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The purpose of this paper is to understand how Design for Additive manufacturing Knowledge has been developing and its significance to both academia and industry.

In this paper, the authors use a bibliometric approach to analyse publications from January 2010 to December 2020 to explore the subject areas, publication outlets, most active authors, geographical distribution of scholarly outputs, collaboration and co-citations at both institutional and geographical levels and outcomes from keywords analysis.

The findings reveal that most knowledge has been developed in DfAM methods, rules and guidelines. This may suggest that designers are trying to learn new ways of harnessing the freedom offered by AM. Furthermore, more knowledge is needed to understand how to tackle the inherent limitations of AM processes. Moreover, DfAM knowledge has thus far been developed mostly by authors in a small number of institutional and geographical clusters, potentially limiting diverse perspectives and synergies from international collaboration which are essential for global knowledge development, for improvement of the quality of DfAM research and for its wider dissemination.

A concise structure of DfAM knowledge areas upon which the bibliometric analysis was conducted has been developed. Furthermore, areas where research is concentrated and those that require further knowledge development are revealed.

Gives an in depth view of the strategies pursued by the world’s leading chief executive officers in an attempt to provide guidance to new chief executives of today. Considers the marketing strategies employed, together with the organizational structures used and looks at the universal concepts that can be applied to any product. Uses anecdotal evidence to formulate a number of theories which can be used to compare your company with the best in the world. Presents initial survival strategies and then looks at ways companies can broaden their boundaries through manipulation and choice. Covers a huge variety of case studies and examples together with a substantial question and answer section.

The purpose of this paper is to address a somewhat under‐researched aspect of readers' advisory services in public libraries in North America, namely, readers' advisory for immigrant readers, with a particular emphasis on the readers' advisory interaction/interview.

The argument draws on the review of relevant scholarly and professional literature and the author's experience in working with immigrant readers.

It is suggested that public libraries in North America are not actively involved in providing readers' advisory services to immigrant readers aside from developing and maintaining multilingual collections. This trend in readers' advisory practices is clearly reflected in professional and scholarly publications of the field. It is argued that personal interactions with immigrant readers, in the context of the readers' advisory interview, can be an efficient way to engage immigrant readers in the life of the host society, thus fostering their socio‐cultural integration beyond information needs and basic coping skills.

The paper offers practical insights and suggestions for the enhancement of readers' advisory interactions with immigrant readers in public libraries. It also places readers' advisory interactions with immigrant readers in the broader context of readers' advisory practices, public library services to immigrant users, and the theory of readers' advisory interviews.

On 2 September 2015, it was announced that Tom Ford would again be ‘dressing James Bond’, Daniel Craig, in Spectre (Mendes, 2015) after tailoring his suits for Quantum of Solace (Forster, 2008) and Skyfall (Mendes, 2012). Ford noted that ‘James Bond epitomises the Tom Ford man in his elegance, style and love of luxury. It is an honour to move forward with this iconic character’.

  With the press launch of ‘Bond 25’(and now titled No Time to Die) on 25 April 2019, it is reasonable to speculate that Ford will once again be employed as James Bond’s tailor of choice, given that it is likely to be Craig’s last outing as 007. Previous actors playing the role of James Bond have all had different tailors. Sean Connery was tailored by Anthony Sinclair and George Lazenby by Dimitro ‘Dimi’ Major. Roger Moore recommended his own personal tailors Cyril Castle, Angelo Vitucci and Douglas Hayward. For Timothy Dalton, Stefano Ricci provided the suits, and Pierce Brosnan was dressed by Brioni. Therefore, this chapter will analyse the role of tailoring within the James Bond films, and how this in turn contributes to the look and character of this film franchise more generally. It aims to understand how different tailors have contributed to the masculinity of Bond: an agent dressed to thrill as well as to kill.

Microcomputers are rapidly becoming commonplace in libraries today and will become even more so as prices fall and capabilities increase. Microcomputers can provide a wide range of services, from being an integral part of a circulation system to serving as terminals to access online databases and information utilities such as the Source or CompuServe. Software can be purchased or developed to assist in online literature searching (record keeping or standardization of database commands). Database packages, or even word processing programs, can be used to help compile local newspaper indexes or other local information files. Statistical packages can be used to analyze library usage. Even the laborious task of writing reports or letters can be greatly aided by word processing programs. Even though the availability of software is a determining factor in choosing a microcomputer, this paper will concentrate on meeting the hardware needs of individual libraries.

The term Canterbury Sound emerged in the late 1960s and early 1970s to refer to a signature style within psychedelic and progressive rock developed by bands such as Caravan and Soft Machine as well as key artists including Robert Wyatt and Kevin Ayers. This chapter explores Canterbury as a metaphor and reality, a symbolic space of music inspiration which has produced its distinctive ‘sound’.

Drawing on ethnographic fieldwork, particularly observations and interviews with music artists and cultural intermediates (Bourdieu, 1993), we suggest that the notion of the Canterbury Sound – with its affinity for experimentation, distinctive chord progressions and jazz allusions in a rock music format – is perceived as a continuing artistic and aesthetic influence. We interpret the genealogy of the Canterbury Sound alternativity through discussions focused on the position of the ‘Sound’ within contemporary heritage discourses, the metaphorical and geographical implications of place in relation to popular music, and cultural longevity of the phenomenon.