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Helsinki alternative travel guide for Hound magazine

10 Sep

More wordy goings on from  me. Back in May I went to Helsinki for a sight-seeing weekend away, and I loved the city so much that I wrote an alternative travel feature for Hound magazine. The mag is aimed at discerning young creative types, packed with musical interviews, reviews, fashion spreads, illustrations and features. The mag is free and distributed mostly in Brighton, but you can also read the publication online.

I provided some words and the photography, although there was also a lovely illustration by Ryan Humphrey. Time to pack your bags and go to Finland!

Helsinki Travel feature page 1 - Hound magazine

 

 

Helsinki Travel feature page 2 - Hound magazine

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Ten tips I wish I knew when I was a job-seeking graduate

27 Jul

It’s graduation ceremony time. And you graduate students are all shitting yourself. I can tell, as the amount of searches containing the word ‘internship’ that have led you to this blog have quadrupled just this week. You are not alone.

If you’ve graduated this year, Congradulations! You are now about to move from degree land to join the world of work. A career is a fish that is hard to catch, and it’s a slips from your grasp once you think you’ve got the hang of it. It’s not as demoralising and degrading as the movies sell it, but you can kiss good-bye to that personal freedom that you didn’t even know existed until you chucked it in the air with your graduation cap. But hey, at least you can start reading for pleasure again!

I was in your shoes last year, and here’s my advice. This time last year I was shitting myself about job-searching too, and even went as far to ask if the university system was failing graduates.

  1. Gutted about your grade? No-one will ever ask you what you got. Except for academics and snobs. Similarly, no-one will care what your degree is in, until you get to 30 and start thinking about an MA. Except for academics and snobs.
  2. If you havn’t had/got an internship by now… It’s time to stop being picky. Or start looking. Or start volunteering. Or start packing.
  3. Don’t expect your first internship to lead to paid work. Most people have to embark on three before they’ve gained enough experience to gain paid work. The secret though is to make yourself indispensable.
  4. The perfect job won’t be around the corner waiting for you. Finding your first role can take anything up to a year. Your first job won’t be perfect either. It takes a decade of discovery to know what you really want to do in life. Don’t lose heart.
  5. If you are skint, there is no shame in moving home to save cash. But set yourself a move out deadline before you kill your parents.
  6. There is also no shame in getting a stop-gap job. It’s cash, more skills to your bow and most importantly, not forever.
  7. If you want to go travelling, do it. If you want to do another course, do it. But if you are doing either if those just to delay the inevitable, don’t.
  8. If you are thinking of staying in your uni town, think back to those lonely summers. Student magic doesn’t last forever once your friends depart.
  9. With the friends that are left, surround yourself with those in the same boat as you. Distance yourself the gloating or whiny ‘friends’ that you shared at uni that will only serve to depress you. Fuck it… UNFRIEND THEM.
  10. And yes… you looked very stupid in that hat. It’s a look only a mother could love. But you will forget about it. Until next year.
01/08/11 Update: Guardian careers has featured this post in their weekly Grad links. Thanks :)

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Playground Magazine

24 Jan

One of my goals for this year is to get something published in a magazine. A nice, independent, slick-looking and internationally respected magazine. I think it’s a pretty achievable goal, providing my words don’t stink. Too much.

In the meantime,I’m trying to get words in as many places as possible, so writing for zines is a good starting point. In 2008 I submitted an interview with New York Trouble & Bass Founder Drop the Lime and his partner in Grime Star Eyes to the Brighton uni based Show Pony zine, which produced just one issue in 2008. When I was asked late last year if I wanted to write about my internship experience for a feature in Playground magazine, I jumped at the chance and soon words were spilling all over the place.


Playground is a very respected zine also set up by Art and Graphic Design students at Brighton University in 2009. Created as a platform to celebrate their visual and written work, they have now produced 4 issues. The last of which, the SOS issue, has the feature ‘Inside information from the Interns’ which as the title suggests contains some tips and titbits from media graduates who have interned for companies such as E4, Alexander McQueen, GQ Magazine, and myself at BBC Blast. The magazine also features interviews with Amelia Johnstone, illustrator and founder of the RCA’s ARC Magazine, and James Langdon, designer and co-founder of Eastside Projects.

This issue asks contributors to respond to the theme of S.O.S, as we are about to descend upon dark times of major cuts in education and culture. The second half of the magazine responds to those opinions and visuals, as the two halves are bound together in a Z-fold or ‘lovers seat’ style binding. The blue & orange contrast is visually arresting but also helps intertwine the ongoing theme of two sides battling to come to a peaceful resolution, which it’s success I hope echoes reality (here’s hoping).

The magazine has already been blogged on top design blogs It’s Nice That and Manystuff. To pick up a copy Brightonians should head to Resident Records, Ink’d Gallery, The University of Brighton SU shop (Grand Parade) or the LMNOP Bookshop. Londonists can grab one via The ICA, while Edinburghites should shimmy on over to the Analogue Books. Or you can order online. Now you have no excuse not to.


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Graduate Exhibition: Gender and Video Games – Why Wii Play

7 Jun

So that’s it, it’s over. Done. Finito. The last bit of work for my visual culture degree was this exhibition on my dissertation. My show summarises the intentions and conclusion of my research on Video game culture and the Wii, but focuses on one particular aspect of my work, my theories on gendered play.  I produced a poster and a video to showcase this theory, and encourage viewers to put this to the test through a very short questionnaire.

The private view was on Saturday and many of the tutors came up to me to discuss my research, many referenced their own or their children’s experiences with video games. Fingers crossed for results day next Thursday!

The exhibition is on show until the Thursday 10th, open from 12pm-4pm, at Pavillion Parade. I will be invidulating myself Tuesday 8th June from 12pm – 1pm, so please come down and say hello. The Brilliant ‘Bored of Brighton’ blog were even kind enough to mention the show yesterday, which is in my mind is code red for must see! But if you are not able to make it, all of the information published is featured below, except you wont be able to take part in the little survey at the end to test my play theory. Which is a shame, maybe leave me a comment saying which game you would like to play instead?

Gender and Video Games – Why Wii Play

Video games are a relatively new media form, with the social effects of this type of play only recently being investigated. Both the creators and the consumers of video games imply a patriarchal stereotype through both the game content and the play identities available. As a result video game culture is seen as an adolescent pastime. However, several market crashes during the 1980’s made video game publishers realise that the male market was over saturated. Games aimed specifically at girls and first-time gamers started appearing in the early 90’s, the most popular of these being Barbie Fashion Designer. While it sold over 500,000 copies in its first two months of release, it still encouraged traditional gender stereotypes.

My dissertation charts a patriarchal history of video games and technology, where women use technology as a tool while men use it as a plaything. But when the Nintendo Wii was released in 2006, its revolutionary motion sensor controls and diverse game catalogue encouraged women and first time gamers to play together in a new type of social play. But does the Wii have the ability to change the way women interact with video games, or does the console further alienate their understanding of technology?

I suggest that video games are objects of male desire and even games aimed at females encourage gender stereotypes. This exhibition demonstrates my theories on gendered play from my own research, questionnaires and observations.

Games for Girls?

Women are represented in video games as either hyper sexualised and available objects, or as passive sensitive women that are easily dominated or kidnapped. This is seen very clearly in the Mario series, the most popular video games series in the world, in the character of Princess Toadstool. Technology has been appropriated by men as a plaything to experiment with their own desires and fantasies. Consequently women have been forced to use technology only as a tool and have limited use of it for leisure. Technology therefore is a patriarchal devise to dominate and control women and I think that video games play a part in that power struggle.

In the ancient Greek language, the words education/culture (paideia), play (paidia) and children (paides) all have the same root. Play is a social function integral to the formation of our identity. According to John Huizinga life must be lived as play as a ‘training for serious life’ but also an ‘outlet for harmful impulses.’ I believe that men always adopt a more competitive and dominant position to lose their identity during video game play, while women are positioned as submissive and use play socially to experiment with their identity.

Roger Caillois suggests that the types of games that we play can also be divided into four types, competition, chance, simulation and vertigo. There are also two ends of the gaming spectrum, Paidia where players use games to explore fantasy and escape reality, whereas shorter social Ludus games involve patience to learn skills. There is a video game for every play type, and my research has lead me to believe that boys prefer immersive Paidia game-play, while girls prefer skill based Ludus play.

To test my theory on gendered play in video games, look at the table below and the video featuring footage from these games. Which game would you like to play the most? Tick the box on the slip provided and post it in the Wii.

(Sorry, this version of the video is longer than the one on show, I lost the most recent copy from my desktop)

I’m sorry but games with loads of guns in appeal to blokes, end of. Games with fluffy bunnies are for girls.

It allows me to escape the drudgery of everyday life, to compete against others and to gain satisfaction by winning.

I play games to keep my brain occupied. I like games like Tetris and BeJeweled that I can play whilst doing other things.

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Burt Brill & Cardens Brighton Graduate Degree Show – Preview

30 May

This is a preview feature on the Brighton University graduate degree show as featured in the June issue of the Verse. The last and most difficult piece I had to write for this issue. I estimate that I have written well over 10,000 words this month (not including the dissertation I completed the month before), so this was the most difficult 500 words I have ever had to write. Unless it is on a topic that I am really passionate about, I really struggle with the formal writing style that news writing commands. I guess I am getting a little too used to writing provocative tosh to flirt with one’s mind.

The real page laid out is here: Page 7, which also features Callum Kelly’s lovely review of the new Sea-life centre mural by Tunnel Vision.

Burt Brill & Cardens Graduate Degree Show

Grand Parade has been a hive of activity recently as final year students of the Faculty of Arts erect their degree shows. Every year, the building is transformed from a bustling teaching building of 25 courses to the largest

art gallery in the South East, showcasing the work of Brighton students. The title of this year’s show is Hook, Line and Sinker, revealing the time and patience involved for the students to put on a show of this level, and the sense of achievement that they will face after.

The show, sponsored by Burt Brill and Cardens Solicitors, gives over 500 students the opportunity to showcase their work to over 15,000 visitors. For many of these students, it is the first opportunity for their work to be seen and be purchased by the public. In some ways, the private view on the 4th June is as important as graduation day in July.

Brighton is well known for its forward thinking and eclectic artistic talent; previous arts graduates include Turner prize-winning artists Rachel Whiteread and Keith Tyson. Fashion graduate and founder of the Biba label Barbara Hulanicki returned to Brighton last November to give a rare talk on her life as a legendary fashion designer. More recent fashion graduates have also embarked on successful careers since leaving Brighton. Julien MacDonald was voted British designer of the year in 2001, alongside Gresham Blake who has now become a tailor to the stars.

Eyes are again on the Fashion graduates for the annual fashion show that taking place in the Sallis Benney theatre, which has always has sold out in advance. One student to look out for is Steven Woodward, who has already showcased some of his garments in London fashion week after entering a competition through Vogue.com. Highlights of the knitted Textiles show also point to Sophie Penn and Debbie Holman who have both won bursaries from ‘The Worshipful Company of Framework Knitters’.

Other popular shows include Editorial Photography, based in the Gallery, and Architecture, which has moved this year to the garden. The rest of the shows are based where the courses are taught: first floor houses the fashion and sculpture disciplines, the second floor showcasing the fine and performance arts, while the third floor is home to the majority of graphics, illustration and printmaking.

Third year Graphic Design students Pete Dungey and Miles Gould created the visually striking poster for the show. Responding to the open brief set at the beginning of the year to all graphics and illustration students, Dungey and Gould wanted to come up with a design that encompassed the release of tension that graduate students get at the end of their final show. The pair settled on a fishing theme with the idea that the final year show is about catching the attentions of the public.

Many students are hoping that their work will reel the public in to commission future work to kickstart of their artistic careers. However, it is not just the examiners that decide the fate of these students. The public can also vote for their favourite work to receive the Peoples Award. The winning student will receive a cash prize and local media exposure through Juice FM and Latest Homes magazine. Your vote also enters you into a draw to win an original artwork.

During this busy time, it is easy to overlook the degree show by students from the school of Historical Studies. That show is located just down the road towards the sea front, at Pavilion Parade. Third year students on these courses will also be putting on exhibitions, relating to their research for their dissertations completed earlier in the year. Their private view is a day later than the show at Grand Parade – on the 5th June. The exhibition will then be open to the public from 6th – 10th June.

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The Brighton Graduate Show – History of Art and Design

25 May

This week is going to be a melancholy week. We have we just sent of our final issue of this years Verse to the printers, my last issue as features editor. Today was also my last meeting with my dissertation tutor to chat about my exhibition piece, as a part of the Burt, Brill and Cardens’ Graduate Show.

Taking place along the main graduate show at Grand Parade, the school of historical studies have a similar show in which the students make a small display of their dissertation topics. While our shows are not as heavily weighted as the other arts graduates – with only 5% going towards the final grade – it is also important in that it is one of the few opportunities we have to convey our ideas visually and to the public. It an important skill if one wants to go into museum curating. Thankfully I don’t, this is more of a fun project for me where I can showcase my research on gender and video games.

I had a hand in picking the invitation, which I love, but I am not so sure the staff are as excited about:

The invitation was designed by a second year Graphic Design student, Jenny Shayler. Her design is based on the idea of the surrealist parlour game of exquisite corpses, or the drunken game of consequences. The images in the design all relate to the images used in our dissertation titles – can you guess which one relates to mine? I love this design, because it is an informal visual representation that relates to all of our research yet also encompassing it as a whole. However, I think other members of staff prefer something more typographical and formal. But I prefer something that I can stick on my collage wall.

Anyway, all are welcome to the private view, which is the day after the official graduate show at Grand Parade.

Saturday 5th June: 3pm – 5pm

10 – 11 Pavillion Parade (Next to the Marlborough Arms). RSVP: Martina Knight – 01273 643086

General Viewing times:

Sun 6th June 12pm – 6pm

Mon 7th – Thurs 10th June:  12 – 4pm

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The Great Escape 2010

18 May

Despite being recently voted by NME as the UK’s best festival, I still can’t work out the Great Escape. In the last 5 years is has been running I have attended three and will admit I find it hard work. The festival requires much planning, a central crash pad, a deep wallet and very comfortable shoes. The line-up is so overwhelmingly unknown to even the moderately clued up you are sometimes at a loose end as to who to see. But this is why it is a great escape, freeing yourself from what you know and discovering new music. The bands that blow you away are the ones that you had no idea about before the festival. 3 days and 19 bands later, my body is aching and my mind is whirling from all the fantastic music I have discovered.

My weekend started with Chateau Marmont aided by a light show at Digital, providing a futuristic dystopian horror soundtrack. Komedia provided the perfect venue to be romanced by The Dodos, before I settled in for a (slightly) drunken celebratory night at the Source vs Recommender party, featuring Mirrors, Foreign Office, The Agitator, King Charles & Pope Joan.

The Dodos

Friday started a little fuzzy but was rectified by the blissful Japanese inspired beats of Gold Panda. Unfortunately Life didn’t do him or the sardined crowd any justice; slightly roomier instead was Wolf Gang @ Coalition followed by Hurts straight after. I didn’t want to try my luck for Wild Beasts after seeing the huge queue, so I settled on the Moshi Moshi records party @ New Hero with everyone’s favourite boy-next-door James Yuill & Mirrors – they were getting around and were dapperly dressed every time.

Wolf Gang

Wolf Gang

Already missing out on a variety of daytime gigs due to deadlines and hangovers, Saturday was mission day and I was determined to check out the Alternative escape and the various street gigs, the first of which was Fenech-Soler. Adapt Barbers shop hosted a gig so intimate the crowd were feeling each other up, complete with free Mohawks and facepainting. Stagecoach were the first to wow with their bouncy grooves, but I quickly dashed to the Foundry to catch Kovak and their No Doubt-esque stylings, before dashing back to catch one of my favourite local bands Kinema with their geektastic homage to all things electronic.

Kovac

:Kinema

After a quick dash home to recharge my batteries, I stopped into Komedia to check out the eerily familiar Erland & the Carnival, perfect for a heart-breaking road trip across no-man’s land. Prince Albert hosted the psychedelic oddities of La Shark and the orient other that Is Tropical. I ran to catch the end of The Phenominal Handclap Band, before my feet gave in and told me to go home.

Erland and the Carnival

The Album you must buy next: The Dodos

Echoing on the familiar sounds of indie folk that have been doing the rounds on the blogs thanks to bands like Yeasayer and Grizzly Bear, this experimental San Francisco 3-piece took me back to the those adolescent days where I would daydream to Jeff Buckley on repeat, but with much needed oomph and guts. Percussion is where the wonder lies; wowing the crowd by playing a Glockenspiel with a violin bow. Their most recent album is reminiscent of The Shins, but check out the debut Visiter (yes, that is the way it’s spelt) to go on a mesmerising lovesick walkabout that dreams of a happy ending.

The next big thing: Fenech-Soler

If the ‘it’ factor consists of pop-tastic catchy songs, barrels of energy, beautiful faces and spangly costumes, these guys have got it in spades. Add to that their ability to make a remix so stunning it could get your Grandma doing the twist, and you have the recipe for something as hot as Cut-Copy and Friendly Fires. They even had a dancing flash mob and a confetti explosion for their relentless street gig – which was one of 4 they played at the weekend.

Fenech-Soler

The next band to see live: The Phenomenal Handclap Band

Playing rather appropriately at the refurbed Jam, this 70’s infused psychedelic-rock yet retro-funk band screams summer with style. Their energy so was infectious there wasn’t an um-bopper in the house. Everything about this 8-peice was so hot, my camera spontaneously combusted and I just had to give in and dance into a sweaty stooper like everyone else. Their record doesn’t do this band justice, they one to be seen live to be believed, loved and worshiped.

The big maybe: Hurts

This band appeal to people for two reasons. First you have the thirty-something crowd, who are nolstalgic for the 80’s when the new-romantics were well… new. With my generation being catapulted back into the 80’s not only stylistically but politically (thanks Dave) the theatrical power ballad may be making a comeback. While I was initially aware of them and pre-judged them as pretentious, particulary due to the ginger Paul Potts-esque singing statue at the back. However, throughout the gig lead singer Theo Hutchcraft came out of his shell a smidging and the crowd loved it. Hell, half of them were mouthing the words. But I am hoping for more Yazoo and less Spandau Ballet.

Hurts

Gutted to miss: Theophilus London and Oui est Le Swimming Pool

It wouldn’t be the Great Escape if you didn’t miss at least one act you wanted to see. The rumour mill is that both acts were great. Sigh.

I have also made a spotify playlist of some of the bands I managed to catch.

This peice will also be published in the May issue of The Verse, alongside Issac’s and Caroline’s review, and a Kovac competition. Check it out!

Page 10 – Music

Page 11 – Music

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Brighton Festival 2010

10 May

Unfortunately due to exam peril, i am unable to attend any of the events going on in this years Brighton Festival. Last year I volunteered and invigilated some of the Anish Kapoor sculptures situated around Brighton, which I really enjoyed. This is a piece about the 2010 Brighton Festival, printed in the April issue of the Verse.

Brighton Festival 2010

Each year, Brighton Festival is always an unexpected, spellbinding experience. There is always a guarantee that the programme is going to contain a few hidden gems sandwiched between a sea of unknown cultural delights. Legendary artist and creative muso Brian Eno will curate this year’s festival so it is no exception, boasting 113 events, 16 exclusives and eight new commissions.

Eno is most well known for his involvement in the Glam Rock band Roxy Music in the early 70′s, most famous for the song Love is a Drug. When he left the band due to disagreements with the lead singer Brian Ferry, Eno embarked on his own solo projects, pioneering the beginnings of experimental electronic music. Many call him the inventor of the ambient genre, while others praise him further by calling him the father and an inspiration to anyone dabbling with a synthesiser. He has worked on albums for U2, Coldplay, Talking Heads, Grace Jones and Paul Simon among many others, although his management call him a ‘sonic landscaper’ rather than a producer. He hasn’t just stuck to music either. He also writes for the Observer and Prospect magazine, as well as working on many other multimedia projects.

The most famous of these is 77 Million Paintings, which is going to be situated in Fabrica for the duration of the May festival. This work, created in 2006, features geometrically arranged slides and light projections, constantly changing. Described by Eno as ‘visual music’, every viewing experience will be different due to the 77 million combinations. The church setting makes the viewing experience even more sacred. Fabrica are even installing sofas so you can make yourself comfortable; you may get transfixed for hours.

While this is one of the few free events being put on this year, it will undoubtedly be the most accessibly spectacular and is not to be missed. The only other free events take place on the final day of the festival, Sunday 23rd May. This will involve a family orientated street art and performance afternoon by Urban Playground at the Marina ending with a firework show, and a night-time circus extravaganza at The Level by No Fit State.

But what is Eno himself like? After watching a few documentaries and being lucky enough to hear him talk in the flesh, I can only describe him as intellectually stimulating yet challenging, captivating yet tangent travelling. Eno has said that Brighton is a special city that has a citizenship unlike any other in the UK, and he “wouldn’t have wanted to curate a Festival in any other city.” He has also said that the eve of his 62nd birthday “will be the greatest evening of his life”, when Afrobeat perform on the 14th May (Dome). His other personal highlights include: This is Pure Scenius! a four and a half hour experimental improvisational collaboration featuring Eno, Karl Hyde of Underworld, Jon Hopkins and Leo Abrahams; This is Acappella! a celebration of non-instrumental singing featuring Reggie Watts, as well as two talks that he is hosting himself on the on a variety of subjects that will flow into each other.

Eno has purposely organised events by groups and performers that you are bound to have never heard of before, so you arrive with no preconceptions of what to expect, forced to surrender yourself to an experience that you do not know where you will be taken.

Eno facts

Has made his own app for the iPhone for you to create your own experimental music, called Bloom.

He scored the music for Peter Jackson’s My Lovely Bones.

Eno created the music for the amazing PS3 game Spore.

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Chris Cunningham

6 Mar

This is a short feature on special effects artist Chris Cunningham, which was printed in the January issue of the Pebble. He is also putting on one off rare visual show at the Brighon Dome on the 19th April, which I still need to purchase my tickets for…

Spotlight Artist – Chris Cunningham

This month, our spotlight becomes even more dark and twisted when as we go on a not-so jolly journey with visionary British Director Chris Cunningham, who will soon be gracing us here in sunny Brighton to prise open our doors of perception.

Born in Reading, 1970, Cunningham ditched art school and his early sculptural and linear convulsions of robots and humans to follow his director’s dream. Originally working in the special effects departments on projects such as Spitting Image and Alien 3, it was his work on the film Judge Dread, that caught the eye of Stanley Kubrick and got Cunningham headhunted to work on his 30 year headache: A.I. Cunningham was assigned the task of designing the android David, a role which Kubrick believed could of never be portrayed by a human. But when the project was handed to Steven Spielberg to direct in 1995, Cunningham designs were abandoned as Spielberg gave the role to Haley Joel Osment. Cunningham then turned his hand to directing music videos for British bands such as Placebo and Dubstar to cut his directing teeth on.

1997 was the year that Cunning ham received critical acclaim for the music video ‘Come to Daddy’ by Aphex Twin. This twisted nightmare saw schoolchildren with Richard James’ superimposed face creating havoc in the council estate that was also used by Kubrick in scenes of A Clockwork Orange, as well as a Grandma scarily tormented by possessed demon. Despite being banned by many video stations, along with ‘Windowlicker’ it has achieved cult status and has been voted the 17th greatest music video of all time by Q magazine readers. Another Grammy nominated achievement produced in 1999 was ‘All is Full of Love’, by Bjork, where two robots embrace among a mechanical assembly, which is on permanent display at the New York Museum of Modern Art.

While still falling back on music, directing videos for the Horrors and a forthcoming single for La Roux, he has distanced himself from motion pictures after attempts to adapt William Gibson’s Neuromancer and Philip K. Dick’s A Scanner Darkly failed to materialise. Cunningham has more recently become a multi-disciplinary, working on his own short films and music, funding these projects which the occasional advertising assignments for Sony, Levis and Gucci. Before the rise of Youtube his films were generally hard to view, but (excitedly) Cunningham is due in April to do a very rare audio visual performance at the Brighton Dome, showcasing old and new work. Tickets are available via the Dome website, or their ticket hotline. Even for students it’s pricey at £14, but with the aid of some special guests he will show us what he does best, blowing our minds with psycho-sexual imagery that even the darkest depths of our imagination wouldn’t dare to dream.

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The Fear – Playground magazine

27 Feb

I caught the fear big time this week. I avoided tutorials, procrastinated over my dissertation and went on a mental roller-coaster as the realisation of the end of my degree hit hard. Graduation day is 26th July. I think I am washing my hair. Plus the news that the BBC are cutting back their services means my chances of landing an internship with them are diminishing fast.

So… rather than do anything really productive; I answered other peoples emails, attended a press conference (more about that in tomorrow’s post), and attended pebble shaped meetings. One of them was with some lovely and talented Grand Parade students at Playground magazine, in an attempt to get more graphic design students on board with the Pebble redesign. Their minizine is a celebration of the diverse creative talent that Brighton’ students have to offer, with their second issue coming out soon. They were keen to get involved with us spread the word, which is good news. They even wrote a post about us on their blog, which was nice of them.

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