's example of the isbn number of this blurred book image, fits
>> perfectly into the ephemeral nature of Facebook. Someone is likely to idly
>> browse through the messages and to have an answer, and it is easy to ignore
>> messages you are not interested in.
>>
>> This ephemeral nature is also the weak point of Facebook (ignoring the
>> problem of many people not havin

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

[Lorenzo via Origami]

At the end, I created a public FB group.

I'm not going to publicize it here, as I don't know if it would be well
perceived.
If you are interested just drop me an email (lorenzo.luci...@gmail.com) or
a msg on FB (you can find me as "Lorenzo Lucioni" and freely ask FB
"friendship" without worries). And if you are going to join, feel free to
share with your own friends or commuinities.

I really (really) don't know if it will be helpful to anyone, if it will be
participated or not, if it is going to grow, or simply abandoned.
People and contents will decide. It could easily be there was/is no any
needs for that, I really don't know and I don't expect anything.
Just... let's see.

Happy Sunday to everybody,
Lorenzo


On Sun, 8 Jan 2023 at 07:37, Papirfoldning.dk  wrote:

> On 8 Jan 2023, at 01.15, Lorenzo via Origami <
> origami@lists.digitalorigami.com> wrote:
>
> So, I turn the question in: Why there are not so many discussions ongoing
> in this list? Is it just because of lack of topics, or maybe because other
> media replaced this list?
>
> When the oLlist was created, the digital world was much smaller, and the
> IT-savvy origamists likely a smaller group, and hence knit-together. Even
> in the years I've seen, the participants have changed. The current ones
> still make discussions, it's just not your old "oh, I know that person".
>
> Anne, how old is the oList, and how many subscribers does it have today?
>
> Today, the SoMe world is fragmented. Lorenzo mentions Facebook which has
> already hundreds, if not thousands, of origami groups - even in Danish
> there is a handful - so which ones to follow? Instagram, YouTube, Quora,
> mailing lists (I'm a member of at least 5 different origami lists), forums,
> ... nobody is everywhere. I know many people who do not bother to use
> Facebook, many for principled reasons, so you will never reach them there.
>
> When I communicate and coordinate, people propose WhatsApp (I don't have
> it), sms (texting, including images), Facebook private messages (aka
> messenger), a dedicated forum (who's to administrate it? It's even more
> cumbersome that being a mailing list admin), Facebook groups (same
> question), SnapChat (I don't use it), and likely more in different parts of
> the world.
>
> That is likely the one advantage of mail: If you have a digital presence
> at all, you have an email address and can read the mails sent to you. If
> using anything but the oList with its stringent rules (bordering
> frightening for any but the dedicated few), you can also include pictures.
> And writing text and including images in emails are way easier in emails
> than in Facebook (see, people have different preferences, as Lorenzo states
> the opposite).
>
> The hope of getting a common place for specialised origami discussions is
> in vain. XKCD captures the idea perfectly for standards:
> https://m.xkcd.com/927/.
>
> Lorenzo has strong points about why a mailing list is not good for his
> purposes, even if in the end it boils down to personal preferences and
> personal connectedness.
>
> Lorenzo's example of the isbn number of this blurred book image, fits
> perfectly into the ephemeral nature of Facebook. Someone is likely to idly
> browse through the messages and to have an answer, and it is easy to ignore
> messages you are not interested in.
>
> This ephemeral nature is also the weak point of Facebook (ignoring the
> problem of many people not having an account or not using it): one week
> later (not to say one year later) it is like impossible to find the answer,
> the isbn number again. Yes, you can access, but not search, archives -
> slowly and cumbersome, beyond the past month even your personal postings
> are practically impossible to find. You would have to ask again, and hope
> somebody answers this time as well.
>
> All that is if you can even remember where you got the answer. There is no
> way to search across sms, mail, facebook, messenger, whatsapp, instagram,
> forums, blogs, and more.
>
> To sum up: There is a plethora of options for asking questions and
> discuss. There is no way all those you know, will see it in any one
> channel. Nothing precludes you from asking the question on the oList or an
> arbitrary facebook group. If you get an answer, you just try the same place
> again, if not, try another place.
>
> Regards,
> Hans
>
>

-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

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

[Lorenzo via Origami]

Hi Ann,

Thank you for your email and pardon for the late reply.

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?
>

I feel the email as an old media, less appreciated than in the past. As you
said, it seems mostly used one-way, nowadays, at least in this ML.
So, I turn the question in: Why there are not so many discussions ongoing
in this list? Is it just because of lack of topics, or maybe because other
media replaced this list?

For example, on FB there's a group "Origami Help": honestly, when I search
for info about something specific, I feel that FB group will potentially
give more help, because of a wider audience, at least.
Writing an email takes much time to me than writing a FB post, attaching
images, directly mentioning people (tag) to alert them, and eventually
sharing my post on other groups, and so on ...
Also, FB is much more "visual" than a ML, and this is something quite
important to me.


> 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 
>

I understand, but actually I guess you over estimate the interest that the
topic "collecting" could have for the community.
Typical questions could be "does anyone know where I can find that book?"
or "could you please provide ISBN of the book shown here?"... so, not
actually discussions, not anything interesting for the community. that's
why I mentioned "flooding", because when you collect books, and want to
exchange info about collections, you end-up exchanging messages which are
not really discussions.

Furthermore, the rapidity of an answer on FB is much higher than any
ML.  Yesterday
I was looking for a book, I had only a blur pic of the cover, I published
on Origami Help and had the ISBN from a group member in a few minutes.

If that level of list traffic were to be perceived as a "flood", or if this
> sort of thing is somehow no longer desired by the list membership, well,
> does anyone have a better idea for some sort of forum that would support
> such a discussion? Should we finally find another underlying solution for a
> home for the O-list community?
>

If this list has not much traffic, it is maybe because members have less
topics to share/discuss, and specifically it seems to me there are not much
people interested in collecting (I don't see any msg about that at all).

Personally, I do not think that a social-media page is really that great a
> way to have a discussion;
>

Yes, agree. Nevertheless, collectors are probably not discussing much.
Instead, they are mainly asking and they would reach a wide audience.

 - Facebook pages require a user to "go" to a spot to make sure they see
> all the new material (and even then The Algorithm tries hard to only show
> you what it thinks you want) and then dig through nested comments to follow
> a conversation; and don't even go into what happens when users have blocked
> or unfollowed each other so that no one can actually see a whole thread;
>

The points here you mentioned I don't feel them so strong, personally.
I feel quite comfortable in FB groups, browsing FB threads...


> And few systems are going to make it easy for folks to discuss something
> for more than a few back-and-forth comments if they're coming in on a phone
> or similar device.
>

Another good point: mobile devices.
Many people do not use their laptop anymore, and actually when it comes to
mobile phones, discussing on FB is much more effective and easy than via
ML, in my experience.
I'm writing this email on mobile and actually... it's a mess.

It comes down to what specific sort of conversation does one want, and on
> what topic, and how do you want people to interact with it, what people,
> how often, etc.?  I think if one can try to nail down some of those
> answers, then there's hope of creating a viable place for a particular
> online (sub)-community to exist.
>

Yes, that's why I thought to FB (fast and visual), for this topic.

Regards,
Lorenzo

-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

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

[Lorenzo via Origami]

Hi Anne, everybody,

A reprint for those old convention books would be nice, even though it's
quite easy to find "pirate" pdf for them (I'm not saying that I approve
that or anything else).

As collector, I'm looking for the original edition,
and paying several hundred dollars would be fine for me.
Not that I'm rich, but I'm willing to pay that price for a bunch of very
few rare origami publications.
Anyone here who thinks she/he can help in sharing, please share my inquiry
with others. If it's not a matter of money, I would also be very happy to
exchange one-to-many with my several other origami books.

Just a note about this topic (books/publications): I held back from sending
these kinds of messages to the list, in the past, because I thought (and
still think) these are interesting topics for a small part of the
origamists only. And I didn't want to bother the list.
Recently, I received only a few signs of interest for a separate group
(focused to books/publications only). Too few, in my opinion, to give life
to something that has a future, and certainly I don't want to promote any
separation or "restricted" group, at all, and furthermore I'm also
discontinuous in my activities, so it has to be a shared effort.
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).

Regards,
Lorenzo



On Fri, 30 Dec 2022 at 16:44, Anne LaVin via Origami <
origami@lists.digitalorigami.com> wrote:

> On Fri, Dec 30, 2022 at 8:22 AM Lorenzo via Origami <
> origami@lists.digitalorigami.com> wrote:
>
>> Hi everybody,
>> happy new 2023 (or Guten Rutsch, as they say in Germany).
>>
>> Do any of you know who owns the Convention book from the 1st Tanteidan
>> Convention in 1995?
>> If you have any hint for me, where to search / who to ask... it'd be very
>> appreciated.
>>
>
> This book is long (long) out of print, was privately printed (no ISBN)
> and had a small production run. It is quite rare, in other words. A copy
> has occasionally been sold (for, as I recall, several hundred dollars) when
> auctioned a couple of times at Tokyo Tanteidan conventions in the past.
>
> Wishing I owned a copy, myself!
>
> I wonder if the Tanteidan powers-that-be could be persuaded to re-issue
> it, and/or its similarly out-of-print siblings...
>
> Anne
>
>

-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

[Origami] Tanteidan Convention book #1 (1995)

[Lorenzo via Origami]

Hi everybody,
happy new 2023 (or Guten Rutsch, as they say in Germany).

Do any of you know who owns the Convention book from the 1st Tanteidan
Convention in 1995?
If you have any hint for me, where to search / who to ask... it'd be very
appreciated.

Regards,
Lorenzo

-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

[Origami] Japanese book...

[Lorenzo via Origami]

Hi everyone,

Does anyone know what kind of book this is?
https://www.hon034.com/items/25963002

it seems to me something like proceedings of a Math/Origami conference, or
similar. Can you tell more?

Regards,
Lorenzo

-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

[Origami] request for JOAS Magazines

[Lorenzo via Origami]

Dear origamists,

I'm looking to add to my collection some JOAS Mags back issues,
specifically from 139 to 174 (volume 24 to 29).

If anyone wants to make some money... I'm here.
Here you can check the current price for them:
https://origami.jp/en/register/backnumber/

Out of curiosity, is anyone from the USA or Latin America coming to the
Italian convention, this year in December?

Regards,
Lorenzo



-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

Re: [Origami] Chinese book

[Lorenzo via Origami]

Amazing! Thanks Nicolas for letting me know.

I'm wondering how many chinese origami books are/were only available in
China... who knows 😢

Regards,
Lorenzo

On Sat, 5 Nov 2022, 19:39 TERRY Nicolas,  wrote:

> Lorenzo, This book will be available on origami shop in the upcoming
> weeks/months

Re: [Origami] WOD scheduling

[Lorenzo via Origami]

Dear Mary,

I can understand the constraints, but the origami community is only one.
I'm quite rigid and I cannot consider an origami day as "world", when it
excludes Europe, especially when it spans over a two weeks period.

More and more, in Origami, we have events with "high-sounding" names
(olympiad, marathon, prizes, competitions, world origami days...) and I
really hope we will not become elitists instead of inclusive, because the
step is short and treacherous, even to the one with the best will.

My best wishes for a successful WOD.

On Thu, 13 Oct 2022 at 22:50, Mary Drews  wrote:

> Hi Lorenzo-
>
> Thanks for your thoughts. I'm one of the WOD team members, and we have
> struggled with this very issue. The "compromise" seems to be everyone being
> annoyed a little. WOD is a joint effort with JOAS (Japan Origami Academic
> Society) and we "favored" Japan in our time choice. Sadly, to present a
> world wide conference there is no convenient time for everyone. The
> solution we presented is the beginning of the work day in Japan, end of the
> workday in the US, and sadly middle of the night for Europe.  I appreciate
> your suggestion, but your solution moves the middle of the night to Japan
> and that's a non-starter for the sponsor.   Unlike other events, we do not
> prerecord sessions, so the recording is the actual stream. I'm very sorry
> that recordings are not a good solution for you and I wish we could solve
> this issue to everyone's satisfaction, but not at this time.
>
> Thank your for comments.
>
> Happy Folding
>
> Mary Drews
> On 10/13/2022 11:55 AM, Lorenzo via Origami wrote:
>
> Dear origamists,
>
> I've been evaluating whether to attend a WOD for years, but I always need
> to deal with a very bad scheduling for the EU folders.
> This year, for example, all the classes are from 1am and 3am Central EU
> Time. Same for the last WOD editions I remember.
>
> It's a quite sad thing, in my opinion, because Europe is rich in Origami
> associations and origamists.
>
> I know there is not a perfect solution for the whole planet, of course,
> and I also know there will be recordings available, but a better
> compromise, like 10 or 11 p.m. GMT seems to me would permit US, EU and JP
> to attend live to everyone, it seems to me, because the the range 1am-7am
> would have been "placed" across eastern Europe / western Asia (Russia,
> basically).
>
> That's a pity, to me.
>
> Regards,
> Lorenzo
>
> --
> Lorenzo Lucioni
> Duesseldorf - DE
> lorenzo.luci...@gmail.com
>
>

-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

[Origami] WOD scheduling

[Lorenzo via Origami]

Dear origamists,

I've been evaluating whether to attend a WOD for years, but I always need
to deal with a very bad scheduling for the EU folders.
This year, for example, all the classes are from 1am and 3am Central EU
Time. Same for the last WOD editions I remember.

It's a quite sad thing, in my opinion, because Europe is rich in Origami
associations and origamists.

I know there is not a perfect solution for the whole planet, of course, and
I also know there will be recordings available, but a better compromise,
like 10 or 11 p.m. GMT seems to me would permit US, EU and JP to attend
live to everyone, it seems to me, because the the range 1am-7am would have
been "placed" across eastern Europe / western Asia (Russia, basically).

That's a pity, to me.

Regards,
Lorenzo

-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

[Origami] Teaching origami (e.g. squash fold without pre-crease)

[Lorenzo via Origami]

Dear origamists,

Is there any ongoing project related to 'teaching origami in a workshop',
in terms of recommendations on how to better teach specific folds?

In the last 2+ covid years, most of us have attended several zoom sessions,
and especially because of the "remote" character (which does not permit the
teacher to see how the participants are doing...), many of us could have
experienced troubles in understanding/following explanations.

Clear and proper description seemed to me very important, much more that a
workshop in person. Therefore, a sort of committee which would draw some
guidelines (hints), would be really helpful for teachers, in my opinion.

Since I'm quite critical and attentive to the explanation techniques and
abilities, I have in my mind some to several observations to share, to help
who leads a workshop, to do better.

Please let me know if there's already something of this kind, ongoing.

One example is the squash fold. I would strongly recommend teachers to
always announce they are going to make a squash fold, instead of "blindly"
going through the classic pre-crease, which sometimes leads to a not
precise squash, at the end. "Expert" folders would have the opportunity to
execute the squash fold how they like to do, if they feel more comfortable
not doing the pre-crease.

What above (squash fold) is not strictly related to the teaching from
remote, but it does not really matter: it belongs to the topic of better
teaching, in my opinion.

If there's no project of this sort, I would like to start one, together
with who would collaborate. Something simple (keep it simple), such as a
shared document where anyone can list what he feels would be better for
teaching specific folds, or anything related to the teaching styles.

Please note: I'm not actually strongly interested in didactic and so on,
I'm not thinking on how to teach in schools to kids, I'm just (simply)
thinking on our several origami conventions and zoom events. Something very
practical, something which can be read by anyone who is going to teach
something, and would like to improve his/her way of teaching.

Lorenzo


-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com

[Origami] Origami book collection(s)

[Lorenzo via Origami]

Dear origamists,

After several years, I would like to return passionate and active in the
origami world, at least as far as book collecting is concerned, with the
hope, maybe one day, of being able to preserve a paper copy of what the
history of origami has made and pass it on to posterity.

I wanted to know (even in private messages, if the topic is somehow
'boring') about anyone who runs it's own collection (books and/or
magazines), in printed paper form (not pdf). Old style, let's say :-)

I wanted to share info and knowledge about old books, what exists, what was
published.
>From time to time I also find (very) old books which I already own, on
auction sites, stores, and I thought they might be interesting for other
collectors...

Just to give clarity about the "size", I have something like 3 thousand
books, some very rare, and a few dozens of thousand publications (mags,
bulletins, newsletters, convention books...) ... always looking for new
additions but also to share and collaborate, if possible.

Surely, at a certain time (sooner rather than later), everything will go to
the origami community. My dream is to find a Book library in some big city,
which would acquire (for free) everything for me, and make my collection
available to a large audience of people...  but in the era of the eBook I
guess it will stay a dream :-(

Lorenzo
-- 
Lorenzo Lucioni
Duesseldorf - DE
lorenzo.luci...@gmail.com