What is the 'new economy'? Where is it? How does it differ from the 'old economy'? How does the 'new economy' relate to issues such as the nature of work, social inclusion and exclusion?

Geographies of the New Economy explores the meaning of the 'new economy' at the global scale from the perspective of advanced post-socialist and emerging economies. Drawing on evidence from regions around the world, the book debates the efficacy of the widely used concept of the 'new economy' and examines its socio-spatial consequences.

This book is important reading for policy-makers, academics and students of geography, sociology, urban studies, economics, planning and policy studies.

What is the 'new economy'? Where is it? How does it differ from the 'old economy'? How does the 'new economy' relate to issues such as the nature of work, social inclusion and exclusion?

Geographies of the New Economy explores the meaning of the 'new economy' at the global scale from the perspective of advanced post-socialist and emerging economies. Drawing on evidence from regions around the world, the book debates the efficacy of the widely used concept of the new economy and examines its socio-spatial consequences.

This book is important reading for policy-makers, academics and students of geography, sociology, urban studies, economics, planning and policy studies.

Bringing together in one volume the most important writings of Andrew Leyshon and Nigel Thrift on money and finance, including the unpublished classic "Sexy-Greedy" this collection examines the economic, social and cultural manifestations that go to make up the multiple vision of money.
Money, it seems is the great God of our age. It is also an economy, a sociology, an anthropolgy and a geography. Linking money with the emergent patterns of global spatial order. Money/Space analyses the restructuring of financial markets in a range of spatial scales; global, national and local.

The impact of digital technology on the musical economy has been profound. From its production, reproduction, distribution, and consumption, the advent of MP3 and the use of the Internet as a medium of distribution has brought about a significant transformation in the way that music is made, how it is purchased and listened to, and, significantly, how the musical economy itself is able to reproduce itself. In the late 1990s the obscure practice of 'ripping' tracks from CDs through the use of compression programmes was transformed from the illegal hobby of a few thousand computer specialists to a practice available to millions of people worldwide through the development of peer-to-peer computer networks. This continues to have important implications for the viability of the musical economy. At the same time, the production of music has become more accessible and the role of key gatekeepers in the industry-such as record companies and recording studios- has been undermined, whilst the increased accessibility of music at reduced cost via the Internet has revalorised live performance, and now generates revenues higher than recorded music. The early 21st century has provided an extraordinary case study of an industry in flux, and one that throws light on the relationship between culture and economy, between passion and calculation. This book provides a theoretically grounded account of the implications of digital technology on the musical economy, and develops the concept of the musical network to understand the transformation of this economy over space and through time.

Music is omnipresent in human society, but its language can no longer be regarded as transcendent or universal. Like other art forms, music is produced and consumed within complex economic, cultural, and political frameworks in different places and at different historical moments. Taking an explicitly spatial approach, this unique interdisciplinary text explores the role played by music in the formation and articulation of geographical imaginations--local, regional, national, and global. Contributors show how music's facility to be recorded, stored, and broadcast; to be performed and received in private and public; and to rouse intense emotional responses for individuals and groups make it a key force in the definition of a place. Covering rich and varied terrain--from Victorian England, to 1960s Los Angeles, to the offices of Sony and Time-Warner and the landscapes of the American Depression--the volume addresses such topics as the evolution of musical genres, the globalization of music production and marketing, alternative and hybridized music scenes as sites of localized resistance, the nature of soundscapes, and issues of migration and national identity.