Categories
Digital Media Mock Proposals Uncategorized

Do you know how much money your company loses to landfill?

$250 million dollars’ worth of packaging plastic was lost to landfill in 2019

We want to return some of that money to your bottom line

Recover recycling is excited to invite you, Phamatab to be the founding partner of its innovative blister pack recycling program.

By participating you will reduce your company’s packaging costs, deliver on corporate and social responsibility, improve your reputation and be part of a community approach to tackling climate change.

About the Recover Recycling program

Recover recycling is a new enterprise created to bring together a community of corporate partners and participants to deliver a comprehensive recycling program to the community.

Recover Recycling is an enterprise dedicated to helping organisations take responsibility for their entire supply chain life cycle.

Key features of the program

Community engagement is key to the success of the program. Recover Recycling will ask consumers through a comprehensive marketing and social media campaign to collect and send back their blister packs.

On launching we would like to offer two return options.

  1.  Return blister packs back to pharmacy.
  2.  Scan the QR code on the packaging to download a reply-paid post label.

We will achieve this by harnessing the existing fear and anger for the planet and directing it to positive action.

Our brand promise is to hold the big guys accountable. It’s not just a tagline. It’s a promise that we will bring organisations together to make change, as well as we check that what is done is going to make a difference.

Our brand promise offers a level of trust and transparency for our consumers.

Recover Recycling will position ourselves as a middleman, who works to bring together passionate advocates, consumers, and organisations to create change at scale.

We will manage the corporate partnerships, as well as the consumer campaigns, logistics and infrastructure to deliver the program.

Benefits to you

RR would be proud to have Phamatab as our partner. Together we will deliver great benefits to the planet as well as to your bottom line.

In preparation for Australia to move towards a sustainable packaging network, the Australian Packaging Covenant Organisation (APCO) has set the following National Packaging Targets for 2025:

– 100% reusable, recyclable, or compostable packaging

– 70% of plastic packaging being recycled or composted

– 50% of average recycled content included in packaging

– The phase out of problematic and unnecessary single-use plastics packaging

Australian Packaging Covenant Organisation (APCO)

These targets demonstrate industry needs to work towards these changes.  By leading the initiative and launching our partnership now, you will be on track for compliance.

The investment in plastic recycling facilities in Victoria, could uniquely position our partnership and program to be able to offer this service with a margin to other organisations in the future.

In their most recent report, Australian Packaging Covenant Organisation (APCO)  estimated that the lost economic value of plastic that ended up in landfill could have been worth $250 million dollars if it had been recycled (APCO 2021).

We want to return some of those costs, to your bottom line. Our modelling shows that if we meet the 70% recycling target then we can reduce the costs of your blister packs by 50%.

Adding this partnership to Phamatab’s corporate social responsibility initiates, will raise your reputation value, and improve your bottom line by not only recovering resources, but by managing risk (Ewing 2015).

Working together

To make the program successful, we will work together to overcome risks such as:

Reducing our logistics carbon footprint – by partnering with carbon offset programs.

Making the program as accessible and inclusive as possible, which may include captioning in multiple languages, and a pickup option for the collection of blister packs.

Making sure all members of our partnership’s entire supply chain is to our agreed ethical standards – by developing a team which will support our partners to investigate their entire supply chains.

We are asking you enter into a partnership with Recover Recycling to deliver on your corporate social responsibility to own the complete lifecycle of your products

We are asking for funding to cover implementation capital and consumer campaign costs, of what will ultimately be, a self-funding recycling service for blister packs.

Let’s start

You will have received the pitch proposal document which covers the executive summary, market imperative and assessment in detail.

As a first step in our partnership, we have prepared a Heads of Agreement for your consideration.

We are so excited to begin this partnership and help our planet, together.

References

APCO 2021, Australian packaging consumption and recycling data 2018–19, Australian Packaging Covenant Organisation (APCO), retrieved from <https://documents.packagingcovenant.org.au/public-documents/Australian%20Packaging%20Consumption%20And%20Recycling%20Data%202018-19&gt;.

Ewing, AP 2015, ‘Corporate Responsibility’, in Reputation Management: The Key to Successful Public Relations and Corporate Communication, Taylor & Francis Group, London, UNITED KINGDOM, retrieved August 5, 2021, from <http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=1975236&gt;.

All Logos designed and created by Gabi Kendall

Blister pack footage shot by Gabi Kendall

Creative Common Video & Audio Components as follows:

Tracking over trash on beach by Videvo, downloaded from Videvo

Drone footage of an Industrial plants by Kelly Lacy, downloaded from Pexels

Testing The Durability Of A One Dollar Paper Bill by cottonbro, downloaded from Pexels

As we go by Thomas Gresen downloaded from hypeddit

Categories
Digital Media

TravMel

TravMel is an augmented reality (AR) and geolocation application which promotes users to travel and discover more about their local area. The application is set and designed for users to explore Melbourne as their city through a mobile phone device in real world time, with augmented reality effects and geographical location settings. 

The prototype version of TravMel will be designed for Melbourne, Australia with the plans to expand worldwide.

TravMel Application

Why We Started TravMel

We want to show the world why Melbourne is such an exciting place with multitudes to offer. There is so much to learn and explore. 

Travel Bans has made travelling merely a dream. We want to change this idea! Our first thought during a crazy time in the world was how do we increase tourism in Melbourne with a lack of international and state travel?
Explore your own country, city or even state! Travelling does not have to mean far away, and we wish to encourage residents or tourists within Australia to visit the beautiful and exciting city of Melbourne. 

TravMel enables users to discover, explore and ultimately, become a tourist in their own city! It is a simple and fun application that utilises the power of gamification and augmented reality to generate excitement, motivation and a drive to become a tourist in their own city. 

Stretch Goals

​1.  $20000; Individuals who have pledged will receive a trophy displayed in your trophy cabinet for all to see! 
2. $25000; Connect virtually and be friends with the creators of the app.
3. $35000;  Pledges will receive a sticker for their phone case!
4. $50000; Extra customisation features for your avatar
5. $75000; App will be available in a second language. The language chosen will depend on demand from pledges.

Why We Need YOU

TravMel needs to start with YOU. An application designed for personal gain and rewards is guided by the people that utilise it. We want to create a platform which enables users to explore their own city, find new areas and hidden gems, travel to the must hit tourist spots and expand knowledge on areas of Melbourne. We need users that want to explore Melbourne and be willing to generate information and data about their experiences, their favourite travel destinations and more!

We understand with new travel bans and restrictions due to the Covid-19 pandemic that travelling is not really an option right now, which is why TravMel has been created. Explore your own city. Take advantage and start a new adventure.

We need to expand our user base and generate income to keep this dream alive. Help us today by supporting us and pledging to receive a reward! Gain access to the program and start ticking off your dream travel destination guide! With hopes to expand to the entirety of Australia, the success of the Melbourne based prototype of TravMel depends on the help and support we receive. 

Risks And Challenges with the development of TravMel

1. Test marketing
Test marketing evaluates marketing plans and gathers vital information about the success of an application. This testing could include questionnaire surveys and Beta testing. If test marketing fails or is unsatisfactory, the application will have to be modified and changed accordingly which can delay application release.

2. Collecting geographic information
Melbourne is forever expanding and evolving, therefore our software and maps need to continuously evolve and be up to date. Privacy issues also need to be addressed and protected in an application of this kind.

3. Marketing
It is important to continuously expand our user base and increase our numbers to continue with the development of the app.

4. Strengthen and adapt from feedback
To keep target audience from expanding and developing, we need to adhere to concerns and feedback from consumers to continue to produce new content and features and also important software updates.

5. Server
We need to build a server that can be utilised with a large customer base and will not proceed to either lag or shut down due to an increase of numbers of users.

6. App store and Google Play
The chance of potential delays and being approved on both app stores may take time and be a long process. This may impact the timeline for our application release. 

7. Communication with Pledges and Backers
We will always be transparent and openly communicating with backers. We will be updating you on a regular basis and we will be present during the whole process to answer any questions and read every comment.

Support us today by pledging on KickStarter and following all our socials @TravMel.

Authors : Gabi Kendall, Aimee Smith, Jixian Zhu, Christabel Ferris, LuDi Ni

Hypothetical crowdfunding campaign created entirely online using collaboration tools such as, Zoom, Twitter, Trello, Google Docs & Google Drive.

Categories
Digital Media

Digital Media as a Educational Tool

A Digital Media Reflections Podcast discussing the benefits and limitations of using digital media as an education tool.

My podcast prosecuted the argument that using digital media in education can be very successful in promoting engagement and therefore learning. I cited Richard’s 2011 research to establish that meaningful learning happens when a student is actively engaged. I used this as a foundation to then contend that digital media, when used correctly, can be an engaging way to participate in education. I listed the pros and cons of using digital platforms for engagement. I listed five positives – ways learning content can be more engaging; and 4 limitations that can be encountered.

I summarised by concluding that educational content can be readily translated to a digital platform but effort and consideration needed to be applied to different elements of the content so that it remains interesting.

When creating my script and plan for my podcast, I wanted to create a mixture of information for my audience. I aimed to create a balance between my personal experiences with learning with digital media, along with academic research to further explain my argument. Personally, I have really enjoyed learning with digital media. From my own experiences I recognise that I feel more engaged in the units that utilise the community building powers of Twitter. The collaboration, sharing, feedback and encouragement that can be provided through the platform, really allows for a deeper understanding and immersion in the subject matter. 

This personal experience allowed me to form some further direction in my research. I added some scholarly sources on how beneficial Twitter can be.

I also have learned that the transition to online learning was not as easy for others through watching my partner become disengaged through the process. This also became apparent when discussing it with peers who seek training in practical skills. 

I have attended classes where the transition was not as successful. These classes eliminated the usual classroom conversation completely and just had a video or lecture style option of learning. I noticed my lack of engagement in these units. 

These observations informed my discussion and gave me direction for my research on both the benefits and the limitations of studying with digital media.

A Podcast Puppy – Image taken by Author.

In past feedback I have been given, I have been encouraged to not only use music at the beginning and ending of my media, but throughout. I decided to choose a Creative Commons Licensed track that I have used before in one of my Digital Media Reflections videos. I liked how this would create some consistency with my brand. I also chose it as it is very easy listening music and was suitable and not too distracting as background music. 

When citing my sources, I did not want it to sound too clunky and read the whole of the usual Harvard reference out. I decided to just mention the name of the author, and the name of the paper I was citing and move on. I knew that I would be able to include the full reference in the description box of Soundcloud.

When recording I was sure to enunciate, and speak clearly, drawing on years of singing training this was easy for me. If I made a mistake, I just paused, and began the phrase again. This made the editing process smoother. I am lucky to have access to a proper microphone and recording software in my home, which allowed for the quality of the recording to be high. 

Some of the challenges I faced was keeping my podcast short and sweet and under seven minutes. The topic I chose is such a big one, and I immersed myself too far in reading lots of academic journal articles. I decided to just include a couple article sources that would best explain a section of my podcast which I did not think my own opinion would be valuable enough alone. Other challenges included mistakingly giving my puppy a treat to keep him entertained whilst I recorded. This turned out to be a terrible idea as half way through the recoding I noticed I could hear him chewing.

References

Chawinga, D 2016, ‘Teaching and learning 24/7 using Twitter in a university classroom: Experiences from a developing country’, E-Learning and Digital Media, vol 13, pp. 45-61, doi: 10.1177/2042753016672381         

Rajabalee, YB, Santally, MI, Rennie, F 2020, ‘A study of the relationship between students’ engagement and their academic performances in an eLearning environment’, E-Learning and Digital Media, vol 17, pp. 1-20, doi:10.1177/2042753019882567           

Richards, G 2011, ‘Measuring Engagement: Learning Analytics in Online Learning’, Electronic Kazan, retrieved 24 May 2020 <ttp://www.academia.edu/download/37420980/Kazan2011-Measuring_Engagement_vf2.docx>

Roberts, R 2010, ‘The Digital Generation and Web 2.0: E-Learning Concern or Media Myth?’, in Yang, H,H and Yuen, S, C (es.), Handbook of Research on Practises and Outcomes of E-Learning: Issues and Trends, Information Science Refernces, Hershey and New York, pp.93-115.

Music from https://filmmusic.io:

Bossa Antigua by Kevin Macleod (CC by 4.0)

All images taken by author.

Model – Shaxx @adventuresofshaxx on Instagram

Categories
Digital Media

Our Online Performances

Our online performances are presented differently depending on which platform we are using and why – similar to how our behaviour differs depending on which environment we are in.

You often see people talking about ‘The real me’ or their ‘authentic self’ on social media, but really how true can that be?

Research suggests that ‘online identities are easily manipulated at any time by the individual subject or by others. There is no doubt that even this single feature, the ability to “manage” online content at will, is changing the way we see ourselves and each other.’ (Arthur, Paul Longley 2009, p. 76)

This tweet represents what I would like to explore further in this blog post, beginning by outlining some of the differences between my social media use and the contrasting online identity’s this creates.

Given we’ve begun with a tweet, let’s begin with Twitter.

Online Identity
A visual representation of how I use digital media differently. Image created with Canva.

I use Twitter for networking and sharing in a professional manner. I follow university peers as well as communication professionals and politicians and I post content relating to my future career.

I include my website details in my bio and I also I use it to as interact with my university unit content using hashtags. I try to engage with the online community and comment giving feedback on my peer’s posts and hope to receive the same when I post my most recent blogs.

Another channel for professionally voiced content is LinkedIn. This platform is designed for professional networking. You wouldn’t post pictures of your lunch on LinkedIn (unless maybe if you were a chef).

Next comes Facebook, which I use to connect with friends and family I know in real life. I don’t use this platform to connect or network with people I don’t know. This means the online identity I portray on this platform is more personal. I post to it less often than other sites, and I prefer to interact more than post. I also use it to look at memes and to follow groups of my interests (mostly dogs). The messenger function is probably the application I use the most online to connect and chat with family and friends daily.

I also use Snapchat to connect with my family and closest friends. This means I use it in a very silly and causal manner. I like to share silly pictures, videos and use filters for fun which means the identity I share here is less curated.

My personal Instagram – my objective for using this platform is to showcase my creative stylist talents by curating a collection of aesthetically aligned images. In forming this Instagram identity, I employ a consistent colour palette and promote independent fashion brands.

While the content is about style, it reflects quite a personal aspect of my style. I use the “Stories” section to share short videos of things that bring me joy and I often use photos of myself modelling in nature. I reinforce the personal nature of this platform by intentionally using a more casual voice than I use on other platforms.

I connect and follow people all over the world and I have not met everyone I interact with on Instagram. When I make posts, I include lots of hashtags that help widen my audience. This increases the number of potential ‘likes’ and views on the things I am promoting. This helps the brands and businesses I promote as well as delivers some support and recognition to me. Each ‘like’ feels rewarding – it returns a sense of admiration of my styling and curation talent.

I have also recently created an Instagram for the newest edition to my little family – My new puppy Shaxx.

Shaxx’s profile is from his perspective, but obviously due to lack of thumbs, I help him with the posting and typing. Shaxx’s Instagram is casual, fun and silly which is voiced by his use of short words, small sentences and incorrect grammar.

 “He” posts little videos on his stories of his adventures such as his first walk in the outside world, and posts pictures of him and his new parents thanking his rescue organisation for choosing them and promoting adoption. Shaxx’s profile is pubic and he uses hashtags on his photos to reach a wider audience.

Smith and Watson (2014) describe self-presentation in online environments as performative and propose that authenticity is an effect, rather than an essence. Their views are supported by the differing online identities that I have created and maintain across multiple social media platforms.

Like in any performance, whether is it in a theatre or online, you must know your audience. Social media users curate their feeds according to their objectives for using the platform and their online audience, which is often affected by the platform they are using.

 

References

Arthur, P 2010, ‘Digital Biography: Capturing Lives Online’ a/b: Auto/ Biography Studies, vol 24, no. 1 pp. 74–92, doi: https://doi.org/10.1353/abs.2009.0012

Smith, S and Watson,  J 2014, ‘Virtually Me: A Toolbox about Online Self-Presentation’, in Poletti, A and Rak, J (eds.), Identity Technologies: Constructing the Self Online, The University of Wisconsin Press, Madison, pp. 70-95

Images included created by the author using Canva. 
Images embedded from Instagram accounts managed by the author with permission from all included parties.

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