Do you really want to ask an underwriter how much money you should leave on the table?

This paper analyses whether the owners of companies seeking to list will leave less money on the table if underwriters are employed to price and market the issue. Our findings indicate that limited liability and Industrial company initial public offerings (IPOs) that have used underwriters have left
more money on the table than those not employing underwriters. Not only is there a direct cost in employing an underwriter but this study suggests there might also be an indirect cost. We also find that a positive forecast earnings per share yield may be useful in reducing the amount of money left on the table.

Factors influencing money left on the table by property trust IPO issuers

While previous listed property trust (LPT) initial public offering (IPO) studies have identified low under pricing returns, this study specifically examines the amount of money left on the table by the pre-IPO owners in this category of IPO. This study investigates 58 property trust IPOs in Australia from 1994 to 2004 and finds that the amount of money left by LPT IPOs is considerably less than industrial company IPOs, implying considerably less uncertainty about the valuation of such IPOs compared to industrials. We also find that more recent (post 2000) LPT IPOs in Australia appear to be significantly different to previous LPT IPOs in both money left and under pricing terms.

An input-output table perspective on measuring construction productivity

In the field of construction economics, input-output analysis based studies' have attracted a lot of interest from the academics and researchers. The wide efforts are to carry out analyses and comparisons of economic indicators in construction sectors across countries and years. There has been little research modelling the construction productivity using input-output tables. This research takes advantage of the input-output analysis to develop a perspective for determining the productivity of an industrial sector. The developed quantitative formulas are fully based on the economic indicators generated from an input-output table. Using the newly published OECD input-output database, historical analyses and comparisons are carried out to indicate the differences of prod uctivi ties of the construction sectors in Australia and Japan.

The use of table and cooking salt in a sample of Australian adults

Dietary sodium, the major source being salt, is associated with hypertension. Australian adults consume more than the recommended amount of salt and approximately 15% of dietary sodium comes from salt added at the table and during cooking. Objective: To determine the frequency of and the demographic characteristics associated with discretionary salt use. Design: A cross sectional survey conducted in shopping centres within Metropolitan Melbourne. Participants completed a questionnaire assessing discretionary salt use and attitudes to salt intake. Outcomes: Four hundred and seventy four surveys were collected (65% female, 77% Caucasian, 64% holding a university qualification). Eighty nine percent of respondents were classified as salt users and 11% as non-salt users. Of the salt users 52% reported that they always or sometimes add salt during cooking and at the table. Those of Asian descent and younger respondents aged 18-24 years were more likely to be salt users (chi2=12.3, df=2, p<0.001; chi2=19.2, df=5, p<0.01). Conclusion: Discretionary salt use remains high. To successfully reduce population dietary salt intake public health campaigns are urgently required and need to include consumer advice to reduce discretionary salt use, whilst reducing the salt added to processed foods. Such campaigns should include younger age groups and should be appropriate for all ethnic backgrounds to raise the awareness of the risks of a high salt diet on health.

Health labelling can influence taste perception and use of table salt for reduced-sodium products

Objective : To investigate the effect of front-of-pack labels on taste perception and use of table salt for currently available and sodium-reduced soups.

Design : Within-subject design.

Setting : Sensory laboratory.

Subjects : Participants (n 50, mean age 34·8 (sd 13·6) years) were randomly served nine soups (250 ml each) across 3 d. Servings differed in: (i) health label (i.e. no health label, reduced-salt label or Heart Foundation Tick); and (ii) sodium reduction (no reduction – benchmark, 15 % less sodium or 30 % less sodium). Before tasting, participants rated their expected salt intensity and liking. After tasting, participants rated their perceived salt intensity and liking, after which they could add salt to the soup to make it more palatable.

Results : Reduced-salt labels generated a negative taste expectation and actual taste experience in terms of liking (P < 0·05) and perceived saltiness (P < 0·05). Perceived saltiness of sodium-reduced soups decreased more (P < 0·05), and consumers added more salt (P < 0·05), when soups carried the reduced-salt label. The tick logo and soups without health labels had no such influence on taste perception.

Conclusions : Emphasizing salt reduction by means of a front-of-pack label can have a negative effect on taste perception and salt use, especially when consumers are able to taste differences between their regular soup and the sodium-reduced soup. Overall health logos which do not emphasize the reduction in salt are less likely to affect perceived salt intensity and therefore are viable solutions to indicate the healthiness of sodium-reduced products.

Artworks : Water Table and Rain Table : presented as part of the Periscope Exhibition, Castlemaine State Festival

Rain Table and Water Table: Delicate splashes and droplets of water act like primitive lenses bringing transparency to the diffused images of celestial bodies. These two installation pieces are inspired by the beauty of the night sky and invite the viewer to consider the cosmos in relation to ones self and to contemplate the discoveries which have changed our understanding of the universe. Water Table and Rain Table are the two works being presented as part of Periscope. Through the form of the science bench or museum cabinet, luminous and projected images play against glass and water invoking the sublime sense of wonder that we have when we look to the starry night sky. Water Table - In 1912 the astronomer, Vesto Slipher made the discovery that “Nebula” were moving at incredible velocities due to the expansion of space itself. This discovery revealed these “Nebula” to be vastly remote and independent galaxies. Water Table speculates on the understanding that when we look into deep space, we also look into deep time. Rain Table is a new work produced for the festival and makes reference to the first telescopic observations of the Moon made by the mathematician, philosopher and astronomer, Galileo Galilei in 1610. The implication of Galileo’s observations gave rise to a radical new understanding of the heavens and our place in it and the final acceptance that the Earth was not the centre of the Universe.

Castlemaine State Festival 2013: Periscope Exhibition: Artwork No 1: "Water Table"

Rian Table and Water Table: Delicate splashes and droplets of water act like primitive lenses bringing transparency to the diffused images of celestial bodies. These two installation pieces are inspired by the beauty of the night sky and invite the viewer to consider the cosmos in relation to ones self and to contemplate the discoveries which have changed our understanding of the universe. Water Table and Rain Table are the two works being presented as part of Periscope. Through the form of the science bench or museum cabinet, luminous and projected images play against glass and water invoking the sublime sense of wonder that we have when we look to the starry night sky. Water Table In 1912 the astronomer, Vesto Slipher made the discovery that “Nebula” were moving at incredible velocities due to the expansion of space itself. This discovery revealed these “Nebula” to be vastly remote and independent galaxies. Water Table speculates on the understanding that when we look into deep space, we also look into deep time. Rain-Table is a new work produced for the festival and makes reference to the first telescopic observations of the Moon made by the mathematician, philosopher and astronomer, Galileo Galilei in 1610. The implication of Galileo’s observations gave rise to a radical new understanding of the heavens and our place in it and the final acceptance that the Earth was not the center of the Universe.

Castlemaine State Festival 2013: Periscope Exhibition: Artwork No 2: "Rain Table"

Rian Table and Water Table: Delicate splashes and droplets of water act like primitive lenses bringing transparency to the diffused images of celestial bodies. These two installation pieces are inspired by the beauty of the night sky and invite the viewer to consider the cosmos in relation to ones self and to contemplate the discoveries which have changed our understanding of the universe. Water Table and Rain Table are the two works being presented as part of Periscope. Through the form of the science bench or museum cabinet, luminous and projected images play against glass and water invoking the sublime sense of wonder that we have when we look to the starry night sky. Water Table In 1912 the astronomer, Vesto Slipher made the discovery that “Nebula” were moving at incredible velocities due to the expansion of space itself. This discovery revealed these “Nebula” to be vastly remote and independent galaxies. Water Table speculates on the understanding that when we look into deep space, we also look into deep time. Rain-Table is a new work produced for the festival and makes reference to the first telescopic observations of the Moon made by the mathematician, philosopher and astronomer, Galileo Galilei in 1610. The implication of Galileo’s observations gave rise to a radical new understanding of the heavens and our place in it and the final acceptance that the Earth was not the center of the Universe.

A dinner party: setting the table

A Dinner Party: setting the table, is a collaborative project curated by Caroline Phillips and Victoria Duckett. It is a cross- media workshop and forum that brings a range of feminist artists, scholars, and social commentators together to explore feminist art today. The project is the first step towards the realization of a larger feminist exhibition (The F Word) which will tour regional Victoria in 2014, later coming to rest in Melbourne.

Using Judy Chicago’s iconic feminist work The Dinner Party (1974 – 1979) as a starting point for research and dialogue, the workshop will explore the local questions and challenges which drive feminist art today. It is also space in which we will together develop feminist artwork.