Be the Hydra by NOUS

Be the Hydra

Learning Record Practice Three The Divine Disease: Exploration of Depression Monograph

2013 Lisa Lorenz Manchester Metropolitan University

THIS IS A REFLECTION ON PRACTICE PART THREE OF THE MASTER PROGRAMME, DESIGN AND ART DIRECTION, OFFERED AT MANCHESTER METROPOLITAN UNIVERSITY UNDERTAKEN BY THE STUDENT LISA LORENZ. THE PROJECT HAS BEEN TUTORED BY CLINTON CAHILL AND WAS REALISED DURING SUMMER TERM 2013.

For further information on topic or content please contact the author: hej@frau-lorenz.de or www.fraulorenz.com

INTRODUCTION

‘Two ways to choose, which way to go? Decide for me, please let me know. Pictures all around, of how a good life should be. A model for the rest that bred insecurity. Everything seemed easy but I didn’t have the heart. Me in my own world, yeah you there beside - the gaps are enormous, we stare from each side.’ something must break from the compilation album still by joy division (1981)

The purpose of my MA project, which developed into nous magazine, has always been to create an understanding and open-minded approach towards depression and mental illness. I wanted to create a functional, emotional tool which would encourage collaboration, connection and communication. After the successful launch of the Insomnia Issue of nous magazine in the spring of 2013 I went straight into the production of the Disconnection Issue. The second issue would be accompanied by As We Are Away Mini Festival bringing the publication’s spirit into reality and founding a community circle as a strong supportive scene - sharing knowledge, feeling and understanding with the public. The following words will describe the methodologies applied as well as the development of nous to a multi-disciplinary communication tool during the summer of 2013.

A LOOK BACK

‘Future plans are to push the magazine forward, work on the distribution and collaborate with venues and organisations for stage three of the MA. I am already in touch with performance poets from Manchester. A symposium or event in the spirit of ‹nous› could be something that takes the participatory aspect of the magazine a step further.’ intentions in may for stage three of practice taken from the second learning record

In spring 2013 the Insomnia Issue of nous magazine was successfully launched. The publication featured over 50 submissions from around the world; was distributed to 500 readers; followed by over 200 people on Facebook and crowd funded by 46 backers. I am satisfied with the outcome. The production process worked well, with most time being spent on organising production, finance and communication with participants and marketing. The design process had to be efficient and quick. The work-flow was similar to real world briefs. Sometimes it was very stressful but ultimately very rewarding. I intended to make nous magazine a regular publication, which made the experience essential. I detected the potential of nous magazine being more than ‘just another independent publication’.

It transports positive energy reaching over the borders of the paper to the real world, acting as a mediator encouraging social collaboration. Before galloping away with new plans I decided to use the upcoming testing time to get useful feedback for the third and final stage of my MA in order to consider alternatives for distribution and improvement of concept.

TESTING TIME

‘We will never really know what affects things. It is like a burglar alarm. It also works even if it does not go off even though it is supposed to in emergency just because it scared off a burglar in the first place. The only way, you will know, is when you feel that the world is somehow a better place. You are creating a circle, a network of people. A community. Something an online publication would never feel like.’ pavel büchler, research professor, about nous magazine during critique group session on 26th june 2013

The presentation of our work for assessment was discussed with MA students from a range of different disciplines. Whereas others decided to simply present their final piece, I had to come up with something different. Invisible background processes are essential to understanding nous magazine. I decided to illustrate these with mind-maps, graphs and posters, bouncing ideas off the critique group. My core reservations were: Is nous magazine provoking social change? Is the publication glorifying depression? What are alternative funding methods? Throughout the fourteen days of testing time I was able to attend critique groups led by research professor Pavel Büchler, writer and curator Jane Fletcher, artist Andrea Zapp, illustrator Ian MacCulloch and sample artist David Littler. I attended the Family Ties Network seminar featuring talks by Sally Waterman and Eti Wade, as well as Conway&Young’s mini symposium ‚What is an Archive?’.

The interaction with MA students from other disciplines like Photography, Art as Environment, and Textiles was very enriching. It opened up new ways of thinking and approaching my questions. This interdisciplinary exchange had never happened in this form at earlier stages of the MA and we agreed that our projects could have profited even more had we had them sooner. After the critique groups we wanted to change our approach. Unfortunately, only minor adaptations could be made as we only had a couple of weeks left to finish off our projects. In particular, the critiques with Pavel B端chler, Ian MacCullogh and David Littler gave me a clear vision of stage three. Whereas the other sessions offered nice and encouraging words, I found the more critical sessions far more resourceful. We discussed concerns with the loss of value of the publication by distributing it for free. Other methods would have been possible as other magazines charge the artists for the promotion of their work. However, commercial issues would normally reward their contributors. I considered selling nous magazine to fund the production and letting people pre-order to generate a money cushion. I was already aware of these possibilities, but it was comforting to actually talk about my concerns with people who are experienced in collaborative projects like David Littler. Why print? This question came up repeatedly. Whereas Pavel instantly understood that the feel of an online publication cannot compete with a physical object, it was resourceful for me to challenge this decision and find appropriate arguments to communicate this to the other critique group participants.

testing time set up in grosvenor building

this page: question posters with short outline of a possible future event next page: projectplan timeline and second issue theme mindmap

Together we identified the main quality of the nous magazine project as collaboration and the creation of a social circle. This community needs maintenance and support in order to reach a broader audience. I feared possible failure of the crowd funding for the second issue. Had this been the case, it would have been difficult to produce the second issue in print or organise an event as most venues would charge a fee. As a consequence of these conversations, I decided to look for alternative funding options from public funding pots. This was rewarding and interesting research. Despite the varied possibilities, the selection processes appeared to be non-transparent and driven by trend. The project would always be associated with the societyâ&#x20AC;&#x2122;s image. These discoveries convinced me to remain an advocate of crowd funding. Not only does it help in building up a community, but also functions as indicator for public interest of the subject. The crowd funding for issue two received a lower participation than the first. Having analysed the magazine market cycle, I expected a flattening out. The excitement of the first issue release was gone and inkubato.com is unknown to most people. Anyone who is aware of crowd-funding is more likely to be familiar with kickstarter.com. Unfortunately, as German citizen I am not allowed to start a project without greater difficulties - like asking a friend to use their British identity, or marrying a citizen of the United Kingdom.

Furthermore, I had to adjust the reward system. Whereas a backer had been sent a magazine by post in return for a 5 Euro donation, I had to double the amount to 10 Euro for the second edition. I simply underestimated postage costs. I ran out of money and had to put some of my own money into the nous magazine pot. Despite my enthusiasm for crowd funding concept, I have to admit that precise planning and broader advertising could have brought more attention. Possible promotion strategies could have included informative talks about depression, workshops, or poetry readings. These reflections evolved from the critique group conversations. In general I was advised not to lose myself in critical thoughts but have faith in the project and collaborators. I decided to trust in the basis I formed for nous magazine during the first issue and take possible failures as positive progress.

the insomnia issue and feedbacksheets

FEEDBACK SHEET

In order to proceed I had to give away tasks and make space for participation with me functioning as art director and mediator. My future plans of organising an exhibition and events in the spirit of nous magazine two were well received by the critique group participants. I mentioned concerns about the amount of work which such a plan requires and was encouraged in getting experts and helpers involved. I could picture myself as mediator, directing and communicating within a creative circle. Personally I have always found it hard to give away responsibility. If you want to get something done properly, you have to do it yourself. In the end, I had to accept the impossibility of managing the design, production and distribution of the second issue as well as organising, coordinating and hosting the event on my own. I had to find experts and friends who are equally interested in the subject matter of the project and interested in supporting nous magazine. In the beginning I found it rather scary to step out of my comfort zone, telling others of my intentions, approaching professionals and asking for their collaboration and help. But once this first step was taken, it was very exciting and inspiring to open all these doors and connect. Finally, I fulfilled my initial plan of building up a network and community who would discuss depression and mental illness in an open-minded way.

call for entries poster distributed in manchester, glasgow and bristol

COLLABORATION AND ISSUE TWO

‘Scarcely have we completed the production and distribution of the insomnia issue of nous magazine, when the call for entries for our second issue is opening. Once again nous is looking for your submissions, this time we will have a closer look at disconnection linked to depression, memories and your everyday experiences. We look forward to seeing your work! Good night and stay updated.’ facebook update in may announcing the call for entries

On 17th June 2013 I announced the call for entries for the second issue of nous magazine. The deadline for submissions was 15th July 2013. I approached the scene via MMU’s circular mail, and my own, as well as nous magazine’s Facebook and Twitter accounts. Word-of-mouth advertising played a major role for the second issue. A small community had been established during the production of the first issue. Contributors had passed on their passion for the subject matter to friends and their networks. I had hoped this would happen once the ball was set rolling. Essential social media tools had been established and everything was ready to go. The whole process ran quicker as I knew what I was doing. Principally to this confidence was I able to simultaneously design the event linked in with the Disconnection Issue and focus on this part of the project.

The concept for the events has built up since early 2013. To begin with I was focused on putting together an exhibition possibly accompanied by workshops. Attending a symposium at MMU on collaboration and improvisation encouraged me in developing a tool which could communicate the language of nous magazine in a visible and invisible, emotional way. In my mind, this could have been an exhibition featuring the submitted work for issue two in a public space like a cafĂŠ or bar in the Northern Quarter. Film, poetry and music have been my initial inspiration for my MA project. I had a vague idea of organising an event featuring a mix of these as an alternative to the exhibition, but back then I thought an exhibition would be easier to organise. As time would soon tell, I was as wrong as one can be with this assumption. In the end, I had to rely on my plan B. First of all, I had to find a suitable venue for the exhibition. I was looking for an open-minded audience, affiliated to culture, art and design. It was not necessary for people to be professionally connected with this art and design scene. Ideally, the venueâ&#x20AC;&#x2122;s personality would not overwhelm but offer fertile ground for nous magazine. It should offer an established, interested audience as well as a warm and worthwhile atmosphere. I was especially interested in spaces in the city centre of Manchester in terms of accessibility and practicality. The shortlisted venues were art and event spaces in the Northern Quarter and along Oxford Road. All these places had been selected previously as distribution points for the first issue of nous magazine due to their feel and audience.

picture posts for nous magazine facebook page to encourage followers in supporting the crowdfunding

comment on the interview of creative review with nous magazine: i must online, i know effects deeper,

admit, there are lot of resource materials about depression however most of them are crap. but this one is amazing. that this would help thousands of people overcome the of depression. i also like the idea of using photos with sensible meaning ... this is worth reading, isnâ&#x20AC;&#x2122;t it?

I soon realised that these spaces either demanded a hire fee, which despite a successful crowd funding was not affordable, or were booked out till summer 2014. It was difficult getting hold of the managers of the venues. At first, I was very discouraged. Venues kept my hopes up high, just to tell me that they their space was not available in the end. This search devoured a large amount of time and nerves. The deadline for submissions was approaching with giant steps and I knew I would need to start editing and designing the second issue very soon. Fortunately, the crowd funding project proved successful and the budget for the production of the Disconnection Issue was secured. Less people had participated but thankfully, three donors spent a large amount. In contrast to the previous composition of backers – which had been one quarter strangers, three quarters friends and contributors - this time nous’ benefactors were made up of half strangers, half friends and contributors. This slight progress gave me confidence in approaching creative online platforms like Creative Review and Manchester based culture and event websites like Manchester Wire, Creative Tourist and The Skinny to advertise nous magazine. This was essential for breaking out of the circle of university and friends. At first I was afraid of getting bad reviews, but soon realised how valuable feedback is for the progress of the design and concept of nous. In order to make the collaboration grow I needed some fertiliser – online and offline attention.

NOUS MAGAZINE FACEBOOK UPDATE

contributors to nous magazine two

IMPROVISATION AND PLAN B

‘Improvisation is the purest form of collaboration. Artistic control is an illusion. Vulnerability, honesty and challenge are the heart of every collaborative project. This body of voices transforms rather than serves the initial idea. Collaboration will nourish a coproductive knowledge. We have to embrace failure as progress and catalyst for our projects.’ from my notes taken during the collaboration symposium in june

I had to take a step back to reconsider the viability of an exhibition after encountering its many obstacles. Was an exhibition the best way to make the magazine more collaborative? I wanted to highlight the importance of community, but wasn’t an exhibition rather traditional and boring? Shouldn’t there be something lively and friendly about the event? Which twist was suitable to underline the network behind nous magazine and successfully encourage people in getting involved? I was scared of considering plan B as I thought it would be even more utopian to realise in the term of one month. But as the exhibition idea had already failed, I had nothing to lose. I had already connected with people who were interested in collaborating with nous – contributors of the Insomnia Issue, friends and acquaintances interested in the issue of mental illness and depression who I had got to know during my time in Manchester.

The idea of creating a Mini Festival as a tool to transport the message of nous magazine was born out of several factors influencing me personally and professionally in the last few years. I love bringing people together and offering them a good time as a host. Personally, I have always been inspired by festivals, the excitement and emotions involved. Festivals, to me, are like magical islands. We can find escape for maybe for only one day, a weekend or a couple of weeks. They are circles built for a confined time which we can use as a source of creativity and energy. With music, workshops, talks, conversation, new friendships and inspiring imagery we fill up our mental tanks. The beauty of a festival for me is the prolonged effect. We experience with all our senses and share this epiphany subconsciously with the people around us. Therefore, I picked up the methodologies I applied during stage one of my MA and transformed them into the core of the Mini Festival concept. Poetry, music and film. To realise this project I would need to make myself vulnerable by giving away responsibility, and trusting my helpers. Therefore, my first step was to get in touch with possible collaborators and explain my idea of a Mini Festival orbiting depression and mental illness. The feedback was amazing. A group of Mancunian poets, the band Bernard+Edith and the organiser of a weekly film night at Joshua Brooks were motivated and engaged quickly with the Mini Festival. The next steps were to search for venues to host the festival, create an event identity and promote. Luckily, I had already done research on venues whilst searching for exhibition spaces. Coffeehouse Takk was very interested in the subject matter even though they could not offer their space for an exhibition.

The manger, Philip, offered me the opportunity to hold the event during usual opening hours which made it possible to reach the usual customers and use the venue for free, rather than spending 120 pounds on the venue hire. Three weeks prior to the event I organised a meeting with the poets in order to discuss their ideas and needs but also in order for them to get to know each other. This was very important to me as the sense of community and bringing people together was an issue close to my heart and desired outcome of the Mini Festival. For the musical part of the festival I got in touch with the sound technician of Big Hands. We met first in May 2013 whilst I was distributing the first issue of nous magazine at their venue. Back then he encouraged me in using Big Hands for upcoming events. It seemed to be very practical as they offered all necessary equipment the band requested. By then Bernard+Edith had told other local musicians about the festival. They encouraged me in getting in touch with DIE HEXEN and veladrome who fitted in with the concept of nous magazine and with Bernard+Edithâ&#x20AC;&#x2122;s style - experimental electronic trip hop ĂĄ la Portishead and The Knife. After multiple meetings with the sound technician everything seemed to be sorted. I trusted this person with the technical arrangements as he had hosted concerts at Big Hands before and plays in a band himself.

The film night was probably the easiest to organise. Fadima, who curates Cultivate Film Art every Sunday night in the basement of Joshua Brooks, helped me pick appropriate independent movies, set up the venue as usual and managed the advertising for the night. We decided to feature the French documentary La moindre des Choses by Nicolas Philibert and the Danish drama Idioterna by cult director Lars von Trier. Both movies deal with exclusion and disconnection from society, the label of mental illness and prejudice.

promotional poster designed by fadima for the cultivate film event curated by nous magazine

promotional poster for as we are away mini festival

TAKING IT A STEP FURTHER

â&#x20AC;&#x2DC;As We Are Away is a series of events, curated by nous, bringing the spirit of the magazine into the real world. In the second week of August we will organise for example Tea Hour Poetry at TAKK, an experimental music night at Big Hands and a film evening in collaboration with Cultivate Film at Joshua Brooks. All events are free due to the dedication of the creative practitioners being involved, the generosity of the venues, and - last but not least - the support of our funding crowd online! We look forward to seeing you all there.â&#x20AC;&#x2122; from www.nous-magazine.de

All venues and artists had confirmed their help and participation. Finally I started working on the visual identity and name of the Mini Festival. In order to connect it with nous magazine I decided to use the colour scheme applied to the second issue of nous magazine. Teal and black, used for the Insomnia Issue, were rather dark and cold. I wanted to give the Disconnection Issue a positive twist. The colour orange is eye-catching, transmitting a warm and friendly feel.

AS WE ARE AWAY PROMOTIONAL POSTERS

The Mini Festival needed a name. I browsed the submitted poems and short stories for the second issue for possible titles and soon found a suitable fragment in one of Zach Roddis poem weekend. This would also be performed during the poetry event at Takk. As We Are Away was born. It perfectly condensed the feeling of disconnection mixed with a sense of reunion and community, the idea of a journey and possible return. A series of posters for online and offline promotion of the festival itself, the poetry event and the music night were designed. Fadima offered to produce posters for the film night as usual and include the nous magazine logo and As We Are Away Facebook page details. I chose to use my handwriting as the prominent typeface in order to add a personal touch. Most important to me was the transmission of a feeling. The content should be the centre of attention but the viewer should be attracted by the striking orange colour and photography creating a link to nous magazine. The posters were put up one week prior to Mini Festival around town, where I expected the potential audience to come into contact with them. A mini publication was created to accompany the festival, and join the events with each other and nous magazine. The layout and editing process of the first issue were carried over to the Disconnection Issue. Only minor adjustments have been made to the layout of nous magazine. I had to consider not using full-page images as the printer had problems handling paper made too heavy with ink. Misprints were avoided and the edition of 450 copies was secured.

I decided to create chapters to add structure and composition, in contrast to the Insomnia Issue whose content was arranged in an arc of suspense to enhance the reading experience. I encouraged the participants to work in teams in order to add to the collaborative concept of nous magazine. I managed to finish printing the Disconnection Issue of nous magazine just in time for the As We Are Away weekend in order to embed a Post-Production Party within the festival week. For the Insomnia Issue it took quite a long time to collate, fold, staple and number even though I got help from some friends. The effectiveness of the production was increased due to this party. Friends and contributors joined me in the bookbinding studio, to produce the magazine but also to talk and reflect on the festival, the content of the magazine and the sense of community. Everyone was surprised how quickly time went by and how enjoyable the event was.

information booklet for as we are away festival to be found at the venues during the event

AS WE ARE AWAY MINI FESTIVAL

‘We had a wonderful two hours at lovely Coffeehouse Takk with our friends David Fitzpatrick, Jake Duff, Chris Matthews, Steph Pike and Zach Roddis. Thanks so much for your performances and to everyone who came to join us!’ ‘Dear friends, our apologies. Even though last night went out of Hand, we want to say thank you, thank you, thank you to everyone who showed us their mental, physical and professional support trying to fix the insurmountable difficulties we had with the sound system at the venue. [...]! On the brighter side, we made wonderful friends this weekend encouraging us in the concept of As We Are Away and nous magazine. We really hope this night did not pull you off and you will join us for a film night this evening at 7 pm at Joshua Brooks organised together with Cultivate Film! [...] Much love, see you tonight!’ facebook status updates for nous magazine and as we are away fanpage, weekend 9th august 2013 till 11th august 2013

Producing the second issue of nous magazine and organising As We Are Away Mini Festival was the most valuable and educational experience of my year as a MA student. It has thoroughly changed me and the way I approach my design process; the major improvements I noticed in my design thinking are my acceptance of failure as progress and the realisation that for me design is more than creating pretty and informative visuals, but about dealing with social responsibility and building a community.

Collaboration and giving away responsibility, whilst maintaining the spirit and language of the magazine and festival, opened multiple doors. Despite the positive experience and feedback, there was a flipside. I had to learn that trust and competence of contributors is essential, but also that there will always be the possibility of failure. It was beautiful to see how the poetry event worked perfectly. It was an ideal opening to the festival. The venue was cooperative, everyone involved was prepared, the audience was interested and the event was well attended. The film screening was successful, in terms of attendance and visitor feedback, but I could feel that Fadima did not fully trust me with taking responsibility. Probably for the same reasons I was concerned with before starting As We Are Festival. The night was not as incorporated with the festival as the Friday and Saturday events. As collaboration takes time and trust to build up, I see the possibility of future joint events with Cultivate Film but I need to show more confidence to give partners the necessary trust to let go and collaborate. The Saturday event was the concert night at Big Hands. As mentioned before I had to trust the sound technician with the technical preparations of the venue. Two days before the event he announced that the venue was double-booked. I had to arrange a compromise with the bands and the booked DJ. The concert night was to start earlier than initially planned. Starting later, we hoped to reach the casual customers. Finally, we came to an agreement of starting at 7.30pm with sound checks at 5pm. When I arrived at the venue I found the sound technician drunk, and locked in the managerâ&#x20AC;&#x2122;s office.

With the assistance and help of his friends we managed to get him out of the room – unscrewing a wooden plate covering a hole in the manager’s office’s door – but he continued drinking. He was the only one who knew how to operate the sound equipment. More and more people arrived. Basically, everyone tried to remedy the situation. The bands, the audience, total strangers offered their help and the atmosphere was surprisingly friendly and positive even though it was an embarrassing situation for me as organiser, the bands and also the owner of the venue. Looking back this was actually a great experience. Almost 80 guests, who had previously confirmed their attendance on Facebook, attended the event. The venue was filled with people and despite the stress the bands and I felt, the spirit of the crowd was incredibly supportive and encouraging. In the end, only veladrome managed to perform a couple of songs but after that we had to cancel the rest. The bands assured me that they wanted to redo the concert later in 2013. We tried to find a venue for the weekend after, but all venues we were interested in were booked out. Currently, I am in touch with The Castle in Manchester City Centre for a rerun for November 2013.

as we are away event tea hour poetry at takk on friday ninth of august

as we are away event mentalist double bill at joshua brooks, sunday eleventh of august

as we are away event with bernard + edith plus guests die hexen and veladrome at big hands on saturday tenth of august

WIDE AWAKE AND CONNECTED

‘It is something that is driven from the heart, by something that you really want to do in the world. You are using your skills as a designer, but that is happening in the background. It’s like a pianists skills go into his music. What should be visible is the social aspect of it, the contacts you made, what you can achieve together. And you just do it. And it is there and it is good. That’s what matters.’ pavel büchler, research professor, about nous magazine during critique group session on 26th june 2013

Looking back on this year in Manchester, I am proud of the circle that has been created around nous magazine. It gives me confidence in continuing the project after the MA. Founding nous magazine and getting others involved with the topic of mental illness and depression encouraged me to believe in lasting, social design. All it needed was trust and passion. Professionalism and a good purpose will make participation happen automatically. It is great seeing nous magazine flourish. I am excited about future collaboration with the health sector and artists. We can make a change. We can transform society with our passion. I am looking forward to continuing nous magazine with future issues, an ongoing As We Are Away Mini Festival, and constant growth of nous’ creative circle.

SOURCES

bibliography

theory

1 DK Holland (2001), Design Issues – How Graphic Design Informs Society; Allworth Press New York 2 Heller & Vienne (2003), Citizen Designer – Perspectives on Design Responsibility; Allworth Press 3 Armstrong & Stojmirovic (2011), Participate: designing with user-generated content; Princeton Architectural Press 4 Shea (2012), Designing for social change: strategies for community-based graphic design; Princeton Architectural Press 5 Heller & Fink (1990), Low budget/high-quality design: the art of inexpensive visual communication; Phaidon Press Ltd.

event organisation

1 Raj, Walters, Tahir (2009), Events management: an integrated and practical approach; SAGE Publications 2 Tassiopoulos (2005), Event management: a professional and developmental approach; Juta Pty Ltd. 3 Schultz (2007), Happening: Design for Events; Birkhäuser GmbH

performance, music, poetry

1 Marina Abramovic: Why Performance Art Is a Tool to Change Human Consciousness - www.good.is/posts/why-performance-art-is-a-tool-to-changehuman-conciousness 2 Bernard+Edith - www.soundcloud.com/bernard-edith 3 DIE HEXEN - www.soundcloud.com/die-hexen 4 veladrome - www.soundcloud.com/veladromeband 5 Zach Roddis - www.facebook.com/zachroddispoet 6 Steph Pike - www.facebook.com/spikepoet 7 Cultivate Film Art - www.cultivatefilmart.blogspot.co.uk magazinography

1 Hohe Luft, philosophy magazine (2011-) 2 Die Epilog, magazine on social change (2013-)

filmography

1 Nicolas Philibert (1997), 105 min, La moindre des choses (Every Little Thing); documentary 2 Lars von Trier (1998), 177 min, Idioterne (The Idiots); drama 3 Anton Corbijn (2007), 122 min, Control; biography, drama, music

CONTENTS

INTRODUCTION .............................................................................................5 LOOKING BACK ...........................................................................................7 TESTING TIME ................................................................................................9 COLLABORATION AND ISSUE TWO ................................................13 IMPROVISATION AND PLAN B .....................................................25 TAKING IT A STEP FURTHER ........................................................27 AS WE ARE AWAY MINI FESTIVAL ....................................28 WIDE AWAKE AND CONNECTED ..............................................29 SOURCES.......................................................................................36