Yeah, they can. And I think that that’s also been the discussion that… I’ve been doing Illusia for seven years now, and there are very few volunteers who are interested in contributing to the bureaucracy and running for it. If it were a company, then people would have ownership of that company and they would be more involved in it. So I think that in that sense, it would be more interesting for people to do things as a company. But also, if I would do something like that, I think that I would prefer to do it with some state/EU funding and then some crowdfunding way, because that would allow us to actually own the IP and not have investors putting pressure on us to do things in a way they want instead of us doing the things the way we want.
But one of the key hurdles when bringing origami or kirigami to engineering is that these techniques often make things rather complicated. The famous Miura fold, developed by Japanese astrophysicist Kōryō Miura, folds a sheet of material into parallelograms, allowing it to fold down very compactly.
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Artists have always had to contend with influence; every generation has always wished it could birth itself, instead of being born. But the contemporary world is burdened with the biggest glut of influences and models ever available to any people in history. It may seem paradoxical to claim, but nothing proves this essential paralysis more clearly than our era’s massive cultural overproduction, than those creative industries that churn out books and television shows and movies yet always remain fixated on contemporary trends, on context-free content, with little or no connection to any deep tradition. The paradox makes some sense psychologically: one symptom of paralyzing anxiety is compensatory overactivity. Bloom himself had suggested that artists deal with this overabundance by choosing the right influences (or being chosen by them), then redescribing, misreading them creatively—hoping to come up with a radical enough revision to push forward with their own transformed material.
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