SOCKET Magazine - London Metropolitan University
A magazine is synonymous with revelation, sharing and reflection; it is a colourful compact guide through ideas and suggestions that can stay with us even after newspaper headlines are shredded and hasty videos are scrolled away. There is no ‘perfect’ or ‘easy’ way to create and launch a magazine. Yet, the 20/21 BA Photography Year 2 students of the School of Art, Architecture and Design, London Metropolitan University, brought together their creative idiosyncrasies to produce a fantastic source of collective energy and inspiration – aptly called SOCKET.
Diverse photographic genres blend in a symbiotic narrative that features selected work from the students’ array of projects. They reach out to the world with an inspective eye (AGORA), follow people to their various roots (TRACE), expose our shapeshifting mood in our strive for survival (CHAMELEON), and shed a spotlight on digital heroes and hidden icons (EYESOME). The productive cross-contamination of creative practices (in this instance, photography, poetry and painting) is celebrated as a serious field of enquiry in which the process of discovery transcends to the final outcome.
Yiannis Katsaris
Senior Lecturer, BA Photography
London Metropolitan University
A magazine is synonymous with revelation, sharing and reflection; it is a colourful compact guide through ideas and suggestions that can stay with us even after newspaper headlines are shredded and hasty videos are scrolled away. There is no ‘perfect’ or ‘easy’ way to create and launch a magazine. Yet, the 20/21 BA Photography Year 2 students of the School of Art, Architecture and Design, London Metropolitan University, brought together their creative idiosyncrasies to produce a fantastic source of collective energy and inspiration – aptly called SOCKET.
Diverse photographic genres blend in a symbiotic narrative that features selected work from the students’ array of projects. They reach out to the world with an inspective eye (AGORA), follow people to their various roots (TRACE), expose our shapeshifting mood in our strive for survival (CHAMELEON), and shed a spotlight on digital heroes and hidden icons (EYESOME). The productive cross-contamination of creative practices (in this instance, photography, poetry and painting) is celebrated as a serious field of enquiry in which the process of discovery transcends to the final outcome.
Yiannis Katsaris
Senior Lecturer, BA Photography
London Metropolitan University
Our perpetual shift between the reality of ourenvironment, flattened by the digital rubble,drawn beneath by the mighty pedlars of digital pills.Scrutinised, controlled, subjugated.
The relentless ever-chang-ing shift of society, and thecultural personal sphere.We move around like elec-tricity and circuit board. Wefind ourselves living in anever-increasing immersivedigital societal reality, half inand half out of online realityand physical reality.Our minds consumed by thehunger and addiction towarda need to be a part of some-thing bigger, blurring thelines between the virtual andthe real. Human and Digital.We enter and leave eachother’s existences in fleetingways both in real life and insocial media.Using a smartphone’s pan-oramic image technology,Being Glitch(ed) attemptsto contextualise the mean-ing of modern technologyto the sense of self, and thepower of influence it has onour existence. A connectionbetween technology and thehuman, and a metaphor ofthe disruption of the ordinary.Its context is also rootedin the history of phenome-nology in philosophy.5
- Page 1 and 2: TraceSOCKETChameleon A Source o
- Page 3 and 4: C O N T E N T SAgora 02Chameleon 32
- Page 5: Being Glitchby Douglas ReevesAsleep
- Page 9 and 10: 7
- Page 11 and 12: Bricklane is under threat from the
- Page 13 and 14: 11
- Page 15 and 16: 13
- Page 17 and 18: 15
- Page 19 and 20: Untitledby Christopher Powe17
- Page 21: 19
- Page 24 and 25: 22
- Page 26 and 27: I am Natureby Denitsa StoyanovaMy h
- Page 28 and 29: Domestic Violenceby Daniel Atash Ba
- Page 30 and 31: Lucid Dreamsby Ciara Davies“I lik
- Page 32 and 33: OUTLETPhotographers are practitione
- Page 34 and 35: Chameleon32Amy Bloomfield, Christal
- Page 36 and 37: Auroral EntityAeonian RiftAmorphous
- Page 38 and 39: BEHINDTHESCENESwith Tristan JonesTh
- Page 40 and 41: 38
- Page 42 and 43: not enough not enough not enough no
- Page 44 and 45: Movie Stillsby Vaiva Botyriute42
- Page 47 and 48: Restlessby Amy BloomfieldTake a wal
- Page 49 and 50: verb: put right; correctRectifyby B
- Page 51 and 52: Are you identifiable in suchspaces,
- Page 53: EDINBURGH COMMUNITIESwith EWAN HUTC
The relentless ever-chang-
ing shift of society, and the
cultural personal sphere.
We move around like elec-
tricity and circuit board. We
find ourselves living in an
ever-increasing immersive
digital societal reality, half in
and half out of online reality
and physical reality.
Our minds consumed by the
hunger and addiction toward
a need to be a part of some-
thing bigger, blurring the
lines between the virtual and
the real. Human and Digital.
We enter and leave each
other’s existences in fleeting
ways both in real life and in
social media.
Using a smartphone’s pan-
oramic image technology,
Being Glitch(ed) attempts
to contextualise the mean-
ing of modern technology
to the sense of self, and the
power of influence it has on
our existence. A connection
between technology and the
human, and a metaphor of
the disruption of the ordinary.
Its context is also rooted
in the history of phenome-
nology in philosophy.
5
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