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The management of children′s literature is a search for value and suitability. Effective policies in library and educational work are based firmly on knowledge of materials, and on the bibliographical and critical frame within which the materials appear and might best be selected. Boundaries, like those between quality and popular books, and between children′s and adult materials, present important challenges for selection, and implicit in this process are professional acumen and judgement. Yet also there are attitudes and systems of values, which can powerfully influence selection on grounds of morality and good taste. To guard against undue subjectivity, the knowledge frame should acknowledge the relevance of social and experiential context for all reading materials, how readers think as well as how they read, and what explicit and implicit agendas the authors have. The good professional takes all these factors on board.

This chapter aims to establish a positive vision for the technology-enhanced learning design field. It commences by summarizing the current state of technology-enhanced learning research, as established by the previous analysis, in order to clarify the foundations upon which the field can build. The future of learning technology is considered, in the first instance, by extrapolating trends in information and communication technologies throughout history. This process showcases how the most impactful technologies are those that bring information closer to us, support sharing, and offer more visceral learning experiences. The nature of learning technology trends occurring in recent Horizon Reports, for instance, gesture-based computing, augmented reality, Massive Open Online Courses, and table computing, are analyzed and explained in terms of Roger’s Diffusion of Innovation Theory and Gartner’s Hype Cycle. This leads to identifying teachers as the critical lynch pin in order for society to derive greatest educational benefit from the exponential advances in technology. Consequently, support for educators is argued as essential. Into the future the learning technology field will only optimize its progress if educators and researchers work together to understand design issues and possibilities. Directions forward for educators and researchers are proposed, emphasizing a research-driven, pedagogically focused, creative, and collaborative approach to technology-enhanced learning design.

WHILE there is no doubt that the system of issuing books at “net” prices is of great benefit to booksellers, there is also no doubt that, unless care is taken, it is a serious drain upon a limited book‐purchasing income. A few years ago the position had become so serious that conferences were held with a view to securing the exemption of Public Libraries from the “net” price. The attempt, as was perhaps to be expected, failed. Since that time, the system has been growing until, at the present time, practically every non‐fictional book worth buying is issued at a “net price.”

The adoption of sustainable procurement in construction clients’ organisation remains a difficult concept. Current research of sustainable procurement adoption studies fails to focus on a multi-stage adoption process. The purpose of this paper is to develop an organisational adoption model in a multi-stage process for the adoption of sustainable procurement in construction.

The paper developed an organisational adoption model. The model was tested against data obtained from survey administered to 193 respondents of central and local government institutions with a response rate of 63.7 per cent. Structural equation modelling using the partial least squares was employed to determine and confirm the factor structure of the model, and to measure the relationships between the model constructs.

An organisational adoption model is developed, tested and is robust to aid the adoption decision process of sustainable procurement within construction organisations.

The study is limited in scope affecting generalisation of the results. Future study should expand the scope to include consultants, contractors and suppliers.

The adoption model will assist policy makers and top managers to understand the adoption decision process and prioritise on the technological, organisational and environmental factors that significantly affect sustainable adoption decision process within construction organisations.

This study appears to be among the first to empirically develop an organisational adoption model to aid the adoption of sustainable procurement in construction.

THE enterprise of two London newspapers, the Tribune (for the second time) and the Daily Chronicle, in organizing exhibitions of books affords a convenient excuse for once again bringing forward proposals for a more permanent exhibition. On many occasions during the past twenty years the writer has made suggestions for the establishment of a central book bazaar, to which every kind of book‐buyer could resort in order to see and handle the latest literature on every subject. An experiment on wrong lines was made by the Library Bureau about fifteen years ago, but here, as in the exhibitions above mentioned, the arrangement was radically bad. Visiting the Daily Chronicle show in company with other librarians, and taking careful note of the planning, one was struck by the inutility of having the books arranged by publishers and not by subjects. Not one visitor in a hundred cares twopence whether books on electricity, biography, history, travel, or even fairy tales, are issued by Longmans, Heinemann, Macmillan, Dent or any other firm. What everyone wants to see is all the recent and latest books on definite subjects collected together in one place. The arrangements at the Chronicle and Tribune shows are just a jumble of old and new books placed in show‐cases by publishers' names, similar to the abortive exhibition held years ago in Bloomsbury Street. What the book‐buyer wants is not a miscellaneous assemblage of books of all periods, from 1877 to date, arranged in an artistic show‐case and placed in charge of a polite youth who only knows his own books—and not too much about them—but a properly classified and arranged collection of the newest books only, which could be expounded by a few experts versed in literature and bibliography. What is the use of salesmen in an exhibition where books are not sold outright? If these exhibitions were strictly limited to the newest books only, there would be much less need for salesmen to be retained as amateur detectives. Another decided blemish on such an exhibition is the absence of a general catalogue. Imagine any exhibition on business lines in which visitors are expected to cart away a load of catalogues issued separately by the various exhibitors and all on entirely different plans of arrangement! The British publisher in nearly everything he does is one of the most hopeless Conservatives in existence. He will not try anything which has not been done by his grandfather or someone even more remote, so that publishing methods remain crystallized almost on eighteenth century lines. The proposal about to be made is perhaps far too revolutionary for the careful consideration of present‐day publishers, but it is made in the sincere hope that it may one day be realized. It has been made before without any definite details, but its general lines have been discussed among librarians for years past.

IN this number we make some commemoration of the twenty‐five years so happily achieved by the King‐Emperor. As our contributors show, the cardinal event of the whole of the Reign, so far as libraries were concerned, was the passing of the Public Libraries Act of 1919. The generations change rapidly, and there are few to‐day who remember acutely the penury and struggle which were involved in the fact that all public library expenditure had to be kept within “the limit of the penny rate.” It is possibly true that the average community has taken no very intelligent advantage of the breaking of its financial fetters; in no town in the British Empire can it be said that there is anything approaching generosity, let alone extravagance, towards libraries. Even in the greatest cities, where they have built fine buildings and opened them with much ceremony, the rate allocation for their maintenance is not nearly of the scale that finds acceptance, or did find acceptance, in the United States. That is because we are young people in an old country. The tradition dies hard that education is a luxury and that libraries, which in the eyes of many are only remotely related to education, are an even greater luxury. We heard it said recently that many local authorities regarded the libraries as a sort of joke, and delighted to cut down their expenditure upon them. This lugubrious way of opening our remarks upon the Jubilee is only by way of pointing out that to‐day, at any rate, we have the power to go ahead if we convince our authorities that it is desirable to do so.

This paper aims to explore how accounting is entwined in the cultural practice of popular music. Particular attention is paid to how the accountant is constricted by artists in art and the role(s) the accountant plays in the artistic narrative. In effect this explores the notion that there is a tension between the notion of the bourgeois world of “the accountant” and the world of “art for art's sake”.

This paper draws on the cultural theory of Pierre Bourdieu to understand how the character of the accountant is constructed and used by the artist. Particular attention is paid in this respect to the biography and lyrics of the Beatles.

Accounting and accountants play both the hero and the villain. By rejecting the “accountant villain”, the artist identifies with and reinforces artistic purity and credibility. However, in order to achieve the economic benefits and maintain the balance between the “art” and the “money”, the economic prudence of the bourgeois accountant is required (although it might be resented).

The analysis focuses on a relatively small range of musicians and is dominated by the biography of the Beatles. A further range of musicians and artists would extend this work. Further research could also be constructed to more fully consider the consumption, rather than just the production, of art and cultural products and performances.

This paper is a novel consideration of how accounting stereotypes are constructed and used in the field of artistic creation