The relationship between TQM practices, quality performance, and innovation performance: An empirical examination

This empirical study examines the relationship between total quality management (TQM) and innovation performance and compares the nature of this relationship against quality performance. The empirical data were obtained from a survey of 194 managers in Australian industry encompassing both manufacturing and non-manufacturing sectors.

The knowledge economy and innovation: certain uncertainty and the risk economy

The knowledge economy is a dominant force in today's world, and innovation policy and national systems of innovation are central to it. In this article, we draw on different sociological and economic theories of risk to engage critically with innovation policy and national systems of innovation. Beck's understanding of a risk society, Schumpeter's innovation thesis, and Perez's techno-economic paradigm are used to consider the risk economy, and the broader risk implications of knowledge economy policies and their associated innovation systems. Derrida's theory of haunting provides the methodological framework for our discussion. We use his notion of “hauntology” to conceptualize the risk economy as a ghost that haunts knowledge economy policies and systems. The spectral risk economy draws attention to the inherent instability of the knowledge economy, and challenges the certainty of its economic dogma by offering an alternative perspective. The risk economy problematizes knowledge economy policies and systems by revealing the uncertain and “undecidable” future of social, political and cultural hazards ignored in the interest of commercial gain.

Cross-discipline collaboration and innovation in the design studio : drawing on the Bath model

As information expands and comprehension becomes more complex, so the need increases to develop focused areas of knowledge and skill acquisition. However, as the number of specialty areas increases so the languages that define each separate knowledge base become increasingly remote. Hence, concepts and viewpoints that were once considered part of a whole become detached. This phenomenon is typical of the development of tertiary education, especially within professional oriented courses, where disciplines and sub-disciplines have grown further apart and the ability to communicate has become increasingly fragmented.
One individual and visionary who was well acquainted with the shortcomings of the piecemeal development between the disciplines was Professor Sir Edmond Happold, the leader of the prestigious group known as Structures 3 at Ove Arup and Partners, who were responsible for making happen some of the landmark buildings of their time, including Sydney Opera House and the Pompidou Centre, and the founding professor of the Bath school of Architecture and Civil Engineering in 1975. While still having a profound respect for the knowledge bases of the different professions within the building and construction industry, Professor Happold was also well aware of the extraordinary synergies in design and innovation which could come about when the disciplines of Architecture and Civil Engineering were brought together at the outset of the design process.
This paper discusses the rational behind Professor Happold’s cross-discipline model of education and reflects on the method, execution and pedagogical worth of the joint studio-based projects which formed a core aspect of the third year program at the School of Architecture and Civil Engineering at the Bath University.

A creative twist: management theory, creativity and the arts

For many theorists and practitioners in the area of organizational theory, HRM, marketing and other domains of organization studies, organizational creativity is something to be distilled and managed as an element of organizational performance. The article argues, however, that this process of appropriation from the creative arts is subject to a number of problematic transitions. The article's starting point is the notion of creativity itself. Within the creative arts, the question of what constitutes creativity and its relationship to artistic practice is subject to considerable debate. This debate centers on the question of whether creativity represents an essentialist and inexplicable (even spiritual) component of artistic practice or whether creativity is a trait of work and cannot be attributed as a unique aspect of art. The mantra of creativity provides nothing more than a means to control individuals and provide them with a false hope that contributing to the success of business will provide a means to self fulfillment.

Women primary principals in independent schools : creativity and inspiration

The purpose of my research is to reinvigorate educational leadership through improved understandings of women primary principals in Independent schools, thereby rethinking the current directions. By 'reinvigorate' I mean investigate what serves as inspiration for current women primary leaders and explore how this might be better used to generate the kinds of educational change that lead to more dynamic primary school leadership. These 'improved understandings' are expected to suggest a reconceptualizing of primary school leadership by, what I coin 'response-ability'. By 'response-ability' I mean to expose untapped potentials in primary leadership performance so that the leader utilizes the full range of their knowledge, skills and values.

There are acknowledged gaps in the primary school Independent sector concerning women in leadership both theory and practice and in this instance the Victorian context. Considerable research surrounds educational leadership [Peter Hill (2003), Neil Cranston (2001), Frances Townsend (1999),Helen Telford.(1996) and Caldwell & Spinks (1992)]. In particular Jill Blackmore's, (1999) research analysed a number of projects focusing on women secondary principals. As a critique of leadership her research exposed the gendered influences reinforced through culture, values and language

However there has been limited research into women in primary leadership and the implications for the Independent sector. In summary this research aims to understand women in primary educational leadership and investigate the significance of their untapped knowledge, skills, attitudes and values. Furthermore to propose what may constitute 'Response-able' leadership that could serve to highlight ethical principles, authenticity and creativity.

Creative tensions? Creativity and basic skills in recent educational policy.

Recently, in response to sustained criticism about the standards driven curriculum, UK government agencies have been promoting creativity in schools. In this article we explore how creativity is being defined in current national educational policy statements; how these definitions relate to other theoretical work on creativity, and the implications for the curriculum and pedagogies.

Aesthetic experience and innovation in practice–led research

Within the context of ERA, this paper addresses the question of how we might provide practitioners with a framework for understanding creative arts research as the production of new knowledge. Drawing on the thought of Julia Kristeva, it examines the aesthetic underpinnings of discovery and the implications and significance of this for research training and the development of more effective pedagogies both within and beyond the university.
Kristeva’s work constitutes both an implicit and explicit critique of science allowing us to conceive of artistic research as an experiential and performative production of knowledge. As a mode of enquiry, artistic practice reveals the inextricable and necessary relationship between practice and theory, interpretation and making, art and life. This interrelationship underpins the aesthetic dimension of revolutionary practice and its production of unfamiliar or mutant forms of knowledge that is often difficult to grasp in terms of its capacity to engender social change and innovation. In the context of creative arts practice as research, the notion of experience-in-practice indicates that interpretation and analysis must fall to the practitioner-researcher, himself or herself, rather than to another person who has been external to the procedures of making, to trace the significant experiential, subjective and emergent processes involved in the production of the work that allows it to reveal the new. This is necessary if the generative and revolutionary impact of artistic research is to be fully understood in the wider research arena. In the final part of this paper, I will apply and illustrate these ideas through an analysis of a number of artistic research projects successfully completed in Australia.

Beyond Simon’s means-ends analysis : natural creativity and the unanswered ‘why’ in the design of intelligent systems for problem-solving

Goal-directed problem solving as originally advocated by Herbert Simon’s means-ends analysis model has primarily shaped the course of design research on artificially intelligent systems for problem-solving. We contend that there is a definite disregard of a key phase within the overall design process that in fact logically precedes the actual problem solving phase. While systems designers have traditionally been obsessed with goal-directed problem solving, the basic determinants of the ultimate desired goal state still remain to be fully understood or categorically defined. We propose a rational framework built on a set of logically interconnected conjectures to specifically recognize this neglected phase in the overall design process of intelligent systems for practical problem-solving applications.