Новинки Тайлера Коуэна

Где найти талантливых сотрудников? И как помочь каждому раскрыть потенциал? Известный экономист Тайлер Коуэн и предприниматель Дэниел Гросс изучили искусство и науку поиска людей, обладающих творческим потенциалом, энтузиазмом и проницательностью. Коуэн и Гросс знакомят читателя с основными областями научных исследований, имеющими отношение к поиску талантов. В том числе с тем, как проводить собеседование, насколько важен интеллект, как оценивать личность и сопоставлять личностные качества с работой, как оценивать талант в онлайн-взаимодействиях, таких как Zoom-звонки, почему талантливых женщин по-прежнему недооценивают и как их…

We love to hate the 800-pound gorilla. Walmart and Amazon destroy communities and small businesses. Facebook turns us into addicts while putting our personal data at risk. From skeptical politicians like Bernie Sanders who, at a 2016 presidential campaign rally said, “If a bank is too big to fail, it is too big to exist,” to millennials, only 42 percent of whom support capitalism, belief in big business is at an all-time low. But are big companies inherently evil? If business is so bad, why does it remain so integral to the basic functioning of America? Economist and bestselling author Tyler Cowen says our biggest problem is that we don’t love business enough.

In Big Business, Cowen puts forth an impassioned defense of corporations and their essential role in a balanced, productive, and progressive society. He dismantles common misconceptions and untangles conflicting intuitions. According to a 2016 Gallup survey, only 12 percent of Americans trust big business “quite a lot,” and only 6 percent trust it “a great deal.” Yet Americans as a group are remarkably willing to trust businesses, whether in the form of buying a new phone on the day of its release or simply showing up to work in the expectation they will be paid. Cowen illuminates the crucial role businesses play in spurring innovation, rewarding talent and hard work, and creating the bounty on which we’ve all come to depend.

Для трех четвертей рабочих мест, созданных в США после начала рецессии, заработная плата едва превышает минимальную. При этом в США по-прежнему больше миллионеров и миллиардеров, чем в любой другой стране мира. В этой книге Тайлер Коуэн предлагает свое объяснение данного феномена: те, кто зарабатывает много, пользуются большими преимуществами искусственного интеллекта в анализе данных и достижении лучших результатов; те же, кто зарабатывает мало, не имеют опыта взаимодействия с большинством новых технологий и потому имеют очень плохие перспективы. Практически все сектора экономики все меньше зависят от ручного труда, и этот факт навсегда меняет мир труда и заработной платы. Спокойная жизнь где-то посередине закончилась.

Tyler Cowen’s The Great Stagnation, the eSpecial heard round the world that ignited a firestorm of debate and redefined the nature of our economic malaise, is now-at last-a book.

America has been through the biggest financial crisis since the great Depression, unemployment numbers are frightening, media wages have been flat since the 1970s, and it is common to expect that things will get worse before they get better.

Does a market economy encourage or discourage music, literature, and the visual arts? Do economic forces of supply and demand help or harm the pursuit of creativity? This book seeks to redress the current intellectual and popular balance and to encourage a more favorable attitude toward the commercialization of culture that we associate with modernity. Economist Tyler Cowen argues that the capitalist market economy is a vital but underappreciated institutional framework for supporting a plurality of co-existing artistic visions, providing a steady stream of new and satisfying creations, supporting both high and low culture, helping consumers and artists refine their tastes, and paying homage to the past by capturing, reproducing, and disseminating it. Contemporary culture, Cowen argues, is flourishing in its various manifestations, including the visual arts, literature, music, architecture, and the cinema.

Successful high culture usually comes out of a healthy and prosperous popular culture. Shakespeare and Mozart were highly popular in their own time. Beethoven's later, less accessible music was made possible in part by his early popularity. Today, consumer demand ensures that archival blues recordings, a wide array of past and current symphonies, and this week's Top 40 hit sit side by side in the music megastore. High and low culture indeed complement each other.

Cowen's philosophy of cultural optimism stands in opposition to the many varieties of cultural pessimism found among conservatives, neo-conservatives, the Frankfurt School, and some versions of the political correctness and multiculturalist movements, as well as historical figures, including Rousseau and Plato. He shows that even when contemporary culture is thriving, it appears degenerate, as evidenced by the widespread acceptance of pessimism. He ends by considering the reasons why cultural pessimism has such a powerful hold on intellectuals and opinion-makers.

Assertions of market failure are usually based on Paul Samuelson's theory of public goods and externalities. This book both develops that theory and challenges the conclusion of many economists and policy-makers that market failures cannot be corrected by market forces. The volume includes major case studies of private provision of public goods. Among the goods considered are lighthouse services, education, municipal services, and environmental conservation.