Secret Squirrel Stuff in the Australian Curriculum English: The genesis of the ‘new’ grammar

In much the same way that a squirrel stores a range of food in a range of places, the Australian Curriculum, Assessment and Reporting Authority’s (ACARA) Australian Curriculum: English (ACARA, 2015) stores references to grammar in a range of places. This paper explores some seemingly ‘hidden’ grammars within the AC:E to (re)discover their genesis and how they unfold across Foundation to Year 6. The first ‘Secret Squirrel’ moment centres on the introduction of a new grammar which weaves traditional Latin-based and Systemic Functional Linguistics (SFL) theory. The second ‘Secret Squirrel’ moment centres on the use of one sub-system of SFL Theory, the System of Appraisal, and its potential to provide an analytical lens for ‘reading’ the interpersonal meaning within narratives. The remainder of the paper draws on Goodson’s (1990) notion of curriculum as a social construction, paying attention to the levels of processes and (potential) practice. This part of the paper focuses on the System of Appraisal as it is introduced in the AC:E and then translates the Content Descriptions to an example analysis. One stimulus text, Melanie Watt’s (2012) children’s picture book ‘Scaredy Squirrel at the Beach’, is introduced then analysed using the System of Appraisal as an analytical lens for identifying how language choices ‘go to work’ (Macken-Horarik, 2003, p. 285) on readers, that is how Watt’s language choices are crafted so a ‘compliant’ child reader (Martin & White, 2005, p. 62) has the opportunity to ‘feel with’ and thus ‘adjudicate’ the behaviour of characters in particular ways (Macken-Horarik, 2003, p. 285).

Water bottles from China: Decoding visual grammar

On the ALEA Study Tour to China, Beryl Exley and her roomie Kathryn O’Sullivan pondered over their first night dilemma whilst staying at a hotel in Beijing. They read the room service guide (in English) which advised against drinking the tap water and confirming the supply of one bottle of complementary water per guest per day. The room service guide listed ‘special’ bottled water was the equivalent of $AUS7 per bottle. However the dilemma was this: sitting on the shelf above the fridge were three different kinds of water-like bottles. Each had a different label, written mainly in Chinese characters. Not wanting to mistake the bottles, Beryl and Kathryn set about decoding the text of the three bottles in question.

Prediction of masonry compressive behaviour using a damage mechanics inspired modelling method

Masonry under compression is affected by the properties of its constituents and their interfaces. In spite of extensive investigations of the behaviour of masonry under compression, the information in the literature cannot be regarded as comprehensive due to ongoing inventions of new generation products – for example, polymer modified thin layer mortared masonry and drystack masonry. As comprehensive experimental studies are very expensive, an analytical model inspired by damage mechanics is developed and applied to the prediction of the compressive behaviour of masonry in this paper. The model incorporates a parabolic progressively softening stress-strain curve for the units and a progressively stiffening stress-strain curve until a threshold strain for the combined mortar and the unit-mortar interfaces is reached. The model simulates the mutual constraints imposed by each of these constituents through their respective tensile and compressive behaviour and volumetric changes. The advantage of the model is that it requires only the properties of the constituents and considers masonry as a continuum and computes the average properties of the composite masonry prisms/wallettes; it does not require discretisation of prism or wallette similar to the finite element methods. The capability of the model in capturing the phenomenological behaviour of masonry with appropriate elastic response, stiffness degradation and post peak softening is presented through numerical examples. The fitting of the experimental data to the model parameters is demonstrated through calibration of some selected test data on units and mortar from the literature; the calibrated model is shown to predict the responses of the experimentally determined masonry built using the corresponding units and mortar quite well. Through a series of sensitivity studies, the model is also shown to predict the masonry strength appropriately for changes to the properties of the units and mortar, the mortar joint thickness and the ratio of the height of unit to mortar joint thickness. The unit strength is shown to affect the masonry strength significantly. Although the mortar strength has only a marginal effect, reduction in mortar joint thickness is shown to have a profound effect on the masonry strength. The results obtained from the model are compared with the various provisions in the Australian Masonry Structures Standard AS3700 (2011) and Eurocode 6.

Sepulchre

The work in Sepulchre (2015) came from my research into female ritual practices and my fascination with specific mythological and historical narratives. These themes were explored during a month-long Summer Residency at Boxcopy Contemporary Artspace. Of particular note were the chronicles and rituals from the terrain around the Adriatic Sea, including Greece and Italy. During the residency, I kept referring to specific mythological texts, which had women as the main protagonists. I kept returning to female characters whose representation was framed by aspects of their sexuality. When looking at these women together, they seemed to sit within a greater narrative archetype, a communal dialogue of shared characteristics, repetitious narrative components and mutual landscapes. Sepulchre became my attempt to develop a conversation between these women by drawing from their commonality, and reimagining these collective elements into sculptural objects and moving images. The video explores an apotropaic gesture, a Baubo-style ‘flashing’. A glass star chart rests on white cliffs, speaking to the narrative of Andromeda and her position as both a celestial and terrene landscape. Another object, a wall mounted copper light burst, pays homage to the framing device used by Gian Lorenzo Bernini in The Ecstasy of Saint Teresa. By reconciling these dialogues, I was interested in exploring expanded portrayals of female sexuality and depictions of subversive and authorial femininity, developed through connotations with mysticism, ritual practice and women’s knowledge.

Appalling behaviour

'Appalling Behaviour' is a critically acclaimed contemporary Australian monologue, written by AWGIE Award winning playwright, Stephen House. This production, directed and creatively adapted by Shane Pike, was presented at the Brisbane Powerhouse in February 2016, as part of Queensland's LGBTIQ festival, Melt. This adaptation of the work experimented with notions of gender, taking the original script and manipulating character and scene to investigate expressions of identity beyond the traditional notions of binary gender-norms. To this end, the sole character (and actor) was (re)presented as a homeless bi-sexual queen with the aim of inferring that gender un/ab-normative characters can exist not only as disruptors/comments on/agitators of traditional expectations of performed gender (both onstage and off), but can also exist as accepted characters in and of themselves. Put simply: can a bi-sexual queen just be an actor/character in a play, or do all gender extra-normative characters inherently exist as political, social and cultural challengers? If so, why is this the case and should we be aiming for this kind of character to be an accepted part of the performative fabric, seamless and fitting within any onstage situation and play (why can't Willy Loman, King Lear or Nora be gender non-normative), or should such (re)presentations always exist as 'different'? Is it time for individual expressions of gender to just 'be' and be accepted as givens, or are we not quite there yet?

Running Men

In this multi-screen installation, iconic male characters from Hollywood films are reconfigured to create infinitely looping scenes of running; trapping the characters in a kind of Nietchzen eternal recurrence. Stemming primarily from my investigation into anxiety as a shared social experience, the carefully edited, looped, and rotoscoped characters become avatars or surrogates for myself, and for the viewer. Through this editing, they are caught in a space of relentless confusion and paranoia – they run with, and from, anxiety. They are never caught by any unseen pursuers, but are equally unable to catch up to any unseen goal. These figures act as models of masculinity, they are objects of identification and emulation. Simultaneously, as celebrities, they are also fictions of the media sphere, both real and ethereal, they are impossible to grasp. In this duality, the work also references cinema’s tangled conflation of character and celebrity identity. It examines the subjective and intersubjective engagements we can have with popular culture, and the way that these engagements can as strategies to ‘make sense’ of social experiences. The work was exhibited in the Carriageworks space of ‘You Imagine What You Desire’, the 19th Biennale of Sydney.

Dialog

This work, commissioned by Campbelltown Arts Centre, was created as part of an online residency in Western Sydney. The residency took the form of an online survey of students in Western Sydney schools that queried participants on their favourite moments, characters and dialogue from film and television. Using this information as a starting point, the work used appropriated footage to weave together a 6-way cross-screen conversation. Spouting occasionally recognizable phrases that then devolve into meaningless cliché, the narrative content of this fragmented back-and-forth hovers somewhere in between familiarity and non-sense.

Conditions of Compromise and Failure (The Dickensian Aspect)

‘Conditions of Compromise and Failure (The Dickensian Aspect)' acts as a re-enactment of the common trope of television detective dramas. A result of the artist’s repeated immersions in the television program ‘The Wire’, the work forms a node-map of all the named characters featured on the show. While each coloured thread represents and connects together the Byzantine narrative between all of the characters, the sheer mass of connections obfuscates any clear reading at all.

Running men: The precarious, paranoid body in screen culture

This paper discusses my video installation Running Men as an example of how an artist’s appropriative engagements with screen images of the perilous body can reflect the technological zeitgeist of the last hundred years but also create a space of meditative and mediated reflection in Slavoj Žižek’s “endlessness” of the present-future. In this artwork, iconic male characters from Hollywood films are recontextualised to create infinitely looping scenes of running; trapping the characters in a kind of Nietchzen eternal recurrence that suspends them between impending violence and uncertain futures. Stemming primarily from my investigation into anxiety as a shared social experience, one perhaps primed by the increasing intensity of visual culture in the 21st century, these digitally reconfigured bodies become avatars or surrogates for myself, and for the viewer. Through selective editing, these emblematic figures are caught in a space of relentless confusion and paranoia – they run with, and from anxiety. They are never caught by any unseen pursuers, but are equally unable to catch up to any unseen goal. These figures map an historical trajectory of violence and masculinity as it has been projected through various iterations of screen culture Simultaneously, as celebrities, they are also fictions of the media sphere, both real and ethereal, they are impossible to grasp but paradoxically are objects of identification and emulation. In this duality, the work also references cinema’s tangled conflation of character and celebrity identity. This discussion will address the two distinct but connected sites and activities of body/image engagement. Firstly, the artistic process and conceptual ramifications of this activity, and secondly in the artwork’s potential as an installation to provide an opportunity for the viewer (like the artist) to reflect on the constructed-ness and complicated power structures at play in the representation of a gendered body.