All posts tagged story

  • The Monthly story: ‘Chalking The Walk’, May 2013

    A story for The Monthly in the May 2013 issue - my first contribution to the magazine, in ‘The Nation Reviewed’ section. The full story appears below; the illustration is credited to Jeff Fisher.

    Chalking The Walk

    The Monthly story: 'Chalking The Walk' by Andrew McMillen, May 2013On a Tuesday morning in March, 80-odd young people wearing red T-shirts hopped off two buses in Lismore, in northern New South Wales, and began canvassing shoppers and retailers in the central business district. Their quest, as declared on their chests, was to help end extreme poverty. Not in Lismore per se, but globally, by petitioning the federal government to bump up its foreign aid spending.

    The team was one of many converging on Canberra from around the country, as part of “The Roadtrip”, a week-long campaign organised by the Oaktree Foundation, the youth-run group that also arranged the MAKEPOVERTYHISTORY concert in 2006. About eight hundred “ambassadors” were taking part all over the country. Their aim was to gather 100,000 signatures, or around 125 each, over the course of the trip via a smartphone app.

    The target didn’t sound overly ambitious. But, by noon, many of the locals out and about in central Lismore had been approached several times. Some were starting to get ticked off. “We’re actually irritating people now,” noted a group leader, Tammy, and the entire team retreated to a McDonald’s restaurant, where the buses were parked. One overweight team member was in tears. A local woman had accosted her, shouting: “If you stopped eating at fuckin’ McDonald’s, there wouldn’t be any poverty!” The canvasser’s peers moved in to soothe her. “That’s really rude,” someone countered.

    Three days earlier, the volunteers, aged from 16 to 26, had met for the first time at the University of Queensland in Brisbane to undertake an intensive course in political campaigning. Most were university students; a handful were still in high school. Ebony from Townsville was a champion skateboarder pining for her board. James, 21, was a soccer-mad Scot. Emily Rose, a petite redhead, showed off an unnerving party trick: the ability to dislocate her limbs at will. Each had stumped up $400 to cover food, travel and accommodation costs.

    The ambassadors had been taught some handy lines: “The door to ending poverty is opened by thousands”; “Two-thirds of the 1.3 billion worldwide living in poverty are our neighbours”; and “Australia’s fair share is just 70 cents in every $100 to fight global poverty”. This last line was central to the campaign. In 2000, Australia agreed to adopt the United Nations’ Millennium Development Goals, aimed at reducing extreme poverty. This meant setting aside 0.5% of Australia’s gross national income for foreign aid by 2015 (recently put off till 2016) and 0.7% by 2020. Currently, the nation contributes 0.37%.

    “The government has made a commitment,” the Roadtrip ambassadors pitched to shoppers. “We’re here to keep them true to that.” At night, the team slept rough in local church and sports club halls. By day, when not canvassing or on the buses, the team courted the local media, debriefed, attended further campaigning lessons and enjoyed “personal energising time”, as spare hours were denoted on the itinerary. Some members worried that they were falling behind on their petition targets. “Relax, it’s not about the signatures,” said a group leader. “It’s about the movement.”

    The day before they were in Lismore, the team had detoured briefly to the retirees’ paradise of Bribie Island, where half the group “chalked the boardwalk” with messages – “Help keep the promise of a fair share!” – while the other half were assigned the task of “painting the town red”, by asking local businesses to display campaign posters in their shop windows.

    Many shop owners were charmed enough to comply. “I don’t think they’ll achieve anything, but good luck to them,” a 74-year-old manager said. A girl serving ice-cream next door could barely remember the pitch – “something about foreign aid?” – but said she assented to their request because “they were young, and looked like they were important”.

    Wyatt Roy, the 22-year-old local MP, joined the ambassadors for a barbecue lunch. Wearing sunglasses and a crisp white shirt with rolled-up sleeves, he stood on a picnic table and said, “In this job, very often do people come to me with problems, and very rarely do they come with solutions. Thanks so much for doing what you’re doing.” As the team left Bribie, a sudden downpour washed away the chalked messages. The ambassadors coasted into Canberra two days later, via Kempsey and Port Macquarie, late on Wednesday afternoon, with 47,000 digital signatures.

    The next morning, at seven o’clock, the various busloads from around the country assembled at Parliament House. A giant map of Australia had been painted on the lawn, and the eight hundred ambassadors stood within their respective state boundaries. Chanting slogans, they made a lot of noise. Greens MPs hung around. A cherry picker was on hand so that TV crews and Oaktree’s media team could take shots from above. Bob Carr, the foreign minister, addressed them. “We are on target for 0.5%,” he said, before turning and gesturing behind him. “It’s up to you to persuade everyone in that building that they’ve got to act!”

    Scores of meetings had been scheduled between ambassadors and their local MPs, but many representatives either cancelled or sent staff in their place. Julie Bishop, the shadow foreign minister, slated to speak at the morning assembly, sent her apologies, too.

    The bus trip home, via Sydney, was a long one. A question kept coming up: had they actually made a difference? Was Wayne Swan, the treasurer, any more inclined to heed their call to increase spending on foreign aid by a third, to 0.5% of gross national income? His sixth federal budget will answer that, on 14 May. No one is holding their breath.

  • Rolling Stone story: ‘Hungry Kids of Hungary Get Serious’, February 2013

    A story that was published in the March 2013 issue of Rolling Stone Australia. Click the below image for a closer look, or read the article text underneath.

    Hungry Kids Of Hungary Get Serious

    Personal tragedies and isolation inform the Brisbane band’s second album

    'Hungry Kids of Hungary Get Serious' story in Rolling Stone by Andrew McMillen, February 2013A band that writes a debut album brimming with sunny indie pop songs can be reasonably expected to write more of the same for their follow-up. Such was the situation in which Brisbane’s Hungry Kids of Hungary expected to find themselves following 2010’s Escapades, which hit a sweet-spot between classic Sixties-era pop and their modern take on the form. Real life has a habit of intervening, though.

    In March 2011, the four-piece – Dean McGrath (lead vocals, guitar), Kane Mazlin (lead vocals, keys), Ben Dalton (bass) and Ryan Strathie (drums) – were booked for a three-week tour in North America, including showcases at South By South West and Canadian Music Week – great opportunities to extend the band’s growing reputation overseas. Then, suddenly, all shows were cancelled and the band was homeward bound.

    “2011 was a pretty full-on year for me,” says McGrath, whose experience triggered the return journey. “A lot went down. Naturally, that really coloured the songs I was writing.” He won’t be drawn on specifics, but notes that a “personal tragedy that affected someone I was close to” meant that he had to catch the next flight home.

    “That incident echoed throughout the whole year for me,” the singer/guitarist continues. “It was an ongoing ordeal. It’s funny; writing songs for this band, we’ve always been fairly carefree, but after that [experience], these songs started coming out that were fairly intimate and personal. I was like, ‘shit, how are people going to react to this when they hear it?’”

    The result is You’re A Shadow, a collection of songs somewhat divorced from Escapades’ brimming optimism. Kane Mazlin’s contributions were coloured by a sense of isolation and melancholy, too, in part influenced by a stint in Denmark while his girlfriend took an internship. “She was busy during the day. I was by myself: I didn’t speak Danish, didn’t know anyone,” he says, over a beer in late December. “That had a huge impact on two or three of the songs that I wrote.”

    It wasn’t all bad news internationally, though: footage filmed at the Dutch festival Pinkpop in May 2012 shows the band performing before a crowd of thousands. “The Netherlands seems to be the area where it’s taken off, which is weird,” says McGrath. “When we started talking about doing overseas stuff, that’s not really the area that we imagined we’d be delving into.” Mazlin chimes in: “I think Nirvana started there, didn’t they? It’s a goldmine!”

    After the rush of Pinkpop, though, it was an abrupt comedown in Belgium. The band played that show – “a giant blur of fun” is how Mazlin describes it – and then drove half a day to Antwerp. “We played a tiny show there, where no-one knew who we were,” says McGrath. “We were like, ‘what the hell? We only drove for a few hours, why don’t people know us here if they know us there?’ You forget that it’s a different country! We crossed a border, and they don’t get the same radio [stations]. Touring Australia has conditioned us to think that it’s natural to drive a few hours to get to the next big city!”

    When it came time to choose which tracks made the new album, the four tended not to argue too much about what made it past the rehearsal room. “We do try to keep it to four equal votes, but if two of us feel really passionately about something, then the other two will probably either give it a go, or scrap it,” says McGrath. “Song-wise, we haven’t had to do that a lot leading up to this record, because we’ve seen eye-to-eye on most things without any need for debate – which makes life easier.”

    Five things that influenced You’re A Shadow

    Classic pop

    Kane Mazlin: “I listened to a lot of Camera Obscura, The New Pornographers and The Shins; really nice, classic-sounding pop records with great guitar sounds.”

    Live quintet

    Dean McGrath: “Knowing that there’s a second guitarist during live shows drastically affected the way that I write my parts – it’s not so chordal, busy and strummy.”

    Debut co-write

    Mazlin: “We were on the same wavelength this time, to the point where we were able to co-write a song, ‘When Yesterday’s Gone’ – something we’d never done before.”

    Deerhunter

    McGrath: “I listened to Halcyon Digest on repeat for months, and it heavily influenced how we recorded a few songs in the studio: that ‘lo-fi pop songs, washed out’ approach.”

    Producer Wayne Connolly

    Mazlin: “He had great ideas from the very first email: he told [bassist] Ben Dalton, ‘you need a hollow-body bass and flatwound strings’. It sounded awesome!”

  • The Vine feature: ‘A Guide To Cannabis Law In Australia’, December 2012

    A feature for The Vine. Excerpt below.

    A Guide To Cannabis Law In Australia

    “Marijuana Use Most Rampant in Australia,” read a New York Times headline in January 2012. Cannabis – marijuana, weed, pot, hash; whichever other name you prefer – remains the most widely used illicit substance in Australia today by a big margin. Approximately 1.9 million Australians aged 14 years and over have used cannabis at least once during the past year; more than a quarter of a million smoke cannabis every day, according to data compiled by the National Cannabis Prevention and Information Centre (NCPIC). Keep in mind, too, that these figures were taken as part of the 2010 National Drug Strategy Household Survey; plenty more users were either unaccounted for, or chose to lie about their drug usage, so the true figures are probably even higher. This reality can be viewed one of two ways, depending on your personal politics.

    Either: it’s great that so many Australians enjoy the occasional puff, as its illegality is an arbitrary hangover from conservative generations past, and its negative effects are significantly less serious than those incurred by alcohol abuse or tobacco addiction.

    Or: it’s outrageous that so many Australians smoke up, as cannabis is a devil weed whose availability should be pushed further underground lest its psychological and subversive effects further corrupt otherwise sensible citizens.

    Illicit drug use is not a topic that attracts moderate views. Weaned on the powerful moralising of media sensationalism, political cowardice, and harsh words from the police force, many Australians are raised to believe that drugs are bad; the province of losers and law-breakers.

    Progressive views are slowly prevailing across the Western world, though, as many realise that the Nixon-led ‘war on drugs’ – which celebrated its 40th anniversary in 2011 – did very little to break the cycle of power, violence and addiction that has forever plagued illicit drug culture. (For a succinct primer on the topic, my brother Stuart McMillen recently published a 40-page comic, ‘War On Drugs’, which outlines why drug prohibition hasn’t worked.)

    Immediately following the 2012 Presidential Election results in November, cannabis users worldwide rejoiced at the surprising news that two states in the war-on-drugs heartland, Colorado and Washington, had voted to legalise recreational use under state law. Colorado users will be able to grow up to six plants; in Washington, users will buy from state-licensed providers, and the sale of cannabis will be taxed and regulated, much the same as alcohol and tobacco already is. If you’re over 21, the drug will be legal to sell, smoke and carry – as long as you don’t drive while high.

    Australian pot smokers wondered whether they might see a similar decision – if not soon, then at least in their lifetimes. TheVine snooped around on your behalf, with a view to determine Australia’s current cannabis laws on a state-by-state basis and look to its future legal status.

    Dr Alex Wodak, president of the Australian Drug Law Reform Foundation, points out that Australian states don’t have ballot initiatives like the one that led to the recent weed votes; in fact, most US states don’t. “Australia will not see ballot initiatives on taxing and regulating cannabis like Colorado and Washington states,” Wodak tells TheVine. “Our cannabis reforms started in the 1980s in South Australia. We have had two decades of creeping liberalisation of our cannabis laws at the state/territory level. I think this process will accelerate now, but that it will still take a couple of decades before Australia taxes and regulates cannabis in all states and territories.”

    Legal weed in Australia? “It’s now inevitable,” continues Wodak. “There are so many contradictions and issues undermining cannabis prohibition. Sooner or later, the bosses of one or the other major [political] parties will realise that it is in their interest to get there first. But all social policy reform is slow.”

    To illustrate, Wodak points out that 2012 is the 40th anniversary of South Australia becoming the first state to begin reducing the emphasis on the criminal law in relation to homosexuality. Jailing someone on the basis of the sexuality is a social policy that looks completely abhorrent and archaic nowadays. “I might be wrong,” he says, “but I think taxing and regulating cannabis will be slow to happen in Australia, and we will first go through many stages of watering down our criminal laws.”

    So what is the current state of Australia’s cannabis possession laws? The answers might surprise you. As The New York Times put it earlier in 2012: “The prevalence of marijuana use in Australia is widely accepted, if not openly condoned, and at least three states have moved to decriminalise the possession of small quantities for personal use.”

    For the full story, visit The Vine.

  • Rolling Stone story: ‘Building A Better Brain: Wired on Nootropics’, November 2012

    A 4,000 word feature story published in the November 2012 edition of Rolling Stone Australia; my first non-music feature for the magazine. Click the below image to view a PDF version, or scroll down to read the article text.

    Building A Better Brain: Wired on Nootropics
    By Andrew McMillen / Illustration by Amanda Upton

    A new generation of “smart drugs” that promise to enhance cognitive ability are now available, but are they the key to the human race’s next evolutionary leap or merely 21st century snake oil? Rolling Stone finds out…

    Before he swallowed the designer drug NZT, Bradley Cooper was having a shitty day. Scratch that; he was having a shitty life. Cooper was an unproductive, depressed writer with few prospects and fewer friends. His long-suffering girlfriend had recently left him. His unkempt appearance implied that his deep apathy extended to his body image. Here was a man broken by the accrued stress and malaise of living a seemingly pointless, joyless existence in modern day New York City.

    Moments after taking the transparent, odourless NZT pill, though, Cooper’s world changed dramatically. His visual and auditory perceptions sharpened significantly. His brain could instantly summon previously forgotten snatches of glanced-at facts and figures. His empathy and charm were suddenly amplified to the point where he was able to bed a woman who previously loathed him. A burst of inspiration saw him cleaning his apartment for the first time in years while forgoing both food and his usual addiction to nicotine. Within a few hours, Cooper produced a hundred pages of brilliant writing, which pleased his editor like never before.

    As his interior monologue put it, “I was blind; now I see. I wasn’t high, wasn’t wired; just clear. I knew what I needed to do, and how to do it.”

    This isn’t a scene from Bradley Cooper’s actual life, of course. It’s the life of a fictional character named Eddie Morra, which Cooper portrayed in the 2011 thriller Limitless. Right now, I’m psyching myself up for a Bradley Cooper moment of my own. My version of the make-believe NZT is a little, white, very real pill named Modalert. Produced by Indian manufacturer Sun Pharmaceuticals, the drug’s generic name is modafinil and it costs around $2 per 200mg dose. In Australia, it’s only prescribed to narcoleptics and shift workers who have difficulty staying awake. I’ve acquired some through an online retailer and at 5pm on a Monday, I take the drug for the first time.

    By 10pm I’m wide awake, and aware that my resting heart-rate is higher than normal. By midnight my mind is racing around like an agitated puppy: “Hey! Here I am! Play with me!” I occupy myself with the normally tedious task of transcribing interviews; when I next look at the clock, it’s 3.30am and I’m finished. I’m washing dishes to take a break from work, when I realise that my randomly chosen soundtrack has taken on an eerie parallel to real life. In the classic Nas track ‘N.Y. State of Mind’, he raps: “I never sleep / ‘Cuz sleep is the cousin of death.”

    For as long as I can remember, my answer to that age-old ‘just one wish’ hypothetical has been ‘to never fatigue’. To never need to sleep. To be able to learn, create and achieve more than any regular human being because I’m no longer confined by the boring necessity of a good night’s sleep.

    Thanks to modafinil, I’m closer to this long-held dream than ever before. And I feel incredible. Not high, not wired; just clear. The computer in my skull is crunching ones and zeroes while the rest of the world sleeps. I yawn occasionally, but my mind feels focused, at capacity, even as 5am approaches.

    It’s a kind of cognitive dissonance I’ve never experienced before; I know I should be feeling fatigued by now, but everything’s still working well. At 8.30am – roughly fifteen hours after taking the drug, which corresponds with its stated half-life – its effects wear off, and fatigue sets in. I take a three-hour nap, then pop another modafinil upon waking. I’m back on the merry-go-round of sleeplessness, and loving it.

    Giddy at the near-endless productivity possibilities that I’ve suddenly unlocked, I confess my off-label use of Modalert to a Sun Pharma spokesperson via email in a moment of clarity (or, perhaps, over-earnest honesty). The reply arrives in my inbox a short time later, and I’m briefly quietened by its ominous tone.

    “You’ve seen Limitless?” the Indian drug rep replies. “The cost is too much. Please evaluate what you are doing, even for test purposes. Neuronal circuitry is not to be messed with.”

    ++

    Modafinil is the brightest star in a galaxy of drugs and supplements called ‘nootropics’. The word was coined by a Romanian doctor in 1972; in Greek, its definition refers to ‘turning the mind’. More commonly known as ‘smart drugs’ or ‘cognitive enhancers’, nootropics work in one of three ways: by altering the availability of the brain’s supply of neurochemicals; by improving the brain’s oxygen supply; or by stimulating nerve growth.

    Smart drugs are not a new concept. Last century, both cocaine and amphetamine were considered to have enhancement potential. As researchers at the University of Queensland wrote in a 2012 paper, “…their use for this purpose was regarded in a wholly positive light. [Cocaine and amphetamine] were seen as safe and effective ‘wonder drugs’ that increased alertness and mental capabilities, thereby allowing users to cope better with the increasing demands of modern life.” These views became unpopular once both substances were found to be addictive: cocaine became a prohibited substance, though amphetamine is still widely prescribed as a treatment for attention deficit hyperactivity disorder (ADHD) under the brand name Adderall.

    The Therapeutic Goods Administration (TGA), Australian drug regulation authority, does not yet recognise nootropics as a class of drug, as “the information available on nootropic products provides a very broad definition.” A TGA spokesperson tells Rolling Stone that they are unable to comment on the matter, as “the issue here is that the definition of nootropics goes from nutritional supplements all the way through to prescription medicines, so depending on what the product is and its claims, it might be considered as listable, a registered complementary medicine, or a registered prescription medicine.”

    So regulation is a murky topic, then. But nootropics aren’t illegal, either. Admittedly, taking modafinil off-label is not a smart thing to do. I am not a narcoleptic. I sleep just fine, if begrudgingly. I am a healthy 24 year-old male who exercises regularly and eats well. My recreational drug use is occasional. I’ve never been addicted to anything, and I intend to keep that clean sheet. I would like to be able to concentrate for long periods during the work week, though. I’d like to be able to instantly summon previously forgotten snatches of glanced-at facts. In short, I’d like to be smarter. Who wouldn’t?

    In the fictional account of Limitless and its inspiration, a 2001 techno-thriller by Irish author Alan Glynn named The Dark Fields, the universally appealing idea of self-improvement through minimal effort is explored by a guy taking a designer drug to boost his brainpower to superhuman levels. In reality, nootropic enthusiasts claim significant cognitive benefits with few, if any, side effects from taking these supposedly non-addictive, non-toxic substances.

    Sounds too good to be true? You bet. With my bullshit detector cranked up to eleven, I’m wading into this contentious field with the goal of separating science from fiction. Are smart drugs the snake oil of the 21st century? Or am I about to become a better man just by taking a bunch of coloured pills?

    ++

    After Eddie Morra tires of writing while under the influence of NZT, he turns his attention to the far more lucrative stock market. When I tire of writing on modafinil, I waste away the night-time hours by shooting terrorists in Counter-Strike: Source online, trawling internet forums, and reading about nootropics.

    With a newfound surplus of time arises an interesting dilemma: how to spend it? I chose to alternately work, read, and play games. What if every night was like that, though? What if I had all that time? How soon would I become accustomed to operating on little, or zero, sleep? What would be the side-effects of this for my health, my relationships, my career? Would I become a kinder person? Would parts of my personality become amplified, or atrophy? Obvious productivity gains – or productivity opportunity gains – aside, would less sleep make me a better person?

    All Tuesday night, I’m keyed into a writing task with laser-like focus. By sunrise, I’ve produced an article which, at the time, feels like some of my best work yet. (When it’s published online, weeks later, I read it with fresh eyes and I’m pleasantly surprised to find that I still feel the same way.) On Wednesday, I choose to take a break from the drug, but I’m still up until 4am. My sleep cycle has been totally disrupted.

    Thursday just feels like a regular day. I’m yawning more than usual, probably due to the sleep debt I’ve incurred this week. But it does feel a little… boring to be operating at this level, rather than on modafinil, where I feel like I’m connecting all of the dots all of the time. I suddenly find myself weighing up the costs and benefits of taking a pill right now. I have nothing in particular that needs to be completed for the remainder of the week, but there’s an internal argument happening: “Being awake is so much more enjoyable than sleeping. Who needs sleep, honestly?”

    I dose another 200mg, and within the hour, I again find myself making connections in music that I’d never previously noticed. The Black Rebel Motorcycle Club song ‘Stop’ aligns with my current mindset: “We don’t know where to stop / I try and I try but I can’t get enough…

    I feel like an outlaw; as though I’m in on a secret to which everyone else is oblivious. I know how to subvert sleep; that knowledge is in the shape of a small white disc containing 200mg of modafinil. I feel as though taking this drug might be one of the best decisions I’ve ever made. I want everyone around me to take it, too, so that we can share our experiences and revel in the euphoria of the unclouded mind.

    That night, I drive to and from a rock show. I meet friends and strangers at the venue; as I talk, I feel as though I’m not making sense, and that those around me are acutely aware of this. I feel in control, but my mind is racing faster than my mouth can keep up. I buy one beer and feel a little drunk, but I don’t come close to crashing my car on the drive home. Around 2am, I note that I’ve got an impending feeling of doom going on. Like I’m riding this too far, and it’s about to start doing some serious damage. I turn in at 3.30am on Friday.

    My first nootropic odyssey whimpers to a close, after beginning with a giddy bang at 10am on Monday morning. I’ve taken three 200mg doses of modafinil during that time – 5pm Monday, 1pm Tuesday, 2.30pm Thursday – and napped for around 11 hours total. In all, I’ve been awake for 79 out of the last 90 hours.

    I arise at midday, refreshed, having effectively reset my debt with one normal sleep. I reflect on how my views toward modafinil have veered between utter devotion to, now, in the cold light of day, a realisation that it’s probably not a good idea to be taking that shit on consecutive days. I was feeling so fucking average the night before. I couldn’t bear the thought of continuing to stay awake. The body and the mind aren’t made for it.

    ++

    Next, I purchase some homemade nootropics from a vendor named Tryptamine on Silk Road (SR), an anonymous online market where illicit drugs are purchased with virtual currency and sent through the international postal system. Tryptamine’s vendor profile states, “I am a biologist who develops nutritional supplements to improve your health, sleep, and cognition. I use only natural or orthomolecular ingredients, and no adverse effects have been reported from my products.”

    Tryptamine makes and sells three nootropics. I order two 24-pill bottles of MindFood (“designed to optimize brain function, protect against stress- and drug-induced neurotoxicity, prevent/alleviate hangovers, and reverse brain aging,” among other alleged effects), and ChillPill (“designed to promote relaxation, attenuate stress, calm excess brain activity, enhance mood, and promote dreaming”). The seller kindly includes a bonus five-pill sampler of ThinkDeep (“designed to stimulate brain metabolism and glucose uptake, improve memory formation/recall, expand attention span, prevent mental fatigue and enhance blood flow”), too.

    The total cost is around AUD$100. As I pay this seemingly exorbitant amount, I’m reminded of that old aphorism about fools and their money. The package lands in my mailbox via the state of New York around two weeks later. The pills are brightly coloured and strong-smelling. I try all three nootropics in isolation, one or two at a time, on different days.

    After swallowing a ThinkDeep for the first time, I realise that I just took an anonymous black and red pill created by an anonymous internet seller who claims to be a biologist. They’ve got a 100% feedback record from over 400 transactions on SR, which counts as a sort of social proof, but still: bad things could happen to me after taking this pill, and the person responsible would never be caught out. (Tryptamine denied Rolling Stone’s request to verify his/her identity, or scientific credentials. “Whatever image you have in your mind’s eye from reading this, that’s how I look,” the seller wrote.)

    “Silk Road allows me to sell my products anonymously, and provides me with hundreds of thousands of potential customers who already take pills that aren’t made by pharmaceutical companies,” Tryptamine tells me. “On the other hand, it is a bit off-putting to see my products listed beside bags of heroin.”

    As it turns out, ThinkDeep doesn’t do much for me, even on another day when I double-dose. In fact, the only significant effect I notice from these three products is when one dose of MindFood eradicates a hangover much faster than my regular methods of paracetamol and/or ibuprofen. Perhaps ThinkDeep and ChillPill are so subtle that I don’t notice their effects; perhaps they don’t work at all. Potential hangover cure aside, it’s difficult to recommend these products for cognitive enhancement purposes.

    At the other end of the nootropic spectrum, far from secretive biologists and solo recipe-tweaking, is an Austin, Texas-based company named Onnit. Their flagship product is named Alpha Brain, which is slickly marketed as a “complete balanced nootropic”. Their biggest public advocate is the comedian, podcaster and former host of Fear Factor, Joe Rogan; they also have a few World Series of Poker players hyping the product on their website. I ordered a 30-pill bottle of Alpha Brain for around $40.

    Each green pill includes small amounts of eleven impressive-sounding substances, from vitamin B6 and vinpocetine, to L-theanine and oat straw. The serving size on the label suggests two pills at a time; as I discover, taking one does nothing. With two Alpha Brain pills circulating in my system, though, I feel an overall mood elevation and a heightened ability to concentrate on tasks at hand: reading, writing, researching. These effects last for between four to six hours.

    Alpha Brain worked for me, but it also feels like a triumph of marketing, too. As there are no clear estimates about the financial side of the nootropics industry, I ask Onnit CEO Aubrey Marcus whether it’s a lucrative field. “Absolutely,” he replies, though he won’t comment on Onnit’s annual turnover. “It’s something that everybody can benefit from. Whenever you tap into something [like that], there’s ample opportunity to make good money.” Marcus says that Alpha Brain has been purchased by around 45,000 customers across the world since launching last year. The company currently employs 13 full-time staff.

    He acknowledges that nutritional supplement manufacturers are met with their fair share of critics. “The pharmaceutical industry has done a good job of telling people that synthetic drugs are the only things that have an effect on the body. There are plenty who’ve never tried our products who’ll swear that they’re snake oil,” Marcus laughs. “We encounter that, and we just do our best to show as much research behind all the ingredients that we have.” He mentions that Onnit are intending to commission a double-blind clinical study on the effects of Alpha Brain, which he believes “will go a long way to silence the critics.”

    ++

    Perhaps nootropics aren’t a mainstream concept yet because the people most enthusiastic about their potential benefits are all scientists, marketers out to make a buck, ‘body hackers’, and other weirdoes. There are few ‘normals’ taking these drugs and supplements on a daily basis, so it all looks too strange and confronting for outsiders to try. As a society, we’re taught by our peers and the media that if something sounds too good to be true, it probably is.

    There’s also the possibility that nootropics will never become mainstream because their effectiveness is difficult to qualitatively measure, or alternatively, they don’t work at all. In this regard, Australian researchers are world-class sceptics of cognitive enhancement. When I visit the University Of Queensland’s Centre for Clinical Research (UQCCR) in Brisbane, I’m greeted by Professor Wayne Hall, who was first published on this topic in 2004. His essay, which appeared in a European biology journal, was entitled “Feeling ‘better than well’: Can our experiences with psychoactive drugs help us to meet the challenges of neuroenhancement methods?”

    Hall has studied addiction and drug use for over 20 years. “There’s been a fair amount of enthusiasm for cognitive enhancement [in scientific circles], but it hasn’t looked critically at the evidence on how common this behaviour is,” he says. The professor and his peers argue for “taking a step back, and not getting too excited or encourage unwittingly lots of people to experiment with stimulant drugs for the wrong sorts of reasons”.

    “If you look at the lab studies that have been done on whether these drugs [work], the effects – insofar as there are some – are fairly modest and short-lived,” Hall says. “To be jumping from that, to saying it’s good idea for people to be using these drugs regularly to enhance their cognitive performance, is a bit of a long bow.”

    Dr Bradley Partridge is another UQCCR academic who specialises in investigating “the use of pharmaceuticals by healthy people to enhance their cognition”. I bring along my bottles of Alpha Brain and Tryptamine’s homemade nootropics for him to cast a critical eye over. “I have never used any of these things,” Partridge says. He peers at the labels with bemusement. “And I’ve never heard of most of these ingredients.”

    He places the bottles back on the table. “The thing is, a lot of these supplements are touted as being ‘all natural’, and for some people, that implies that they’re perhaps safe. But it’s very hard to evaluate exactly what’s in it. Aside from safety, where’s the evidence that they actually work for their stated purpose?”

    “There’s no scientific literature on some of this stuff; for others, the results are very mixed. Also, there might be a really strong placebo effect.” He holds up the Alpha Brain bottle, which mentions ‘enhancing mental performance’ in its marketing copy. “You take this and you do an exam; maybe simply taking something makes you feel like you ought to be doing better, and maybe you convince yourself that you’re getting some effect.”

    Hall and Partridge co-authored a study which analysed media reports on “smart drugs”. They found that 95 per cent of media reports mentioned some benefit of taking a drug like Adderall, Ritalin or modafinil, while only 58 per cent mentioned side effects. “I tend to be very cautious about this stuff,” Partridge says. “I don’t like to see this getting portrayed as a widespread phenomenon, as a fantastic thing, that it works, that there are no side effects. That runs the risk of encouraging people who hadn’t thought about it to take it up, which could cause problems for people.”

    I offer to leave some of my nootropics with Dr Partridge for him to conduct his own research; he laughs, and politely declines.

    ++

    Underscoring this entire discussion is the threat of one-upmanship. If I’m taking these drugs and they markedly improve my performance, am I nothing but a filthy nootropic cheater? To address this question, I spoke with Dave Asprey, who has used modafinil constantly for eight years and describes himself on Twitter as a “New York Times-published Silicon Valley entrepreneur/executive/angel who hacked his own biology to gain an unfair advantage in business and life.”

    Asprey has a prescription for the drug, after a brain scan showed a lack of blood flow at the front of his brain – a common symptom of attention deficit disorder (ADD), he says. “Modafinil is actually used commonly as a treatment for ADD,” he tells me. “It’s an off-label use, but it’s accepted; it’s even reimbursable by some insurance companies.”

    Asprey takes modafinil most workdays, upon waking. “It’s not like it’s a great secret out there, it’s just that people don’t talk about it because there’s some feel as though it’s ‘cheating’,” he says. “My perspective is different: if you eat healthy food, then you’re also ‘cheating’, because that impacts brain function. Surprisingly, the only people who’ve ever given me shit about taking modafinil are like, ‘but how do you know it’s not hurting you?’ I’m a bio-hacker; I’ve done all sorts of strange things to my body and mind in the interests of anti-aging, health and performance. I look at my body as part of my support system.’”

    Asprey says that he considers modafinil to be on the healthier spectrum of drugs. He’s also a fan of aniracetam, a fat soluble version of piracetam, which itself was the first-ever nootropic discovered in 1964. “It’s longer lasting [than piracetam],” Asprey says. “I recommend it as a basic biohack. I’ve been using it for a very long time.”

    Though Asprey has never met anyone who bluntly considers nootropics to be bullshit, he hears another argument reasonably often – and he has a clever rebuttal ready. “People say, ‘[nootropics] are evil, because if you take them, then everyone else will have to take them!’ I don’t think that’s a very fair argument, because from that perspective, fire is evil. Back when there were two cavemen, and one had a fire, the other said, ‘you can’t use fire, that’s unfair!’ Well, we know who evolved.”

    ++

    Whether or not I’m qualitatively smarter after experimenting with nootropics for this story is difficult to measure. I feel slightly wiser, and more aware of the limitations of both mind and body after that week of bingeing on modafinil. I certainly appreciate the restorative value of sleep better than ever before, after staying awake for the best part of a full work-week. I found that Alpha Brain is useful for focusing for a few hours, but considering that a two-week supply costs $40, it seems a touch on the expensive side.

    I did order a few dozen additional pills of modafinil, but I intend to use these only when emergency deadlines necessitate long hours. (I’ve read it’s good for combating the effects of jet lag, though, so perhaps I’ll try it on my next international flight.) Ultimately, the nootropic I found most useful – and intend to continue using regularly – is aniracetam, which Dave Asprey told me about. Its mind-sharpening effects are subtler than Alpha Brain, but it’s much cheaper – around $40 for a month’s supply if purchased online – and its effects taper off much more pleasantly than Alpha Brain’s comparatively sudden drop-off in concentration and energy levels.

    Late one night while researching this story, modafinil coursing through my body, I watched Limitless for the second time. It’s not a brilliant film, but it’s entertaining and thought-provoking enough to make the viewer consider seeking out smart pills of their own. It’s easy to see why the nootropic industry’s shadier sellers have attempted to draw parallels between their products and the fictional substance of NZT. After viewing the film, I contacted Alan Glynn, the author behind the 2001 techno-thriller The Dark Fields, which Limitless was based on, via email.

    “The original idea of NZT – called MDT-48 in my book – came from the idea of human perfectibility, of ‘the three wishes’, of the chance to re-invent yourself, of the shortcut to health and happiness,” Glynn tells me. “This is why the diet and self-help industries are so huge. Hold out a promise like that and people will respond. The fact that most of these products and therapies don’t work, or are bogus, doesn’t seem to matter. The real magic here, the real dark art, is marketing. I think that if nootropics ever go mainstream, they’ll be fodder for the marketing industry.”

    I send Glynn a link to the Alpha Brain website and mention that I’ve been taking it while researching this story. “Look, I’m just as much of a sucker as anyone else and when I look at that website, I’m going like, ‘Woah, gimme some of THAT!’” he replies. “And I’m actually seriously considering ordering some. So, from a marketing point of view, I’d say it’s a total success. It’s shiny, professional-looking and stuffed full of ‘the science bit’.”

    “But it’s the massaging of the science bit that is the marketer’s real dark art. The truth is, I couldn’t argue with someone who can talk about ‘GPC choline’ and ‘neurotransmitter precursors’. My instinct is that it’s all bullshit… On the other hand. I don’t know. Have you taken Alpha Brain? Does it work?”

    I reply in the affirmative, and describe my findings in some detail. Alan Glynn, author of the book that inspired the movie that inspired me to write this story in the first place, writes me back immediately: “That’s interesting indeed. I’ve ordered some Alpha Brain, and I’ve just got an email to say it’s been dispatched. I’ll report back to you – in the interests of science, of course.”

    Note: At no point should any of the products mentioned in this article be ingested without first consulting a health professional. An earlier version of this story incorrectly identified Ritalin as an amphetamine; it belongs to the methylphenidate class of stimulants.

    To read more on nootropics, I recommend that you continue your research at Smarter Nootropics. Good luck!

  • Qweekend story: ‘Goal Mining: Minecraft and education’, October 2012

    A story that was published in Qweekend magazine on October 13, 2012. Click the below image to view as a PDF (link opens in a new window), or read the article text underneath.

    Goal Mining
    Story: Andrew McMillen / Photography: David Kelly

    A video game that uses collaboration and communication to engage children online has inspired a new method of teaching.

    The first thing we need to do is collect wood. We do this by smashing our fists into tall trees until the wood disintegrates into small blocks, which then become ours to keep. Curiously, punching out the tree trunks makes no difference to their structural integrity; they continue standing tall, trunkless, while we pilfer their wood.

    The second thing we need to do is make sticks. “Using the crafting table, put one wood block on top of the other,” says James Keogh, who acts as group leader and instructs our gang of five as we navigate this strange world.  Easier said than done. Under the clear blue sky, I can’t interpret his instructions to make the most obvious and essential item.

    Sticks are the basis of the pickaxe, the shovel and the sword. I need all of these things to survive and prosper in the world of Minecraft, a computer game set in a randomly generated landscape of mountains, valleys, forests and deserts. Minecraft is unlike any game I’ve played – there are neither clear objectives nor clear instructions. The player is left to his own devices in this virtual playground, to spend his time however he wishes.

    My fellow adventurers – four 11-year-old boys who attend West Moreton Anglican College, west of Brisbane – try time and again to explain the simple process of creating sticks. I’m sweating as oblong clouds pass across the square sun. The blocky mountains surrounding us seem to be frowning at me. Dark squid float idly in the lake nearby, indifferent to my crafting struggles.

    I feel stupid and inadequate, especially in the company of these four well-travelled friends. Darcy Keogh, James’s twin brother, takes pity and gifts me a stone pickaxe, short-cutting the process considerably. It’s a relief. Without my companions, I’d be clueless; come nightfall, I’d surely be dead.

    James and Darcy have been busy using their pickaxes to excavate dirt out of the side of the nearest mountain for our “hidey-hole”, while their friend Liam Catlan patiently attempts to coach some success into me. Torrin Beverley has taken it upon himself to begin digging deeper into the earth in search of precious resources like iron, gold, and – if he’s lucky – maybe even diamond. Mining tools in hand – just a pickaxe and a shovel for now – I climb partway up the mountain and stand at the entrance, admiring their handiwork.

    James warns us that it’s almost night time. I step inside the hidey-hole, shutting the door behind me. Foolishly, Liam stays out and attempts to fight a giant spider. Anguished howls echo across the landscape as he dies at the fangs of his eight-legged foe. His now-itemless character respawns beside us. “Did you have anything worthwhile on you?” James asks. Two stone pickaxes, his friend types. “Not really much, then,” replies our leader nonchalantly.

    Torrin asks if anyone wants a sword. “Yes,” I type, before opening the door and stepping outside. It’s snowing. Pretty, digital snowflakes criss-cross the night sky, falling lazily to the ground. “Whoa,” I say to no-one in particular. It’s a beautiful sight.

    I check my inventory and find Torrin’s gift. All four boys have joined me outside, just beyond the light cast by the flames of our farthest torch. The square moon passes slowly overhead. I wonder aloud whether it’s a good idea for us to be out here, given that one member of our gang of five was so recently slain. “Not really,” says James, swinging his sword defiantly at nothing in particular.

    The boys tell me that there are zombies, skeletons, Creepers, spiders and Endermen out here, prowling the dark landscape. Horrible creatures all. We head back inside and close the door behind us. I turn and stare through the window once again at the mesmerising snowflakes, reflecting on the wide range of emotions I’ve experienced during my first 20 minute-long day/night cycle: confusion, frustration, satisfaction, wonder and, finally, fear.

    ++

    Minecraft is fun because it’s so divorced from reality that minds run free with possibility. Key attractions include its detachment from the responsibilities of daily life – school, work, parenthood, traffic, taxes – and the ease with which the digital world bends to your will. Want to dig a hole in real life? It’s bloody hard work, for starters. Then there are property rights and land ownership to consider, as well as the high likelihood of your dad going off at the sight of his well-tended lawn transformed into a crater.

    In Minecraft, though, it takes just seconds to carve into the ground, or a mountain, and begin exploring what’s beneath. (Once you’ve conquered the admittedly tricky first act of crafting your mining tools, of course.) Likewise, it’s just as easy to create solid structures in-game. Two of the most impressive mega-creations include a 1:1 scale model of the Starship Enterprise, from Star Trek, and a current project involving a few dozen people working on crafting the entire Westeros realm, from the fantasy series Game Of Thrones. Put simply, it’s Lego in a limitless virtual world where the only impediment is your imagination.

    Created by 33 year-old Swedish game programmer and designer Markus Persson, best known by his online handle “Notch”, Minecraft is an international phenomenon. Notch self-published the first “alpha” version of the game online in May 2009, charging a one-off fee of about $12 (€9.95) and updating Minecraft with new features until version 1.0 was released in November 2011 for $24.50 (€19.95). More than 10 million players have bought the game across both the PC and Xbox 360 platforms; it also boasts 42 million registered users, a figure still growing by around 140,000 new players per day.

    Few are immune to its charms, even those who struggle with the game’s mechanics at first – which is essentially everyone, as the PC version of the game offers no in-game assistance. (Minecraft Wiki – a popular first destination for the clueless – contains more than 2,000 detailed articles.) This is the kind of unorthodox design decision that few gaming studios or publishers would allow, yet since Notch created it all himself, he was beholden to no such orthodoxy. Evidently, it hasn’t hindered the game’s popularity.

    “Younger gamers are completely enthralled by Minecraft,” says Janet Carr, series producer of ABC TV’s Good Game, which screens Tuesday nights on ABC2 and attracts an average weekly audience of 108,000. “Since you create your own fun, it gives you the freedom to play it the way you want to. It’s personally satisfying because you have that feeling of discovery, and of creation. Normal game design theory would say that making it hard to play is lethal to your game. Minecraft is the complete opposite: because the kids have to work quite hard at getting a handle on it, they get invested in it really quickly, and very deeply.”

    Carr’s team also works on Good Game Spawn Point, a program aimed at gamers aged 8-12 watched by 80,000 viewers on ABC3 Saturday mornings. She estimates that half of the 10,000 emails sent to the show’s presenters each week are from younger gamers seeking answers to Minecraft gameplay questions. “It’s not even just the number of emails we get about the game that’s surprising, it’s the sophistication of the information they’re seeking,” Carr says. “It’s not, ‘how do I build a pickaxe?’ It’s ‘how do I set up my repeater units so that my mine cart will travel a few kilometres?’ Engineering questions.”

    ++

    It’s impossible to discuss Minecraft without acknowledging its potential to become truly consuming. Since the game world is randomly generated and limitless, it’s unsurprising that those who fall for its charms tend to invest serious hours in the never-ending process of day and night, mining and crafting, exploring and expanding. “A lot of parents are concerned their kids are spending too much time on video games,” says Carr, whose youngest son was obsessed with Minecraft but has since moved on. Unlike most other games, though, Minecraft is undirected. Players must use their own intelligence, intuition and inspiration to derive enjoyment from the game, rather than relying on objectives and rewards predetermined by game designers.

    “A large issue for parents is that they don’t understand what their kids are so enthusiastically raving about,” says Luke Bennett, a 49 year-old ecological consultant who lives in Castlemaine, Victoria and is the father of 11-year-old twins. “When our son first started playing, my wife and I discovered that if he played up until he went to bed, he was so mentally wired that he could not sleep. I’ve responded by letting him play, but not in large chunks of time. Minecraft is a valuable part of a complex lifestyle. You need to leaven it with the other stuff.”

    Recently, Bennett and a friend set up a private online server where about ten children aged 7-12 play online together most nights. “This means my own gameplay is now more of a moderator role, rather than just purely building,” Bennett says. “We’ve set up a blog for the kids so that they can discuss differing playing styles, and resolve conflicts. The biggest issues in the game are virtual urban and environmental planning. The kids’ default response is to ask me to intervene, which has resulted in some very odd conversations at afternoon school pick-up,” he laughs. “But I think it’s great,” adds Bennett, who now tends to play late into the nights with his middle-aged friend after their kids go to bed at 9pm. “Minecraft is a game that encourages players to think, create, solve problems, engineer, train reflexes and socialise. It’s almost education-by-stealth, in the guise of a video game. It’s like hiding cauliflower in mashed potato.”

    Janet Carr agrees that playing with children, rather than observing their behaviour from a bemused distance, is the best way to appreciate their enthusiasm and set limitations around gameplay. “If everyone in the household understands the rules, it doesn’t become an issue,” she says. “If you’ve got a child who’s really wanting to spend all their time talking about Minecraft, you’re almost beholden to get a great understanding of it yourself so at least you can have high levels of conversation about it, and talk about how to manage that time.”

    Steven “Bajo” O’Donnell is co-host of both Good Game shows. “I hate the word ‘addictive’, because it has a negative association,” he says. “I like to use the word ‘compelling’ instead. Minecraft compels you to go back into it, and keep playing it, and keep building.”

    His co-host, Stephanie “Hex” Bendixsen, agrees. “I don’t think it’s necessarily addictive in the way that [online role-playing game] World Of Warcraft is addictive, because that game offers you constant rewards for ‘X’ amount of hours that you’ve put in. Whereas Minecraft doesn’t really have any kind of reward system; it’s really about what you get out of it personally. It may be hard for people to stop playing, but that’s really due to their own experience rather than something that the game is doing.”

    The Good Game hosts regularly hear from teachers who’ve had to ban the game from their schools, or allocate specific times when kids can go into the computer labs at lunchtime to play. “Some teachers use it as a system of reward: if the students get through a computing studies class, then they’re allowed to play for 15 minutes at the end, because they just can’t stop kids from playing it,” says Bendixsen. “They’ve had to try to find ways to work it into school life. Since it’s a game that doesn’t have any kind of guns or shooting, and encourages kids to be imaginative to work cooperatively, it works quite well in the classroom.”

    ++

    High above the clouds, I’m standing on a transparent platform bathed in the orange glow of twilight. At the edge of one horizon, a square sun dips; behind me, a square moon rises. Underneath the platform is an enormous mass of blue-green. It’s the kind of view only an astronaut would see in reality: star-speckled blanket of infinite space above, stable blue marble below. Suddenly, a man in a white labcoat appears next to me. The glowing yellow text above his head reads “Elfie”. He begins giving me a virtual science lesson while showing me around his greatest Minecraft creation – an animal cell he built for his biology students.

    “The whole idea of these first platforms was to give the kids an overall picture of the cell, because it’s very hard to imagine what it looks like from the outside once you’re in there,” says 32 year-old Stephen “Elfie” Elford, who teaches science, maths and humanities at Numurkah Secondary College (enrolment: 300) in north-eastern Victoria.

    As we travel between observation decks by right-clicking on teleportation terminals, we’re getting closer to the giant blue-green mass. Its curvature is reminiscent of the human brain. On the fourth and final deck, I’m presented with the option of teleporting to four unfamiliar, scientific-sounding stations. I choose “Golgi”, the first option. Now I’m inside the giant mass, and before me is a roughly rectangular prism that represents the Golgi apparatus. Right-clicking on an information block at the edge of the platform gives a text overview of its function, written in the same straight-talking language Elford would use while standing at the head of his classroom. “This is an animal cell,” says Elford. “As my biology students tour the cell, they fill in a booklet. I wanted to deepen that understanding and give them a good visual representation they could call on, when needed.”

    So Elford invested six months, on and off, in creating this three dimensional, to-scale replica of how he understands the inside of an animal cell might look. He estimates that he’s moved two million virtual blocks during the 50-hour building process. The brightly-coloured textures of this fascinating structure bear little resemblance to the lifelike shades of the world I explored with the four 11-year-old boys.

    Elford’s animal cell is a remarkable, inspired piece of work from Australia’s foremost expert on MinecraftEdu, a modification (or “mod”) based on the existing game engine. Developed in collaboration by teachers in Finland and the United States, the mod’s disparate but growing network of Games-Based Learning practitioners see efforts like Elford’s as a way to engage the next generation of “digital native” students. (Elford runs a blog called “MinecraftEdu Elfie” where he shares his learning experiences with teachers throughout the world. He has also uploaded dozens of videos to YouTube showing how his classes have interacted with the game.)

    For the last eight years, Elford had taught Nurmurkah’s science students about animal cells from the textbook, two or three times a year. “I was kind of over it,” he reflects. “I don’t know if it was a seven-year itch a year late; I just didn’t feel like I was enjoying myself. And then this came along, and now I’m enjoying my job again. It’s given me that little bump to keep going.”

    Rather than learning through Elford’s descriptions and the biology textbook, it’s much more engaging for students to see his scientifically accurate representation of an animal cell with their own eyes. I didn’t take any science subjects in senior high school, partly because it all seemed so dry and dull. Had MinecraftEdu existed when I started year 11 in 2004, though, I could well have been drawn in by the technological lure.

    Elford is the first to admit that fanciful creations like this won’t entirely replace traditional teaching methods. In fact, he has used this incredible virtual environment in-class once so far, for a total of two hours. He has plans to upload the map so that other teachers can use the animal cell in their own classes. “The time and effort I put in is far outweighed by the students’ immersion in this cell,” Elford says. Using the game, he’s also led students through reaction time experiments; he’s explained the transformation between solids, liquids and gases (by setting his students on fire, in-game, of course); and he’s run an assignment wherein students built energy-efficient houses, then recorded video tours of their new creations. Despite these breakthroughs, MinecraftEdu is only used on occasion at Nurmurkah, when it’s appropriate to the learning at hand.

    “Personally, I think it should be in every school,” says Elford as he wraps up his tour of the animal cell while we stand outside, gazing up at the monolith. “The opportunities it provides for students to create, and to be creative, is something I haven’t found anywhere else in my time as a teacher.”

    Meanwhile, 15km north-west of Cairns at Kamerunga in far North Queensland is Peace Lutheran College, a prep-to-year-12 school of 585 students. Andrew Wright, 40, is eLearning mentor at Peace. He’s the one who drove the college’s IT department to adopt MinecraftEdu for the first time this term, across two classes of 25 students. “It’s been fantastic,” says Wright, who also teaches Year 7. “We’re studying Ancient Rome at the moment. We found a MinecraftEdu map of that, where the pupils started off in the Colosseum, then partnered up and walked around Rome to have their photographs taken outside iconic landmarks such as the Pantheon. They then went away and researched what that real building would have been used for, and made a presentation about it. You walk around [the virtual] Rome yourself and you think, ‘wow, someone must have spent years doing this!’”

    Though a classroom of 25 kids running rampant in MinecraftEdu sounds chaotic – despite the availability of teacher-only crowd control tools that can instantly freeze, mute or teleport students – Wright assures me it’s quite the opposite. “Because the students want to be learning, and they want to be engaged, they’re very respectful of the game and of each other,” he says. “That’s what we try and teach them – within the game, you have to cooperate, you have to use all the skills that you’d need in the real world. Collaboration, communication; it’s all there. There’s a real learning curve going on because the Year 7s are teaching the Year 1s.”

    Wright, who is now in his fifth year of teaching at Peace, says that “addictive” is “a strong word” when used in the context of Minecraft. “As a teacher, if you’ve got something that the students are keen on using, and you can use it in an educational way, you’re on to a winner. It can be seen as taking up a lot of time, but as with anything, you have to manage that time. When parents see their children coming home and working on this stuff after doing their homework, I don’t think you can put a value on that.”

    ++

    James and Darcy Keogh are showing me around their virtual world one week before my first in-game experience. It’s the first time I’ve seen Minecraft in action. James walks through their well-tended farm of pumpkins, melons, wheat, sugar cane and cacti while playing on a laptop that’s connected to a widescreen television in the living room of a house in Chuwar, about 6km north-west of Ipswich.

    Parents Robert and Grace, who are separated, watch intently from the lounge as their 11-year-old sons walk them through a world they understand a fraction as well as their youngest children do. Throughout the 90 minutes the twins spend pumping me with information, they chatter constantly, challenging one another on which elements of the game to demonstrate and how best to describe its complex functions. It’s a dizzyingly detailed language spoken by twins fluent in Minecraft-speak.

    “There are different ranks of tools,” James explains. “You start with wooden, which is the worst, then upgrade to stone, iron, gold and diamond.”
    “But you’ve got to mine all that stuff to make it,” says Robert, who has himself dabbled with the game.
    “You’ve got to chop down the trees to get the wood,” Grace adds. “That’s the first thing you do – punch a tree. I never got past wooden tools,” she says, with a hint of regret.
    “When you play, you just muck around,” James gently cajoles her, “putting blocks down anywhere …”
    “You’re not fanatical like some!” Robert interjects. The Keogh family laughs together.

    Countless hours sunk into this intriguing world built on blocks, mining and crafting. Millions of players absorbed by the limitless promise of what this game represents better than any before it – a tangible, tantalising sensation of freedom. Two 11-year-old boys who have been playing video games as long as they can remember, and who have played this particular game practically daily since their eldest brother, Brendan, first showed it to them in 2009.

    “So why do you guys play?” their father asks.
    “Because it’s creating, and you can basically do anything you want to,” replies James.
    “Where most games are just, ‘you do this, then you do that …’” says Darcy, “and you don’t get to …” James interrupts by finding the right word for his twin.
    “Most games are linear,” James says. “Minecraft isn’t linear.”

  • ZDNet story: ‘The Digital Beat: policing social media’, July 2012

    A feature story for ZDNet; excerpt below. Click the image for the full story.

    The Digital Beat: policing social media

    Your business may not have to deal with issues of life and death in social media, but there are lessons for everyone in how Australia’s police forces interact with the public.

    If you were in Queensland during the floods of January 2011, Kym Charlton’s iPad may have saved your life.

    The device itself has since been superseded and effectively retired, yet its weathered, black leather case still features a hastily scrawled note, which, at the time, acted as both a mnemonic and a reality check. Two words in thick, white text: DON’T PANIC.

    As executive director of the Queensland Police Service’s (QPS) media and public affairs branch, Charlton [pictured above, centre; to her left, senior digital media officer James Kliemt] was bunkered down in the State Disaster Coordination Centre while then Premier Anna Bligh and her team of emergency-services specialists alternated between internal briefings and live-streamed press conferences.

    The matter at hand? How best to deal with an uncanny series of weather events that would ultimately leave 90 per cent of the state declared a disaster zone.

    iPad in hand, Charlton was responsible for posting live updates to the QPS social-media accounts — vital information which, for some Queenslanders, meant the difference between fight or flight; home ownership or homelessness; life or death.

    Having convinced the deputy commissioner to sign off on a six-month social-media trial in mid-2010, Charlton and her media team had grown the QPS Facebook page to a respectable following of 6500 by the end of the year. As rain saturated the state throughout December, QPS was in the ideal position to establish itself as the state’s singular, trustworthy news source in a time of need.

    “It was quite an organic thing for us,” Charlton said from her office in the QPS headquarters just outside of the Brisbane CBD. “We’d been using social media for six months, so we immediately moved to get the information out through those channels, because time was so critical.”

    Charlton is a calm and confident narrator, having had plenty of time to reflect on this topic both in private and public — including a presentation at the Global Initiative to Combat Nuclear Terrorism in Marrakech last year — yet it’s clear that the urgency and quality of the work that her team produced in January 2011 is never too far from her mind. The numerous framed awards hanging on her office walls make such matters difficult to forget, in any case.

    The QPS social-media presence meant that Charlton didn’t have to waste time with the clearance processes that ordinarily hamper police news dissemination. “Rather than me sitting in a disaster-management meeting, listening to the premier being briefed, taking notes, going out and giving it to someone to write a media release, then spending the rest of the day chasing around incredibly busy people to clear the information, I started to post status updates as I heard the premier being briefed,” she said. A self-imposed limit of 140 characters per update meant that the news could be bounced from Facebook to Twitter with ease, and without diluting the message.

    “We were able to pump out a whole lot of information that we knew wouldn’t make the mainstream media; they just wouldn’t have picked up that volume of information. It was quite low level, but it was really important if it was about your area,” she said.

    “For example, the day that the Lockyer Valley flooded was the same day that Brisbane and Ipswich realised there was going to be a major flood. All of a sudden, you had the entire population of both cities desperately trying to work out if their houses were going to flood. A lot of people weren’t here in 1974; also, there are way more houses [now] than there used to be. We saw a huge jump of people coming to the page to find that information.” On that particular day, 10 January, Charlton sent her first and last tweets at 4.45am and 11.45pm, respectively.

    The numbers surrounding 10 January are astonishing. The QPS Facebook page received 39 million individual story views — the equivalent of 450 page impressions per second — while being updated by staff every 10 minutes or so. (“That amount of traffic would have crashed both our public website and our operational website,” Charlton noted.) Their Facebook audience grew from 16,500 on 9 January to 165,000 within a fortnight; many of those joined the page during the 24-hour period following the Lockyer Valley torrent. Overnight, the QPS social-media accounts had become a lifejacket to which many Queenslanders clung.

    Though neither QPS staff nor their newfound legion of followers would have realised it at the time — it’s fair to say that there were far more pressing matters to consider, like whether their houses would go underwater — this confluence of events exemplified the great big promise of social networking that Zuckerberg et al proselytise: to connect humans with one another, and to share meaningful information immediately.

    Charlton’s decision to establish and nurture the QPS social-media presence the winter before that unforgettable summer was fortuitous. “We were in that wonderful position where we knew enough to be able to use it [during the floods],” she said. “It wasn’t a decision where anyone said, OK, we’re going to focus on social media’. We just started doing it because it worked.”

    For the full 3,700 word story, visit ZDNet. Above photo credit: Andrew McMillen.

  • The Vine travel story: ‘A look inside Tavarua Island Resort, Fiji’, July 2012

    A travel story for The Vine. Excerpt below; click the photo for a link to the full article.

    A look inside Tavarua Island Resort, Fiji

    Is it possible to inhale too much fresh air? Visitors to the heart-shaped island of Tavarua are better placed than most to address that question. Located six nautical miles off the western side of Fiji mainland Viti Levu, the island is surrounded by stunning ocean vistas; like fire-gazing, there’s something primal about staring out at waves breaking upon a coral reef. It’s the sort of endlessly appealing visual stimulus that washes away the daily minutiae of anxieties and responsibilities. One’s mindset shifts readily into ignorant bliss. Once you’re here, there seem very few good reasons to leave.

    Tavarua Island Resort is exclusive: the presence of 38 adult guests mean that its 16 beach huts – in Fijian, known as ‘bures’ – are full, though there’s usually a handful of children bumping up the numbers. All of the huts are within 20 steps of the sand, and feature two double beds (and one single), air conditioning, a front balcony, and hot showers. They’re comfortable and cosy, yet outside of sleeping hours, you probably won’t be spending much time here.

    The island’s main attraction is its waves: more specifically, ‘Cloudbreak’, which is said to be one of the finest left-hand breaks in the world. My partner and I view it from a safe distance one afternoon, while a few brave souls tear into the muscular waterwall. At low tide, it breaks right onto a razor-sharp coral reef. To non-surfers like ourselves, it seems the very definition of madness to attempt to master such an awesome force. Yet this is the central appeal of wave riding, of course: to attempt the improbable, in the hope of emerging with glory and life intact.

    For the surf-averse among us, the island presents a wealth of attractions. The snorkelling on offer is truly extraordinary; a sight which must be seen to be believed. The sheer variety of colour, movement and species that can be witnessed within a couple of metres of Tavarua’s surrounding reef had us returning on a daily basis. Kayaking, stand-up paddle-boarding and fishing are popular, too. The latter involves heading out past Cloudbreak in a boat skippered by an island staffer and trolling back and forth in the deep water, through flocks of diving sea birds, while lures trail a hundred metres behind the boat. It’s certainly the least interactive form of fishing I’ve ever partaken in – ‘set it and forget it’, indeed – yet this method landed us two impressive tuna in our hour on the water: one skipjack, and one 16-pound yellow-fin.

    All meals are served buffet-style from a central restaurant which overlooks a gorgeous swimming pool and, out on the edge of the reef, a surf break aptly named ‘Restaurants’. This is the island’s common area, and with no other culinary options on offer, you’d be foolish to miss the thrice-daily meals. Herein lies our one and only gripe: this monopoly on our stomachs breeds laziness in the catering staff, as we must eat what they produce. All of the meals we ate were serviceable, but none were remarkable. The finest thing I ate on Tavarua was fresh yellow-fin sashimi: a dish which requires no further kitchen preparation than skilled slicing. It’s obvious that the restaurant holds no five-star ambitions, yet we occasionally found ourselves eating only because the alternative was to starve. And in such an idyllic locale, that’d be a true tragedy.

    For the full story, visit The Vine. Above photo credit: Andrew McMillen.

  • The Global Mail story: ‘Unchained Melodies: streaming music in Australia’, June 2012

    A story for The Global Mail, published in June 2012.

    Excerpt below; click the image to read the full story on The Global Mail website.

    Unchained Melodies
    by Andrew McMillen

    What are you listening to? Chances are you accessed it from a streaming music-subscription service. Who wins and loses from the surging popularity of such sites as Rdio or Spotify?

    Little-known fact: among David Bowie’s many talents — singer, guitarist, hit songwriter, actor, multi-million record-seller, one-time androgynous alien — he’s also a soothsayer. The English pop star told The New York Times a decade ago, “The absolute transformation of everything that we ever thought about music will take place within 10 years, and nothing is going to be able to stop it. I see absolutely no point in pretending that it’s not going to happen.”

    Bowie continued: ”Music itself is going to become like running water or electricity. So it’s like, just take advantage of these last few years because none of this is ever going to happen again. You’d better be prepared for doing a lot of touring because that’s really the only unique situation that’s going to be left. It’s terribly exciting. But on the other hand it doesn’t matter if you think it’s exciting or not; it’s what’s going to happen.”

    That New York Times article was published in June 2002. Ten years later, Australian music consumers find Bowie’s out-there predictions have become reality. Music sales have taken a severe dive worldwide; according to the most recent Recording Industry in Numbers report, 2011 delivered the “least negative result in global recorded music sales since 2004″; overall revenue fell by just three per cent, continuing the year-on-year decline.Today only a handful of the biggest artists can successfully earn a living from recording and releasing music alone; the vast majority of singers and players must tour regularly to top up their bank accounts, while simultaneously promoting their latest release.

    And, perhaps most significantly, technological innovation and begrudging record-label cooperation have combined to offer music fans the chance to shun the concept of traditional ownership entirely, in favour of streaming millions of songs wherever they want, as often as they want, in exchange for a regular fee. It’s Mr Bowie’s music-as-utility forecast come true. Streaming music is here, and likely here to stay. For music fans, the benefits are clear. Subscribe to an online service like Rdio or Spotify — the two most popular players in an increasingly-crowded Australian market — for $12.90 or $12.99 per month, respectively, and you’ll have access to almost any song you’ve ever loved, plus a whole galaxy of tunes you don’t yet know. You’ll also be able to hear new music on the day it’s released at the record store and on Apple’s iTunes Store. (Since April 2003 the iTunes Store has sold more than 16 billion songs.)

    Streaming offers an all-you-can-eat buffet of music, on your computer and your smartphone, and no matter how much you ‘eat’, the monthly fee remains the same. (Spotify also offers a free subscription, which automatically inserts audio advertisements into your playlist every 10 minutes or so.) Streaming is the most cost-effective and convenient means to music discovery ever mass-marketed; indeed, the initial enormity of the music library on offer — both Rdio and Spotify host 15 million-odd songs each — will overwhelm even the biggest fan.

    That record labels succumbed to streaming service providers by licencing their artists’ music was no doubt driven by a desperate need to regain some control over their ailing profit margins. Peer-to-peer file-sharing technology like Napster, Kazaa and — more recently — BitTorrent are widely acknowledged to have decimated overall music sales from 1999 onwards. The record industry learned a hard lesson: if the option is available, the tech-savvy will choose not to pay for music.

    Exactly how much this lesson cost the industry in lost sales revenue is impossible to measure, but it’s safe to say that the number in question is a whole number containing many, many zeroes. The labels’ great big hope is that the sheer convenience and relatively low cost of streaming will function as a finger in the proverbial dyke. A month’s unlimited subscription to Rdio or Spotify costs less than the average album does in-store, or on iTunes. Better that people pay a little money to hear their artists’ music, the labels figure, than nothing at all. The recording artists generally can’t choose whether or not their music is streamed, as their record labels usually hold the rights over how and where their music can be sold. Only the biggest fish can swim against the tide: bands such as The Beatles, Coldplay, Metallica and AC/DC all have opted out of including their respective catalogues on streaming services. Spotify won’t be drawn on the amount of revenue that gradually filters down to individual artists; spokespeople have only ever stated publicly that 70 per cent of the company’s revenue from subscriptions and ad sales goes to record labels, which then pass on a small percentage of the per-stream revenue to the artists.

    Perhaps it’s always been true that only the foolhardy would pursue a career in music with the primary goal of wealth in mind. But now it seems that the money-laden scales are tipping further away from the songwriters and performers in favour of those who build and maintain the tech services which enable the sale, distribution and consumption of music.(Just ask Apple’s shareholders.) So, is streaming going to kill the rock star?

    To read the full story, visit The Global Mail.

    Elsewhere: a conversation with Scott Bagby and Carter Adamson of streaming music service Rdio, February 2012.

  • The Global Mail story: ‘Sources Of Tension: SourceBottle and online sourcing’, April 2012

    A story for The Global Mail, published in April 2012.

    Excerpt below; click the image to read the full story on The Global Mail website.

    Sources Of Tension
    by Andrew McMillen

    Times have changed for journalists, and some have changed the way they get their information. It’s time to let readers in on one of the shortcuts.

    Pre-internet, journalists had it tough. If they needed quotes, they had to use initiative, combing their existing contacts, working their telephones, or wearing out their shoe leather meeting people face-to-face. Often, all three tactics were employed simultaneously.

    In 2012, not only are supremely useful online tools such as Google, Facebook and Twitter making the hunt for sources a much more efficient process, there are now entire digital businesses built around connecting journalists with sources – namely, the “real people” you find dotted throughout broadcast, print and online news stories. While Facebook and Twitter are useful for this purpose, they can be limited by a journalist’s existing network of “friends” and followers. So, aiming to streamline the process by offering volume and efficiency, new digital services will push a journalist’s message out to a large audience as quickly as possible.

    At face value, such businesses may appear no more than a slick machine pushing the antiquated skill of personal sourcing into the interconnected present. But the media-consuming public usually are unaware of how the voices in news stories have been gathered, knowledge that might colour the way readers interpret the quotes. To examine the ethical complexity of the issue, The Global Mail looks in detail at one such direct-connect business: an Australian website named SourceBottle .

    A cursory scroll through the website’s Twitter account, @SourceBottle , offers a depressing insight into the way some Australian journalists are using the service. On SourceBottle’s Twitter feed, wedged among requests for the generic (“Magazine seeks Gen Y girls who ditched the city life for the country”), the hopeful (“Magazine seeks people to lose 5kg in 2 weeks”) and the plain lazy (“Magazine seeks details on the Titanic for article”) is this jaw-dropper, tweeted on December 10, 2011: “Mag seeks women who have rejected a 6-figure salary, gone blonde, adopted a rescue dog or converted to Islam #beasource.”

    It’s a shame that the link leads to a dead-end on the SourceBottle website — the journalist’s deadline has long since expired, and so the “call-out” is shielded from public view — as that story sounds amazing. (Imagine if they found one women who’d done all four disparate tasks?) Mirth aside, it also sounds like an Australian women’s magazine has planned an article and then attempted to find sources to fit their idea of reality, rather than using reporting to inform the outcome. It’s the journalistic equivalent of putting the cart before the horse.

    SourceBottle, founded by former PR rep Rebecca Derrington in July 2009, advertises two functions. Firstly, it helps journalists and bloggers find sources for stories. These voices are essential across all forms of journalism: without sources, we’d only ever see, hear and read fiction or opinion. In order to find people to interview for their stories, journalists are allowed to post a “call-out” on the site. If all goes to plan, the journalist can “sit back and sources will find you”, according to the site’s bolded marketing spiel.The concept is instantly appealing to any time-strapped journalist (as most are, after all).

    To read the full story, visit The Global Mail.

  • The Australian story: ‘Jay & Silent Bob: Comic duo gets serious, for laughs’, April 2012

    A story for The Australian’s arts sections, which ran on April 12 2012. The full story appears below.

    Comic duo gets serious, for laughs
    by Andrew McMillen

    The first time cinemagoers laid their eyes on Jason Mewes and Kevin Smith was in Clerks, a 1994 feature film that depicted a day in the working lives of two frustrated store clerks stuck in dead-end jobs.

    Mewes and Smith played the bit-part characters of Jay and Silent Bob, respectively [pictured above; Smith on the left]. Their introduction occurs seven minutes into the film, when Mewes — a tall, wiry youngster — takes up his regular post outside a convenience store (where Smith, then 24, worked as a clerk during the day). Jay drains a beercan, spits out its contents, then announces, “I need some tits and ass, yeah!” He does a little dance, then adds, “I feel good today, Silent Bob!” before expressing in detail his desire to copulate “with anything that moves”.

    All the while, his stocky, mute friend in a trenchcoat puffs on a cigarette, barely acknowledging the string of explicit and provocative statements that Jay directs at passers-by. It remains a compelling introduction to two of modern American cinema’s most enduring — and unlikely — comedic characters.

    Written, directed, produced and edited by Smith, Clerks never appeared on more than 50 screens at one time during its theatre run in the US. Rated R for “extensive use of extremely explicit sex-related dialogue”, the film seemed doomed to a niche audience at best. Yet word-of-mouth marketing prevailed and it grossed more than $US3 million for distributor Miramax Films.

    Not bad for a project made on a shoestring budget.

    Clerks became a cult favourite that led to a string of popular comedies directed by Smith: Mallrats in 1995, Chasing Amy in 1997, Dogma in 1999 and Jay and Silent Bob Strike Back in 2001. The two characters last appeared on screen together in 2006′s Clerks II.

    This month Mewes and Smith will tour a live show in Australia for the first time, under the name Jay and Silent Bob Get Old.

    Mewes, now 37, casts his mind back to his late teens, when Smith — four years older — began working on Clerks. “Back then, it was just me and him,” Mewes says. “We’d wake up and work our nine-to-five jobs at the convenience store and the video store. He told me he was writing a script and was going to go to film school. It wasn’t that I doubted him; it was like, ‘Oh cool, you’re going to school.’ I didn’t think anything about it. I was just like, ‘I’m going to go to work tomorrow, you have fun.’ ”

    Smith’s hard work evidently paid off, and he brought his new friend along for the ride: one that took the wealthy writer-director to the heights of owning a home in the Hollywood Hills with his wife and daughter, and Mewes to the depths of addiction to heroin and, later, the painkiller OxyContin.

    In a 10-part series published on his blog in 2006, entitled Me and My Shadow, Smith described at length the roller-coaster ride of Mewes’s addiction and his numerous attempts at rehabiliation. Using his flair as a writer and eye for detail, Smith wrote of Mewes’s “first taste of heroin courtesy of a girl whose name he doesn’t remember, on a jungle gym in a park lit by the Canadian moon”. Later republished in the 2007 book My Boring-Ass Life, Smith’s tale remains moving, even for those with little interest in his films.

    Mewes has never read Me and My Shadow in full. “I’ve read sections of it,” he says. “It sort of upsets me a bit to read it. I’ve never been able to sit through and read it from beginning to end.” The Australian tour, Get Old, born from a successful podcast of the same name, has its roots in Mewes’s addictions, too.

    Six years sober, he relapsed in 2009 on painkillers after a dental procedure. “When people go into surgery, you try not to take pain medicine if you’ve (been) addicted to pain medicine (in the past),” he says. “But if you are going to take it, you should talk to some people; a sponsor, friends, and you have to see them every day, (to) be accountable for what’s going on. I didn’t have any of that going on at the time. There was no one I had to be accountable to.”

    When Mewes told Smith of his desire to record a regular podcast before a live audience, his friend encouraged him to speak about his experiences with addiction. According to Smith, “it’s much easier to fight a dragon if everyone can see it, and it’ll remind you about where you don’t want to be ever again.” The live shows became a kind of therapy for the actor.

    “Talking about everything has been very helpful for me,” Mewes says. An unexpected outcome eventuated, too: group therapy. “I’ve had people come up to me after shows and be like, ‘Hey man, I’m six months sober today and it’s seriously because of you because when I was sick and I was getting off the painkillers, I wanted to go use but then I’d listen to three of your podcasts in a row and it would inspire me not to go get high again.’ That’s very flattering and awesome. It’s just a bonus to what I thought (the podcast) would be about.”

    Jay and Silent Bob Get Old has no real structure: it’s just two friends who happen to be famous speaking about whatever comes to mind. The show was first hosted at a 45-seat venue in Los Angeles, which sold out five weeks in a row. On upgrading to the 230-seat Jon Lovitz Comedy Club in Universal City, the pair continued to fill the venue each week. They booked bigger shows in capital cities across the US, and their Australian tour — consisting of theatres that hold 1000 to 2000 people — has mostly sold out.

    “That we can get 2000 people who want to come listen to me and Kevin sit down and talk and tell some of our stories is pretty amazing,” Mewes says, laughing.

    When asked whether he’s concerned about sharing too much, Mewes replies: “No, not really. Not when I hear stuff like (former addicts thanking me).

    “Sometimes I think I over-share about me and my wife, and my wife might be at the show and afterwards she’ll get a little embarrassed or upset with me.”

    This is unsurprising, given that both men discuss the topic of sex — both in the past and with their wives — frequently during the stage show. “That’s about it. There hasn’t really been any backlash.”

    Despite the gravity of discussing Mewes’s former demons, there’s much more light than shade at play in Get Old. After all, most people are there to laugh with their film idols rather than mull over life lessons.

    “My goal is to entertain everybody,” Mewes says. “I hope they have a really good time. And of course people are paying money. I want them to be like, ‘Oh man, we went out last night, and we saw Jay and Bob. I’m glad I did that on my Friday night, instead of going out to the bar or to the movies.”‘

    Jay and Silent Bob Get Old is in Adelaide on April 18 and 28; Brisbane, April 19; Sydney, April 20 and 23; Melbourne, April 26.