Senin, 31 Maret 2014

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Numerical Ecology, Volume 24, Third Edition (Developments in Environmental Modelling), by P. Legendre, Loic F J Legendre

The book describes and discusses the numerical methods which are successfully being used for analysing ecological data, using a clear and comprehensive approach. These methods are derived from the fields of mathematical physics, parametric and nonparametric statistics, information theory, numerical taxonomy, archaeology, psychometry, sociometry, econometry and others.

  • An updated, 3rd English edition of the most widely cited book on quantitative analysis of multivariate ecological data
  • Relates ecological questions to methods of statistical analysis, with a clear description of complex numerical methods
  • All methods are illustrated by examples from the ecological literature so that ecologists clearly see how to use the methods and approaches in their own research
  • All calculations are available in R language functions

  • Sales Rank: #850969 in Books
  • Published on: 2012-08-20
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 7.25" w x 1.50" l, 4.45 pounds
  • Binding: Paperback
  • 1006 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
Highly recommended for any users of multivariate analysis
By JVerkuilen
This book is an extraordinary reference that covers many important topics in a lucid way. It's mathematically accurate, though not heavily so, but also has a lot of important "lore" that's missing from many books to allow potential users to bring methods in practice. Just to pick two topics, the chapter on ecological resemblance provides many really useful caveats that prospective users need to know and the treatment of redundancy analysis is similarly lucid and much better than any other description I have read. Highly recommended for anyone who makes use of multivariate analysis techniques in ecology, biology, psychology, sociology, data science, etc. The examples are from ecology but none of them appear to be so heavy that if you don't have an ecology background you couldn't figure out what's going on with a bit of time on Wikipedia. The fact that this is a Third Edition is evident: The text is all quite smooth and clean.

The only worry I have is that a 1000 page paperback might get beat up and fall apart, but I'll take the risk for this quality of content.

3 of 3 people found the following review helpful.
A major reference in te field
By Fred
One of the best balances between a text focused to a non statistician group (ecologists and biologists) and a in deep explanations of mathematical and logical principles of statistics. Major focus in multivariate analysis, but with several important concepts applied to univariate problems in ecology.

0 of 0 people found the following review helpful.
It is a great book I would like it contained complete examples in ...
By Amazon Customer
It is a great book
I would like it contained complete examples in R, as well as r code in the book. But the theory and the explanations to the use of different methods are great and clear.

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Pop Sculpture: How to Create Action Figures and Collectible Statues, by Tim Bruckner, Ruben Procopio, Zach Oat

Sculpt toys and collectibles with modern-day tools, techniques and applications used by today’s top industry professionals
 
Ever since a 12-inch G.I. Joe took toy soldiers to a whole new level by giving them the ability to pose via moveable parts, as well as interchangeable clothing and accessories, the business of creating pop sculpture icons for the mass market was off and running. Superheroes came next, followed by TV show and movie characters, most notably those from Star Wars. Today, action figures exist for sports stars, rock stars, even presidents.
 
With today’s blockbuster success of animated films, action figures and collectibles have become a behemoth industry—with a growing need for skilled artists who can bring these characters to life. So how do you get started?
 
The trio of veteran industry insiders who authored this book take you on an incredibly thorough journey that begins with drawing conceptual drafts and continues through rough sculpting and honing the final product. Along the way, you’ll learn how to research your character, shape casts from a variety of materials including wax and resin, make accessories, articulate characters so that they are poseable, paint them, and ultimately convince an art director to buy and manufacture them. Whether you want to make small PVC toys, collectible statues, or larger high-end collectibles, Pop Sculpture offers step-by-step demos and words of wisdom from the pros.

  • Sales Rank: #43110 in Books
  • Published on: 2010-10-19
  • Released on: 2010-10-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.96" h x .61" w x 8.53" l, 2.41 pounds
  • Binding: Paperback
  • 272 pages

About the Author
RUBÉN PROCOPIO has contributed to more than 25 Disney animated features, including The Little Mermaid and The Lion King. He founded Masked Avenger Studios in 2003 to expand his sculpting, design, and comic book illustration services.
 
ZACH OAT is the editor of TelevisionwithoutPity.com, a popular TV and movie criticism website. He is former editor of ToyFare magazine and was the original “toy wrangler” for Robot Chicken on Cartoon Network’s Adult Swim.
 
TIM BRUCKNER, one of the pioneers of the comics/fantasy toy field has worked for companies such as Kenner, Gentle Giant and DC Direct, where he designed and sculpted the DC Dynamics statues.

Most helpful customer reviews

2 of 2 people found the following review helpful.
A valuable reference book, but not a complete text
By Treehugger
I greatly enjoyed this book and learned from it. I generally agree with the enthusiasm of other reviewers. The writing style is wonderfully entertaining, whether you are interested in becoming a sculptor or you just wish to learn about small sculptures and collectible action figures. The cartoons are priceless!! I especially liked the cartoon of Athena and her owl sitting in a waiting room.

I have several reservations:

1. From the text I could not understand how "pivot joints" and "ball joints" would hold a figure together. It appeared that articulated figures joined in this manner would easily fall apart. Probably this isn't true, but the process as explained is not completely clear and I would like much more detail.

2. There was not much material on sculpting with epoxy clays, which I see as very valuable and versatile material, less messy and demanding than wax or clay, usable both by hobbyists making or modifying a single character and by production modelers. I find such clays to be both cleaner, less expensive (for permanent pieces) and easier to work than the materials the book primarily focused on.

3. It would have been helpful if the book had included a comprehensive resource list, identifying many suppliers and providing web site links.

4. It would have been helpful if the book had included a bibliography of recommended further readings.

5. The book did not include a great deal of information on sculpting techniques. I suspect sculpting small parts accurately and in proportion will be difficult for many beginning sculptors. Such information is important.

Recommendations:

I suggest the Katherine Dewey book on "Lifelike figures in polymer clay" as a companion reference- Amazon apparently agrees.

I recommend the "Smooth-On" "Polytek" and "Alumilite" websites as rich sources for more information on modeling, molding, and casting with modern plastic materials. Look at the pictures, watch the viddies, and LEARN!! There is much more to RTV silicone molding than the present book book presented.

I am especially impressed by Smooth-On's epoxy modeling putties in various hardnesses and densities.

Also check out "Douglass & Sturgess" web site as a source of bulk sculpting wax and many other media and tools- they are happy to talk to you and answer your questions by telephone- and look up "Monster Clay" on the Internet as an inexpensive alternative to Castilene modeling products.

That said, immediately after reading this book I went to my friendly neighborhood comic shop (they also carry figures), and recommended they stock the book and display it prominently. Buy this book- then keep sculpting and keep reading!!

14 of 14 people found the following review helpful.
Incredible book that could use a bit more editing
By Thomas Satcher
Wow, I have spent countless hours trying to learn as much as possible about this industry and trying to complete some good works. This book blows all of my knowledge out of the water. It should be noted that in order to really "follow along" with the project presented in the book you will need A LOT of supplies. pressure pot, compressor, wax pen, camping stove, rubber mold materials, resins, the list goes on but all of it is required to get the job done. A very daunting task indeed.
The book is very well written with lots of witty comments and animations. I have only had it for 2 days and am nearly done with it because I love to read it so much. It makes the process seem much easier than it is and encourages me to spend more time in the studio.
My only gripe would be that their is a lot of editing issues, missing words, odd image references est but its no biggy. The pictures are as a whole very good with only a few blurry spots here and there. It is certainly a must buy for anyone interested in the industry of Toys.

3 of 3 people found the following review helpful.
AWESOME!
By Andrea V. Paradiso
I had this book on my "Wish List", hesitating because these guys are so obviously WAY AHEAD of me and I will never, ever catch up. I just started polymer a year ago and found myself gravitating towards sculpture, which I've never done before, and moving pretty fast on acquiring skills. But there is so much to learn...just like anything else. So the book kept drawing me in until I bought it. And I was so glad I finally gave in. First of all, the book's quality is top notch. The photos are large so detail can be studied at leisure. The color quality is great. The techniques are completely comprehensive...down to earth, easy to understand with loads of photos on procedure. Second, the writing style is great. You are put at ease from the first. The tone is laid back and full of wry humor (just my kind) but it is obvious these guys are SERIOUS artists, aside from their credentials, and that they totally enjoy their work and admire it and each others as well. Third, I appreciate the fact that they let you know the kind of mistakes they themselves have made. They certainly do not put themselves on a pedestal and, in poking fun at themselves, make the student feel at ease about making his/her own. The sense of comradery is totally evident. And, as a woman, I appreciate that a woman is included in the group and given extreme honor as to her position in the field. Fourth, there are chapters on doing business as an artist and even photographing your own work. I bought several books on desk top photography, etc. and they are all good. But this one was sweet and simple and pulled it all together for me. Fifth, even though each of these artists works a different medium and I only am doing polymer right now, I garnered invaluable information just by skimming thru the first time I opened it. Last, this book has become my main textbook for sculpture so far. The more I look and read the more I find. I seriously recommend it for anyone that aspires to be a master at this craft. You will enjoy it tremendously.

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Pop Sculpture: How to Create Action Figures and Collectible Statues, by Tim Bruckner, Ruben Procopio, Zach Oat PDF
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Sabtu, 22 Maret 2014

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HISTORIA OCULTA DEL SATANISMO LA VERDADERA HISTORIA DE LA MA, by Santiago Camacho Hidalgo

  • Published on: 2006
  • Binding: Paperback

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Written by best-selling authors in their field, the Fourth Edition of Operations and Process Management inspires a critical and applied mastery of the core principles and process which are fundamental to successfully managing business operations. Approaching the subject from a managerial perspective, this brand new text provides clear and concise coverage of the nature, principles, and practice of operations and process management.

  • Sales Rank: #773750 in Books
  • Published on: 2015-07-15
  • Original language: English
  • Number of items: 6
  • Dimensions: 10.79" h x .98" w x 7.91" l, 2.81 pounds
  • Binding: Paperback
  • 576 pages

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Senin, 10 Maret 2014

[U414.Ebook] Ebook Free Pixiv Almanac, by Various

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Pixiv Almanac, by Various

  • Featuring over 2-million members, PIXIV is Japan’s ultimate online art community. The web site allows creators to show off their work, share feedback, and grow into even better artists.
  • The PIXIV Almanac collects artwork from some of the community’s most talented members, showcasing a variety of colorful anime, manga, and CG art styles. Plus, the book also includes many works featuring Japan's most popular synthetic singing sensation — Hatsune Miku!

  • Sales Rank: #1461932 in Books
  • Brand: Brand: Udon Entertainment
  • Published on: 2012-05-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.60" h x .80" w x 8.30" l, 2.60 pounds
  • Binding: Paperback
  • 258 pages
Features
  • Used Book in Good Condition

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21 of 22 people found the following review helpful.
Wonderful art collection from Pixiv
By Parka
[[VIDEOID:moE74FSHXF1CCG]]Pixiv is one of Japan's largest art community. It's somewhat like deviantART but their website looks totally different.

Pixiv have their own quarterly magazines and occasionally also publish art book collections.

Pixiv Almanac Volume 1 is the English edition of the original Japanese edition Pixiv nenkan 2010 Official Book. There is actually a 2009 edition but for some reason, the 2010 edition was chosen to be the volume 1 in English.

This paperback is 258 pages as compared to the 272 pages for the Japanese edition. I'm not sure if anything significant is missing.

There are almost close to 200 artists featured in the book. It's mainly character art in different anime, manga and CG style. The variety is great except that most are female characters. Hatsune Miku seems like the most popular character and there are many pieces with her. There's only a handful of background art. Most illustrations are quite elaborate and detailed, the simplified anime style is actually rare.

Each artist has only 1 to 2 pages of work featured. Some of them are printed smaller than quarter page size which makes it difficult to look at the details. The good thing is the artists' websites are provided so you can check out more of their art online.

I'm impressed by the quality of submissions. This book really makes me wonder why deviantART don't have anything similar.

It's a great book for those who like Japanese character art.

(There are more pictures of the book on my blog. Just visit my Amazon profile for the link.)

6 of 7 people found the following review helpful.
Would have been better with half the artists / larger art
By Manuel A. Saez
As with any collection of artwork (or art books in general) the main draw is and always will be the art; But what happens when the art is so small that you have to squint in order to make out any discernible details? Granted, I have better than average near-sightedness, and even I had trouble appreciating the work that was put into many of the pieces collected in this book. They were just too small, which admittedly, has now become a pet peeve of mine; why include an artist's work if it is too miniscule to view properly? The book gets a higher rating based on the sheer number of artist's featured, but really, it could have done with limiting the number of them to half of what was ultimately used and give the "best-of-the-best" full page spreads. Some of the work is so amazing, that they are severely gimped by taking up less than 10% of the page.
Also, I understand that Japan has a fascination with Hatsune Miku and Vocaloid, but there were so many images of Miku throughout the book, you have to wonder whose idea it was to showcase that much fanart based on one character. It is the equivalent of having a calendar of the same model in different poses; some people will be into it, but as for me, I like variety. I have nothing against Vocaloid, but so many images of the same design is overkill and should have been saved for a book devoted to said character. What's wrong with releasing a collection devoted to Kinu/Vocaloid? That being said, if you don't mind that at times up to 8 images are crammed onto a page not much larger than standard paper size (8.5"X 11"), you will be treated to some awesome work by some truly talented individuals. I just feel as if their work deserves much better treatment.

1 of 1 people found the following review helpful.
Not My Favorite Pixiv Book, But You Can't Always Please Everyone
By Stephen J. Weber
Personally, I found the selections in here to be on the disappointing side compared to the other Pixiv books released in Japan, but that's just my personal tase. I do, however, think that it is a good start for Pixiv art books in English. I was a bit surprised to find that it does not have a dust jacket like the books from Japan, but it does use high-quality, glossy paper (which does a very good job of reflecting light). Honestly, it's hard to review an art book without factoring in personal taste. The selections in here will appeal to some people, but for others, they will not. The construction of the book itself is very well done.

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Minggu, 09 Maret 2014

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Global Business Today is the proven choice for any international business course. It brings together the insights of now a team of practitioners, scholars, and award-winning instructors to present a contemporary and realistic perspective of this multi-faceted field. For the 9th edition, G. Tomas M. Hult from Michigan State University has joined Charles Hill to deliver a program that is:

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  • Sales Rank: #25797 in Books
  • Published on: 2015-01-14
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.70" h x .90" w x 8.40" l, .0 pounds
  • Binding: Paperback
  • 576 pages

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1 of 1 people found the following review helpful.
Recommend
By Chazz Sullivan
Provides great study, historical references & recent (in a matter of years for reference) trends as why some business issues & deals have come about as they have; not just in the US but globally. More than most realoze, business of today stretches FAR beyond our everyday thinking. If you desire to learn more on the supply & demand chains of business and the direct affects nationally & globally, this book will help with that understanding.

1 of 2 people found the following review helpful.
Five Stars
By olusege
The product meet my expectations.

0 of 1 people found the following review helpful.
Five Stars
By Amazon Customer
Product arrived ahead of schedule and fully met my expectations.

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Rabu, 05 Maret 2014

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Selasa, 04 Maret 2014

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Shostakovich and Stalin: The Extraordinary Relationship Between the Great Composer and the Brutal Dictato r, by Solomon Volkov

“Music illuminates a person and provides him with his last hope; even Stalin, a butcher, knew that.” So said the Russian composer Dmitri Shostakovich, whose first compositions in the 1920s identified him as an avant-garde wunderkind. But that same singularity became a liability a decade later under the totalitarian rule of Stalin, with his unpredictable grounds for the persecution of artists. Solomon Volkov—who cowrote Shostakovich’s controversial 1979 memoir, Testimony—describes how this lethal uncertainty affected the composer’s life and work.

Volkov, an authority on Soviet Russian culture, shows us the “holy fool” in Shostakovich: the truth speaker who dared to challenge the supreme powers. We see how Shostakovich struggled to remain faithful to himself in his music and how Stalin fueled that struggle: one minute banning his work, the next encouraging it. We see how some of Shostakovich’s contemporaries—Mandelstam, Bulgakov, and Pasternak among them—fell victim to Stalin’s manipulations and how Shostakovich barely avoided the same fate. And we see the psychological price he paid for what some perceived as self-serving aloofness and others saw as rightfully defended individuality.

This is a revelatory account of the relationship between one of the twentieth century’s greatest composers and one of its most infamous tyrants.


From the Hardcover edition.

  • Sales Rank: #133354 in eBooks
  • Published on: 2007-12-18
  • Released on: 2007-12-18
  • Format: Kindle eBook

From Publishers Weekly
Shostakovich's tortured relationship to the Soviet authorities was a main subject of Testimony, a book published after the composer's death by Volkov, who claimed that it contained Shostakovich's own remembrances. Controversy about the authenticity of Testimony swirled for years, until the publication in 1999 of Laurel E. Fay's Shostakovich: A Life, accepted by many scholars as decisively countering Testimony's claims to accuracy. The appearance of a new study by Volkov on Shostakovich (1906-1973), then, is sure to raise critical hackles. Volkov argues that Shostakovich survived the denunciation of his 1934 opera Lady Macbeth of Mtensk, and more minor controversies thereafter, in part by relying on a Russian tradition of playing the "holy fool" when under political pressure. When Stalin asked that Shostakovich henceforth submit operas and ballets for approval, the composer solved the problem by refraining from writing these musical forms. Volkov finds that luck played a role as well in Shostakovich surviving while so many other artists were killed or banned, but the "holy fool" argument as a whole only partially convinces: at times, Shostakovich's reticence regarding the regime seemed to turn into compliance, as when he signed a letter late in his life that denounced human rights activist Andrei Sakharov, an act Volkov says Shostakovich regretted. The book assumes a lot of knowledge of Soviet history for a general readership; nonspecialists interested in the composer and his work will still be better served by Fay.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The New Yorker
After hearing Shostakovich's Fifth Symphony, an envious Boris Pasternak wrote, "He went and said everything, and no one did anything to him for it." The extent of the composer's complicity or dissidence under Stalin has been much debated. Volkov, a prominent adherent of the latter view, marvels at this timid man's ability to express suffering in music that was nonetheless outwardly optimistic, and suggests that Shostakovich found an important model in Pushkin, who survived the cruelties of Tsar Nicholas I by juggling three classically Russian roles—"pretender," " chronicler," and "holy fool." Volkov's story depends too often on hunches and assumptions, but he is illuminating when he places the composer in the context of other artists (Pasternak, Bulgakov, and Mandelstam) who attempted dialogue with Stalin and were alternately supported and persecuted by him.
Copyright © 2005 The New Yorker

From Booklist
Like Czar Nicholas I a century before him, Stalin was a tyrant who ruled with an iron fist, using people like pawns in a game. During his era of fear and yearning for freedom, Soviet cultural figures, taking the writer Pushkin as a model, resorted to subterfuge and double entendre to express their true beliefs. Volkov, coauthor of Shostakovich's memoirs, speaks from firsthand knowledge of the composer vis-a-vis Stalin, and he compares Shostakovich to the poet Pimen in Pushkin's play Boris Godunov, who embodied the holy fool, the pretender, and the chronicler. With the opera Lady Macbeth of Mtensk, Shostakovich ran afoul of Stalin. Thereafter, to express his covert rebellion, he quoted extensively from Berlioz, Tchaikovsky, and others who composed, as he often did, with death in mind. Volkov includes material about all the noted writers, artists, and composers of Shostakovich's era to describe the repressive environment and how it shaped Soviet culture, thereby offering invaluable insight into the subversive life of the intelligentsia of the time. Alan Hirsch
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

4 of 4 people found the following review helpful.
Portrait of an artist under socialism
By M. A Newman
This book is a very interesting way of looking at the history of the relationship between authority and artistic freedom in Russia, both in the pre- and post-revolutionary period. The book emphasizes a sense of continuity of how the artist survived the pressures of the state. Shostakovich was arguably one of the two leading composes of the Soviet era, the other being Prokofiev. Shostakovich's talent was on a collision course with Stalin's intellectual pretense to understand what was best for Russian culture. There almost seems to be a sense of frustration on the part of the dictator who by playing the role of chief taste-maker reduced Russian culture in the Soviet period to one long banality. Volkov believes that Shostakovich managed to survive by playing the role of the holy fool. While this is an interesting thesis, there are inconsistencies. What one can infer from this book is that Shostakovich was very much a creature given to bursts of irrationality. This fits with some of his behavior where he tended to test the limits of what he could get away with in his relations with the regime. In a way he resembles Mozart as portrayed in the play and movie Amadaeus, somewhat infantile in his approach to life. Volkov does not appear that comfortable with exploring this idea and I think that this undermines the overall effectiveness of the work, making it merely good, and not necessarily excellent. This is not to say that the book does not have very strong merit. Volkov is very strong with putting the conflict between Shostakovich and Stalin into the larger historical conflict. He also provides a good sense of the era in which Shostakovich functioned as well as really good insight into Shostakovich's compositions. This is a worthwhile book for anyone interested in learning more about cultural life in the Soviet period.

0 of 0 people found the following review helpful.
Page-turner!
By Kell
This is a thoroughly engrossing tale of life as a writer, composer, director, etc under Stalin. Shostakovich is the focal point but the information about him is put into the context of the overall situation of the artist in USSR under Stalin. I have completed this book and have started Wilson's biography of Shostakovich.

7 of 7 people found the following review helpful.
Complex, Thrilling and Personal
By Jeremy Wong
Solomon Volkov's "Shostakovich and Stalin" is a complex and thrilling work that takes the reader inside the intricacies of Dmitri Shostakovich's psyche as well as Joseph Stalin's rigid regime. The reader is given a perspective of Russian music within the overarching theme of politics and history. It is an elaborate work - a slalom course of topics - reflecting a complex political environment as well as the involved role of music. It does not make for light reading, but it is incredibly illuminating. It puts music - as it always should be - in its proper social, political and historical context. It reminds the reader - in a blunt and forceful manner analogous to the brutal nature of Stalin's regime - that music exists as more than notes on a page or sounds from an instrument. In Shostakovich and Stalin, Volkov reminds us that the true meaning of music is only revealed when we understand the environment where it was created.

Throughout the book, Volkov's admiration for Shostakovich is evident. He writes glowingly of Shostakovich's music and seemingly admires him for absorbing Stalin's constant abuse. Volkov's disdain for Stalin and his regime is clear. He mentions Stalin's cruel treatment of many of Shostakovich's contemporaries as well as his manipulation of Shostakovich. Volkov highlights Stalin's "dabbling" in the arts as megalomaniacal and treats it as a condemnation of his entire regime. Through it all, Shostakovich is clearly affected - yet he survives. Because of his own experience as a musician in Communist Russia, Volkov is, at once, in awe of Shostakovich and deeply moved. He uses Shostakovich's life as the "agricultural base" to delve more deeply into the persona of the great composer. Thus, the labyrinth-like portrayal of his life is enriched and fuliflled by this technique. Despite this being a historical and musical work, the author's emotions often bubble to the surface. As a result, the book's effect on the reader is enhanced. This personal nature of the work makes it especially unique.

Much of "Shostakovich and Stalin" focuses on the clash of artistic philosophy between the two men. Unsurprisingly (as is the case with many authoritarian rulers), Stalin was a proponent of using music as propaganda to bolster his political strength. As a corollary to this, he was suspicious of artistic works lest they make a political statement questioning his authority. Shostakovich, as any great artist would, resented this and refused to fully submit to this existence. This formed the basis of tension and conflict between the two men. Of course, Shostakovich had to balance his fundamental artistic beliefs with self-preservation. That is, to completely fly in the face of Stalin's orders would result in personal tragedy - as was the case for far too many Russian artists under Stalin's rule. So it is within this context that the basis of their tortured relationship. Stalin, the megalomaniac that he was, was in control and sought to manipulate the composer. Shostakovich, with all his considerable courage and integrity (that Volkov describes so elegantly), did all he could to resist this manipulation. Yet it was impossible. This primary relationship in the book is simply gripping. It plays out better than any fiction - the reality of it both compelling and tragic for the reader. Thus, the very basis of this book - as stated in the title - fascinates and spellbounds the reader throughout.

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The Leading Indicators: A Short History of the Numbers That Rule Our World, by Zachary Karabell

The Leading Indicators was widely and well received as a much needed corrective to the outdated, outmoded economic figures we are accustomed. Every day, we are bombarded with numbers that tell us how we are doing, whether the economy is growing or shrinking, whether the future looks bright or dim. Gross national product, balance of trade, unemployment, inflation, and consumer confidence guide our actions, yet few of us know where they come from, what they mean, or why they rule our world.

Zachary Karabell tells the fascinating history of these indicators, which were invented in the mid-twentieth century to address the urgent challenges of the Great Depression, World War II, and the Cold War. They were rough measures—designed to give clarity in a data-parched world that was made up of centralized, industrial nations—yet we still rely on them today.

Today’s world is shaped by information technology and the borderless flow of capital and goods. If we follow a 1950s road map for a twenty-first-century world, we will get lost.

What is urgently needed is not to invent a new set of numbers but to tap into the data revolution that offers unparalleled access to the information we need. Companies should not base their business plans on GDP projections; individuals should not decide whether to buy a home or get a degree based on the national unemployment rate. If you want to buy a home, look for a job, start a company or run a business, you can readily find your own indicators. National housing figures don’t matter; local ones do. You can find those at the click of button. Personal, made-to-order indicators will meet our needs today, and the revolution is well underway. We need only to join it.

  • Sales Rank: #233548 in Books
  • Published on: 2014-12-30
  • Released on: 2014-12-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.37" h x .80" w x 5.50" l, .0 pounds
  • Binding: Paperback
  • 304 pages

From Booklist
Karabell traces the history of “leading indicators,” economic statistics including unemployment; inflation; trade; consumer sentiment and spending; the stock market; housing; and Gross Domestic Product (briefly, total market value of all goods and services provided within a country during one year). Leading indicators were designed with limited goals “that describe one reality known as ‘the economy’ but not all reality known as ‘the world we live in.’” In the first half of the twentieth century, leading indicators measured industrial nation-states, while now they measure service-driven developed economies and emerging world industrial economies exporting the goods of multinational companies. Karabell recommends crafting tailored indicators for specific needs using the explosion of information in this era of “Big Data.” Governments should follow the example of the U.S. Federal Reserve in using wide-ranging data and numbers to enhance analysis, many well-run companies develop their own indicators for operational decisions, small businesses need specific indicators for corporate strategy, and individuals using smartphones should access data for creating indicators relating to personal goals. Challenging book. --Mary Whaley

Review
“Zachary Karabell’s lively account, The Leading Indicators, is a terrific introduction to the range of statistics economists and governments use to address these questions.” (The New York Times)

“Karabell offers an engaging account of the history of these indicators, and his explanation of their flaws is both readable and useful for
non-economists trying to make sense of the barrage of numbers with which they're pelted on a regular basis.” (The Wall Street Journal)

"[The Leading Indicators] demystifies a lot of current debates, explains its subject matter clearly and shows that the major published macroeconomic statistics are neither nonsense nor conspiracy. Most people could read this book with enjoyment and profit.” (Tyler Cowen The Washington Post)

“How did we get to the era of Big Data? Karabell…mines little known tidbits in the history of economics to explain how individuals, companies, and countries came to rely on statistics like unemployment, inflation, and gross domestic product to describe the wealth of nations….In Karabell's hands economics is no longer ‘the dismal science.’ More storyteller than analyst here, he succeeds in livening up how ‘the economy’ came to be” (Publishers Weekly)

“The Leading Indicators presents a potentially dry but important topic in an engaging manner, with wit and intelligence.” (The Cleveland Plain Dealer)

“[A] lucid measurement of how the United States is faring. . . . Readers of this intelligent introduction to iconic economic indices will agree that Karabell makes an excellent case.” (Kirkus Reviews)

“Our understanding of the economy is shaped by the numbers we use to measure it. In this engaging and subversive history, Zachary Karabell tells the story of how the indicators came to rule us, who invented them, what they actually tell us, and why we need to rethink all of them if we are to make sense of the world today.” (Justin Fox, Executive Editor, Harvard Business Review)

“To any who treat the government’s economic data as if it were Holy Writ, Zachary Karabell’s book will come as a revelation. The Leading Indicators is the fast-paced story of the statistics that occupy far too large a part of our national consciousness. If you always suspected that the GDP was a snare and the CPI a delusion, Karabell’s narrative will tell you just how right you were.” (James Grant, Editor, Grant’s Interest Rate Observer)

“We live in a world of Big Data, and we are led to believe that it contains the truth of our lives. But the numbers that we use to tally our wealth, our productivity, and our very worth as human beings are based not on any absolute truth, but on the shifting sands of politics, culture, and the personal quirks of our leaders. Zachary Karabell is a thinker who understands why economics isn't a hard science. The Leading Indicators is a much needed book about economic numbers that tells us how much—and how little—they ultimately mean.” (Rana Foroohar, Assistant Managing Editor, Time Magazine; Global Economic Analyst, CNN)

“An enchanting primer on the origins and foibles of our economic numbers, marked with biting critique—and building toward the case for something new, different and adapted to the digital age.” (James K. Galbraith, Professor, UT-Austin, and author of Inequality and Instability)

“An amusing and eye-opening romp through the history of the powerful numbers, such as the unemployment and inflation rates, that influence the course of national policy. They’re not only out of date, they often point us in the wrong direction. Karabell’s surprising book shows that we don’t know what we think we know, and trillions of dollars hang in the balance.” (Jane Bryant Quinn, author of Making the Most of Your Money NOW)

About the Author
Zachary Karabell is an author, money manager, commentator, and president of River Twice Research, where he analyzes economic and political trends. Educated at Columbia, Oxford, and Harvard, where he received his PhD, Karabell has written eleven previous books. He is a regular commentator on CNBC, MSNBC, and CNN. He writes the weekly “Edgy Optimist” column for Reuters and The Atlantic, and is a contributor to such publications as The Daily Beast, Time, The Wall Street Journal, The New Republic, The New York Times, and Foreign Affairs.

Most helpful customer reviews

23 of 24 people found the following review helpful.
An entertaining explanation of key numbers used by economists and governments
By John Gibbs
The unemployment figures do not actually tell us about the state of unemployment in a country, GDP figures do not actually give us an accurate measurement of the health of a country’s economy, and the trade deficit between the United States and China may actually be a trade surplus, according to Zachary Karabell in this book.

The book describes the history of a number of economic measurements which we now take for granted. Measurement of unemployment and national income evolved in the wake of the Great Depression, and gross domestic product took over from gross national product as the favoured measure of a country’s economy by the end of the 20th century. What we do not often realise is that these measures were subject to significant limitations at the times when they were invented, and the limitations have become more substantial over the years as the state of technology and the nature of the economy have changed.

Although the book provides a good description of the history of various leading indicators, the extent of the inaccuracies described is not entirely clear. For example, the author explains that every iPhone sold in the US adds $229 to the US-China trade deficit, and every iPad adds $275, although components are sourced from countries other than China and the actual cost of assembly in China is only around $10. However, presumably the components imported into China get counted in China’s trade accounts, so the imports and exports should cancel each other out, but the author does not discuss whether this actually happens.

The book is entertaining and informative, providing a very useful explanation of the key figures used by economists and governments.

39 of 45 people found the following review helpful.
Disappointing and Preachy
By John R. Holmes, Jr.
Zachary Karabell's "The Leading Indicators" is a disappointment. The author provides a detailed history of the origin and use of today's leading economic indicators, such as GDP and the national unemployment rate, only to alert us that there are limits to single measures of national performance and that such statistics can be misused. Is there anybody alive that doesn't already know this? I doubt we need to know who first started questioning what it means to be "unemployed," and where those early statistics came from, to understand the author's concerns about the use and misuse of summary statistics.

It seems Mr. Karabell's purpose is to warn us that aggregate statistics say little about individual cases. For example, in discussing the unemployment rate he tells us that within the labor pool there are identifiable subcategories with distinct age, gender, racial, educational and regional features. So between the arbitrary criteria for who gets counted and the distillation of the data into a single number, the end result can be misleading. But before you get your hopes up for alternative indicators, check the following two paragraphs from the author's final chapter:

Example 1: "What, then, is to be done? It would be satisfying to unveil a new framework and to outline a new set of statistics that would better serve our present needs. That would have the virtue of simplicity, and it would be easy to digest. Instead of GDP, let's have a version of gross national contentment. Instead of the unemployment rate, let's have the employment-education ratio. Problems with our current numbers? Well, then, let's invent new ones." (p246)

Example 2: "No one number will suffice. That is the key limitation of GDP: not it's methodology, not what it includes or excludes, but the very fact that it attempts to distill into one figure complicated, ever-changing economic systems. The same can be said of each of the indicators invented in the 20th century and so prevalent today. They were and still are more than adequate to answer a specific set of needs. They are far better than nothing, and they still serve a purpose for policy makers, for business, and for individuals as markers that offer some additional guidance about what to do and when to do it." (p247)

The first conclusion is incoherent. If we can't generalize from gross national product, what makes us think we can generalize from gross national happiness? Won't this new measure, lacking the same stratification by age, race, education, gender and region have the same infirmities? Even worse, the author seems to have embraced this happiness concept due to its reported success in the tiny country of Bhutan. But if he were to read up on ethnic cleansing, he would discover that managing for national happiness can have a steep price. In Bhutan's case that price included expelling a large fraction of their population in the 1990s to preserve Buddhist culture and identity.

The second conclusion is naive. Contrary to the author's implication, there's no lack of metrics. Just spend a few minutes on the websites of the Census Bureau or the Bureau of Labor Statistics. If anyone wants to understand prices, education, income or employment at a more granular level, it's all there. As for why we "distill into one figure complicated, ever-changing economic systems," the author is confusing cause and effect. It's not that they distill out information we need, it's that we need it to be distilled so that we can see the big picture and track changes over time. And while it's true that these distilled numbers can be intentionally or unintentionally misused, the author himself recognizes the need for them.

As these two examples illustrate, if there is a single takeaway from this book it's that some people have an irresistible desire to preach. The author has no limits. He even warns that the traditional relationship between GDP and the demand for earthmovers may have changed and that current GDP trends shouldn't matter all that much to Caterpillar. Instead, he advises, "It should matter whether the specific need for its earthmovers and mining equipment and excavators is expanding or contracting." Does anybody imagine Caterpillar doesn't know this?

In summary, I had great hopes for this book and was very disappointed. Having done a passable job of defining the problem, the author then offers nothing but platitudes. I haven't yet found a book that covers the ground I had hoped this one would cover, but for a book on the limitations of human thinking, try Daniel Kahneman's "Thinking, Fast and Slow." For the limitations of forecasting, try Nate Silver's "The Signal and the Noise." And if you're up for swimming in deep macroeconomic waters, especially as it relates to China, try "Avoiding the Fall" by Michael Pettis.

18 of 20 people found the following review helpful.
Good, basic coverage
By JEK
The book lives up to its title: "The Leading Indicators: A Short History of the Numbers That Rule Our World". It covers the development and shortcomings of "headline" statistics such as gross domestic product, unemployment, and international trade. Readers will learn some eye-opening things, unless they already know the basics of what measures underlie these statistics and why many such statistics suffer from potentially misleading imperfections. For example, headline unemployment (U-3) doesn't include people who have given up looking for work; so if all workers lose their jobs and decide not to look for new jobs, the headline unemployment rate would fall to zero. The book does get a bit repetitive as it goes along, repeating its basic assertions over and over.

Bottom line: If everyone read this book, we'd have a much more informed citizenry.

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