LESS COMMON MORE SENSE | Issue 21

LESS com� mon more sense LESS COMMON MORE SENSE

ISSUE 21

Editor Eshe Nelson

Web Director Keren Oertly

Features Editors Rosie Bee Sarah Kante Kate Rintoul

Creative Director Callum Copley

Editors in Chief Benedict Butterworth Richard Willsher

Commissioning Editors Andrea Fam Xanthia Hallissey Kate Nelischer Laramie Shubber

Deputy Editor Lucie Cohen

Copy Editor Alice McCaffrey

the identity issue

Editor's Letter The beginning of a new year is an opportunity for many to start anew.

Whether you are a Fresher, bracing yourself for the ‘unknown’ that is to come, or a returning student, vowing to drink less and work more, this is the time for making resolutions, even if they are sure to be broken.

First year students are not alone in embarking on what is sure to be a huge change. The world is undoubtedly in a state of transition; the events of recent months are setting the stage for a new world order. Now is the time for nations to re-evaluate their international positions of power and influence. The US, which for so long has been a global leader, is now clinging to its superiority after what can only be described as an embarrassing display of leadership over their debt ceiling that almost brought the federal government to its knees. The European sovereign debt crisis, quite frankly, puts many countries in Europe to shame and there is justifiably a lack of international faith in their ability to resolve this problem. Meanwhile, 17 countries created the Arab Spring as they found the courage to fight for their freedom and rights, revolutionising a huge part of the world we live in, spurred by the bravery of one young man. Whilst the economy is the greatest threat to first-world nations, it is the greatest asset of much of the developing world. In 2011, it is Ghana that has the fastest growing economy. Qatar, China and India are also amongst the countries whose finances are growing at exceptional rates. Although it is to be said that a fast-growing economy is not all it takes to be an international superpower, money has always been a defining factor.

This global evolution will have a huge impact on the identities of every country. Inspired by this, Less Common More Sense has created The Identity Issue. We’ve looked at what identity means on a smaller, more personal scale. We started with ourselves. Every year, a new team takes over the magazine and with that, LCMS gets a new identity. This year, we have been committed to showcasing the many talents of UAL’s students, always on the look out for more contributors. The magazine is constantly evolving its

ethos and physical appearance. For the newcomers – and extremely unobservant – among you, this is the first time LCMS has ever been printed on newspaper. We wanted to push the boundaries of what LCMS is and can be. But inside we are still an arts magazine dedicated to publishing your work.

However, we faced one major challenge. We are a magazine of the University of The Arts and so appealing to all of you can be incredibly difficult. The colleges are so diverse and everyone is so unique that we thought instead of fighting a losing battle, we should focus on the things that seem to unite UAL’s students.

Most notably, this was the overall – and very powerful – reaction by students to rises in tuition fees and cuts to arts funding. In general, our political position was well united. So, LCMS spoke to Rector Nigel Carrington and SU Education Officer Ben Westhead about the political identity of the university and their place in it.

Central Saint Martins is undeniably one of the most well known educational arts institutes in the world and the most recognisable of UAL’s colleges.

This year it is about to undergo a drastic change as the whole college moves under one roof in King’s Cross. The effects of this move will not be known for some time but there are plenty of people and press speculating about what it might bring.

But for all of CSM’s glowing recognition, there are courses, projects and societies that prosper in relative obscurity. I think it is fair to say that this magazine is amongst them, but from page 25, we discover some of the other hidden wonders of UAL, especially focusing on Wimbledon’s Tech Arts and Special Effects degree. It definitely deserves its 15 minutes.

Another group of people who don’t get their fair share of the limelight are photojournalists. Just like broadcast journalists and print correspondents, they go out there and put themselves at risk in pursuit of a story and revealing injustice (much like modern-day superheroes, but far less glamorous).

LCMS spoke to award-winning British documentary photographer Marcus Bleasdale, an alumnus of LCC, on life as a photojournalist.

This is just a small selection of the features in this issue and no mention of the amazing student showcase; something you can easily discover for yourself as soon as you turn the page.

I hope you enjoy The Identity Issue, the last by the current editorial team. It has been a challenging but unforgettable experience. We look forward to future issues of LCMS and how the personalities of other students will impact its ever-changing identity.

Eshe Many thanks to the Students’ Union, University of the Arts London, 272 High Holborn, London, WC1V 7EY

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Nigel Carrington on Politics

Less than five years ago, Nigel Carrington was a student. He was undertaking a part-time Graduate Diploma in History of Art at the Courtauld and not long after graduating, he found himself at the helm of another university, as Rector of UAL. It could be this recent experience that has made him so committed to constantly raising the standard of education across the university; after all, he’s practically one of us. However, running a university was never a part of his career plan.

After reading Law at Oxford, he practised law at an international firm for 21 years and then went on to be Managing Director of McLaren Group. As events happened, it turned out that his career has made him perfectly suited for his current role. Carrington feels that the government is slowly forcing universities to become more like businesses and so his hard business

experience has proved invaluable.

As Rector, he has overall responsibility for the strategy of the university, which covers everything from academic structure and standards to financial solvency. Carrington also strives to work closely with the Students’ Union.

In fact, he has a framed photo of last year’s Sabbatical Officers in his office.

He was impressed by last year’s ‘Can’t Cut This’ campaign and has been working to make what students want and should expect from their university experience clearer. The key is much more communication between the students and for the university to increase consistently and improve standards across courses.

At the moment he is looking forward to CSM’s move to Kings Cross, although, this is not the end of his redevelopment plans. Now he has his sights set on the old tower block that is

home to LCC and the main LCF sites.

But his next big project, that he is incredibly passionate about, is a fundraising drive for Postgraduate students. You could describe it as his current political concern, the fear that huge numbers of UK students will not be able to afford to pursue Masters Studies in the creative industries, as they simply will not have the financial means to do so. Unlike the undergraduate system, there isn’t even a borrowing facility for them.

Nigel Carrington tells LCMS about his political standing and the political identity of the university “In general, I really am A-political. I don’t believe that universities should become political in and of themselves.

I think it’s for the university to encourage debate and very searching analysis on what society is doing and how it can be improved. Although, I did take a political stance on tuition fees as I did not believe it was fair or sensible to move the entire cost of education into loans.

I was not a supporter of the new fee regime but it is what it is and it will definitely force changes on universities. I’m not worried about filling the places at UAL but of course I’m worried for the students who have to pay the £9000 fee to come here. The attitude of students is bound to change when they are taking on big debts to come to university and their expectations are going to be much higher.

It’s going to be more important for universities to communicate clearly to students before they arrive what they will get and then, when they’re here, respond to issues much more than universities have traditionally done.

It’s going to make students more like consumers and part of my job - and it’s in the interest of all students - is to not turn us into a complete consumer society. I don’t think that’s what universities are about. I don’t think it would be good for universities if we all turned ourselves into something other than places of learning just because of the £9000 fee.

I didn’t go to any of the demonstrations, but I was pleased that our students were demonstrating. Although this is something that may not have started as an attack on arts and humanities, the way the government rhetoric went for a while was that the only things that mattered were science and technology. But that’s not borne out by the actual demands of young people coming into the workforce. There is no shortage of doctors. There isn’t a particularly high demand among students for places on most of the science subjects and there’s a terribly low demand for places in languages. But there is a very high demand for places in the creative subjects; the creative sectors are the driver of the economy. The

sector has grown twice the rate of the economy as a whole over the last ten years. So, it’s really hard to understand the economic logic of trying to move student demand into subjects where there doesn’t appear to be high demand.

There has been a huge amount of lobbying by me and by others in the sector about this. I’m not sure we can say it’s had a positive impact but perhaps it’s reduced some of the problems. But again, even in the white paper, which came out last July, there are further causes for concern around post graduate education. Now it’s become very clear that the funding for postgraduate studies is going to be cut, probably eliminated completely, so that postgraduates in our subjects will effectively be paying a lot more in the future.

How do you get through to government the fact that the creative sector is a huge employer and has a huge demand for students with creative skills? Government policy appears to be making it very hard for UK students to do postgraduate study .This has got its own implications for the economy.

My big dream and wish at the moment is that the government will reconsider its stance on support for postgraduate education. I can’t believe that the government will not address this question because I don’t think politicians are stupid. I think they often make kneejerk decisions based on politics but I hope that we will have time now to reflect. It’s the element of our education system that makes the British system so attractive to students from all over the world. The proportion of non-UK students in postgraduate study is actually higher than the proportion in undergraduate study. I don’t want our entire postgraduate community to be overseas students. I want UK students to be able to study postgraduate education in the UK. Do I feel despondent for this university? I absolutely do not. I think we have a very strong profile; 40 per cent of our students come here because of the international reputation of the university.

As long as we can sort out the funding for postgraduate students, then I think our future is very bright.”

Nigel Carrington on the riots “I absolutely don’t buy into the thesis that it was just a matter of some unruly youths who are wicked and evil. I think in our society, over 20 or 30 years, we have neglected some really serious issues around disparities of income and expectation. When you lose a sense of community you have some really major problems. I don’t support rioters, I don’t support looters, but I think we have to address that issue and we have to do so sensitively. I don’t, for instance, believe that it’s sensible to turf people out of their homes because they’ve been looting.

I think the five year sentences were a massive overreaction and I think that it is completely irrational to sentence in that way. After the knee-jerk political reactions and reactions by magistrates, which I do understand in a way because there was a sudden sense of panic, I think those sentences will be reversed. I certainly don’t subscribe to the ‘string them up, hang them up and take away all their benefits’ attitude. That’s not a philosophy that I would adhere to.”

Interview By Eshe Nelson www.eshenelson.wordpress.com

Sculptures by Richard Slatter www.richardslatter.com

Photography by Jasmine Gauthier BA Photography London College of Communication www.jasminegauthier.smoothfolio.com

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Ben Westhead Ben Westhead has been elected as this year's SU Education Officer.

Having been a course rep and then Vice President for Chelsea, he's always been engaged and involved with making our university better.

With a couple of victories under his belt at Chelsea, there are high hopes for his future successes. He's passionate about making sure our student voice is heard, all you need to do is tell him what to say.

Ben Westhead on the Students' Union's politics

“Last year’s sabbatical team put up a really strong fight both locally and nationally against the rise in tuition fees. Each one of the current sabbatical team was involved in anti-fees and anti-cuts demonstrations so we’ve all got a strong belief and stance on this. One of the biggest problems, as I personally see it, is that the government is trying to sell the higher fees as more like a graduate tax. But it’s not, it’s a debt and it’s going to be hanging over students’ heads. There’s clearly a government bias towards the stem subjects, which are science, technology, engineering and maths. Because there’s a bias towards that, arts and humanities have been cut. It’s not a subtle way of the government saying that arts and humanities are worth less, which is absolutely nonsense. Anyone who’s in the creative sector knows in reality there is a huge revenue in the economy created by the creative community. But it’s a big concern for me that students who maybe come from a less welloff background, a ‘lower socio-economic’ background (which is the term that is being banded around) will be put off following what could be their dream to have a career in a creative subject because there is a financial, coupled with a government, intimidation against studying in a creative university.

Everyone has seen the picture of Nick Clegg holding the ‘I pledge to vote against any increase in fees’ sign and I think what they probably said to Nick was that it is going to be a tough bill to swallow but in a few years time no one is going to remember. Part of the SU’s job is going to be to not let it be that easy. So in a few years time, the situation won’t be that people are saying that arts have always been this badly funded and it’s always cost £9000. Cuts to the arts and raising tuition fees are things that almost wholeheartedly the student body is against. So it’s something that we can definitely continue to campaign on. There’s been a bit of a defeatist attitude, but there are plenty of groups out there who are still fighting a good fight and hopefully we can be a part of that.”

Ben Westhead on the Students' Union

“One of the things every student at UAL probably recognises as a problem is the disparate nature of the colleges being spread across London. We’re a university that is split into colleges - some of the colleges aren’t even on a single site - and it’s really difficult but unfortunately there is nothing we can do about the geography. One of our biggest fights is letting students know that the Students’ Union exists, so they know that we’re not just a bar that’s a few pence cheaper than their local pub. We do really serious things, we run campaigns and we’re your outlet to try and change the university. We are totally separate from the university hierarchy, which means that we can give fair and free advice to students and put our members first. There can be some really difficult and sensitive subjects, which you are just not comfortable bringing up within the university and that’s what the SU is here for.”

Interview by Eshe Nelson www.eshenelson.wordpress.com

Photography by Jack Notley BA Photojournalism London College of Communication www.jacknotley.tumblr.com

Criticism, Communication & Curation Central Saint Martins

Andre Chan

These images are taken on the bank of the Bagmati River where the Hindus visit the Pashupatinath Temple in Kathmandu to burn their dead.

Two years ago Andre Chan vistited Nepal and Tibet during a period of festivities that were celebrated on both sides of the Himalayas. “Nepalese and Tibetans are worshipful people who treat their ceremonies very seriously.

It is their belief that humans can transcend and ultimately triumph over death,� said Chan.

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Zoey Hardwick BA Graphic Design London College of Communication (2011) www.zoeyhardwick.co.uk

Identity is something at once totally personal but also deeply cultural. While our own choices, lives and experiences form our identity, these factors are constantly mediated by outside forces.

A brief anthropological history of identity The relationship between identity, culture and social organization has been at the heart of much anthropological research and the experiences of distinct social groups are consistently a common topic amongst academics. Pierre Bourdieu, the late French anthropologist, found that in order to maintain and strengthen group identity, people who had the means to define taste would spark patterns, interests and behaviours that others would replicate.

Similar types of self-identifying behaviour are often associated with the cultural changes that occurred in the wake of industrialisation.

In pre-industrial society, work was based at home and raw materials were required to produce the things you needed. People’s identities were formed around the nature of the products they created and their occupations, which has had a lasting effect on sequential generations; you only have to think of surnames such as Baker, Mason and even Draper to realise how important work was to someone’s identity.

Mass urban migration saw people leave their towns and villages to seek work within factories and large-scale building projects. This emerging modern workforce became separated from their history as producers. They earned money that could then be exchanged for commodities. Through acts of consumption, people found new ways of defining themselves by buying certain products, living in certain areas and mixing in specific social circles.

Oslo-based professor, Thomas H. Eriksen, argues that these patterns of mobility, displacement and exile are the most prominent feature of world culture. A decade ago, over 100 million people lived outside their country of birth. With the opening up of the Eurozone, advancements in travel and an increasingly globalized marketplace, we can only imagine the drastic increase in this figure.

No culture goes untouched when exposed to other influences. External forces enrich cultures and individual identities. In fashion, art, music, film and design you can see examples of creatives using their own cultural heritage or personal identity to celebrate difference and keep the arts free from limitations.

However, Eriksen, along with a growing number of anthropologists, realise the far-reaching implications that the world’s largest social experiment, multiculturalism, can have.

“On the one hand, every citizen is in theory entitled to equal treatment from the state and society; on the other hand, persons with different cultural backgrounds also may claim the right to retain their cultural identity. When this cultural identity entails, for example, corporal punishment in child rearing and this is unlawful, the conflict between the right to equality and the right to difference becomes clear.”

Words by Kate Rintoul MA Journalism London College of Communication

In the age of mass-media and 24-hour news, we have become accustomed to the constant barrage of information.

News of conflict and unrest from all over the world is instantly broadcast directly into our pockets as we become gripped by national and global crises, updated minute-by-minute. The faces of broadcasters and the names of journalists are becoming increasingly recognisable as their public profile grows.

Recently Sky News’ Mark Stone has risen to heroic celebrity status for his coverage of the London riots, when he bravely (or madly, whichever way you choose to see it) delved into the chaos with nothing but his iPhone. However, what stays with us the longest are not the words we read or the things we hear, but the images we see. Photojournalism plays a hugely important role in bringing us international news and, although we may not realise it, it is often photojournalists who create the strongest impact on our conscience. However, documentary photographers tend to keep a low profile.

They plunge themselves into danger and witness atrocities but do not seek public recognition or applause for what they do, instead they let their images speak for them.

Marcus Bleasdale is a distinguished human rights and conflict photographer, who has chronicled the destruction of war and violence. He has witnessed child abductions by the Lord’s Resistance Army in Northern Uganda, where, since 1987, at least 20,000 children have been kidnapped and used as child soldiers and slaves. To avoid abduction, thousands of children are forced to flee their villages every night and hide in forests and abandoned buildings. He has documented the civil war in Somalia, an ongoing war that has led to the deaths of thousands of civilians and left the country without a stable central government for two decades. As a failed state it remains one of the poorest and most violent nations in the world. He has also been to China to cover the air pollution, which, in 2007, was revealed to be the worst and deadliest in the world.

Bleasdale quickly propelled to become a star in the industry, most likely due to his unflinching commitment. This commitment has led him to work with Human Rights Watch and spend eight years covering the brutal conflict in the Democratic Republic of Congo (DRC).

In 2002, he published ‘One Hundred Years of Darkness’, which documented a conflict so vast it is almost impossible to comprehend. The Second Congo War remains the world’s deadliest since the Second World War, killing over 5.4 million people but it is not over. The Congolese people are still dying in their thousands each month from its effects. Later in 2008, he published ‘Rape of a Nation’ that documented the violent gold mining industry in eastern DRC. This country, which is rich in natural resource

The Hidden Face Behind The Lens including diamonds and gold, has not created what should be a rich nation, but instead forged a conflict between warlords and armed rebels leading to countless deaths and plunging DRC into a country of poverty, ridden with sexual violence.

Since then, in September 2010, the government has banned mining in the eastern part of the country in an attempt to bring an end to the devastating corruption.

It is the devotion by photojournalists, like Bleasdale, who shed light on such atrocities, that do not allow us to turn a blind eye, no matter how drained of compassion we may feel. It is this devotion that has the greatest impact on how we operate and behave as a single nation. As many have noted, including John le Carré, it is only by luck that we were not born into the life Bleasdale’s books portray.

Bleasdale began his career studying a Postgraduate Degree in Photojournalism at the LCC (when it was still known as the London College of Printing.)

Without a professional background in photography, he has managed to scoop up countless awards, making him renowned all over the world for his talent. He first won the Ian Parry Award for Best Young Photojournalist and has since gone on to receive UNICEF’s Photojournalist of the Year Award in 2004 for his coverage of the conflict in Darfur, Sudan and the effect it had on children.

However, Bleasdale was not always a man devoted to such causes; in fact photojournalism was a late career change, and a drastic one at that.

By the time he was 30, Bleasdale was a high-earning investment banker, who owned two homes and enjoyed lavish holidays skiing in the Alps and diving in South America. He studied Economics and Finance at the University of Huddersfield and was, for a very long time, happy in a safe but lucrative career path.

And then one day he dropped it all . . .

Words by Eshe Nelson Eshe.nelson@gmail.com

Photography by Marcus Bleasdale www.marcusbleasdale.com

“My start in photojournalism was not a traditional one, and was certainly not part of a master career plan. One day I left my investment banking job and got on a plane and went to the Balkans during the Kosovo War in 1998. But after several months of taking pretty awful images with no direction or narrative I decided to go and study at the London College of Printing.

30 years. The communities were so remote it was a real privilege to spend time there. I spent most of the 700km trip through the bush travelling alone on a motorbike. One day I had a pretty bad motorbike accident, miles from anywhere.

Eventually, several hours later, I managed to get myself to a town and to hospital.

I have worked many, many times for Médecins Sans Frontieres (Doctors Without Borders) but this was the first time they had worked on me. They patched me up, stitched up all the cuts and sent me back on my way. Needless to say, the trip back to civilisation over the following days was not comfortable. Riding a motorbike with all my camera equipment and serious injuries to my legs, arms and kidneys was, at an understatement, unpleasant.

It is so difficult to explain the life of a photojournalist, for a start there is no such thing as a typical day to take note from. Everyday is so different. However the one thing I really didn’t expect and you don’t learn from studying is that more than 50 per cent of your time is spent researching and learning, not shooting. Every long-term project is like studying for a Phd, and can often take as long. It is essential that when you are making a visual statement about something that you are an expert in that field and your comment has validity. If you are not an expert, why would anyone listen to what you have to say?

Although, I can not describe ‘an average day’, there is a particular day that I will always remember. Late last year I was doing a project in Northern Congo for Human Rights Watch and the Pulitzer Centre for Crisis Reporting. I was travelling through some of the most remote bush areas in the Democratic Republic of Congo (DRC), places where vehicles had not been in over

At the moment, I am working on a project looking at how communities adapt to change. I will be living with a small community of whalers in the far north of Norway and expect the project to take about a year to complete. I need all aspects of the work these people do throughout the year and I need to show how these communities struggle with adversity and the weather. In the 1970s it was a community of about 700 people and now there are only about 170 people. But, as a photographer to be accepted by this whaling community was a struggle. Being on a whaling boat as they are hunting the whales is both amazing and sad. These communities have been doing this for thousands of years and it is an integral part of their culture and economy.

Although the 1930s-50s are described as ‘The Golden Age of Photojournalism’, thanks to the rise of photo magazines such as Life and Picture Post, I think there has never been a more exciting time to make a statement about the world we live in than now. We all have the power to create and distribute like never before.

Individuals can reach an audience of millions without the need for magazines.

Despite having less general recognition than print and broadcast journalists I have never felt undervalued. I do not feel the need to be well known by the public. It’s not why I do what I do; it’s not even a consideration. The recognition I want is the type that allows me to influence and comment on policy to governments, and that is the greatest aspect of my job. You can make a real difference partnering with organisations to influence and guide policy makers. My greatest achievement is sitting in the Senate in Washington advising on US Policy to DRC. But really, each time I come back with 100 contact sheets or thousands of images and I create a story I am proud of, there is a great sense of accomplishment.

I am a freelance photojournalist and although there is more security in working for a newspaper or photo agency - and I have many friends who do that (in fact my wife is a staff photographer for a magazine) - I don’t think I could work for any institution full time. More often than not, I know what I want to shoot and if I am asked to shoot outside of that for someone else, I find it difficult to be motivated. I could also never work shooting 4-5 different jobs in a day. My approach means I need to work a lot on sourcing funding to give me the freedom to shoot long-term projects, which is hard work!

I don’t think it’s necessary to study to be a documentary photographer. There are many amazing photographers who never studied photography. I feel other subjects such as history, anthropology or politics would be more valuable to a photojournalist. Photographic skills are then a great asset to add to more academic study.

That said, one of the most important things to learn is how to be a businessperson. As a photographer, you will, most likely, be self-employed and learning how to run your business is essential. I have seen great photographers achieve nothing as they could not organise themselves well, and I have seen average photographers achieve amazing things due to their sheer business skill and determination. Having good business acumen is the only way you will survive in this industry. “

showcase

Riot

Slave

Escape

Obey

Ivan Andriets ABC Diploma Photography London College of Communication

In an age so consumed with pop-culture, we blur the lines between reality and fiction on a daily basis. The entertainment industry fuels this obsession, blurring the line beyond recognition, to guarantee we buy into the next ‘big thing’. For actors, this can result in a loss of identity; known forever by the name of their most successful character.

For Martin Sheen, there is no question that when people see his face, they see the President of the United States. His seven-year span as Jed Bartlet on ‘The West Wing’ saw the legendary actor politely decline public cries for him to run in a real Presidential campaign. Yet Sheen has another identity.

Born Ramon Estevez, Sheen used his current name as an alias to get around the implications of finding an acting job in the Sixties, brought about by his Spanish heritage. Regretting this somewhat in later life, Sheen has said, “One of my great regrets is that I didn’t keep my name as it was given to me. I knew it bothered my dad.”

Martin SHEEN

Alice McCaffrey BA Fashion PR London College of Fashion

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Identity Fraud Identity fraud is an incredibly frightening topic, especially as criminals find more innovative and creative ways to get at our personal information. LCMS was shocked to see some of the horrifying statistics and discover that women are more prone to identity fraud. But instead of letting the paranoia ruin our lives, and scaring all of you, we've found out everything on the subject so we can all avoid becoming victims.

“It started as such a happy day, I’d just finished my exams and the summer lay ahead. Knowing I’d been really stressed, my friend planned a surprise day out in London, starting with coffees in Covent Garden, spa treatments and looking for gems in vintage shops before sipping cocktails during a very happy hour. I was so excited until I logged into my online banking and discovered that close to £3,000 had inexplicably left my account”.

First came the tears, then the overwhelming sense of injustice and anger as 26-year old Anj Mehra realised she had become a victim of identity theft.

Anj’s card details had been ‘swiped’ by a corrupt shop worker and fraudsters had then used her bank details to purchase goods, including a widescreen TV from Selfridges. Having spotted the loss quickly, Anj contacted her bank, sure that she would get the money back. However, as she too had been in London on the same day she was told that they had no way of knowing that she had not been responsible for the Selfridges shopping spree.

Two months on, Anj’s summer played out very differently to how she’d

hoped. Rather than hitting festivals, catching up with friends or getting round to that box of sewing projects, Anj spent the hottest months of the year working flat out to pay-off the debts incurred through identity fraud.

Fiercely independent, Anj refused to tell her father about the incident, “My dad is really good with money and I’m scared he’d lose respect for me if he ever found out. My friends all say it wasn’t my fault but I can’t help but feel responsible. I know it’s crazy but with the bank not paying out, I have to take responsibility for this”.

While extreme, Anj’s story is all too familiar. London is the UK hub for identity theft and a growing number of people are becoming the victims of this invasive and callous crime. The true cost and rates of identify fraud are still unknown, as too is the long-term impact it has on the victims’ lives. Research conducted by the Home Office in 2006 estimated that identity fraud claimed over 100,000 victims, costing the UK economy over £1.2 billion and every adult £25 per year. In 2008, the Metropolitan Police put the cost far higher at £14 billion, equalling £230 for every UK adult each year.

The huge increase in UK cases means that it is important to understand identity theft fully and to protect yourself against it. There are some worrying patterns and figures, particularly concerning female victims of fraud.

Though research into victims is in its early stages in the UK, research by Javelin, a US security research firm, has shown that women are 26 per cent more likely to be victims of identity fraud.

However, there are some other factors that could explain the statistics.

Javelin’s research found that women were three times more likely to report such crimes with men preferring to deal with the problem themselves, as embarrassment, pride and a sense of responsibility often inhibit men from reporting identity fraud This research also found that women were far more concerned about fraud.

If women are more scared of being victims of fraud, why are fraudsters still able to target them so easily?

The main factor in the disparity between the sexes seems to be the purchasing behaviour of women. Women

are often responsible for the majority of household spending, most frequently carried out in physical shops.

Women also report to be more dubious about online shopping, preferring the tactility of the store, as well as having concerns over the safety of online payments. Conversely, men’s preference for online shopping gives them a greater level of protection. Their card numbers and private data are encrypted and their greater awareness of their own online spending means that they are more likely to detect fraud earlier.

While some of the techniques and tricks employed by identity fraudsters are sophisticated, often relying on technology and showing high levels of organisation, the most common triggers for identity fraud are very simple.

The most common starting point is the loss of bags and purses containing personal information. They can be used by fraudsters to impersonate the victim and engage in fraudulent activity.

Outside of London, other affluent areas such as Guildford, Windsor and St. Albans have been found as hotbeds for fraudulent activity.

24-year old actress Danni Walters was studying in Guildford when she discovered that she had been a victim of a widespread identity fraud scheme in local petrol stations. She told LCMS “I felt so violated, I just couldn’t believe it, I felt that I had done something wrong”. Danni’s debit card details had been taken when she paid to fill up her car on her way to an audition. Fraudsters then proceeded to run up £1,500 worth of charges.

“Although I know it happens a lot, you never think it’ll happen to you. I was in my final year at university and was going through so much but I was too embarrassed and worried to tell my parents what had happened. My account was frozen while they investigated the fraud so I had to borrow from friends. It was such a dark time”.

While women seem to be more likely to report identity theft, a lack of sup-

port and adequate understanding by law enforcers could change this. Like Danni, many victims feel they are to blame and the very people who are supposed to help often reinforce this.

UK-based research has found parallels in the perception and treatment of fraud victims to rape victims, as legal authorities often assume that victims are partly to blame.

never been good with money and was desperate. I felt an immense sense that I’d been wronged but equally I couldn’t report my own mother. I ended up seeking help from the Citizen’s Advice Bureau who helped my mother to pay back the debt herself. I still love her but our relationship will never be the same again; I’ve distanced myself geographically and emotionally. It makes me sad that I can’t trust her anymore”.

Often, those who commit identity fraud have not had previous histories of criminal activity but see an opportunity, such as a lost wallet or letter, as a means out of their own financial crisis.

At the most extreme this can mean that people de-fraud their own friends and relatives. Caroline Warwick, now a media researcher, was placed in an impossible situation when she discovered that her mother had been intercepting her mail and run up credit-card debts in Caroline’s name. “My mum’s

While it is often assumed that older people will be victims of fraud, younger people, particularly those aged 26 to 45, are the most at risk. Lifestyle factors such as an active social life, successful career and frequent use of social networking sites are the main similarities amongst identity fraud victims.

While better security checks and alerts, as well as a growing awareness, means that identity theft is often re-

ported and solved faster, it still poses a major threat and marks a new territory of law enforcement and judicial action.

Police and banking investigators do not always know the background of perpetrators and are still uncovering how widespread the problem is. It is therefore essential that you consider your own safety and take charge of your finances so that you notice any fraudulent activity but also so you do not become an attractive victim for fraudsters. *The names of people featured in this article have been changed at the interviewees’ request.

Words by Kate Rintoul MA Journalism London College of Communication

Illustration by Karl Millett FDA Illustration Camberwell College of Art

Identity Fraud Techniques Redirection of Mail This accounts for 36 per cent of identity fraud. Fraudsters re-direct the mail of their victim to gain control of the victim’s post to then apply for loans, credit cards etc. This can take some planning on behalf of fraudsters but can also be carried out by more opportunist fraudsters such as neighbours or previous occupiers.

(Source: Experian 2008 Annual Report) ‘Jackal’ Fraud: Named after the film Day of the Jackal in which an assassin uses the identity of a long deceased child to apply for a passport. This particularly shocking brand of identity fraud sees criminals assume the identities of the deceased in order to make personal gain.

Theft of Personal Information If your personal details are stolen through loss or theft they can then be sold on to fraudsters for the purposes of securing credit etc.

Dumpster Diving The most basic approach, often conducted in wealthy areas such as Kensington and Chelsea in which criminals go through their victim’s rubbish in the hope of finding bank statements or utility bills which can then be used to assume an identity.

Skimming Women are the most frequent victims of ‘skimming’, a phrase used to describe the process of a corrupt cashier swiping their victim’s debit or credit card to copy it’s data.

Pretext Calling or Social Engineering Probably the most active and confident fraudulent activity in which fraudsters contact their victims, often through emails or phone calls that appear to be from corporate organisations, in order to gain personal information from their victim.

Trojans Likened to the horse these methods appear legitimate. They use emails, websites and links that actually hide a computer virus that then records personal data such as banking logins and passwords. This is highly invasive and effective; particularly as we all conduct more and more of our lives online.

Hackers This usually occurs on a corporate scale when hackers use their skills to access the personal and professional data of employees or companies.

Corruption and incompetence Information on individuals and businesses can sometimes be secured through a corrupt employee (often those experiencing personal financial difficulties) or sheer incompetence. There have been several high-profile cases of losses of personal data in the UK in this way, such as the loss of details of all child benefit claimants in the UK.

Don't be a victim!

Sign up for credit monitoring services such as alerts from your bank Request special passwords to be required for activities with banks and credit cards Cancel printed statements and instead opt to receive bank information and bills online Use online banking often and effectively to keep an eye on account detail When in a shop or restaurant do not let the cashier take your card out of your sight.

When moving, re-direct your post using Royal Mail; you can also do this if you think your post might have been intercepted. Try having important post sent to your parents or work address While you shouldn’t actively distrust friends or family, if you think someone is having problems ask them about it and recommend they seek help from organisations, such as the UK Citizen’s Advice Bureau.

If you lose your wallet or bag make sure you report it quickly and assess exactly what information could potentially be taken.

Burglary can often lead to your private information slipping into criminal hands, make sure you safely hide your passport, identity documents and bank details.

Increase your awareness of identity fraud and realize how valuable your information is.

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Based on the idea of the internet as a ‘window to the world,’ taking Vermeer’s literal windows in his ‘Dutch Master Interiors’ and the out-of-frame televisions in Paul Graham’s ‘Television Portraits’ as forerunners, Computer Portraits captures those immersed in the act of looking. Caught up in the midst of an experience and completely absorbed in something outside of the photographer’s interaction with them, we are able to witness a loss of selfawareness when one is so mesmerized with the thing they are doing.

Joe Wilson BA Photography London College of Communication

Having a uniform set-up throughout the series (same computer, same lighting, same white t-shirt) results in the content chosen to view by the sitter being the only varying condition available to manipulate. In the everchanging landscape of the internet and the digital world, handing the control over to the user allows them to indicate how they wish to represent their identity as an individual in this ‘world’ of infinite identities. The reflections offer an aesthetic device for the viewer to try and unravel and decipher, questioning what it is that has captivated the attention of the sitter in such a way, and what they might be thinking.

Each individual is left alone at the computer, with no preset plan. The further into the process, the more rapt the individual invariably becomes. Set against the black, which could in fact be any other location, the responsive, reflective and receptive traits that set us apart from one another become the main focus. We are invited to examine the expressions, searching for anything we might recognise as a clue to who or what the person is, delicately balanced between the isolated, physical and private interior in which they sit and the light and space of the limitless, virtual exterior world where an identity is much harder to define.

All People Look The Same?

Lucie Jordanna Cohen BA Photojournalism London College of Communication (2011) www.luciejordanna.com

It’s 2011 and it can easily be said that people are starting to look the same. It is hard now to tell how old a person is because of the way they dress and although there are many stereotypes out there in terms of dress-sense, it is easy to see how people blend together. Is this because all people look the same or is it because all people choose to look the same?

This project looks at how one person can change herself to look like everyone else, focusing on 12 different stereotypes. From these photographs you can see how easy it is to make oneself look different and how easy it is to fall into these stereotypes based on how you look and how you choose to dress.

Musicality The Foetus position is adopted mainly by women and can reveal shyness in a person.

Persistency The Soldier position reveals a quiet and reserved personality. People who sleep in this pose usually set themselves high standards.

Puerility The Foetus position shows a sensitive person.

Plasticity The Freefaller position shows a gregarious and brash person, who can be nervy and doesn’t like critics.

Fidelity The Spoon position provides maximum physical closeness.

Asociality The Starfish position shows that this person usually doesn’t like to be centre of attention.

The Dream Project

Ekaterine Petrova MA Photography London College of Communication www.ekaterinavolt.com

Fantasy The Yearner pose shows open nature.

Sleep, it’s something we all do. Whilst sleeping processes makes us similar they also show how different we are at the same time. Scientists believe the position in which a person goes to sleep

provides an important clue about the kind of person they are. We are all conscious about our body language when we’re awake but I wanted to see what our subconscious posture says about

us. I started researching this theme and took photos of people I know to to analyze their sleeping positions and subjects that surrounded them through the prism of their

personalities. I’ve found out that it revealed their special traits of characters.

Therefore, I believe that when you sleep your personality is awake.

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For The Guardians

Clara Turchi BA Photography London College of Communication www.claraturchiphotography.com

Kinetic Portraits

"The developments of new technologies are allowing the notion of ‘self’ to become disembodied from the physical person. With this growing separation of the mental and the physical self, our integration and reliance on technology will continue to evolve and representations through new mediums will only ever be a ‘fragmented surface’ of our identity"

Luisa Whitton BA Photography London College of Communication www.luisawhitton.daportfolio.com

Something new you can learn today Central Saint Martins and LCF are well known for being leaders in the fashion industry. Chelsea and CSM offer some of the best education in fine art. LCC has media and graphic design and Camberwell has got illustration. But what about Wimbledon? As the last college to join UAL, and the furthest away, Wimbledon is still a bit of a mystery to most of us.

But then, right at the end of summer, LCMS was introduced to Wimbledon's BA Technical Arts and Special Effects course and was left speechless. so we have made the executive decision that Wimbledon will be well known for its 'Tech Arts' course. here's why . . .

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Patient

Michelle Lewry BA Technical Arts & Special Effects Wimbledon (2011) http://showtime.arts.ac.uk/MichelleLewry

3D Surreal Painting

Rachel Mandley BA Technical Arts & Special Effects Wimbledon (2011) www.rachelmandley.co.uk

The Banker

Maruf Nasir BA Technical Arts & Special Effects Wimbledon (2011) www.showtime.arts.ac.uk/Maruf

Half Life Figurative Sculpt

Isobel Harris BA Technical Arts & Special Effects, Wimbledon (2011)

The Jackalope

Laura Neocleous BA Technical Arts & Special Effects Wimbledon (2011) www.lauraneocleous.daportfolio.com

Joe Pollicott BA Technical Arts & Special Effects, Wimbledon (2011) www.joepollicottfx.com

You might be surprised to discover The MRes Theory and Philosophy, CSM Philosophy students at UAL? Yes, our university is not only for the fashion crowd or the paint splattered arty types; we have philosophers too. Leading the pack is the Research Masters in Theory and Philosophy at CSM. With a focus on Continental philosophy and aesthetics, Marxist intellectual tradition and psychoanalytic theory, the students on this postgraduate course “probe the relationship between art, theory and philosophy in order to understand how the disciplines might interact with one another.”

The Wakeboarding Club The Bowling Society They disappeared at the end of the 2008/09 academic year but the Arts London Alley Rats are back. All levels of skill are welcomed, and if you can’t play to save your life, you can improve (or make an idiot of yourself all evening) thanks to the deal the society negotiated with Elephant and Castle Bowl. Unlimited games for £7 on Tuesday evenings! Don’t forget, this is one sport you can drink while playing, so turn up at the bowling alley or contact the society through suarts.org.

First up, what the hell is wakeboarding? Wakeboarding is a surface water sport in which you ride a “wakeboard” on water. It’s a combination of water skiing, snow boarding and surfing techniques. You’re basically being towed behind a motorboat, but apparently trucks/cars and other means of pulling you forward are fine too. This is definitely not your regular society, nor your regular sport. To find out more, go to the society’s page on suarts.org.

Words by Sarah Kante BA Criticism, Communication and Curation Central Saint Martins (2011)

The Community and Education course at Camberwell Oh, the joy of being an artist…locked up in a studio, creating away and surviving on art, love and water. Come back to Earth! Artists still need to make a living, and more often than not, they do so by teaching their practice.

To help them get the skills and knowledge required to work in community settings, the Community and Education course at Camberwell is perfect.

“The course will help you to develop facilitation skills, plan a successful art project and allows you to gain specialist knowledge about working with children, young people or adults with special needs. This course has been created in conjunction with the community group Kids Company.

The Jive Society Just in case you’re a bit behind, Jive is a type of dance. The style taught at UAL is ‘40s jive, and it’s danced to rhythm and blues and rock and roll. It’s retro, it’s fun and it’s pretty easy. No dance experience or partner required to join the UAL society. Classes focus on basic moves that can be developed into choreographies and the groups are small and enthusiastic. Check it out suarts.org.

Callum Copley BA Graphic & Media Design London College of Communication www.cargocollective.com/callumcopley

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In today’s innovative business world, it is likely that even those with fledgling careers as designers and creators may be thinking about how they will go on to develop their personal identity and creative flair to distinguish themselves from other designers and establish profitable businesses as a result of their art.

Fashion: Protecting the Identity of your Brand The legalities of fashion licensing are numerous and often complex, but vital intel for any aspiring fashion designers. So, LCMS has called on solicitor Cyran Field to give us the basics.

Fashion licensing is when a brand ‘lends’ its name or trade mark to another company or brand in order to benefit. It is an area that is continuing to grow in the fashion industry and can take many forms, from established brands licensing a segment of their business, for example Zara Home licensing the homeware division of their brand to a homeware manufacturer to benefit from their expertise; to celebrities and designers licensing their names and trade marks to a mass high street retailer for a collaboration project and also designers creating their own diffusion lines which are usually more modestly priced collections of the signature collections to gain a share of the fashion market aimed at different clientele; for example Prada created Miu Miu in 1993, Dolce & Gabbana established D&G in 1994 and Marc Jacobs started Marc by Marc Jacobs in 2001.

Designer and mass-market retailer collaboration is one area that has flourished in the UK in recent years as a great marketing and sales tool. Collaborations between big brands and celebrity designers are invaluable to high street retailers when paired seamlessly with the right product and promoted and implemented well. However, such collaborations have always raised questions as to the designer’s actual creative input to the product line; products may appear with the designer’s name, brand and clothing tags but whether or not the authentic essence of the designer is captured, or such input has even come from the designer themselves, is debatable. Couple the opportunity to exploit business, make sales and gain new customers whilst ensuring that the collection encapsulates the real identity of the designer - and more often than not profits take precedence. That the entire collection is sketched by the designer his or herself, that he or she creates their own mood board, meticulously inspects the finished product and styles the models for the photo shoot, may be unlikely in such a usually short term business relationship designed to boost sales.

These collaborations have proven to be a huge success to the extent that they tend to bridge the gap between the high-end designers, diffusion lines and the high street; collaborations between New Look and Giles Deacon, Gap and Roland Mouret, Topshop and Sophia Kokosalaki, Adidas and Stella McCartney and H&M (Hearts) Lanvin all sold successfully. For many consumers the opportunity to own a piece by one of these designers for a fraction of the cost is more important than whether or not such a collection was actually created by the designer his or herself. The issue as to whether the collection was born from a licensing agreement where the designer was simply handsomely paid for their brand and the high-street retailer has the pleasure of doing as they pleased with it, may be of little relevance.

It must be said that not all licensing deals are conducted in such an arms length manner at all, some designers are heavily involved from the very beginning to the placing of the collection in stores, whilst others will only be concerned that the price they are paid is appropriate and set some parameters such as type of product and perhaps a sign off procedure prior to the pieces going to market.

Such collaborations can also be fantastic PR for both parties involved if they are successful, as such the designer really should ensure that any collection that represents them does so as best as possible. Some designers are extremely involved in protecting their brand image, for instance Stella McCartney will not include any animal products in her collection, which not only includes no real fur or leather but also ensures that no glue derived from animal parts is used either, so any collaboration is highly likely to also include these stipulations.

The details of such collaboration will be included in the licence agreement and will constitute the contract between the parties; it is a document that allows for almost anything to be agreed between them. It can detail the minutiae such as types of materials that may be used, to naming the photographer and stylist for the end product advertising campaign; it will also outline who owns the final designs and collection. All elements will go together to complement the identity of the designer where they have licensed their brand to a third party.

As you can see there are no hard and fast rules as to how to go about licensing a brand, however, having a sound appreciation of the bargaining powers of each party and understanding what each hopes to achieve as a result of the project will ultimately shape the end product and, if successful, raise the profile of the licensed brand.

THIS IS US, WE ARE THEM

London is a cultural hotpot; a huge blend. Everyone brings their own style to the pavement. Yet out of the masses there can be a new trend, born underground, slowly accumulating enough momentum to break through the surface and adorn the people of the streets. The ‘hipsters’ of Shoreditch have just broken the surface and are spilling out onto the streets all over London. It is a trend that has generated a huge fan following, as well as a huge following of hate. Just like their predecessors - punks, mods - these are the people who will later define the youth generation of our time. Who are these ‘hipsters’, and who represents this contemporary subculture?

Victoria Mullins BA Photojournalism, LCC www.trixphoto.co.uk

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Tinker Tailor Solider Spy

UK Jewish Film Festival

Swedish director Tomas Alfredson presents this film adaptation of John le Carré’s espionage novel by the same name. Starring Gary Oldman as the anti-Bond spy George Smiley, the film has been hailed as perfectly capturing the essence of 70s Britain. Out in cinemas now.

This film festival held annually in November (this year’s dates are 2 November – 20 November 2011) aims to reach out to a diverse Jewish audience, as well as audiences from other backgrounds who are interested in exploring Jewish history, life and culture around the world.

Distinguished Leaves: Poems for Tea Lovers

Keeper: A Book About Memory, Identity, Isolation, Wordsworth and Cake

This book of tea-based poetry by Britain’s Tea Poet, Elizabeth Darcy Jones, also features descriptions of different types of teas, highlighting their distinct traits and treating them as individual characters.

Moira Cameron In 2007, Cameron became the first female Yeoman Warder, commonly known as Beefeaters, of the Tower of London. Now mostly ceremonial, the roles of the 35 resident Warders in the Tower date back to 1485, when they were prison guards.

IDENTITY

A beautifully written and emotional story of how identity can be affected

by Alzheimer’s by Andrea Gillies.

Eighty Launched by Saatchi & Saatchi, Eighty is a full-service design agency focused on building brand identity by way of design, art direction and logo development. The agency’s name comes from the Saatchis’ 80 Charlotte Street address.

A random selection of things about identity.

Because there is no such thing as useless knowledge . . . apparently

Sandy Nairne

Theremin

As director of the National Portrait Gallery since 2002, Nairne has dealt with countless exhibitions that focus on identity and explore depictions of famous Brits.

One of the earliest electronic musical instruments, the theremin is controlled without physical contact. Two metal antennas sense the positions of the player’s hands and produce sound through the oscillations of the electric signals. It generally produces an eerie sound.

The British Art Show

Frida Kahlo Self-portraits of renowned Frida Kahlo’s own identity acted as her therapy through miscarriages and permanent disability.

A major survey exhibition that is organized every five years, the British Art Show tours the UK to showcase contemporary British Art. It is widely recognized as one of the most ambitious and influential exhibitions of contemporary British Art.

London Tap Jam

Catch My Soul

The brainchild of actor/dancer Junior Laniyan, the London Tap Jam started in 2006 and since 2009 has held a oncemonthly residency at Ronnie Scott’s. It brings together dancers to improvise and play with rhythms.

Based on Shakespeare’s Othello, this rock musical is set in a commune.

Othello is a wandering evangelist who happens onto Iago’s remote commune. There he marries the lovely Desdemona much to the chagrin of Iago, who also loves her. The conniving commune leader then manages to quietly pressure Othello to murder and tragedy ensues.

Cuckoo Productions

Yarn Bombing In the tradition of graffiti tagging, yarn bombing is a form of street art that uses knitting or crocheting rather than paint. The intention behind yarn bombing is usually about reclaiming and personalizing sterile or cold public places.

The production company started by entrepreneurs Diane Hilton, Karin Parnaby and Judy Kershaw to bring Ken Kasey’s One Flew Over the Cuckoo’s Nest to the London stage.

They raised £100,000 in 24 hours and the play made its London debut at the Playhouse Theatre in 1988.

By Nora McLeese

And Samantha Goodwin

MA Journalism London College of Communication www.noramcleese.com

BA Fashion Journalism London College of Fashion www.ferrris.blogspot.com

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Deface The Queen

Susan Yan Mach Graphic Design & Media London College of Communication http://www.susanyanmach.com

Stuff to entertain you

So you don't become idle delinquent youths aka. 'the feral underclass'

London Design Festival, Southbank Centre Until 16 Oct. 2011 The Southbank Centre joins the London-wide design festival (17-25 Sept.) to showcase installations from a range of designers and architects.

Nearest tube: Waterloo UAL Freshers Zine Fair, LCC Thursday 29th Sept, 2 to 6pm Because UAL loves zines!

Nearest tube: Elephant & Castle Church, Corsica Studios Every Thursday, 10pm to 3am Small club night started by UAL students that gathered momentum at a staggering pace. Having to upgrade venues several times to accommodate for its growing popularity , it’s now one of the biggest Bass/Dubstep/House club nights in London.

Nearest tube: Elephant & Castle Shake, Rattle & Bowl, All Star Lanes (Victoria House, Bloomsbury) Every Saturday, 8pm to 2am SRB happens weekly on Saturday night with DJs playing a set of rock ‘n’ roll, Motown, garage rock and psychedelia on a smaller, more compact dancefloor, along with bowling lanes.

Nearest tube: Holborn Art by Offenders, Secure Patients and Detainees, Royal Festival Hall 22 Sept. – 20 Nov. 2011 Paintings, drawings and sculpture by offenders, detainees and secure patients from institutions across the UK. Nearest tube: Waterloo Fresh Prints, Amersham Arms Next 1 Oct. 2011, 9pm to 3am Club night started by UAL students at one of London’s best pubs. Head to their end of summer party for cheap drinks and extravagant dancing. The Amersham always ends up being the true home of Ewen Hendersoners.

Nearest station: New Cross The Knitting and Stitching Show, Alexandra Palace 6 Oct. – 9 Oct. 2011 A fair for knitting and stitching, embroidery, felt-making, shibori dyeing, jewellery-making, card-making, mixed media and other crafts. Find special supplies, cool displays and exhibitions, workshops and talks.

Nearest tube: Wood Green Art Macabre Drawing Salons, Cass Art (Islington) 11 Oct., 8 Nov., 20 Dec., 10 Jan., 7 Feb. at 7:30pm A night of drawing exercises, beastly bullies and terrifying teachers to resurrect the theatricality of putting pencil to paper.

Nearest tube: Angel Moniker Art Fair London, Village Underground 13 Oct. – 16 Oct. 2011 The Moniker Art Fair is different in that it represents a more street style attitude, with galleries showcasing work from graffiti and urban artists. The fair brings a more personal touch with project spaces and special installations for just the weekend.

Nearest tube: Shoreditch High Street Frieze Art Fair, Regent’s Park 13 Oct. – 16 Oct. 2011 Frieze Art Fair features over 170 of the most exciting contemporary art galleries in the world. The fair also includes specially commissioned artists’ projects, a talks programme and an artist-led education schedule.

Nearest tube: Regent’s Park

Compiled by Nora McLeese and Eshe Nelson

SuperDesign London, Victoria House 13 Oct. – 17 Oct. 2011 A fantastic range of international design talent to check out, this innovative art fair of designers is a brilliant chance to pick up some cool and cutting edge clothing articles.

Nearest tube: Holborn Affordable Art Fair, Battersea Park and Hampstead Heath 20 Oct. – 23 Oct. 2011 (Battersea Park) 27 Oct. – 30 Oct. 2011 (Hampstead Heath) Art enthusiasts can shop for exclusive works, and enjoy a vast range of current artwork and various exhibits and activities.

Nearest tube (Battersea Park): Clapham Common Nearest tube (Hampstead Heath): Hampstead/Hampstead Heath Forgotten Spaces, Somerset House 20 Oct. - 29 Jan. 2012 Exhibition exploring the potential future development of our cities, focusing on how unused and abandoned paces could be become major urban spaces. Based on an open ideas competition run by the Royal Institute of British Architects.

Nearest tube: Charing Cross/Embankment Sounds Familiar, Jerusalem Bar & Kitchen Last Wednesday of the month. Next: 26 Oct. 2011 A rambunctious music-fuelled quiz with rounds including ‘Feel The Power Ballad’ and ‘Don’t Give Up The Day Job,’ plus MC Quizzical is in the house to boombox and rap through some rounds too. Seriously silly fun.

Nearest tube: Tottenham Court Road Dazzle Jewellery Exhibition, National Theatre 5 Nov. 2011 – 8 Jan. 2012 Dazzle showcases the work of leading European designers who create unique and exquisitely beautiful handcrafted pieces of jewellery, metalwork and prints.

Nearest tube: Waterloo Lord Mayor’s Show and Fireworks 12 Nov. 2011 The three-mile-long parade will include carriages, marching bands and floats featuring people from a huge variety of London communities. It starts from Mansion House at 11am and will finish at the Royal Courts of Justice. A fireworks display will be held at 5pm from a barge moored between Waterloo and Blackfriars bridges.

Chocolate Festival, Southbank Centre Square 9 Dec. – 11 Dec. 2011 An outdoor festival featuring a wide array of chocolatiers and chocolate companies, with dozens of stalls selling all kinds of chocolate-related products.

Nearest tube: Waterloo/Embankment Student Film Festival London, Location TBA 3 Feb. – 5 Feb. 2012 The first international student film festival will be based in London and submissions are still open until 30 November. They are also running a competition called ‘My Freshers Experience’, asking first years to submit a 60 second film on their first week of uni. All details can be found at sfflondon.org Beach, 20 Cheshire Street, E2 Open Seven days a week, 10am to 6pm Gallery in Shoreditch that sells framed prints and limited-edition artists’ zines, books and magazines. There’s also a cafe on the ground floor and they hold a revolving series of exhibitions and events in the basement. Perfect place to hang for an afternoon.

Nearest station: Shoreditch High Street The Nomad Cinema, All over London The Nomad is the UK’s first roaming pop-up cinema. Past screenings have included outdoor showings of Back to the Future at Roundwood Park and Napoleon Dynamite at Queen’s Park. Keep an eye out for where it might appear next at whereisthenomad.com

60 SECOND INTERVIEW

Laura Southall SU Events and Exhibitions Coordinator

Interview by Sarah Kante BA Criticism, Communication and Curation Central Saint Martins

Photography by Cara Bendon

with someone you might want to know

LCMS: When might a student need to contact you?

LCMS: So Laura, what do you do?

I’m the Events & Exhibitions Coordinator here at the SU, and amongst other things, I run UAL Platform. I help students organise aspects of their own, or their society’s, events that they might need help with, but I mainly organise student exhibitions and external collaboration opportunities. We have a number of SU galleries that students can use for free, which I manage, and I coordinate the SU’s annual opensubmission competition, Xhibit. At the moment external projects are taking up most of my time; we just finished a project for the London Design Festival and we’re also working on a really exciting Grayson Perry event with the British Museum in November. So, right now, I’m really busy making sure everything goes smoothly.

If they’d like to put on their own exhibition in one of our galleries or if they’d like some help or advice about putting on an event. One of the most successful things I’ve done so far is helping new collectives to get going. I can help if you’ve got a group of friends and you want to start a collective or just do something exciting in or out of college. You might need help finding a venue, raising funds or with advertising. Sometimes I can help with work experience too, and I always say that if you want to work with a specific organisation or gallery, I might be able to make that happen.

LCMS: How did you end up with this job?

I used to work at the Victoria & Albert Museum organising exhibitions and Friday Late events in the Contemporary department. It was a fantastic role but it was my very first job and felt like I wanted a different dimension to my career and what’s more contemporary than working with art students! Also, I could tell that there was a huge potential for expanding what the SU does and a chance for me to be creative about taking things forward.

LCMs: What's different now you've taken over from Joe (the last E&E Coordinator)?

Joe was the first person to be Events & Exhibitions Coordinator here and he did a great job of setting things up which means that I can really get on with expanding our projects and opportunities. We’ve set up UAL Platform to replace the We Are Arts brand, and we’re hoping that it will become an arts organisation in its own right.

Something that helps students access external organisations and opportunities, but also one that the wider art world recognises as a way to reach our students. Ultimately, I’d just like all of UAL students to know who I am and what I can do for them. I’m always on the lookout for good opportunities, but getting the word out and getting participants is the hard part. That’s why we’re building up our UAL Platform on outlets like Twitter, Facebook and with newsletters.

Read Between The Grooves Elisabetta’s final MA project looks at a vinyl under a microscope to show the difference in grooves of vinyl records. Every song has a unique set of grooves, the shape of which reflect the type of music . Elisabetta chose to illustrate Tainted Love by Soft Cell. It has regular, rhythmical grooves, just like the song.

Elisabetta Cremona MA Graphic Design London College of Communication www.showtime.arts.ac.uk/elisabettacremona

wearelesscommon.com

is… …regularly updated with student showcase, student exhibition reviews, and quite frankly anything related to the arts …where you can find a full archive of all the past issues of Less Common More Sense …home to a whole section dedicated to Arts Radio and their DJs

Call for submissions Do you want to see your work published?

Submit your work online to be showcased in an upcoming issue of LCMS or on the website at wearelesscommon.com/contribute.

We welcome submissions from all areas of the creative arts. * LCMS are still recruiting for current students to join the 2011/12 editorial team. We are especially looking for students who are interesting in online editing, web design and marketing. Drop us an email if you’re interested and let us know what you could bring to the team.

…always looking for your contributions

lesscommon@su.arts.ac.uk Twitter: lcms_magazine

Copyright 2010 — 2011 The students’ Union, Unive rsity of Arts London and the authors.

No article may be reproduced or altered in any form without the written permission of the editor. The views expressed by the contributors/writers are their responsibility and not necessary those of the editor(s), the publishers, or the University of the Arts London. * You must be a current student or alumnus of the University of the Arts London