ISSUE #2 SUBMISSIONS 00103 - 00155

SUPPORTED BY THE UCA CREATIVE FUND.MARCH 2012.

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Glue is a UCA Students’ Union publication. Although reasonable care has been taken to ensure details are correct, neither the Glue editorial team or UCASU can accept liability for inaccuracies, damages or loss. All images are copyright of the creator and should not be used, sold or exploited in any way without prior written permission. Students submitting to Glue accept that their content may be used in any aspect of Glue presence and a credit will be given. If you feel your copyright has been infringed, please email Andy Squire, UCA Students’ Union Communications & Media Coordinator via asquire.su@ucreative.ac.uk or call 01252 892629. To write to UCA Students’ Union, use the address UCA Students’ Union, Falkner Road, Farnham, Surrey, GU9 7DS. Editor-in-Chief: Andy Squire.

Canterbury Editor: Lewis Barton Epsom Editor: Mikaela Nguyen Farnham Editor: Gemma NobleMaidstone Editor: Brenda Alexis Rochester Editor: Samantha Wilkins Features Editor: Faye Gentile

Chief Sub-Editor: Laurence Braddow Art Director: J.D. Dean Art (Subs) Editor: Lizy Bending

Use the format firstname@gluehere.com to email a member of the team.

The difficultsecond album

You know how it sucks when a band can’t follow up on their awesome first album?

We didn’t want that, so we listened hard to every bit of feedback given about the first issue. Changes have been made and we think it’s even better.

You’ll find a lot more intelligent stuff in here. We focussed on something most of you will encounter at some point - unpaid internships (p8). Read first-hand experiences of students at UCA and get tips from industry professionals about how to make it. Hell, we even give you the legalities of working for free, along with some tips so you don’t get mugged off.

There’s also an interview with ex-World of Warcraft addict Anthony Rosner following the recent rise to fame of his film ‘In Real Life’ (p4).

Maintaining the theme of web sensations, we take a look at the rise of viral calls to action like Kony 2012, Anonymous, the Arab Spring and... Cat Bin Lady (p34).

Of course, we’ll never forget Showcase; offering a platform to share creativity and inspiration (p16).

By the way, you look great today. That new thing you’re doing totally works.

Glue is printed on recycled paper. Please dispose of your copy responsibly.

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Glue is a UCA Students’ Union publication. Although reasonable care has been taken to ensure details are correct, neither the Glue editorial team or UCASU can accept liability for inaccuracies, damages or loss. All images are copyright of the creator and should not be used, sold or exploited in any way without prior written permission. Students submitting to Glue accept that their content may be used in any aspect of Glue presence and a credit will be given. If you feel your copyright has been infringed, please email Andy Squire, UCA Students’ Union Communications & Media Coordinator via asquire.su@ucreative.ac.uk or call 01252 892629. To write to UCA Students’ Union, use the address UCA Students’ Union, Falkner Road, Farnham, Surrey, GU9 7DS. Editor-in-Chief: Andy Squire.

Canterbury Editor: Lewis Barton Epsom Editor: Mikaela Nguyen Farnham Editor: Gemma NobleMaidstone Editor: Brenda Alexis Rochester Editor: Samantha Wilkins Features Editor: Faye Gentile

Chief Sub-Editor: Laurence Braddow Art Director: J.D. Dean Art (Subs) Editor: Lizy Bending

Use the format firstname@gluehere.com to email a member of the team.

How to use thismagazineIf you picked up Glue last time, you’ll probably be familiar with how it works (you’re allowed to skip this bit). But if you missed it (where have you been?) we explain it here.

Here’s the low-down:Our colour wheel isn’t just pretty, it’s also a navigation tool for the magazine. The wheel is split into 20 segments; each representing an area of creative interest.

Pick a subject on the wheel that you are interested in. We predict you’re also interested in the three shades each side of it, too. As you flick through Glue, look for the colours on the page corners. This tells you if the work on the page matches your interests. Or just look at absolutely everything.

To see more of someone’s work, just visit gluehere.com and search for the submission number shown above their name.

Film

Photography

Animation

MixedMedia

CGI

InteractiveProduct3D

Architecture

Interior

Crafts

Textiles

FashionDesign

Fine Art

PrintMaking

Illustration

GraphicDesign

AdvertisingFashion

Marketing &Promotion

Journalism

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In Real Life:An internet sensation.

Anthony Rosner has become the unexpected star behind one of UCA’s largest successes in recent years - ‘IRL - In Real Life’.

It’s a light-hearted documentary that takes an incredibly personal look at a six year struggle with gaming addiction, an issue much bandied about in the media but rarely examined so closely. It looks at time, money, and opportunities spent on the Massively Multiplayer Online (MMO) game over the course of six years - but while the approach may be lighthearted, the message remains just as pertinent.

If you have played World of Warcraft, or indeed any other game that can easily consume so much time and money for a significant period of your life, you’ll understand IRL from the beginning. Though for many, the addictive nature of such games is an alien concept. Anthony does an excellent job dissecting and explaining it.

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The film is brilliant on both a technical and emotional scale, remaining totally accessible to gamers and non-gamers alike.

The story Anthony tells with his documentary is never lost in translation, and is both inspiring and heartwarming.

With an increasing roster of media appearances and interviews, Glue caught up with the third year film production student to find out exactly what’s behind the video and what the future holds for Anthony in real life.

Did you ever expect IRL to go viral?It was a shock. I didn’t expect it to pick up as fast as it did. Especially when a lot of the major gaming sites started reposting it, everyone started sharing it on their blogs and I didn’t expect that at all.

How long did it take in-game to gather all the footage for the film? Were you ever worried that you might get hooked again in the process?I always worried in the back of my mind that I’d get hooked into the game but I knew that I was just playing a game to make the film.

I spent about two months gathering the footage while editing the film. I think I had over a terabyte of footage in total. I didn’t really feel worried about playing the game or getting back into it because I always just knew that I was making a film.

I’ve got my priorities worked out regarding what I want to do after the film, so boredom isn’t an incentive to play any more.

What role did classmates or friends play in the production?Well, they were mainly helping with the script, making sure it sounded good and flowed well.

I showed them various previews of clips from the actual film to give me feedback on how it looked and how it felt. It was just general constant feedback all the time.

Dave Novis designed the shot of the Earth at the end circling around the sun, it was just little bits like that they helped out with. There was one person who will remain anonymous, who was playing the Norwegian girl in the film.

What did your tutors think of the project?They were generally quite positive about it. They felt it was a subject that hadn’t really been done before, and not really shown in the way I was planning.

“I was worried I’d get hooked back into the game”

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it a good film motivated me to make the final product.

Have you had any attention from film producers or YouTube partnerships?Not film producers as such but I’ve had quite a bit of media interest. The ABC channel in Australia want to do an interview with me, and I’ve been interviewed by BBC Radio Surrey.

At the moment I’m just going to wait and see what else happens from this film, and then make some decisions. It’s difficult because the industry I want to go into is very cut-throat.

My original plan was to graduate then try to find jobs with production companies while making my own films. On the whole a lot of those plans are still in action but I think this film will definitely help them.Lauri Braddow.

Did you enjoy reliving those six years or was it painful?It was quite nice to a degree because I was able to reflect on the good times I had in Warcraft.

Other times it felt quite depressing in a way because I was looking at how much I felt that my life wasn’t going that great. Especially the stuff with the Norwegian girl; that felt quite uneasy to look back at.

As part of my research I went back and looked through the old chat logs to make sure I could structure it properly and make sure it was all as close to the truth as possible.

There were highs and lows making it but I quite enjoyed the experience. I was very skeptical about making it because it’s such a personal subject but the more I thought about it and how I could make

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Most undergraduate courses have a work placement requirement for anything from a week to six months at a company of your choice.

Unfortunately, a lot of interns get taken advantage of, either used as runners to simply fetch the coffee or make photocopies, or put under huge pressure with no credit given for their efforts.

We’ve found some case studies of students who had good and bad experiences with internships, and gained some brilliant insight from a few professionals from different industries.

We’ve also covered the legal side of the story, and offer some tips to make sure you don’t get caught in the system.

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DoorBy Kerrie Braithwaite and Jayne Horswill

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Glue spoke to UCA students who have had the opportunity to work for an established company. These are their stories...

Aimee BlakemoreFine Art

“I applied for an internship at Life the gallery which is just outside Farnham, Surrey.

It’s a family run gallery, a couple who studied art when they were in their 20’s and went on to different fields then had enough money to start up their own commercial gallery.

They show artists and sell the work and split the commission. I was basically their assistant, I worked for

them from last year September til the beginning of this year January. They went over the general running of the gallery with me, and I helped update their website and their database.

I dealt with customers and actually sold art which was really empowering to be able to be part of an actual art transaction, its stuff that I need to learn about, as a progressive working artist myself. They’re really nice people and treated me really well, they picked me up from Farnham so I didn’t have to travel there and my lunch was covered. They didn’t pay me but I worked there two days a week which we worked around my schedule.

If I had to be at uni, we would arrange it on a weekly basis, so that I could say I could be in this day and one day at the weekend. It was really flexible and they were really nice people to work for, and they did teach me a lot. Its been nice to make a valuable contact like that because I still work for them now, I go up occasionally every two weeks and teach their children’s workshop that they hold on a Saturday. Now they actually pay me to do so because they would normally employ a teacher.

While I’m trying to practice being an artist, I’ve gone up in gaining some experience with working with children as well, so it was a really good experience for me.”

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Aimee BlakemoreFine Art

Sara Sofia AlmeidaProduct Design & Interaction

Roxanne SpatariDigital Film and Screen Arts

“I’m working at the design department in a lighting company. I learn from the head of department by doing small jobs for them.

I help with minor things but he doesn’t just give me instructions; he explains to me why I’m doing it, and that’s really important.

My friends said it was quite boring, but I’ve had a chance to do things like prototyping. If they don’t have time to do something for a client, they ask me, so I get to make drawings or anything they need to send to architects. They also involve me in national projects. If they have a problem with anything they’ll call me and ask me to research a solution.

Less benefiting is that at university we learn to use the latest software, but where I’m working they don’t have that, so I’ve had to learn to work around that.

“I did an internship with a new independent brand for two weeks. I had to go in everyday and help the researcher for photo shoots and styling.

On the day of the shoot we had the models and everything was ready. I just had to take care of the clothes and the models. Basically, I did all the running and behind the scenes photography as well.

It was good; I got great contacts through them and I hope I’ll work with them in the future as well. I learnt how to deal with stress. I wanted some clothing from the shoot for my project. They wouldn’t give it to me because they believe it wasn’t suited to my project, and because of branding they could not do it. It was still a good experience.”

“One of the things we want to find out is what the intern’s strengths are and what they are interested in.

A recent intern we had was interested in photography, so I was able to get him back stage at fashion week.

We want our magazine to keep up and running but we also want our interns to get experience and grow. I think it is hard to find internships like that.

A lot of interns really don’t have any experience at all. We’ve had wonderful interns and one thing I would definitely say is to be independent with it. Internships are very useful it’s and important to get the experience.

You have to remember the basic stuff people forget: know who you’re emailing, make it clear and precise and watch your grammar.

We’ve had people ask for internships who do not even show up for the interview, we definitely don’t want to work with them.”

“We used to have an intern in our studio almost all the time. Now we run it over summer as it was getting difficult to manage the intern’s time effectively.

The most important thing is that both the student and the agency gets something from the internship. I look for someone to bring new thinking and dynamism to the team. We try to teach the real world of graphic design: deadlines, clients, artwork, money and all the stuff they don’t learn in college.

Four of the people who have worked at 3fish in the past 12 years, started off as an intern here, working for one or two months as an intern before we offered them a job.

We pay our interns minimum wage and have done for the past few years, although a lot of places don’t.

I would say that the experience a student learns from an internship is invaluable, but only worth it if they are being paid, and preferably a proper wage.”

Hear how a fashion stylist, graphic designer, established abstract artist and a photographer suggest getting into the industry...

Rebekah RoyFashion Stylistwww.fashion-stylist.net

Ricky OhGraphic Designerwww.3fishinatree.com

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“You need a one page CV with a photo of yourself attached. Yes, a photo!! You need to have actually done some work of your own already in your chosen subject area... not just having really, really, really wanted to do something.

My first assistant had shot 100 bands live before emailing me. I knew I could help her and that she would be interested in what I was doing.

You have to write a covering email or CV without using the word “I” and everything has to be spelled 100% correctly. Most emails we get have the word “I” all the way down the left hand side of the covering letter. You have to have a different mentality; it’s what you can bring to the business. Read a sales/marketing book! No one is going to pay you to make a cup of tea and no one wants to hear about your snow boarding career.

What can you offer your potential employer? Small businesses see interns as a risk free way of testing out talent. Training someone takes time, energy and money. You have to offer a skill or make life easier for the business. The law makes it impossible to employ someone nowadays for a small businesses - there are too many risks. So in the photography businesses, prepare to be freelance!”

“What you do with your art when you come out of uni, is get your stuff into exhibitions with your fellow students.

You need to get out there, get your art into galleries. Gallery expenses vary - it could range from £500 a week to £4000 a week for exposure. You need exposure as an artist, and you need to try all techniques to get out there.

Basically, I just pursue it. I worked in finance and sometimes still do, but I have a passion for art. If you have a passion for the art, innovation, if you’re original in what you’re doing then you can be a success, art is originality. You’re the first to do it.

I think you’ll always have to balance the combination of getting money and paying your bills; you may have to do a day job. Or just do what Banksy did: walk in to the Tate, stick your art up and walk out. That’s a good way of exposing yourself for free.

You can go to online galleries too. Saatchi galleries has its own online gallery and that’s free. With all the technology today, you can upload your work very easily for next to nothing.

Ads could cost £20 for a week in a small mag, then move to an arts magazine.”

Chris GloagPhotographerwww.chrisgloag.com

Sak Victor KahnAbstract Artistwww.saatchionline.com/sakvkahn

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Should you be getting paid?Here’s the legal stuff. The law for internships is back in the news again, with many interns who are often cash-strapped graduates claiming they are being underpaid and undervalued.

The first thing to consider is whether or not you are classed as an intern, or just a work experience person.

Work experience is often a compulsory part of degree courses to gain valuable experience in the desired field of work, but internships are often a longer lasting working arrangement with a company, setting out what is expected of you and when you will be working.

Most work experience lasts a week or two, and normally involved things like shadowing current employees, research and other slightly mundane (but hopefully valuable) tasks.

Work experience is almost never paid, the main reason being you are not an employee, nor are you treated like one. It is a completely voluntary experience. You will be lucky to be bought lunch and if you are, hang on to them; they will probably treat you well in the future.

Most won’t be paying for your travel expenses unless you travel somewhere from the office for them, but then most of the time you won’t be going alone, so chances are you’ll be driven there and won’t need to worry about paying.

Internships are in a slightly different bracket. These are often seen as a way into a company, and can act like an extended interview, with companies often taking on more than one at a time.

The current employment laws in the UK state that if you are considered a worker, you must have the same rights as any other employee for that company. For example, if you have set working hours, or will be working for a set period (ie 12 weeks), you should be classed as an employee and are therefore entitled to receive the National Minimum Wage, which is currently £4.98 for someone over the age of 18 and £6.08 for someone over the age of 21.

Many interns feel over worked and under appreciated, but often it is the intern in the wrong. If a company suddenly springs on you that you are expected to work late one evening without any prior warning,

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Useful pointers.

you are within your rights to decline. However, if it is in your contract that you may be expected to work late, by refusing you will be in breach of your contract and the company could be within their rights to terminate your employment.

A contract is not necessarily a piece of paper that you sign before starting work, a verbal agreement can often be considered to be just as legally binding. This can take place in the interview, for example: “Your role will include you helping out during London Fashion Week, which is a very busy week for us. Expect some late nights. Will you be okay with this?” If you reply ‘yes’ (as most do in interviews out of desperation to be hired), this takes the form of a mutual agreement, with both parties understanding the expectations and is considered a contract.

If you are worried about what is expected of you, it isn’t unreasonable to request a written contract from your employer, as it protects both yourself and them, and may even make you look more professional. If you have any concerns, more information on working conditions or payment issues, visit Direct.Gov or Worksmart.org.uk.

- Ask about expenses beforehand if you have to commute a long way. Many students end up paying expensive travel costs then find out they can’t get the money back.

- Check what is expected of you at the internship. It may seem like the perfect job but a lot of interns don’t get to do what they expected. Instead, they’re fetching coffees and doing basic work. On the other side of the scale, be ready for responsibility. It’s worth getting a confirmation email or list with a rough idea of what you’ll be doing so you’re ready.

- There are plenty of stories about interns who have come up with ideas or designs for the company which is then used without credit or payment. It would be wise to keep record of work that you give them.

- Read the contract for the internship before you sign. Don’t be afraid to counter anything that you feel takes advantage, or is just wrong.

- Try to make as many contacts as you can during the experience, so you can stay involved with the company and the field.By Gemma Noble

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Angela JohnstonTextiles for Fashion & InteriorsFarnham

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Katie JonesTextiles for Fashion & InteriorsFarnham

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Marlene UtukTextiles for Fashion & InteriorsFarnham

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SHOWCASECREATE. SHARE. INSPIRE. BE INSPIRED. REPEAT.

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Carly SlingoTextiles for Fashion & InteriorsFarnham

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Jane Carter-LilleyContemporary JewelleryRochester

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Sophie NaylorSilver, Goldsmithing & JewelleryRochester

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Amy LaramanBTEC L3 Ex Dip. Art & DesignCanterbury

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Angela JohnstonTextiles for Fashion & InteriorsFarnham

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Eloise LambertFine ArtCanterbury

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Ricky MehtaDigital Film and Screen ArtsFarnham

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Carma MassonGrad. Dip. ArchitectureCanterbury

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Alex LiewUAL L3 FND Dip. Art & DesignRochester

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In recent years, marketing agencies the world over have realized the gargantuan promotional power of content ‘going viral’. A video, picture, or podcast can go from a handful

of hits to literally millions in the space of a few hours. Websites will

crash due to intense traffic, social media explodes with the same link

shared and shared again, and dollar signs ring in the eyes of advertisers

everywhere.

It’s an invaluable marketing tool - produce one piece of content with the

right hook and if it succeeds in going viral, it’ll be seen by millions of people, at absolutely no cost to the company - in fact, their target audience will actually spread it amongst themselves on a personal level from one consumer to the other. Even if somebody doesn’t consume the press, it will still appear on their Twitter, Facebook, or just about any popular social media.

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#GoingViralBy Lauri Braddow

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It’s a powerful tool if done well, so it’s no surprise that viral campaigns quickly came into use by charities, politicians, and activists for a number of causes.

With this kind of immediate impact, it’s common to become subjected to a new kind of digital peer pressure.

After all, there are so many ideas appearing on our newsfeed on a day to day basis, it can sometimes be difficult to decide what to believe.

A prime example of this kind of conflict of ideas is the recent KONY 2012 campaign. A half-hour documentary in the making for near enough a decade, it went viral within two days after being posted on “The internet’s front page”, Reddit.com. The campaign aimed to receive 500,000 views. It went to over 26,000,000 from

100,000 in a single day.

It focuses on the deeds of war criminal Joseph Kony and attempts by the

KONY2012

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filmmakers to rectify the unstable situation in Uganda. On the surface it seems like an altruistic, benevolent attempt to raise awareness about a subject the majority of people in the West are completely ignorant of.

It has incredible emotional impact and is a very carefully constructed documentary, which does a fantastic job of plucking on heartstrings and playing on social guilt as it convinces young people to take up the cause.

But in the wake of its success, several sinister stories about Invisible Children, the charity behind the video, began to spread, almost as a counter-viral awareness campaign against the original.

As the organisation is non-profit, all of its profits must be made public - and through these public records it was revealed that roughly 30% of funding was spent on helping the situation in Uganda, and the rest is claimed as ‘administration’ and filmmaking costs.

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Infamous hacking collective Anonymous used similar tactics to further their cause - during most of 2011 and all of 2012 so far, the group have taken down sites belonging to the American justice.gov site, Universal Music, and several other sites in a series of DDoS attacks.This was in retaliation for the FBI’s closure of file sharing site MegaUpload, which followed years of piracy allegations and investigation by governmental bodies.

The attacks were carried out in the name of freedom of speech and data. It was believed that MegaUpload’s closure, carried out a single day after the Wikipedia and Reddit blackouts in protest of the Stop Online Piracy Act (SOPA), was an effort by the government to prove that they didn’t need SOPA to stop copyright infringement.

It succeeded by illuminating how pointless the SOPA bill was in the first place.

In short, the bill would essentially give high-powered American corporations the power to shut down sites they believed to be infringing on copyright.

Although it initially had heavy support within Congress, the protests and DDoS attacks, which involves thousands of users accessing a site simultaneously to overload its capacity, resulted in several of the bill’s supporters dropping out entirely. Even

web-hosting giant Go Daddy withdrew its support after Wikipedia founder Jimmy Wales threatened to transfer all Wikipedia domains from Go Daddy, and hundreds of Reddit users transferred domains away from the service.

Anonymous’ viral presence is undeniable. Their trademark Guy Fawkes mask, adopted from Alan Moore’s V for Vendetta, is present constantly in social media and even more so during recent riots and protests the world over. The mask has become a symbol of social activism, worn by many who took part in the Occupy movements and student protests last year. The power of viral activism can be seen outside of global-scale protests and charity campaigns, extending to sparking and fuelling vigilante behaviour by the general public. In 2010, a middle-aged woman was captured picking up a cat and casually throwing it in a wheelie bin, closing the lid and walking off. The security footage was placed online by the cat’s owners in an attempt to discover her identity, and 4chan.org, the home of Anonymous, quickly revealed her as a 45 year-old named Mary Bale.

So began the social vigilantism – a Facebook group called ‘Death to Mary Bale’ was created and promptly filled with hundreds of threats of violence. Although

http://www.flickr.com/photos/saadsarfraz

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it was soon taken down, Bale was placed under police protection due to concern for her safety.

This was one of the first cases of viral activism gaining the attention of the relatively slow-moving established media, and it’s the impact of Facebook, Twitter, and blogging that is beginning to establish new forms of social power. For the definitive proof of this, you don’t have to look any further than the Arab Spring conflicts.

During a series of protests and rallies against unfair governments in the Arab world, Facebook and Twitter were both used extensively to co-ordinate public action against inequalities in the East. This worldwide connection allowed them to get support from people outside of their country and publicise the conflicts as

they happened. The media, owned by the government, was completely incapable of reporting on the events, and so it fell to social media to keep the world in the loop.

Not only did it allow the affected nations to successfully cause social change, but it also inspired similar protests around the globe – European citizens sick to death of the recession and abysmal employment rates began to express their frustration. In America, the Occupy movement was born, which quickly spread across to the UK in the midst of the student finance chaos.

From great to small, from cats in bins to evil corrupted governments, social media and viral activism can make a difference, for better or worse. Next time something goes viral and floods your newsfeed, keep an eye on it. You might be witnessing the next big thing.

‘Oh Hai Creatives’, compiled by third year Advertising & Brand Communication (ABC) students Charlotte Hugh and Danny Pallett have come up with ‘The Pitch’, a football tournament at the Wembley five a side centre for advertising students to go against industry experts from across the country.

Through hard work, perseverance, and networking, the team began fundraising initially for their deposit for the venue, a staggering £1,750, through hosting events at the Students’ Union and selling crafts on campus and at fairs.

The idea came around with prospects of their degree show looming round the corner; the creative team brainstormed ways to fundraise the event. “We began thinking about ways of raising the money and to get ourselves out there and break into the industry.

At first we didn’t think it was good idea, but after giving people a fresh opinion

they really liked it and got us excited again. We needed to raise £6000 and wanted to get students and industry experts involved together. The one thing that drives advertising is competition, but we wanted to make it something fun”. Combining students from UCA, University of Lincoln, Southampton and Staffordshire against big advertising agencies such as Poke London, BD Network, Design Bridge, Grand Union, Nonsense London, Aqueduct. “Through networking with industry contacts we got a better idea of how to develop it”

The team plan to take this forward for the future students and have started planning for next year’s events, a 2013 ‘The Pitch’ is to be expected and a donation will be made towards their degree show fund. The Pitch will be held at Wembley’s five a side centre on 16 March at 5.30pm. For more information visit http://abcorchard.com/thepitch.By Faye Gentile, Glue Features Editor.

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His Digital Structure Extrusion project pushes the boundaries of the technology, creating structures that can be modelled without a support structure.

Ronald Ros, Digital Structured Extrusion:Ronald Ros is working to eliminate the need for a ‘support structure’ during the process of 3D printing.

Akram Fahmi, The Dichotomous Perspectives of Oil and War:Akram has created an installation by projecting a film onto each side of a screen. The films show images compiled to evoke the spirit of conflict from the perspectives of the invader and the invaded.

This contrasting perspective combined into one audio-visual experience, where the tunnel amplifies the sense of conflict, and brief flashing imagery creates an almost traumatic experience.

of photosynthesis and reproduction.This artefact bridges the divide between engineering and exhibition, with the coil seated as a sculpture.

Charles Mouchtaris, The Algae Experiment:Charles took a simple natural phenomena and created a finely crafted, beautifully simple system to maximise the process

There has been a slow shift in power between architecture and art, with numbers studying architecture increasing.

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MA ARCH Show 2012The Master students make a creative hub and an excellent example of UCA at The Creek Creative Gallery in Faversham.

Glue is all about the community of UCA. It’s not about agendas or breaking stories, it’s about everyone at UCA.

Getting involved in the magazine couldn’t be easier. Receiving emails from people wanting to submit their work is an amazing thing, and the first issue should have helped people realise how bloody talented we all really are.

The first issue of the magazine was to get the word out about the power of student media. Packed full of submissions, it’s a fantastic way to get your work out so everyone can see.

Creative submissions get sent through to the Campus Editor (anything except writing basically) who gathers them all and then picks what goes in. It’s not about personal preference, it’s about getting your work out there, and keeping everything as diverse and interesting as possible.Regardless of whether you get published or not, all submissions will get featured on the website, which is great to add to your portfolio.

We’re open enough to give you the freedom to do what you want. If you want to write about something, write it. If you want something written but not sure how to go about it, come forward and talk to us! Honestly, it’s as easy as that.

Get yourselves out there and get published one way or another! Email submissions to your campus @gluehere.com (eg farnham@gluehere.com) and submit your writing to features@gluehere.com.

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Glue: the magazine.By Gemma NobleFarnham Campus Editor

Glue radio is a “anyone can come and do anything they like” operation.

As part of the whole Glue set up we run on student enthusiasm and participation and of course across every campus of UCA!

Currently there about 14 defined shows, each doing what they want, free of university control! Glue uses the radio equipment owned by Journalism on the Farnham campus where we use three studios.

Any UCA student can record a show, and we’ll help put your show together. Don’t worry if you’re not near Farnham, though. Several students on every campus are recording, editing and producing their own content to be uploaded to the Glue

system using just a laptop and some free software.

It’s not all about the music either. Several shows focus on news, sports and societies.

It’s not only great fun being able to record what you like with some friends, you can also be heard online anywhere in the world.

Glue gives you the opportunity to showcase your work (or anything you want) to the creative community here at UCA.

If nothing else, it’s good fun!

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Glue: the radio station.By Joe TraynorRadio Production / Programming

We only publish the magazine twice per semester (roughly every six weeks), so it’s very difficult to cover time-sensitive stuff like events and news.

So that Glue stays interesting and relevant, we also put everything online and keep it updated between issues.

Every piece of work submitted to Glue and printed in the magazine gets a submission number. Search for this number at www.gluehere.com and you’ll see everything that person has sent to us. We hope this helps to encourage networking and collaboration across UCA campuses, by helping you find someone to work with who produces the style you need.

We’re already getting quotes to venture into space travel, buying the rights to David Cameron’s hairstyle and renaming a small Pacific island ‘Glue’, so stay tuned for those.

In all seriousness though, we’ve had amazing interest from students and staff in the university, and also from people in the local community.

We’re going to start publishing an online-only magazine to satisfy the demand between printed issues. You’ll start to see this from early April.

It’s not just art and features you’ll find here though; you can also stream the radio station and listen to shows hosted by UCA students.

If you want to write or blog for Glue, just email any of the addresses on page 2!

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Glue: the website.

Glue: the future.

Planned for May is a film festival featuring great student work, touring all five UCA campuses. Please email filmfestival@gluehere.com with links to your work if you want to enter.

Starting in September, we hope to have set up a TV station. We need help with this so please email asquire.su@ucreative.ac.uk if you want to help build it.

The awesome guys from Motionworks Entertainment have given us a signed print from their amazing release ‘Sundown.’

To get your hands on it, just answer this question:

Name the artist of Sundown’s most famous work.

Send your answer to competition@gluehere.com by 14 April 2012. The winner will be notified on 15 April 2012 by 5pm.

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Thank you...

...for your submissions, involvement and support.

Lisa Adams-MayBrenda AlexisEsther AnyakwoNeil ArnoldBinita BantawaChris BaranowiczHana BartenLewis BartonTrish Batley Lizy Bending Laurence BraddowKerrie BraithwaiteNatalie ByrneJane Carter-LilleyPatrick CaseyAngela ChadwickJohanna CoulsonBen CowanMatthew Dadson Jessica DaviesJake DavisJ.D. DeanJasmine du RocherAli FarmerJasmine FarramSophie Filar Luke Frost Martin GardnerCarl GentFaye GentileChris GloagDarren GouldRobbi GrayEd HewisonRob HarlingSally HarrisRob Hayes

Emily HodgkinJayne Horswill Matthew HortonTom HughesJolanta JasiulionyteAngela JohnstonKatie JonesSak Victor KahnGeorgina KingTereza KleovoulouDarrel LambertEloise LambertAmy LaramanCharlotte Levy Jack LewisAlex LiewCalum MackenzieMikey MartinSteve Martin Carma MassonRicky MehtaRoss MessengerSteve MillerBen MobbsMarkus MotumAlan NashSophie NaylorKaty NegusGemma NobleMikaela NguyenRicky OhLouise OrmerodJames Perea Pat PlestedDavid ReillyJo RichAlex Causton-Ronaldson

Anthony RosnerSeymour Roworth-StokesRebekah RoySam SammutTim SavageAdam ShawMike SilverSarah SimmsCarly SlingoBrad SmartLee SmartBecky SmithDan SmithDean SmithLaura SmithRoxy SpatariRob StanleyZoe SuddsGrace SuarezAnnabelle SwiftGlen ThompsettJames TownsendGlen TravisSi TuongNatalie TurnerJoe TraynorMike TruslerMarlene UtukTalya VargaAinsley WalkerRoxanne WerterBill WestPamela WheelerGavin WitheySamantha WilkinsEmma WoodGrant Woolley

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GET MORE GLUE.ONLINE & RADIO: gluehere.com

FACEBOOK: /gluehereTWITTER: @gluehere

Be part of the team that makes Glue.Email Andy Squire, UCA Students’ UnionCommunications & Media Coordinator:

asquire.su@ucreative.ac.ukor call 01252 892629.

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TO BE PART OF ISSUE 3 (DUE MAY),JUST EMAIL YOUR CAMPUS ADDRESS:

CANTERBURY@GLUEHERE.COMEPSOM@GLUEHERE.COM

FARNHAM@GLUEHERE.COMMAIDSTONE@GLUEHERE.COMROCHESTER@GLUEHERE.COM

GLUE IS RUN BY STUDENTS AT UNIVERSITY FOR THE CREATIVE ARTSAND SUPPORTED BY UCA STUDENTS’ UNION. UCASU.COM