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Computers are being used more and more to control production operations and provide accurate data for management decisions. The key factor is the software system and at BL's Solihull factory Autoroute has been introduced to control the assembly and test of Land Rover 5‐bearing engines.

ALTHOUGH you are reading a professional journal, you may be interested in the impressions of a semi‐outsider, one who has teetered on the edge of the maelstrom of modern librarianship without actually having fallen in—yet. The experience may even be salutary; who knows?

Self-study in teacher education practices is rife with tensions revolving around self and its position in relation to teaching practice and research. In this chapter, I explore and demonstrate these tensions building on Schwab's practical orientation and following its developments in narrative research and self-study. In particular, I focus on the role of self-knowledge in my work as a teacher educator as it has featured in my own self-studies. To present this, I rely on relational teacher education, a framework that I have developed and has guided my living and teaching as a teacher educator. Overall, this progression will demonstrate my belief that self-study is a crucial vehicle for developing self-knowledge; however, it ought to be seen as a means for relational teaching practice and not merely as an end.

THIS number of THE LIBRARY WORLD returns to the question of foreign literature in British Libraries. The insistence in recent years upon two foreign languages at least, as a qualification for a librarian, has had some good results; but they are Still inadequate in extent. Every librarian must be painfully aware of the handicap we British people suffer in our average inability to converse in any language but our own; no other race is quite so restricted. A Swiss, for example, does not ask if we can speak this or that language, but asks, “In what language shall we speak together?”—a vastly different thing. It is not because of any lack of power to learn; it is merely our unwillingness or lack of opportunity to do so. Such attitudes are anachronisms to‐day; peoples get so much closer every hour, and it must be clear to all who think that one place in a town where a foreigner should be able to ask an intelligent question and receive an answer in his own tongue is the library.

This chapter details a practice-based investigation of a 19th-century astronomical device known as ‘Janssen’s apparatus’. It questions traditional narratives of linear technological advancement and ‘sole inventor’ to reframe the historical artefact as a site which makes visible a network of technological knowledge interconnecting astronomy and visual culture. Approached from this perspective, the Janssen artefact is reframed as an ‘intersite of knowledge’, exploring how the various know-how contained within the device is located across disciplines rather than within a single field. Originally developed to calculate the Astronomical Unit during the 1874 Transit of Venus, Janssen’s apparatus failed in its endeavour as a measuring instrument, but its motion mechanism was successfully adapted into early cinema technologies. This chapter applies praxis through the development of a prototype artwork and the concept of ‘techne’ as speculative means of understanding how this mechanism was transferred from astronomy to the Western cultural realm. It proposes that the development of the apparatus was partially gleaned from moving image techniques already in use within 19th-century visual culture. The development of the prototype artwork is discussed in relation to the specific timing mechanism of the Janssen apparatus and how it establishes its own ‘intersite of knowledge’ relevant to its contemporary context. Finally, this chapter elaborates on how witnessing the Janssen mechanism in motion provided unique insight and how creating a dialogue between historical and contemporary apparatus facilitates a reconsideration of how galleries, libraries, archives, and museums [GLAM] and other host institutions that contain artefacts might share their hidden stories.

This paper aims to provide a living tribute to the leading autoethnographer, Alec Grant.

Alec provided Jerome with a list of names of people he might approach to write a tribute on his behalf.

The accounts describe the influence that Alec has had both as an educator and as a trusted colleague for the people approached.

While this is a living tribute, it is about one man and could, therefore, be described as a case study. Some people wonder what can be learned from a single case study. Read on and find out.

Alec has carved out a path for himself. In many senses, he chose “The Road Less Travelled”. He has never shied away from challenging “The System” and defending the rights of the marginalized and socially excluded. It is not a road for the faint-hearted.

For systems to change, radical thinkers need to show the way. “Change keeps us safe” (Stuart Bell).

Alec was a well-known and highly respected cognitive behavioural academic practitioner and the author of key textbooks in the field. He then decided to reinvent himself as an autoethnographer. This has brought him into contact with a much more diverse group of people. It has also brought him home to himself.

DESPITE the critics who arise to condemn the onward march of the Public Library movement there can be little doubt that after the settling process has been gone through it will be more seriously reckoned with as a factor within our social evolution than at present; and meantime it were well to remember that fine definition of Dickens in regard to the Public Libraries of fifty years ago, and to see whether it was a prophecy or a realisation when he said, “It is grand to know that … the immortal mechanism of God's own hand, the mind, is not forgotten in the din and uproar, but is lodged and tended in a palace of its own.” Let us extend the meaning and see how the Public Library movement has grafted itself upon the mind of the great public by whom it is supported, and how it stands in regard to the authorities by whom it is controlled, and then, taking this position, let us ask the two questions: “How does it express itself popularly, and do people look at it in the light which Dickens did?”