Multiple Literacies Theory: Discourse, sensation, resonance and becoming

This thematic issue on education and the politics of becoming focuses on how a Multiple Literacies Theory (MLT) plugs into practice in education. MLT does this by creating an assemblage between discourse, text, resonance and sensations. What does this produce? Becoming AND how one might live are the product of an assemblage (May, 2005; Semetsky, 2003). In this paper, MLT is the approach that explores the connection between educational theory and practice through the lens of an empirical study of multilingual children acquiring multiple writing systems simultaneously. The introduction explicates discourse, text, resonance, sensation and becoming. The second section introduces certain Deleuzian concepts that plug into MLT. The third section serves as an introduction to MLT. The fourth section is devoted to the study by way of a rhizoanalysis. Finally, drawing on the concept of the rhizome, this article exits with potential lines of flight opened by MLT. These are becomings which highlight the significance of this work in terms of transforming not only how literacies are conceptualized, especially in minority language contexts, but also how one might live.

Cold-formed steel columns subject to local buckling at elevated temperatures

Fire safety design of building structures has received greater attention in recent times due to continuing losses of properties and lives in fires. However, the structural behaviour of thin-walled cold-formed steel columns under fire conditions is not well understood despite the increasing use of light gauge steels in building construction. Cold-formed steel columns are often subject to local buckling effects. Therefore a series of laboratory tests of lipped and unlipped channel columns made of varying steel thicknesses and grades was undertaken at uniform elevated temperatures up to 700°C under steady state conditions. Finite element models of the tested columns were also developed, and their elastic buckling and nonlinear analysis results were compared with test results at elevated temperatures. Effects of the degradation of mechanical properties of steel with temperature were included in the finite element analyses. The use of accurately measured yield stress, elasticity modulus and stress-strain curves at elevated temperatures provided a good comparison of the ultimate loads and load-deflection curves from tests and finite element analyses. The commonly used effective width design rules and the direct strength method at ambient temperature were then used to predict the ultimate loads at elevated temperatures by using the reduced mechanical properties. By comparing these predicted ultimate loads with those from tests and finite element analyses, the accuracy of using this design approach was evaluated.

Improved design rules for fixed ended cold-formed steel columns subject to flexural-torsional buckling

This paper has presented the details of an investigation into the flexural and flexuraltorsional buckling behaviour of cold-formed structural steel columns with pinned and fixed ends. Current design rules for the member capacities of cold-formed steel columns are based on the same non-dimensional strength curve for both fixed and pinned-ended columns. This research has reviewed the accuracy of the current design rules in AS/NZS 4600 and the North American Specification in determining the member capacities of cold-formed steel columns using the results from detailed finite element analyses and an experimental study of lipped channel columns. It was found that the current Australian and American design rules accurately predicted the member capacities of pin ended lipped channel columns undergoing flexural and flexural torsional buckling. However, for fixed ended columns with warping fixity undergoing flexural-torsional buckling, it was found that the current design rules significantly underestimated the column capacities as they disregard the beneficial effect of warping fixity. This paper has therefore proposed improved design rules and verified their accuracy using finite element analysis and test results of cold-formed lipped channel columns made of three cross-sections and five different steel grades and thicknesses.

Developing and delivering a software internationalisation subject

This paper describes the content and delivery of a software internationalisation subject (ITN677) that was developed for Master of Information Technology (MIT) students in the Faculty of Information Technology at Queensland University of Technology. This elective subject introduces students to the strategies, technologies, techniques and current development associated with this growing 'software development for the world' specialty area. Students learn what is involved in planning and managing a software internationalisation project as well as designing, building and using a software internationalisation application. Students also learn about how a software internationalisation project must fit into an over-all product localisation and globalisation that may include culturalisation, tailored system architectures, and reliance upon industry standards. In addition, students are exposed to the different software development techniques used by organizations in this arena and the perils and pitfalls of managing software internationalisation projects.

The Stitchery collective : more than pretty clothes for pretty people

As a cultural field, the world of fashion is usually associated with ‘exclusive’ qualities such as celebrity, glamour and the value of being young beautiful and size 10. By and large fashion design courses adhere to this model of fashion production and consumption training their graduates to compete successfully in an industry that seems far removed from the notions inclusivity and connection of community engagement. However, alternative models can and do exist. This presentation tells the story of ‘the stitchery collective’ a group of graduates from QUTs Creative Industries Fashion program who are developing an innovative model of fashion practice focussed around the ideas and values both of community engagement and community cultural development. Their work to date has included projects that target specific community groups – such as “Fashioning Social Inclusion” (2010-2011) that works with Brisbane women who belong to migrant and refugee communities, as well as more recently “WARM” a workshop delivered to children at the 3rd International Kids’ Carnival hosted by La Biennale in Venice (February 2012). A common thread across these programs is a desire to investigate the premise that clothing and dress can potentially act as a lingua franca that enables connection and communication; and that in fact aspects of ‘fashion’ culture can be mobilised in a community focussed context to enhance cultural exchange. The issue of how ‘learning’ happens in these contexts provides rich scope for analysis and discussion – given the innovative and engaged nature of the work our discussion will particularly highlight the ‘leaning through doing’ that occurs as well as the ‘collective’ nature of the design processes we develop and promote. The story will include the voices and perspectives of several of the stitchery collective’s members as well as community partners.

The Stitchery collective : fashion in an expanded field

This practice-based presentation explores the role of fashion as an agent for social inclusion and ethical design practice in communities. The Stitchery Collective is an artist-run initiative based in Brisbane, Australia. Operating at the intersection of craft and design, the fashion-based initiative challenges the assumption that fashion is designed, produced and consumed exclusively in the commercial sector. As a not-for-profit cooperative, the stitchery collective is the first and only fashion organisation in Australia to attract funding under the national and state artist-run-initiative scheme. The collective approach extends to the stitchery design practice, facilitated by individual practitioners working within the organisation who devise programs in the context of collaborative and socially engaged design. Working under the banner of a question, Can fashion be more than pretty clothes for pretty people? the stitchery works to extend the cultural field of fashion practice in the 21st century. The premise of dress as a ‘significant creative or cultural expression’ has informed the expanded definition of fashion practice, as adopted by the stitchery. This alternative classification has fostered partnerships with numerous community groups, including those marginalised in the contemporary fashion context such as recent migrants and refugees. Community engagement programs span design, sewing and up-cycling workshops, sustainability lectures, clothing swaps and public education seminars, supported by partnerships with various cultural, government and educational institutions. In 2011, the stitchery travelled to the Venice Biennale’s 3rd International Children’s Carnival, hosting a workshop series and installation to promote design for sustainability. The proven potential for design to connect community members has motivated the stitchery to question the opportunity for fashion practice to, perhaps uncharacteristically, operate under the banner of ‘design for social good’. Acknowledging craft and design as relational fields, this presentation expands fashion as a tool for social innovation and sustainable practice. The stitchery dislocates the consumer status of fashion with small-scale, localised projects; moving beyond fashion as a dictum of social class to an alternative model that is accessible, conscious, flexible, connected and sustainable. As an undefined post-industrial future approaches, the non-commercial status of the stitchery practice might work to present an image of the active post-consumer. How can the stitchery propose a resilient model of design for the future?

The stitchery collective position paper

This paper introduces ‘the stitchery collective’ – a fashion based artist-run-initiative. First the paper overviews the collective’s broad mission (to use fashion for good) and outlines its operational status. It closes with a brief reflection on how ‘the stitchery collective’ can be seen to contribute to, or align with, the field known as with social innovation.

The stitchery collective

The stitchery collective is fashion-based design collective. Founded in February 2010 the collective brings together creative practitioners from across an expanded field of fashion design to develop innovative new models for both the design, production and consumption of fashion in the 21st century. Under the broad question "can fashion be more than pretty clothes for pretty people?" the collective has developed a range of workshops, exhibitions and creative projects that both engage the wider public and targeted community groups. The projects include "consciousness raising: up cycling workshops, zero-waste pattern cutting workshops, and sewing workshops with members of Brisbane's Karen, Sudansese, and Iraqi communities. Through these projects we test how innovative fashion design practice can engage with questions of environmental sustainability, ethical practices, and social inclusion. Established around a set of people -centred values, the stitchery collective therefore seeks to re-cast fashion as a 'less bad' field of creative endeavor and, one that sustains, inspires and connects individuals and communities. In seeking to develop new models of fashion practice that are socially oriented and environmentally responsible the stitchery outcomes align with the broader field of Design for Sustainability.

Tragedy and assimilation : reciprocity between surface and subject

Here we unveil a tragic triptych of three Australian women painfully painted onto the walls of interior surfaces. The woman at the centre of the triptych is Florence Broadhurst whose tragic death still remains a mystery. To the right is Australian skin illustrator Emma Hack who recreates Broadhurst’s wallpapers, mimicking their colourful patterns onto live models. Hack perfectly assimilates the models’ body into the wallpaper, camouflaging bodies except for small hints at something more in the foreground. In the process of Hack’s images, the models become statues, standing painfully still holding their breath for minutes at a time. The third woman, to the left of the triptych, is the fictional character Candy from the 2006 Australian film Candy. Candy’s traumatic struggle with addiction ends with her conveying her pain in a poem she writes on the walls of her home; culminating her tragic story into a disturbed domestic wall surface. This research tries to understand this relationship with the surface through tragedy as a reciprocal agreement between surface and subject and not a permanent transference between one state and another. What the surface provides in times of personal struggle and turmoil is a method for us to come to terms with out material existence.

Narrative, education policy and the newsprint media : A critical discourse analysis of the construction of young people's participation in education or employment

This thesis used Critical Discourse Analysis to investigate how a government policy and the newsprint media constructed discussion about young people’s participation in education or employment. The study found that a continuous narrative across both sites about government as a noble agent taking action to redress the social disruption caused by young people’s disengagement. Unlike the education policy, the newsprint media blamed young people who were disengaged and failed to recognise the barriers they often face. The study points to possibilities for utilising the power of narrative to build a more fair and rigorous discussion of issues in the public sphere.