University Pieces

Musically Inclined

During our recent peer review session, I had the opportunity to sit down with my colleague Riley to delve into the details of our respective digital artifacts. Riley’s digital creation showcased a fresh and innovative concept that had piqued his interest, specifically centered around the creation of vibrant beats. This newfound interest blossomed when he first delved into the world of SoundCloud, a platform that allowed him to explore and experiment with music production. My role in this collaborative discussion went beyond merely providing feedback and answering questions; I was keen to understand Riley’s journey and the emotions he experienced throughout the development of his project.

One of the key takeaways from our discussion was the realisation that even though my podcast project, ‘Klopps and Robbers’, yet to release any episodes, the other podcast that I work on was successful based on the failures of ‘Klopps and Robbers’. Riley emphasised that maintaining an engaged audience based on the incorporation of multiple perspectives. In the case of ‘Thrylos Global,’ which boasts five co-hosts, this goal had been achieved. This insight shed light on the importance of diversity and varied viewpoints in content creation.

Furthermore, our conversation allowed me to gain a deeper understanding of Riley’s project and its unique value proposition. Riley and I emphasised the significance of producing his own beats for content creation, as this approach sidestepped potential copyright infringements, making it a distinct and personalised contribution to anyone’s project.

The Culmination of A Semester’s Journey

As we find ourselves at the end of yet another semester that went by so fast, it’s an opportune moment to pause and reflect on the journey of our digital artifact. While it may not have soared to the heights of success we initially envisaged, it remains an invaluable experience that has left a profound mark on our academic and creative pursuits. It’s intriguing to note that this endeavour, which is evidently lacking any recorded episodes, has still been a worthwhile adventure.

Our idea, christened as the ‘Klopps and Robbers Pod,’ was born from a shared passion for the Liverpool football team. This podcast, envisioned as a platform to dissect the triumphs, tribulations, and the never-ending excitement surrounding Liverpool, was not solely a product of my own making. It was a collaborative effort, crafted with the creative synergy of my fellow student, Cruz, who shared an equal love for the subject matter. It was the perfect match for such a project. 

What makes our project even more intriguing is the context in which it was nurtured. It found its rightful place within the overarching framework of Mavro Productions, a media company that I had embarked upon as an entrepreneurial endeavour. This company, under the umbrella of which ‘Klopps and Robbers Pod’ was nurtured, became a laboratory of sorts for us to experiment, innovate, and learn from our mistakes. It served as a vivid testament to the spirit of entrepreneurship and the exploratory nature of academia, where we weren’t just passive learners but active creators.

One critical aspect that, in hindsight, could have significantly enhanced our venture was the establishment of a fixed recording day. In the dynamic world of podcasting, consistency is key, and unfortunately, this is an area where we encountered substantial challenges. Regrettably, both our demanding academic commitments and personal responsibilities made it a tiring task to find a reliable and consistent time for recording. Our schedules often resembled tricky jigsaw puzzles, with every piece representing a pressing engagement, making it challenging to align them in a way that would allow for a regular recording routine.

Even when, through sheer perseverance, we did manage to temporarily align our schedules for recording sessions, the fickle nature of technology conspired to create a frustrating roadblock. Technical glitches, the eternal nemesis of podcasters and content creators, frequently thwarted our progress. From microphone malfunctions to erratic internet connections, these unforeseen issues became a recurring theme in our recording process. These setbacks demotivated us and, at times, even derailed our initial enthusiasm to record a podcast.

Similarly, the unpredictable spectre of erratic internet connections added yet another layer of complexity to our endeavour. The digital realm, while promising a boundless platform for creativity and expression, sometimes proved capricious in delivering the stability we needed. Whether it was the drop of a critical call or the lag in our real-time communication, these internet-related issues frequently disrupted the flow of our conversations and recording sessions.

This experience has undoubtedly provided me with a wealth of invaluable lessons and skills that, in hindsight, I now recognise could have been effectively applied to elevate the overall quality of the ‘Klopps and Robbers Pod’ and potentially allowed for at least one episode to be recorded. As I engage in retrospect and reflect upon this venture, it becomes increasingly apparent that valuable insights were gained along the way, insights that had the potential to transform and enhance the podcast in numerous ways.

One of the key lessons that stands out prominently is the significance of meticulous planning and project management. In the whirlwind of our schedules and technical challenges, it became evident that a well-structured plan, with defined roles and responsibilities, could have streamlined our operations and ensured a smoother production process. This, in turn, could have given us the much-needed consistency that is vital for podcast success.

Additionally, our journey exposed us to the complexities of audio technology and the necessity of having a robust technical setup. Understanding the nuances of microphones, sound editing software, and troubleshooting common technical issues would have greatly reduced the roadblocks we encountered. These insights, had we acquired them earlier, could have saved us countless hours of frustration and allowed for more productive recording sessions, and ultimately work on the goal which was to record the first podcast episode.

Moreover, the world of podcasting is a multifaceted endeavour, extending far beyond the creation of compelling content. It’s not solely about the content itself, but also the art of nurturing a community and executing effective marketing strategies, to keep the audience constantly engaged and to keep coming back to the podcast. Through the lens of our ‘Klopps and Robbers Pod’ project, we began to comprehend the multifaceted nature of this medium and recognize the profound significance of audience engagement and strategic promotion in achieving podcasting success.

Our journey enlightened the critical role that audience engagement plays in the podcasting world. We discovered that, beyond the compelling narratives and insightful discussions, fostering a sense of community around our podcast was very important. Building a loyal and engaged listener base is not merely a by-product of excellent content but a strategic method that demands consistent interaction and connection with the audience.

Upon reflection, the lessons learned regarding audience engagement and strategic promotion, had they been embedded in our approach from the very beginning, could have altered the trajectory of our podcasting adventure. They could have provided the momentum to push through obstacles, ultimately leading us to overcome the limitations that held back the ‘Klopps and Robbers Pod.’ This experience emphasises the dynamic nature of podcasting as a realm where content, community, and promotion are naturally linked and corroborated together, and their collaboration can determine the success of a project.

One noteworthy lesson was the importance of aligning our podcast with the criteria that L Forster defines for a successful podcast. Not only should the episodes have been well-structured and meticulously planned out, but they should have also featured engaging and dynamic hosts. Both Cruz and I initially set out with ambitious plans to delve deep into various aspects of the football team, including discussions about the team’s performance, games, new signings, and a pre-season analysis. However, as the weeks rolled on and games were played, the need to continually generate fresh, captivating content became apparent. Regrettably, many of these promising ideas remained unrealised, presenting us with a missed opportunity for enhancing the depth and variety of our podcast. 

Interestingly, the lessons gleaned from the ‘Klopps and Robbers Pod’ found their true fruition in my parallel podcast endeavour, ‘Thrylos Global.’ Here, I not only applied the principles we had learned but also introduced fresh hosts to the mix, from Greece and Canada to expand the audience and fanbase. The result was nothing short of remarkable, with record-breaking listener numbers and meticulously crafted episodes. These elements not only ensured an engaging podcast but also made the recording process a truly enjoyable experience for all involved.

One can’t help but ponder the missed opportunities that this success of ‘Thrylos Global’ presents. These insights and strategies should unquestionably have been harnessed for the benefit of the ‘Klopps and Robbers Pod,’ at the very least, to draw in a more substantial audience. The allure of the game and the football enthusiasts who could have been a part of our listener base were within reach, had we taken full advantage of the knowledge we had gained from our previous project. 

As the weeks passed, it became increasingly apparent that progress on the ‘Klopps and Robbers Pod’ was at a standstill, and a stark disparity in workload had emerged between the two podcast hosts. In the face of this situation, my primary focus shifted, and the ‘Thrylos Global’ podcast took centre stage as the unofficial core of the Digital Artefact project. It was in the embrace of this shift that I witnessed an encouraging surge of success.

With the ‘Thrylos Global’ podcast, we incorporated four dynamic hosts, with two new hosts, each hailing from different time zones and countries, Australia, Canada, and Greece. Remarkably, this diverse team managed to synchronize their schedules and consistently produce captivating episodes. In stark contrast, the ‘Klopps and Robbers Pod’ struggled in this regard, failing to maintain a similar rhythm and regularity with both of us hosts living within ten minutes of each other.

In the words of J. Hendricks, a podcast is like a face-to-face relationship with the performers. This intimacy, a variety of successful podcasts, was achieved during the recordings of ‘Thrylos Global.’ It was precisely the kind of connection we had intended to cultivate in the ‘Klopps and Robbers Pod.’ However, due to the lack of content production, this aspiration remained unfulfilled, leaving a void in the audience’s engagement and experience, and a project remained empty. 

 Our podcast journey was blocked by persistent technical hurdles that proved to be inevitable stumbling blocks. Despite our meticulous scripting and thorough preparation, these challenges emerged as relentless adversaries, putting our creative process in jeopardy. The disruption was not merely a minor inconvenience; it extended to the very core of our project, seeding seeds of doubt, and disheartening us as we attempted to reschedule recording sessions.

To delve deeper into the technical challenges we encountered, one glaring issue revolved around Cruz’s inability to effectively screen record and the absence of adequate recording equipment to seamlessly integrate with our YouTube live stream, in contrast to me who had a system already to go. Our ambitions extended to providing our audience with a multimedia experience, combining audio content on platforms like Spotify with a synchronised YouTube visual presentation, powered by StreamYard, a tool which has been used by the ‘Thrylos Global’ podcast since its inception. This idea of both Spotify and video was intended so that even if the audience missed the live stream, there was something to fall back on with the Spotify recording. However, the absence of necessary recording equipment and an adequate screen recording setup posed substantial obstacles to the operation of recording the first episode.

One of the key lessons that stands out prominently is the significance of meticulous planning and project management. In the whirlwind of our schedules and technical challenges, it became evident that a well-structured plan, with defined roles and responsibilities, could have streamlined our operations and ensured a smoother production process. This, in turn, could have given us the much-needed consistency that is vital for podcast success.

The success of ‘Thrylos Global’ under the Mavro Productions umbrella serves as a testament to the viability of our chosen niche, football podcasts. With a deeper understanding of market dynamics, competitive analysis, and audience preferences, we might have honed our content strategy to better align with what our audience was seeking, and ultimately add this success to the ‘Klopps and Robbers Pod’ podcast.

In conclusion, the ‘Klopps and Robbers Pod’ may not have delivered the anticipated episodes, but it has developed us with experiences, knowledge, and skills that will undoubtedly influence our future endeavours. It’s a testament to the power of learning by doing and the unpredictable yet fascinating journey of creating something from scratch. As we close the chapter on this semester, we carry forward the wisdom of our unique journey, ready to apply it to future projects and challenges, with renewed determination and spirit.

Bibliography

J, A, Hendricks, 2020, Radio’s Second Century: Past, Present, and Future Perspectives.

L, Forster, 2022, What Makes a Good Podcast? 11 Expert Tips for Success, Matchmaker, accessed 25th October 2023, https://amplify.matchmaker.fm/what-makes-a-good-podcast/.

The Context of the Report

Another Digital Artefact has surfaced within this semester, and here we find ourselves once more, embarking on the journey of crafting more content. This time, our adventure delves into the intricate fundamentals of podcast creation, featuring none other than a collaborative effort between myself and a fellow student, Cruz using our hobbies and interests to create a piece of content that will not only be fun, but rewarding.

The bedrock of our podcast centres around the world of football, with Liverpool FC serving as our subject matter and core focus. Our primary goal? To curate an immersive and genuine fan experience, where we dissect the team, its players, riveting matches, and stay on top of any breaking news. This is huge as Liverpool FC is one of the top fan bases for English football around the world and a massive target audience is at play here.

Week after week, Cruz and I have been brainstorming many ideas. Our journey commenced with the pivotal task of branding. We settled on the name “Klopps and Robbers Podcast.” This title not only pays tribute to a renowned Fantasy Premier League team name, but also playfully incorporates Liverpool FC’s energetic manager, Jurgen Klopp. This initial idea served as the cornerstone for our podcast’s identity, laying the groundwork for our presence on various streaming platforms including Spotify and YouTube, and should instinctively keep us unique from the rest.

However, this journey has been sprinkled with its fair share of hurdles and many ideas of curation. Time constraints loomed large, casting a shadow over our podcasting dreams. Balancing the demands of work and university proved to be a massive feat. Whenever we managed to secure a mutually agreeable recording slot, something would come up, halting our plans and pushing our podcast to an abrupt halt.

Another challenge came in the form of audio technical difficulties. Countless attempts to test and record audio yielded to nothing but frustration, leaving us perplexed and pondering our next move, especially wondering if this audio issue will be ever present throughout every episode that we record.

Perhaps the most formidable adversary we face is the struggle to gain momentum. The list of issues we’ve confronted has diminished our enthusiasm, making it a daunting prospect to step back into the recording booth. The fear that these technical glitches will resurface and once again waste our efforts in uncertainty has cast a shadow over our podcast and whether we can record episode one.

Regrettably, at this current moment, our podcast remains a concept. As we navigate these issues, our identity as podcasters at this moment is untrue. This is something which half way through the semester is not what is wanted to happen, but is what is happening at the moment and we look to change this.

Looking ahead, our primary focus undoubtedly revolves around recording an actual episode of the podcast. The importance of this endeavour cannot be overstated, for once the momentum is there, we are destined to use this power of momentum, propelling us and moving us forward towards more episodes and success.

Drawing from the insight gained during the peer review session, one cannot underestimate the crucial role that social media plays in the modern landscape of both business and personal ventures. This podcast is no exception. A key strategy will be using these digital and social platforms to their fullest potential, through advertising, stories, and engagement. Sharing our podcast episodes and actively engaging our audience through live streams will be the key to a successful podcast episode. By inviting viewers to participate in real-time, we make them an integral part of our show, fostering a deeper connection and sense of belonging. This not only enhances audience engagement but also bolsters our viewership as word spreads organically throughout these means of online communities and communication.

Yet, as we embark on recording the first episode, let us not overlook the importance of setting a specific day to record. It provides our audience with something to anticipate and eagerly await, transforming our content into a highly anticipated event rather than a sporadic piece of average content. This predictability not only encourages viewers to mark their calendars but also serves to enhance the overall excitement and anticipation surrounding the podcast and should hopefully lead to an expansion of audiences week in week out.

In closing, it’s imperative to view the challenges we currently face as invaluable learning experiences that will serve as stepping stones toward the creation of even more compelling content. While we may encounter hurdles along the way, each obstacle is an opportunity for growth and improvement. These areas of improvement include a strict podcast schedule, using social media as a tool to grow and expand the podcast, and garnering support from an audience in order to allow for the growth of the podcast rather than something stagnant.

Peer Review One

During our insightful peer review session, Jade, Cruz, and I engaged in a stimulating discussion revolving around our respective digital artefacts and our fresh creations so far. Jade’s digital artifact shines with a new scent, much like our own podcast on our Cruz and I’s favourite football team, Liverpool FC. Her project, an enthralling mood board meticulously crafted on Pinterest, focuses on the exciting theme of Christmas and a countdown to the big day. My role within this collaborative endeavor centered on comprehending the essence of Jade’s digital masterpiece and strategically contributing my insights to expand its reach among a broader audience. This endeavor encompassed the art of expansion and the strategic construction of her project across various digital platforms.

The lesson learned from our discussion resonated deeply: the. expanding growth of media, and the need for a continuous push in content creation both big and small. In this era, narratives and short-form content reign supreme across all digital platforms, accompanied by the need for advertising within all these platforms. Due to the short attention spam of humanity, which could be at fault to technology. Ultimately, reaffirming the importance of capturing and retaining the attention of a target audience as we navigate the dynamic and intrinsic landscape of digital content creation.

The Klopps and Robbers Pod

As we wind down on an eventful media degree, another digital artefact is amongst us, and this time it is a collaborative effort with fellow student Cruz.

The YouTube channel which it will be uploaded on will be the YouTube channel used in previous DA’s, ‘Mavro Productions’. This makes it easier as the audience is already there, but can also expand with a set podcast every week leading to more ideation and content creation.

The YouTube channel on which the podcasts will be uploaded is none other than ‘Mavro Productions’, the very same channel utilised in my previous Digital Assistants (DA’s). This decision serves a twofold advantage: firstly, the existing audience are already familiar with ‘Mavro Productions’ ensures greater visibility and reach for the podcast; secondly, it opens up new possibilities for expansion by introducing regular content through a podcast series every week. By adopting this approach, we are not only roping in the established fanbase as a starting point but also encouraging the production of fresh and exciting content. With a dedicated podcast to the channel accompanied with the other content of the YouTube channel, the potential for ideation is boundless, thereby providing a solid foundation for more content.

This podcast, named “Klopps and Robbers Pod,” is a digital artefact designed exclusively for enthusiasts who support Liverpool Football Club. Our goal is to produce a high-quality weekly podcast that thoroughly analyses the game of the week, highlights key players and moments, and actively engages with our audience by addressing their questions and comments. My specific role in this endeavour includes creating thought-provoking questions for the podcast, facilitating audience interaction and involvement, and collaborating with my fellow podcast host to create an entertaining podcast week in and week out.

Instead of going through the hassle of scheduling meet-ups and recording sessions, Cruz and I have opted to leverage the power of technology and use Discord as a means to create more content! This decision was influenced by my involvement in another podcast called Thrylos Global, where we discuss and live stream our conversations about the renowned Greek team, Olympiakos. The instantaneous upload feature of our Thrylos Global episodes resonates with me, motivating myself to follow the same pattern for our very own podcast, the Klopps and Robbers Pod.

As depicted in the aforementioned clip, what transpires during the interview is not simply a boring Q&A session. Rather, it takes the form of a dynamic and engaging conversation, with even some jokes and exclusives that the player has never said in any other interview. And it is precisely this distinct quality and conversational technique that Cruz and I aim to capture and deliver through our podcast. Our focus will be centred on engaging in lively discussions about our team embracing the fact that the only setback lies in the fact that our conversations are being recorded. Another two podcasts that are of inspiration are these two below, with a much bigger budget:

Two completely different perspectives, but yet it is on the same sport. We intend to bring a fan perspective on the game, as the above two are from influencers and a professional footballer.

The Final Artefact

The Digital Artefact focused on decarbonisation, with this theme having a direct correlation with cars. Within this report the findings will be present, as well as the overall thoughts of ways in which the environment can be improved.

The main focus of the Digital Artefact was to find a better alternative to electric cars through the case studies of current electric cars, in particular Tesla’s. The methodology was action research, to find an action to the research being discovered. A key limitation within the digital artefact was being motivated to write blog posts and tweets about the topic due to the distaste of the overall topic and time constraints. However, a success which was seen was the ability to find information on electric cars, and the alternative which was being pitched, hydrogen cars.

To start a Digital Artefact, it was imperative to research what ‘decarbonisation’ is, and according to Volkswagen AG it means to ‘reduce carbon’. On the topic of car brands, it was also key to find out which brands are working on electric cars, and it was no surprise to see that Volkswagen, Porsche, Tesla, Toyota, and Hyundai already have or are working on electric car alternatives to petrol cars.

As we delved deeper into the research, it was critical to investigate the various automotive companies that are trying to move towards a more sustainable future. The main brands which emerged during the research conducted were Volkswagen, Porsche, Tesla, Toyota and Hyundai. These companies have already made electric cars, but only Toyota are on the right track in regards to Hydrogen models, which is established in the digital artefact and is spoken about.

The key action was to invest Hydrogen cars, which is a new and exciting initiative that has not been fully discovered. During the early stages of the digital artefact, the electric cars were discovered, and then the use of hydrogen cars was suggested. What does a hydrogen car look like? Well, this AI generated picture depicts what a hydrogen car looks like, and suggesting the futuristic background it seems like AI think hydrogen cars are an idea for the future. However, with the research provided in the digital artefact, hydrogen cars are the way to go over luxurious electric cars.

In terms of future cultures, the Digital Artefact needed to spread its horizons so that the methodology of hydrogen cars becomes a well-known phenomenon, so I took to Twitter to tweet about the future of cars.

The above tweet recently caught the attention of 50 individuals, where the underlying message touched upon a crucial subject that demands attention. The tweet, which delves into deep action research, discusses an action that could completely change the Australian transportation industry – the introduction of the first-ever hydrogen car in the country, the Toyota Mirai. Electric cars are incredible innovative devices, however, they come with a hefty price tag and are actually worse for the environment. Therefore, in order to fulfill the ultimate goal of decarbonisation, hydrogen cars need to be a more affordable option. The tweet emphasised this very point, striving to encourage more discussions on this digital artefact. While there was no active engagement on the tweet, its presence caught the attention of a group of people, hopefully allowing for those people to reflect on the future of cars, and the introduction of hydrogen cars.

The success of the digital artefact can be chiefly attributed to the extensive action research conducted during the course the project. Through analysis and examination, the project was able to uncover a vast amount of information and material that could be effectively conveyed to its intended audience and spark a conversation on decarbonisation. A crucial aspect of this research involved seeking out authoritative sources and expert opinions on the topic under investigation.

In the course of research, it was discovered that there were numerous websites that reviewed a wide range of vehicles. Notable among these sources were Which Car?, CarsGuide and CarAdvice, all of which provided valuable insights for the digital artefact and sparked opinions on specific electric cars. This discovery not only enriched the Digital Artefact project, but it also aided in shaping my own research. Ultimately revealing that while there was a safari of material available on electric cars, while there was limited information on hydrogen-powered cars.

This fascinating observation of hydrogen cars speaks volumes regarding the direction of the world and its future. By implying on the need for a better alternative to electric cars, the project was able to fill a critical gap in the current debate on decarbonisation and its corroboration with transportation. This discovery also highlights the importance of research in driving innovation, and depicts the true impact the digital artefact along with the content created can have in changing the world as we know it in conjunction with the research that comes with it.

One of the primary limitations discovered during the research weeks was the limited availability of information on hydrogen cars. This “lack” of research made it challenging to gather the insights and data needed to fuel the Digital Artefact. This lack of information was intertwined by an overall distaste for the Digital Artefact topic, rendering the entire project more of a “chore” instead of a passion. If there was more flexibility and creative freedom to explore whatever was wanted for the Digital Artefact, it could have been a more inspiring and fulfilling experience, and the actual ‘action research could have been achieved.

After conducting further action research, it became clear that hydrogen cars are currently in much smaller numbers compared to electric cars, with only 15,000 registered in the United States alone. This finding highlights the need for continued innovative development in the field of transportation especially in regards to the topic of decarbonisation. While the world predominately talks about electric cars and their ‘so-called’ impact on our environment, we must not forget about hydrogen cars, which not only have a cheaper consumer cost but can travel further and utilise water rather than the controversial use of lithium found in electric cars.

With this knowledge, the digital artefact’s trajectory was to use the action research conducted to promote and educate the public on the use of hydrogen cars rather than their electric car counterparts. This plan was executed by curating a series of engaging blog posts and thought-provoking Twitter conversations to ignite advocacy for hydrogen cars. By raising awareness of the advantages of hydrogen vehicles over their electric counterparts, the aim is to spark the attention of the car manufacturers and people, whilst also paving the way for a more sustainable transportation system which involves hydrogen. Through the research methodologies used it is clear and undeniable that the future of transportation lies in hydrogen and it is time we recognise this potential.

Despite the limited amount of content available seen in the digital artefact, the research seen in as well as the produced material show the powerful advocacy for the really small hydrogen car movement. The abundance of action research conducted provides further validation and truth as one of the successes of the digital artefact. With the corroboration of reliable statistics and sources, the culmination of the project’s efforts to raise awareness for hydrogen cars shows as an incredible display of its relevance in today’s world and to the fight against the issue of decarbonisation. The main success of this project has been exemplifying the innovation of hydrogen cars as well as encouraging more focus on improved hydrogen car research and development.

Conclusively, although the digital artefact was not something that was a passion nor enjoyable, it provided some excellent action research in the better alternative to electric cars. Using the theme of ‘decarbonisation’, sources, and both blog and Twitter posts allowed for the idea of hydrogen cars to be further evaluated and expanded through the digital artefact.

In conclusion, while the creation of the digital artefact may not have been a passion or source of enjoyment, it actually provided a fantastic opportunity for action research in the realm of transportation. Through the theme of ‘decarbonisation’ with the corroboration various sources and social media platforms like blogs and Twitter, the concept of hydrogen-powered vehicles was thoroughly evaluated and developed. The digital artefact allowed for the gathering and analysis of key information and insights, offering a glimpse into the world of eco-friendly transportation. By pushing the limits of what is currently known and engaging in thoughtful analysis and reflection, we are able to take important steps towards building a cleaner and more sustainable future for all. This future looks like hydrogen power cars and the gradual implementation of these in battle of electric cars. Overall, the digital artefact served as a valuable tool in further expanding the understanding and knowledge surrounding sustainable transportation.

REFERENCE LIST

CarAdvice, 2023, viewed 29th May 2023, https://www.drive.com.au

Carsguide, 2023, viewed 29th May 2023, https://www.carsguide.com.au

J, Voelcker, 2022, Hydrogen Fuel-Cell Vehicles Everything You Need to Know, Car and Driver, viewed 29th May 2023, https://www.caranddriver.com/features/a41103863/hydrogen-cars-fcev/

Volkswagen AG, 2023, Decarbonisation – Simply explained, viewed 29th May 2023, https://www.volkswagenag.com/en/news/stories/2019/03/decarbonization-what-is-it.html#:~:text=The%20term%20decarbonization%20literally%20means,a%20CO₂%2Dfree%20global%20economy

Which Car, 2023, viewed 29th May 2023, https://www.whichcar.com.au

Wait, I tweeted that?

After dedicating myself to tweeting about the films assigned in class, I gained an even broader understanding of the future cultures that may await us. Additionally, I have noticed how the tension of representation between the current state of the world and the future is displayed in these films which can be seen through the course content.

Just like the other weeks of tweeting, I was very busy tweeting to counteract for the movie, but this time, I enjoyed some of the movies with Arrival being a favourite.

The above tweet sparked the conversation of unity and how nations will work within each other in the future culture we will live in, especially in relation to technological advancements. The movie fell under the category of Cyber punk and can clearly be evaluated in that way.

Something that baffled me was the Ready Player One game, and how it relates to escapism. Video games are used as a way to escape from reality, and once you enter the realm of the ‘OASIS’ anything is possible in the open world. This can also be said for the Internet. According to L, Hudson, this has turned the Internet into a nightmare. How anyone can just escape into a different world and engage with technology is something that can been seen within the future culture of the world and how it will operate.

As technology continues to expand, escapism is seen not as a form of being someone else but as an extension of oneself. Technology used to be seen as a way to be anonymous from the world, but this is not the case in today’s world where the ‘digital footprint’ is so vast. Kaspersky indicates that this refers to the trail you leave behind when exploring the Internet. In Ready Player One, the ‘Oasis’ is definitely a depiction of someone’s ‘digital footprint’.

The blockbuster hit Ready Player One is a thought-provoking exploration of the concept of extensions of man, which details how individuals perceive and interact with the world through the lens of technology. The movie sheds light on the notion of technology serving as an escape from reality and enables a deeper understanding of the world. The film masterfully portrays escapism through this lens, showcasing how users can feel a sense of detachment from the real world and instead allow for an interactive virtual experience that stimulates the senses of those playing the game and expands their knowledge of both technology and the real world. This technologically-driven extension of man ultimately presents a distinct contrast between the bleak realities of life and the promising possibilities that technology can offer.

The above two tweets really indicate how the theme of escapism was clearly seen in the movie Ready Player One.

A prevalent theme that is seen in Ready Player One is the concept of cyberspace as a refuge for users seeking an escape from their reality. This notion serves as a consistent testament and reminder to the rapidly expanding landscape of technology and the role it has in shaping the future. The virtual realm of cyberspace is a safe haven where the characters in the movie find peace, away from the harsh realities of the world that they live in. It is an alternate dimension and reality that allows the characters to bypass the limitations of their physical existence and indulge in a world with limitless possibilities. In summary, cyberspace is portrayed as a “virtual safe space” that offers a coping mechanism with dealing with the challenges of the real world that are ever present.

The themes that seem to be depicted in all of the movies together can best be summed up by a quote from Lisa Yaszek who indicated that, “virtual laboratories where we can imagine the best and worst of what technology has to offer.” As I kept watching these films, I keep thinking if technology is aiding in our progress or causing more harm than good for the present and the future.

The future of AI was clearly discovered in the movie Her, does human interaction counteract that of an AI? However, according to G. Bruno if a machine can feel emotions and talk like them, that is the main sign of a human in Sci-Fi. This is clearly seen in the Her movie which struck a cord as an alternative in the future to ‘Internet dating’.

The movie ‘Her’ also implied the ‘human-machine’ mechanism and to see the boundaries communication can take us, and to explore how machines are becoming more and more human like as technology advances. Do we understand ourselves better once we communicate with AI?

Her delves into the complexities of AI and human interaction. It poses the question of whether an AI can genuinely replicate human emotions and surpass human communication abilities. For example, the new Snapchat AI is being coined as ‘another ChatGPT’ and is used as the application tries to differentiate itself from Instagram and Facebook. Clearly indicating a world where communication with AI is seen as normal and not abstract. Additionally, the movie explores the idea of transhumanism, where technology can improve humanity and enhance our overall intelligence to ‘improve’ humans especially with the introduction of think tanks such as ChatGPT. This is ever present in ‘Her’ as the AI is seen to better Theodore as he feels more at ease being with an AI than a real life woman.

The above tweet expresses this thought in a humorous yet thought provoking way as this could be a possible direction for humans in the future of technology and the cultures that come with it.

Conclusively, the future of cultures will be clearly seen with the ideas of transhumanism, cyberspace, cyborgs, AI, and escapism. The movies watched clearly indicate these themes and show a path to the future and how extensively technology will have to play to the world that we live in. The tweets mentioned above further support these claims along as the sources indicated and cited in this blog post.

REFERENCE LIST

A, Hern, 2023, Snapchat making AI chatbot similar to chatGPT available to every user, The Guardian, accessed 22nd May 2023, https://amp.theguardian.com/technology/2023/apr/19/snapchat-making-ai-chatbot-similar-to-chatgpt-available-to-every-user

CBS News, 2023, These films predicted the future of science. How right were they?, CBS Detroit, accessed 22nd May 2023, https://www.cbsnews.com/detroit/news/these-films-predicted-the-future-of-science-how-right-were-they/

G, Bruno, 1987, Ramble City: Postmodernism and “Blade Runner”, MIT Press, https://www.jstor.org/stable/778330?seq=1

Kaspersky, What is A Digital Footprint? And how to protect it from hackers, Kaspersky, accessed 22nd May 2023, https://www.kaspersky.com.au/resource-center/definitions/what-is-a-digital-footprint#:~:text=A%20digital%20footprint%20–%20sometimes%20called,person’s%20online%20activities%20and%20devices

L, Hudson, 2018, Ready Player One is the roadmap to digital dystopia, The Verge, accessed 22nd May 2023, https://www.theverge.com/2018/4/19/17250892/ready-player-one-book-facebook-internet-dystopia

Something In The Water

The lyrics of Carrie Underwood’s ‘Something In The Water’ talk about faith, but the title can also be used to describe the way in which cars can actually be better for the environment. As she becomes ‘changed’ and ‘stronger’ through being baptised, the world can become the same through hydrogen cars growing in popularity.

The Australian government has indicated that hydrogen cars are an emerging technology and something that can be used in the future of car manufacturing. Hydrogen converts fuel into energy, and takes less time to recharge, whilst also emitting zero greenhouse gases. This is definitely a better alternative. Brands such as Hyundai and Toyota have started to emerge in the hydrogen field and are in works of making a Hydrogen model.

A stat that is intriguing is that there are 15,000 hydrogen cars in the USA all in California, but a million electric cars are racing through the country. There is momentum but it is radically decreasing as people are still yet to see the pros of hydrogen. Toyota are hoping to release the Toyota Mirai once a few more charging hydrogen stations get installed and it will be intriguing to see how they will appeal to the car market.

Another reason hydrogen cars can be a better alternative to the ugly Prius or downright awful Tesla is that hydrogen is cheaper and can be mass produced more dramatically. There is also the fact that electric cars take longer to charge, are heavy, and are not reliable for those who need to travel long distances, so the market is thinner. It is said that hydrogen makes for a smoother transition from a petrol or diesel car.

What is needed is investment, companies delving into this market and providing more stations so that hydrogen cars can be massed produced. The growth of electric cars has overshadowed the better and more productive system in hydrogen, which should take the market by storm with a proper marketing plan.

BIBLIOGRAPHY

D, W, Keith, A, E, Farrell, 2003, Rethinking Hydrogen Cars, Science, viewed 11th May 2023, https://www.science.org/doi/full/10.1126/science.1084294?casa_token=h2Xv4oEziWgAAAAA:cSLmA88g6qAz6Pld9CqPUuOO6uOIhoONcuL8uiz391PQnIkxdNE62dar5xBXZfXD7Ovt7uGAmw

J, Dowling, 2021 Toyota Mirai: Australia’s First Hydrogen Car on Sale to the Public ‘Within A Couple of Years’, viewed 11th May 2023, https://www.drive.com.au/news/2021-toyota-mirai-australia-s-first-hydrogen-car-on-sale-to-the-public-within-a-couple-of-years/

J, Voelcker, 2022, Hydrogen Fuel-Cell Vehicles Everything You Need to Know, Car and Driver, viewed 11th May 2023, https://www.caranddriver.com/features/a41103863/hydrogen-cars-fcev/

vehicle information, Green Vehicle Guide, viewed 11th May 2023, https://www.greenvehicleguide.gov.au/pages/LowAndZeroEmissionVehicles/HydrogenVehicleInformation

WhichCar, Hydrogen Cars or Electric Cars: What’s right for Australia, viewed 11th May 2023, https://www.whichcar.com.au/car-advice/hydrogen-cars-v-electric-cars-australia

ASCENSION THE GROUP

What is Ascension? When discussing what game to make, our group wanted to focus on something which is relevant in today’s market. This is Artificial Intelligence, which has taken the technological world by storm.

The division of labour was based on strength. 2 of the group members focused on the mechanics of the game, how the game would be played, and the theme. Whilst myself and another group member focused on the presentation and the other on marketing. What other games are comparable? Do we need crowdfunding?

The role that was given to me was to make videos for the presentation. The main focus of the videos was to introduce the slide or topic that was going to be presented by the other group member. There was no background research done as this was something that is a hobby and doing it for an assignment was achievable.

The process that was implemented was to add relatability but also advertise the game like it would be advertised on the Internet or television, and so I would ensure that the videos were short and got right to the point. This role helped the game become a full prototype because it put a visual picture on what the goal was of the game and that component made me imagine how the game would look based on the videos that were created.

For the above video I focused on the key theme of the game which is, cyber punk and AI, and so I dressed up as an AI/computer stuck. The board game also falls under the category of ‘euro games’ due to how niche it was. So, exploring that in the videos was clear and ensuring that advertising the game as ‘one of a kind’ was clear. The aim of this was to show the key game mechanic of the game which is to escape into the real world (or in the context of the game the Internet). Also showing that going outside in this game, there is a world of possibilities and the open space is endless like exploring the Internet. This was a process of heavy ideation and making sure everything that was filmed was indeed correct and in line with the games’ concept. The main ideation was re shooting and re filming and the position of myself in the camera was clearly visible. Treating it like a proper production showed proper care of the board game.

The above video adds a practical component and a relatable way that people interact with board games. The aim was to allow viewers to understand that Monopoly is not the only board game out there and that there is a whole world of board games. This is also relatable as many people when having board game nights play multiple games and are stuck as to which games are to be played. This can be explored through our game. It also indicated that unlike Monopoly which is a luck based game, Ascension is a skill based game with a focus on resource management. This is a key component of the game mechanics that comes with the game. The aim is to show that there is a need for a game like ours within the board game market as it is not only fun, but actually uses logic to be adapted to all ages.

Since AI is based on the future it makes sense to do a video in the future. I created a world where the board game Ascension was more popular than Monopoly, and the story is being told everywhere. It shows of a world where AI and games revolving around it are a normality, something which could be depicted in today’s world as society is learning to adapt with AI everyday in our lives.

The final video depicts the process a board game usually goes through.

CREATION-SELL-SUCCESS-BUYOUT.

We are seeing these types of purchases being made in the real world, so this video has a lot of game world components to it and is rather non-fiction than fiction. For instance, HASBRO buying D&D for $146.3 million.

A board game company buying the rights to a board game is a common occurrence and makes for a more commercial bounce for the game. The whole video process took two days to complete, ensuring I had enough props around the house and the video idea was useful. I also had to work with the PowerPoint creator, Ethan, and made sure I got the videos within the deadline so that they align not only with his schedule, but that they corroborate with the structure of the presentation too. A key issue however was the formatting of the PowerPoint and the videos could not be played while presenting.

All in all, the process of making videos for the group was a successful one as it not only got the point of what the game is, but divided up the sections in a fun way that gave the audience a ‘commercial break’. We stuck to deadlines, got the videos done, and received some great feedback from fellow group members including the comedic relief the videos bring to the presentation. It was clear that video 1 was a favourite, and was a great way to start the videos as it sets the tone for the rest of the videos. The videos clearly depict a different world, show the game mechanics, the theme, and the genre of the game. So not only did we provide a background of the game, but showed the key points of the game corroborated through comedy.

Other Member Blogs

Paige

Ethan

Rahn

BIBLIOGRAPHY

E, Vlessing, 2022, Gaming-Focused Hasbro Buys D&D Beyond for $146.3 million in Gaming Expansion, The Hollywood Reporter, viewed 9th May 2023, https://www.hollywoodreporter.com/business/business-news/hasbro-buys-dd-beyond-for-146-3m-in-gaming-expansion-1235129523/