a brave volunteer gathers her raw materials
I’m delighted by the variety of paper available on the web these days, all colours, shapes, sizes and textures you could possibly wish for, as well as plenty you wouldn’t wish for. One modern innovation seems to be paper made from, well, sh1t. It’s perhaps not a polite word, but serves the purpose!
A cursory search for elephant sh*t paper brings up nearly a quarter of a million results including poopoopaper.com, elephantdungpaper.com, but broaden your mind a little and you can fold from the droppings of bison, sheep, kangaroo, reindeer, wombat and desert rat. Actually, I haven’t found the latter, but it would be prohibitively expensive anyway. The amazing origami resource center has more info.
I’m not totally sure what origami benefits there are from using this type of paper, but it’s certainly novel and if you own large animals and can tell sh*t from shinola, a possible small fortune is waiting for you.
Here’s something slightly more challenging, a flower form. You’ll guess that some twisting is required and the crease that allows this has a defined and easily spotted location point. It’s also locked into shape. Out of interest, this “vital” crease can be altered to provide flowers that are more open.
Once you’ve identified the location for the shorter crease, you can use a template then reduce the length of the book folds to produce a neater CP. My mentor Wayne reckons this will work as a modular with a little tweaking, but I haven’t found a really stable form yet. Either that or I’m just to clumsy to assemble them. My money is on the latter!
The esteemed David Lister writes to BOSmail (in reference to my boat CP) “It is now acceptable to distinguish mountain and valley folds in crease patterns with differently coloured lines such as red and blue. Were your original diagrams coloured?”.
The answer is no, because I thought it simple enough, but perhaps for this flower, it might be a good idea, plus it’s all good practise!
In creating said coloured lines, I realised I’d been over-complicating the design to no good purpose. Originally, a pinch-mark provided the location and the book folds didn’t extend further then was necessary, but in for a pinch, in for a pound. So here’s a revision, almost indistinguishable when folded, but much cleaner crease-wise.
Not many people know famed Uruguayan creator Diaz likes to listen to the Nolan Sisters when he designs, having been a fan since childhood. He was delighted to find this rare LP whilst at our convention in York. When pushed, he revealed his favourite is Coleen – “she’s so sexy!” he gushed. I contacted her through the Nolans fan club and told her of this Uruguayan Romeo’s feelings and she wrote “Oh my gosh, if he can do that with a sheet of paper, I’d be putty in his hands”. Watch this space, could be wedding bells!
“I’m in the mood, for folding”
Slightly ironic warning on the label of the NOA magazine envelope! (My address blurred to minimise fan-mail). Oh yes, the issue, which arrived on October 23, was for December…..
Can you identify the two folders cunningly merged here?
Audio CD © Red Bull GmbH
This recording really began in 1978, when Paul Jackson first conceived the idea of a “paper concerto”. He’s worked on it and performed is many times since and finally had a chance to “get it down on tape” properly thanks to the bottomless wallet of red Bull. They put him in a hi-tech recording studio with engineers to help and produced the first track on this CD, “Paper Music”.
Clocking in at over 11 minutes, the piece is in three sections which could loosely be categorised as ”wobble boards”, “bangers” and “tears/rustles”. However, that’s just using terms a paper-folder would understand. The music should ideally be listened to as that, music, and not a novelty item. However, even to a musician like myself, well-versed in experimental and improvised music, it’s a diffi cult piece to appreciate!
Various other musicians were commissioned to produce pieces for the CD, including “Maddslinky” (Dave Jones) who uses paper samples triggered as direct replacements for a drum kit, with paper samples coming in at various points as percussive highlights. Like most of these “songs”, the lack of pitch-based content means there are no “tunes” as such, so we won’t be hearing it at the Ibiza beach scene.
Todd Osbourne follows similar lines and you can’t help hoping for some more sonic interest. Nwachukwa is perhaps the least inspired of the “beat box” pieces. Mira Calix produced the final offering and was the only “name” that I was familiar with, through her amazing work for the Warp label. She has produced a far more ambient piece, combining pitch-shifted tears with more standard samples. There is a pleasing harmonic content, induced by applying various electronic effects on the computer.
Truth be told, the Calix track is one I will return to, the others probably not. However, Jackson is to be congratulated on a fascinating project, beautifully produced and packaged. It won’t be a massive seller (unless the well established “weird music scene” picks up on it!) but it won’t be the first time he has taken on the establishment and won!
You can hear some of my paper-based music elsewhere on this blog.
Just back from the BOS York convention. Ahead of a fuller review, here’s a nice pic of our special guest, Róman Díaz. It turns out he’s a huge fan of the Irish singing (?) group “The Nolans” and was delighted when he picked up this LP, long out of print in Uruguay.
An amazing photo of Robert Harbin in action…