By Eric Kenneway

Defining all easy phrases and tactics that would be used during the booklet from the very starting, it is strongly recommended for newcomers and for someone who has already a few heritage in Origami. it's very targeted, opting for a suite of symbols (solid arrows, hole arrows, dotted strains, dashed traces, looped arrows etc) in order that when you examine it, every thing else will get more straightforward. a bunch of tactics is additionally defined, in order that later motives simply discuss with those, with out explaining every little thing back. it truly is a very good variation, performed by means of anyone who particularly loves Origami, together with a few Origami traditions, anecdotes, proof and methods that you're going to locate in yellow home windows far and wide (it is a truly cultural ebook, exhibiting, for instance, different meanings of creasing playing cards, foundation of phrases and concepts), colourful, appealing photos and many tasks, in fact. a few examples: airplanes, boats, book, jack-in-the-box, butterflies, chinese language funerary and celebratory delivering, cup, enthusiasts, flexagons, flora, frogs, banana, mouse, hats, antelope, spider, kites, knots, mobiles, multi-piece versions, portrait ring and playground folds akin to a speaking fox for children.

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90 Page ix Foreword Visual Awareness: The Visual Arts and the Clinician's Craft Edmund D. D. The clinician's craft begins with the eyehis essential diagnostic tool. With it he heeds the Hippocratic admonition to observe and to read the signs of illness impressed on the face and body of his patient. The artist's craft also begins with the eye. With it he records the work of nature and man's work upon nature. Like the physician the artist studies faces, forms, and colors. Clinician and artist are united in their need for a special visual awareness.

Today's ideal physician, to use Sigerist's term, is far more likely to be characterized as a scientist than as an artist. According to Martí-Ibánez, this has not always been the case: If we had to decide what figures incarnated the greatest medical knowledge available at each period in the history of medicine, we should choose the seer for Mesopotamia, the priest and the philosopher for ancient Greece, the physician-soldier for ancient Rome, the erudite monk and the alchemist for the Arabian and European Middle Ages, and for the Italian Renaissance the artist and the humanist.

In a related way, I experienced some level of transformation with this group of images, not only as an artist but also as a clinician. As a medical student I had been in the operating room many times, not as a viewer of the phenomenon itself, but as an active participant, holding retractors or learning anatomy or surgical technique. But on the day I made these photographs I was simply an artist looking at his subject, as if I were standing at the very edge of my experience in medicine, and really, for the first time, looking at the act of surgery itself.

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