Dance Of The Trillions

In Dance of the Trillions, David Lubin tells the story of what makes money flow from high-income countries to lower-income ones; what makes it flow out again; and how developing countries have sought protection against the volatility of international capital flows. The book traces an arc from the 1970s, when developing countries first gained access to international financial markets, to the present day. Underlying this story is a discussion of how the relationship between developing countries and global finance appears to be moving from one governed by the “Washington Consensus” to one more likely to be shaped by Beijing.

This issue of Finance & Development discusses need of empowering women, which is critical for the world’s economy and people. Unequal or unfair treatment can marginalize women and hinder their participation as productive individuals contributing to society and the economy in invaluable ways. The rich tapestry of organizations and individuals who can make a difference to ensure women have equal opportunities; there is a crucial role for policymakers. They can use their positions to design policies that help women and girls’ access what they need for a fulfilling life—including education, health services, safe transportation, legal protection against harassment, finance, and flexible working arrangements. The IMF recommends these kinds of policy measures to its member countries—and works with many governments to examine how policies affect women. The IMF’s 189 member countries face many different challenges, but empowering women remains a common denominator and a global imperative for all those who care about fairness and diversity, but also productivity and growth of societies and economies that are more inclusive.

From the Financial Times's global finance correspondent, the incredible true story of the iconoclastic geeks who defied conventional wisdom and endured Wall Street's scorn to launch the index fund revolution, democratizing investing and saving hundreds of billions of dollars in fees that would have otherwise lined fat cats' pockets. Fifty years ago, the Manhattan Project of money management was quietly assembled in the financial industry's backwaters, unified by the heretical idea that even many of the world's finest investors couldn't beat the market in the long run. The motley crew of nerds—including economist wunderkind Gene Fama, humiliated industry executive Jack Bogle, bull-headed and computer-obsessive John McQuown, and avuncular former WWII submariner Nate Most—succeeded beyond their wildest dreams. Passive investing now accounts for more than $20 trillion, equal to the entire gross domestic product of the US, and is today a force reshaping markets, finance and even capitalism itself in myriad subtle but pivotal ways. Yet even some fans of index funds and ETFs are growing perturbed that their swelling heft is destabilizing markets, wrecking the investment industry and leading to an unwelcome concentration of power in fewer and fewer hands. In Trillions, Financial Times journalist Robin Wigglesworth unveils the vivid secret history of an invention Wall Street wishes was never created, bringing to life the characters behind its birth, growth, and evolution into a world-conquering phenomenon. This engrossing narrative is essential reading for anyone who wants to understand modern finance—and one of the most pressing financial uncertainties of our time.

Experience the powerful prose and poetry of Joyce Rupp with the beautiful full-color art of Mary Southard.

In most forms of dancing, performers carry out their steps with a distance that keeps them from colliding with each other. Dancer Steve Paxton in the 1970s considered this distance a territory for investigation. His study of intentional contact resulted in a public performance in 1972 in a Soho gallery, and the name “contact improvisation” was coined for the form of unrehearsed dance he introduced. Rather than copyrighting it, Paxton allowed it to evolve and spread. In this book the author draws upon her own experience and research to explain the art of contact improvisation, in which dance partners propel movement by physical contact. They roll, fall, spiral, leap, and slip along the contours and momentum of moving bodies. The text begins with a history, then describes the elements that define this form of dance. Subsequent chapters explore how contact improvisation relates to self and identity; how class, race, gender, culture and physiology influence dance; how dance promotes connection in a culture of isolation; and how it relates to the concept of community. The final chapter is a collection of exercises explained in the words of teachers from across the United States and abroad. Appendix A describes how to set up and maintain a weekly jam; Appendix B details recommended reading, videos and Web sites. Instructors considering this book for use in a course may request an examination copy here.

Mirror Cities tells the story of the enigmatic JoJo, a man whose longing for a child is answered when he discovers a baby floating in a basket along Prinsengracht. He names the child Annick and raises her as his own. However, their happiness is destroyed when Nazis invade Amsterdam, for nothing can disguise the fact that Annick is Jewish. And yet, Annick does not die at the hands of the Nazis, instead, armed with the last present JoJo gives her, a diary, in which he has written, 'Journey through time, through Mirror Cities, listen to stories, hear how it all began...Discover how it will all end...' she embarks on a quest to discover an amazing treasure, encountering Cleopatra, Jack Kerouac, TinTin, Pinocchio, Marc Chagall, the Little Prince, even the Beatles, along the way.Mirror Cities is a fairy tale for the 21st Century; a century dominated by technology, where nothing is quite what it seems... It questions the boundaries of time and space, science and religion, life and death, and asks: what does it mean to be human? What is the nature of consciousness?Reflecting the iconography of Anne Frank, this magical tale is both whimsical and unsettling and will appeal to readers interested in more than just being told a story; those who are also interested in philosophy and spirituality.

Dance and the Corporeal Uncanny takes the philosophy of the body into the field of dance, through the lens of subjectivity and via its critique. It draws on dance and performance as its dedicated field of practice to articulate a philosophy of agency and movement. It is organized around two conceptual paradigms - one phenomenological (via Merleau-Ponty), the other an interpretation of Nietzschean philosophy, mediated through the work of Deleuze. The book draws on dance studies, cultural critique, ethnography and postcolonial theory, seeking an interdisciplinary audience in philosophy, dance and cultural studies.