Posted by: bluesyemre | March 24, 2019

#MatthewSimmonds (#Sculptures in #marble and stone)

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Matthew Simmonds graduated with an honours degree in history of art from the University of East Anglia in 1984, specialising in the art and architecture of the medieval period. After working for several years as an illustrator, in 1991 he studied architectural stone carving at Weymouth technical college. He has worked on the restoration of several major English national monuments, most importantly Westminster Abbey and the cathedrals of Salisbury and Ely. In 1997 he transferred to Pietrasanta, Italy, where he specialised in fine classical ornament in marble. He gained his first recognition as a sculptor in 1999 after winning first prize at the second international sculpture symposium of Verona. Since then he has participated in several sculpture symposia worldwide and has exhibited in the UK, Italy, Germany, Denmark, China, the UAE, Australia and the USA. In 2014 he transferred with his family to Copenhagen where he now lives and works.

http://www.mattsimmonds.com/

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See what a decade of ebook usage data has taught us.

Ten years of ebook data. 100 million usage records. 1194 libraries. Does Demand-Driven Acquisition (DDA) really helps libraries build more frequently used collections? Get the infographic now and find out.

Did you know? In a recent ProQuest survey, 92% of librarians said DDA is the ebook acquisition model their library uses most. Read about the results in the June 2018 whitepaper.

 Learn more:

A decade of global #Ebook usage data in one #infographic

Why DDA is Here to Stay: An Analysis of the Demand-Driven Acquisition Model for Libraries

 

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Sonic treasure troves.

Vinyl might have a rep for being a notoriously expensive endeavour, but right now hundreds of thousands of records are sitting, waiting to be played, from listening stations and audio set-ups designed exactly for this purpose.

These music havens are free, available every day of the week, and located around the world – in places better known for silence than for a cacophony of audio.

Welcome to the world of library sound archives, with an eye-watering range: from oratorial opera vocal tubes created in 1901 to comprehensive catalogues of original Motown pressings to field recordings of Polynesian tribes from the 1950s and everything in between.

Silence sure is golden, when it’s filled with this much music.

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The British Library Sound Preservation

Location: London, United Kingdom

Size: Over 6,000,000 items, including over 1,000,000 discs and 200,000 tapes

Accessibility: Monday–Saturday, British Library, St. Pancras, request a free Reader Pass to gain entry, where over 200,000 items are available without advance notice. Special recordings available upon request

Highlights: Complete BBC Radio recordings, international wildlife recordings and soundscapes, comprehensive record catalogues of discs produced from 1898 to 1929 in the UK

The British Library Sound Archive, formerly known as the British Institute of Recorded Sound, was founded by Patrick Saul in 1930, after he had a shocking revelation.

According to the BL’s sound magazine Playback: “one afternoon in 1930, a young music-lover went into the London gramophone shop in Cranbourn Street run by Mr Wilfrid Van Wyck and Mr W.Rimington and asked for Dohnányi’s Violin Sonata in the arrangement by Lionel Tertis. To his amazement he was told that the record was ‘out of print’; it had been deleted.”

“So he walked on to the British Museum determined to hear the recording at least, even if he couldn’t buy it. But he was told that there were no gramophone records at all at the British Museum. The realisation that such performances could be snuffed out, that they seemed to be disappearing for ever was, Patrick Saul said later, like a child hearing about death for the first time, and he resolved to try and do something to prevent the death.”

And thus, the world’s greatest sound archive was born. Now part of the British Library, whose 170 million items make it the biggest library in the world, its audio wing can be visited at the BL’s St. Pancras location.

NB: Saul’s personal favourite recording in the archive was the mating call of the haddock fish.

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The Rodgers and Hammerstein Archives of Recorded Sound of The New York Public Library

Location: New York City, USA

Size: Over 700,000 items and 100,000 printed works

Accessibility: 7 days a week, 3rd floor, The New York Public Library for the Performing Arts, 40 Lincoln Center Plaza, 65th Street and Columbus Avenue

Highlights: Personal listening booths with your own audio technician, an ongoing microfiching index of 600,000 78rpm discs held by major American sound archives, original 1901 Mapleson Cylinders

The iconic Bryant Park branch of NYC’s New York Public Library is the most famous of its 87 locations around the city, which boasts over 53 million items in total. Fittingly, one of the biggest and most famous libraries on the planet is also home to an extensive music department.

To access the Rogers and Hammerstein Archives, located at The New York Public Library for the Performing Arts, head to the second floor, where a dedicated help desk awaits. Your request will then be sent via computer to a playback technician located in the building’s basement storage area.

Once the selection has been located, it is “piped into” a specially designed, private listening booth, where you can communicate directly with the audio technician via computer. You can also have record jackets and liner notes delivered to the booth during your listening session.

NB: Many of the items require advance notice, best to browse and contact NYPL here if you are looking for something specific.

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Music Library + Understage

Location: Seoul, South Korea

Size: Over 10,000 records, and 3,000 vinyl-related tomes

Accessibility: Limited public availability, daily availability for Hyundai card owners and their guests

Highlights: Its glass box structure with a main atrium where you can listen to records from the collection, every issue of Rolling Stone Magazine since the publication began in 1967

Music Library + Understage is a vinyl collection from the ’50s to present, housed in a multi-story glass cube in Seoul. This mesmerising audio Mecca was created in 2015, as part of Hyundai’s “library project” across South Korea, following the 2013 opening of Design Library in Gahoe-dong and Travel Library in Cheongdam-dong in 2014.

Though Music Library + Understage is only available on select days to the public, you can gain access by visiting the basement music venue, Understage. Its adjacent Vinyl & Plastic store, which features 4,000+ records, 8,000 CDs and a basement gallery space is accessible to all, year round.

NB: Take a guided virtual tour through this vinyl geo-hub here.

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Music Section, Stuttgart City Library

Location: Stuttgart, Germany

Size: Over 100,000 items

Availability: Monday-Friday, Music Section, 1st Floor, Stuttgart City Library, Stadtbibliothek at the Mailänder Platz

Highlights: Studiolo – “Music in and around Stuttgart”, Sound Studio with playback stations and music production software

Previously housed off-site, Stuttgart’s music library now takes up an entire floor of the redesigned, striking ziggurat in Milan Square.

Designed by Korean-born, Germany-based artist Eun Young Yi, the wing includes a Music for Children section (teach ‘em young), and the Studiolo – a comprehensive audio catalogue of aural life in Stuttgart and its surrounding area.

With architecture and organisation inspired by ancient Roman pantheons, you can also create your own future masterpiece at personal recording stations using computer software and keyboards.

NB: The funnel shaped skylight makes it a particularly luminescent creative perch on sunny days.

(Photo by Martin Lorenz, Rights: Stadt Stuttgart)

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The Music Room, Potato Head Hong Kong

Location: Hong Kong, China

Size: Over 8,000 records

Accessibility: Open for special events and private reservations, with full details here

Highlights: JBL Pro Blue series loudspeakers, Macintosh tube pre amps and amplifiers, a custom-made rotary mixer from Japan, vintage Klipschorn speakers

China’s first dedicated vinyl library and listening space puts the country firmly on the audiophile wanderlust map. Located inside multi-purpose arts centre Potato Head, its world-class set-up and interior look like something out of a Wes Anderson film.

Curated by German DJ and producer Johnny Hiller alongside a selection of renowned dealers, the venue also hosts listening events showcasing everything from classic LPs to obscure Ethiopian jazz 7”s.

NB: Its small capacity means events sell out in advance, so best to book quickly if you know when you’d like to visit.

https://thevinylfactory.com/features/incredible-record-libraries-vast-archives/

Posted by: bluesyemre | March 21, 2019

#Datanomics: the costs, benefits and value of #ResearchData

Twenty years ago format obsolescence was seen as the greatest long-term threat to digital information. Arguably, experience to date has shown that funding and organisational challenges are perhaps more significant threats. I hope this presentation helps those grappling with these challenges and shows some key advances in how to use knowledge of costs, benefits and value to support long-term sustainability of digital data and services.
These are the slides from my keynote presentation to the Digital Preservation Coalition and Jisc joint workshop on Digital Assets and Digital Liabilities – the Value of Data held in Glasgow in February 2018. The slides summarise work over the last decade in the key areas of exploring costs, benefits and value for data. The slides posted here have additional slide notes and references to new publications since the workshop and some modifications such as removal of animations. One day I hope to have time to synthesis this presentation in an accessible way as an article but hope this slide deck is a useful interim resource.

Check out these 8 mind-blowing transformations you can do at home! For more amazing DIYs and life hacks, subscribe to Blossom!! Blossom presents super cool diy videos which you can create at home. Simple, quick and fun DIY arts and crafts which can be done at home! So what are you waiting for? Try them now! Blossom brings you fun craft and DIY projects to complete with your little one. Enjoy our collection of fun and easy DIY tutorials! Our easy-to-follow, wonderfully edited videos show you make these easy DIY’s and hacks with ease. Thanks for watching, and subscribe today!

Posted by: bluesyemre | March 21, 2019

My Father’s Stack of #Books by #KathrynSchulz

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My father loved books ravenously, and his always had a devoured look to them.Illustration by Rose Wong

When he was a child, books were gifts. For his daughters, he made sure they were a given.

When I was a child, the grownup books in my house were arranged according to two principles. One of these, which governed the downstairs books, was instituted by my mother, and involved achieving a remarkable harmony—one that anyone who has ever tried to organize a home library would envy—among thematic, alphabetic, and aesthetic demands. The other, which governed the upstairs books, was instituted by my father, and was based on the conviction that it is very nice to have everything you’ve recently read near at hand, in case you get the urge to consult any of it again; and also that it is a pain in the neck to put those books away, especially when the shelves on which they belong are so exquisitely organized that returning one to its appropriate slot requires not only a card catalogue but a crowbar.

It was this pair of convictions that led to the development of the Stack. I can’t remember it in its early days, because in its early days it wasn’t memorable. I suppose back then it was just a modest little pile of stray books, the kind that many readers have lying around in the living room or next to the bed. But by the time I was in my early teens it was the case—and seemed by then to have always been the case—that my parents’ bedroom was home to the Mt. Kilimanjaro of books. Or perhaps more aptly the Mt. St. Helens of books, since it seemed possible that at any moment some subterranean shift in it might cause a cataclysm.

The Stack had started in a recessed space near my father’s half of the bed, bounded on one side by a wall and on the other by my parents’ dresser, a vertical behemoth taller than I would ever be. At some point in the Stack’s development, it had overtopped that piece of furniture, whereupon it met a second tower of books, which, at some slightly later point, had begun growing up along the dresser’s other side. For some reason, though, the Stack always looked to me as if it had defied gravity (or perhaps obeyed some other, more mysterious force) and grown down the far side of the dresser instead. At all events, the result was a kind of homemade Arc de Triomphe, extremely haphazard-looking but basically stable, made of some three or four hundred books.

I have no idea why we called this entity the Stack, considering the word’s orderly connotations of squared-off edges and the shelving areas of libraries. It’s true that the younger side of the Stack mounted toward the ceiling in relatively tidy fashion, like the floors of a high-rise—a concession to its greater proximity to the doorway, and thus to the more trafficked area of the bedroom, where a sudden collapse could have been catastrophic. But the original side was another story. Few generally vertical structures have ever been less stacklike, and no method of storing books has ever looked less like a shelf.

Some people love books reverently—my great-aunt, for instance, a librarian and a passionate reader who declined to open any volume beyond a hundred-degree angle, so tenderly did she treat their spines. My father, by contrast, loved books ravenously. His always had a devoured look to them: scribbled on, folded over, cracked down the middle, liberally stained with coffee, Scotch, pistachio dust, and bits of the brightly colored shells of peanut M&M’s. (I have inherited his pragmatic attitude toward books and deliberately break the spine of every paperback I start, because I like to fold them in half while reading them.) In addition to the Stack, my father typically had on his bedside table the five or six books he was currently reading—a novel or two, a few works of nonfiction, a volume of poetry, “Comprehensive Russian Grammar” or some other textbooky thing—and when he finished one of these he would toss it into the space between the dresser and the wall. Compression and accumulation—especially accumulation—did the rest.

To my regret, I have only a single photograph of the result. I have spent a great deal of time studying it, yet find many of the books in it impossible to identify. Some tumbled into the Stack spine in, rendering them wholly unknowable, while others fell victim to low resolution, including a few that are maddeningly familiar: an Oxford Anthology whose navy binding and gold stamp I recognize but whose spine is too blurry to read; a book that is unmistakably a Penguin Classic, but that hardly narrows it down; an Idiot’s Guide to I don’t know what. In some cases, I can make out the title but had to look up the author: “Pirate Latitudes” (Michael Crichton), “Mayflower” (Nathaniel Philbrick), “Small World” (David Lodge), “The Way Things Were” (Aatish Taseer). In others, conversely, I can see the author but not the title: something by Carl Hiaasen, something by Wally Lamb, something by Nadine Gordimer, something by Gore Vidal.

Plenty of other books in the Stack, however, are perfectly visible, and perfectly familiar. There’s the collected works of Edgar Allan Poe; there’s “Pale Fire” and “White Teeth”; there’s “Infinite Jest” and “Amerika.” There’s Wallace Stegner’s “Angle of Repose,” a book my father mailed to me in my early twenties, together with “Our Mutual Friend,” when I was travelling and lonely and had run out of things to read. In the Stack, Stegner’s novel has achieved its own angle of repose, alongside Richard Friedman’s “Who Wrote the Bible?” and Antonio Damasio’s “The Feeling of What Happens.” Above that is Stephen E. Ambrose’s “Undaunted Courage,” about Lewis and Clark’s westward journey, and Diane McWhorter’s “Carry Me Home,” about the civil-rights movement in Birmingham. There’s Thomas Pynchon’s “Mason & Dixon” and Cormac McCarthy’s “The Road,” Michael Chabon’s “The Amazing Adventures of Kavalier & Clay” and Beryl Markham’s “West with the Night.” There are books I can remember discussing with my father—Ian McEwan’s “Atonement,” Jonathan Franzen’s “Freedom,” Sarah Bakewell’s “How to Live”—together with books I had no idea he’d read and, despite his insatiable curiosity, no idea he would have cared to read: the Peterson Field Guide to Eastern Birds, Temple Grandin’s “Animals in Translation,” Neal Stephenson’s “Cryptonomicon.”

I’m not sure exactly when this photograph of the Stack was taken. It must have been after the fall of 2012, since one of the books visible is Stephen Greenblatt’s “The Swerve,” which came out in September of that year, and before 2016, when my parents moved out of their home of thirty years and into a condo, the kind with no stairs for them to fall down and less space to manage as they aged. There were plenty of books in the new place, though, and a nice wide clearing by the side of the bed, so I suspect that, given enough time, it would have housed some kind of Stack 2.0. But it did not, because seven months after my parents moved in my father died. On his bedside table at the time was a new edition of “Middlemarch,” together with a copy of “SPQR,” Mary Beard’s history of ancient Rome, and Kent Haruf’s “Plainsong.” “Middlemarch” my father regarded as the greatest novel in the English language and had been rereading for at least the sixth time. I don’t know if he had completed either of the other two books, or even begun them. But it doesn’t make any difference, I suppose. No matter when my father died, he would have been—as, one way or another, we all are when we die—in the middle of something.

I don’t know where my father got his love of books. His own father, a plumber by trade, was an epic raconteur but not, to my knowledge, much of a reader. His mother, the youngest of thirteen children, was sent for her protection from a Polish shtetl to Palestine at the start of the Second World War, only to learn afterward that her parents and eleven of her twelve siblings had perished in Auschwitz. Whoever she might otherwise have been died then, too; the woman she became was volatile, unhappy, and inscrutable. My father was never even entirely sure how literate she was—in any language, and least of all in English, which he himself began learning at the age of eleven, when the family arrived in the United States on refugee visas and settled in Detroit.

It’s possible that my father turned to books to escape his parents’ chronic fighting, although I don’t know that for sure. I do know that when he was nineteen he left Michigan for Manhattan, imagining a glamorous new life in the city that had so impressed him when he first arrived in America. Instead, he found penury on the Bowery. To save money, he walked each day from his tenement to a job at a drugstore on the Upper West Side, then home again by way of the New York Public Library. Long before I had ever been there myself, I heard my father describe in rapturous terms the countless hours he had spent in what is now the Rose Reading Room, and the respite that he found there.

But if books were a gift for my father—transportive, salvific—he made sure that, for his children, they were a given. In one of my earliest memories, he has suddenly materialized in the doorway of the room where my sister and I were playing, holding a Norton Anthology of Poetry in one hand and waving the other aloft like Moses or Merlin while reciting “Kubla Khan.” Throughout my childhood, it was his job to read aloud to us at bedtime; to our delight, he could not be counted on to stick to the text on the page, and on the best nights he ditched the books altogether and regaled us with the homegrown adventures of Yana and Egbert, two danger-prone siblings from, of all places, Rotterdam. (My father had a keen ear for the kind of word that would make young children laugh, and that was one of them.) Those stories struck me as terrific not only at the time but again much later, when I was old enough to realize how difficult it is to construct a decent plot. When I asked my father how he had done it, he confessed that he had routinely whiled away his evening commute constructing those bedtime tales. I regret to this day that none of us ever thought to write them down.

In a kinder world—one where my father’s childhood had been less desperate, his fear of financial instability less acute, his sense of the options available to him less constrained—I suspect that he would have grown up to be a professor, like my sister, or a writer, like me. As it was, he derived endless vicarious pleasure from his daughters’ work. Although he seemed to embody the ideal of the self-made man, my father was not terribly rah-rah about the bootstrap fantasy of the American Dream; he was too aware of how tenuous his trajectory had been, how easily his good life could have gone badly instead, how many helping hands and lucky breaks and second chances he had had along the way. Still, given his particular bent, having a daughter who got paid to read books was perhaps the consummate example of seeing to it that your kids had a better life than your own.

In the weeks and months after my father’s death, my family and I went through his belongings, donating whatever was useful, getting rid of what no one would want, and divvying up the things we loved, the things that reminded us of him. As a result, some of my father’s books are my books now: my Dickens and Dostoyevsky, my biology and natural history, my literary fiction and light verse and tragedy. They came with me the summer after he died, when my partner and I moved in together and merged our worldly possessions. Along with the rest of the books, they were the first things we unpacked and put away.

Although I often identify as my father’s daughter, there’s no mistaking which half of my genome and rearing was involved in organizing our household books. Not only does Philip Roth come after Joseph Roth on our shelves; “The Anatomy Lesson” comes after “American Pastoral,” and the nonfiction is subdivided into Linnaeus-like distinctions. And yet, as my father knew, a perfect shelving system is also inherently an imperfect one. The difficulty isn’t all the taxonomic gray areas—whether to keep T. S. Eliot’s criticism with his poetry, for instance, or whether Robert McNamara’s “In Retrospect” belongs with memoirs or with books about the Vietnam War. The difficulty is that anything that is perfectly ordered is always threatening to become imperfect and disorderly—especially books in a household of readers. You are forever acquiring new ones and going back to revisit the old, spotting some novel you’ve always intended to read and pulling it from its designated location, discovering never-categorized books in the office or the back seat or under the bed. You can put some of these strays away, of course, but, collectively, they will always spill out beyond your bookshelves, permanently unresolved, like the remainder in a long-division problem. This is a difficulty that goes well beyond libraries. No matter how beautifully your life is arranged, no matter how lovingly you tend to it, it will not stay that way forever.

I keep two pictures of my father on my desk now. One is a photograph, taken a year or so before his death, of the two of us walking down the street where I grew up. My dad has his hand on my shoulder, and although in reality I am steadying him—he was already beginning to have trouble walking—it looks as if he is guiding me. It is the posture of a father with his daughter, as close to timeless as any photograph could be. The other is the picture of the Stack. Strictly speaking, of course, that one isn’t a photograph of my father at all, and yet I can’t imagine a better image of the kinds of things that normally defy a camera. My father’s exuberant, expansive mind; the comic, necessary, generous-hearted compromises of my parents’ marriage; the origins of my own vocation—they are all there in the Stack, aslant among the books, those other bindings. ♦

This article appears in the print edition of the March 25, 2019, issue, with the headline “The Stack.”

  • Kathryn Schulz joined The New Yorker as a staff writer in 2015. In 2016, she won the Pulitzer Prize for feature writing and a National Magazine Award for “The Really Big One,” her story on the seismic risk in the Pacific Northwest.

https://www.newyorker.com/magazine/2019/03/25/my-fathers-stack-of-books

Posted by: bluesyemre | March 21, 2019

#DinaraKasko (Pastry Art) @DinaraKasko

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Dinara Kasko is a Pastry Chef from Ukraine. She’s 28 years old. She started to bake like most of housewives, with some simple cakes and pies, but it quickly turned into her passion. She graduated from University of Architecture and Design and worked as an architect-designer and a 3D visualizer. It just became more interesting to her at some point. IShe liked what she was doing as an architect, but now she’s more interested in Patisserie. From the moment she got into Patisserie she decided to try to add something new into it. She realized that the appearance is as important as taste. She tried to model her own moulds and print them with 3D printer and she liked what she got. She wants to try more and more in Patisserie and she can’t stop, she’s studying, modeling and baking. She prefers simple plain geometric shapes like cube, triangle and sphere. She likes black colour, as well as red and white. She likes sharp straight lines. She hopes you will like what she does. Contact her if you have any questions or suggestions, if you need her permission to use content, images or videos.

http://www.dinarakasko.com/

http://www.dinarakasko.com/geometrical-kinetic-tarts/

https://www.instagram.com/dinarakasko/

https://www.youtube.com/channel/UCyB-IBVQ_Za8M2A6Atmm1mg/videos

Posted by: bluesyemre | March 21, 2019

#Piyupi (#iPhone şarj kablosu koruyucusu)

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Sürekli kullanım neticesinde kablo eklemlerinde oluşan kırılmaları Piyupi önler ve kablonuzun ömrünü uzatır.

http://piyupi.com/

Posted by: bluesyemre | March 21, 2019

#İntihal suçtur…

 

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Kitap okuyucuları geçen yıl kütüphanelerden en fazla Sabahattin Ali’nin “Kürk Mantolu Madonna”sı ile Reşat Nuri Güntekin’in “Çalıkuşu” adlı romanlarını ödünç aldı.

Türk Kütüphaneciler Derneği, hem üniversite kütüphanelerinden hem de bin 146 halk kütüphanesinden aldığı verileri derleyerek, okuyucu istatistikleriyle yılın en çok okunan/ödünç alınan kitaplarını tespit etti.

Derneğin verilerine göre, 2018 yılında kütüphanelerden, yetişkin edebiyatında en çok Sabahattin Ali’nin Kürk Mantolu Madonna ve Reşat Nuri Güntekin’in Çalıkuşu romanları ödünç alındı.

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Çocuk edebiyatında ise Adam Blade’nin Canavar Peşinde ve Jeff Kinney’in Saftirik Greg’in Günlüğü en çok tercih edilen kitap oldu.

Üniversite öğrencileri Kürk Mantolu Madonna’yı, halk kütüphanesi kullanıcıları ise Çalıkuşu’nu ödünç aldı.

Türk Kütüphaneciler Derneği, 25-31 Mart 2019 tarihleri arasında kutlanacak Kütüphane Haftası kapsamında bu kitapların yayınevlerine birer plaket verecek.

“Gerçek okuruna ulaşmış kitap…”

Türk Kütüphaneciler Derneği Genel Başkanı Ali Fuat Kartal, AA muhabirine yaptığı açıklamada, dernek olarak 5 yıldır kütüphanelerden aldıkları okuyucu istatistikleriyle, yılın en çok okunan/ödünç alınan kitaplarını tespit ettiklerini söyledi.

Kütüphanelerden kitapların, özellikle de edebi eserlerin, gerçek okurlar tarafından okunmak için alındığını vurgulayan Kartal, “Oysa bir kitapçıdan okuyacağım ya da evde bulunsun diye aldığımız birçok kitabı okumayız. Bu bağlamda kütüphanelerde en çok okunan kitap gerçek okuruna ulaşmış kitap demektir.” değerlendirmesinde bulundu.

“Kütüphaneler, kavram ve içerik olarak değişime uğradı”

Bu yıl Kütüphaneler Haftasının 55’incisinin kutlanacağını anımsatan Kartal, temanın, “Değişen Toplum, Dönüşen Kütüphaneler” olduğunu ifade etti.

Kartal, “Hafta boyunca; toplumsal değişimin kaçınılmaz olarak yaşandığı günümüzde daha iyi bir toplum kurulması yönündeki ideali temel alan düşüncelerin tartışılacağı bir hafta olmasını amaçlıyoruz.” dedi.

Kütüphanenin sadece, kitapların toplanıp korunduğu, düzenlendiği ya da okunduğu yer olmaktan çıkarak bugünkü erginliğini kazanmasının uzun bir süreç aldığını belirten Kartal, bilgi çağı olarak da adlandırılan 21. yüzyılda, değişimin etkisinin her alanda olduğu gibi kütüphanelerde de kendisini gösterdiğini söyledi.

Kartal, kütüphanelerin bilgi ve iletişim teknolojilerinin etkisiyle gerek kavram gerekse içerik olarak değişime uğradığına işaret etti.

https://www.aa.com.tr/tr/kultur-sanat/gecen-yil-en-cok-sabahattin-ali-ve-resat-nuri-guntekin-okundu/1424464

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LiteraTür’ün ikinci teması “Ev” Türkiye’den yazar Gaye Boralıoğlu ve Almanya’dan yazar Katerina Poladjan küratörlüğünde hazırlandı. Her iki ülkenin edebiyatını “ev” ekseninde ele alan yazılar,  röportajlar ve tanıtım yazılarıyla, Türkiye ve Almanya’da “ev” temasına dair perspektifleri bir araya getirdik.

TEMA HAKKINDA

KÜRATÖR: KATERINA POLADJAN
YURT

Yurt sözcüğü ideolojik bir kavram mı? Hatta bir yalan mı? Çöken reel sosyalist Doğu Almanya’ya özgü bir yalan mı? Eğer sadece oraya özgü değilse, kısa süre önce Federal Almanya’da kurulan Yurt Bakanlığı bağlamında ne anlama geliyor?

KÜRATÖR: GAYE BORALIOĞLU
EVİN YAZGISI, YAZININ EVİ

Yaşamak için adım attığımız bir ev gerçekte bir “tabula rasa”dır. Düş dünyamızın izin verdiği ölçüde yavaş yavaş giydiririz o evi. Bir koltuk asla yalnızca bir koltuk değildir, kim bilir hangi kokuyu bize taşıyan bir arzu nesnesidir.

JALE ÖZATA DİRLİKYAPAN
TÜRKÇE EDEBİYATTA EV: KAÇACAK MIYIZ, VARACAK MIYIZ, SIĞINACAK MIYIZ?

Ev, çok yönlü, çok simgesel, çok anlamlı olma potansiyeli taşımasıyla, bazen mecazi bazen gerçeklik yüküyle edebiyatın kimi zaman merkezinde kimi zaman kenarında, ama hep içinde olmuştur.

https://www.goethe.de/ins/tr/tr/kul/sup/lit/zuh.html

scotts

In 2018 The Scottish Library and Information Council commissioned research into the use and impact of mobile libraries throughout Scotland. The study looked at the current landscape of mobile library service provision including frequency of delivery and vehicle specifications.

Libraries on the Move considers the impact mobile libraries have on people’s lives particularly in terms of loneliness and social isolation, health and wellbeing, learning and development, culture and children’s literacy. The report also outlines the impact any potential changes in services could have as well as recommendations for the future.

The impact of #MobileLibrary services in Scotland

0319_libraries
Cornell University Library/Provided
Cornell University Library has scheduled a pair of design research workshops, March 26 and 27, to brainstorm ideas for future renovations of both Olin, left, and Uris libraries, right.

Brainstorm renovation designs for Olin, Uris libraries…

With well over 1.6 million visits a year, the Olin and Uris libraries are major parts of the Cornell experience. Soon, that experience could be a new one – even for those who have walked through their doors hundreds of times.

Cornell University Library has scheduled a pair of design research workshops – one for students, one for faculty – to brainstorm ideas for future renovations of both libraries.

The student workshop is scheduled for March 26, 5-6 p.m. in Room 106 of Olin Library; pizza and cookies will be served. The faculty workshop will be held March 27, noon to 1 p.m. in Olin 106; a light lunch will be served.

Cornell and planning firm brightspot strategy llc recently signed a contract to collaborate on the Olin and Uris Libraries Renovation Feasibility and Program Study. The study will develop a vision for spaces in Olin and Uris; the goal is to produce high-level conceptual design options for both libraries by the end of 2019.

Olin Library was built in 1961, the same year Uris Library (which opened in 1891) was renovated. The way people use the libraries has changed in 58 years, and library personnel are taking a fresh look at how the buildings support both users and library staff.

The aging buildings present pressing needs, such as: more efficient heating, ventilation and air-conditioning systems; improved accessibility; and space allocation consistent with the role and operations of a 21st century library.

Several major steps will need to be taken between the completion of the feasibility and program study in December and any eventual renovation. The conceptual designs created by the study will assist in fundraising toward future building renovation projects.

Once funding is available, detailed designs will be developed with stakeholder input. No construction is likely to begin before 2022.

To learn more about the Olin and Uris Libraries Renovation Feasibility and Program Study, read the study FAQs on the library improvement project blog site.

https://olinuris.library.cornell.edu/

https://news.cornell.edu/stories/2019/03/brainstorm-renovation-designs-olin-uris-libraries

rfid

The chapter describes the main features of the use of the radio-frequency identification (RFID) technology in library activities. The technical capabilities of RFID equipment for unique identification of library documents in information systems for various purposes are shown. The questions of development of library technologies due to the full-featured use capabilities of automatic and radio-frequency identification systems in libraries are presented. The possibility of development of library RFID systems in the direction of the concept of Electronic Product Code (EPC) through the modification of the regulatory framework on the basis of existing harmonized standards is considered. It is shown that this approach to the formation of the regulatory framework will create conditions for increasing the availability of RFID technology for libraries. Development of library RFID systems in the direction of the Internet of things (IoT) concept will significantly increase the integration of the traditional library collections, along with electronic documents, in the modern information space. This will increase the availability of printed documents to readers and contribute to development of library technologies towards development of a global integrated system of library and information support for human activities. This will allow libraries themselves to integrate more fully into the global information space, at the next stage of development of information technologies.

https://www.intechopen.com/online-first/rfid-in-libraries-automatic-identification-and-data-collection-technology-for-library-documents

 

Jimi-Hendrix-Sept-17th-1970-6

Jimi Hendrix is a legend for all the things that he brought to his loyal fans, but also due to his untimely death that left his fans forever devastated. As if that wasn’t sad enough, it’s come to the attention of the world as of recently, that the photos you’ll see below are the last ones ever taken of the famous musician. They are happy photos of him and his girlfriend, Monika Danneman exploring the sights and enjoying life, while she took photos of her beau.

These photos are especially special because they show him happy with his life and enjoying the fall air, totally devoid of knowing or understanding that he would die the next day and cause so much pain to the girl taking the photos.

Though they are undoubtedly sad to look at, knowing what would happen to him less than 24 hours later, it’s also amazing to see his happiness and genuine joy with life, doing normal things as we all did. Some of the photos include his prized “black beauty” guitar, his posed both playing the strings as well as showed off its beauty in a soft cradling position. He looks so natural and just like you and I, that we can feel as though we are partially part of the photo ourselves. In the years that have passed since his death. It’s a comfort to see these photos, as the sadness had faded away enough that fans can see them without feeling as heartbroken, and instead grab onto some of the joy that Hendrix exudes so easily.

https://themindcircle.com/last-photos-of-jimi-hendrix/

https://www.jimihendrix.com/

Posted by: bluesyemre | March 20, 2019

The whistled ‘bird language’ of Northern Turkey

The Black Sea region is a famous for its cuisine, folk dance and thanks largely to the Giresun province, its ‘bird language’. The 400-year-old whistled language is part of the region’s cultural heritage and has made its way onto to the UN cultural agency’s list of endangered languages.

Posted by: bluesyemre | March 20, 2019

Brooklyn’s most cluttered #bookstore

brooklyn

John Scioli, the owner of the Community Bookstore, in Brooklyn, prepares to shutter a neighborhood institution.

http://video.newyorker.com/watch/notes-from-all-over-brooklyn-s-most-cluttered-bookstore

Posted by: bluesyemre | March 19, 2019

The #OpenAccess Digital #Theological Library

OA_DTL_Lock_Words_Logo_Stretch

The Open Access Digital Theological Library (OADTL) has a clear ethical mission: to make all high-quality, open-access content in religious studies discoverable to the global community through a single curated, search experience. “Our goal is both to provide existing content to a global audience and to give the developing world a voice to speak to the developed world,” explained Digital Theological Library Director Thomas Phillips. “We curate without regard to religious perspective, without any bias as far as ideology.” They curate in multiple languages, offering open-access resources in the modern languages of German, Spanish, French, Portuguese, Korean, and Chinese in addition to English. They also curate primary source materials in Greek, Latin, Hebrew, Arabic, and Sanskrit.

https://oadtl.org/

https://www.oclc.org/en/member-stories/oadtl.html

2019-03-14_EMEARC3

Like most libraries, my library in Madrid is facing new and challenging resource constraints, user requirements, and technology demands. Some areas are called on to do more work with fewer staff and lower funding. And all are dealing with user expectations based on global commercial powerhouse brands like Google, Apple, and Amazon.

What we have found at Complutense University is that the key to meeting major local challenges is to recast them as shared global opportunities.

Who do we share them with? All other libraries, worldwide.

Community accelerates innovation

At last month’s EMEA Regional Council Conference in Marseille, I had the chance to meet live with many colleagues who will be part of my library’s future success. Conferences like this are an important part of advancing the profession and establishing connections for future cooperation. And they are a primary method of sharing knowledge, best practices, and encouragement.

Approximately 300 participants from 24 countries attended this tenth annual membership meeting, which was held at the Palais du Pharo. The theme was “Change the Game”, which, for me and my library, means thinking about all our activities within a cooperative, global framework. Any program or problem may feel like a local move … but it’s taking place on a worldwide board.

In my presentation, I emphasized the importance of cooperation and innovation as the keys to our future. I believe working together in a global community is the only way for libraries to innovate, redefine themselves, and thrive in the dynamic environment of the 21st century.

Why not go it alone and take sole responsibility for your library’s future? Why is a community necessary for innovation? I believe we are at a point where it is simply impossible to get by without massive cooperation among libraries. Why?

  • It multiplies resources. Sustaining the ongoing investment in technology and the fast pace of product development is not within the reach of most libraries locally, by themselves, or in a regional network. A global platform enables libraries to share costs and spread the expenses over thousands of organizations.
  • It optimizes efficiency. Shared services help eliminate redundant local practices that isolate the internal work processes of a library. Sharing work through a cloud-based system offers an opportunity to examine ways we’ve always done things and change workflows.
  • It generates novel ideas. Sharing information and experiences with colleagues worldwide brings out new ideas that otherwise wouldn’t surface. Community, not competitivity, is a safe environment that nurtures an honest exchange of how we can make our libraries better.

For example, over the past few years, our library has joined several global initiatives to operate more efficiently, respond to change faster, and raise our visibility both locally and globally. Some of those international projects are:

  • Google Books
  • HathiTrust Digital Library
  • WorldCat and WorldShare ILL
  • WorldShare Management Services

Our participation in all of these initiatives allows us to manage resources more effectively and provide a new level of service to our users. These programs are innovations that require partnerships and cooperation. If we are innovating to meet the challenges of a connected, global audience, it only makes sense that we do so at the same scale.

You can learn more details about the Complutense story by viewing this video and reading this case study. We also are featured in a member story on the OCLC website that provides some background.

Cooperation creates community

The past successes of library cooperation are well known. ILL, metadata standards, online catalogs to name a few. Today, we need cooperation worldwide. It’s the same collaborative spirit of community but on a global scale with shared data, shared services, and shared ideas in the cloud to put innovation on a faster timetable.

Thank you to all who planned and attended this powerful event. It was a great chance to share knowledge around this important theme and remind each other how much we have in common.

http://www.oclc.org/blog/main/why-the-future-of-your-library-depends-on-others-knowledge/

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https://www.gapingvoid.com/blog/2019/03/05/want-to-know-how-to-turn-change-into-a-movement/

tonta

Kütüphane, arşiv ve müze gibi bellek kurumlarının genellikle geçmişle ilgili olduğu düşünülür. Oysa kültürel mirasın yönetiminde ve kültürel miras ürünlerinin kuşaktan kuşağa aktarılmasında çok önemli rol oynayan bu kurumlar gelecekle ilgilidir. Dijital çağda yaşanan hızlı teknolojik gelişmelerle birlikte kültürel miras ürünleri giderek çeşitlenmekte, dijitalleşmekte ve “yakınsamakta”dır. Bellek kurumlarının bu meydan okumaya karşı hazırlıklı olma, bu süreci iyi yönetme, dijital kültürel mirasın geleceğini güvence altına alma sorumlulukları vardır. Bu sunuşta kullanıcıların kültürel miras ürünlerine erişmelerini sağlayan bellek kurumlarının dijital geleceği biçimlendirmede karşı karşıya kaldıkları sorunlar ve bu sorunların çözümü için geliştirilen stratejiler gözden geçirilmektedir.

https://digitalssm.org/digital/collection/p21044coll2/id/3/rec/2

Posted by: bluesyemre | March 19, 2019

#Marketing and Advocating for the #AcademicLibrary

marketing-and-advocating-for-the-library-3

Marketing

Marketing focuses on the library’s current users and also our potential users. For us here at the university, that’s primarily going to be our students, but also faculty and staff, and community users.

It’s also important to recognize different segments our community. For students: it could be undergraduates, graduate students, international students, athletes, a particular major, etc.

For faculty: It could be marketing to their needs or using them as a channel to market library services to students.

For staff: It could be marketing library services like our leisure reading collection or curriculum materials collection. Something that adds value to their university employment.

The goal: Aligning the needs of the our students, faculty, and staff to the library’s services and resources.

https://mrlibrarydude.wordpress.com/2019/03/04/marketing-and-advocating-for-the-academic-library/

cost

The EIU’s Worldwide Cost of Living Report is a biannual survey comparing the cost of living in over 130 cities worldwide. The report examines more than 400 individual prices across 160 products and services.

Worldwide Cost of Living 2019

 

du4faj_x4aafctu

The global innovation foundation Nesta has just published Imagination unleashed: Democratising the knowledge economy, a report on building inclusion in the era of radical change shaped by digital infrastructures, networks, services, and products.

It’s a compelling document which explores current challenges to our societies and sets out a broad-ranging agenda for addressing them in ways which promote inclusion and equity.

Reading this report from an information professional’s perspective suggests a great number of opportunities for libraries and other information institutions to play a part in making a fairer and more prosperous world, where more people get to realise their full potential.

In this post, I’m going to talk you through the report, suggesting a few of the implications and opportunities – and I’d encourage anyone interested in the future of knowledge to check out the report alongside this commentary.

What is the knowledge economy- and what’s the problem?

If economic eras are defined by their most advanced form of production, then we live in a knowledge economy – one where knowledge, embedded in people and things, digital infrastructures, networks, products, and intangible assets, plays a decisive role in the organisation of production, distribution, and consumption.

Nesta’s report sets out a vision of the global economy as one that is booming but marred by inequality. Participation in the knowledge economy appears universal, but it is not: rather, it is confined to particular firms, places, and people.

Some of our era’s greatest problems can be explained by this confinement: stagnant productivity owing to the failure of innovation’s benefits to spread and a widening gap between the economy’s leading edge and its mainstream; gaps in pay, and opportunity; political disenchantment, as voters become split between “the fast and the stuck, the connected and disconnected”, those who participate in or are excluded from the knowledge economy.

The confinement of the knowledge economy confines human potential – denying people the opportunity to express “our distinctive human ability to reimagine the world around us”.

The report’s authors argue that human freedom and realisation of potential won’t advance as long as the majority of people, even in the richest countries, are “excluded from forms of economic activity which give adequate expression to their imaginative powers and humanity.”

For governments and political movements facing such challenges, there’s a temptation to follow familiar responses: reliance on trickle-down from the leading edge; promises of a return to the ‘good old days’ in the form of mass manufacturing jobs and closed economies; or faith that new forms of welfare such as Universal Basic Income (UBI) can be employed to redistribute the proceeds of technological advance.

Imagination unleashed, written by Roberto Mangabeira Unger, Isaac Stanley, Madeleine Gabriel, and Geoff Mulgan, explores other routes to an inclusive knowledge economy.

It argues that

the knowledge economy does not have to be confined and contained; that an alternative approach is in reach which democratises it. This alternative strategy […] puts as much emphasis on widening participation […] as advancing the frontiers. Rather than simply compensating the ‘losers’ of the market economy, it aims to transform its institutions, so that many more people, places, and firms can take part in, and shape, the knowledge economy.

Why libraries?

With centuries of experience in collecting, curating, organizing, and providing access to information, plus a developed system of ethics and values which applies to issues such as privacy and information equity, information professionals are well positioned to serve the knowledge economy of today and tomorrow.

In 2019, the mission of the library might be phrased as follows:

A library empowers communities to explore information, knowledge, and culture on their own terms.

(You can read more on this in “Anywhere in the universe: a mission for libraries).

Libraries are trusted services and spaces where communities can gather, discover, explore, and discuss the issues that matter to them. The community may be a neighbourhood, or a specialist group of scholars and students, or the staff of a commercial or public enterprise, but the relationship between a community and its information needs is always the focus of the modern librarian.

There has been a transition from “shelfy” services focussed on collections of printed material to places of performance, technology, and connection – equally likely to grant access to maker technology, to loan digital materials, or to host communities for performance or debate.

The Imagination unleashed agenda argues for action to transform the modern knowledge economy. The aims are

to democratise the economy;

to establish a social inheritance by reforming education and social security;

and to create a high-energy democracy, promoting experimental government, and an independent and empowered civil society.

The knowledge economy can be framed as the “fourth industrial revolution” – the latest in a succession of dramatic historic events which have radically reshaped our institutions – “often in response to the inequalities brought about by the first waves of change”:

Universal suffrage and universal education, rights at work, competition policies to break up monopolies, and welfare states: all attempted to mitigate the inequalities of earlier industrial revolutions.

Now new solutions are needed for a new era. In each of the report’s key areas, information professionals and libraries have the opportunity to play a significant role as protagonists of change in a global story.

This story provides a viable and inspiring alternative to narratives of trickle-down economics or a fantasised retreat into the golden age of an industrial past. It is a story of people taking control as makers, not just as consumers.

Makers and their means

The economy of the 21st century has many names: knowledge, information, digital, data-driven. It is an economy in which knowledge plays a bigger role as both input and output; and where digital infrastructures, networks, and products, and intangible assets play a decisive role in the organisation of production, distribution, and consumption.

The transformations which have led to the era of the knowledge economy are not solely technological, but this age is associated above all with high-technology industry.

Technologies such as 3D printers “shorten the distance between productive activity and experimental science”: it’s a short jump from conceiving something to having a go at making it, then developing it into a product.

While often the innovations of the knowledge economy are geographically concentrated – with already successful sites like Silicon Valley drawing in new talent and capital, benefiting from the latest technologies – public libraries provide one potential point of access for even disadvantaged communities to access the new instruments of the information age.

Many public libraries internationally now host maker technologies such as 3D printers or dedicated makerspaces focussed on hands-on, user-led innovation and exploration of technology.

In 2018 I consulted with public libraries in Warwickshire, England on the creation of two “Let’s Make” spaces intended to serve economically deprived areas. These dedicated rooms within existing public libraries are intended to provide services which create pathways to entrepreneurship and develop new skills suitable for local high-technology industries such as car manufacture.

In the United States’ Sachem Public Library, experienced makerspace staff are going yet further in exploring how to diversify the ways in which maker devices, software, and services are offered.

Sachem’s Chris De Cristofaro and Cara Penny explained in a 2018 conference paper that 

Makerspaces have traditionally been located in a single, fixed location in the library that is available for patrons of all ages. Although the model of grouping all makerspace technology in one area has been successful, a fixed space can limit how many patrons can access the materials at any given time and limit programming capabilities.

In the revised Sachem model,

Studio technology such as the 3D printer, embroidery machine, robotics, digital art, video production with green screen technology, virtual reality systems, and other items are mobile and can be shared between departments or taken outside the building for outreach.

This has implications for the ways in which communities exploit opportunities to make new things happen. In the Sachem model, novel maker technology is removed from the specially demarcated “makerspace” and integrated into the library’s wider offering, on- or off-site, so that it becomes part of everyday service. This change is as valuable for a corporate or institutional environment as it is for the playful or informal contexts in which Sachem’s users might investigate maker technology.

As Nesta’s report puts it,

When the distinction dissolves between conceiving and making, initiative is decentralised. Command-and-control approaches won’t cut it any more and participants in production need to find new ways to cooperate.

The capacity of libraries to offer a radically decentered approach to knowledge management is one of the benefits they offer communities in the information age. This relates to the ways in which libraries have traditionally focussed on exploration,  not instruction.

Not teachers, not preachers – helping to transform education

It’s not just about technology, it’s not just about access to data. The way we learn, individually and together, will have to change too. That applies to so-called “soft skills” as well as every other domain of knowledge.

Imagination unleashed acknowledges that current education systems prepare people for the economy of the past, not the future. The report points towards a coming world where repetitive jobs and those which demand physical strength are likely to disappear, but those requiring collaboration, creativity, and judgment will likely grow in demand.

In the workplace envisioned by the Nesta report, teams must organise fluidly, with less division between the roles of supervision and implementation – “teams need latitude to organise their work”.

Thankfully, this kind of structured yet flexible approach to working with knowledge is also a characteristic of the library as institution – as discussed in the essay “Anywhere in the universe“:

Exploration of information, knowledge, and culture doesn’t just mean reading, viewing, or learning; it can mean making, experimenting, performing.

Finding stuff out for yourself isn’t always like checking the weather forecast or looking up the capital of Peru. Sometimes discovery is an act of creation. Think of a sculptor, pondering the stone before them, trying to find the sculpture within: “I saw an angel in the marble and carved until I set them free.”

[…] Libraries are places for surprise and discovery, not predetermined outcomes. Even when engaged in an unserendipitous act like seeking an item from a college reading list, or revisiting a book read once before, a reader has the capacity to surprise themselves and others: they are seeking something which they do not know or fully recall.

[…] Great librarians are not teachers or preachers, inflicting lesson plans, assessments, doctrines, and dogmas on those they serve – they avoid the instructional paradigm wherever possible, surrendering command and control to the user if they can.

[…] Librarians may devise learning opportunities to help the explorers they serve – approaching the territory of the teacher via the middle ground of educational design – but they are distinct from teachers, and that distinction lies in the power dynamic between the librarian and the learner.

Librarians already offer the kinds of collaborative and exploratory approaches to learning advocated for in Nesta’s report, and these can be expected to evolve as technology and artificial intelligence shape the world of work and everyday experience.

In addition, the Nesta report emphasises the need for “lifelong learning” to become more than just a buzzword but a serious strand of education alongside traditional primary, secondary, and tertiary institutions. The library, which already offers courses to all ages for its community, stands ready as a site for investment and development in this role.

This has an impact not just on education itself, but also the model of welfare proposed by Nesta’s report – a “social inheritance” giving security in times of change, with an increased focus on reskilling to meet the fast changing needs of the knowledge economy. That kind of social inheritance, designed for an information age, might well be the kind that you claim not at a benefits office, but at a public library.

In the future, the kinds of problem-solving we come to value at work may surprise us. Will accountants’ work succumb to machine learning before that of the plumber who has to visit your home, figure out why your bathroom plughole is misbehaving, then rummage around in the pipework?

Will it prove harder to teach a machine to fold bedlinen than to advise a judge on whether her sentencing has been consistent when the same kinds of crimes are tried in her court?

Will librarians themselves be replaced by self-check machines issuing loans or will they find innovative new ways to understand, define, and meet their community’s information needs?

In answering that question, they might just end up helping to define the future of education.

Intellectual property

Imagination unleashed‘s proposals for transforming the knowledge economy and making it more inclusive also include a drive to explore alternative forms of ownership – what they call “unbundling” or “splitting the atom” of ownership – by encouraging alternative property regimes to flourish alongside the dominant model.

The authors comment that:

The established law of patent and copyright is designed to provide incentives to innovation through offering temporary monopoly while requiring inventors to disclose their creations […] In practice, patent law can also inhibit an inclusive knowledge economy.

Librarians are already enthusiastic advocates in the field of intellectual property reform. In 2015, Australian librarians took a creative approach to lobbying their government with the “Cooking for Copyright” movement. This sought to reform copyright terms for unpublished works so that they matched those for published works (70 years after the death of the creator).

In the past, these works would have remained perpetually in copyright, so librarians found unpublished historic recipes, cooked them, and shared the results on social media to show what the nation was missing out on.

Unpublished works included not just recipes but historic diaries, letters, company records, and academic theses – the cookery campaign helped advocate for the government to change the copyright rules which had kept materials locked away to no one’s benefit.

More recently, and at an international level, the work of academic librarians to develop the Open Access movement and negotiate with academic publishers in particular is part of the mission Nesta identifies, to encourage a fresh look at the nature of intellectual property.  The willingness of information institutions to contend with publisher Elsevier is a sign of their appetite for contributing to the property regimes of the future.

Across the current and future knowledge economy, librarians will be found experimenting with and making use of IP novelties such as Creative Commons licences and open source software, and can be expected to play a role with new developments such as varying patent lengths, innovation prizes, and special-purpose public entities in which diverse contributors to a new technology could hold a stake.

With the increasing presence of maker technology in public and academic libraries, we might reasonably expect information professionals to be at the forefront of new debates in intellectual property as they apply to material products, too.

Sector-specialist information professionals like London’s Oz Ablett will even bring the information’s professional lens to bear on fields such as architecture and the management of larger physical spaces.

There’s also a further element to ownership in which librarians and information professionals have a part to play. Imagination unleashed sets out one set of approaches to property which

focus on promoting more conditional and temporary forms of property rights, underpinned by stronger obligations of property “owners” towards the wider social and natural environment.

The report authors suggest that the language of “custodianship” be used for this concept. This chimes with terminology used to describe Indigenous relationships with the natural world. Information and culture institutions in nations such as Australia and New Zealand with a long colonial history have begun challenging discussions around decolonisation and respectful engagement with Indigenous materials and practices of knowledge management.

A self-critical information profession willing to revise its beliefs, values, and practices as it learns from Indigenous traditions of knowledge (when permitted to do so) could valuably inform future notions of custodianship.

In every nation, community, and culture, librarians, with their long tradition of custodianship of knowledge, their familiarity with copyright law and intellectual property regimes, and their recent engagement in the future of academic publishing and open access, bring useful history, skills, and institutional positioning to this aspect of the  knowledge economy.

Libraries and the tech giants

Imagination unleashed points out the necessity of democratising data and opening up the infrastructure of the knowledge economy – addressing the power wielded by the so-called “tech giants” and the culture that some have labelled “surveillance capitalism”, where large corporations offer services in return for the ability to monitor, record, and exploit the behaviour of their users in astonishing detail.

Imagination unleashed indicates that the internet will inevitably transform again, “offering an important opportunity for new, human-centric narratives to replace the corporate values currently governing the network of networks.”

Librarians, as values-driven information professionals who have even stood up to US Homeland Security against sharing patron data, have a part to play in the challenges identified by Nesta’s researchers.

The report notes that equitable access to the internet is vital in a world where more and more services will reside online:

Half the world’s population is now online, but growth in internet access has slowed down in recent years. Getting more people online means addressing physical barriers – investing in broadband and infrastructure – as well as promoting accessibility for users with disabilities and non-English speakers.

Libraries around the world provide computers and internet access to their communities; some loan hotspots and technology to be taken offsite; some keep their public wifi switched on after hours so that users can still get access to the internet from outside the building after the staff have closed it for the night.

Librarians also advocate for Net Neutrality, or seek out better infrastructure provision for their community: in Australia, where regional areas are plagued by poor broadband provision, some public libraries have negotiated to be given access to a faster broadband network designed for universities and research institutions.

Librarians also connect with other partners in this field: the Catalonian internet provider Guifi.net, which serves rural areas that mainstream providers do not reach, was invited to present at the IFLA President’s Meeting of global librarians in 2018, for example.

Imagination unleashed also calls for new models of data ownership, identifying them as a priority for institutional and legal reform.

“It is […] an important principle for a future knowledge economy that data should be under the control of the individuals who generate it,” so that it is not in the hands of giant firms who have little incentive to use the data in their possession, except for economic gain.

Libraries around the world are exploring new roles as trusted custodians of public data, which might form the core of the new models Nesta’s report calls for.

In Canada, Toronto Public Library is being considered as a potential holder of such information for smart-city projects; in Norway, the library of Stavanger is partnered with the small tech firm Bolder on a city-scale project to give citizens control of their own information, sharing it on their own terms. Increasing people’s control of the data they generate also lets them make informed decisions about when to share it for broader communal use.

And while such future-facing proposals and experiments are being advanced, libraries are also dealing with the challenges of the here and now. The Dutch library innovation unit Frysklab is translating and adapting a “Data Detox Kit” originally designed by Berlin’s Tactical Tech collective: this eight-step plan empowers library users to consider their data footprint and who they are sharing their personal information with, returning informed choice and control to the individual where possible.

Public institutions, too, will benefit from librarians’ support as they take control of their data and make use of their ability to share it judiciously. The open data movement and projects based on making community information available to all, such as hackathons, will require information professionals who host testbeds and sandboxes where newcomers, innovators, and members of the public can use experimental methods to find what works in solving the problems of today and tomorrow.

Because the knowledge economy thrives on continuous innovation and “competitive cooperation”, Nesta’s authors note, it

depends on higher levels of trust, within and between firms, as well as among other stakeholders, including government and consumers. Experiments and testbeds, for example, work best where there are strong relationships of trust between firms, government, and the community.

Librarians’ established high level of trust among the community could be especially valuable in this context. Last year, in Norway, I proposed a challenge prize which used the public library network to extend the reach of the nation’s innovation agency, leveraging the trust and geographical coverage of libraries to offer a more inclusive approach to finding Norway’s brightest ideas.

Not revolution or reform, but piecemeal transformation

So how will this all work? The report authors acknowledge that the implementation of these ideas will vary according to national histories, cultures, and institutions. This chimes with the Review of The Next Horizon consultation report Dr Kate Davis and I wrote for the State Library of Queensland, Australia last year (PDF download).

Our research found that, in developing a vision that had meaning for a region as geographically large and diverse as Queensland, the future public library must be

deeply local […] part of the community it serves. […] The future public library is deeply connected to its community and their needs. It focuses collections, programs and services on the needs of the community and takes a customer-centric view of its operations. Library staff know their community well, both formally and informally.
They are well acquainted with evidence, data, and demographics, but their work goes beyond transactions to develop meaningful and lasting relationships with the people they serve.

Innovation in both the information profession and the wider knowledge economy must unfold within its local ecosystem – the transformation of our society’s relationship to knowledge will not happen in a single wave or an imposition from above, but a process that is piecemeal and perhaps eccentric.

Institutional and ideological orders are ramshackle constructions. They change, and we change them, step by step and part by part. Fragmentary, piecemeal, and discontinuous change is not only compatible with the transformation of such structures; it is close to being the only way in which they change.

This means that small local projects and limited experiments can be of benefit in provoking an overall systemic change. It also gives new meaning to William Gibson’s observation that “the future is already here, it’s just not very evenly distributed”.

This quote does not mean that there is only one future, which has already been decided for us, merely waiting to roll out from the big metropolises and centres of power, from Silicon Valley, or New York, or Beijing.

It means that some of our potential futures may resemble conditions which are already unfolding elsewhere – for example, to see how widely available, high-speed broadband might affect society, one could visit South Korea, where that has been the situation for some time. Librarians and information professionals might benefit from considering their possible futures and investigating communities around the world who could already be experiencing some of the conditions which await.

Deeply local transformations give hope, inspiration, and possible routes forward for others who seek to transform their own setting. The UK’ s Libraries Unlimited offers one example: in a time of widespread cuts to British public libraries, this service in South West England spun off as a public sector mutual with 50 branches.  Redefining and reinvigorating public library service for the 21st century, it is not a “copy and paste” model for every community, but it demonstrates new options for the beleaguered information institutions of Britain. Nesta called the thriving service one of their ‘New Radicals’ of 2018.

This work of local experimentation – and learning from other examples without merely copy-and-pasting – matters greatly, because it is the way to ensure that a singular future is not imposed on us. Other routes are always possible, if only we can imagine them.

The Nesta report gives the example of US agriculture in the early 19th century:

Americans resisted the idea that the formation of large landholdings, and the expulsion of smallholders from the countryside, was intrinsic to the development of ‘capitalism’.

Federal and state governments did much more than redistribute public lands to families ready to till them. They organised the institutional machinery and economic instruments of efficient, market-oriented agriculture.

Land-grant colleges helped to ensure that agriculture, even at relatively small scale, could benefit fully from the most advanced science of the time. Economic and legal tools such as minimal price supports, food stockpiles, and crop or income insurance, were used to safeguard family-scaled agriculture against price volatility and climate volatility.

What would this kind of attitude, this provision of support and security, look like for the wildly different terrain of a knowledge economy?

To find out, it is necessary to remain hopeful, to research thoroughly, and to take action, experimenting and seeking the best possible future. A spirit of experimentation must be encouraged and accompanied by measures designed to protect and safeguard the community, so that they remain unafraid in the midst of rapid and uncertain change.

As Imagination unleashed puts it,

The more one knows and discovers, the easier it is to make the next discovery. If the process of production can be organised on a model of scientific inquiry and experimentalism, innovation can stop being episodic and become permanent.

Conclusion

There is fear, in this moment of change, that human beings could be “replaced by machines” in some aspects of their lives, and that this could be experienced as a terrible loss.

Nesta’s report reminds us that human beings differ from machines in our capacity to imagine. Digital devices may take up jobs we did in the past, but they can only do the things which we have learned how to repeat – and which we can teach them how to repeat.

In the healthiest possible futures for the knowledge economy, human beings and machines don’t become interchangeable, they diverge. Human beings must be unlike machines, escape formulaic thinking, displaying instead “foresight, vision, and the ability to imagine what is not already there”. The report’s authors write that “[t]he power of disruptive imagination needs to be unleashed in every citizen”.

If we’re going to do that, and help our communities to solve the problems of today and tomorrow, to realise their full potential, the library has a leading role to play.

The report’s vision is of a change which is cumulative and experimental, rather than sweepingly revolutionary or reformist. It is of a change which is girded by safeguards and social inheritance.

In this scenario, the library is a comforting, familiar, trusted place, directly connected to our legacy and heritage via its role as the custodian of knowledge and culture.

The library is an information institution, whose primary purpose is to give people access to knowledge, information, and culture on their own terms, one which has long supported lifelong learning and which offers an exploratory paradigm which supports rather than controls the learner.

The library is a place which has changed before – to accommodate new technologies, new hierarchies, new ways of being funded, new ways of living – and it’s one which is ready to change again.

The library is a physical and virtual space where grassroots movements, experts, innovators and big institutions both private and public can all meet. It’s a place where education can be reframed as exploration rather than instruction. It’s a place where a tradition of welcome for all and access to information provides a launchpad for the next evolution of our societies, our economies, and our relationship to knowledge itself.

The Nesta report concludes by stating it is “a story of people taking control as makers, not just as consumers.”

For the library user who comes to support the development of their infant child’s literacy at a storytime, who comes to seek out information on shelves or a screen, who seeks solace or inspiration in a movie or a novel, or seeks connection in a community event; for the library user who is looking for a technological innovation, using digital tools like the 3D printer to test their own bright ideas and bring them into the world – for all of these people, no institution has a greater role to play in unleashing their imagination than the library of today – and tomorrow.

Read “Imagination unleashed: Democratising the knowledge economy” at the Nesta website.

 

https://mechanicaldolphin.com/2019/03/18/imagination-unleashed-libraries-contribution-to-the-future-of-the-knowledge-economy/

Posted by: bluesyemre | March 18, 2019

Creating Your Library’s Vision and Master Plan in 10 Steps

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Georgia Tech Library Amphitheater (Architect: BNIM)

Traveling up the elevator in the St. Louis Gateway Arch has a wonderful cadence to it. As the special round elevator pod travels up along the curve, you feel yourself leaning over and then just at the moment you might tip out of your seat, the pod self-corrects and you’re upright again… until the next ascent and correction.

Libraries go through the same cycle. Their purpose evolves and their services, spaces, and staffing change organically and opportunistically over the years – providing a new service like data management, renovating a space like a learning commons, adding a department like user experience, consolidating a small departmental library, or co-locating a partner like a writing center. Then about every ten years or so, libraries need to look back, think ahead, and right themselves for the coming decade. The best way to do this is through a library master plan.

Why Do Libraries Need Master Plans?

Library master plans are needed now more than ever because of the variables, complexity, and pace of change. Libraries have changed from places to store and access information individually to places to connect, create, collaborate, curate, and convene. In response, campuses are looking to add study and instructional spaces, rebalance space allocations for physical collections on- and off-campus, co-locate or consolidate academic services, and renew existing buildings. Often libraries are spread across campus in different locations and managing the operations of distributed organizations and facilities is complex as institutions deal with growth, internal changes, and external pressures.

What Does a Master Plans Enable You to Do?

A good master plan considers services, spaces, and staffing together; analyzes the current state; forecasts the future needs; and develops practical strategies to get there. Done right, the process engages stakeholders across campus to create a comprehensive plan that provides short- and long-term improvements. Rather than something too prescriptive about what precisely needs to happen say 42 months from now (the kind of forecast you’ll get wrong by the way), you need to be able to assess upcoming opportunities, allocate resources, and flexibly implement the plan in a phased way that allows you to learn and innovate as you work toward your long-term goals.

How Can You Create Your Library Master Plan?

How can you create a flexible master plan to put your library on the right path? In our work with over 40 libraries, we’ve identified the key steps for library transformation: conducting research, establishing a vision, forecasting needs, creating new space/service/staffing concepts, updating service offerings and partners, rationalizing spaces and services within buildings and across the campus, identifying phases and pilots, and then redesigning the organization.

Now, let’s define each step and use an example from brightspot’s work to illustrate it:

  1. Conducting research: To understand the current state and future opportunities, libraries need to look externally to peer institutions and other industries as well as look internally at the needs of their users and staff through interviews, observations, workshops, surveys, and data mining. When we worked with the University of Pittsburgh on the reinvention of Hillman Library, we identified trends like active learning applied to real-world problems, needs like faculty research mentoring through interviews and workshops, and guiding principles like the importance of designing for inclusion.
  2. Establishing a vision: A vision should explain the ideal future state in enough detail to provide focus and make decisions; one of our favorites is Bill Gates’s: “A computer on every desk and in every home, running Microsoft software.” As part of Georgia Tech’s library renewal, we conducted interactive town hall meetings to get input from everyone from security guards to the dean to create their vision to “exploring the past and design the future by bringing together inspirational spaces, curated content, expert guidance, and scholarly communities.”
  3. Forecasting needs: Informed by research findings and guided by a vision, next libraries need to forecast their future needs in terms of space, service, collections, technology, and staffing – qualitatively and quantitatively. To create Emory University’s library master plan, we projected future user seating, staffing, and collections to get a sense of future space needs quantitatively while using qualitative input from interviews, workshops, and our survey to understand specific services and spaces needed.
  4. Creating a playbook of space/service/staffing concepts: With the needs identified and an overall forecast established to define the sandbox, you can then play inside it by brainstorming and building a wishlist of concepts to meet the needs, and then seek broad input from surveys and feedback fairs. For UC Davis’s library transformation, we created a playbook of these concepts – to be implemented based on feedback – including creating a peer research guide role, a research “Kickstarter” forum, and a data visualization hub.
  5. Updating service offerings and integrating partners: Based on the research findings, vision, needs, and concepts, libraries can then clarify and update their service offerings and identify academic or administrative service partners to work with to create a cohesive experience for students and faculty. To create a new learning commons at the University of Miami, we developed a service model with the different categories of services and activities for students (e.g., “work with data” and “collaborate and discuss”) which were then reflected online and in the space.
  6. Rationalizing the spaces and services across buildings: At the campus-scale, libraries need to get the right services, staff, and spaces in the right place and in the right amount. So they need to look at their locations and answer big questions about on-site vs. off-site collections, the role of smaller departmental libraries, and the focus of each location. In our work on the University of Wisconsin-Madison’s library master plan with Engberg Anderson Architects, we developed a strategy to consolidate 17 locations into 6 hubs that co-locate functions to provide a more effective and efficient experience.
  7. Rationalizing the spaces and services within buildings: At the building-scale, libraries must answer these same questions, but in greater detail. Rationalizing the number and type of service points (i.e., central and integrated vs. distributed and specialized) and creating a logical flow between spaces (i.e., moving from lively to quiet). For American University’s library master plan, we developed a plan to create a research commons that moved from 9 staffed service points to a concierge desk and an integrated service point.
  8. Identifying phases: Few master plans are implemented all at once. The reality – based on funding, maintaining current operations, and other changes that may be happening on campus – is that master plans need to be divided into phases of discrete projects that can be implemented over time, some dependent on others, some independent. For Carnegie Mellon, we identified the possibility for library expansion in the long-term while also identifying ways to sequentially transform existing spaces to better meet user needs, some of which are in this newsletter.
  9. Identifying pilot projects: Many master planning processes end with libraries being overwhelmed about the coming changes and not knowing how to get started. To avoid this and create a more flexible plan, libraries can identify space/services/staffing pilot projects whose results can inform the long-term strategy and build momentum. For the University of Michigan’s strategy for Hatcher-Shapiro library, we identified pilots such as a staff innovation lab called “The Hatchery” (get it!), a consultation hub, and a citation management service.
  10. Redesigning the organization: When libraries transform their spaces and services, the way they organize their staff generally needs to change as well. Most library org charts are dated and organized around the selection, cataloging, and circulation of physical books with new functions like “digital scholarship” added on. Or they are confusing mashups of locations and functions. As part of Miami University’s library master plan we did with Perkins + Will, brightspot developed a new organizational structure that instead mapped departments to services.

There’s No Time Like the Present to Think About the Future

The use of libraries is changing rapidly and their purpose is evolving. New work patterns, new technologies, experiential learning projects, a new publishing reality, and interdisciplinary research projects are all changing library spaces, service, and staffing. So, libraries can’t stand still. And they haven’t been – they’ve been innovating along the way, to varying degrees. It’s only natural then to have to periodically step back, reflect, look ahead, and create a master plan for the future.

While not every step is needed for each plan, libraries can transform by conducting research, establishing a vision, forecasting needs, creating new space/service/staffing concepts, updating service offerings and partners, rationalizing spaces and services within buildings and across the campus, identifying phases and pilots, and then redesigning the organization. Good luck as you move ahead and let us know if you need a partner on this path.

https://www.brightspotstrategy.com/higher-education-library-master-plan/

Posted by: bluesyemre | March 18, 2019

#TÜBİTAK AçıkBilim Politikası

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POLİTİKA BAŞLIĞI:
Türkiye Bilimsel ve Teknolojik Araştırma Kurumu (TÜBİTAK) tarafından yürütülen veya desteklenen projelerden üretilen yayınlar ile araştırma verilerinin yönetimi, saklanması,
arşivlenmesi, derlenmesi ve dijital korunması TÜBİTAK Açık Bilim Politikasının çerçevesini oluşturmaktadır.

AMAÇ:
“Açık Erişim” kavramı ilk kez 2002’de, dünyanın önde gelen araştırma enstitüleri, bilim ve araştırma kütüphaneleri ve araştırmacılar tarafından oluşturulan Budapeşte Açık Erişim Girişimi’nde: “bilimsel literatürün internet aracılığıyla finansal, yasal ve teknik bariyerler olmaksızın erişilebilir, okunabilir, kaydedilebilir, kopyalanabilir, yazdırılabilir, taranabilir, tam metne bağlantı verilebilir, dizinlenebilir, yazılıma veri olarak aktarılabilir ve her türlü yasal amaç için kullanılabilir olması” olarak tanımlanmıştır. Sonraki dönemde ise uluslararası kuruluşların çalışmaları ve bulgularıyla açık erişimin bilimsel gelişmelerdeki tetikleyici rolü ortaya çıkmıştır. Avrupa Komisyonu, Avrupa Birliği’nde kamu kaynaklarıyla desteklenen araştırmaların çıktılarının yayılmasında açık erişimi standart yöntem olarak desteklemekte ve bilginin
serbest dolaşımına Avrupa Araştırma Alanı’nın beş önceliğinden biri olarak yer vermektedir. Avrupa Birliği (AB) fonlarıyla desteklenen projeler kapsamında üretilen tüm hakemli yayınların açık erişim olması, AB 7. Çerçeve Programıyla başlamış ve dünyanın en büyük sivil Ar-Ge destek programı olan, ülkemizin de katılım ve katkı sağladığı AB Ufuk 2020 programında zorunluluk olarak devam etmiştir.

Açık Veri; herhangi bir telif hakkı, patent ya da diğer kontrol mekanizmalarına tabi olmaksızın herkes tarafından ücretsiz ve özgürce kullanılabilen, tekrar kullanılabilen ve
dağıtılabilen veri olarak tanımlanmaktadır. Verilerin paylaşıma açılması ile bilimsel çalışmaların çok daha etkin ve verimli bir şekilde yapılması, veri tekrarının önüne geçilmesi, verilerin kendi içinde tutarlı kalması ve veriye çok daha hızlı erişilmesi mümkün olacaktır. Açık Bilim, araştırma çıktılarının ve araştırma verilerinin bilgi ve iletişim teknolojilerindeki gelişmelerin de katkısıyla tüm araştırma camiasına ve kamuya bedelsiz ve şeffaf olarak açılması, özellikle kamu kaynaklarıyla gerçekleştirilen araştırmaların etkinliği, yayılımı, bilimsel araştırma sisteminin verimliliği ile araştırmaların görünürlüğünün ve izlenebilirliğinin artırılması, aynı araştırma alanındaki mükerrerliklerin azaltılması, uluslararası araştırmalarla bağlantılarının kuvvetlendirilmesi gibi birçok konuda fayda sağlamaktadır. Açık Bilim konusundaki küresel gelişmeler ve ortaya konan kazanımlar doğrultusunda TÜBİTAK, desteklediği araştırmalar, araştırmacılar, TÜBİTAK araştırmacılarının yayınları ve araştırma verileri için bu politika metnindeki ilkeleri belirlemiştir.

TÜBİTAK Açık Bilim Politikası

human-the-movie-845x634

Bu belgesel duygu yüklü insanlarla birlikte yaşamanın yeni bir yolunu bulma arayışı içine girerek insanlığın hassas bir portresini çiziyor. Yaklaşık 60 farklı ülkede çekilen ve 7 milyarlık Dünya nüfusunun neredeyse her kesiminden insanlarla yapılan röportajlara ve benzersiz hava görüntülerine dayanıyor. Amacı, kişisel hikayelerin ve yaşam yaklaşımlarının merkezinde, birlikte yaşamak ve daha iyi bir dünya yaratmak için hala olsun inanılmaz kaynakların mevcut olduğumuzu göstermek.

http://www.human-themovie.org/

 

Posted by: bluesyemre | March 15, 2019

#BoruSanattır #MercanDede Mix

Boru deyip geçenler bilmez… Bir borunun üretiminde ne kadar emek, ne kadar mühendislik; bilim, teknoloji, yatırım ve uzmanlık olduğunu. Biz işimize sanatçı gibi yaklaştık hep. Bu sanatı icra edenler de; el emeğiyle, tecrübesiyle, eğitimi, yeteneği ve fedakarlığıyla 60 yıldır sahnede yer almış, işine ve Borusan Mannesmann markasına gönül vermiş çalışanlarımızdır. 60. yılımızda çalışanlarımıza Mercan Dede’nin fabrika seslerimizle oluşturduğu bir parçayla teşekkür etmek istedik. Çünkü #BoruSanattır

  • Yapım: Huni Creative Studio
  • Yönetmen: Barış Murathanoğlu & Kadir Öztoksoy
  • Müzik: Mercan Dede
  • Ses: Ümit Öktem
  • Kreatif Direktör: Kadir Öztoksoy
  • Art Direktör: Bertuğ Uçar
  • Prodüksiyon: Dilara Yılmaz, Yiğithan Kemendi, İpek Eker, Selda Coka
  • Post Production: Barış Murathanoğlu
Posted by: bluesyemre | March 15, 2019

#RyanSheffield #Authors Series @RYANxSHEFFIELD

 

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https://ryansheffieldart.com/work#/authors/

https://www.etsy.com/shop/RyanSheffield/items

https://www.instagram.com/junkfiction/

Posted by: bluesyemre | March 15, 2019

#Bookface Magazine

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https://www.instagram.com/bookfacemagazine/

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