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...efforts of the government are slowly changing Japan. Partly, that is because of the concept of mottainai, which literally means "what a waste" and is manifest in an almost reflexive desire to conserve and reuse. Centuries before there was an environmental movement, the Japanese embraced origami, an art form - originally from China - based on the notion of creation without cutting. Fashion designer Issey Miyake adapted the concept 30 years ago in apparel made with a single piece of cloth, cut so that no pieces wind up in the garbage...
...contrast, Obama's website is engineered for engagement: prompts invite people to volunteer, make phone calls and find nearby events. "Don't just fill out this volunteer form and wait," it reads. "Get started on your own." The blog is maintained by a former journalist; the social-networking function is managed by a founder of Facebook...
...sweat of the 800 workers he employs as chief executive of the Tianji Wooden Products Co. Based in Guangdong province in southern China, the company, which exports $10 million worth of toys and children's furniture annually, is like thousands of other small manufacturers that help form the backbone of the country's formidable export-manufacturing machine. But that frame is showing cracks, and all the brains and brawn in the world might not be enough to rescue Tianji Wooden Products. Cheng's costs have gone up 30% in each of the past two years, but competition is so fierce...
...academic study. “It was a while before it was really academically acceptable,” Everett says.Everett did not begin teaching a course on jazz until the mid- to late-1970s; in the meantime, he assembled a group of students already interested in jazz to form a new group within the Harvard Marching Band. The students’ level of familiarity with jazz varied widely: some had already played in jazz ensembles, while others were just curious about the music. Today, Harvard boasts two jazz ensembles independent from the Marching Band but still under Everett?...
...intentions and vaguely decipherable clues about Gonzales himself lurking somewhere in the crystalline murk. The album, like its titular equation and like Gonzales’ work in general, is abstract and broken, to be enjoyed at a distance, where the somewhat vapid fragments take on a more beautiful, organic form.—Staff writer Ryan J. Meehan can be reached at rmeehan@fas.harvard.edu...