Quench Magazine, Issue 193, May 2023

Editor’s Note

Collaboration has been key to Quench’s successes this year, and without the constant support and hard work from editors, designers, illustrators, photographers and contributors, we simply wouldn’t have made it this far. It’s a theme that seems similar to the previous, Union, but is actually different in meaning and interpretation. To unite is to bring together, but to collaborate is to work together, something we’ve excelled at this year as a team. Upon putting together our first edition of the year I remember wanting Quench to feel like a piece of teamwork, something I wanted everybody to take part in and be proud of. After what feels like the blink of an eye here we are - our final issue.

Running a team is hard work and a lot of effort, but I wouldn’t change any of my experiences for the world. Despite the technical mishaps at the beginning of the academic year, we ploughed on and gave it everything we had. I am overwhelmingly proud of us all. I’d like to give a very warm diolch to my deputies Maddie and Molly, who kept me sane during the process of publishing each issue. You two are the best.

My third year at University hasn’t been easy, and like most third years do, I struggled with some tough academic burnout. I can’t believe that despite all of the ups and downs of the previous twelve months, I’ve made it. I’ve got just a few more weeks of hard work before I can hold up 5

magazines, a dissertation and a whole degree and say that I did this, I really did. It was a lot of laughs, tears, hard work and a lot of new grey hairs. The sun is setting on my life as a student, but it certainly isn’t setting on my time at Cardiff - there’s no getting rid of me. I can’t wait to see what this next chapter brings.

As this is our final edition, I have a lot of people to thank. Charlotte, Rhiannon, Dario and Jacob have been my rocks this last year. You carried me home after one too many pints, made me laugh until I snorted, and held me whenever I needed. I can’t tell you enough how much I appreciate all four of you. I love you like I love family. Diolch, diolch, diolch.

To my parents, sisters, housemates and coursemates- diolch for every word of encouragement and for celebrating every success. We’ve finally done it, I couldn’t be here without you. These experiences have been invaluable and I’m so grateful to have worked on Quench this year.

My team have been absolutely invaluable. I can’t wait to see what you all get up to next - thank you for having me this year.

To all our lovely readers, good luck with all of your final assessments. I hope you get to celebrate all of the hard work that’s gone into this academic year. You should be proud.

For the final time this academic year, I hope you enjoy this issue of Quench!

Ta-ta for now,

Alexa Editor-in-Chief

Well, here it is, the last issue of Quench for this academic year! I can’t quite believe how quickly this moment has arrived. It feels like only yesterday that I was sitting down to write my first Deputy Editor’s note, and now I am bringing you my last. The theme of this issue is Collaboration; one that is particularly fitting as I reflect on everything we have achieved at Quench this academic year.

In my first Deputy Editor’s note, I expressed how I have always loved the freedom and independence that Quench affords its editorial team and contributing writers. Whilst this statement still stands, I cannot deny that, at its core, Quench is a collaborative process. From every pitch meeting, to every social media post; from every online article published, to every printed edition, Quench is fueled by the creative collaboration of our editorial teams and contributing writers. The process of working together is so rewarding in itself, but it feels even more so when the fruits of our labour are materialised in each issue of Quench!

With Alexa as the driving force, there has been a strong sense of camaraderie at Quench this year. The five issues that we have brought you, along with all of our online articles, have been the result of hard work, but also the result of friendship, laughter, positivity and a supportive, uplifting environment. I will look back on every pitch meeting, pub trip and house party with such fond memories, grateful to have found myself part of such a wonderful and talented team. I am so proud of where we have taken Quench this academic year, and none of it would have been possible without the hard work of everyone involved. So, one last time, thank you all and a huge well done!

I hope you enjoy Issue 193 of Quench, and thank you, as always for picking up a copy.

Welcome back readers, and thank you again for picking up the final edition of Quench magazine for this academic year. It has been an absolute pleasure to serve as one of the Deputy Editor and to bring you an incredible year of arts and culture content at Cardiff University.

For this edition, we have decided to explore the theme of collaboration. It is a theme that is central to the ethos of Quench, and an essential aspect of the culture of Cardiff University. We believe that collaboration is the key to unlocking creativity and to making meaningful connections with others.

In this issue, we have some fantastic pieces that showcase the power of collaboration. Our writers have come together to explore how collaboration can inspire us to be better, to do more, and to connect more deeply with those around us.

As this is the final edition of the year, I want to take this opportunity to thank our readers for their unwavering support throughout the year. It has been an absolute privilege to bring you the latest news and insights from the arts, culture and entertainment world.

I also want to express my gratitude to the incredible team behind Quench magazine. Without their dedication and hard work, none of this would have been possible. Thank you to Alexa and Maddie for their exceptional leadership and to every writer, editor, and designer who contributed to the success of this year’s magazine.

As we approach the end of the academic year and the beginning of summer, I wish you all a lovely break. May it be filled with joy, creativity, and an abundance of collaboration.

Finally, as I sign off for the last time as the Deputy Editor of Quench magazine, I want to say thank you again to everyone who has been a part of this incredible journey. It has been an honor to work alongside such a talented and dedicated team, and we hope that you enjoy reading this final edition as much as we enjoyed creating it.

Best regards,

Maddie Molly Deputy Editor Deputy Editor

Meet the Team

HEADS

FEATURES

Alexa Price, Maddie Balcombe & Molly Openshaw

FOOD & TRAVEL

Sophie Revell & Rume Otuguor

Charlotte Harris Kate Nichols & Amy Wild

Alanya Smith & Dominic Bramley-Carr

Millie Stacey, Beca Dalis Williams & Lowri Powell

Rhiannon Farr & Beth Yates

Eve Davies & Hannah Wild

Lucia Cubb & Bryony Wright

HEADS OF DESIGN

PHOTOGRAPHY

ILLUSTRATION

SOCIAL MEDIA

PAGE DESIGN

Zoe Price & Libbi Kettle

Laura Mae & Rubie Barker

Rida Rehman & Ananya Ranjit

Soyal Khedkar & Eleanor Byrne

Julian Tse, Constance Cua & Mia Wilson

Isla McCormack, Haris Hussnain & Eva Castanedo

Gracie June Richards, Paulina Wisniewska, Millie Knappett, Grace Dawson & Yaiza Curtis

Collaboration or Consumer Conspiracy? 18-19

Travel

Collaborative Tourism: What is it and How Can Cardiff Students Get Involved? 20-21

Food & Drink

Collaboration Behind the Food Industry: Our Experiences Working in Food Places 22-23

Clebar

Cymru’n Cydweithio 24-25

Fashion Spotlight

AI: Atrocities of Intimacy? 26-27

THE COLLAB:

WHAT HAPPENED TO YOUTUBE COLLABORATION CULTURE?

Let me set the scene – its 2013. Chummies Zoella and SprinkleOfGlitter (Louise Pentland) have just left the glistening pebbles of Brighton Beach behind for the biggest event of the annum in the eyes of YouTubers worldwide – VidCon. Dan and Phil are still ‘straight’, violently denying rumours and avoiding the depths of Tumblr where the most horrific of fanfictions lay, instead hosting their weekly BBC Radio show and balancing about five channels altogether. The YouTube boyband has just covered ‘It’s All About You’, and each and every one of your favourites is either releasing a makeup brand or a book. Tanya Burr and Jim Chapman haven’t split up yet and the existence of their dog Martha remains certain.

You’re sat in your room, no troubles in life apart from which tennis skirt you’re going to wear for non-uniform day on Friday. Happy Little Pill by Troye Sivan blasts from your iPhone 4s and on your family laptop, you’re watching the latest Caspar Lee and ThatcherJoe collab. What you don’t realise yet, is that this familiar group of YouTubers who have raised you will soon be strangers, even to each other.

To save us all from tears, I’ll bring the nostalgia-ridden scenario to an end there. YouTube in the early 2010s was an experience unique to us all – still a budding website, where the profession of being a ‘content creator’ or ‘influencer’ raised more eyebrows than sex work (which is usually what it was mistaken for, actually). The thing is, this little group of YouTubers seemed so close to making it massive globally – pulling side projects left, right and centre and attending every event known to man. Then, almost as quickly as it exploded, everything ceased to be as exciting and impressionable as it once was. Here’s the thing – no one is completely sure why. Was it their content that stopped being so endearing? That would explain a lot, however, upon revisiting some of these all- familiar channels (Tyler Oakley, Alfie Deyes, to name just a few extras) it becomes apparent that these people, for the most part, haven’t changed much at all. Looking within, however, it’s likely the fault of us, the viewers, that these people faded so quickly from the limelight.

Most of us being pre-teens at the time of their explosion onto the internet scene, we spent so much time invested in consuming hours of the same content that we almost grew up quicker than any of us would have hoped. From 2015 onwards, these names we all knew too well once again faded into enigmas in topics of conversation, or only mentioned when someone brought them up as a ‘throwback’. Marcus Butler stopped his YouTube channel, Troye Sivan is better known as a singer than his professional beginnings on the site, and Zoella and Alfie (who finally confirmed their romance) now have a child together. Not that I’m biased in any way, but Dan and Phil seemed to be the only ones who still really cared – and remained somewhat relevant – and painfully the same. They embarked on world tours, contin-

continued their silly little ‘tags’ and challenges, and live streamed weekly. Was this effective? Somewhat, but the burnout ultimately came faster. Whilst Zoe, Alfie, Louise, in fact the majority of the Brit Crew still create content regularly, DanAndPhilGames abruptly stopped, and Dan stopped uploading content altogether.

Change, a lot of the time, is necessary - even if it is difficult to accept. From 2018 onwards, it really seemed as though YouTube had now become a solo effort for many, with growing popularity given to lone influencers such as James Charles, Shane Dawson, and Emma Chamberlain. It opened up more doors for fresh faces – Antonio Garza’s channel blew up overnight for her dry humour and unique video format, one that didn’t require anyone but her own face to gain a following. Technology had become more accessible now, too – anyone could access a camera and editing software on their own phone, and camera quality had improved so much that an El Gato or Canon Camera was not necessary for success.

Cue the Covid-19 pandemic in 2020. People had no choice but to do things on their own, with social interaction and proximity being against the law to stop the spread of the virus. YouTube began to depend on another platform, Twitch, and creators worked in unison to achieve high levels of entertainment for all kinds of viewers. With people sat at home all day, video games had become much more important, and the likes of Minecraft caused newfound friendships and ‘groups’ – the DreamSMP, Lunch Club, to name just two. From now on, it seems that whether you rather create content with your friends or take the reins of autonomy for your own channel, YouTube is a place for anyone.

Words By: Tegan Davies

Design By: Mia Wilson

An Outdated Collaboration?: Christian State Schools in a Secular Society

Something that has always perplexed me about the UK is the control that Christianity is awarded over the education of young people. Given that we now live in a society in which less than half of the population identifies with the Christian faith, as revealed in the latest census, surely the teaching of Christian beliefs as fact in roughly a third of schools is something of a blaring anachronism in twenty-first century Britain. According to the Department for Education, of 7,000 faith schools in England, 98% teach either Church of England or Roman Catholic beliefs, with only 42 Jewish, 12 Muslim, 3 Sikh, and 1 Hindu school in the country as of 2011. Clearly, the distribution of faith schools has little correlation to the actual religious beliefs of current UK society.

I myself went to a Roman Catholic Primary School, and much like anyone else from a similar upbringing, I have plenty of anecdotes to make people from secular schools widen their eyes in disbelief. There was the much-loved teacher fired for not being Catholic enough, the bottles of red wine handed out to seven years olds at summer fetes, the agonising struggle to deicide which sins I should confess to at the age of eight, and that one fabled citizenship lesson in which the headteacher made all of us promise never to use condoms or risk the fiery depths of hell. Whilst the vast majority of our schooling was entirely up-to-date and Ofstead approved, many moves by the school seemed designed to send us off into the word with completely archaic ideas about faith and morality in modern Britain.

I should say that I don’t think religious primary schools are a particularly dangerous force of indoctrination, mind-washing children into a rejection of science or spewing hatred at those with different beliefs. Of my entire class, after seven years of hymns, communions, prayers, and confessions - I struggle to think of a single acquaintance from those days who still actively practices the faith. You’d think that surely after all of those formative years spent nodding along with teachers and priests we might have taken to a life time of rigid belief, and yet by week two in our new secular secondary school we had all, without conferring, become secular ourselves. The Holy Trinity was out and Katy Perry, The Hunger Games, and Angry Birds were in.

Despite these memories of a school which was, in many ways, shockingly outdated, I struggle to resent the control religion had over my life at that age, and find this fondness to be something of a phenomenon amongst people I meet from similar backgrounds. Catholicism, like most religions, has a knack of making you friends from around the world, not always based on belief but from experiencing this shared faucet of culture, uniquely unconfined to a country or even continent. Those days gifted me with a foundation of knowledge in lesser studied yet culturally powerful history, which continues to serve me well in everything from pub quizzes

to analysing poetry from the middle ages to the romantic movement. To quote Mary McCarthy’s Memories of a Catholic Girlhood, ‘[I]f you are born and brought up a Catholic, you have absorbed a good deal of world history and the history of ideas before you are twelve, and it is like learning a language early; the effect is indelible’ (Mary McCarthy, 1957). However, I do believe that this unique ability of religious teaching to impress knowledge upon children usually beyond their reach is merely the effect of daring to teach the young on matters that, in any other context, would be considered overly complex. As someone with a bit of experience in teaching children, I’m a firm believer that kids are a lot more intelligent than we as adults care to credit them, and so perhaps the teaching of any type of more advanced studies in primary schools would be bound to leave that generation with a hazy but useful understanding of say, quantum mechanics or Shakespeare’s Histories. Nevertheless, eleven years olds quoting Henry IV Part One is rather redundant if they never got around to learning their two times tables.

Of course, the troubling relationship between church and state goes much deeper than our education system. Writer and comedian Sandi Toksvig recently raised awareness of the power reserved for Christian Archbishops in the House of Lords, sparking debate when she tweeted that ‘[t]here are only two countries in the world where representatives of the state religion automatically get seats in Parliament. They are the UK and Iran.’ (Sandi Toksvig, via Twitter, February 2023). This allowance of governmental influence to religious leaders raises troubling concerns about how our democracy considers issues such as gay marriage and women’s reproductive rights, long debated by members of the Christian faith. Without looking too dated tradition and cultural norms formed in a Britain of the past, it is hard to justify why exactly this power is awarded solely to members of the Church of England in a multi-faith and predominantly non-religious modern society.

Overall, I think it’s best if as a culture we start to leave the churching to the church and the schooling to the schools. Parents should have the right to raise their children with whichever beliefs they decide, yet the prevalence of faith schools, especially in rural areas, disproportionately caters to a minority in an outdated tradition of Christian schooling in the UK.

Words by Charlotte Harris Page Design by Haris Hussnain

The Future of Collaboration:

How technology is changing the way we create Film and TV

Anyone who has recently watched Avatar: The Way of The Water, The Last of Us, The Lion King-Live action, or any film or TV series made in the last ten years will know that film and television have changed in a multitude of ways. The reason…technology.

For starters, I think it best to give recognition to one of the most well know and obvious technological advances in film, which is the use of twin-lensed cameras to create a 3D version of a movie. The images from the two different lenses are projected onto the screen by two different projectors, thus creating a masterpiece. Another obvious technological advancement is the use of drones to film our favourite actors from a multitude of angles. However, in recent years there has been a further evolvement in the type of technology used to create films which not many people are aware of and this has changed the way we think of collaborative work. One of the largest ways technologies has affected the film and TV industry, which was thrown into the spotlight due to COVID-19, is remote editing. Remote editing involves cutting and rearranging multiple film shots to create a cohesive and sequential story- all done from home. This has been extremely helpful in recent times when going into an office wasn’t possible. The well-known computer software company Adobe started using a new program called LucidLink in 2020. This software allows multiple editors to edit a video in a good deal of ways and even allows them to do this at the same time. Software like this allows film editing teams to seek advice from special effects specialists that may live on the opposite side of the world. In addition, this can be extremely cost-efficient and allows directors to spend a larger budget on bringing us action-packed films instead of worrying about the cost of travelling to said specialists.

Speaking of cost, the use of modern technology has significantly reduced the cost of creating a film, in some ways, as it can be done in lesser time, with less waste, as any mistakes can be rectified immediately. In addition, not only are people now using high tech to make film and TV but are using it to store and preserve it as well. Gone are the days of having to buy warehouses to physically store the film tapes, as nowadays it only takes a few gigabytes on a computer to give a piece of art immortality.

Another snazzy piece of efficient modern collaborative technology that is now being put into practise is the use of virtual production. This practise involves using 3D engines to build photorealistic sets that are then displayed on LED walls behind the physical set. Virtual production allows for filming to incorporate special effects at the time of filming and does not require them to be edited in later on. This allows actors, directors, and film crews to visualise the set and what the movie is going to look like in real-time. In simpler words, think early 2000s playing with Apple Photo Booth green screen backgrounds on a much larger scale. In addition, the use of LED screens allows filmmakers to play around with different ideas, visualise them, and come to the conclusion of what looks best before clicking the record. Whilst the actors may have travelled elsewhere in the movie, in reality, virtual production makes it possible to shoot these scenes in the same place and eliminate the worry of different environmental conditions. Finally, the use of technology makes it possible to recycle pre-used video and set materials instead of having to spend hours building a new yet similar landscape. Similar to virtual editing, virtual production aided the film industry hugely during and post COVID-19, as films could be made with less crew, less travel, and less hassle overall. Essentially, films could be shot within a technologically enhanced bubble. However, please be advised that Judd Apatow’s 2022 movie, The Bubble, is not at all an accurate representation of what that might have looked like.

words by: Jessica Fotheringham design by: Soyal Khedkar

For the Love of CHOIRS!

Page Design by Isla McCormack

There are many benefits of singing in a choir, whether they’re mental, physical or musical. More generally, music has been proved to be an effective pain relief due to the release of endorphins, as well as improving the immune system - according to studies by Oxford University. Singing takes it one step further, with reports that people feel more positive after singing than they do after casually listening to music. But what’s so special about singing as part of a choir? Community has been essential to our survival since the dawn of time, and although singing might not be vital to our survival, the sense of collaboration and understanding that is formed between choir members definitely adds to the human experience. I can attest to the claims that singing in choirs can improve one’s mental well-being, having been in choirs since I could talk. Singing has been close to my heart for as long as I can remember, and it’s a gift that contributes to some of the happiest moments of my life. Being part of an A Cappella group has been my biggest challenge in collaboration; every voice must be accounted for, and works towards creating a unified sound that performing with instruments just doesn’t provide. Every decision we make on stage works in tandem with the rest of the group; from taking a breath at the right time, to coordinating our moments in choreography. It doesn’t matter how many people might be in the audience - catching the eye of someone in the group mid-song steadies my mind and I can never help but leave the stage with the biggest smile on my face. Even after the most stressful rehearsal - one where everything goes wrong - there seems to be a restorative effect of singing with my friends that leaves me bounding out of the rehearsal room every time.

Without a doubt, being a part of a choir can be incredibly empowering to all of its members; this is due to the huge amount of love and positivity that is experienced when being a participating member. Nothing beats the feeling of achieving something in a collaborative nature, and being part of a choir does exactly this. As humans it is inevitable that we strive to appreciate the joy and creativity that music brings; it is just a “feel good feeling” that we cannot ignore. Choirs can be seen as the perfect opportunity to bring people together in an environment that is safe and non-judgemental. It is a place not only to sing and share the same love for music, but to bring people together and create friendships that last a life time. Singing as a group can bring so much joy, as well as having beneficial impacts for people’s well-being. Being part of a choir has so many positive impacts on your mental health, it has been proven to release stress and strengthen self-worth. Due to the supportive nature every member is loved and valued, being part of a choir has the power to positively boost your mood. The reason why people have so much love for choirs is due to the huge amount of diversity and inclusivity that is supported. No matter your age, experience or background, everyone will be welcomed. There is a huge sense of belonging when being part of a choir and this in turn increases peoples own confidence. Choirs bring local communities together, as well as people from all around the world. Virtual Choirs were set up during the COVID-19 pandemic, which further allowed for individuals and communities to come together and sing. You will never feel alone when you are a member of a choir, as it seeks to promote the sense of belonging and love.

The existence of Choirs only encourages love amongst its members and if you ever get a chance to join one I would highly recommend it, as I am sure you will not regret it.

Words by Katie Storrie

Words by Sophie Revell

The Illustrated Bond

J.R.R. Tolkien and Pauline Baynes

Words by Tom Nicholson

Pauline Baynes had “reduced my text to a commentary on her drawings”, Tolkien said. Her illustrations brought his world to life, while his work allowed her to use her witty creativity to weave out the images within the reader’s minds. With Baynes’s careful attention to detail, she used Tolkien’s material to convey her subtlety and sympathy through her art. Baynes’s inventive style allowed the illustrations to burst beyond the borders of the page, allowing her imagination to create the intricate and beautiful drawings we see today. The maps of middle earth. The dragon within the lonely mountain. The journey from Rivendell to the undying land. The front covers and medieval marginalia are all entwined by Baynes to create the ideal fantasy world that lay within Tolkien’s and the reader’s minds eye, only to be turned into a visual reality by one illustrator.

Tolkien’s unmatched world-building and richness to detail connected with Baynes’s elegant illustrations convey how this literature bond is a powerhouse within fantasy fiction. Their collaboration spanned decades, with her creating art for the weighty and deep field mythology of ‘The Lord of the Rings’ and the ‘Hobbit’, while also illustrating Tolkien’s smaller works, such as ‘Farmer Giles of Ham’. Her illustrations and his writing style bridged Tolkien’s fantasy worlds together, interconnecting them and giving them synergy. This author and illustrator bond is loved by fans, as their art partnership erupts a first-time reader into Tolkien’s world, while long-time readers feel nostalgic when seeing the story and the pictures together.

Lewis Carroll and John Tenniel

Words by Olivia Nilsen

As a child, I grew up surrounded by books: before I could even read, I loved them - the smell, the way the pages felt between my fingers, and how valuable they felt. One of my favourites was a beautiful hardcover copy of ‘Alice in Wonderland’ by Lewis Carroll. The pictures were so captivating to me as a child and the style stood out in comparison to the other illustrations I had seen. I didn’t learn until I was much older that John Tenniel was the artist responsible for the art in magical novel. His art brought the story to life, whether that be Alice sharing tea with the Mad Hatter and the White Rabbit or her standing in front of a mushroom surrounded by plumes of smoke from the Caterpillar. The story acted as a source of inspiration creatively for me: the fantastical nature of the story was so impactful that it motivated me to write my own stories about magical things. The story of Alice in Wonderland is well known across the globe, thus making the artwork some of the most recognisable in the world. Tenniel’s illustrations, paired with Carroll’s celebrated storytelling, has made for an iconic legacy that has inspired a wide range of artists in every medium imaginable. Personally, ‘Alice in Wonderland’ holds a special place in my heart because it is just one of the many stories that contributed to my deep love of literature.

Design by Mia Wilson

A. A. Milne and E. H. Shepard

Words by Meg Burgess

The tales of Winnie the Pooh have been told to children for decades, with the colourful cast of characters being easily recognisable for everyone familiar with tales of our favourite bear. However, the illustrious success of A.A. Milne’s tales would not have been so great without the artworks from E.H. Shepard, also known for his work on children’s tale The Wind in the Willows.

A.A Milne’s work perfectly captures the curiosity and wonder of a child through the characters of Pooh, Piglet, and Eeyore (to name a few!). The tales teach children the importance of friendship and discovery, as well as identifying key emotional reactions recognisable for children through the characters.

Shepard’s work is particularly fitting for Milne’s tales, encapsulating how a child views the world. The illustrations accompanying the tales are full of colour and drawn in simple lines, easy for children to understand and recognise the characters. Despite its varied colour palette, the colours are muted and easy on the eyes – making the images pleasant to look at, especially important for bedtime stories.

The best part of Shepard’s work is his ability to emulate Milne’s characters perfectly. From Pooh’s iconic yellow to Piglet’s striped design, others have taken their own interpretations of these beloved characters and sketched them into their own lives, from tattoos to t-shirts. Images of Milne’s characters have permeated so much of pop culture and will continue to do so as long as children’s stories exist.

Collaboration

or Consumer Conspiracy?

The Endless Need for Clout

In the search for a fresh image, collaborations happen all the time in the fashion world. When set between fashion brands, such as Adidas and Gucci collaborating in 2022, the collection can bring a new look and widen the creativity behind the producta normal pair of Adidas trainers looks completely removed from products like the collaboration’s pink velvet wedges. Of course, a usual pair of Adidas trainers marks up £120, but the cheapest item on their Gucci collection is a pair of socks selling for £155. Collaborations can show creativity - Jimmy Choo and Pretty Guardian Sailor Moon incorporated the bright colours, tight silhouettes and platforms in the design of their shoes, in a manner that kept true to the elegant style of the usual Choo shoes. However, some seem to be creating these products for shock value, or for a chance to capitalise off another’s profit, but where does that leave its targetthe customer?

Collaborations dependency on the ‘clout’ and hype around them does not always come across as a positive either. The sports-wear brand Nike did an unexpected collaboration with the jewellery house Tiffany & Co., which created a lot of buzz; the mash up was expected to be a close mash up of dainty and sporty, with a few online posts speculating on the design through Artificial Intelligence. When the actual design was posted, twitter user @MUGLERMIND compared the expectations and the reality, and most users seemed to disagree with the AIgenerated designs, but not defending the actual collaboration. The shoes come in all black, with a piece of Tiffany sterling silver on the back, and a Tiffany blue tick, but the combination did not account for its sporty audience, and the popularity of the Tiffany blue, outside of the company’s name.

Walking into Primark last summer and seeing blue tracksuits covered in the Greggs logo was best defined as ‘confusing’ and a clothing equivalent of a ‘jump scare’. While the shock value definitely helped them sell -alike the Lidl trainers that rolled out in 2021- there is something to appreciate about the strange collaboration. Primark and Greggs are both known for their affordable pricing and fill the same need for something cheap that makes up for its quality in how convenient it is. Primark’s main forte is not high fashion, so a collaboration that relies on its quirkiness and chance to go viral will have the highest chances of succeeding. There have been stranger collaborations in the past, which through a certain lens actually cater to their target customer. In 2016, skate-brand Huf did a collaboration with Spam- yes, the canned meat. Some of their customers seemed to dislike the concept, claiming they were trying too hard to appeal to the ‘hype-beast’ fashion of the time, and ripping off rival brand Supreme. Skate and street wear has always been unusual and ironic, but the consumers seemed to see through this one, questioning whether the brand was simply catering to trends rather than its target audience.

These collaborations did mainly succeed in making the round, having countless videos on TikTok dedicated to deciding whether the products are worth it, or debating their appeal. Most seem to happen for the hype, often ignoring their main market, but as long as over-priced collaborations circulate social media, there will be no financial reason for them to stop.

words by: Francesca Ionescu design by: Ananya Ranjit

Collaborative Tourism: What is it and how can Cardiff students get involved?

Words by Megha Roy Page Design by Rida Rehman

Collaborative tourism, as defined by Worldpackers. com, is a growing movement that encourages the exchange of services and resources for authentic travel experiences. This concept is founded on the sharing economy model, where individuals can offer their skills, talents, or time in exchange for travel opportunities. This alternative approach to tourism seeks to change the traditional view of travel as an activity reserved for the privileged few by offering immersive experiences for those on a budget.

In collaborative tourism, participants may work or volunteer abroad, teaching English, working in a hostel, or performing other tasks in exchange for accommodation and sometimes meals. This model allows travellers to explore new destinations whilst immersing themselves in local cultures and communities. By working alongside locals, travellers can experience the destination in a more meaningful way, gaining insight into the local culture and customs that they may not have otherwise experienced.

This movement has the potential to be very important in the future, as it offers a unique and authentic way to travel on a budget, promoting cultural exchange and supporting sustainable tourism practices that benefit both travellers and local communities. Collaborative tourism also has a positive impact on the environment, as it promotes low-impact tourism by encouraging travellers to reduce their environmental impact while traveling.

As before mentioned, one of the main benefits of collaborative tourism is that it provides opportunities for travellers who may not have the financial means to travel otherwise. Collaborative tourism is particularly beneficial for students and young people who are often limited by financial constraints. Working while ‘travelling’ means that you do not need to save lump sums of money before jetting off, allow you to gain valuable travel experiences without breaking the bank.

However, it is important to note that collaborative tourism is not without its challenges. Some critics argue that this model can perpetuate the exploitation of low-wage workers, particularly in developing countries. It is important for participants to ensure that they are not taking advantage of local workers or contributing to a cycle of poverty.

That said, collaborative tourism can be an excellent option for Cardiff students who are looking for an affordable and authentic travel experience. Many students are often constrained by budgets and may struggle to afford traditional tourism options

so collaborative tourism offers a unique solution by providing opportunities to work or volunteer in exchange for travel experiences. Cardiff students can take advantage of a range of opportunities offered by various platforms, including World-packers, Work-away, and HelpX. These platforms allow travellers to connect with hosts who are looking for help with various tasks such as teaching English, working in hostels, or farm work in exchange for accommodation and meals.

These opportunities not only provide a chance to explore new destinations but also offer a unique way to immerse oneself in local cultures and communities. This can be particularly beneficial for students who are interested in learning about different cultures and languages. Collaborative tourism allows students to gain firsthand experience, making it an excellent option for those studying subjects like anthropology, sociology, and cultural studies.

It can also provide students with an opportunity to gain valuable work experience, which can be beneficial for their future careers. Many of these opportunities involve working in tourism-related industries, which can provide students with a chance to develop skills such as customer service, communication, and problem-solving.

Moreover, collaborative tourism can be an excellent way for students to contribute to sustainable tourism practices. As mentioned earlier, collaborative tourism emphasises low-impact tourism, meaning it directly benefits local communities and is respectful of wildlife, local people and their cultures. Also, staying locally rather than in big franchise hotels reduces your carbon footprint, which can be particularly important for students who are interested in environmental studies and sustainability.

In summary, collaborative tourism offers a unique and affordable way for Cardiff students to travel and gain valuable experiences. This model promotes cultural exchange, sustainable tourism practices, and can be an excellent way for students to gain valuable work experience. Students interested in collaborative tourism can research and apply for opportunities that align with their interests and skills, making it an accessible and enriching travel option.

Collaboration Behind The Food Industry: Our Experiences Working in Food Places

Nothing says team like you and your co-workers being rushed off your feet trying to serve hungry customers in a busy restaurant. If you’ve ever worked a manic shift like this you’ll know that there is a great sense of camaraderie amongst team members by the end. Our contributors have reflected on their time at work in the food industry

“Do you like chocolate?” is probably the last interview question you’d expect to receive. Although, I would suspect your expectations would be slightly different if you were applying to work in a chocolate factory! Unlike many others, who generally aim for a job waitressing or in retail as their first taste of the working world, I went with something completely different. I had my touristic hometown to my advantage where there was several paid roles to make chocolate all day long. My very first position in a job was quite literally “Chocolatier” – how cool is that?

Don’t get me wrong, we still had standard duties like sweeping the floors, clearing tables, and fetching stock back and forth. But we used to have lots of fun on our shifts and I was always looked after as the youngest of the group. We got to take any “faulty” chocolate home – it didn’t look as pretty as the chocolate we served but tasted just as good! It was very exciting getting to make Christmas Truffles in October and seeing the magical designs months in advance. On our breaks, we’d mix random flavours of hot chocolate (we melted our own flavour buttons together in store) and see what flavours were actually sellable to customers. I think strawberry and orange white chocolate was by far the strangest mix we had! Not only were customers fascinated by the factory process, but so were my family members. I will never forget the moment when I told my little cousins that I worked with Willy Wonka! They were also pretty convinced when I said the factory was full of Oompa Loompas, some of which were my very good friends, where we made new flavours of chocolate together quite regularly. To their knowledge, I had the best job in the world. I didn’t think it was too far off myself!

Words by Megan Shinner

Page Design by Isla McCormack

After long days of working towards deadlines in the library and battling YOLO hangovers, the last thing you want to do is put on your hospitality uniform and wave goodbye to your housemates. Yet during my experience of working at Principality Stadium for the Six Nations and Internationals I have realised that having a part-time student job amongst everything else really hasn’t been that bad.

In the heart of Welsh Rugby, you always know when it’s a game day judging by the sea of red swarming through Queen Street. I dash past running late, standing out a mile in my all-black uniform and shiny work shoes. I sigh a sense of relief when I arrive in my usual box with my fellow hospitality team-mates, laughing that we came back despite always saying half-jokingly “never again”.

It’s the calm before the storm before the guests arrive. We make sure we look the part with our clip-on ties and aprons, predicting how the day will pan out and whether we can compete with the previous shift’s tips. Although the shift is a hard slog, we really can’t complain. Hearing the almighty roar of the national anthems and catching glimpses of world-class rugby through the floor to ceiling windows, whilst serving guests is always a pinch-me moment.

But don’t be fooled… it’s not all glamours. Nothing says hospitality quite like crouching behind the bar and eating a sorry-looking packed lunch whilst the guests tuck into their five-course gourmet meal. When they’re not looking, we eat the scraps like stray dogs, fighting for the last dauphinoise if we’re lucky. It’s the best food I eat all week if I’ve been shopping at Lidl with my student budget. With student hospitality jobs, highs and lows are always to be expected, but hold onto those highs and the lows might just be worth it after all.

Words by Olivia Dolman

Spilled wine and hugs.

An experience I’m sure other hospitality employees can relate to is the largely dreaded, anxiety-inducing, ‘just gotta get through it’ busy Saturday shift.

I had only worked a few proper shifts and they had been slow Monday lunches and sparse Wednesday dinners. As I headed into work at 11 am on a Saturday, I was smiling, blissfully unaware of the chaos that would ensue.

It was the England vs Wales rugby game and we were expecting a lot of guests. Within the first hour, almost every table was packed, and the bar area was spilling over with people, cheering, laughing, guzzling beers. Frantically, I was attending to 8 tables at once including a table of 15, keeping track of orders, bringing the food out and apologising to waiting disgruntled guests. I had never even waitressed before this or had a busy shift, let alone attended to so many tables at once. So of course, I put the wrong salad through, broke a glass, and forgot to put a bottle of wine through; all on a day when everyone’s patience was wearing thin. I remember thinking “please don’t make another mistake” when I spilled red wine (more so on myself) on a customer at the big table. As the glass shattered, and the dread of disappointing the guests yet again sunk in, I felt myself shake. It may seem like something small, but in that moment, amidst the noise, cramped space, and beckoning of other tables, I was simply overwhelmed. After taking two minutes outside to let out some frustration (and tears) I came back expecting to be yelled at, laughed at, fired even. But instead, I was greeted with a big hug. In that moment, I felt relief like I hadn’t before. My friend was there, reassuring me that it was all going to be okay and that when I punched out at 10 pm, I wouldn’t even remember. I now know that even though sometimes you might encounter someone that complains about the drop of oil on their kale salad, you also meet people that laugh about the wine stain or offer you a fry off their plate. Most importantly, you meet people who can laugh and cry about the same things; people that hug you because they know you need it and remind you to nip to the kitchen for a glass of water. Even on a manic busy shift now, I’m at peace with the thought of knowing that someone will have my back as I will have theirs.

Words by Gargi Shetty

Cymru’n Cydweithio

Mae gan y wlad fach amryw o ffyrdd i gydweithio a bod yn greadigol. Dyma mewnweliad i’r wlad unigryw...

lle gwnaeth griw ohonom lwyddo i dorri’r record am y nifer fwyaf o bobl yn canu o un i un mewn fideo ar-lein ar un o ddiwrnodau mwyaf arwyddocaol

Cymru – Dydd Gwyl Dewi yn canu ‘Moliannwn’. Mae’r Urdd hefyd yn fudiad sy’n cynnal nifer o ddigwyddiadau ac yn uno’r wlad. Cefais y cyfle i fod yn rhan o un o’u prosiectau arbennig sef canu mewn côr rhithiol i ganu ‘Golau’n dallu’. Yn ôl Celfyddydau Rhyngwladol Cymru, roedd y prosiect yn gyfle i ‘ymuno pobl ifanc yn Iwerddon, Cymru a ledled y byd, gan gyfuno’r pethau sydd ganddynt mewn cyffredin a’u dychymyg.’

Wrth ddod i gasgliad felly, does dim dwywaith fod arwyddair tîm Pêl-droed Cymru yn cyfleu pa mor bwysig yw cydweithio i ni ac yn ein dysgu mai ‘gorau, chwarae, cyd-chwarae’ yn sicr yw’r nod.

Cerddoriaeth Cymru

Beca Williams

Heb os, un o brif nodweddion y Cymry yw’r ffaith ein bod ni gyd yn un teulu mawr – yn cydweithio ac yn cefnogi ein gilydd. Fel Llywydd ‘y GymGym’ Prifysgol Caerdydd, mae cydweithio yn ran allweddol o fy rôl. Yn wythnosol, rydym ni fel Pwyllgor yn trefnu crôls a digwyddiadau cymdeithasol er mwyn dod â phawb o’r Cymry ynghyd â chael hwyl a sbri yn y broses. Mae digwyddiadau megis yr Eisteddfod a’r Ddawns Rhyng-ol yn dyst o gydweithio, wrth i ni baratoi i’r digwyddiad drwy ddysgu darnau ar gyfer y cystadleuethau, ac yn bwysicaf oll, cymdeithasu a joio gyda Phrifysgolion eraill ar draws y wlad. Yn ogystal, mae teithiau i wylio’r rygbi ym Mhencampwriaeth y chwe gwlad yn Nulyn a Chaeredin yn sicr yn un o uchafbwyntiau yr aelodau gan ei fod yn gyfle i ddod â phawb at ei gilydd ac i ddathlu’r diwylliant Cymraeg. Mae bod yn rhan o’r pwyllgor eleni yn bendant wedi bod yn binacl ac wedi dysgu imi beth yw gwir ystyr cydweithio.

Enghraifft wych o artistiaid sydd wedi uno i greu gwaith a chydweithio oedd y grŵp a ddaeth i’r amlwg yn ystod 2020 gyda’u cyfres o senglau cyfarwydd sef ‘Ystyr’ a brenin y rap Gymraeg sef Mr Phormula. Dywed ei fod yn gydweithrediad cyffrous iawn a phenderfynwyd enwi’r Sengl yn ‘Noson Arall yn y Ffair’. Yn ôl cylchgrawn Y Selar, roedd y sengl yn ‘cyfuno egni y curiad, llif y geiriau, naws y gerddoriaeth, breuddwydion y gorffennol a gobaith y dyfodol’. Dywed y grŵp, sy’n cydweithio i greu cerddoriaeth o ddihangdod, teimlad ac angerdd, mai pwysigrwydd y darn yw’r ffaith ei fod yn ‘nodi atgofion melys nosweithiau hudol yn dawnsio, wrth gynllunio at y newidiadau sy’n rhaid eu gwneud yn ein cymdeithas’. Heb os, teimlaf fod y cyfnod clo wedi gwneud i ni’r Cymry ymdrechu i gydweithio yn fwy a threfnwyd nifer o ddigwyddiadau yn rhithiol. Bum hefyd yn ran o lwyddiant arall i dorri record byd dros y cyfnod clo gyda’r grŵpfacebookenwog; ‘Côr-ona!’

Ffordd arall o’r Cymry’n cydweithio ac yn dod at ei gilydd ydy trwy cerddoriaeth. Pwy yw eich hoff artistiaid cerddorol Cymraeg?

Yn ddiweddar mae Dafydd Iwan wedi cael rhyw fath o ail fywyd yn sgil llwyddiant Cymru gyda’r pêl-droed ac mae pawb bellach yn gwybod Yma o Hyd ar gof. Ond gwerth nodi fod talentau’r cerddorol y Cymry yn mynd i bob cyfeiriad tu hwnt i’r anthem yna!

Un o fy atgofion cyntaf o gig byw Cymraeg oedd gweld Candelas yn chwarae yn Llambed, lle’r oedd yr Eisteddfod Rhyngol eleni. Roeddwn i wrth fy modd yn gweld un o fy hoff fandiau ar y pryd yn chwarae. Dwi yn dal i gael yr un teimlad o fwynhad pur wrth imi fod yn gwrando ar y bandiau yn fyw, boed hynny yn gig lleol yng Nghlwb Ifor, Tafwyl neu MaesB.

Mae’r ffordd mae pawb yn dod at ei gilydd yn beth mor swreal weithiau. Yn ogystal, mae cyd-ganu eich hoff ganeuon gyda pobl o bob cwr o Gymru yn deimlad anhygoel. Dwi hyd yn oed wedi gallu creu ffrindiau yn y gigiau yma. Wrth imi wrando ar y cerddoriaeth eto mae’r atgofion o’r gigiau yn llifo nôl i’r meddwl ac yn dod â ryw fath oserotonin imi. Tra bod cerddoriaeth yn dod â pobl at ei gilydd, mae artistiaid hefyd yn uno a chyd-weithio i greu sengl. Un o fy hoff cydweithrediad cerddorol ydy senglau Band Pres Llareggub gyda Alys Williams, Lisa Jên a Osian Williams. Mae’r band yn arbennig yn fyw, ac yn cael pawb i ddawnsio. Cydweithrediad arall sy’n fwy diweddar ydy Lloyd, Dom a Don gyda Pwy sy’n Galw? a Calon y Ddraig. Mae ei cerddoriaeth nhw yn hynod o fodern ac yn rhywbeth roedd y sîn gerddoriaeth Cymraeg yn colli allan arni. Roedden nhw’n chwarae ar y llwyfan bach yn Maes B ac yna mi wnaeth 3 Hwr Doeth a Sage Todz ymuno hefyd ac mi aeth pawb yn wylllt!

Mae’r Urdd hefyd wedi defnyddio cerddoriaeth i weithio gyda côr Gaeleg sydd hefyd wedi amlinellu pa mor agos yw’r ieithoedd.

Yn sicr, mae grym celfyddyd yn bwerus iawn ac

Cymru gyfan Elan Jones

mae sut mae artistiaid cerddorol a ni’n gallu dod gyda’n gilydd a chyd-ganu yn beth ffab!

Y Ddawns Rhyngol

Lowri Powell

Er bod tipyn o gystadleuaeth rhwng prifysgolion Cymraeg i fod y brifysgol gorau yng Nghymru, maen nhw’n parhau i gydweithio i greu cymuned Cymraeg unedig. Daw prifysgol Aberystwyth, Bangor, Caerdydd, y Drindod Dewi Sant ac Abertawe, sef Undebau Myfyrwyr Cymraeg mwyaf Cymru, i ymuno a’i gilydd yn flynyddol yn Aberystwyth i fwynhau dawns rhyngol. Fel arfer, mae’r ddawns rhyngol yn cael ei chynnal ym mis Tachwedd, felly’n adeg berffaith i freshers dod i’w nabod ei gilydd. Neu, efallai adeg i’r freshers ddysgu sut i yfed! Ond, yn y pendraw, mae’r gymuned Cymraeg yn dod ata’i gilydd i ddathlu’r Gymraeg, cymdeithasu’n Gymraeg, cystadlu yn y Gymraeg ac i fwynhau gyda’i gilydd. Mae pob dim yn mynd ymlaen dros y penwythnos, o dorri esgyrn i wario cannoedd o bunnoedd ar sglods o’r cebab i gropian i fynnu’r bryn enfawr enwog ‘na. Ond wir bwrpas y penwythnos yw cystadlu ym mhob celf, cerddoriaeth a chwaraeon. Ar y nos Wener, yn draddodiadol mae yno eisteddfod dafarn, sy’n rhoi’r cyfle i fyfyrwyr o Brifysgolion Cymru cystadlu yn erbyn eu gilydd trwy farddoniaeth. Ond nid farddoniaeth arferol yw hi gan ystyried mae’n cael ei gynnal yn yr Hen Lew Du, sef dafarn mwyaf enwog Aberystwyth. Barddoniaeth efo bach o sbeis yw hi! Na’i gadw hynny i chi weithio mas eich hun!

Ymlaen at ddydd Sadwrn, mae’r prifysgolion yn mynd ati i daro ei gilydd yn dwrnament pêl droed. Gem gyfeillgar mae e fod, ond dwi ddim yn hollol siŵr am hynny! Yn enwedig pan mai bechgyn

Caerdydd yw’r bois mwyaf cystadleuol yn y byd i gyd - mae’n cyfateb i Gwpan y Byd iddyn nhw. Daw’r penwythnos i ben efo uchafbwynt y penwythnos, efo gig ddawns rhyngol. Yn cynnwys cerddoriaeth Gymraeg gan y bandiau boethaf, mae’n gyfle gwych i gymdeithasu a gwneud ffrindiau gyda myfyrwyr o bob rhan o Gymru. Blwyddyn ddiwethaf, gwnaeth Meinir Gwilym, 3 Hwr Doeth, Di Enw a Maes Parcio perfformio’n wych yn y ddawns rhyngol. Mae’n cyfle i wrando ar ganeuon Cymraeg hen a newydd, tra’n cymdeithasu efo ffrindiau hen a newydd. Noson lawn dawnsio, canu, diodydd di-ri a chwerthin. Nid yn unig benwythnos o bartio yw hon, ond dathliad o’r gymuned Gymraeg ar draws brifysgolion Cymru. Yn fy llygaid i, dyma’r cydweithrediad gorau byth!

Yr Eisteddfod Genedlaethol

Millie

Stacey

Eisteddfod yw un o’r prif ffyrdd y mae Cymru’n uno fel un, a dyna pam ei bod yn cyd-fynd mor dda â thema’r rhifyn hwn o ‘collaboration’. Beth yw’r Eisteddfod? Mae’r Eisteddfod yn ŵyl unigryw flynyddol yma yng Nghymru sy’n symud ar draws y wlad bob blwyddyn. Mae’r ŵyl yn darparu llwyfan cenedlaethol ar gyfer cerddoriaeth Gymraeg, dawns, a digon o weithgareddau ychwanegol i ddiddanu pob oedran. Mae’r Gymraeg yn rhan annatod a phwysig o’r Eisteddfod, ond mae’r ŵyl yn llawer mwy na digwyddiad Cymraeg. Mae’r Eisteddfod yn gweithio mewn partneriaeth â Chymdeithas Llywodraeth Leol Cymru i gynllunio lleoliadau’r ŵyl dros nifer o flynyddoedd. Mae’n cyfle gwych i fusnesau lleol a gymreig i hysbysebu a chymryd rhan mewn yr Eisteddfod fyd gyda’r wyl yn denu tua 150,000 o ymwelwyr a dros 250 o stondinau masnach. Mae trefniadaeth yr eisteddfod yn rhywbeth sydd angen llawer o gynllunio i sicrhau’r wythnos berffaith i bobl ei mwynhau, un ffordd o gyflawni hyn yw drwy gydweithio’n agos gydag awdurdodau lleol y dalgylch am o leiaf ddwy flynedd cyn cynnal yr Eisteddfod. Un ffordd y mae’r eisteddfod yn helpu cydweithio rhwng y Saesneg a’r Cymry Cymraeg yw Maes D. Lle i ddysgwyr Cymraeg ymarfer eu Cymraeg ac adeiladu eu hyder trwy gael sgwrs gydag arbenigwyr. Mae’n un o’r ffyrdd y mae’r digwyddiad yn anelu at wthio ac eiriol dros yr iaith a’i dyfodol. Un o brif atyniadau’r digwyddiad yw’r gystadleuaeth. Mae’r digwyddiad yn galluogi pobl o bob oed i gystadlu mewn canu, dawnsio, y celfyddydau a llawer mwy o draddodiadau Cymreig. Mae hyn yn rhoi cyfle i blant iau i ddod at ei gilydd a dysgu sgil newydd mewn ffordd hwyliog, ryngweithiol a chydweithredol. Rhan fawr o’r Eisteddfod Genedlaethol yw Maes B, sef ŵyl gerddoriaeth Gymraeg sy’n caniatáu i artistiaid fel Adwaith, Eadyth a llawer mwy neidio ar y llwyfan a rhannu eu cerddoriaeth Gymraeg. Mae hwn yn atyniad enfawr ac yn rhan o’r eisteddfod gyda pherfformiadau yn mynd i mewn i’r nos ac yn gorffen am tua 3:30.

AI: Atrocities of Intimacy?

We’ve all seen the cliche videos circulating across social media, where an augmented image of a person in a provocative and sexually explicit position appears in our feed without our intent. Or maybe we haven’t, and I’m perpetually online too much that my social media account is stained with a darker part of the internet that I never wanted to be on in the first place. Nevertheless, social media and digital technology continue to become more sophisticated and advanced across all facets of society. Whether it’s a chatbot interaction, computer-generated artwork or a computer program you code to write your final essay, digital technology is becoming unlimited in its powerful and problematic potential. But what does this mean for our sexual and romantic desires, when the opportunity for emotional and sexual fulfilment is being further provided by technology, rather than human connections? Are we destined for an inescapable meta verse that decreasingly values the imperfect perfectness of actual relationships?

Sex isn’t something that can be fully replaced by a machine. This is by no means stating that there isn’t a myriad of exciting and interactive technology that is available to purchase currently on the market. From fleshlights to floggers, there’s a contraption for your every desire, yet the spectrum of available technology is becoming even further developed and disassociated from actual intimacy. It begs to ask if sex is becoming even more systematic than sensational in our lives, as something to manage rather than a unique and fundamentally humane experience. Emotional wellbeing underpins our sexual activity. A computer program doesn’t know what makes you feel comfortable, or how to champion your needs to make you feel confident and seductive. AI itself is defined as an artifice as it builds a representation of the real world and reframes this to appeal to our own intentions. The actuality of sex is a lot different to the rose-tinted image that AI is allowing us to reimagine.

Our relationship with our partners isn’t something to be unprecedented as a vital necessity of a happy life. Even outside of romantic and sexual relationships, it’s the compassion and vulnerability provided by family and friends which make us who we are. Imagine the relationship you have with your favourite actor online; supportive, para-social, and ultimately limited to the exposure they have on your timeline. Now imagine the last time you hung out with your friends. The vibrance and spontaneity of real life can’t be fully emulated across a digital screen, as it’s ultimately unreal. Fantasies can be fun, but indulging in them extensively can unplug us from our sense of reality. There’s a recent spark of deep-fake content which manipulates the images of celebrities to distort and exploit them in sexually explicit and derogative positions.

If the current software available can sophisticatedly create pornographic content that stimulates the sexual and romantic relationships we have, what agency do we have over our own identities? Very little. Unfortunately. From a sole image, AI software can create videos and images that present falsehoods and allude to relationships which are not real.

Questioning the future of the forecast digital world for sex and relationships doesn’t have to be a solely pessimistic feat, but it can help us recognise how to value ourselves in an environment that is changing the balance between people and programs. Even in AI images of ‘beauty’, we can’t draw comparisons between our own appearances and what humans have programmed computers to illustrate what ‘beauty’ should look like. Real life is messy and painful and exhaustive. But the perseverance of love in everyday wonders holds a triumph that no technology or device can even marginally emulate. It’s important to remember this fact when digital media can appear faultless and fearful. A device can satisfy you for an evening, a person can fulfil you for a lifetime.

Maybe the future of AI and digital technology is destined for innovation, enterprise and greatness in a new format of romance that has never been possible before. But maybe that future carries a grievance of what sex and relationships once were, to enable them to become what they will soon be.

Words by Alanya Smith Design by Eleanor Byrne

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Gair o Ddiolch

We asked this year’s team to bid their goodbyes to Quench 22/23, and here’s what they had to say..

What a journey these last 12 months have been. I can’t believe we’re here, and the very end! Everyone who has worked on Quench this year deserves a round of applause. My team have been the very backbone of every page published, posted, and printed - diolch guys, I can’t tell you how dear you all are to me, good luck to you all. I’d like to say the biggest thank you to Elaine at CSM for having my back and for sorting any issues we had this year, it’s been a pleasure to work with you. I can’t wait to check in and see what direction next year’s team take this fantastic publication. Every issue just got better and better, da iawn Quench 22/23 - until next time!

Alexa Price, Editor-in-Chief

I never thought I’d be a columnist. Writing out my opinions and experiences for others to read sounded to me like a mild form of social suicide. But once I knew I wanted to be a part of the Quench team, I realised a column was exactly what I needed, even if the task terrified me. To be given the time and platform to articulate and publish your thoughts is a wonderful experience, and I’ll envy whoever takes the plunge to write a column next year. Many thanks to Alexa Price and the rest of the team, I hope you all remember me in your super yachts and mansions in twenty years time.

Charlotte Harris, Columnist

It’s safe to say that editing the Music section this academic year has been challenging, but so rewarding. Being able to provide contributors the opportunities to write about the things they love most is such a great feeling, and I am definitely going to miss it. Myself and everyone at Quench could not have gotten through this year without the support from Alexa, Molly and Maddie; they’ve done such a brilliant job! I highly recommend putting yourself forward for an editorial position for this upcoming year – I promise you won’t regret it.

Rhiannon Farr, Music Editor

I first started writing for Quench in my second year, eager to participate after being stuck in countless lockdowns. I felt a huge sense of achievement as my first article was published, and continued to write throughout my second year, with topics varying from low-waisted jeans to advice for first year students. I then applied for the social media team in my final year and became the Twitter Manager for Quench. The transferable skills I have learnt from being a part of Quench have benefited me immensely. My favourite part of this experience has been all the lovely people I have met and worked with. It’s funny how a magazine can mean so much to you, but I will truly miss it.

Grace Dawson, Twitter Manager

Dwi methu credu bod y cyfnod academaidd yma o Quench wedi dod i ben! Dwi wir wedi mwynhau ysgrifennu am unrhyw beth dan haul sydd o ddiddordeb imi ac i ddarllenwyr Clebar. Credaf ei fod yn hollbwysig fod yr iaith Gymraeg yn rhan o’r cylchgrawn, gan ein bod ni’n fyfyrwyr ym mhrifddinas Cymru! Mae’r cyfle i gwrdd â phobl sydd hefyd yn mwynhau bod yn greadigol a gallu rhannu syniadau, wir wedi bod yn werthfawr. Dwi’n edrych ymlaen at allu ysgrifennu i Clebar eto. Ymunwch gyda ni tro nesaf!

Beca Williams, Golygydd Clebar

If anyone is thinking of applying for editor, I’d say go for it! Like any job it can be stressful at times but it’s most often rewarding. I think the contributors make the experience; you inspire them and they inspire you. Their fabulous writing is what will make Quench so memorable.

Rume Otuguor, Features Editor

I have absolutely loved the opportunity to be head of socials for Quench. I’ve learnt so much and made such wonderful friends. The thing I’ve enjoyed the most is planning a grid theme for each issue and working with a lovely team of Girls (and the socials). Big thanks to Alexa for always being so positive and a GREAT Editor-In-Chief!!

Gracie Richards, Head of Social Media

I joined Quench in quite an unusual way, working as Deputy Editor in my first, and only year at Cardiff whilst studying for my Master’s Degree. Having a larger role in a publication I had never even written for was daunting. Coming from being the Arts Editor at the newspaper at the University of Sussex, my alma mater, it was great to work exclusively with content surrounding arts and culture, especially in such a beautifully crafted paper. Quench has been the perfect accompaniment to my Master’s and has really given me the whole Cardiff experience. The end of this year marks my final months in university, and in education, which is a daunting but exciting time! I’ve said it many times, but thank you to the whole team for all your hard work and for making me feel so welcome. I wish you all the best in your future endeavours.

Molly Openshaw, Deputy Editor

Receiving that first email from Alexa in June of 2022 saying that I had gotten the job as Literature Section Editor honestly seems like a lifetime ago – and it’s been such an amazing year since. Editing the first print issue, #189 ‘INDEPENDENCE’, seemed quite surreal – that may sound a bit silly to most, but it was my first editorial role and being in charge of a magazine section was remarkable. These last few months as an editor have been great, and I can honestly say I’ve learnt so much. From pitching to editing, publishing and even contributing, so much has happened, and I’m quite sad that this role is coming to an end. Including all of the lovely people I have met on the team, I know that I am going away with a great sense of achievement and an amazing experience to look back on in the future.

Lucia Cubb, Literature Editor

My year on Spotlight has been amazing. I’ve got to meet and work with some fantastic people, write about topics I never thought I would and experience a lot of talent, as well as some fascinating perspectives. I didn’t know what to expect, with the magazine having changed a lot over COVID, but I’m incredibly glad to have been part of it. I’m sure that it’s made me a better writer, but it’s also made me explore some things about myself that I would have never considered otherwise and I’m so thankful for that.

Dominic Bramley-Carr, Spotlight Editor

Quench has been an integral part to my three years at Cardiff University, and something that I feel proud to have been a small part of. After spending my first year responding to every pitch that I could get my hands on as a contributing writer, I became Features Editor in my second year, a role which, whilst challenging at times, was extremely rewarding. Then, in third year, I began my current role as Deputy Editor. Watching Quench flourish over these three years has been incredible, and I am so grateful for the opportunities that it has given me. Thanks to my involvement in Quench, I’ve made amazing friends; my confidence, pitching skills, and writing styles have developed; and I am taking steps to pursue a future career within the magazine industry. So, it’s safe to say that my time at university would not have been the same without Quench!

Maddie Balcombe, Deputy Editor

After three years with the magazine, I can’t believe that this is my final print issue of Quench! I began as a contributor in my first year, moved on to Instagram co-manager in my second, and food & travel editor in my third. I remember submitting the first article that I had ever written to the travel section in November 2020 and I felt so nervous that what I had written wasn’t ‘right’; now, many articles later, I feel much more confident about my work and can only thank Quench for the invaluable experience and confidence boost it has given me. With the return of post-pandemic normality, it has been lovely having face-to-face meetings and socials with the very special and talented Quench team this year. I wish all the team, and all you readers, the very best in whatever is to come – hwyl am nawr!

Eve Davies, Food & Drink and Travel Editor

Being a part of Quench for the past 3 years has possibly been the most rewarding part of my Cardiff University experience. From contributing, to editing, proofreading, interviewing and reviewing, I have gained and developed skills that I have been able to bring into my work outside of university life. From getting to meet and write about some of my favourite artists to meeting other contributors, there are too many highlights at Quench to name. But most importantly I have been able to meet and work with some insanely talented, kind and creative people, who I know thanks to their hard work and care will go on to achieve incredible things. Joining Quench back in my second year of University, during the middle of a pandemic, truly is one of the best decisions I have ever made, and I will forever be grateful to everyone involved.

Rubie Barker, Copy Editor

It has been a mad few years at Cardiff and things have been unusual. It’s been a challenge to have a social life and join societies. Instead of sitting like a lemon I chose Quench because it gave me something constructive to do. Quench was one thing that I have loved most about my university experience. I just really enjoy creative things and I loved having the opportunity to express that creativity and contribute to something big. I’ve written a few poems and got to design the pages for them and be creative to the max. It’s been cool creating other people’s pages and picking graphics and designs that really resonate with what the author had written.

Haris Hussnain, Page Designer

Photography: Mia Wilson

Photography: Constance Cua

Photography: Julien Tse

Diolch o galon.

Photography & Cover: Julien Tse

Stylist: Chantalle El Sharkawy