[rae, metrics & open source]

Maintaining an academic career means paying close attention to your publishing record and its effect on the RAE. I'm not up on the metrics and specific weighting of kinds of publications and how that might differ across disciplines but I've just come across this interesting paper: "Open Access Scientometrics and the UK Research Assessment Exercise" by Stevan Harnad. In this article Harnad gives us an idea of how metrics and open source might work as an alternative to the usual "academic bean-counting of publications for performance evaluation and funding."

"Open Access. Until now, the reference metadata and cited references of the top 25% of the c. 24,000 peerreviewed journals published worldwide, across disciplines and languages, have been systematically fed (by the journal publishers) to the Institutite for Scientific Information (ISI), to be extracted and stored. But soon this is will change. It has been discovered (belatedly) that the Web makes it possible to make the full-text (not just the reference metadata and cited reference) of every single one of the 2.5 million articles published annually in those 24,000 journals (not just the top 25%) freely accessible online to all users (not just those that can afford
paid access to the journals and the ISI dtabase).


Lawrence (one of the co-inventors of Citeseer) published a study in Nature
in 2001, showing that articles that were made freely available on the Web were cited more than twice as much as those that were not ; yet most researchers still did not rush to self-archive. The finding of an OA citation impact advantage was soon extended beyond computer science, first to physics (Harnad & Brody 2004), and then also to all 10 of the biological, social science, and humanities disciplines so far tested (Hajjem et al 2005) ; yet the worldwide spontaneous self-archiving rate continued to hover around 15%.
If researchers themselves were not very heedful of the benefits of OA, however, their institutions and research funders – co-beneficiaries of their research impact – were: To my knowledge, the department of Electronics and Computer Science (ECS) at University of Southampton was the first to mandate self-archiving for all departmental research articles published: These had to be deposited in the department’s own Institutional Repository (IR) (upgraded using the first free, open source software for creating OA IRs, likewise created at
Southampton and now widely used worldwide)."


As Harnad says, the RAE is "a very cumbersome, time-consuming and expensive undertaking, for the researchers as well as the assessors" so we should really be looking into other possibilities.

"The data-mining potential of an OA corpus is enormous, not just for research evaluation by performance assessors, but for search and navigation by reseacher-users, students, and even the general public."

I wonder how this kind of OS metrics might fit in with the new RAE:

  • 2008 will mark the final appearance of traditional peer review systems for the UK research assessment exercise (RAE)
  • The UK government has announced plans to use a metrics system to assess research quality and guide funding
  • A metrics system could fit well to chemistry but some worry that an element of peer review will need to be retained for areas such as theoretical chemistry


[beer + social networking = more sales]

Coors sees social networking as part of a strong marketing strategy:

From the NY Times:

"BEER has long been marketed as a sociable beverage, from a campaign for Budweiser that carried the theme “When gentlemen agree” to the Löwenbräu jingle that began, “Here’s to good friends.” Now, another beer brand, Coors Light, is extending its presence in the new media with efforts on the social networking Web sites Facebook and MySpace.

The initiatives are part of a campaign known as “Code blue,” centered on a “cold activated” feature introduced last year on Coors Light beer bottles: the mountains pictured on the labels turn from white to blue when the beer gets cold enough to drink.

For instance, consumers ages 21 and older will be able to send friends “Code blue” alerts on Facebook.com, inviting them to meet up for a beer — a Coors Light, natch. They can even use Facebook maps to direct their potential brew crew to a nearby bar. The Facebook feature, or application, is scheduled to start early next week.


“We talk a lot internally about ‘360-ing’ our innovations,” said Andy England, chief marketing officer at Coors Brewing in Golden, Colo., referring to how executives there seek to use all forms of media to reach potential customers in a comprehensive, 360-degree fashion.

When it comes to the new media, “Everyone, particularly in offline businesses like ours, is still in a very experimental phase,” Mr. England said. “We, along with our agencies, are trying to learn what works best and expand on those ideas.”

For instance, “if you put a viral video out there,” Mr. England said, like the “perfect pour” clips posted on YouTube, “How long should it be? How branded should it be?”

“We place bets in the office about this stuff,” he added.

The Facebook application and the Coors Light presence on MySpace (myspace.com/coorslight453) are results of work that is coordinated among agencies including Avenue A/Razorfish, part of the aQuantive unit of the Microsoft Corporation; Draft FCB, part of the Interpublic Group of Companies; and the Integer Group, part of the Omnicom Group.

“In this new world we live in, it’s something we’re learning to live with,” Bill Lindsey, creative director for the Coors Light account at Draft FCB in Chicago, said of the cross-agency collaboration required for new-media initiatives.

The campaign started with a television commercial created by Draft FCB that shows a man in a bar sending “Code blue” text messages to his far-flung friends. Curious to learn why he is so urgently signaling them, they find him in a bar, eager to share with them cold-activated bottles of Coors Light."

More on the NY Times site.


[nature and textile art]

A little while ago I participated in a round-table discussion at the ICA where 2 of the 3 artists were textile artists...or at least they created art with textiles. I'm thinking here specifically of Rachel Beth Egenhoefer and Nicola Naismith. Both artists create some really interesting objects and installations with wool etc... That must be why I'm going to be checking out the THE HYPERBOLIC CROCHET CORAL REEF at the Hayward Gallery in London curated by Margaret and Christine Wertheim from the Institute for Figuring.

"During Summer 2008 - in this International Year of the Reef - the Crochet Coral Reef will be showing in London at the Hayward Gallery. The exhibition will include an expanded version of the Bleached Reef, a new configuration of the Ladies Silurian Reef, the beautifully archaic Branched Anemone Garden, and the ever-growing Toxic Reef. On show for the first time will be the wondrously surreal Chicago Cambrian Reef (curated by IFF contributor Aviva Alter), plus a new formation of the Beaded Reef by master beaders Rebecca Peapples and Sue Von Ohlsen. The exhibition will also debut several new plastic installations: The Exploding Plastic Inevitable Reef (with hot-pink sand by Kathleen Greco), and the Bottle Tree Grove (featuring works by Christine
Wertheim, Evelyn Hardin and Nadia Severns). Hanging elements in the show will include the all-plastic-bag Rubbish Vortex by Australian contributor Helle Jorgensen, a flotilla of jellyfish by Irish crafter Inga Hamilton, and Dr Axt's psychedelic coral-cloud "Reefer Madness."

In addition to the IFF reefs, the exhibition will also debut the amazing new UK Reef, currently being constructed by crafters across the UK (with contributions from Ireland, and even Australia - hey its a former colony)."

On the 13th of June there's going to be an all-day symposium with the crochet reef creators Margaret and Christine Wertheim; mathematician Dr Daina Taimina, inventor of hyperbolic crochet; radical UK crafters, environmentalists, and coral reef biologists. How neat is that?

Now I just need to learn how to knit or crochet...right Edith?!

Thanks to Sue for the head's up.


[phd studentships: information networks]

ISTR - Institute for Social and Technical Research> University of Essex> Subjects: Computing and Computer Science Geography - Human > Information Sciences Information Technology Media and > Communications Sociology Telecommunications>>

We invite applications for two BT/EPSRC CASE Studentships:

1. “The life-course of networked public and private media assets” (Supervisors: Dr Ben Anderson & Dr Rebecca Ellis) – based in the Technology and Social Change Research Centre - http://chimeraweb.essex.ac.uk/tasc/
2. “Capturing concerns in information networks” (Supervisors: Dr Michael Gardner & Prof. Vic Callaghan) – based in the Digital Lifestyles Centre - http://www.essex.ac.uk/dces/research/groups/digital/info.htm

The studentships, jointly sponsored by the EPSRC and British Telecommunications plc (BT) will provide an opportunity to carry out research and training in a three-year programme leading to a PhD.

For more info and how to apply see http://www.postgraduatestudentships.co.uk/studyfunding/3017


[new media literacy: principles]

Dan Gillmor: Principles of a New Media Literacy via Jos Schuurmans

An interesting read but I'm not sure about painting "teenagers and children" as "digital natives." Lots of teens I have met don't "already" know how to create media...they need to learn. Some "digital immigrants" aren't old...I don't think this is an age-thing. Imporantly though, Gillmore highlights some important issues: anonymity and transparency.

"Be skeptical of absolutely everything. This means not taking or granted the trustworthiness of what we read, see or hear from media of all kinds, whether from traditional news organizations, blogs, online videos or any other form.

But don’t be equally skeptical of everything. We all have an internal “trust meter” of sorts, largely based on education and experience. We need to bring to digital media the same kinds of parsing we learned in a less complex time when there were only a few primary sources of information. A news article in New York Times or Wall Street Journal starts out in strongly positive territory on that trust meter. An anonymous comment on a random blog, by contrast, starts with negative credibility. Anonymity is an important thing to preserve, because it protects whistleblowers and others for whom speech can be unfairly dangerous. But when people don’t stand behind their words, a reader should always wonder why and make appropriate adjustments.

Understand and learn media techniques. Teenagers and children already know how to create media; they are digital natives. Older people are learning. But younger and older alike are, for the most part, less clear on how communications are designed to persuade if not manipulate. It’s
fine, if not essential, to know how to snap a photo with a mobile phone. It’s just as important to know — and to teach our children — how media creators push our logical and emotional buttons.
Ask more questions. This goes by many names: research, reporting, homework, etc. The Web has already sparked a revolution in commerce, as potential buyers of products and services discover relatively easy ways to learn more before the sale. We need to recognize the folly of making any major decision about our lives based on something we read, hear or see — and the need to keep reporting, sometimes in major ways but more often in small ones, to ensure that we make good choices.

All of the principles above are part of the toolkit of every responsible journalist. So are a few more, including the ones that every traditional journalist of any honor would embrace, namely thoroughness, accuracy, fairness and independence. They boil down to simple but important
notions: Get as much information as possible. When you say something, be sure your facts are correct. Be fair to people and interests from all angles. And be as independent as possible, especially as an independent thinker who knows how to listen, not just lecture.

In the digital world, even more than the analog one, we need to add transparency to that list, because the thinking behind the media deserves exposure in addition to the work itself. Nowhere will this be more important than with citizen journalists — though the traditional media need to
adopt more transparency as well, for their own sakes. They may be paid, individually, not to have conflicts of interest. But that doesn’t mean they work without bias.

Transparency in the traditional ranks has scarcely existed for most the past century. It’s difficult, in fact, to name a business as opaque as journalism, the practitioners of which insist that others explain their actions but usually refuse to amplify on their own.

Scandal, for the most part, has forced open the doors to a degree. The Jayson Blair debacle at the New York Times led the newspaper to describe in lurid detail what had happened. It also led to the creation of a “public editor” post — also called ombudsman in other cases.

Bloggers, through their own relentless critiques, have made traditional-media transparency more common as well. However unfair bloggers’ criticism may often be, it has also been a valuable addition to the media-criticism sphere.

Bloggers, too, need to adopt more transparency. Some, to be sure, do reveal their biases. That gives readers a way to refract the writers’ world views against the postings, and then make decisions about credibility. But a distinctly unhappy trend in some blog circles is the undisclosed or poorly disclosed conflict of interest. Pay-per-post schemes are high on the list of activities that deserve readers’ condemnation — and, one hopes, less readership."


[digital humanities postdoc position]

Two amazing postdoc. positions have opened up at Umeå University's HUMLab:

The postdoctoral fellowships are one-year positions, with a possible extension of one year. For the postdoc positions, applicants will be expected to have a Ph.D. in a humanities discipline (from a non-Swedish university) and a specialty in any of the following five research areas: participatory media, digital cultural heritage, digital art/architecture, electronic literature, and
critical perspectives.

http://blog.humlab.umu.se/postdocs and make sure to apply if you are qualified and interested in becoming a part of HUMlab and Umeå University! We are committed to taking very good care of visiting fellows. Fellows will normally have a double affiliation to the lab and
to a suitable department/school and discipline.

Deadline for applications: June 12, 2008.


[wikivision...now twittervision]

xposted at PART:

In January
I wrote about how strangely addictive WikipediaVision was (and still is) but now I've come across something that inspires even more obsessive behaviour...at least for me.


I realise TwitterVision (by David Troy) has been around for a while; Nat Torkington blogged about its hynosis-inducing effects back in last March. Although I checked it out then (albeit briefly), it seems much more interesting to me now...perhaps because I'm also hooked on Twitter itself. Its seems this mashup would make a geography lesson or social studies lesson quite fun too...



Follow David Troy on Twitter here.

Other interesting Twitter mashups:


For more, check out the extensive list (100 examples) at
MoMB Labs.


[creative writing & new media MA]

To celebrate the first two years of the Online Masters in Creative Writing and New Media there is going to be a salon event organised by digital writer in residence at the IOCT: Chris Joseph.

Works to be presented by:

Claudia Cragg,
Terry Gibson,
Joanna Howard, http://dissertation.joannahoward.net/
Toni Le Busque, http://www.lebusque.com/
Kirsty McGill, http://www.manvers-street.com/
Chris Meade,
Alison Norrington,
Keredy Stott,
Michael Taylor.
Mags Treanor, http://www.deadcoolfunerals.blogspot.com/
Christine Wilks,

To go along with the event I'm writing a curatorial essay explaining the context and giving an overview of the work created by the students...so far.

As part of my thinking about what the students have been crafting, I invited them to respond to a few questions. There have been some rather interesting responses like these from
Renee Turner:

Jess: what are some main differences (pros and/or cons) of creating a work to be read/navigated online to one which is contained within physical borders and print? - this is very much a question to you as a *creator*

Renee: The book is an object ‘par excellence’. It’s an amazing medium in which the virtual has always resided; analogue stories have the capacity to expose us to previously unknown worlds and scenarios. While the book may have set perimeters, it is far from an exhausted medium. Its surface is rich, layered and as vast as the imagination. Just think of the likes of Borges or Coleridge whose writings illustrate that hypertext existed well before a digital era. Their work transports us to uncharted territories, illuminates new forms of articulation and exposes us to nonlinear modes of thinking. They test the limits of writing and language.

That said I love writing in digital environments. Gone are the days of publish and perish, now we can publish, learn and revise. Wow, what a revolution to be able to think out loud through writing. We can now dare to make mistakes and then re-write. Bloggers do this all of the time.

I also love the materiality of digital writing. To me, code, computational machines and screens are very physical. Unlike a blank page that can be empty and intimidating, there is something fascinating about sculpting narrative out of a set of technical restraints or through a set of filters. Whether it is php, CSS, javascript or html, writing is mediated, if not translated, and that means authors are forced to be writers and makers. I find the combination seductive. It is where writing meets dramaturgy.


Jess: How would you define a literate reader (someone who can easily navigate your NM creations)?

Renee: That is a very tough question to answer. Readers come with different levels of literacy. Some people are more sensually driven, moving their cursor from here to there for hotspots or links, while others look for legible text and clear-cut navigation. As a writer of or in digital environments, there is a balance to be struck between pushing the medium, testing interface conventions and being user/reader friendly.

To read more of my questions and Renee's insightful answers head over to her post.

[inanimate alice & media literacy]

While working on the second Education Pack to accompany Inanimate Alice and to coincide with the release of Episode 4 (yay!) I'm researching various countries and their (sometimes very different) approaches to the teaching of new media writing/digital literature/electronic literature/born digital fiction... (insert term of your choice). I've recently come across an interesting publication: "A European Approach to Media Literacy in the Digital Environment" created by the Commission of the European Communities published on the 20th of December 2007. The report reminds readers that although media use is widely acknowledged as a key enabler, there is little understanding of how "the media work in the digital world, who the new players in the media economy are and which new possibilities, and challenges, digital media consumption may present" (p.2)

This EU document also presents a very detailed definition of media literacy including the notion of critical literacy. Some aspects of the definition have tinges of transliteracy, encouraging the use of different kinds of media and their role in daily life:


[lord judd & creative technologies]

(image from Sue Thomas)

Yesterday a few of the researchers involved with the IOCT were invited to a meeting with Lord Judd. Our brief: to give him an overview of our research and our findings.

Sascha Westendorf and Keno Buss kicked things off with
an overview of their DMU Creativity Assistant:

"a tool designed to help develop creative ideas in a transdisciplinary multimedia context, based upon the thesis that "creativity is an emergent property". The intention is to first understand the stages that creative people move through in their journeys of exploration, discovery, innovation, and composition. The well-established path from preparation to incubation to illumination and verification is a good starting point, but more elaborate models are needed to guide software design for individual and social creativity support, and to deal with the controversial question of how such creativity support tools can be evaluated."

Next came Heather Conboy, E-Learning Co-ordinator for Faculty of Humanties at DMU she's also researching her phd on the impact of online environments on creative writers (a bit about a previous talk here). Heather showed us some interesting statistics including this one: 95% of UK higher education institutions have VLEs (Virtual Learning Environments). I wondered what that meant for the other 5%? Are they ahead of the game and using non-institution based systems like open source platforms or do they have class blogs and teach in Second Life? Heather did explain that these stats are from 2006...I wonder what the deal is now?

Also along the lines of creative writers, Anietie Isong shared with us his research on African Writers. Anietie is specifically looking at:

  • How the internet is influencing writing from Africa
  • The writers' attitudes towards their writing
  • Burgeoning styles employed in their writing
Lord Judd asked if all the African fiction was...well, fiction...Anietie says that though it is mainly fictional there are deep political and relgious themes.

I was really interested in Anietie's research and wonder how concepts like "postcolonial" literature will appear (or not?) in African new media writing? What is the play between the marginalised and the privledged - especially when thinking about access to computers, internet, IT learning? I also wonder how the role of "native" might change as Anietie explained that some African writers are writing from the West (UK and USA were some examples).

See some of Anietie's own poetry here and a short story here.

I concluded the presentation segment with an overview of my ph.d research:

After my presentation we opened up into a more general discussion. Lord Judd (I just cannot say "Frank"!) raised some anxieties and concerns with which we agreed. I think this surprised him. In general I'd say that we all agreed that balance is the key to using new media. Though how MPs are to negotiate all the communication they receive and then have to respond to...I don't know. When I suggested just checking e-mail/letters etc...in the morning I was told that is near impossible; something really important might require feedback and can't just be left until the next morning. Sue suggested we have filters like already junk messages go into spam folders...but maybe we need intelligent agents (like PAs!) to sift through messages first? I didn't realise that MPs received so much communication? That's when the discussion turned to literacies...the literacy of navigating all the information available but also the literacy on the side of the people who write to MPs...do they realise (are they literate?) that they need not write for every small thing and are they sure they are writing to the right person?

Quotes of the Day:
When I introduced myself to him as Jess, he responded with: "I'm Frank." (not "Lord Judd")
When told of my recent phd award he said: "So you're a *real* doctor" (!!!)
When beginning the discussion he exclaimed: "I am not a Luddite. I am NOT a Luddite."


Thanks to Sue Thomas for organising the interesting tête - à - tête and thanks to Lord Judd for sharing his time.

NB If you'd like to keep up with Lord Judd's speaking arrangements, you can sign up to an e-mail alert
here or subscribe to the rss feed here (who said MPs aren't digitally literate?!)

Sue has blogged about the day over at PART.


[social networks & identity]

This article by Scott Monty on his social networks and what it means for his identity fits well with the upcoming NLab Social Networks conference.

"I've been getting a lot of requests for friends on various social networks lately. You probably have been too - there seems to be an explosion of interest lately, particularly on Twitter.

I'm generally encouraged by this, as it means that the space is continuing to grow, rather than to wane like some short-lived fad. But at the same time, it can make life a little more complex or cluttered if you're not ready to deal with it.

But social networks are inherently different from each other. How you use one may not reflect how you use another, nor will contacts be consistent across every one of them. I thought it might be instructive to share how I think about my social networks - particularly focusing on how I consider friend requests in each. I've linked to my profiles, if you'd care to connect with me on them.

Ah, Facebook. One of the most visible and recognized brands in the social networking space, where "friend" is a verb. For me, Facebook is a combination of business and social contacts.

I'll immediately accept a friendship request if I know you or follow you on another network. But that's not to say I'm exclusive in my friending. If we don't know each other, just introduce yourself and - most importantly - give me some context as to how you know me.

I use LinkedIn as my professional social network. Like the old three-ring binders of business cards that I kept, LinkedIn is my real-time virtual collection of business cards.

As you can imagine, my requirements for LinkedIn are a bit more stringent. If you'd like to connect with me on LinkedIn, we should have met or at least have had some meaningful interaction. I'll also accept introductions via people I know.

Twitter is probably the loosest of all of my networks. I generally like connecting with more people there because I enjoy the exchange of ideas, links and quick personal interaction that it allows."

From Marketing Profs Daily Fix.


[DMU leading 3D gaming and gaze software]

In the technology section of the most recent online New Scientist I see that De Montfort University's Stephen Vickers, is leading the research on gaze technology - a type of assistive technology.

"Users typically guide a cursor with their eyes, staring at objects for a time to emulate a mouse click. But that is too laborious to let users to match the speed and accuracy of real-time 3D games, says lead researcher on the project, Stephen Vickers, of De Montfort University, Leicester, UK.

His team is developing the software as part of the EU-funded project Communication by Gaze Interaction (COGAIN).
Gaze gaming

"Even though a user in, say, Second Life might look as if they are able-bodied, if they can't operate and communicate as fast as everyone else, they could be perceived as having a disability," he told New Scientist, adding that there is a privacy issue for players who may prefer not to reveal their disability in the virtual world.

In virtual worlds, gamers need to perform a whole suite of commands including moving their character or avatar, altering their viewpoint on the scene, manipulating objects and communicating with other players.

Eye-gaze systems bounce infrared light from LEDs at the bottom of a computer monitor and track a person's eye movements using stereo infrared cameras. This setup can calculate where on a screen the user is looking with an accuracy of about 5 mm.

Vickers' software includes the traditional point and click interface, but includes extra functions to speed up certain commands."

Read Vickers' paper here.

Watch a video:

I wonder how this kind of literacy - using one's eyes in a *very* different way - plays into the concept of transliteracy...something to think about.


[wear your seatbelt!]

Wow: Madonna making fun of herself (or is it Guy Richie?) AND performing a public service?


[Open Source Embroidery: Craft and Code at HTTP Gallery]

Ele Carpenter, a digital-textile artist who I interviewed for Furtherfield, is curating a super exhibition. It's a must-see:

Preview: Friday 16th May 6-9pm, 17th May – 15th June 2008
Open Fridays to Sundays 12-5pm


This exhibition explores the connections between the collaborative characteristics of needlework, craft and Open Source software. This project has brought together embroiderers, patch-workers, knitters, artists and computer programmers, to share their practice and make new work.

HTML Patchwork in

The centre-piece of the exhibition at HTTP Gallery is the HTML Patchwork developed in response to the popularity of quilting in Sheffield, the result of a participatory project initiated by Ele Carpenter in partnership with Access Space. The patchwork is built on open principles of collective production and skill-share where each person contributes a part to the whole. The final work is a collectively stitched patchwork quilt of HTML web-safe colours with embroidered codes, and a wiki website, where the makers of each patch identify themselves and write about their sewing process. Each patch is
personalised by the sewer, often including embroidered web addresses.

telinit Ø: time for bed, Lisa Wallbank, 2007
Knitted Blog (detail),
Suzanne Hardy, 2006-

In an interview with Jess Laccetti, Ele Carpenter said about the project: "The same arguments about Open Source vs Free Software can be applied to embroidery. The needlework crafts also have to negotiate the principles of 'freedom' to create, modify and distribute, within the cultural and economic constraints of capitalism. The Open Source Embroidery project simply attempts to provide a social and practical way of discussing the issues and trying out the practice. Free Software, Open Source, amateur and professional embroiderers and programmers are welcome to contribute to the project."

Hexart GDlib Script Error, digital print on canvas, James Wallbank,
Weaving network cable in progress, Paul Grimmer, 2007

The project was developed by Ele Carpenter when working as an artist in residence at Access Space in Sheffield and Isis Arts in Newcastle upon Tyne. Access Space is an open access media lab using recycled computers and open source software. Anyone can drop in and use the lab to develop their creative projects.

The exhibition at HTTP Gallery in Harringay, North London, includes works by 11 artists and makers alongside the collectively made HTML Patchwork quilt and wiki. Other works in the exhibition include Susanne Hardy’s Knit-a-Blog, a collective knitting project made by contributors from across the UK and USA, Iain Clarke’s PHP Embroidery, which explores the open source PHP programming language as a form of self-generating weaving, as well as artworks by Paul Grimmer, Tricia Grindrod, Jake Harries & Keith o’Faoláin, John Keenan, Trevor Pitt, Clare Ruddock, James Wallbank, and Lisa Wallbank.

The HTML Patchwork has been created by people at: Access Space, Art through Textiles, The Patchwork Garden, The Fat Quarters, Stocksbridge Knit n Chat, Totley Quilters, Isis Arts, and the Banff New Media Institute at the Banff Centre for the Arts, Alberta, Canada.

Events at HTTP

Your chance to meet Ele Carpenter, the curator as well of some of the other exhibiting artists, to enjoy a few drinks and conversations about the exhibition.

Open Knitting and Embroidery

Dates and times TBC

Bring your knits, your embroidery and your friends for tea, biscuits and conversation amongst the artworks.

These events are open to the public and entrance is free, however advanced booking is necessary.

Lauren Wright,
HTTP Gallery

Unit A2,
Arena Design Centre
71 Ashfield Road
London N4 1LD
+44(0)79 8129
Click here for map
and location details

Further info:

[pavement art]