Digital technologies are spreading rapidly, but digital dividends--the broader benefits of faster growth, more jobs, and better services--are not. If more than 40 percent of adults in East Africa pay their utility bills using a mobile phone, why can’t others around the world do the same? If 8 million entrepreneurs in China--one third of them women--can use an e-commerce platform to export goods to 120 countries, why can’t entrepreneurs elsewhere achieve the same global reach? And if India can provide unique digital identification to 1 billion people in five years, and thereby reduce corruption by billions of dollars, why can’t other countries replicate its success? Indeed, what’s holding back countries from realizing the profound and transformational effects that digital technologies are supposed to deliver? Two main reasons. First, nearly 60 percent of the world’s population are still offline and can’t participate in the digital economy in any meaningful way. Second, and more important, the benefits of digital technologies can be offset by growing risks. Startups can disrupt incumbents, but not when vested interests and regulatory uncertainty obstruct competition and the entry of new firms. Employment opportunities may be greater, but not when the labor market is polarized. The internet can be a platform for universal empowerment, but not when it becomes a tool for state control and elite capture. The World Development Report 2016 shows that while the digital revolution has forged ahead, its 'analog complements'--the regulations that promote entry and competition, the skills that enable workers to access and then leverage the new economy, and the institutions that are accountable to citizens--have not kept pace. And when these analog complements to digital investments are absent, the development impact can be disappointing. What, then, should countries do? They should formulate digital development strategies that are much broader than current information and communication technology (ICT) strategies. They should create a policy and institutional environment for technology that fosters the greatest benefits. In short, they need to build a strong analog foundation to deliver digital dividends to everyone, everywhere.

Declining access to fresh water is one of the twenty-first century's most pressing environmental and human rights challenges, yet the struggle for water is not a new cause. The 8,800-kilometer border dividing Canada and the United States contains more than 20 percent of the world's total freshwater resources, and Border Flows traces the century-long effort by Canada and the United States to manage and care for their ecologically and economically shared rivers and lakes. Ranging across the continent, from the Great Lakes to the Northwest Passage to the Salish Sea, the histories in Border Flows offer critical insights into the historical struggle to care for these vital waters. From multiple perspectives, the book reveals alternative paradigms in water history, law, and policy at scales from the local to the transnational. Students, concerned citizens, and policymakers alike will benefit from the lessons to be found along this critical international border.

"Ocean of Sound" begins in 1889 at the Paris Exposition when Debussy first heard Javanese music performed. A culture absorbed in perfume, light and ambient sound developed in response to the intangibility of 20th century communications. David Toop traces the evolution of this culture, through Erik Satie to the Velvet Undergound; Miles Davis to Jimi Hendrix. David Toop, who lives in London, is a writer, musician and recording artist. His other books are "Rap Attack 3 "and "Exotica,"

"Home : a place that provides access to every opportunity America has to offer.--A.H."--P. [vii]

Hong Kong cinema began attracting international attention in the 1980s. By the early 1990s, Hong Kong had become "Hollywood East" as its film industry rose to first in the world in per capita production, was ranked second to the United States in the number of films it exported, and stood third in the world in the number of films produced per year behind the United States and India. This second edition of Historical Dictionary of Hong Kong Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 600 cross-referenced entries on directors, producers, writers, actors, films, film companies, genres, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about Hong Kong cinema.