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Within minutes, our group, who had no prior introduction, began to learn the value of emerging from a relational space of (re)presenting and (re)storying our experiences. “I” became “We”, which became “Us”

Recently, the seventh bi-annual conference of the World Federation for Teacher Education 2023 focused on the theme of “Re-imagining Teacher Education: From Words to Action.” During the session on métissage as methodology, participants from four different countries, three ethnic backgrounds and gender and sexual differences were invited into dialogue to explore the nuances of our identities, academic positions and life experiences.

Doing métissage as novices, our subsequent discussion problematized the perpetuation of procedural narratives that contested the Cartesian cuts of methodological normalcy.

Sharing our stories of self in our group we referenced how institutional frameworks had shaped and were reconstructing contexts for our being and belonging in the academy. In our narrating vulnerability we were once again located in telling relations to do with identity, power and social being. Jones (2015, p. 8) has asked. “Other than dry academic reports, how can we retell these stories in sensitive and ethical ways to wider audiences? How do the stories themselves inspire creativity in retelling them? How can we involve participants in the retelling of their stories?”

The purpose of this paper is to examine how automation in the ever-changing technological landscape is increasing integrated into, and has become a significant presence in, our personal lives.

Through post qualitative inquiry, the authors provide a contemplation of automation and its effect on creativity, as a contemporary expression of dis/locations, the simulacrum, performative work and a toxic digital presence in socio-cultural-technical spaces.

The authors discuss how we behave, contribute, explore, interact and communicate within and across automated digital platforms, has salience for understanding and questioning the ways that dominant discourses in the contemporary construction and enactment of subjectivity, creativity and agency are being modulated by the machine.

This paper offers a nuanced consideration of creativity, by considering the way creativity is being performed and situated within the effects of automation and its role in dis/locations, performative work and its potential as a the simulacrum in socio-cultural-technical spaces.

Doing qualitative research with vulnerable urban populations such as street traders present significant methodological challenges, which many researchers may not be prepared to handle. This paper aims to provide a reflective account of the authors' fieldwork experiences while conducting a study with street traders in Harare, Zimbabwe.

This paper draws data from a qualitative case study conducted with street traders in Harare's Central Business District (CBD). In this study, mixed qualitative methods were used including focus group discussions, semi-structured interviews and photovoice.

The study’s findings suggest that researching street traders is a complex process that requires flexibility, adaptability and creativity of researchers across the following aspects: gaining access in unfamiliar research contexts, building rapport and trust with participants, managing ethical dilemmas and addressing power imbalances between researchers and participants.

While there is a growing body of empirical research on street trading in the global south, there are limited studies that discusses the practical fieldwork experiences associated with conducting primary research with such vulnerable and dynamic urban populations. The authors highlight strategies and practical steps that can be taken to address these challenges. This paper emphasizes the need for flexibility and adaptability in researching street traders, as it is akin to exploring uncharted territories where conventional methodological templates may not be effective.

This study aims to identify the political alignment and political activity of the 11 Presidents of Britain’s most important scientific organisation, the Royal Society of London, in its early years 1662–1703, to determine whether or not the institution was politically aligned.

There is almost no information addressing the political alignment of the Royal Society or its Presidents available in the institution’s archives, or in the writings of historians specialising in its administration. Even reliable biographical sources, such as the Oxford Dictionary of National Biography provide very limited information. However, as 10 Presidents were elected Member of Parliament (MP), The History of Parliament: British Political, Social and Local History provides a wealth of accurate, in-depth data, revealing the alignment of both.

All Presidents held senior government offices, the first was a Royalist aristocrat; of the remaining 10, 8 were Royalist or Tory MPs, 2 of whom were falsely imprisoned by the House of Commons, 2 were Whig MPs, while 4 were elevated to the Lords. The institution was Royalist aligned 1662–1680, Tory aligned 1680–1695 and Whig aligned 1695–1703, which reflects changes in Parliament and State.

This study establishes that the early Royal Society was not an apolitical institution and that the political alignment of Presidents and institution continued in later eras. Furthermore, it demonstrates how the election or appointment of an organisation’s most senior officer can be used to signal its political alignment with government and other organisations to serve various ends.

This paper explores the way in which industrial pollution has been expressed in the narrative accounts of nature, landscape and industry by William Gilpin in his 18th-century picturesque travel writings. A positive description of pollution is generally outdated and unacceptable in the current society. The authors contrast his “picturesque” view with the contemporary perception of industrial pollution, reflect on these early accounts of industrial impacts as representing the roots of impression management and use the analysis to inform current accounting.

The research uses an interpretive content analysis of the text to draw out themes and features of impression management. Goffman's impression management is the theoretical lens through which Gilpin's travel accounts are interpreted, considering this microhistory through a thematic research approach. The picturesque accounts are explored with reference to the context of impression management.

Gilpin's travel writings and the “Picturesque” aesthetic movement, it appears, constructed a social reality around negative industrial externalities such as air pollution and indeed around humans' impact on nature, through a lens which described pollution as adding aesthetically to the natural landscape. The lens through which the picturesque tourist viewed and expressed negative externalities involved quite literally the tourists' tricks of the trade, Claude glass, called also Gray's glass, a tinted lens to frame the view.

The paper adds to the wealth of literature in accounting and business pertaining to the ways in which companies socially construct reality through their accounts and links closely to the impression management literature in accounting. There is also a body of literature relating to the use of images and photographs in published corporate reports, which again is linked to impression management as well as to a growing literature exploring the potential for the aesthetic influence in accounting and corporate communication. Further, this paper contributes to the growing body of research into the historical roots of environmental reporting.