Author: zingblog

We’re Back Again

Rewinding a couple weeks, we spent a weekend camping in the Catskills with friends, cooking over fires, swimming in the lake, paddling around in canoes and playing acoustic guitars. After the heavy rain the first night of our trip in July we bought a new, larger shelter that sets up quicker but is bulkier and heavier to transport. Turns out the weather was beautiful and we didn’t need it. The highlight of the trip was a bald eagle circling around the lake one day. Jeannie and I managed to get close to it in the canoe. We drifted right up under the tree where he was perched and watched him spread his wings and take off across the lake. Amazing.

We were back home for a couple of days and the big news is that I got a full proof of the first draft of my book from my editor. For the most part the look is great, the choice of photos and all. One quibble is them doing goofy things with CaPiTaLiZaTioN of the chapters. The bigger issue is they condensed the diagrams to make it all fit into 128 pages. Some of the layouts are too crowded, and the drawings shrunk too much, and the layouts no longer flowing correctly. I’m working thru what to do about all that. I’ve been providing revised layouts that flow better and maximize the size of the drawings while still fitting in the available space. This is a pretty big time suck, taking me away from other projects, but I suppose it had to happen sometime. Now I’m up the most complex models in the back half of the book, and it’s clear they’ll have to come up a few pages. So either we’ll have to take some pages out elsewhere or make the book longer. We’ll see how it goes.

Then we took a long weekend road trip over Labor Day. The first stop was Washington, D.C. We visited the Udvar-Hazy annex to the Smithsonian Air and Space Museum. This is out by Dulles airport and has a huge collection of huge planes and spacecraft. Among them is B-29 Enola Gay, the Space Shuttle Discovery, a Concorde, a Blackbird, a DC-10, and lots of commercial and military planes and helicopters from small to huge. Also a really cool cutaway of a nine-cylinder rotary engine that really helped me explain to the kids how motors work.

Next day the main thing was the Native American Museum and National Art Gallery in The Mall. The highlight there was a light sculpture installed in the passageway between the east and west galleries. As we moved thru it, I recognized Conway’s Life being played out on the array of LEDs. This reminded me of my friend Leo, an artist how does installations of this kind. Way back in the day I helped him program some controls so he could run Life on a grid of LEDs. Shaw’nuff when we got the end of the passageway the sign said it was Leo’s work. It’s amazing to see his stuff in the same gallery as Rembrandt as Picasso.

The last part of the trip was to the beach in Ocean City. The big downer this year is that our hotel closed its hot tub. We’ll probably have to look for a new hotel next time we go back. Other than that it was great fun and very relaxing. After the first day the weather was hot enough we didn’t even miss the hot tub. We swam in the ocean, went to the water park, went out to dinner and down to the boardwalk, and visited the ponies at Assateague.

Now we’re back home and back to work. Michelle had her first kung fu lesson yesterday. Lizzy had her first day of high school today. Michelle starts school Monday. It’ll be a whole new set of routines this fall.

Red Burns

Red Burns, a prominent multimedia pioneer and educator, recently passed away. Red was the founder and director of my grad school program at NYU, the Interactive Telecommunications Program. I haven’t seen her in many years, but her legacy looms large, both on me personally, and on the NYC tech and creative industries and communities. Here’s one of many articles going around about her:

http://www.nytimes.com/2013/08/27/nyregion/red-burns-godmother-of-silicon-alley-dies-at-88.html

Penrose Tessellation in Origami

You may recall that I started working on a new Penrose tessellation back in June at the convention. This turned out to be a really interesting challenge for a number of reasons. First, my initial attempts at a pattern for the tessellation were wrong because they didn’t go together according to the rules. There are lots of ways of joining the tiles the look correct at first but really aren’t once you start to grow the pattern. I learned alot about how to join Penrose tiles.

Second, I needed to systematically work out the widths of all the pleats. I discovered they came in at least four different widths. The ratios of the widths are all the golden mean, which I guess is not too surprising. More surprising is that the wide pleats tend to separate groups of tiles into clusters, like avenues, streets and alleys, or maybe branches on a tree. The groups are usually five tiles, sometimes ten, sometimes two or seven, and then these aggregate into larger groups.

In fact the whole pattern is fractal. I made a series of Penrose tessellations with 10, 35 and 70 tiles. For each one, you begin by precreasing the pattern of the previous tessellation and then subdivide it. This happens in an interesting way, since each tile subdivides into approximately 1.6 tiles, with the edge of parent tile forming the diagonal of a new tile.

I worked all this out when I was on vacation last month in Albany and Lake Placid. After that it took me a few weeks to actually fold the models. I’m satisfied that the approach can be taken to an arbitrarily large number of tiles. The next level out would be at least 120 tiles; the further out you go the harder it gets to find a logical stopping point. I might do that eventually, but for now I think I’m going to fold a 70’er out of good paper and declare victory. I suppose I ought to document the crease pattern too. But after that, I’ve been focused on pentagram-symmetry subjects long enough. It’s time to move onto other things.

Like compound polyhedra with a color change!

Classic Rock Rhythm and Blues

Tomorrow will be the first day I see my boss in almost three weeks. All the senior people at my company are using all the vacation days they have saved up, before the company changes its vacation policy in September. I’d imagine productivity is down, but hey it’s August. Anyway, I don’t have to worry about that until tomorrow. I had a long weekend, the first of the whole summer without travel or other commitments. I spent a lot of it learning new songs. I must say learning new music has gotten a lot easier with the internet and the iTunes store. Gone are the days of putting together mix tapes and figuring out the chords by ear.

I’m doing this because last weekend I auditioned/sat in with the aforementioned classic rock party band. It went really well. They sound good, particularly the lead guitarist and the lead singer, who also plays harmonica. They do an interesting mix of songs. One whole set is old soul music: Sam and Dave, Wilson Picket, Otis Redding, the Temptations and that kind of thing. Most of this is great music to play sax on, so bringing the horn really brings the whole sound up a notch. Another category is sixties rock with an R&B influence. Stuff like Gimme Some Lovin’ and Hush. And closely related to this is more sixties rock by groups like the Zombies and the Doors. I’m rediscovering a lot of great pop songs I haven’t thought about in a long time.

I ended up playing a ton of organ. This is kinda funny to me because I’ve spent years working on piano playing, to the point where I tend to think of organ as a separate thing, and something I don’t really do. In fact I never even learned my way around the organ presets on the keyboard I bought a couple years ago. But hey, when you’re on the stand you gotta go for it. Luckily my keyboard has a lot of great organ sounds, just right for the occasion.

The band said I nailed Light My Fire, even though I only really learned the opening riff. For the solo, I copped what Ray Manzarek did. I call this the Ray Manzarek thing. Start the solo on a particular scale tone, and riff around for a while and then after eight bars come up to the next higher tone of the scale. This builds the intensity and lets you take a long, laid back solo that seems to have some direction. He does the same thing on Riders on the Storm, btw.

Anyway, the band has a lot of songs. They also have an 80’s set and a surf medley. Not all of them are particularly interesting for keyboard, but even those have good harmony vocals. This next rehearsal I want to start drilling down on getting the harmonies tight.

I had decided before I showed up that I want to sing lead on a song or two each set. When I got there, I wondered how that idea would go over, since they have a full-time lead singer. Before I had a chance to ask, the singer asked my if I’d like to do a song or two a set, explaining that by the end of the night his voice can get pretty shot, so it’s good to have a break in the middle of a set. So now the question is what to sing. They asked if I knew any piano songs. Probably too early to lay some of my originals on them, but I suggested some Steely Dan (of course).

They also asked if I know any Billy Joel. I know a few of his songs, and they’re all in my vocal range. As it happens I’m sort of in a Billy Joel phase right now. It’s been creeping up on me, having played a few of his songs in various musicals the last few years, and coming to see how popular he is around here. A hometown hero, like Rush when I was growing up. Then Billy played the concert after Hurricane Sandy last fall and blew everyone else away. I’d seen him a couple time live back in the day (he’s Jeannie’s favorite band) but he never came close to this level of performance. Somehow, after fifteen years of retirement he’s entered the ranks of the all-time greats.

Finally Michelle asked me to play Vienna for her, and that’s one song I can’t do justice to just by googling the chords. So I went to the store and bought a couple of books of his sheet music. I made sure to get the actual piano arrangements so I could learn his voicings and all, the full intro to New York State of Mind and everything. There’s a lot of great music in there. Still, the problem with Billy Joel is a lot of his hits are ballads, so I don’t know how it’d go over in a rock club. The only thing I have down now that’s uptempo enough is Miami 2017. Meanwhile playing all that organ inspired me to learn A Whiter Shade of Pale.

Toot Toot!

I couple weeks ago I finally got around to putting a new horn knob on my Mustang (I got the part last summer). The old one was yellowed and cracked on one side from years of sitting in the sun. While I was at it, I tightened up the screws that that hold the horn assembly in place. It’s a good thing too; today I took the Mustang out and had to use the horn three times!

Strike Up the Band

Now that I’m done with origami deadlines for the time being, it’s time to try and move forward with the music thing. (I still haven’t gotten back to recording for a few weeks, but that’s in the offing too.) Last year when I got into crunch mode on my book, I kinda let jamming with Erik slide. It was a great experience, and it definitely helped me focus and improve my playing. I’ve kept on practicing and can now play eight or ten of my own songs, plus a bunch of covers I couldn’t before. But the thing I crave now is human contact with other musicians. Getting a band off the ground from zero is hard work, and my main problem now is that I don’t know a lot of musicians around here. I really need a bass and drummer to make my music work.

So I figured I’d see about trying to join a band. At least I’d be meeting musicians who are into getting together to rehearse once a week. On the downside you have to fit into someone else’s vision, not the other way around. I looked a couple times on Craigslist over the last few months, and it’s really amazing how many kinds of music and musicians are out there that aren’t really a good fit for what I want to do. And how full of egos and hustlers the New York City scene is, even the classifieds! But I looked again last week and found a couple promising leads.

One is a straight-ahead jazz combo looking for a sax player, because, you know, the easiest thing for me to do is just show up and blow. I went and played with them last night and it went great and was a lot of fun. There was a trumpet and a tenor player, and a piano, guitar, bass and drums. I was playing alto. I haven’t really played alto in years, so I brought my tenor along too just in case. They were mainly doing stuff from the Real Book, and they sound good. After the first tune it was pretty clear I remembered how to play and was fitting right in, so after that I began to relax. The other sax player had a couple really good solos, and the bass and drums grooved together really well.

I had a couple good solos too, and started see how the group responded when I tried to influence them in one direction or another with my playing. It’s funny, I remember when I was in ninth grade or so and realized I could play with incredible speed, doing Eddie Van Halen riffs on the horn. Now my style is much more melodic, to the point where when I catch myself playing fast, I soon realize I’m mainly relying on muscle memory, and usually slow it down to play something more meaningful. Nevertheless I did an entire chorus in double time at point, just cuz the notes kept flowing and it sounded good. Another song I really concentrated on using space and rests.

Toward the end the bassist brought out some horn arrangements he’d written. It was good to see they’re open to experimentation. They also talked about doing some Chicago and Blood Sweat & Tears rock numbers. So a good first impression.

The other ad was for a classic rock party band, heavy on the Motown and R&B, seeking a keyboardist/backing vocalist. They sent me a set list and it’s all stuff I can handle, nothing too complex. I’m jamming with them one night next week. Gives me some time to google the chords and listen to a few records for specific parts. I mentioned that I play sax and it would sound good on some of the soul numbers. Dude liked the idea of that alot.

So if one or both of these pan out, then I’ll start seeing about introducing some of my own material into the sets, first some covers I like, then hopefully some of my originals. I think reasonable goal is to get the point where I have a solid group that has a few good sets, a combination of covers and originals, and is playing out in bars or whatnot semi-regularly. Both these groups are comprised of guys who are about my age, so they’re doing it more because they want to make music and have fun than because they want to become the next big rock star. They’re also both in the early stages, rehearsing more than gigging out. Should be fun to see where it goes.

Great Dodecahedron in Origami

I’m participating in another origami exhibit. This one is eXtreme Origami and is part of the Origami Heaven convention in Stonybrook, Long Island, and runs thru early August. Go check it out. You can find out more about Origami Heaven here:

http://www.origamiheaven.org/

I’m not sure if I’ll be able to make to check out the exhibit, so if you want to take some pictures I’ll appreciate it.

The theme of my collection of models is single-sheet complex polyhedra. The models I’m contributing are my Stellated Dodecahedron, Great Dodecahedron, and
Tessellated Dodecahedron (a.k.a Penfractal Dodecahedron). All of these
models exhibit pentagonal symmetry, being based on the dodecahedron, which
is composed of twelve regular pentagons. Each of these models is folded from a single, pentagonal sheet of paper.

You’ve seen the Stellated Dodecahedron recently. I still want to fold a second one, but didn’t get done in time, so I sent the one I folded for OUSA. Did manage to make a nice version of the Dodecahedron Tessellation out of Wyndstone paper, and will show that in a future post.

But this post is about the Great Dodecahedron. It’s not exactly all-new; I folded one from a 12” square of Tant a few years back but was never quite satisfied with it. The new one has a refined CP. The main difference is that it’s from a pentagon, so the corners provide nice flaps and the model goes together well and holds its shape quite strongly. I didn’t even need to wetfold it.

The shape itself is a complement to the Stellated Dodecahedron. Both are composed of sixty triangles and form star shapes out of sets of coplanar faces. With the Great Dodecahedron, the coplanar faces form a pentagon with the star rising out of the middle in the negative space.

Mandala Tessellations

I did another class at the convention, teaching my mandala tessellations. Most tessellations out there are based on a grid, either of squares or triangles, but these are based on a circle. I originally started playing with tessellations because of models like my turtle and my U.F.O., which use pleating to form a pattern on the surface of the model. I actually came up with the mandala idea at a convention, at the Monday dinner, and have since refined it. Unlike grid-oriented tessellations, the pleats are arbitrary, by eye. This is not hard to get across to advanced folders who have a good eye, but people tend to like landmarks and it can take some getting used to.

People seemed really interested in these models back at MIT last fall, where I taught them informally, and my class at OUSA was in fact full. There were a few “legit” tessellation guys in the class, notably Jeff Rutzky, who has a book Shadowfolds with Chris Palmer that explores some of the same territory, but his ideas are more developed. So as I taught the class it turned into a conversation, which was great cuz I learned a lot as well as taught.

This also led me to begin work on a new model: a penrose tessellation. This is a new and larger pattern than the one on my web site. I folded a prototype using my arbitrary-pleat method, but on this model I reached the limit of that approach. I folded a second, more legit attempt, but it didn’t want to go together. So then folded the center portion only, working out the correct sizes for the pleats. I folded successively larger sections, until I got to the third ring, where there’s a vertex where seven angles come together, three wide and four narrow. So now I have to work out complex connection in order to complete the model. But that’s cool; when its’ done it’ll be really nice. I also feel like this will be another good CP to feed to the craftRobo.

This is the last of the current flurry of origami posts for a little while. I’m working on a exhibit for Origami Heaven that has to be done in three weeks. Five pentagon-based symmetry geometric models, including some of the ones described here. I’ll let you know how that goes. Meanwhile I hope to get back spending a bit of time on rock’n’roll and other pursuits.

Dread Zeppelin

So way back in early June I was invited to participate in an exhibit Origami as Fine Art being held at Kinokuniya Book Store in NYC just off of Bryant Park. Kinokuniya is a great place, BTW, full of all things Japanese, from manga, anime and robot kits to origami books and specialty papers, and all kinds of other stuff. The exhibit is really nicely put together by Sok Sung and Paul Frasco, and features a great variety of models from a good number of artists. I’m honored to be included among this elite set. The exhibit runs for another two weeks, until mid-July. You can learn all about the exhibit here:

http://origamifineart.com/

The curators asked me to contribute a Zeppelin. This was on the list of models I’d been meaning to refold out of nicer paper anyway. Last year at convention I picked up a couple sheets of paper specifically for this. The paper is blue, and strong and heavy like Wyndstone, but sparkly like it has flakes of mica embedded into it like Origamido paper sometimes does. I have no idea where it came from or what its called, but it turned out to be up to the task.

As I mentioned before, this is a very challenging and labor intensive model, and I only ever made one successful instance a few years back. I first made a study out of draft paper, and then commenced to fold two Zeppelins in parallel. The thinking was, if I messed one of them up I’d still have a good’n, and if they both came out good I’d have one for myself. The prefolding took a couple sessions and the collapsing took a couple more, since I wetfolded as I went, doing first the nose, and then collapsing the tail. This was all a very delicate operation. I also custom built two new stands for the models. As June progressed I went from staying up late once or twice a week to work on these to practically every night.

In the end I had a bit of a problem with the model staying puffed out at the transition from main body to the tail. I realize now that I should have wetfolded an internal flange of accumulated layers of paper to relieve the stress at the point. I may yet go back and fold yet another Zeppelin now that I know what I’m doing, and so I can be at peace about it. For one of my models I tried to wetfold the hull at that point. This turned out to be a mistake, and I ripped the paper pressing it from the inside with chopstick to shape it. At least I was able to patch it so it doesn’t show. The other one turned out better an the problem was largely solved by good ol’ fashioned wrestling the paper into submission. I had to re-open the tail after it had been wetfolded, but it worked out okay. So the better model I donated to the exhibit, and the other one is the one you see photographed here.

Stellated Dodecahedron in Origami

As mentioned previously, I had a great OUSA convention this year. If you’re interested there are lots of pics online here. One of the things that made it great for me is I had a lot of new models: Timber the Dog, Sophie the Cat, my Giant Squid, Cuttlefish, a new rendition of my Zeppelin, my Penfractal Dodecahedron Tessellation, and my Stellated Dodecahedron. I hope to say something about each of these, starting with the Stellated Dodecahedron.

Most people make origami polyhedra using the modular approach, putting together lots of triangles or whatever to create a shape. To me this is not very interesting since the assembly dominates the folding, and in my view it misses the essence of doing origami. Much more challenging is to fold a polyhedron from a single sheet. In fact it’s so challenging I only know three artists who work in this area: John Montroll, T.J. Norvell, and myself. John has written several books on the subject and has made it challenging indeed to find terra incognita in this space.

My Stellated Dodecahedron is the result of a long and arduous quest, one of a handful of advanced polyhedra I’ve been working on for the last few years. Now I can finally cross it off my list. In case you don’t know, the stellated dodecahedron is a shape based on the regular dodecahedron, which is a platonic solid composed of twelve (“dodec” means two and ten) regular pentagons. The stellated version replaces each face with a five-sided pyramid, resulting in a star-like shape (“stellated” means starlike) composed of sixty triangles.

I made several attempts at it a few years back, but it was beyond my skill at the time, and I only barely managed to make one out of a giant sheet of foil, and it didn’t hold together too well. This year I was determined to finally make an exhibit-quality one for the convention. I’d been working feverishly on Zeppelins (more on that in another post) but found the time to create this as well. In the process I think I leveled up as a folder.

The hard part of doing this model was closing it all off at the end. My previous version was made out of a square, and this created the problem of having all the flaps being different shapes and very difficult to deal with. For the new attempt I began with a pentagon sheet of paper rather than a square. The first step was to fold a pentagon out of a square anyway, so I just cut off the leftover bits rather than fold them under. Now when I got to the end I had a nice array of identical flaps that made perfect tabs, and I was able to use a twist-lock to finish the model.

I folded the Stellated Dodecahedron from a 50 cm regular pentagon of Marble Wyndstone (a.k.a. Elephant Hide) paper. It took me five sessions of several hours each, and this after I made a study out of draft paper. The first two were just to do the precreasing (you can see the CP below). The next one was to fold the bulk of the model, up to the close. At this point it became clear that I would not be able to close my study model because the paper was too soft, and I’d have to just go for it. Wyndstone is thicker and I’d precreased everything strongly with a bone folder, so it looked like it would have enough “pop”.

Once I got it got it collapsed there was some springiness that wanted to push the model apart from within. I applied a drop of water to every concave vertex, the ones where six triangles come together. Then I wrapped the whole thing tight with tape and string and let it dry overnight. Next morning – the day of convention – I unwrapped it, not knowing how the wetfolding had worked. To my delight it came out perfectly. The final model was tight and strong like a soccer ball. In fact I like it so much this model has now taken the spot on top of my piano previously occupied by the only modular I’ve ever liked well enough to actually fold – Tom Hull’s Five Intersecting Tetrahedra.

I want to fold another one of these soon, for an upcoming exhibit on Long Island. Between doing this and the Zeppelins, I’m now seriously considering getting a KNK Zing or a Craft Robo. Having a machine pre-score my paper from a .eps file would seriously reduce the amount of time I have to spend prefolding, plus it would guarantee everything to come out as precise as can be.