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Most of the business flameouts of Asia's Internet bust followed a familiar pattern: dotcom forms Web portal. Dotcom raises millions in an overhyped, undercooked public stock offering. Dotcom blows millions trying to get big. Dotcom vanishes in a flurry of unpaid bills...

Author: /time Magazine | Title: Uncle Tom's China | 3/4/2002 | See Source »

...University, as well as to give the message that “women are a part of this community at every level.” This lack of representation is also true, if not more so, for the communities of color at Harvard. A striking example is the bust of W.E.B. DuBois, which is the only person of color represented out of a total of 45 figures—all male—in Annenberg Dining Hall. It is in fact, one of the only representations of a person of color on the entire campus, and is, ironically, cast...

Author: By W. L. "lonnie" everson, CRIMSON STAFF WRITER | Title: Minorities Also Deserve Space on Harvard Walls | 3/4/2002 | See Source »

...house of cards. Recently departed CEO Lou Gerstner turned a flabby dinosaur into the nation's biggest tech survival and revival story by transforming it into a lean-and-mean IT services company. And he did it just as a nation of IT purchasers, their budgets gone bust, needed services most of all. The result: IBM emerged from the tech downturn with loyal customers, long-term service contracts, high earnings and low costs...

Author: /time Magazine | Title: Congress Plots Reforms — Wall Street Isn't Waiting | 2/19/2002 | See Source »

That may be why Skilling hired him in 1990 from Continental Illinois, a Chicago thrift that failed in the mid-'80s savings-and-loan bust. Fastow had a skill Skilling needed; he did asset "securitization," a means for banks to sell off risk in the form of securities backed by mortgages or other obligations...

Author: /time Magazine | Title: Speak No Evil | 2/18/2002 | See Source »

Ryoo’s presentations, for instance, seem intentionally baroque and self-indulgent. They cleverly re-imagine older staples of the western art canon as food, a mere commodity. “Portrait (W. Pooh),” for instance—a bust of a chocolate bear—is absurd and self-effacing. Art, then, for Ryoo is its own subject—her photographs are a kind of meta-art. They suggest that artistic creation is subject to the same commodification as the boxes of Tide and cereal in Wing’s photographs...

Author: By D. ROBERT Okada, CONTRIBUTING WRITER | Title: MetaArt: Constructing Self-Criticism | 2/15/2002 | See Source »

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