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About Tyler Cowen
Tyler Cowen (/ˈkaʊ.ən/; born January 21, 1962) is an American economist, academic, and writer. He occupies the Holbert L. Harris Chair of economics, as a professor at George Mason University, and is co-author, with Alex Tabarrok, of the popular economics blog Marginal Revolution. Cowen and Tabarrok have also ventured into online education by starting Marginal Revolution University. He currently writes a regular column for Bloomberg View. He also has written for such publications as The New York Times, The Wall Street Journal, Forbes, Time, Wired, Newsweek, and the Wilson Quarterly. Cowen also serves as faculty director of George Mason's Mercatus Center, a university research center that focuses on the market economy. In February 2011, Cowen received a nomination as one of the most influential economists in the last decade in a survey by The Economist. He was ranked #72 among the "Top 100 Global Thinkers" in 2011 by Foreign Policy Magazine "for finding markets in everything."
Bio from Wikipedia, the free encyclopedia.
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Tyler Cowen and Daniel Gross's Talent offers strategies on how to spot, assess, woo, and retain highly talented people.
How do you find talent with a creative spark? To what extent can you predict human creativity, or is human creativity something irreducible before our eyes, perhaps to be spotted or glimpsed by intuition, but unique each time it appears?
The art and science of talent search get at exactly those questions. Renowned economist Tyler Cowen and venture capitalist and entrepreneur Daniel Gross guide the reader through the major scientific research areas relevant for talent search, including how to conduct an interview, how much to weigh intelligence, how to judge personality and match personality traits to jobs, how to evaluate talent in on-line interactions such as Zoom calls, why talented women are still undervalued and how to spot them, how to understand the special talents in people who have disabilities or supposed disabilities, and how to use delegated scouts to find talent.
Identifying underrated, brilliant individuals is one of the simplest ways to give yourself an organizational edge, and this is the book that will show you how to do that. It is both for people searching for talent, and for those being searched and wish to understand how to better stand out.
Tyler Cowen, in a culmination of 20 years of thinking and research, provides a road map for moving forward. In Stubborn Attachments: A Vision for a Society of Free, Prosperous, and Responsible Individuals, Cowen argues that our reason and common sense can help free us of the faulty ideas that hold us back as people and as a society, allowing us to set our sights on the long-term struggles that maximize sustainable economic growth while respecting human rights. Stubborn Attachments, at its heart, makes the contemporary moral case for economic growth, and delivers a great dose of inspiration and optimism about our future possibilities.
“Tyler Cowen is one of the most intriguing and eclectic thinkers on the planet. Like many people, I read something by him every day. In Stubborn Attachments, he combines economics and philosophy in a truly important achievement: his best, most ambitious, and most personal work.
—Tim Harford, author of The Undercover Economist
As a means of practicing the altruism that Stubborn Attachments argues for, Cowen is donating all earnings from this book to a man he met in Ethiopia earlier this year, who has aspirations to open his own travel business.
The United States continues to mint more millionaires and billionaires than any country ever. Yet, since the great recession, three quarters of the jobs created here pay only marginally more than minimum wage. Why is there growth only at the top and the bottom?
Economist and bestselling author Tyler Cowen explains that high earners are taking ever more advantage of machine intelligence and achieving ever-better results. Meanwhile, nearly every business sector relies less and less on manual labor, and that means a steady, secure life somewhere in the middle—average—is over.
In Average is Over, Cowen lays out how the new economy works and identifies what workers and entrepreneurs young and old must do to thrive in this radically new economic landscape.
An against-the-grain polemic on American capitalism from New York Times bestselling author Tyler Cowen.
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.
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. Certainly, the multidecade stagnation is not yet over. How will we get out of this mess? One political party tries to increase government spending even when we have no good plan for paying for ballooning programs like Medicare and Social Security. The other party seems to think tax cuts will raise revenue and has a record of creating bigger fiscal disasters that the first. Where does this madness come from?
As Cowen argues, our economy has enjoyed low-hanging fruit since the seventeenth century: free land, immigrant labor, and powerful new technologies. But during the last forty years, the low-hanging fruit started disappearing, and we started pretending it was still there. We have failed to recognize that we are at a technological plateau. The fruit trees are barer than we want to believe. That's it. That is what has gone wrong and that is why our politics is crazy.
In The Great Stagnation, Cowen reveals the underlying causes of our past prosperity and how we will generate it again. This is a passionate call for a new respect of scientific innovations that benefit not only the powerful elites, but humanity as a whole.
"Will change the way you think about thinking."—Daniel H. Pink, author of A Whole New Mind
Renowned behavioral economist and commentator Tyler Cowen shows that our supernetworked world is changing the way we think—and empowering us to thrive in any economic climate. Whether it is micro-blogging on Twitter or buying single songs at iTunes, we can now customize our lives to shape our own specific needs. In other words, we can create our own economy—and live smarter, happier, fuller lives. At a time when apocalyptic thinking has become all too common, Cowen offers a much-needed Information Age manifesto that will resonate with readers of Dan Ariely's Predictably Irrational, Steven Johnson's Everything Bad is Good for You, and everyone hungry to understand our potential to withstand, and even thrive, in any economic climate.
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.
A Frenchman rents a Hollywood movie. A Thai schoolgirl mimics Madonna. Saddam Hussein chooses Frank Sinatra's "My Way" as the theme song for his fifty-fourth birthday. It is a commonplace that globalization is subverting local culture. But is it helping as much as it hurts? In this strikingly original treatment of a fiercely debated issue, Tyler Cowen makes a bold new case for a more sympathetic understanding of cross-cultural trade. Creative Destruction brings not stale suppositions but an economist's eye to bear on an age-old question: Are market exchange and aesthetic quality friends or foes? On the whole, argues Cowen in clear and vigorous prose, they are friends. Cultural "destruction" breeds not artistic demise but diversity.
Through an array of colorful examples from the areas where globalization's critics have been most vocal, Cowen asks what happens when cultures collide through trade, whether technology destroys native arts, why (and whether) Hollywood movies rule the world, whether "globalized" culture is dumbing down societies everywhere, and if national cultures matter at all. Scrutinizing such manifestations of "indigenous" culture as the steel band ensembles of Trinidad, Indian handweaving, and music from Zaire, Cowen finds that they are more vibrant than ever--thanks largely to cross-cultural trade.
For all the pressures that market forces exert on individual cultures, diversity typically increases within society, even when cultures become more like each other. Trade enhances the range of individual choice, yielding forms of expression within cultures that flower as never before. While some see cultural decline as a half-empty glass, Cowen sees it as a glass half-full with the stirrings of cultural brilliance. Not all readers will agree, but all will want a say in the debate this exceptional book will stir.
Like no other economist, Tyler Cowen shows how economic notions—such as incentives, signals, and markets—apply far more widely than merely to the decisions of social planners, governments, and big business. What does economic theory say about ordering from a menu? Or attracting the right mate? Or controlling people who talk too much in meetings? Or dealing with your dentist? With a wryly amusing voice, in chapters such as “How to Control the World, The Basics” and “How to Control the World, Knowing When to Stop” Cowen reveals the hidden economic patterns behind everyday situations so you can get more of what you really want.
Readers will also gain less selfish insights into how to be a good partner, neighbor and even citizen of the world. For instance, what is the best way to give to charity? The chapter title “How to Save the World—More Christmas Presents Won’t Help” makes a point that is every bit as personal as it is global.
Incentives are at the core of an economic approach to the world, but they don’t just come in cash. In fact, money can be a disincentive. Cowen shows why, for example, it doesn’t work to pay your kids to do the dishes. Other kinds of incentives—like making sure family members know they will be admired if they respect you—can work. Another non-monetary incentive? Try having everyone stand up in your next meeting if you don’t want anyone to drone on. Deeply felt incentives like pride in one’s work or a passing smile from a loved one, can be the most powerful of all, even while they operate alongside more mundane rewards such as money and free food.
Discover Your Inner Economist is an introduction to the science of economics that shows it to be built on notions that are already within all of us. While the implications of those ideas lead to Cowen’s often counterintuitive advice, their wisdom is presented in ordinary examples taken from home life, work life, and even vacation life… How do you get a good guide in a Moroccan bazaar?
Americans agree about government arts funding in the way the women in the old joke agree about the food at the wedding: it's terrible--and such small portions! Americans typically either want to abolish the National Endowment for the Arts, or they believe that public arts funding should be dramatically increased because the arts cannot survive in the free market. It would take a lover of the arts who is also a libertarian economist to bridge such a gap. Enter Tyler Cowen. In this book he argues why the U.S. way of funding the arts, while largely indirect, results not in the terrible and the small but in Good and Plenty--and how it could result in even more and better.
Few would deny that America produces and consumes art of a quantity and quality comparable to that of any country. But is this despite or because of America's meager direct funding of the arts relative to European countries? Overturning the conventional wisdom of this question, Cowen argues that American art thrives through an ingenious combination of small direct subsidies and immense indirect subsidies such as copyright law and tax policies that encourage nonprofits and charitable giving. This decentralized and even somewhat accidental--but decidedly not laissez-faire--system results in arts that are arguably more creative, diverse, abundant, and politically unencumbered than that of Europe.
Bringing serious attention to the neglected issue of the American way of funding the arts, Good and Plenty is essential reading for anyone concerned about the arts or their funding.