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'Carlota Perez's insightful analysis of the rapid growth and diffusion of new technologies in general, and Information and Communications Technologies (ICT) in particular, is a welcome antidote to the bullish and ahistorical hyperbole of the datacom era. . . Do read the book. It is important. It is accessible. It is well presented. It is also fun.'

- Raphie Kaplinsky, Technovation

'It was Carlota Perez in the early 1980s, who designated the major changes in technology systems, such as mechanization, electrification or computerization, as ''changes of techno-economic paradigm'' a designation which has since been widely adopted. In this book she offers many new insights into these complex processes of social, economic and technological change. She traces the interactions between that part of the economy commonly known as ''financial capital'' and the evolution of technologies. Although this was an important aspect of Schumpeter's original work, it has been neglected by his followers, so that the book fills an important gap in the literature on business cycles and innovations. I most strongly commend it to all those attempting to understand the past and future evolution of technology and the economy.'

- Christopher Freeman, SPRU - Science and Technology Policy Research, University of Sussex, UK and Maastricht University, The Netherlands

'Before I read this book I thought that the history of technology was - to borrow Churchill's phrase - merely ''one damned thing after another''. Not so. Carlota Perez shows us that historically technological revolutions arrive with remarkable regularity, and that economies react to them in predictable phases. Her argument provides much needed perspective not just on history, but on our own times. And especially on our own information revolution.'

- W. Brian Arthur, Santa Fe Institute, New Mexico

'This is a smashing book. It informs us that the emphasis on finance that marked the excesses of the 1990s has historically occurred with each great wave of new technologies, only to later shift the focus back to production. Fascinating. May the shift happen again soon.'

- Richard R. Nelson, Columbia University

Technological Revolutions and Financial Capital presents a novel interpretation of the good and bad times in the economy, taking a long-term perspective and linking technology and finance in an original and convincing way.

Carlota Perez draws upon Schumpeter's theories of the clustering of innovations to explain why each technological revolution gives rise to a paradigm shift and a 'New Economy' and how these 'opportunity explosions', focused on specific industries, also lead to the recurrence of financial bubbles and crises. These findings are illustrated with examples from the past two centuries: the industrial revolution, the age of steam and railways, the age of steel and electricity, the emergence of mass production and automobiles, and the current information revolution/knowledge society.

By analyzing the changing relationship between finance capital and production capital during the emergence, diffusion and assimilation of new technologies throughout the global economic system, this seminal book sheds new light on some of the most pressing economic problems of today.

A bold interpretation of how the changing relationship between technological advances and financial capital shapes the patterns of economic cycles, this path-breaking book will provide essential insights for business leaders, policymakers, academics and others concerned with managing change in the world economy.

• Sales Rank: #45037 in Books
• Published on: 2003-04-26
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x 6.25" w x .75" l, .76 pounds
• Binding: Paperback
• 224 pages

Review
It [this book] is one of the most interesting histories of technology, if not the most informative, because it dwells on the dynamics of the technology/social/economic systems itself. . . Most tomes with theoretical goals like this are horribly dry, dense, wordy, and well. . .boring. This book is not. Perez writes with vigor, and grace, not taking an extra unneeded word, and not repeating herself. . . like a great many other seminal books, it is easily read by anyone truly interesting in how technology works. --Kevin Kelly, Wired Magazine

This book should be required reading in any senior - or graduate-level course on development economics, management of technology, S&T policy analysis and development, and related subjects. It will be of interest to policy analysts and developers, financial analysts, and others concerned with national, regional, local and global systems of innovation. Perez provides a fresh analysis of technological, financial and social booms and busts in an engaging and refreshing way. The book weaves a compelling new fabric of observation and theory, and shows that something can be done to learn from, anticipate, and deal constructively with, the tribulations of inter-linked technological, economic and social change. It does so concisely and in an idiom that bridges abstract economic theory with tangible human history and experience. If it is brought to their attention - as it should be - this compact book will give hope to those scholars, students and policy analysts who wonder what really happened in the cybertechnolgy/internet
gold-rush prior to 2001 and what could possibly lie ahead. --Morley Lipsett, Science and Public Policy

Carlota Perez s thoughtful book, Technological Revolutions and Financial Capital, does an excellent job of showing the interplay between innovation and capital markets. Her theory is based on Schumpeterian economics - change is more important than equilibrium - and substantial empirical data. Her frame work, if accurate, has direct implications for our economy today. --Michael J. Mauboussin, The Consilient Observer

From the Inside Flap
‘. . . Dr Perez has also provided a road map to relevance both for scholars and investors who, having survive the Great Bubble of 1999–2000, must needs concern themselves with what happens next.’ – William Janeway, Vice Chairman, Warburg Pincus, US and Founder, Cambridge [University] Endowment for Research in Finance, UK

‘It was Carlota Perez in the early 1980s, who designated the major changes in technology systems, such as mechanization, electrification or computerization, as "changes of techno-economic paradigm" a designation which has since been widely adopted. In this book she offers many new insights into these complex processes of social, economic and technological change. She traces the interactions between that part of the economy commonly known as "financial capital" and the evolution of technologies. Although this was an important aspect of Schumpeter’s original work, it has been neglected by his followers, so that the book fills an important gap in the literature on business cycles and innovations. I most strongly commend it to all those attempting to understand the past and future evolution of technology and the economy.’ – Christopher Freeman, SPRU – Science and Technology Policy Research, University of Sussex, UK and Maastricht University, The Netherlands

‘Before I read this book I thought that the history of technology was – to borrow Churchill’s phrase – merely "one damned thing after another". Not so. Carlota Perez shows us that historically technological revolutions arrive with remarkable regularity, and that economies react to them in predictable phases. Her argument provides much needed perspective not just on history, but on our own times. And especially on our own information revolution.’ – W. Brian Arthur, Santa Fe Institute, New Mexico

‘This is a smashing book. It informs us that the emphasis on finance that marked the excesses of the 1990s has historically occurred with each great wave of new technologies, only to later shift the focus back to production. Fascinating. May the shift happen again soon.’ – Richard R. Nelson, Columbia University, US

About the Author
Carlota Perez, Honorary Research Fellow, SPRU - Science and Technology Policy Research, University of Sussex, UK, Adjunct Senior Research Fellow, INTECH/UNU, Maastricht, The Netherlands, Visiting Scholar 2002, Cambridge University, UK and International Consultant and Lecturer on Change Strategies and Technology Policy, Eureka A.C., Caracas, Venezuela

Most helpful customer reviews

4 of 4 people found the following review helpful.
Bubbles are NORMAL!
By Scott A. Prost-domasky
That should be the title of this book! The author separates then documents the evolution, development, and finally, expiration of several technology bubbles, starting with the use of steam to power large mills in England in the late 1700s. Next came railroads, then steel, then mass production, and finally integrated circuits. Several subcycles can be identified in EACH major technology cycle--new technology (expensive but not widespread and largely self funded), the finance people see there is money to be made so start investing, they overinvest, a bubble bursts, financial carnage and major shifts in job and consumer markets occur, technology becomes cheaper as it becomes more widespread, finance people start to see successively smaller margins (profits that is) from that technology. A new technology is just starting to be developed, but the finance people don't see it and won't invest. Finally profits from the previous technology are all taken, the finance people wake up and see the potential to make profits from the new technology, the cycle repeats.

0 of 0 people found the following review helpful.
But overall it does provide a useful framework for the role of finance in the various ...
By Home Deep Peaux
I am really enjoying this book. Published in 2002, I wish she would update it for 2016.
But overall it does provide a useful framework for the role of finance in the various bubbles since the 1800s, at least the bubbles that were technology based.

Very accessible to an interested reader. A tad more than a modicum of economics background is all that is needed, but if you have much more, you'll not be bored either, I imagine.

I'm in a startup and as I read thru the various chapters, I am constantly analyzing about how our company and target market fit into this framework.
Useful thought exercises.

0 of 0 people found the following review helpful.
Good Content & message but a drudgery to read
By James D
Good content and message, but a drudgery to read. Carlota has extremely good information in her book, but she is verbose, pedantic and persnickety in her writing. Thus making is very difficult to read and absorb. It could be argued that her book is mostly targeted to the academic community; verbosity being a good and welcome attribute of her writing. I disagree. It is sad to see this great book written in such a way that puts its message out of grasp to larger audiences. Good content, bad communication.

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• Sales Rank: #3803252 in Books
• Published on: 2005
• Binding: Paperback

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Alan Alda, the award-winning actor and bestselling author, tells us the fascinating story of his quest to learn how to communicate better, and to teach others to do the same. With his trademark humor and candor, he explores how to develop empathy as the key factor.

Alan Alda has been on a decades-long journey to discover new ways to help people communicate and relate to one another more effectively. If I Understood You, Would I Have This Look on My Face? is the warm, witty, and informative chronicle of how Alda found inspiration in everything from cutting-edge science to classic acting methods. His search began when he was host of PBS’s�Scientific American Frontiers, where he interviewed thousands of scientists and developed a knack for helping them communicate complex ideas in ways a wide audience could understand—and Alda wondered if those techniques held a clue to better communication for the rest of us.

In his wry and wise voice, Alda reflects on moments of miscommunication in his own life, when an absence of understanding resulted in problems both big and small. He guides us through his discoveries, showing how communication can be improved through learning to relate to the other person: listening with our eyes, looking for clues in another’s face, using the power of a compelling story, avoiding jargon, and reading another person so well that you become “in sync” with them, and know what they are thinking and feeling—especially when you’re talking about the hard stuff.

Drawing on improvisation training, theater, and storytelling techniques from a life of acting, and with insights from recent scientific studies, Alda describes ways we can build empathy, nurture our innate mind-reading abilities, and improve the way we relate and talk with others. Exploring empathy-boosting games and exercises,�If I Understood You is a funny, thought-provoking guide that can be used by all of us, in every aspect of our lives—with our friends, lovers, and families, with our doctors, in business settings, and beyond.

Advance praise for If I Understood You, Would I Have This Look on My Face?

“In this charming, witty, and thought-provoking book, full of rich anecdotes, Alan Alda describes some of the tools of communication that he teaches in his work with the Alan Alda Center for Communicating Science and shows how everyone—from lovers to politicians to scientists—can benefit from being better communicators. The issues he touches on are more important now than ever.”—Lawrence M. Krauss, author of The Greatest Story Ever Told . . . So Far

“I’ve spent a lifetime trying to understand and use the art of communication. And then comes this fellow Alda—actor, interviewer, academic, and, mostly, student—who teaches me new, useable ideas. Communicating is at the heart of connectedness. Alda, with his laudable curiosity, has learned something you and I can use right now.”—Charlie Rose�

“Sit back and enjoy Alan Alda’s scientific journey of communication.”—Barbara Walters

“Alda, who has made a distinguished and valuable career out of empathy—in acting, writing, and political thinking—now gives us a book that shows empathy to be the key to understanding, and thus to a much improved life. The exchange of feeling of one person with another makes it possible for each to grasp something different and larger than both: a delightful and useful surprise of knowledge. Alda proves his theory almost casually, with self-effacing good fun, but it is a true revelation. You wonder, How has one done without such a book?”—Roger Rosenblatt, author of Thomas Murphy

• Sales Rank: #40073 in Books
• Published on: 2017-06-06
• Released on: 2017-06-06
• Original language: English
• Dimensions: 9.25" h x .72" w x 6.13" l,
• Binding: Hardcover
• 240 pages

Review
Advance praise for�If I Understood You, Would I Have This Look on My Face?

“In this charming, witty, and thought-provoking book, full of rich anecdotes, Alan Alda describes some of the tools of communication that he teaches in his work with the Alan Alda Center for Communicating Science and shows how everyone—from lovers to politicians to scientists—can benefit from being better communicators. The issues he touches on are more important now than ever. His book is useful and fun, and it is a valuable tonic for these challenging times.”—Lawrence M. Krauss, author of�The Greatest Story Ever Told . . . So Far

“I’ve spent a lifetime trying to understand and use the art of communication. And then comes this fellow Alda—actor, interviewer, academic, and, mostly, student—who teaches me new, useable ideas. Communicating is at the heart of connectedness. Alda, with his laudable curiosity, has learned something you and I can use right now.”—Charlie Rose�

“Sit back and enjoy Alan Alda’s scientific journey of communication.”—Barbara Walters

“Alda, who has made a distinguished and valuable career out of empathy—in acting, writing, and political thinking—now gives us a book that shows empathy to be the key to understanding, and thus to a much improved life. The exchange of feeling of one person with another makes it possible for each to grasp something different and larger than both: a delightful and useful surprise of knowledge. Alda proves his theory almost casually, with self-effacing good fun, but it is a true revelation. You wonder, How has one done without such a book?”—Roger Rosenblatt, author ofThomas Murphy

About the Author
Alan Alda has earned international recognition as an actor, writer, and director. He has won seven Emmy Awards, has received three Tony nominations, is an inductee of the Television Hall of Fame, and was nominated for an Academy Award for his role in The Aviator. Alda played Hawkeye Pierce on the classic television series M*A*S*H, and his many films include Crimes and Misdemeanors, Everyone Says I Love You, Manhattan Murder Mystery, and Bridge of Spies. Alda is an active member of the science community, having hosted the award-winning series Scientific American Frontiers for eleven years and founded the Alan Alda Center for Communicating Science at Stony Brook University. Alda is the author of two previous bestselling books, Never Have Your Dog Stuffed: And Other Things I’ve Learned and Things I Overheard While Talking To Myself.

Excerpt. � Reprinted by permission. All rights reserved.
Chapter 1

Relating: It’s the Cake

A couple of decades ago, a letter came in the mail that set me on a path that would not only bring me to a deeper understanding of that day with the dentist, but would actually change the direction of my life.

The letter was from a television producer, asking if I would be interested in hosting a show on PBS called Scientific American Frontiers. I was in love with science and had read every issue of the magazine Scientific American since I was a young man. It had been my only education in the subject. I was so excited I had to read the invitation twice. Scientific American! My alma mater! This would be a chance to actually learn from scientists themselves.

After a few minutes, though, I realized that the producers were probably only looking for someone well known to appear at the beginning of the show to introduce that week’s topic and then disappear to read an off-camera narration. That sounded like a lot less fun than talking to scientists, so I asked them if, instead, I could interview the scientists on camera. I knew if we’d be shooting interviews I’d spend the whole day with them—not just on camera but during the hours of setting up, having lunch, and wandering around their labs. I’d have a chance to learn something.

There was one minor hitch. I didn’t have much experience interviewing anybody, let alone scientists, so if the producers agreed, they’d be taking something of a chance on me.

I was, however, blissfully confident. I had taken over as guest host on talk shows a few times, but more than that, I thought that one of the tools of my profession ought to help: the ability to listen and react. Plus, I had been trained in improvisation, a particular kind of theater training—games and exercises that enable you to open up to another person, to tune in to them, to engage with them in a dance of ideas and feelings, and to go anywhere it takes you, together.

I’m sure the producers of Scientific American Frontiers weren’t as confident of all this as I was, but they decided to take a chance on me. We began shooting the series in 1993.

The first story we shot featured racing cars powered only by solar energy. We went out to the California State University, Los Angeles, and set up in a workshop where a scientist was working on a large solar panel. This would be my first actual science interview. John Angier, one of the producers, called me over and nodded in the direction of the scientist. Peter Hoving, the cameraman, lifted his camera and started rolling.

As I entered the room, I didn’t realize that this would be the beginning of more than twenty years of trying to figure out what makes communication work, getting beyond the impoverished ways of the barking dentist, looking for empathy and a deeper kind of listening in almost every part of my life. This moment would begin it all. But not only didn’t I realize this, I was vaguely aware that I didn’t really know what I was doing. I hesitated for a moment.

John Angier nodded toward the scientist again and, with just a slight air of Well, this is what you wanted, he said, “Go on. Go in there and start talking.”

I walked over to the scientist, smiled confidently—and immediately made three huge blunders.

Listening with Eyes, Ears, and Feelings

My first blunder was assuming that I knew more than I did.

After a brief hello and a quick glance at his solar panel, I told the scientist how amazing it was that he had put all this together just using parts off the shelf. I saw his face tighten a little. “They’re not off the shelf,” he said, slightly offended. “We had to make a lot of them.” I saw the anxiety in his face, but I didn’t respond to it. I experienced a little anxiety of my own, but I ignored both his and mine. Instead, I made the next blunder with my body.

I reached out to the solar panel and laid my hand on it, assuming a bit of unearned familiarity. I saw something happen to his face again, but I kept going. Not content with touching the panel, I gave the thing an affectionate pat. “Amazing,” I said, hoping that time would pass more comfortably if I showed a measure of awe.

“Please don’t touch the panel,” he said. “You could ruin it.” The distress in his face was now very clear to me. I had seen it earlier, but somehow I had ignored it. I hadn’t been listening with my eyes.

I lurched through a couple of questions about solar panels, but the interview was lame and halting. I was well into my third blunder: Just as I hadn’t been really relating to him in not responding to the look on his face, none of my responses grew out of what he was telling me. I wasn’t really listening to him when he answered my questions.

In fact, I hadn’t been listening in three different ways. When I’d told him he had made the panel with parts off the shelf, I was paying more attention to my own assumptions than I was to him. When I didn’t read his face, I wasn’t listening to his body language. And when my questions didn’t spring from what he was saying, I was disconnected from him. I was alone. How could the conversation have been anything but strained when I had shut myself up in my own head?

I was a little downcast by the experience. Where was the improvisational ability to listen and react that I knew how to do onstage, that I had been trained in and was so proud of? I cherished my experiences in improvising with other actors. Why wasn’t I doing it now?

Improvising

Improvising on the stage is usually thought of as creating funny sketches on the spot, with no preparation. Most improvisation that audiences are exposed to is comedy improv, and that was my first experience with improvisation.

One summer in my early twenties, I was performing in a cabaret show, sunk in the basement of a hotel in Hyannis Port. The first act of our show was a set of sketches we had created in rehearsal through improvisation. There was no writing of funny lines; it was all developed through the spontaneous interactions of the actors. The only preparation beforehand was thinking about characters we could play, and figuring out the quirks they had that could be relied on no matter what the other actor tossed our way. We worked these sketches over many times in rehearsal, and, although they were derived through improvisation, we knew we had these surefire set pieces for the first half of the show.

The second half was much scarier.

Before the intermission, I would ask the audience to give us words or headlines from the news. Then we’d take this list of minimal prompts backstage, and for fifteen furious minutes we’d toss ideas back and forth.

“They gave us the word taxes,” I might say to Honey Shepherd (who went on, decades later, to play Carmela’s mother on The Sopranos). “How about if you do your Nice Old Lady being audited for her tax return?” Her character was sweet, reasonable, and totally antiwar.

When she got out on stage, if the tax auditor asked her why she hadn’t paid her taxes, Honey’s Nice Old Lady could be relied on to say something like “I don’t want to buy a bomb.” Which would lead to a tangled, logically illogical dialogue.

As we brainstormed the most minimal of premises for sketches, we had no idea what we would actually do or say. We didn’t know where a sketch would go or how it would end. Whoever was offstage during a scene would have their hand on the light switch, and when something funny happened that sounded like a concluding moment, they’d flip the switch and we’d have the punctuation of a blackout.

In an improvised press conference, I would take on the persona of President John Kennedy, answering questions from journalists in the audience who had asked the same questions of the real John Kennedy in the same hotel that morning. His answers to their questions hadn’t made it into the newspapers yet, so I was flying completely blind.

It was easy to worry that we would fail and flame out in front of the audience.

As opening night approached, we felt a thrill that must be like the thrill that runs through a person’s tingling body just before he jumps off a bridge.

As scary as this kind of improvising was, there was excitement in not knowing what we would suddenly be doing during a show. It was exhilarating, but we were limited by two things: We had to be funny, and we had little or no training in improv. We were relying mainly on sheer guts.

A year or two later, though, I was introduced to a completely different form of improvising.

I was invited to join a workshop conducted by Paul Sills, who had founded Second City, the phenomenally successful improv company. We met twice a week on the Second City stage in downtown New York City. It was the same stage where skilled comedy improvisers would perform nightly, but in these sessions Paul introduced us to a completely different kind of work.

His mother, Viola Spolin, had done groundbreaking work in creating a kind of improvisation training that was rigorous and exacting, and that slowly built in actors the ability to connect with one another spontaneously. Comedy was not the objective. Cleverness and joke making were forbidden. Something else, something much more fundamental to theater, was being explored: a kind of relating that could lead to deeper, more affecting performances.

At each session, Paul would open Viola Spolin’s book, Improvisation for the Theater, and lead us through games and exercises that little by little transformed us. The games connected each of us to the other players in a dynamic way. What one player did was immediately sensed and responded to by the other player. And that, in turn, created a spontaneous response in the first player. It was true relating and responsive listening, which, I’ve come to realize, is necessary on the stage and in life as well.

After six months, I felt that these improv sessions had changed me both as an actor and as a person.

But here I was now in this interview about solar panels, and it wasn’t working. I was talking to a scientist who could give me the knowledge I craved—and I wasn’t listening.

Why? I had spent my whole life on the stage listening to the other actors. Or trying to. But it seemed to be something I constantly had to relearn.

When I started out as an actor, I had the vague awareness that listening had something to do with relating to the other person, although relating was a word with a mysterious ring to it. I heard it often from directors and had seen it repeatedly in books by the Russian acting gurus—Stanislavski, Boleslavski, and one or two other avskis. But I was still hazy about what relating actually entailed. It obviously had to do with making some kind of contact with another person. I drew the natural conclusion that it meant putting myself in the other person’s face. So when I was asked to relate more, I would tilt over in their general direction, in the manner of an errant telephone pole. But this wasn’t actually relating; it was just leaning over. If the director asked for even more relating, I would slump my shoulders and position my nose even closer to the other actor’s. I would be hunched over like the ape in the evolution cartoon, just before he straightens up and walks like a human. It didn’t make directors sigh in admiration.

Once, a long time ago, Mike Nichols was directing Barbara Harris and me in a rehearsal for the Broadway musical The Apple Tree. He asked us both several times to relate better—although he seemed to be looking more in my direction than in hers. Finally, he couldn’t stand it anymore. “You kids think relating is the icing on the cake,” he said. “It isn’t. It’s the cake.”

So, what is it? What’s relating? What’s the cake? It took me years to be able to put it roughly into words.

It’s being so aware of the other person that, even if you have your back to them, you’re observing them. It’s letting everything about them affect you; not just their words, but also their tone of voice, their body language, even subtle things like where they’re standing in the room or how they occupy a chair. Relating is letting all that seep into you and have an effect on how you respond to the other person.

Responsive Listening

There’s a body of scientific literature on responsive listening, but I came to understand it in a personal way through my work. In acting, this kind of relating is fundamental. You don’t say your next line simply because it’s in the script. You say it because the other person has behaved in a way that makes you say it. Relating to them allows them to have an effect on you—to change you, in way. And that’s why you respond the way you do.

For an actor, it’s the difference between planning how you’re going to behave, which looks like acting, and finding your performance in the other person’s eyes, which makes you respond to one another—and which looks like life.

But, with all that behind me, here I was supposedly in conversation with the solar panel scientist, and I wasn’t relating to him. Slowly, it was beginning to dawn on me: It’s not just in acting that genuine relating has to take place—real conversation can’t happen if listening is just my waiting for you to finish talking.

Listening and Willing to Be Changed

I so loved this idea—that on the stage the other actor has to be able to affect you if a scene is to take place—that I came to the conclusion that, even in life, unless I’m responding with my whole self—unless, in fact, I’m willing to be changed by you—I’m probably not really listening. But if I do listen—openly, na�vely, and innocently—there’s a chance, possibly the only chance, that a true dialogue and real communication will take place between us.

This was the first step in understanding what had to take place before doctors (and dentists) could talk with their patients; before people in business could relate to their customers, parents could advise their children, and couples could work together—with far fewer misunderstandings and hard feelings. At first, though, I was concentrating on helping scientists get their story out in the most human-sounding way.

Once I began to relearn listening as a human interaction, and not just an acting technique, I could go into each interview for Scientific American Frontiers without a set of questions. It wasn’t really an interview anymore. It was a conversation.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Sound concept, excellent and funny delivery, but too long and repetitive
By Dr. Stuart Gitlow
I wanted to like this book more than I did, getting through the first several chapters before recognizing that the book was repetitively stating the same set of ideas through a variety of episodic events. It is well-known that active listening is an important technique in the art of communication. When practiced by both sides, two individuals can very quickly gain understanding from one another. This is played out in everything from diplomacy to medical care to acting, so it's no surprise that Alda, a skilled actor, recognizes that if he applies his art to his routine life, he and those around him will benefit. Many books over the years have told their readers the same thing, and admittedly few do so with as practiced a comedic style as Alda, so whether you read this cover to cover or skim quickly through it, you will undoubtedly get the message. The concept is sound, the delivery excellent, but the story is more an expanded magazine article than a complete paperback.

1 of 1 people found the following review helpful.
Excellent book on communication and interpersonal relationships
By TheProf
It is often hard to review a book as so many have such different tastes. However, this a book which is useful and should appeal to all readers. Communication and relating are key in any relationship, be it spousal, friend, business, or other. I appreciated how Mr. Alda used his own personal experiences to weave practical steps for communication with an enjoyable story. I think my favorite chapter was on "Jargon and the Curse of Knowledge." It is amazing the special lingo we pick up either in our culture or field of expertise. It can be exclusionary if we aren't careful.

Overall, I think this book is well worth the read, particularly if you have a harder time relating to people. It is also an excellent reminder that we all have our own frame of reference and we have to remember that in communication. We have to see the other side or at least try!

0 of 0 people found the following review helpful.
Excellent book on communicating
By Deborah V
Many of us know Alan Alda from his role as Hawkeye on MASH and some of his movie roles. As a former communications major and professor I was really interested to see what Alda did with the subject of communication and was more than pleasantly surprised to find he wrote with insight, science and common sense.

Written with humor and compassion, Alda weaves his own experiences in with studies and information to help others improve their communication skills with other people and groups. The subtitle of the books is "My Adventures in the Art and Science of Relating and Communicating." The book is broken into two parts with the first being "Relating is Everything" and the second "Getting Better at Reading Others." One of the chapters (9) in the first part is "Total Listening Starts with Where they Are." I thought this was a great chapter keying in on many factors that make true communication possible. What does a person already understand? When should you stop or revamp your message? And are they really ready to hear what you are saying?

The second part deals with reading people, emphasizing. Alda has many examples in the book of his own interactions and I lliked the one in the first chapter of Part 2 where he is emphasizing with a taxi driver--instead of being hostile when the driver asks where you going--Alda emphasizes. Same with the taxi driver says he doesn't know where Alda's destination is. Turns out the driver has to go to the bathroom. The driver is so blown away with Alda's emphasizing that he insists on a door-to-door drop off even though Alda states he is willing to walk a few blocks so the driver can get his bladder taken care of.

If I Understood You is full of easy to do suggestions to improve communication with friends, family, coworkers, and at home, work, presentations etc. The book is very easy to read and while it contains scientific information it isn't full of jargon and theories that are too complex for the layman to understand. A very useful book full of wisdom, compassion, humor and information to make a person a better listener and communicator!

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[I101.Ebook] Download PDF How We Teach Performance Art: University Courses and Workshop Syllabus, by Valentin Torrens Ed

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42 different approaches to transmit the generative source of creativity in live action by internationally experienced practitioners, teachers and theorists of performance art from 21 countries. 340 pages full of ideas, points of view, methodologies, sensitivities, exercises and proposals to enjoy live practice with deeper involvement immersion, knowledge and study. The book begins with a clarification of the terms used to name this practice and continues with the cultural introductions previously to the appearance of the performance as an artistic differentiated activity. To see the performance's creative nature and its relation with the game; its communicative qualities and his perception. It's followed by a report on previous books and publications related to the pedagogies of the performance. Later, a description of education affiliations, inside the pedagogic common tendencies of performance courses. An approach to courses and workshop's characteristics. It's begun with the syllabus and the comments of the university courses and continues with the workshops. Some teachers have sent a text on their relation to the performance; in those cases, it's placed before the description of the syllabus, in order to complement, from the subjective intimacy, our best comprehension of his work and his course. After the entire syllabus, there is a small biographical summary of the authors and bibliography on performance. AUTHORS: Lucio Agra / Gustavo Alvarez / Chumpon Apisuk / Marylin Arsem / Bruce Barber / Roc�o Boliver / Naira Ciotti / Michel Collet / Brian Connolly / Nieves Correa / Bartolom� Ferrando / Esther Ferrer / J�rgen Fritz /� Maja Horn� / Johanna Householder / Sandra Johnston / Trisha Lamie / Wen Lee / Laura Levin / Natalie Loveless / Tran Luong / Pekka Luhta / Tanya Mars / Richard Martel / Alastair Mc Lennan / Helgue Meyer / Agnes Nedregard / Guadalupe Neves / Boris Nieslony / Lorena Orozco / Andrea Pagnes & Verena Stenke /Tomas Ruller / Seiji Shimoda / Joakim Stampe / Andr� Stitt / Artur Tajber / Carlos Tejo / Valent�n Torrens / Roi Vaara / Valentine Verhaeghe / Willem Wilhelmus.

• Sales Rank: #996216 in Books
• Published on: 2014-07-10
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x .70" w x 5.98" l, 1.00 pounds
• Binding: Paperback
• 338 pages

Most helpful customer reviews

1 of 1 people found the following review helpful.
Five Stars
By Kelly
Finally, a publication that responds to the importance of teaching performance at third level.

0 of 0 people found the following review helpful.
In love with this book
By julia
In love with this book. So much concentrated wisdom from each teacher. I highly recommend this to anyone interested in the practice... Thank you, thank you for collecting and sharing this data, I honestly am tearing up with joy and gratitude.

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[P495.Ebook] Download PDF Estate Planning Basics, by Denis Clifford Attorney

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This book provides concise, straightforward, and easy to read information about the major components of estate planning – without going into endless detail about arcane options that apply only to the wealthy. Topics include:

choosing beneficiaries

estate planning by parents with minor children

wills

living trusts

avoiding probate

trusts for people in second marriage

planning for incapacity

Best-selling Nolo author Denis Clifford uses plain-English to make these estate planning issues easy to understand, and he lets you know which tasks you can handle yourself, and when you’ll need a lawyer’s help.

• Sales Rank: #143998 in Books
• Published on: 2015-08-15
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .75" w x 7.00" l, .0 pounds
• Binding: Paperback
• 232 pages

Review
“Will be appreciated by those with modest estates who want a quick overview.” - Library Journal

“One of the simplest and best overviews of the estate-planning process.” - The Wall Street Journal

“ A search of more than a dozen books in my reference library uncovered a mention of the stepped-up basis in all, but only Estate Planning Basics…makes it clear that the basis of inherited property is adjusted up or down.” - Florida Sun-Sentinel

From the Back Cover
Estate planning, in plain English

Get the need-to-know basics about wills, trusts, avoiding probate, and planning for incapacity with Estate Planning Basics. This book lays out your options in plain English, guiding you to the right estate plan for you and your family.

Learn about:

making a will or living trust

naming a guardian for your children

avoiding probate

choosing an executor

using durable powers of attorney

preparing a health care directive

The 8th edition is completely updated to reflect the latest information about estate planning, including up-to-date estate and gift tax laws.

About the Author
Denis Clifford, a graduate of Columbia Law School, where he was an editor of The Law Review, is a lawyer who specializes in estate planning. He is the author of many Nolo titles, including Quick and Legal Will Book, Make Your Own Living Trust and Plan Your Estate and coauthor of A Legal Guide for Lesbian and Gay Couples. He has been interviewed by such major media as The New York Times, Los Angeles Times, and Money Magazine.

Most helpful customer reviews

4 of 4 people found the following review helpful.
WELL WORTH the PRICE!
By Mike Dalgaard
Very clear, concise and important information that gave me the tools to create a basic will and estate plan. Saved me hours and hours of legal fees as it answered so many questions including how to avoid unnecessary legal and probate fees when only one spouse dies. Clarified that issue and that alone was well worth the price of the book. Cuts thru all the legal BS you get from pricey estate planners and attorneys.

2 of 2 people found the following review helpful.
Estate Planning Basics is an excellent overview of estate planning
By Suz Newz
I bought this book after borrowing both this book and NOLO book Planning Your Estate from the library. Estate Planning Basics is an excellent overview of estate planning. It provides enough information to understand the big picture. Have a good idea of what you want to do before you see an attorney. Planning Your Estate goes in to far more detail. This is one of several NOLO books I own. I find them handy, easy to understand, references.

0 of 0 people found the following review helpful.
Clear and well presented
By lindsay
Excellent clear presentation. Moves easily from introduction to different aspects of estate planning. Easy to skip the sections that are not relevant to one's situation.

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Would you like to leap to the top of a reader’s “auto-buy” list? Or be added to Hollywood’s speed dial?
These dreams don’t have to remain idle fantasies.

They can become reality.

You can be an auto-buy for thousands of readers.

You can be on Hollywood’s speed dial.

But, to accomplish these goals, you have to possess a very special writing skill.

You have to be “a closer,” the kind of novelist or screenwriter whom readers and studios can count on to deliver an ending that isn’t merely satisfactory, but instead, deeply satisfying.

See, the ending of your story has an additional burden to bear, one which the beginning and middle do not. The ending is audiences’ last experience with your film or novel. Their memories of it are the ones that really stick out in their minds. Consequently, these are the memories they rely on most when making their final evaluations (thumbs down or up; recommended or not) of your story.

That’s why it’s so important to know how to write a story with a spectacular ending. That’s why being a closer is a coveted status for novelists and screenwriters alike.

Whether you’re writing a novel or a screenplay, this book will help you master this critical component of story structure. Specifically, this writing skills guide will cover:

How to Use 4 Categories of Antagonists and 8 Rules of Engagement to Build Your Story Climax on a Sturdy Foundation
The climax is the decisive encounter that resolves the conflict between your protagonist and the antagonists who’ve thwarted him every step of the way.

Hence, its power will depend upon scenes that occur (and storytelling decisions you’ve made) long before the climax of your story actually begins.

Follow the guidelines discussed here, and you’ll avoid writing a novel or screenplay whose climax is constructed on quicksand.

2 Criteria at the Core of the Climax That Are Crucial to Fulfill to Avoid Disappointed Audiences (But Which, Oddly, Are Often Overlooked)
After you’ve built a sturdy foundation for your story climax, it’s time to roll up your creative sleeves, and work on the climax itself.

Fulfill the two criteria at the core of this story structure essential, and you minimize the potential for audiences to be disappointed by the ending of your screenplay or novel.

3 Quality Control Tests Your Story Climax Must Pass to Earn Audiences’ Enthusiastic Seal of Approval
After you’ve nailed down the core of your story climax, you’re not home free yet. Now, it’s time to use your creativity to fine-tune it, and make adjustments as necessary.

To make sure your story climax thrills and delights, you must carefully inspect your climactic sequence, and run it through three quality control tests.

With this writing skills guide, you’ll know how to write a story that aces these quality control tests with flying colors. As part of your winning strategy, you’ll learn:

• how to balance “shiny moments” between your protagonist and other characters (plus, the one moment you absolutely CANNOT distribute to anyone besides your hero)
• 6 ways to use story stakes to provide audiences with an extra thrill after the climax—thereby deepening their satisfaction
• 5 methods to make your climax feel more epic in scope
• 12 tactics to extend the duration of your story climax (while still maintaining its intensity)

Buy this writing guide today, learn how to write a story climax that delights audiences...and take a step closer toward making a living through your creativity!

If you're struggling to outline your story, check out:
Sizzling Story Outlines: How to Outline Your Screenplay or Novel, Always Know “What Happens Next,” and Finish Your Rough Draft Without Freaking Out
smarturl.it/story-outline

Other titles in the Story Structure Essentials series:
Inciting Incident
Trough of Hell

• Sales Rank: #243876 in eBooks
• Published on: 2015-01-08
• Released on: 2015-01-08
• Format: Kindle eBook

Most helpful customer reviews

13 of 15 people found the following review helpful.
"AN EXCELLENT REFERENCE GUIDE, PACKED WITH HELPFUL TIPS FOR ALL WRITERS!"
By Author/Reviewer Geri Ahearn
H.R. D'Costa delivers another extremely helpful reference guide not only for screenwriters and novelists, but for all writers. Any writer, especially those interested in film or novels will benefit from this reference guide, after learning the skills and techniques needed to reach your goals.

The author teaches how to build a solid story, the importance of following specific writing guidelines, and the difference in the outcome of your story. H.R. D'Costa highlights epic scenes, the importance of a good climax, and why the ending should be given undivided attention.

In addition, the author discusses how to develop unique writing skills, why a story needs an eye-catching ending, and what it takes to produce a thrilling story that keeps the reader's attention until the final curtains close. Comprehensive, informative, concise, and extremely useful for all writers. Highly recommended!

2 of 2 people found the following review helpful.
I have no memory of any annoying issues with this book and will be reading his/her ...
By JAH
There's just nothing wrong with this book. The information is clear and helpful. Writers of commercial fiction and screenplays especially will appreciate the way the author builds a case for creating high impact plot points and demonstrates through myriad examples taken from well known movies, how and why certain films/books are successes and certain others aren't, in terms of building story and carrying out effective climaxes. After reading this book, I'm much more aware of how to create the necessary tension in a story. I should have written a review right after I read it a few months ago, but still, I have no memory of any annoying issues with this book and will be reading his/her other books at some point.

2 of 2 people found the following review helpful.
Best Book on Building a Climax I've Read!
By SparkWizard
This is the best book on building a climax for a novel or screenplay I have read, and I've read a lot of them. This book tells you step by step how to build a climax that works and keep your readers turning pages until the last page. Every writer wannabe, (like me) and every author can learn something from this one. I hope the author continues to write more of this type of books. I would like to see one on Subplots.

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• Published on: 1605
• Binding: Paperback

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