Challenging the female underperformance hypothesis

In their recent review of prior studies examining firm performance, Klapper and Parker (2010, p.7) conclude that ���women entrepreneurs tend to underperform relative to their male counterparts.��� However, Robb and Watson (2011) argue that much of this prior research is based on inappropriate performance measures and/or does not adequately control (due to data limitations) for important demographic differences. Given the conflicting findings reported in the literature, the aim of this study is to replicate the study by Robb and Watson (2011) to see if their findings can be generalized to another geographical location. Our results, based on an analysis of 209 female-owned and 263 male-owned young Australian firms, confirm those of Robb and Watson (2011). We believe that this outcome should help dispel the female underperformance myth; which if left unchallenged could result in inappropriate policy decisions and, more importantly, could discourage women from establishing new ventures.

Ten truths about Australia's rush to mine and the mining workforce

The sky is falling because the much-vaunted mining ���boom��� is heading for ���bust���. The fear-mongering by politicians, the industry and the media has begun in earnest. On ABC TV's 7:30 program on 22 August 2012, Federal Opposition Leader Tony Abbott blamed the Minerals Resource Rent Tax and the Carbon Tax for making ���a bad investment environment much, much worse��� for the mining industry. The following day, Australia's Resources and Energy Minister Martin Ferguson told us on ABC radio that ���the resources boom is over���. This must be true because, remember, we were warned to ���Get ready for the end of the boom��� (David Uren, Economics Editor for The Australian 19 May 2012) due to the ���Australian resource boom losing steam��� (David Winning & Robb M. Stewart, Wall Street Journal 21 August 2012). Besides, there is ���unarguable evidence��� that Australia's production costs are ���too expensive��� and ���too uncompetitive���: mining magnate Gina Rinehart said so in a YouTube video placed on the Sydney Mining Club's website on 5 September 2012. Can this really be so? What is happening to the mining boom and to the people who depend upon it?

Social contraptions and embodied interaction

In this paper we introduce the idea of "social contraptions", which are interactive physical devices employed as designerly explorations of social relations as mediated by physical space and artefacts. We present two independent but related design explorations that were situated in fine art and industrial research contexts. We argue that these contraptions open up for exploration some interaction issues related to the theme of ���Embodied Facilitation'. This is particularly in relation to awareness and coordination between interactants as mediated by the spatial and material configuration of the contraptions. These methods, as well as the insights gained from them can contribute to the development of the emerging field of embodied interaction.

Natural history of trees

Courtney Pedersen and Charles Robb's A Natural History of Trees was a installation mounted at Blindside ARI in Melbourne's CBD in 2012. The work took the form of a pine-panelled room containing a pair of life-sized tree trunks composed entirely of stacks of cut paper discs. A faux bois stool reinforced the sense of artificiality. Claustrophic and precarious, the installation was simultaneously a response to the complexity of our relationship with nature and place, and an evocation of the precarious quality of the collaborative process. The exhibition was accompanied by a catalogue with an essay by writer/curator, Jane O'Neill.

Shaky Ground

Shaky Ground was a solo exhibition of works by Charles Robb held at Ryan Renshaw gallery, Brisbane in 2012. The exhibition comprised three sculptural works: a white rotating roundel with a drawing of the artist as seen from above; an artificial rock with a spinning aniseed ball nestled in one of its fissures; and a sculptural portrait of the artist dressed in a protective dust suit which was mounted perpendicular to the wall. The works were derivations or reorientations of previously exhibited work and established an ambiguous field of associations with each other based on formal characteristics or their proximity to the production site and processes. In so doing, the work formed part of the artist's ongoing exploration of sculpture, subjectivity and autogenous approaches to art practice.

Heavy Weather

Heavy Weather was a monumental sculptural work produced for the prestigious McClelland National Sculpture Survey in 2012. The work was a large cold-cast aluminium figure depicting the artist in athletic costume arching backwards across the top of massive boulder. The pose of the figure was derived from the ���Fosbury flop���, the awkward backwards manoeuvre associated with high-jump event. The boulder was a portrait of a different kind - a remake of the Ian Fairweather memorial on Bribie Island but elongated to tower upwards. The work thus emphasised two contrasting impressions of movement ��� immense inertia and writhing agility. Heavy Weather sought to bring these two opposing forces together as a way of representing the tensions that shape our relationship with objects. In so doing, the work contributed to the artist���s ongoing exploration of sculpture, self-portraiture and the civic monument. The work was promoted nationally including the Art Guide and the Melbourne Review. It was also the subject of a article in the Australian Art Collector.

Challenging the female underperformance hypothesis

Purpose ��� The question of whether female-owned firms underperform male-owned firms has triggered much research and discussion. Klapper and Parker's review concluded that the majority of prior research suggests that female-owned firms underperform relative to male-owned firms. However, using performance measures that control for size and risk (and after controlling for demographic differences such as industry, experience and hours worked) Robb and Watson found no gender performance difference in their sample of newly established US firms. The aim of this study, therefore, is to replicate Robb and Watson's study to determine whether their findings can be generalized to another geographical location, Australia. Design/methodology/approach ��� The authors test the female underperformance hypothesis using data from the CAUSEE project, a panel study which follows young firms over four years. They use three outcome variables: survival rates, return on assets and the Sharpe ratio. Findings ��� Consistent with Robb and Watson the results indicate that female-owned firms do not underperform male-owned firms. Originality/value ��� While replication studies are rare in entrepreneurship, they are an important tool for accumulating generalizable knowledge. The results suggest that while female-owned firms differ from male-owned firms in terms of many control variables (such as industry, owners' previous experience and hours worked) they are no less successful. This outcome should help dispel the female underperformance myth; which if left unchallenged could result in inappropriate policy decisions and, more importantly, could discourage women from establishing new ventures.

Undulating matter : a topology of the studio

With specific reference to the writing of Dan Graham and the experiences of creative practice, this paper will elaborate an account of studio practice as a topology - a theory drawn from mathematics in which space is understood not as a static field but in terms of properties of connectedness, movement and differentiation. This paper will trace a brief sequence of topological formulations to draw together the expression of topology as form and its structural dimension as a methodology in the specific context of the author���s studio practice. In so doing, this paper seeks to expand the notion of topology in art beyond its association with Conceptual Art of the 1960s and 70s to propose that topology provides a dynamic theoretical model for apprehending the generative ���logic��� that gives direction and continuity to the art-making process.

Loss Control

A exhibition of sculptural assemblages that continue my exploration of self-portraiture and the sculptural object. The work specifically extends the formal vocabulary of my studio to incorporate smaller composite arrangements with an emphasis on the sculptural support. Small objects that are either modelled or cast from life are assembled into four tableaux that respond to the object-relations that arise through the production process. The resulting exhibiton thus acts a meditation on the ontology of art practice, conceived as a topology of objects.

Standard business reporting in Australia : efficiency, effectiveness, or both?

The benefits of using eXtensible Business Reporting Language (XBRL) as a business reporting standard have been widely canvassed in the extant literature, in particular, as the enabling technology for standard business reporting tools. One of the key benefits noted is the ability of standard business reporting to create significant efficiencies in the regulatory reporting process. Efficiency-driven cost reductions are highly desirable by data and report producers. However, they may not have the same potential to create long-term firm value as improved effectiveness of decision making. This study assesses the perceptions of Australian business stakeholders in relation to the benefits of the Australian standard business reporting instantiation (SBR) for financial reporting. These perceptions were drawn from interviews of persons knowledgeable in XBRL-based standard business reporting and submissions to Treasury relative to SBR reporting options. The combination of interviews and submissions permit insights into the views of various groups of stakeholders in relation to the potential benefits. In line with predictions based on a transaction-cost economics perspective, interviewees who primarily came from a data and report-producer background mentioned benefits that centre largely on asset specificity and efficiency. The interviewees who principally came from a data and report-consumer background mentioned benefits that centre on reducing decision-making uncertainty and decision-making effectiveness. The data and report consumers also took a broader view of the benefits of SBR to the financial reporting supply chain. Our research suggests that advocates of SBR have successfully promoted its efficiency benefits to potential users. However, the effectiveness benefits of SBR, for example, the decision-making benefits offered to investors via standardised reports, while becoming more broadly acknowledged, remain not a priority for all stakeholders.

A model for assessing information systems success and its application to e-logistics tracking systems

The DeLone and McLean (D&M) model (2003) has been broadly used and generally recognised as a useful model for gauging the success of IS implementations. However, it is not without limitations. In this study, we evaluate a model that extends the D&M model and attempts to address some of it slimitations by providing a more complete measurement model of systems success. To that end, we augment the D&M (2003) model and include three variables: business value, institutional trust, and future readiness. We propose that the addition of these variables allows systems success to be assessed at both the systems level and the business level. Consequently, we develop a measurement model rather than a structural or predictive model of systems success.

The space of make: A topological account of the studio

Approaches to art-practice-as-research tend to draw a distinction between the processes of creative practice and scholarly reflection. According to this template, the two sites of activity ��� studio/desk, work/writing, body/mind ��� form the ���correlative��� entity known as research. Creative research is said to be produced by the navigation of world and thought: spaces that exist in a continual state of tension with one another. Either we have the studio tethered to brute reality while the desk floats free as a site for the fluid cross-pollination of texts and concepts. Or alternatively, the studio is characterized by the amorphous, intuitive play of forms and ideas, while the desk represents its cartography, mapping and fixing its various fluidities. In either case, the research status of art practice is figured as a fundamentally riven space. However, the nascent philosophy of Speculative Realism proposes a different ontology ��� one in which the space of human activity comprises its own reality, independent of human perception. The challenge it poses to traditional metaphysics is to rethink the world as if it were a real space. When applied to practice-led research, this reconceptualization challenges the creative researcher to consider creative research as a contiguous space ��� a topology where thinking and making are not dichotomous points but inflections in an amorphous and dynamic field. Instead of being subject to the vertical tension between earth and air, a topology of practice emphasizes its encapsulated, undulating reality ��� an agentive ���object��� formed according to properties of connectedness, movement and differentiation. Taking the central ideas of Quentin Meillassoux and Graham Harman as a point of departure, this paper will provide a speculative account of the interplay of spatialities that characterise the author���s studio practice. In so doing, the paper will model the innovative methodological potential produced by the analysis of topological dimensions of the studio and the way they can be said to move beyond the ���geo-critical��� divide.

A different kind of studio: Reflecting on the open studio and the artist-teacher

For more than 15 years, QUT���s Visual Arts discipline has employed a teaching model known as the ���open studio��� in their undergraduate BFA program. Distinct from the other models of studio degrees in Australia, the open studio approach emphasizes individual practice by focusing on experimentation, collaboration and cross-disciplinary activities. However, while this activity proves to be highly relevant to exploring and participating in the ���post medium��� nature of much contemporary art, the open studio also presents a complex of affecting challenges to the artist-teacher. The open studio, it can be argued, produces a different type of student than traditional, discipline-specific art programs ��� but it also produces a different kind of artist-teacher. In this paper, the authors will provide a reflection on their own experiences as artists and studio lecturers involved with the two ���bookends��� of the QUT studio program ��� first year and third year. Using these separate contexts as case studies, the authors will discuss the transformative qualities of the open studio as it is adapted to the particularities of each cohort and the curricular needs of each year level. In particular, the authors will explore the way the teaching experience has influenced and positively challenged their individual (and paradoxically) discipline-focussed, studio practices. It is generally accepted that the teaching of art needs to be continually reconceptualised in response to the changing conditions of contemporary art, culture and technology. This paper will articulate how the authors have worked at that reconceptualisation within both their teaching and studio practices and so practically demonstrate the complex dialogic processes inherent to the teaching of the visual arts studio.

Permanent shift: the topology of Didier Vermeiren's Cariatide �� la Pierre

Photographic documentation of sculpture produces significant consequences for the way in which sculptural space is conceived. When viewed as discrete mediums the interaction of the photograph and its sculptural subject is always framed by notions of loss. However, when taken as a composite system, the sculpture-photograph proposes a new ontology of space. In place of the fixity of medium, we can observe a topology at play: a theory drawn from mathematics in which space is understood not as a static field but in terms of properties of connectedness, movement and differentiation. Refracted through the photographic medium, sculpture becomes not a field of fixed points in space, but rather as a fluid set of relations - a continuous sequence of multiple ���surfaces���, a network of shifting views. This paper will develop a topological account of studio practice through an examination of the work of the contemporary Belgian sculptor Didier Vermeiren (b. 1951). Since the 1980s, Vermeiren has made extensive use of photography in his sculptural practice. By analysing a series of iterations of his work Cariatide �� la Pierre (1997-1998), this paper proposes that Vermeiren���s use of photography reveals patterns of connection that expand and complicate the language of sculpture, while also emphasising the broader topology of the artist���s practice as a network of ���backward glances��� to previous works from the artist���s oeuvre and the art-historical canon. In this context, photography is not simply a method of documentation, but rather a means of revealing the intrinsic condition of sculpture as medium shaped by dynamic patterns of connection and change. In Vermeiren���s work the sculpture-photograph, has a composite identity that exceeds straightforward categories of medium. In their place, we can observe a practice based upon the complex interactions of objects whose ontology is always underpinned by a certain contingency. It is in this fundamental mobility, that the topology of Vermeiren���s practice can be said to rest.