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6023 results in Facet Publishing

Page 160 of 302

  • 2 - Mobile information literacy for libraries: a case study on requirements for an effective information literacy programme

  • from Part 1 - Best practice for the use of mobile technologies in libraries
  • Edited by Gill Needham, Ally Mohamed
  • Book:
    M-Libraries 5
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    10 June 2015, pp 19-30

  • Summary

    Introduction

    The use of mobile technologies is rapidly growing and it has played an important role in the management of relations between people in social, economic and everyday life (Muller et al., 2005; Goh et al0, 2006). Throughout history access to information has played a crucial role in the development of humanity. Previously, people had to obtain information from scientists, clergy, libraries and universities. Today, however, they can access information without the need for such efforts (Maxwel, 2000).

    In the era of information technology and penetration of the internet, libraries face a huge challenge in attracting users. When most information is now available over the internet in digital format, libraries are challenged to retain their users and ensure the proper utilization of library resources. Information technology has always played a leading role in promoting access to information resources in libraries. With the advent of technology, information awareness and access has become more available to the user, ensuring 24/7 access. Libraries which mostly follow the traditional information service delivery struggle to provide 24/7 on-demand services and the budget crisis in many libraries sees them losing staff (Magbanua, 2008). Consequently, the needs of library users have increased rapidly and user needs should be fulfilled everywhere and every time rather than anywhere and anytime. In order to overcome the communication gap between the user and the library, and to meet users’ needs, this paper proposes ‘mobile information literacy’, which utilizes short messaging services (SMS) that allow users to be informed of the services and activities of the library everywhere and at all times. This paper looks at the starting point in assessing the need for integrating mobile technology in an information literacy programme at Jaypee University of Information Technology (JUIT), Solan, India. The aim is to take a closer look at the routine uses of the mobile phone in relation to students’ study activities. The mobile is the key communication device and medium for constant updating, coordination, information access, documentation and information literacy.

    Information literacy transition and penetration of mobile technology

    Wilber (2008) has examined students’ literacy and digital technology practices in the context of colleges and universities. She concludes with the acceptance of the concept of ‘new’ literacies. Her conclusion is based on the set of literacy practices which mark a change in usage, based on the context and the tool.

  • Selected Academic, National and Special Libraries in the Republic of Ireland

  • June York
  • Book:
    Libraries and Information Services in the United Kingdom and the Republic of Ireland 2015
    Published by:
    Facet
    Published online:
    10 September 2022
    Print publication:
    10 June 2015, pp 351-362

  • Summary

    ARCHBISHOP MARSH's LIBRARY see MARSH’S LIBRARY

    CDETB CURRICULUM DEVELOPMENT UNIT

    (formerly CDVEC)

    CDETB Curriculum Development Unit, Library, McCann House, 99 Marlborough Road,

    Donnybrook, Dublin 4, Republic of Ireland ((00 353 1) 498 9512 Fax (00 353 1) 496 9087 url: www.curriculum.ie

    Librarian Dr Eva Hornung DiplBibl MLIS ALAI FCLIP (e-mail: eva.hornung@cdu.cdetb.ie)

    CENTRAL CATHOLIC LIBRARY

    Central Catholic Library, 74 Merrion Square, Dublin 2, Republic of Ireland ((00 353 1) 676 1264 (enquiries and administration) e-mail: catholiclibrary@imagine.ie url: www.catholiclibrary.ie

    Librarian Ms Teresa Whitington MA DLIS PhD

    CHESTER BEATTY LIBRARY

    Chester Beatty Library, Dublin Castle, Dublin 2, Republic of Ireland ((00 353 1) 407 0750 Fax (00 353 1) 407 0760 e-mail: info@cbl.ie url: www.cbl.ie

    Director and Librarian Ms Fionnuala Croke (e-mail: fcroke@cbl.ie)

    Reference Librarian Ms Celine Ward BA MLIS (e-mail: cward@cbl.ie)

    DUBLIN BUSINESS SCHOOL

    Undergraduate Library, Dublin Business School, 13/14 Aungier Street, Dublin 2, Republic

    of Ireland ((00 353 1) 417 7572 Fax (00 353 1) 417 7543 e-mail: library@dbs.ie url: http://library.dbs.ie

    Head Librarian Ms Marie O’Neill BA GradDipBS GradDipLIS (00 353 1 417 7571; e-mail:marie.oneill@dbs.ie)

    Deputy Librarian Ms Jane Buggle BA GradDipLIS MLIS (00 353 1 417 0667; e-mail:jane.buggle@dbs.ie)

    Acquisitions Librarian Ms Marie O’Dwyer BEng GradDipLIS (00 353 1 417 7508; e-mail:marie.odwyer@dbs.ie)

    Information Skills Librarian Ms Maria Rogers BA MLIS (00 353 1 417 0611; e-mail:maria.rogers@dbs.ie)

    Research Librarian Alex Kouker BA MLIS (00 353 1 417 0612; e-mail: alexander.kouker@dbs.ie) Postgraduate and Law Library, Dublin Business School, 19/22 Dame Street, Dublin 2, Republic of Ireland ((00 353 1) 417 8745 (Information Desk), (00 353 1) 417 7582 (Librarian's Office)

    Postgraduate and Law Librarian Ms Joan Colvin DipLIS (00 353 1 417 7582; e-mail: joan.colvin@dbs.ie)

    DUBLIN CITY UNIVERSITY

    DCU Libraries, Dublin City University, Dublin 9, Republic of Ireland ((00 353 1) 700 5418 (enquiries); (00 353 1) 700 5212 (administration) Fax (00 353 1) 700 5010 url: www.dcu.ie/∼library/

    Director of Library Services and Humanities Research Archive Centre Christopher Pressler BA MA MSc FRSA (e-mail: christopher.pressler@dcu.ie)

    DUBLIN INSTITUTE OF TECHNOLOGY

    Central Services Unit, Dublin Institute of Technology, Rathmines Road, Dublin 6,

    Republic of Ireland ((00 353 1) 402 7800 e-mail: csu.library@dit.ie url: www.dit.ie/library

    Head of Library Services Dr Philip Cohen BA MSc PhD DipLib MCLIP (00 353 1 402 3067; e-mail: philip.cohen@dit.ie)

    Sub Librarian, Collection Development Ms Ann McSweeney BA DLIS MLIS (00 353 1 402 7804; e-mail: ann.mcsweeney@dit.ie)

  • Selected Government, National and Special Libraries in the United Kingdom

  • June York
  • Book:
    Libraries and Information Services in the United Kingdom and the Republic of Ireland 2015
    Published by:
    Facet
    Published online:
    10 September 2022
    Print publication:
    10 June 2015, pp 285-350

  • Summary

    ACTION ON HEARING LOSS LIBRARY

    (formerly RNID Library)

    Action on Hearing Loss Library, UCL Ear Institute and RNID Libraries at the Royal

    National Throat, Nose and Ear Hospital, 330–332 Gray's Inn Road, London WC1X 8EE (020 3456 5253 (also for Minicom) Fax 020 3456 5143 e-mail: rnidlib@ucl.ac.uk url: www.ucl.ac.uk/library/rnidlib.shtml

    Librarian Alex Stagg MA (e-mail: a.stagg@ucl.ac.uk)

    Specialism(s): Audiology; Deaf studies

    ADVOCATES LIBRARY

    Advocates Library, Parliament House, Edinburgh EH1 1RF (0131 260 5683 (enquiries), 0131 260 5637 (Librarian) Fax 0131 260 5663 (9am–5pm weekdays) e-mail: inqdesk@advocates.org.uk url: www.advocates.org.uk

    Senior Librarian Ms Andrea Longson BSc DipLib MBA (e-mail: andrea.longson@advocates.org.uk) (Open to members only. Non-members may access stock at the National Library of Scotland.)

    Specialism(s): Law

    ALDERSHOT MILITARY MUSEUM

    Military Museum and Archive, Aldershot Military Museum, Evelyn Woods Road, Queens

    Avenue, Aldershot, Hants GU11 2LG ((01252) 314598 url: www.hants.gov.uk/aldershot-museum

    Curator Ms Jenny Stevens (e-mail: jenny.stevens@hants.gov.uk) (Accessible to enquirers by appointment)

    Specialism(s): Military and local history relating to Aldershot and Farnborough

    AMBLESS SOCIETY LIBRARY

    Ambless Society Library, Shalom House, Lower Celtic Park, Enniskillen, Co Fermanagh

    BT74 6HP (028 6632 0320; Ambless Accident Supportline: 028 6632 0321 (tel/fax/smstext/voicemail/RBS) Fax 028 6632 0320 e-mail: ambless.hq@btinternet.com

    Librarian John Wood

    Specialism(s): Private research library working closely with the charity Ambless, which offers care and support to accident sufferers and their families

    AMERICAN MUSEUM IN BRITAIN

    Library, American Museum in Britain, Claverton Manor, Bath BA2 7BD ((01225) 823016 Fax (01225) 469160 e-mail: info@americanmuseum.org; library@americanmuseum.org (by appointment only) url: www.americanmuseum.org

    Librarian Dr Cathryn Spence (e-mail: cathryn.spence@americanmuseum.org)

    Specialism(s): American history and decorative arts; Religions, e.g. Shakers; North American Indians

    AMGUEDDFA CYMRU – NATIONAL MUSEUM WALES

    Library, Amgueddfa Cymru – National Museum Wales, Cathays Park, Cardiff CF10 3NP (029 2057 3202 e-mail: library@museumwales.ac.uk url: www.museumwales.ac.uk

    Principal Librarian Ms Kristine Chapman

    Assistant Librarian Ms Jennifer Evans (02920 573202; e-mail:jennifer.evans@museumwales.ac.uk)

    Specialism(s): Archaeology; Fine and decorative arts; Botany; Geology; Zoology;

    Architecture; Welsh history and topography

    ANIMAL HEALTH AND VETERINARY LABORATORIES AGENCY

    (formerly Veterinary Laboratories Agency)

    Library, Animal Health and Veterinary Laboratories Agency, New Haw, Addlestone,

    Surrey KT15 3NB ((01932) 357314 (enquiries) Fax (01932) 357608 e-mail: library@ahvla.defra.gsi.gov.uk url: www.defra.gov.uk/ahvla-en

    Librarian and Records Officer Mrs Heather Hulse BA(Hons)

    Library Services Manager Mrs Sonja van Montfort BA(Hons) (e-mail: sonja.vanmontfort@ahvla.gsi.gov.uk)

    Specialism(s): Veterinary science and medicine; Animal husbandry; Diseases of commercial farm animals

  • 4 - Reflective writing

  • Kath Owen, Margaret Watson
  • Book:
    Building Your Portfolio
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 May 2015, pp 31-40

  • Summary

    What is reflective writing?

    Reflective writing is the formal or informal recording of your thoughts. Reflective practice requires that you learn from your practical professional experience (Booth and Brice, 2004). So first we have to learn to reflect on our learning and professional practice, and then we have to become accustomed to recording that reflection in writing. By recording the reflection we formalize the process and have a record of our development.

    If you Google ‘reflective writing’ you will find many useful and interesting ideas to help you get started. Remember that your thoughts and therefore the recording of those thoughts are personal to you and different from the more academic writing that you may be more used to.

    Many of us find it difficult to write reflectively; like most skills, though, the more practice you have, the easier it becomes.

    Reflective practice

    Those of you who are fans of Harry Potter will remember a wonderful magical object that Albus Dumbledore owned called the pensieve. Professor Dumbledore could place memories into this stone basin and then relive them, taking Harry with him so he could learn from those memories. This is a good example of reflection and underscores the importance of learning from experience. It is not sufficient to just have an experience; reflect on that experience and evaluate it, and then apply that knowledge to another experience or activity. Deep and sustained learning – becoming able to do something you could not do before – only comes through experience, but experience on its own is not enough. Experience needs to be reflected on and made sense of to create knowledge, and this knowledge deepened when it is applied in fresh situations (Thomson, 2006).

    So before reflective writing comes reflection. As part of your CPD you should try to get into the habit of being reflective – thinking about the task you have just performed, the course you have been on, the discussion you have just had at work, the article you have just read, and so on. Any activity that is part of your working life should be reflected on, and lessons learned. Keith Trickey reveals later in this chapter that reflection can also become a part of your personal development as well as your professional development.

  • 5 - The curriculum vitae

  • Kath Owen, Margaret Watson
  • Book:
    Building Your Portfolio
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 May 2015, pp 41-54

  • Summary

    What is a CV?

    A curriculum vitae (CV) may be defined as the story of your life but it is also an important statement about how you view yourself and a place for the projection of that view to others. Most of us need to compile a CV at some stage in our career, usually to apply for a new job or for a promotion. There are many books and websites giving advice on the preparation of a CV for these purposes. Much of this advice is useful if you are compiling a CV for the first time. The general rule is that you need to compile a CV as soon as you leave education. You can store copies of your CV electronically. Regularly review your CV to ensure that it is up to date and be prepared to re-present it to match the particular purposes and audiences that arise. Keeping your CV up to date is especially important as it is much easier to record important events or changes in your career as they happen than try to recall them from memory months or years later! Even if you are asked to complete an application form and not send a CV, your CV, if up to date, should provide most of the information you need for filling out the form.

    The CV in your Portfolio

    Compiling your full CV is probably the best place to start when you are preparing your Portfolio. It gives you an opportunity to record and review your knowledge and skills and to identify the key learning moments in your career to date. The CV in your Portfolio is slightly different from one you would normally use for a job or promotion. You are not restricted in length and you can annotate the entries. However, a word of caution: assessors will not be happy with extra long CVs; generally it is a good rule for them to be of two to four A4 pages, the final length dependent on the range of your experience.

    Compiling your CV

    General

    Determining the style, layout and order of your CV is a personal choice but there are certain guidelines it is sensible to follow.

  • 7 - Evaluative statements

  • Kath Owen, Margaret Watson
  • Book:
    Building Your Portfolio
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 May 2015, pp 65-78

  • Summary

    What is an evaluative statement?

    In many ways the evaluative statement is the most important element in your Portfolio. Think of it as being rather like an executive summary in a report. If the report is long you should be able to get a very good idea of its contents from the summary. The executive summary almost stands as a document by itself. People should be able to read your evaluative statement and understand immediately what you are presenting about yourself and your development.

    It may help you to think of the evaluative statement as a summary of the submission as a whole. If the evidence is a map of your development and achievements, then the evaluative statement is the key to understanding it.

    The evaluative statement needs to show how you have met each of the assessment criteria and should link to the evidence that you have selected to demonstrate this. It is therefore helpful to have selected your supporting evidence first so that you can write an informative and reflective statement. It can be helpful to use the assessment criteria as headings in your statement (they are not included in the word count). This ensures that you cover all the assessment criteria and makes it easier to avoid becoming descriptive.

    The evaluative statement is the one piece of reflective writing that must be in your Portfolio, although there should be other examples in the supporting evidence too. Your evaluative statement should show evidence of analysis, evaluation and review of your knowledge and experience.

    Making a start

    You will probably need at least two or three drafts before you are satisfied with your evaluative statement. The first draft I prepared for my Fellowship application was no good at all; it was really just a narrative version of my CV. However, writing it like that got it out of my system and helped me to concentrate on what I really wanted to say. Ultimately, I found it very useful to build my statement around the assessment criteria.

    You will find it useful to discuss the early drafts of your evaluative statement with your mentor or a colleague, as they may have a more objective view.

  • 8 - Supporting evidence

  • Kath Owen, Margaret Watson
  • Book:
    Building Your Portfolio
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 May 2015, pp 79-92

  • Summary

    What is supporting evidence?

    The supporting evidence is probably the largest part of your Portfolio. You will have collected a great deal of evidence of your professional developmental activities over the last year or two. The most important things to remember are that each piece of evidence should demonstrate that you meet the criteria for the relevant level, each document should support the points made in your evaluative statement, and you can evidence a variety of developmental activities over a period of time.

    Selecting your evidence

    You will probably not need to include all the evidence you have collected; choose your evidence well. If you have used a matrix to record your developmental activities against the assessment criteria, as suggested earlier, you should find the whole process of choosing and sorting your evidence easier. Later in this chapter Ruth Wilkinson gives an example of how the matrix can be used in Chartership. The matrix should also help you to identify any gaps in your evidence. The aim is to choose items for your Portfolio which are core to your application. There may be some of your documents which repeat the same point as others and can thus be omitted; for example, you don't need to include copies of all your PowerPoint presentations or all the information leaflets you have created. A sample of presentations, talks or flyers is sufficient. As Isabel Hood (2006) says, ‘Portfolios become slimmer with experience in constructing them and length of professional practice.’

    One of the most frequently asked questions at CILIP professional registration events is how much supporting material should be included? The answer, predictably, is ‘As much as is necessary to show how you meet the assessment criteria’! For Certification you do not really need more than ten pieces of evidence. So be selective. There may be more supporting evidence for Chartership and Fellowship candidates but, again, quality is more important than quantity. My strong advice here is to seek individual guidance from your mentor or the candidate support officers in your area.

  • 9 - The final steps

  • Kath Owen, Margaret Watson
  • Book:
    Building Your Portfolio
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 May 2015, pp 93-110

  • Summary

    Gathering all your documentation and drafting your personal statement will take time but there will come a point where you have to decide that you are ready to submit. It is really important to set yourself a target date for submission, as it is very tempting just to continue compiling information and rewriting sections. Nothing sharpens the mind like a definite date for submitting. Your mentor may help you to do this by ensuring that you are being realistic and that you meet intermediate deadlines for your meeting or consultation with them.

    At this stage you should go to the CILIP VLE, look at the level of professional registration for which you are working and click on the tab ‘Assembling your Portfolio’. Here you will find all the information you need.

    As you reach the final steps in building your Portfolio remember to consider four important questions:

  • • Have you got all the required elements of your Portfolio?

  • • Is the structure and layout of your Portfolio clear and is the Portfolio presented well for the assessors?

  • • Have you done a final check against the assessment criteria?

  • • Have you proofread your Portfolio or, preferably, got someone else to check it?

    • So much work will have gone into the various stages of building your Portfolio and it is crucial you don't slip up at this point.

    Portfolio checklist

    It seems such a simple thing to say, but you must go back to the handbook and check that you have assembled all the required elements of your Portfolio. If an element is missing or incorrectly submitted your Portfolio will be returned and that may cause quite a delay in the whole process of assessment. Each qualification has a checklist. Certification

    This is the Certification checklist:

  • • evaluative statement (maximum 1000 words)

  • • CV

  • • evidence to support your evaluative statement

  • • job description

  • • initial PKSB

  • • current PKSB

  • • mentor/mentee completion form.

    • Chartership

    This is the Chartership checklist:

  • • evaluative statement (maximum 1000 words)

  • • CV

  • • evidence to support your evaluative statement

  • • job description

  • • initial PKSB

  • • current PKSB

  • • mentor/mentee completion form.

  • 1 - Introduction and getting started

  • Kath Owen, Margaret Watson
  • Book:
    Building Your Portfolio
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 May 2015, pp 1-6

  • Summary

    The purpose of the book

    The Chartered Institute of Library and Information Professionals (CILIP) introduced a professional registration scheme in December 2013. There are four elements in the scheme: Certification, Chartered Membership, Fellowship and Revalidation for Chartered Members and Fellows. The assessment of each level is by submission of an electronic Portfolio. This book has been written to support any Member of CILIP who wishes to apply for professional registration. This third edition reflects the introduction of professional registration and contains some personal contributions. For many of us working in the library and information profession the production of a Portfolio is a new experience and there has been much discussion about the nature of the Portfolio. This book is designed to answer some of those questions, sharing the experience, hints and tips of putting a Portfolio together from colleagues who have successfully achieved professional registration. Some of the contributors have completed their Portfolios very recently using the current regulations, others worked to the old regulations and, as the content requirements are so similar, their experiences are still relevant and a useful source of help for new candidates.

    Each chapter deals with a specific aspect of the Portfolio, giving examples from each level as appropriate. The book can be either read straight through by potential candidates or used with greater discretion by applicants who may be having difficulties with particular elements of the Portfolio.

    In the Foreword, Keith Wilson provides an overview of how Portfolios can be used in all aspects of a career and how important reflection is for the information professional.

    This first chapter is an introductory chapter, looking at the purpose of the book and briefly outlining CILIP's Framework of Qualifications.

    It discusses the process of getting started and the support available to Members as they put together their Portfolios, especially the CILIP Mentor Scheme. There are two very important aspects to the Framework: all Portfolios must meet specified assessment criteria, and applicants must demonstrate an appropriate level of reflective writing within their Portfolios. Chapter 2 discusses the assessment criteria and attempts to show how applicants can build their Portfolio to ensure that it meets those criteria; in a case study Keith Wilson, a previous Chair of the Chartership Board, gives his views on assessment.

  • 3 - Working with a mentor

  • Kath Owen, Margaret Watson
  • Book:
    Building Your Portfolio
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 May 2015, pp 21-30

  • Summary

    Finding a mentor

    All candidates for Certification, Chartership and Fellowship are required to have a mentor. Mentors for Certification and Chartership must be on the CILIP Register of Mentors and must be Chartered Members of CILIP. A Fellowship candidate may choose a mentor from outside CILIP if they wish; some may already have a mentor with whom they have worked for some time and who is willing to continue in this role to support an application for Fellowship.

    CILIP maintains a register of mentors who have attended training on professional registration. This ensures that they are up to date with the current requirements of professional registration, which will often be slightly different from the regulations under which the mentors themselves completed Chartership. Candidates can approach mentors on the register to ask if they are willing to mentor them. Some candidates may know a registered mentor who is willing to work with them. Candidates are strongly advised to find a mentor who works in a different sector from them. This enables candidates to see their work from a different perspective and to gain a wider view of the profession through discussion and possible visits to a different working environment.

    It is not appropriate for your mentor to be your line manager. Working with a mentor should allow the candidate to benefit from the knowledge and experience of someone who is at least one step and preferably several steps away from their day-to-day work environment. Meetings with a mentor should focus on the professional development and views of the candidate without getting tied into or side tracked by the job role and the demands of the organization.

    Mentoring does not have to involve face-to-face meetings. It can take place online using Skype, e-mail or any other communication system. It can also take place by phone. This can often help candidates who are based in remote places, who are solo workers, who do not have opportunities to leave the workplace for a meeting, who are based in areas where there are few registered mentors, or who work overseas. For many candidates, and indeed mentors, this may be a new way of working and may take a little time to get used to. It can be very successful.

  • Foreword

  • Kath Owen, Margaret Watson
  • Book:
    Building Your Portfolio
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 May 2015, pp xv-xviii

  • Summary

    Society, clients and employers have become more demanding and sceptical of the library information and knowledge professional. The increasingly complex and international nature of society, pressures on clients from information overload and scarcity of time, and constantly changing emphases of political, economic, social, technological, legal and environmental (PESTLE) factors on employers are continuing to increase expectations of professional skill and behaviour. Meanwhile accountability of some professionals, lack of transparency, perceived self-interest and examples of poor performance and behaviour in some sectors are being increasingly forcefully reproached by those whom professionals serve.

    Nothing less than a guarantee of skills, knowledge and a deep and ethical commitment to engaging with the most difficult, ‘wicked’ problems is required from clients and stakeholders.

    CILIP Members work alongside those belonging to other professional bodies. Many are also members of other professional bodies. Stakeholders hearing the word ‘professional’ will assume high standards and confident practice irrespective of the particular profession a practitioner belongs to. Proving our right to be a CILIP professional begins with a qualification as the most important indicator of achievement and commitment. It is the start. The professional registration programme supports Members with a range of qualifications and tools to ensure you continue to prove your right to be a CILIP professional.

    For some years the Portfolio has been increasingly widely adopted by professions as their main way of assessing applications to practise as a professional. It has been a foundation of CILIP's professional registration programme for a decade. What benefit does this bring to society, clients and employers?

    The Portfolio is a record of the journey you have been on to date, including your academic study and training. However, it is much more than this. It is a gallery in which your developing professional inquisitiveness, reflection and personality can be shown. Once you have qualified, it is there to be developed and drawn upon through your career, including when you apply for a higher level of CILIP professional registration. It will help you to plan your professional development, reflect on your professional journey to date, and spot opportunities to exploit and weaknesses to fix.

  • 6 - The Professional Knowledge and Skills Base

  • Kath Owen, Margaret Watson
  • Book:
    Building Your Portfolio
    Published by:
    Facet
    Published online:
    08 June 2018
    Print publication:
    31 May 2015, pp 55-64

  • Summary

    What is the Professional Knowledge and Skills Base?

    The Professional Knowledge and Skills Base (PKSB) encompasses the broad range of skills that are required by workers across all sectors of the library, knowledge and information profession. It is an interactive PDF which can be found at www.cilip.org.uk/cilip/jobs-and-careers/ professional-knowledge-and-skills-base and can be used as:

  • • a self-assessment tool for you to consider your personal and professional development needs and achievements

  • • a means of demonstrating your unique skills set to employers

  • • a framework for planning your CPD.

    • The PKSB is an essential part of professional registration and is a required document at all levels. It will assist you in demonstrating how you meet Criterion 1 of the CILIP assessment criteria (see Chapter 2 and Table 7.1) and may help you with the other criteria.

    It consists of several elements:

  • • At the centre are ethics and values which underpin all work in the sector. All workers should have an understanding of these. A good starting point can be found at www.cilip.org.uk/cilip/about/ethics. Your employer may well have their own statement. A combination of both can provide useful food for thought which you could use to reflect on your views on the subject. Your reflections could form part of your evidence for criteria 2 and 3.

  • • Professional expertise and generic skills are broken down into sets of skills and knowledge which have been identified as essential to our profession. The 12 headings, shown on the wheel diagram, have in turn been broken down into further detail.

  • • All the above has been set within the wider library, information and knowledge sector context and the wider organization and environmental context. As required by Criterion 3 this shows the importance of maintaining current awareness and an understanding of the wider profession which exists outside your workplace.

    • How to use the PKSB

    You are required to include two copies of your personalized PKSB in your application. The first should be completed as you start your application for professional registration; the second should be completed just before submitting your application. The interactive document, which you can only access if you are a Member of CILIP, enables you to record your self-assessment currently and at an ideal level.

Page 160 of 302