Thaler has spent his career studying the radical notion that the central agents in the economy are humans—predictable, error-prone individuals. Misbehaving is his arresting, frequently hilarious account of the struggle to bring an academic discipline back down to earth—and change the way we think about economics, ourselves, and our world.Traditional economics assumes rational actors. Early in his research, Thaler realized these Spock-like automatons were nothing like real people. Whether buying a clock radio, selling basketball tickets, or applying for a mortgage, we all succumb to biases and make decisions that deviate from the standards of rationality assumed by economists. In other words, we misbehave. More importantly, our misbehavior has serious consequences. Dismissed at first by economists as an amusing sideshow, the study of human miscalculations and their effects on markets now drives efforts to make better decisions in our lives, our businesses, and our governments.Coupling recent discoveries in human psychology with a practical understanding of incentives and market behavior, Thaler enlightens readers about how to make smarter decisions in an increasingly mystifying world. He reveals how behavioral economic analysis opens up new ways to look at everything from household finance to assigning faculty offices in a new building, to TV game shows, the NFL draft, and businesses like Uber.Laced with antic stories of Thaler’s spirited battles with the bastions of traditional economic thinking, Misbehaving is a singular look into profound human foibles. When economics meets psychology, the implications for individuals, managers, and policy makers are both profound and entertaining.

    Forget the 1%; it's the wealthiest .01% who are fast outpacing the rest of us. Today's colossal fortunes are amassed by the diligent toiling of smart, perceptive businessmen who see themselves as deserving victors in a cutthroat international competition.  Cracking open this tight-knit world is Chrystia Freeland, an acclaimed business journalist. At ease in Davos or Dubai, Freeland has reported on the lives and minds of these new super-elites for nearly a decade. Grounding her interviews in the economics and history of modern capitalism, she provides examples of the new wealth and its consequences. She showcases the $3 million birthday party of a New York financier months before the financial meltdown; details the closed-door 2005 SEC meeting where the US government allowed investment banks to write their own regulatory laws; and tells how the Bank of Canada's Mark Carney became a key figure in the central battle between the plutocracy and the rest of us.  Brightly written and powerfully researched, Freeland's Plutocrats will be a lightning rod event in the midst of the US election season.

    Whether we're buying a pair of jeans, ordering a cup of coffee, selecting a long-distance carrier, applying to college, choosing a doctor, or setting up a 401K, everyday decisions have become increasingly complex due to the overwhelming abundance of choice with which we are presented. In The Paradox of Choice, Barry Schwartz explains why too much of a good thing has proven detrimental to our psychological and emotional well-being. In accessible, engaging, and anecdotal prose, Schwartz explains how a culture that thrives on the availability of constantly evolving options can also foster profound dissatisfaction and self-blame in individuals, which can lead to a paralysis in decision making and, in some cases, depression. With the latest studies on how we make choices in our personal and professional lives, Schwartz offers practical advice on how to focus on the right choices, and how to derive greater satisfaction from choices that we do make.

    The other books in the series are The Black Swan, Antifragile,and The Bed of Procrustes.

    Sandel takes up one of the biggest ethical questions of our time: Isn't there something wrong with a world in which everything is for sale? If so, how can we prevent market values from reaching into spheres of life where they don't belong? What are the moral limits of markets?In recent decades, market values have crowded out nonmarket norms in almost every aspect of life. Without quite realizing it, Sandel argues, we have drifted from having a market economy to being a market society.In Justice, an international bestseller, Sandel showed himself to be a master at illuminating, with clarity and verve, the hard moral questions we confront in our everyday lives. Now, in What Money Can't Buy, he provokes a debate that's been missing in our market-driven age: What is the proper role of markets in a democratic society, and how can we protect the moral and civic goods that markets do not honor and money cannot buy?

    More than 250 color photos.

    But more than a temperament, being positive, we are told, is the key to success and prosperity. In this utterly original take on the American frame of mind, Barbara Ehrenreich traces the strange career of our sunny outlook from its origins as a marginal nineteenth-century healing technique to its enshrinement as a dominant, almost mandatory, cultural attitude. Evangelical mega-churches preach the good news that you only have to want something to get it, because God wants to "prosper" you. The medical profession prescribes positive thinking for its presumed health benefits. Academia has made room for new departments of "positive psychology" and the "science of happiness." Nowhere, though, has bright-siding taken firmer root than within the business community, where, as Ehrenreich shows, the refusal even to consider negative outcomes—like mortgage defaults—contributed directly to the current economic crisis.With the myth-busting powers for which she is acclaimed, Ehrenreich exposes the downside of America’s penchant for positive thinking: On a personal level, it leads to self-blame and a morbid preoccupation with stamping out “negative” thoughts. On a national level, it’s brought us an era of irrational optimism resulting in disaster. This is Ehrenreich at her provocative best—poking holes in conventional wisdom and faux science, and ending with a call for existential clarity and courage.

    People can use economics and they can use statistics and numbers to get at the truth and there is a real appetite for doing so. This is such a BBC thing to say--there’s almost a public service mission to be fulfilled in educating people about economics. When I wrote The Undercover Economist, it was all about my pure enthusiasm for the subject; the book is full of stuff I wanted to say and that is always the thing with the books: they are always such fun to write. Do you think that people these days are generally more economically literate? People are now aware of economics for various reasons. There are the problems with the economy--there is always more interest in economics when it is all going wrong. Where is the border line in your new book between economics and sociology? I don’t draw a border line, and particularly not with the new book. The Undercover Economist was basically all the cool economics I could think of and The Logic of Life was me investigating a particular part of economics. All of the references in The Logic of Life were academic economics papers that I had related--and hopefully made more fun. This new book, Adapt, is very different. I have started by asking what is wrong with the world, what needs fixing, how does it work--and if economics can tell us something about that (which it can) then I have used it. And if economics is not the tool that you need--if you need to turn to sociology or engineering or biology or psychology--I have, in fact, turned to all of them in this book. If that’s what you need, then that’s where I have gone. So I have written this book in a different way: I started with a problem and tried to figure out how to solve it. What specific subjects do you tackle? To be a bit more specific, the book is about how difficult problems get solved and I look at quick change; the banking crisis; poverty; innovation, as I think there is an innovation slow-down; and the war in Iraq. Also, I look at both problems in business and in everyday life. Those are the big problems that I look at--and my conclusion is that these sorts of problems only ever get solved by trial and error, so when they are being solved, they are being solved through experimentation, which is often a bottom-up process. When they are not being solved it is because we are not willing to experiment, or to use trial and error. Do you think companies will change to be much more experimental, with more decisions placed in the hands of employees? I don’t think that is necessarily a trend, and the reason is that the market itself is highly experimental, so if your company isn’t experimental it may just happen to have a really great, successful idea--and that’s fine; if it doesn’t, it will go bankrupt. But that said, it is very interesting to look at the range of companies who have got very into experimentation--they range from the key-cutting chain Timpson’s to Google; you can’t get more different than those two firms, but actually the language is very similar; the recruitment policies are similar; the way the employees get paid is similar. The “strap line” of the book is that “Success always starts with failure.” You are a successful author… so what was the failure that set you up for success? I was working on a book before The Undercover Economist… it was going to be a sort of Adrian Mole/Bridget Jones’ Diary-styled fictional comedy, in which the hero was this economist and through the hilarious things that happened to him, all these economic principles would be explained--which is a great idea--but the trouble is that I am not actually funny. Another example would be my first job as a management consultant… and I was a terrible management consultant. I crashed out after a few months. Much better that, than to stick with the job for two or three years-- a lot of people say you have got to do that to “show your commitment.” Taking the job was a mistake--why would I need to show my commitment to a mistake? Better to realise you made a mistake, stop and do something else, which I did. That idea that “failure breeds success” is central to most entrepreneurs. Do you think we need more of it in the UK? I think that the real problem is not failure rates in business; the problem is failure rates in politics. We need a much higher failure rate in politics. What actually happens is politicians--and this is true of all political parties--have got some project and they’ll say, “Right, we are going to do this thing,” and it is quite likely that idea is a bad idea--because most ideas fail; the world is complicated and while I don’t have the numbers for this, most ideas are, as it turns out, not good ideas. But they never collect the data, or whatever it is they need to measure, to find out where their idea is failing. So they have this bad idea, roll this bad idea out and the bad idea sticks, costs the country hundreds, millions, or billions of pounds, and then the bad idea is finally reversed by the next party on purely ideological grounds and you never find out whether it really worked or not. So we have this very, very low willingness to collect the data that would be necessary to demonstrate failure, which is the bit we actually need. To give a brief example: Ken Livingstone, as Mayor of London, came along and introduced these long, bendy buses. Boris Johnson came along and said, “If you elect me, I am going to get rid of those big bendy buses and replace them with double-decker buses.” He was elected and he did it, so… which one of them is right? I don’t know. I mean, isn’t that crazy? I know democracy is a wonderful thing and we voted for Ken Livingstone and we voted for Boris Johnson, but it would be nice to actually have the data on passenger injury rates, how quickly people can get on and off these buses, whether disabled people are using these buses… the sort of basic evidence you would want to collect. Based on that, are you a supporter of David Cameron’s “Big Society”, which in a sense favours local experimentation over central government planning? Well, I have some sympathy for the idea of local experimentation, but what worries me is that we have to have some mechanism that is going to tell you what is working and what is not--and there is no proposal for that. Cameron’s Tories seem to have the view that ‘if it is local then it will work.’ In my book, I have all kinds of interesting case studies of situations where localism really would have worked incredibly well, as in, say, the US Army in Iraq. But I have also got examples of where localism did not work well at all--such as a corruption-fighting drive in Indonesia. Is the new book, Adapt, your movement away from economic rationalist to management guru? Are you going to cast your eye over bigger problems? The two changes in Adapt are that I have tried to start with the problem, rather than saying, “I have got a hammer--I’m going to look for a nail.” I started with a nail and said, “Ok, look, I need to get this hammered in.” So I have started with the problem and then looked anywhere for solutions. And the second thing is that I have tried to do is write with more of a narrative. This is not a Malcolm Gladwell book, but I really admire the way that people like Gladwell get quite complex ideas across because they get you interested in the story; that is something that I have tried to do more of here. I am not too worried about it, because I know that I am never going to turn into Malcolm Gladwell--I am always going to be Tim Harford--but it doesn’t hurt to nudge in a certain direction. On Amazon, we recommend new book ideas to people: “If you like Tim Harford you may like…”, but what does Tim Harford also like? I read a lot of books, mostly non-fiction and in two categories: people who I think write a lot better than I do, and people who think about economics more deeply than I do. In the first category I am reading people like Michael Lewis, Kathryn Schulz (I loved her first book, Being Wrong), Malcolm Gladwell and Alain de Botton. In the second category, I read lots of technical economics books, but I enjoy Steven Landsburg, Edward Glaeser (who has a book out now which looks good), Bill Easterly… I don’t necessarily agree with all of these people! When I am not reading non-fiction, I am reading comic books or 1980s fantasy authors like Jack Vance.

    The monetary value is estimated at over half a billion dollars. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and frank interviews, Felch and Frammolino give us a fly-on-the-wall account of the inner workings of a world-class museum and tell the story of the Getty’s dealings in the illegal antiquities trade. The outlandish characters and bad behavior could come straight from the pages of a thriller—the wealthy recluse founder, the cagey Italian art investigator, the playboy curator, the narcissist CEO—but their chilling effects on the rest of the art world have been all too real, as the authors show in novelistic detail. Fast-paced and compelling, Chasing Aphrodite exposes the layer of dirt beneath the polished façade of the museum business.

    Some businesses--like home exercise company Peloton, video conference software maker Zoom, and Amazon--woke up to find themselves crushed under an avalanche of consumer demand. Others--like the restaurant, travel, hospitality, and live entertainment industries--scrambled to escape obliteration.But as Scott Galloway argues, the pandemic has not been a change agent so much as an accelerant of trends already well underway. In Post Corona, he outlines the contours of the crisis and the opportunities that lie ahead. Some businesses, like the powerful tech monopolies, will thrive as a result of the disruption. Other industries, like higher education, will struggle to maintain a value proposition that no longer makes sense when we can't stand shoulder to shoulder. And the pandemic has accelerated deeper trends in government and society, exposing a widening gap between our vision of America as a land of opportunity, and the troubling realities of our declining wellbeing.Combining his signature humor and brash style with sharp business insights and the occasional dose of righteous anger, Galloway offers both warning and hope in equal measure. As he writes, Our commonwealth didn't just happen, it was shaped. We chose this path--no trend is permanent and can't be made worse or corrected.

    Wittman, the founder of the FBI’s Art Crime Team, pulls back the curtain on his career for the first time.Rising from humble roots as the son of an antiques dealer, Wittman built a twenty-year career that was nothing short of extraordinary. He went undercover, usually unarmed, to catch art thieves, scammers, and black market traders in Paris and Philadelphia, Rio and Santa Fe, Miami and Madrid.In this memoir, Wittman relates the stories behind his recoveries of priceless art and antiquities: The golden armor of an ancient Peruvian warrior king. The Rodin sculpture that inspired the Impressionist movement. The headdress Geronimo wore at his final Pow-Wow. The rare Civil War battle flag carried into battle by one of the nation’s first African-American regiments.The breadth of Wittman’s exploits is unmatched: He traveled the world to rescue paintings by Rockwell and Rembrandt, Pissarro, Monet and Picasso, often working undercover overseas at the whim of foreign governments. Closer to home, he recovered an original copy of the Bill of Rights and cracked the scam that rocked the PBS series Antiques Roadshow.By the FBI’s accounting, Wittman saved hundreds of millions of dollars worth of art and antiquities. He says the statistic isn’t important. After all, who’s to say what is worth more --a Rembrandt self-portrait or an American flag carried into battle? They're both priceless.The art thieves and scammers Wittman caught run the gamut from rich to poor, smart to foolish, organized criminals to desperate loners.  The smuggler who brought him a looted 6th-century treasure turned out to be a high-ranking diplomat.  The appraiser who stole countless heirlooms from war heroes’ descendants was a slick, aristocratic con man.  The museum janitor who made off with locks of George Washington's hair just wanted to make a few extra bucks, figuring no one would miss what he’d filched.In his final case, Wittman called on every bit of knowledge and experience in his arsenal to take on his greatest challenge: working undercover to track the vicious criminals behind what might be the most audacious art theft of all.

    This pervasive yet little examined obsession is arguably the most powerful and devastating market force of our time-the engine of globalization, outsourcing, planned obsolescence, and economic instability in an increasingly unsettled world. Low price is so alluring that we may have forgotten how thoroughly we once distrusted it. Ellen Ruppel Shell traces the birth of the bargain as we know it from the Industrial Revolution to the assembly line and beyond, homing in on a number of colorful characters, such as Gene Verkauf (his name is Yiddish for "to sell"), founder of E. J. Korvette, the discount chain that helped wean customers off traditional notions of value. The rise of the chain store in post-Depression America led to the extolling of convenience over quality, and big-box retailers completed the reeducation of the American consumer by making them prize low price in the way they once prized durability and craftsmanship. The effects of this insidious perceptual shift are vast: a blighted landscape, escalating debt (both personal and national), stagnating incomes, fraying communities, and a host of other socioeconomic ills. That's a long list of charges, and it runs counter to orthodox economics which argues that low price powers productivity by stimulating a brisk free market. But Shell marshals evidence from a wide range of fields-history, sociology, marketing, psychology, even economics itself-to upend the conventional wisdom. Cheap also unveils the fascinating and unsettling illogic that underpins our bargain-hunting reflex and explains how our deep-rooted need for bargains colors every aspect of our psyches and social lives. In this myth-shattering, closely reasoned, and exhaustively reported investigation, Shell exposes the astronomically high cost of cheap.

    Language is humanity's most spectacular open-source project, and the internet is making our language change faster and in more interesting ways than ever before. Internet conversations are structured by the shape of our apps and platforms, from the grammar of status updates to the protocols of comments and @replies. Linguistically inventive online communities spread new slang and jargon with dizzying speed. What's more, social media is a vast laboratory of unedited, unfiltered words where we can watch language evolve in real time.Even the most absurd-looking slang has genuine patterns behind it. Internet linguist Gretchen McCulloch explores the deep forces that shape human language and influence the way we communicate with one another. She explains how your first social internet experience influences whether you prefer "LOL" or "lol," why ~sparkly tildes~ succeeded where centuries of proposals for irony punctuation had failed, what emoji have in common with physical gestures, and how the artfully disarrayed language of animal memes like lolcats and doggo made them more likely to spread.Because Internet is essential reading for anyone who's ever puzzled over how to punctuate a text message or wondered where memes come from. It's the perfect book for understanding how the internet is changing the English language, why that's a good thing, and what our online interactions reveal about who we are.

    The Song Machine goes behind the scenes to offer an insider’s look at the global hit factories manufacturing the songs that have everyone hooked. Full of vivid, unexpected characters—alongside industry heavy-hitters like Katy Perry, Rihanna, Max Martin, and Ester Dean—this fascinating journey into the strange world of pop music reveals how a new approach to crafting smash hits is transforming marketing, technology, and even listeners’ brains. You’ll never think about music the same way again.A Wall Street Journal Best Business Book

    Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. The Story of Art, one of the most famous and popular books on art ever written, has been a world bestseller for over four decades. Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject.For the first time in many years the book has been completely redesigned. The illustrations, now in colour throughout, have all been improved and reoriginated, and include six fold-outs. The text has been revised and updated where appropriate, and a number of significant new artists have been incorporated. The bibliographies have been expanded and updated, and the maps and charts redrawn. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur.