Origami, the art of paper folding, refers to the general term for all forms of folding, regardless of their cultural origin. Its purpose is to transform a flat piece of paper into an innovative and exciting new final shape through folding techniques. Origami practitioners discourage the use of paper to cut and paste or apply any signs. Origami papermakers often use the Japanese word “kirigami” to refer to a design that uses cut, although cut is a feature of Chinese papermaking. Some basic origami folds can be combined in different ways to create intricate patterns, paper can be folded into a three-dimensional shape, and the crane and penguin are the most popular forms of paper folding in Japan. And here we are from now on in front of the concept of fold and fold. Usually, these forms start with a square piece of paper, the edges of which can have different colors, shapes, and patterns.
But what does this have to do with poetry and poetry?
In our opinion, poetry is a fold, poetry is a fold. The fold (Fold, Pli) is a structure that occurs when the surface of the language is bent or bent, the meaning, the “true” meaning of the word, vocabulary, which was originally a clear, direct, real plane, as a result of the influence of emotional forces, dense knowledge, restriction and rotation of details and minutes (play of vocabulary and sounds, for example. Replication is geologically the curvilinear structure of rocks, and poetically, the curvilinear language structure, which expresses , suggests and winks (or symbolizes) thanks to this curvature. If you come to the classification of folds, classification of poetic language devices, one will come to the useful -beneficial symmetries, because they are classified either on the basis of the direction of the wings : as if it were an object of the strongest deviation in the language of poetry, far from the origin of the “real” use of words, language, vocabulary. Then the concave fold of the Synline: where the wings of the fold meet. down, that is, the wings are inclined to the axial plane of the warehouse ki and close to it, and this is done by the action of compressive forces, which seem to be less metaphorical deviations and closer to real connotations.
So, if we consider the classification of folds according to the magnitude of the inclination of the wings: Symmetrical fold: Occurs when the wings of the fold (convex and concave) are inclined at the same angle of inclination in the same direction and the axial plane of each of them is vertical Such folds are usually formed when layers are subjected to the same pressure on both sides. An asymmetrical fold occurs when each wing of the fold (convex and concave) is tilted at a different angle from the other so that the axial plane of the fold is oblique from the vertical plane. This wrinkle forms when the pressure is greater on one side than the other, so the slope of one wing is greater than the slope of the other. A recumbent fold occurs when the wings of the fold become nearly horizontal as a result of increased pressure and the axial plane of this fold is horizontal, with older layers above newer ones. The reverse is one in which the amount of asymmetry increases until the inclination of one of the wings exceeds 90 degrees, where the axial plane is inclined more than the vertical plane, and the layers of one of the wings are inclined to each other. reversed. Dome: This structure where the layers slope in all directions from an intermediate point called the center of the dome. Pool: This is a fold where the layers enter in all directions at an intermediate point called the center of the pool, which is opposite the dome.
Anyone who wants to approach the deviations of linguistic Ecar, ie, poetic language, from its actual use based on this classification of folds, we think, will achieve interesting and significant results .
Poetry has a history, school and fashion, and origami has a history, school and fashion. Origami, for example, has a religious use called katashiro which is an image of a deity, a use based on a folk tale, and educational and pedagogical purposes. Origami even inspired modern European art such as the French plastic movement called Paper Peacock. MFPP), created by Jean-Claude Correa, appeared in Correia France, followed by similar movements.
In addition, in origami there are elementary “rules” of folding (as if we were talking about the classical rules of poetry), and these elementary principles are also the basis of other rules, such as: base of a bird, frog base, water “bomb” base, fish base, kite base and Japanese legend of a thousand levers (this is a type of wish-fulfilling origami) and origami shape called kusudama, it is a special form of origami in which different sheets of paper are joined together and their tops or ends are designed to form a spherical surface from them. Some kusudamas can consist of several hundred pieces. Kusudama was originally used to store incense, but today it is mainly used as a decorative element. Kusudama was also a pioneer of modular origami.
Here we will say again that we are faced with possible parallels in the types of Arabic poetry, especially the classical: poetry of praise, lyric, lamentation…
In European thinking, the idea of fold and fold occupies a significant place, because everything is folded, opened (opened) and folded (folded again). Nadine Vasser said in her book Folds (Dar Soi – 2002): “The world is not stopping making folds. From geological folds to folds in water, from the folds of the body to the draperies of clothes, the fold is the very movement of life and its consequences.
Pleats and draperies are recurring iconic themes in art history, from Greek statues to contemporary works. This is how artists, sculptors and installers arrange textiles and clothing in their works. It allows the viewer to show the most diverse clothes, but sometimes reveals, in an aesthetic paradox, the body he is covering. The curtain gives artists the opportunity to show their ingenuity and technical prowess in depicting reality, especially in the representation of materials and the illusion of movement. The fold evokes mystery, invisibility, shadow and light, imprint and change, as well as waviness and freedom, something suggestive of philosophical contemplation.
The most famous philosopher to study folds in art is Gilles Deleuze.
We do not hesitate to talk about the “folded lattice”.
Don’t we love origami folds and lattices?
The hair fold is adjacent to the fold. Poetry is the prison of being. You try to open one and you find it’s harder because it’s next to the crease and there’s another one below it and another one above it. The fold includes a slice of being, its exterior and interior, its shadow and its light. All these constitute the structure of this existence, its character and nature. A poem in this sense is a fold bounded by other folds, and all of them form the fabric and character of the poem. You keep folding it and unfolding it with another fold, with another poem, until you have written a collection of poems, and then again and again, and each time you try to open the fold until it closes to open or refer you to another fold .
A poetic picture is a fold, a parable is a fold, every parable is a fold, every parable is a fold. Every deviation from the “true” use of a particular word is an inflection. Your folders are folds that tend to open to fold again, giving you an endless loop between folding and unfolding. That is the important motive to keep writing poetry, tirelessly and without the feeling of repetition and repetition.
The poem, the poem, seeks to unfold the fold, but does nothing but wrap it in another fold, to unfold another fold, another fold.
The poem implies “order” and implies “order”, and to know that it is meant, we must be aware and intuitively feel the complexity of this statement. The connotation of folded or “folded” is far from a simple, one-sided and one-sided connotation in the sense in which we define the meaning of fold.
You dream as if you are the core of this prison, you interpret your dream as if you are trying to untie the fold, you think as if you are opening the “refolded” fold.
The poem is an attempt to open the prison of the personality that penetrates the dark light in the windows of the temples (borrowed from the philosopher Gottfried Wilhelm Leibniz), things are torn inside it, in this dark light , becomes less clear, but stronger. Isn’t this poetry?
There is a deep level where poetry goes hand in hand with origami: both overflow with vulnerability. Vulnerability is the essence of their being. But at the same time, a source of rebirth, aesthetics and strength of both. We sculpt from fragile paper, and also from bare vocabulary. The strength of both, poetry and origami, lies in the mysterious origin, but strong, despite the weakness and power of sculpture.
* Iraqi writer and artist
note
It is worth distinguishing between truth and metaphor, true and figurative expression: true expression is the use of words with true meaning. When we say, for example, that someone is stingy, we are using the word stingy in terms of someone’s actual material stinginess. As for figurative, figurative or imaginary expression, it is the use of words that have no real meaning, such as, for example, our proverb “tear of a stick.” rather in terms of a miser in his tears. And this is what we used to say: the deviation of the fold by the convergence or divergence of its wings is like the convergence or divergence of words in their original true meaning attributed to them.
Source: Al-Akhbar
