I first found interest in the future of the meat industry after watching an episode of the Netflix Original Series âExplainedâ. In the episode titled âThe Future of Meatâ, they had several scientists explain how meat is not a sustainable way of life and will eventually lead to the downfall of the human race.
When analysing already collected data, numerous scholars all agreed that meat was not going to be as present in our diets as it is today. This is due to a variety of reasons including:
It takes 75 times more energy to produce meat than it does to produce a vegetable. (TheWorldCounts, 2020)
Takes up a large portion of land mass. (TheWorldCounts, 2020).
75 billion animals are killed each year. (Netflix, Explained, 2019).
50 percent of meat eaters would rather go vegan than kill an animal themselves for Food (Loria, 2018).
As mentiond in the above video, I would like to focus my Digital Artefact on the Future of A.I in the creative industry of film over the next 5-10 years.
Artificial Intelligence has already infiltrated many aspects of the film industry. From AI operated camera equipment to sophisticated machine learning services such as âCinelytic and ScriptBook that mine and analyse keywords attributable to a filmâs themes, dialogue and actors⌠to provide valuable insight regarding which films are likely to be blockbusters â or flops (Farish 2020).
I hope my digital artefact can be used as a demonstration of âfuturistic details used as poetic devices for exoticizing the presentâ (Csicsery-Ronay 2008). My digital artefact will both serve to entertain and to inform audiences about the complex present, past and future of film.Â
References
Csicsery-Ronay, I 2008, The Seven Beauties of Science Fiction, Weslayan University Press, Connecticut USA.
As discussed in the video above, Iâm looking to post a series of video essays looking at various online platforms for entertainment in order to predict what they could become in the future. This topic is inspired by the discussion in the week three lecture talking about prediction and forecasting, as I look to draw on the history of various social media sites to analyse the trends and consistencies, modifying them in a way that makes them plausible as a future reality. This is also in line with the week two discussion on Novums, a term coined by Darko Suvin to describe the âscientifically plausible innovations used by science fiction narratives.â They are a trend of current times, taken in isolation and modified into some future form, which is something I hope to emulate as I analyse current elements of social media entertainment, projecting them into my predicted future andâŚ
Below youâll find a video pitch for a Digital Artefact project I am completing in a subject at university called Future Cultures. This subject examines the tensions between representations of our future in popular science fiction films through the ages and our lived realities.
I have been interested in podcasting as a medium for a long time now, and I feel this idea and subject seem to fit well into the project. As both Josh and I are creative writers, it is also an opportunity for us to not only explore writing for this medium, but also get feedback outside of the writing workshops of university. And of course, to build a portfolio of work and online presence.
The premise of the podcast came to me whilst I was listening to a discussion in my documentary class about how we might make a collaborative documentary while our contact isâŚ
For my Digital Artefact in BCM325, I will be working with UOW Creative
This program addresses head-on with the core of BCM325 â Future Cultures in its innovative format and its focus on the creative industry.
In a discussion paper on Changes in the Educational Landscape, Matthews et al. (2018) point out the diversifying expectations from students around how education is delivered and received.
The overall trend of more favourable attitudes toward online delivery from prospective students and growth in lifelong learning for professionals signal a need to rethink the traditional, on-campus only model of learning.
With emerging competitors such as open universities or online courses, traditional campuses like UOW needs a way to keep up with the democratization of knowledge. UOW Creative, therefore, will come in as itâs a digitized platform for the on-campus model. Techniques in oil-painting once only taught in studio hours can now be sharedâŚ
As a kid in primary, I found my dadâs old Saturn Rocket V model rocket that he had as a kid in an old box that he never got around to setting up. I spent days glueing all of the intricate parts together even down to the small legs on the lunar module. It was sick. (thatâs a technical term) Once I got older I fell in love with futuristic space films that took my imagination to endless places. Having an element of realism was super important to keep me interested though as I like the realistic possibilities that we have before us. But then I realised I donât actually know what the future looks like for space travel. Movies have been shaping my understanding since I was young. Some of my favourite movies include Interstellar, The Martian, Enderâs Game, Walle and Passengers to name a few! However, notâŚ
For this semesterâs DA I will be creating a fictional podcast mini-series in conjunction with. It will be of the speculative fiction genre, focusing (broadly) on potential future apocalypses (grim, I know!).
The narrative of this podcast will focus on two hermits (or otherwise social recluses) who discover that they have missed the end of the world. One is from Australia (me) and the other is from South Africa (Allison), they begin to communicate via HAM radio, and as the series progresses they try to discover how the world ended and if there are any other people still alive.
Obviously, this concept is born, at least somewhat, out of the current coronavirus crisis. It spurred an interest in discovering possible ways that the world could end. While the series will focus on this idea, itâs equally going to be about human survival, there are AT LEAST two living humans afterâŚ
