Cartels and regulation: effects on prices and real sales in sweden (1976–1990)

We estimate the effects of competition and regulatory policies on prices and real sales in Sweden during the period 1976?C1990. We find evidence supporting the hypothesis that prices were higher on average in those markets affected by horizontal collusion, and therefore lower real sales. Market concentration and lower foreign trade are significantly associated with higher prices. We also observe how prices (output) tend to rise (fall) around cartel formations and fall (rise) around cartel termination as theories of cartels suggest.     

Are bar associations anticompetitive? An empirical analysis of recommended prices for legal services in Spain

The European Commission Report on Competition in Professional Services found that recommended prices by professional bodies have a significant negative effect on competition since they may facilitate the coordination of prices between service providers and/or mislead consumers about reasonable price levels. Professional associations argue, first, that a fee schedule may help their members to properly calculate the cost of services avoiding excessive charges and reducing consumers’ searching costs and, second, that recommended prices are very useful for cost appraisal if a litigant is condemned to pay the legal expenses of the opposing party. Thus, recommended fee schedules could be justified to some extent if they represented the cost of providing the services. We test this hypothesis using cross-section data on a subset of recommended prices by 83 Spanish bar associations and cost data on their territorial jurisdictions. Our empirical results indicate that prices recommended by bar associations are unrelated to the cost of legal services. Therefore, we conclude that fee schedules are not playing the role of providing useful cost information to practitioners and therefore this efficiency justification is weak.     

Banking on Seniority: The IMF and the Sovereign's Creditors

The programs designed by the International Monetary Fund (IMF) during the Global Financial Crisis have shown more awareness of the importance of domestic demand for the prospects of economic recovery. Yet the IMF has continued to do little about the late payments made by governments to domestic creditors and suppliers. In contrast, the greater protection historically awarded by the IMF to foreign creditors has endured throughout the recent crisis. The article suggests that, in order to adequately balance foreign creditor seniority and growth objectives, the IMF may sometimes need to emphasize equitable burden‐sharing across categories of creditors rather than privilege the interests of international bond markets.     

Stelarc's post‐evolutionary performance art: Exposing collisions between the body and technology

Performance

The Tarnished Angels and The Elizabethan Phrasing of the Late Albert Ayler. Choreographed by Karole Armitage. Performed by The Armitage Ballet Scenery by David Salle. Brooklyn Academy of Music, November 1987.

Eden. Choreographed by Maguy Marin. Performed by Compagnie Maguy Marin (Creteil, France). Brooklyn Academy of Music, Next Wave Festival, October 20–22, 1987.

Elena's Aria. Choreographed by Anne Teresa de Keersmaeker. Performed by Rosas. Brooklyn Academy of Music, Next Wave Festival November 3–8, 1987.

Blue Scene Grey. Written, directed and designed by Linda Mussmann in collaboration with Claudia Bruce; music by Semih Firincioglu. Time &; Space Limited production, New York, October, 1987.

Dress Suits to Hire. Written by Holly Hughes in collaboration with Lois Weaver and Peggy Shaw. Performed by Lois Weaver and Peggy Shaw. Women's Interart Center, New York, through January 16, 1988.

Improvisations by Simone Forti and Pooh Kaye. 2nd Annual Festival of Women Improvisers, Kraine Gallery, New York City, October 10, 1987.

Blood on the Saddle. Choreographed by Jennifer Monson in collaboration with Zeena Parkins. Danspace, New York City, November 7, 1987.

Active Graphics II and Tangled Graphics. Choreographed by Pooh Kaye. Performed by Eccentric Motions. The Kitchen, New York City, December 5, 1987.

US. Written by Karen Malpede. Directed by Judith Malina. Co‐production of Theater for the New City and Living Theatre. New York, December 1987‐January 1988.

Film

The Golddiggers. Written by Sally Potter, Lindsay Cooper, and Rose English; directed and edited by Sally Potter; music by Lindsay Cooper; Rose English, art director and assistant editor; Babette Mangolte, lighting camera. Released 1983; New York premiere February, 1988.

Books

Technologies of Gender: Essays on Theory, Film, and Fiction, by Teresa de Lauretis. Indiana University Press, 1987.

Women Making Music: The Western Art Tradition, 1150–1950, edited by Jane Bowers and Judith Tick Chicago and Urbana: University of Illinois Press, 1986.

The public forum

On the Road: Voices of Bay Area Women in Performance. Performed, compiled, edited and produced by Anna Deavere Smith. West Coast Women in Theatre Conference, in conjunction with Julian Theatre, San Francisco, January 8–10, 1988.

Electra: An International Festival of Experimental Performance by Women.Double Edge Theatre, Boston, January 8–24, 1988.