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The ISSEY MIYAKE Collection is founded in the philosophy of clothing made from “a Piece of Cloth,” a concept which explores not only the relationship between the body and clothing, but also the space that is born between them. The philosophy has evolved and grown as have Miyake’s interests always founded in innovative clothing combined with modern research and development. The Collection made its debut in New York in 1971. Since the Autumn/Winter 1973 collection it has been shown in Paris. The ISSEY MIYAKE Men’s Collection was first presented as a section within Fall/Winter 1976 Women’s Collection; it has been shown as an independent line since 1978.

ISSEY MIYAKE Collection Editing: Pascal Roulin Sound: Celmar Engel

Issey Miyake and his design team have been experimenting with and refining their pleating technique since 1988. The groundbreaking method - by which pleats are applied after the fabric is cut and sewn - is a revolutionary departure from traditional process. The first examples were presented in the ISSEY MIYAKE Spring/Summer 1989 collection. Since that time, the process has been refined and expanded to include basic items such as t-shirts. In 1993, the culmination of Miyake’s research, PLEATS PLEASE ISSEY MIYAKE, made its debut as elegant yet versatile clothing that offered its wearer both comfort as well beauty. The clothing is easy to care for, store, and travel with; and offers a choice of colors, patterns and shapes that make full use of the lightweight polyester knitted fabric. PLEATS PLEASE ISSEY MIYAKE is a premier example of “clothing as a product,” something that responds to the evolving needs of a demanding lifestyle and continues to please and delight its wearers.

PLEATS PLEASE ISSEY MIYAKE Catalog, Spring / Summer 1994

PLEATS PLEASE ISSEY MIYAKE Travel Through The Planet India China Kenya Morocco 1997-1999 Photo:Yuriko Takagi Editing:Pascal Roulin

“A-POC” is an acronym for “A Piece of Cloth” and refers too, to the idea of “epoch.” It is a manufacturing method that uses computer technology to create clothing from a single piece of thread in a single process. Development began in 1997 as a project led by Issey Miyake and engineering designer Dai Fujiwara. The first results included ‘A-POCKing Queen, A-POCLe Feu’ and were presented in the Spring/Summer 1999 ISSEY MIYAKE Paris Collection. Following that, PLEATS PLEASE ISSEY MIYAKE and other collections began to develop items based upon the A-POC method (called “+A-POC”) starting in 2003. After 2007, the collection introduced design solutions under the subtext of "A-POC INSIDE" and has continued to refine its vision for making clothing.

A-POC 1998 Animation: Pascal Roulin

A-POC 2000 Animation:Pascal Roulin

A-POC: Kanazawa 2004 Photo: Marcus Tomlinson

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The ongoing information and machine learning revolution has had enormous impact on almost every aspect of society and the workplace. The Operations Research and Financial Engineering (ORFE) department's research and teaching focuses on the foundations of data science, probabilistic modeling, and optimal decision-making under uncertainty, with applications in the physical and biological sciences, economics and finance, energy and environmental science, transportation and astrophysics. The core graduate and undergraduate programs provide strong technical grounding in the interlinked areas of statistics, stochastics, and optimization. The synergy between these subjects has been the primary driver behind many important breakthroughs in each of these areas over the past decade. For example, novel insights in large-scale optimization and high-dimensional random structures play an increasingly crucial role in the statistical analysis of massive datasets that arise in areas as diverse as the human genome to financial data. Similarly, ideas from statistics and machine learning have emerged as central tools in the development of new algorithms for making on-line decisions and for other complex optimization problems that find applications ranging from clinical trials to internet advertising.

We are currently 15 faculty, 52 Ph.D. students and 215 undergraduate majors. In these pages, you will find details of our research, teaching, graduate and undergraduate programs, and conferences and other events that we organize and host. Thank you for visiting our site and your interest in ORFE.

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Megan Hunter Wonders What It Is We Crave About the End of the World

I can chart the progress of my life through the types of apocalypse I have feared. As a child, the endings I imagined were natural, even cosmic: the land swallowed by the sea, the sun swallowing the earth. When I was an adolescent the man-made came to the fore, as I searched for mushroom shapes in clouds and imagined the exact moment of an explosion: would I know it was happening, I wondered, or would there only be after ; dimness, blood, confusion.

As a young adult, I would visualize the carcasses of the planes I traveled on, post-crash, the way their bellies would be lifted from the sea with a winch, spun around like part of a whale. This was a smaller-scale disaster, but I could also imagine all the planes falling from the sky at once, dropping in a synchronized movement to the land below.

When I had my first child, my visions took on a new realism: the key dates of climate change no longer had a vague, post-death strangeness to them. They were the likely years of my son’s life. Now, I imagined him walking through a world too hot to exist in, or living in a city that had become a new Atlantis, its underwater streets swum through by fishes, its buildings draped in seaweed.

As a writer, I might have a particularly dramatic or florid set of scenarios at my disposal, but I am far from alone in having an apocalyptic imagination. Even the briefest of glimpses at recent books published or movies made shows that these nightmares are part of our collective consciousness, a near-universal sense that the world might, at any moment, be about to tip into oblivion.

Etymologically, the word apocalyps e contains the meanings to uncover, to transform, and to reveal, rather than simply denoting the end of things. Its origins in Judeo-Christian religious traditions mean that the endings it originally described always contained a beginning: the destruction of the world heralded the arrival of a new—holy—era. Even in its modern usage, the term post -apocalyptic contains within it an implication that even in the worst of circumstances, some form of life continues. There is, perhaps surprisingly, an afterwards, a world for humans to inhabit, and books to be written about them.

The most recent flourishing of post-apocalyptic and dystopian fiction—genres that have been popular for a long time—could be associated with the particularly depressing state of our current politics. In the midst of a rise in intolerance and inhumanity, we look for books that will reflect our realities. Such is the degradation of our society, the most realistic fictions are those that speculate about (previously) inconceivable situations. The control of women’s bodies in a world ravaged by toxicity is recognizable enough for women to take to the streets dressed as Offred and Ofglen, for The Handmaid’s Tale to come to the fore of literary and televisual culture 30 years after it was published. Prominent post-apocalyptic books of the last decade depict a variety of scenarios, each more detailed and prescient than the most vivid anxiety dream. America is devastated by violence and climate change in Omar El Akkad’s American War , illness wipes out (nearly all of) humanity in Emily St John Mandel’s Station Eleven , a father and son walk through nothingness in Cormac McCarthy’s The Road. But despite its popularity, the genre has its detractors; Slavoj Žižek has remarked on its conservatism, whilst Jill Lepore in the New Yorker recently described contemporary dystopian literature as the “fiction of submission,” in which “cowardice suffices.” For its critics, post-apocalyptic fiction amounts to little more than a wail in the darkness, a pessimistic resignation to the worst in human nature.

1. Identify which lists you want to bring over

In MailChimp, clickon lists from the menu at the top. Choose the which onesyou want to export to Convert Kit.

On the list dashboard, simply click Export to begin the process. MailChimp makes this easy, but it does take a few minutes.You will receive a notification on your account and in your email once it's completed.

Inside ConvertKit go to Subscribers, then click "+ Create a tag" in the sidebar. Give your tag a name (it can match the MailChimp listyou just exported).

Once your tag is saved click "Import Subscribers" in the sidebar. From there select your CSV you exported from MailChimp(click and browse or drag and drop it into the box).

Then select your newly created tag to import into.

Click Import Subscribers and wait. You'll receive an email once the import has finished. But it will usually start within about a minute, so if you refresh the page you'll see the subscriber count on your tag start to increase.

By default,ConvertKit only imports First Name and Email address. If you want to import additional fields fromMailChimp, you'll need to set up those fields in ConvertKit before import. Here's how!

Once you go through it the first time, it's pretty fast to do again. Just select a tag, export, create the tag in ConvertKit, and hit import.

Also don't worry about importing the same subscriber multiple times (if they were in multiple tags in MailChimp). ConvertKit will just apply both (or all) of the tags to that subscriber and won't create any duplicates.

InMailChimp, your automatic emails were called "automations". InConvertKit, we call them "sequences".Switching those toConvertKit is simply a matter of copying and pastingthe content from one to the other. It can be laborious, but it's straightforward.

When you paste the email in toConvertKit, you may see some boxes around the content. This is a result ofMailChimp's table-heavy formatting with the drag-and-drop builder. Since emails deliver and convert better when they look like emails, you may need to paste the content in section by section. But if it looks clean, it probably is!

Good news! The timing inConvertKit acts the same way as you are used to inMailChimp. You'll set the email timing to "days since last email". You can even change days to hours for the initial messages or to automate that big launch!

This is a big one. If you just straight copy-paste your images intoConvertKit, they're actually still pointing toMailChimp 🙊 What you want to do instead is download the image to your computer, and then re-upload it directly toConvertKit. Images inConvertKit emails look best when they are no wider than 600 pixels (standard email width).

If you have any questions, just contact!

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