Posted by: bluesyemre | May 22, 2019

#CulturalDiversity: A Necessity in Our Changing World


Left to right: two boys at Banteay Chhmar, Cambodia; girls in traditional Dong clothing in Dali Village, Guizhou Province, China; schoolchildren at the Ableizhi school near Ciudad Perdida, Colombia. ©Global Heritage Fund

To protect human rights, we must recognize cultural diversity as a crucial component of sustainable development and inclusive dialogue…

On May 21, we celebrate World Day for Cultural Diversity for Dialogue and Development. As the leader of an international heritage organization, I know firsthand that supporting communities and protecting their human rights is impossible without sensitivity toward cultural diversity

Our world has a truly dazzling array of cultures. From remote villages in China to the wild jungles of Colombia, the world’s many peoples have created unique histories that bind them to one another and to their special places. Acknowledging the conditions that shaped a people and their history is critical to understanding the challenges they face today – and developing the means to meet them.

In our work at Global Heritage Fund, we protect the world’s special places and traditions so that coming generations can enjoy their history far into the future. Our success in the field is rooted in our understanding, sensitivity, and appreciation of the cultural diversity that makes our world a magical place to be.

For World Day for Cultural Diversity for Dialogue and Development, I ask you to reflect on the importance of cultural diversity for protecting cultural heritage and promoting the human rights of those who steward it.

1. Cultural diversity supports local development.

Cultural diversity is key to local, sustainable development that helps communities lift themselves out of poverty. By tailoring development goals to the unique histories of each community, it is possible to provide solutions that are longer lasting and more impactful than one-size-fits-all approaches. Embracing the nuances of cultural diversity empowers people to take ownership over their past, improve their present, and build a better future for their children.

“Cultural diversity gives our life its richness, its color and its dynamism. It is a cognitive and intellectual opening and a driving force for social development and economic growth.”

– Audrey Azoulay, UNESCO Director-General

2. Cultural diversity promotes inclusive dialogues.

Cultural diversity is essential for elevating diverse voices. At our projects around the world, I’ve seen how diversity brings unique perspectives to our work, helping us to be more thoughtful and empathetic in how we treat people and their history. Cultural diversity encourages creativity and the exchange of ideas, as well as fostering meaningful dialogue around global issues that impact all members of society.

3. Cultural diversity is our shared human heritage.

Cultural diversity is the bedrock of our global heritage — just ask international organizations such as UNESCO. By wedding cultural rights to human rights, UNESCO has made it clear that cultural diversity is a vital component of today’s society:

“Cultural diversity is as necessary for humankind as biodiversity is for nature. In this sense, it is the common heritage of humanity and should be recognized and affirmed for the benefit of present and future generations.”

– Universal Declaration on Cultural Diversity, 2001

Cultural diversity is our shared heritage – the many histories, traditions, and monuments that in their many forms showcase the stunning vitality of humankind – and we must all vigilantly protect it for future generations.

4. Cultural diversity fosters peace.

Cultural diversity fosters peace by demanding respect for human life regardless of different traditions, histories, and customs. Today, it is not enough to ask for tolerance. To truly protect human rights, we must actively champion cultural diversity.

5. Cultural diversity is good business.

Finally, cultural diversity is important for remaining economically competitive in our global world. Creating a diverse workforce is about more than giving representation to different groups in a society. It enables workers and employers to share an array of experiences and viewpoints that strengthens their work, making them more adaptable to new trends and giving them an advantage over competitors with less breadth of experience.

Embracing cultural diversity is a priceless opportunity to alleviate poverty, empower communities, and promote peace. Join me today and every day in celebrating cultural diversity as a powerful force for human rights.

Fayetteville Arkansas Farmers Market

Living close to public amenities—from parks to grocery stores—increases trust, decreases loneliness, and restores faith in local government.

As our political discourse generates derision and dissension, our time in the virtual world crowds out our time in the actual one, and trust in our institutions and one another has plummeted, local places such as markets, libraries, and coffee shops can help. A new study shows that living near community-oriented public and commercial spaces brings a host of social benefits, such as increased trust, decreased loneliness, and a stronger sense of attachment to where we live.

Americans who live in communities with a rich array of neighborhood amenities are twice as likely to talk daily with their neighbors as those whose neighborhoods have few amenities. More important, given widespread interest in the topic of loneliness in America, people living in amenity-rich communities are much less likely to feel isolated from others, regardless of whether they live in large cities, suburbs, or small towns. Fifty-five percent of Americans living in low-amenity suburbs report a high degree of social isolation, while fewer than one-third of suburbanites in amenity-dense neighborhoods report feeling so isolated.

These new findings are based on a nationally representative survey that measured how closely Americans live to six different types of public and commercial spaces: grocery stores; restaurants, bars, or coffee shops; gyms or fitness centers; movie theaters, bowling alleys, or other entertainment venues; parks or recreation centers; and community centers or libraries. By combining these spaces into a single scale, we were able to identify three distinct community types: high-, moderate-, and low-amenity neighborhoods. Americans in high-amenity communities live on average within walking distance of four of the six types of neighborhood amenities. Americans in moderate-amenity communities are on average no more than a short car trip (five to 15 minutes) away, while low-amenity residents live on average a 15-to-30-minute drive from all six types of amenities.

We found that 23 percent of Americans live in high-amenity communities, close to half (44 percent) live in moderate-amenity communities, and one-third (33 percent) live in low-amenity communities. But more notable is the effect that living near these amenities has on how we relate to our communities and to one another.

While high-amenity residents exhibit a range of more positive social behaviors and attitudes, it’s also true that these communities are geographically and demographically distinct from moderate- and low-amenity communities. High-amenity neighborhoods tend to be more urban and include a greater proportion of white non-Hispanic residents and residents with more formal years of schooling. To fully capture the independent influence of neighborhood amenities, we constructed three statistical models that controlled for these important geographic and demographic differences. The results show that even after taking account of educational background, race and ethnicity, ideology, income, age, and urbanity, people who live closer to neighborhood amenities are more trusting, are less socially isolated, and express greater satisfaction with their community.

For instance, residents in high-amenity urban neighborhoods are twice as likely to say people in their community are “very willing” to help their neighbors compared with urban dwellers in low-amenity areas. High-amenity suburban residents are three times as likely to say the same compared with those in low-amenity suburban areas. High-amenity urbanites and suburbanites are roughly twice as likely as their low-amenity counterparts to say they trust their neighbors a great deal. A similar pattern is evident when it comes to trusting co-workers.

Access to more community-oriented spaces is also associated with increased confidence in local government. Even though we are bitterly divided by politics, and confidence in federal and state governments is in decline, people in vibrant neighborhoods have a greater level of confidence in their local government than those living in amenity-poor places. Americans living closer to neighborhood restaurants, bars, parks, and libraries are nearly twice as likely as those living in places where these things are largely absent to say they trust local government (39 percent versus 22 percent). Having access to neighborhood amenities also correlates with how we think about our capacity to make a difference in politics.

Many of the things that we lament are missing from our political and social life, such as mutual concern, a sense of belonging, and helpfulness, are found in greater degrees in communities that have a sense of place, or at least enough ingredients to make a well-rounded community. Urbanists have consistently found that proximity to core community assets such as grocery stores raise property values. These new data show that proximity has an even wider range of benefits, such that it should increasingly play a role in policy deliberations.

When Tracy Stannard and her business partner reopened the defunct Broad Branch Market in a quiet corner of northwest Washington, D.C., they were not certain how the neighborhood would respond. “We decided to stock only things we like so if we couldn’t sell anything, at least we could eat the food,” says Stannard. But in no time, the market became a central part of community life, serving up hot food, coffee, and ice cream. On Thursday nights, the market hosts live music for children who are omnipresent—the local elementary school sits kitty-corner to the market.

To neighborhood residents, Broad Branch Market is much more than a place to pick up milk. And other communities need the benefits it provides—whether they receive them from libraries or parks or grocery stores. We should factor these important findings about community design into how and where we build our schools, design our local workforce systems, and build more affordable housing. Communities that blend a healthy mix of amenities, such as schools, community centers, and grocery stores, improve our social well-being in ways that our arguments over politics never will.


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Türkiye Arkeolojisi



Türk Kütüphaneciler Derneği, Atılım Üniversitesi Kadriye Zaim Kütüphanesi, Goethe Institut Ankara ve DECE Yazılım işbirliği ile gerçekleştirilecek olan “Kütüphanelerde Dijital Arşiv Yönetim Sistemleri Semineri: Yapay Zeka Tabanlı GEODI Örneği” kapsamında; kent arşivi oluşturma, materyal türlerini göz önünde bulundurarak uygun yazılımın seçilmesi ve uygulama, yeni yazılıma geçiş süreci, materyal türleri için tanımlama kriterleri, Atılım Üniversitesi Kadriye Zaim Kütüphanesi Ankara Dijital Kent Arşivi özelinde ele alınacaktır. Yapay zeka tabanlı bir sistemin kent arşivlerinde neleri başarabileceği, gerek kullanıcılara gerekse sistem yöneticilerine ne gibi kolaylıklar sağlayacağı da yine etkinlik kapsamında tartışılacaktır.



  • 10.00-10.30 : Osman Kutlu (Atılım Üniversitesi Kadriye Zaim Kütüphanesi Müdür Yardımcısı) – Bir kent arşivi oluşturma; Fransa Kent Arşivleri (Archives Départementales) Görsel Fon Sınıflama Sistemi deneyimlerinin Ankara Dijital Kent Arşivi’ne aktarılması süreci
  • 10.30-11.00 : Hüseyin Candan (Dece Yazılım Teknik Müdür) – GEODI Teknik altyapısının kent arşivine uygulanması
  • 11.00-11.30 : Pınar Demirtaş (Atılım Üniversitesi Kadriye Zaim Kütüphanesi Ankara Dijital Kent Arşivi Birim Sorumlusu) – Yazılımın kent arşivine entegrasyon süreçleri ve yeni sistemin canlı tanıtımı

oclc res

Maple Leaves: Discovering Canada through the Published Recordby Senior Research Scientist Brian Lavoie, is the latest OCLC Research Report to explore the scope and diffusion of national presence in the published record.

The Canadian contribution to literature, music, film, and other forms of creative expression is rich and deep. In this report, we explore the contours of this contribution, as it is manifested in the collections of libraries around the world.


Using WorldCat bibliographic database, the world’s largest and most comprehensive aggregation of data describing global library holdings, and mapping the information with Wikidata to identify publications authored or otherwise created by Canadians and Canadian organizations, we trace the boundaries of the Canadian presence in the published record: i.e., materials published in Canada, by Canadians, or about Canada. We then take a deeper dive into these materials, highlighting some distinctive features of the Canadian presence that help create a more detailed picture of how Canada and Canadians have influenced, and continue to influence, the broad sphere of the published record.

How big is Canada’s contribution to the published record? Using a methodology developed by OCLC Research and applied in several previous studies, 10.9 million distinct publications were identified in WorldCat that fell into at least one of the three categories of materials constituting the Canadian presence in the published record.

Largest Work

The largest work in Canadiana in terms of number of publications is Anne of Green Gables, by Prince Edward Island–born author Lucy Maud Montgomery. This work has been published and re-published over a thousand times!

Read the full report to find out the most “popular” works, authors, and more, along with shifting patterns over time, materials published in the languages of Indigenous peoples, and more trends revealed in the rich data made possible by WorldCat and Wikidata.

Maple Leaves: Discovering Canada Through the Published Record

Posted by: bluesyemre | May 21, 2019

Is #data the new oil?


Analogies matter. They allow us to make sense of complex ideas. They also influence our thinking in ways that we don’t fully understand and might not be conscious of. But how often do we examine the analogies that we are using, to really explore the ideas we are conveying?

We’ve all heard that data is the new oil. It’s an easy comparison to make and on a superficial level, it makes sense. The phrase has become widely accepted since it was coined, seemingly by the architect of Tesco’s Clubcard, and then popularised by the Economist. Two years ago they published an article entitled, ‘The world’s most valuable resource is no longer oil, but data’.

There has been pushback since, with Antonio García Martínez writing in Wired that it is ‘supremely unhelpful to perpetuate the analogy’. I myself had previously written about data being the oil of the digital age, but without being able to really unpick what this means – what’s helpful, what’s not, what assumptions underlie this analogy and what impact does it have on our thinking more generally?

At the Health Foundation, we’ve been using data for some time to tackle problems in health care. We are now also exploring what more we can do to ensure that data and technology have a positive impact on our health. To help us develop our thinking, we held a roundtable on this oil analogy, inviting data leaders from UK health care as well as other sectors. Energy markets expert Katherine Spector was a guest speaker. As a research scholar at the Center on Global Energy Policy at Columbia University, she knows the oil and natural gas markets inside out. The roundtable was a great opportunity for us to explore the analogy that has become so pervasive in our thinking, and our visual scribe did a good job of capturing our discussions.

Where the oil analogy is helpful

Like oil, data is worthless in its raw form, but requires refinement, cleaning, structuring and amalgamation. Also like oil, data has a multiplicity of end uses, including algorithms to detect eye disease from images, approaches to help busy hospitals respond to winter pressures and insights from randomised registry trials.

These parallels give us a glimpse of one future for the data system. The oil industry has invested in refineries to transform crude oil into more useful products. Do we need data refineries?

There are lessons from the oil industry. They have placed big bets on infrastructure, but some of their investments have become rapidly outdated, as new products have become available that have shifted what is needed. It’s likely that over the next few years we will discover new uses for data. We will therefore need our data infrastructure to be flexible.

This is a big challenge to the ‘data refineries’ currently being built, including the National Commissioning Data RepositoryDRIVE and the Digital Innovation Hubs. The emphasis from NHSX on open standards will help, though we probably need more investment in the data managers, architects and engineers who will lead the refinement process.

Of course, there are negative environmental effects from oil (eg spills, fracking, burning petrol and waste plastics). We have become more aware of and more responsive to these ill effects. Likewise, we are becoming more aware of the negative impacts of data – such as the risk of harmful data leaks and the potential for algorithms to automate injustices. Maybe the data community can learn from the approaches that governments have taken to address the negative consequences of oil use (including taxes and plastic bag charges), while acknowledging their limitations.

Where the oil analogy falls down

Analogies, if examined, can be helpful at showing differences (not just similarities). One of the starkest differences is that data is not a finite resource, nor does its value diminish with use. New data is generated constantly, and it can be used many times and by many organisations. Unfortunately, despite the abundance of data, sometimes organisations are tempted to hoard it – the Open Data Institute call this the ‘oil field scenario’. In this scenario, value is concentrated in data monopolies, increasing inequality. If we want the benefits of data to be felt more widely across society, then another analogy might be better.

Comparing data with oil implies that data can be thought of as a commodity. But unlike many commodities, data has a human aspect. It says something about us as individuals, and about our communities. When we sell something on eBay, we don’t have to worry about what happens to it afterwards. Yet if we sell or give away our data, there might be continuing implications we have to deal with long after the transaction has taken place.

This point is neatly illustrated by recent stories about the NHS sharing data with the Home Office. It seems that NHS data (provided by patients) helped trace and potentially arrest people without permission to remain in the UK. This practice puts health care practitioners in a difficult position and has been shown to dissuade people from seeking health care. These consequences are serious, and we risk missing them if we take the ‘data as a commodity’ comparison too far.

Another difference is that data is not property in the same way as oil, yet it can be sold. Indeed, the NHS seems to be increasingly entering into commercial arrangements that involve transfers of data. It’s already a challenge to explain to the public how they can shape decisions about how data about them are used. When we compare data with oil, we send mixed signals to the public who might assume they have more ownership of ‘their data’ than they actually do.

Do we need a different analogy?

Other analogies were suggested during the event. Water is already in common use, as we have ‘data lakes’ and ‘data deluges’. It is attractive because it has health benefits, and ownership is hard to pin down for water, much like data. Blood is another option – Eric Perakslis and Andrea Coravos argue that health care data records are digital specimens and should be treated with the same rigour, care and caution afforded to physical medical specimens. Roads and electricity have also been suggested.

All these analogies are useful, but they show different aspects of the problem. We might need multiple analogies, and to use them lightly. Comparing data with oil might help us think about the negative externalities of data, whereas rivers might help us to acknowledge the shared rights to benefit from the use of this resource. Roads might help us remember that the data system must be maintained as carefully as roads if there is to be public benefit.

Thanks to all the participants of the event for their thoughts – it felt like a rich discussion, and I’m grateful to everyone who contributed on the day, as well as to Anne Bowers, Fiona Grimm, Josh Keith, Jess Morley and Lydia Nicholas who provided helpful pointers on earlier drafts of this blog. Analogies aside, we can learn much from other sectors about how best to tap the potential of data to improve health and care.

Adam Steventon (@ASteventonTHF) is Director of Data Analytics at the Health Foundation

Posted by: bluesyemre | May 21, 2019

#Marketing #AcademicLibrary resources and services


Marketing and outreach are the backbone of an academic library’s advocacy. In order to advocate successfully, libraries need to determine who their constituents are and how to best market their programs and services to them.

Marketing Academic Library Resources and Services

Posted by: bluesyemre | May 21, 2019

Why #SchoolLibrarians are the #Literacy leaders we need


Earlier this year, I wrote a post about how teams of teachers can work together across subject areas to improve student reading. I received comments on the piece from two school librarians, pointing out that they have important contributions to make to the effort, and questioning why I had not included school librarians in my suggestions in the first place. Well, they are absolutely right about this, and their voices prompted my reflection on the topic.

I’ve taught in four public schools in New York City and only ONE had a true functioning library with a certified librarian in it. Let me tell you, that one school library was small, but game changing, thanks to the wonderful work of the librarian, Leslie Gallager, and the wise choice to fund it by school leaders at Brooklyn Prospect.

When the school (which was new) created the library, I was not accustomed to having the resource of a school library or librarian, so it took me some time to figure out how to utilize it in my ELA class. Luckily, our librarian was quick to reach out to teachers, making it known she had resources and skills that could benefit our students and enrich our teaching, while at the same time making our work more manageable.

Skilled School Librarians Benefit Students & Teachers

Knowledge of Books:  One major way Leslie helped my students and me was with her vast knowledge of books, both fiction and non-fiction, classic and current. In the past, I had prided myself on knowing a wide range of great YA books, but when our librarian started showing me exciting new titles, I realized that I had not been keeping up as much as I once did. I could have beat myself up over this, but the truth was, I was busy reading student writing from my large load of students, and keeping up with teacher blogs and articles on teaching practices and education policy. I had slipped on a key aspect of my discipline–finding new books to feed my students’ reading interests–and my school’s librarian lifted me back up.

Over time, I got used to her being there to support my students and me to find books related to all kinds of interests. This aspect of my role as ELA teacher got easier and at the same time more exciting. Leslie opened the door to the reading world wider than I could do on my own.

Making Connections: Our school librarian helped students connect to reading and digital literacies in a variety of ways.  She found out what students were learning about in history and science class and found interesting reading materials to connect to those topics. She helped us bring local authors to visit to talk to students about their work. She helped students and teachers access periodicals and other helpful programs online.

I had the chance to talk on the phone with Dorcas Hand, one of the school librarians who commented on my earlier blog post. She’s now retired and runs a grassroots advocacy group in Houston, where the public schools of HISD are now seeing a great rise in available positions for school librarians.

Dorcas told me about one of the wonderful ways she connected with students’ writing–through an annual school-wide project called “History As Story.” In collaboration with English and Social Studies teachers, the project involved students in writing literary non-fiction on topics students had previously researched in their classes.  Each year, Dorcas brought a different non-fiction author to conduct master classes with the students. The students would write about their research topic novelistically, from the point of view of a person they had researched from the time period. By narrating an episode in that person’s life, they would reveal “the effect of the times on the person and the person on the times.”

Dorcas explained that one of the amazing things about this was that students went through the process each year from fourth through eighth grade, each time with different topics and different authors guiding their work. “It was phenomenal to see the quality of students’ writing in this genre by eighth grade,” she said.

As a teacher, this example highlights one of the key benefits of having a highly skilled school librarian–they are in the position to influence and support the culture of reading and writing across a school. Can this project be done by an individual teacher? Yes. But it’s something different when one person with a vision and the time to implement it leads it consistently for the entire school, every year.

There is a cumulative benefit to students and teachers, both academic and cultural, when a school librarian becomes a literacy leader.

Can Classroom Libraries Replace School Libraries?

Maintaining a school library is another task that positions librarians as literacy leaders. Classroom libraries maintained by teachers are wonderful and essential–this is not an either/or argument. But when we cut school librarians and rely solely on teachers to curate classroom libraries we open the door to several problems I have experienced first hand, and close the door to other key benefits:

  • The first issue is manageability. It takes a tremendous amount of work to maintain a vibrant classroom library. Continually researching books, doing the advocacy and paperwork to get copies of new books ordered, keeping them organized and appealingly laid out, managing check out and return processes (even when students are in charge, this is still a responsibility for the teacher), and so forth is challenging. While some schools take measures to support teachers in doing this, most often it takes time we don’t really have. That means we either don’t do a great job, or we do it at the expense of something else we are supposed to do, or we work unsustainable hours (and as the data shows, eventually leave the classroom, along with that great classroom library).
  • The second issue is consistency and, consequently, equity. When we leave this work to individual teachers, the results will vary by classroom and grade level. Teachers will prioritize differently. Students will have years where the classroom library is amazing and other years where there may be virtually no classroom library. Some libraries may feature a range of books with diverse characters–others won’t. Who ensures an equitable experience for students across a school? Maybe a literacy coach can effectively do this, but again, coaches are charged with a number of responsibilities and their focus will vary. A librarian can make access to books a priority every day.
  • Another issue is space. Just as there are huge benefits to having classroom libraries, where teachers can facilitate students’ exploration of book choices in an immediate, hands on way, there are special benefits, too, of a designated library space. Dorcas explained that the library becomes a place where many students feel at home, especially when they might not elsewhere in the school. I remember seeing this happen for a number of my students, and I remember being one of those students myself. I spent study halls in middle school and high school in the school library, and it was a needed haven. For students who don’t have internet or computer access at home, the library can be a crucial after school and summer support. (Check out this Middleweb article on how school libraries can slow down the summer reading slide.)
  • Finally, having someone other than their teacher to recommend books to students is also valuable. Children and adolescents need multiple models and influencers when it comes to reading, and a school librarian has the added advantage of being able to cultivate those relationships with students over a number of years.

In New York City and across the country–but especially in urban schools–school libraries staffed with certified librarians have become harder and harder to find. I assume that’s because cutting them can seem like a viable way to stretch a limited budget and maximize often crowded school facilities. If student achievement is the goal, though, then this option is neither positive nor pragmatic. Research shows a strong correlation between the presence of a certified school librarian and student achievement. Just because many of us haven’t had the privilege of working with a school librarian recently, let’s not forget how important they are. Let’s recognize vibrant school libraries as a key component of a quality education–one that benefits students and teachers alike.

Posted by: bluesyemre | May 21, 2019

The #DigitalLandscape: A View from the #Library


Technological advances are transforming academic libraries. In the midst of this constantly evolving environment, libraries need to ensure that they are still relevant to their users. This is often at the forefront of industry commentary, reflecting the importance and the scale of the challenges. However, there are gaps in the commentary – this research seeks to fill these gaps, revealing areas where libraries must take action in order to provide a thorough service in a world which is increasingly impacted by developments in digital technology.

The Digital Landscape: A View from the Library


Posted by: bluesyemre | May 21, 2019

Hong Kong Ballet 40th Anniversary Season Brand Video


CLIENT: Hong Kong Ballet
Artistic Director: Septime Webre
Featuring: Artists of Hong Kong Ballet

Co-Founder & Chief Creative Officer: Pum Lefebure
Co-Founder & Chief Executive Officer: Jake Lefebure

DIRECTOR: Dean Alexander

Design Army Sr. Art Director: Heloise Condroyer

Design Army Sr. Art Director: Mariela Hsu

Design Army Art Director: Gaby Hernandez

Design Army Sr. Designer / Animation: Dany Vo

Editor: David Grossbach

1st Assistant Director: Erin Winebrenner

Choreographer: Septime Webre

Assistant Choreographer: Luis R. Torres

Director of Photography: Andrew Strobridge

Producers: Mikyung Kim, MKIM & CO, Vivien Wong

1st Assistant Camera for Video: Kevin Chuen

2nd Assistant Camera for Video: Terence Chan

Gimbal Technician: Wong Cheuk Ming

Camera Production Assistant: Dorcas Ho

Drone: Rex Ngan, Hong Kong Professional Unmanned Aerial Vehicle Association

Gaffers: Curtiss Li, Wong Wai Ming

Lighting Assistants: Theo Wong, Scott Wong, Sunny Sun, Au Tsan Wing, Michael Tang

Wardrobe Stylist: Christine de Lassus

Wardrobe Stylist Assistant: Lynn Serulla

Hair & Make up Director: Dale Johnson

Hair Stylist: Alistair Rae

Hair Assistants provided by BRUNEBLONDE: Cannis Chan, Sing Chan, Kid Lo, Marcus Leung, Andrew Hau

Make Up Artist: Megumi Sekine

Make Up Assistants: Marco To, Jacqlyn Tan

Props Stylist: Billy Lau, Flow Films

Props Stylist Assistant: Joanne Wong

Sound Design: Nylon Studio, Sydney

Colorgrade: Parker Jarvie, Company 3, New York

Retoucher: Kristen Monthei

Casting: Michael Pizzuto, TruWest Talent Agency

Extra Actresses: Nip Chan, Chen Feng Zhen, Dahlia Tse, Sylvia Wu

Interns: Alex Tam, Annie Yuen, Lexie Peterson, Manliza Chan

Drivers: Provided by Sidney Van Service and Shing Fung Construction Material

Equipment: Cinerent, Rent a Pro, RentACamera

Special Thanks: Mrs Deborah Hung

Venue Partners: Star Ferry, The Marine Department

Hong Kong Ballet is a Venue Partner of Hong Kong Cultural Centre香港芭蕾舞團為香港文化中心場地伙伴

Hong Kong Ballet is financially supported by the Government of the Hong Kong Special Administrative Region 香港芭蕾舞團由香港特別行政區政府資助


Yükseköğretim Kurulu tarafından “para karşılığı yayın yaptığından yağmacı (predatory) adı verilen dergilerde yayımlanan bilimsel makalelerin, akademik yükseltmelerde dikkate alınmaması” uygulamasına yönelik bazı açıklamaları yapma zarureti hasıl olmuştur.

Yükseköğretim Kurulu tarafından “para karşılığı yayın yaptığından yağmacı (predatory) adı verilen dergilerde yayımlanan bilimsel makalelerin, akademik yükseltmelerde dikkate alınmaması” uygulamasına yönelik bazı açıklamaları yapma zarureti hasıl olmuştur.

Öncelikle bu uygulama amacı itibariyle doğru olup bilimsel yayınların güvenilirliğini korumak açısından yararlıdır ve yayınevimiz tarafından da koşulsuz desteklenmektedir.

Diğer yandan, yağmacı (predatör) dergi konusunun akademik çevreler tarafından yeteri kadar bilinmiyor olması, bu uygulamanın yayıncılık sektöründe ve akademik yükseltmelerde hak kayıplarına, etik ihlallere ve hukuki sorunlara yol açabilme potansiyelini de barındırmaktadır.

Yağmacı (predatör) dergilerle ilgili uluslararası akademik çevrelerde henüz net bir uzlaşma sağlanmamış olmakla birlikte, konuyla ilgili yayınlardan ve yayıncılık örgütlerinin raporlarından derlenebilecek özellikler aşağıdaki şekillerde sıralanabilir.

Yağmacı (predatör) dergilerin dikkat çeken özellikleri

  • Derginin alanında otör sayılan kişilerin izinlerini almadan Editörler, Yayın Kurulu üyesi ve benzeri şekillerde kullanarak prestij sağlamaya çalışması. 
  • Baş Editör ve Yayıncı kuruluşunun açık şekilde yazılmaması ve iletişim bilgilerinin bulunmaması.
  • Amaç ve Kapsam, Yazım Kuralları ve dergiyi tanıtıcı diğer sayfalarda makalelerin gönderim, değerlendirme ve yayınlanma aşamalarıyla ilgili bilgilerin açık şekilde beyan edilmemesi.
  • Makale değerlendirme işlemlerinin internet üzerinden yapılmaması, yazarların makalelerinin durumlarını internet üzerinden takip edememesi, hakem ve editör raporlarının içeriğini görememesi.
  • Makale yükleme, değerlendirme, yayınlama ve benzeri konularda ücret talep edilip edilmediğinin; ediliyorsa hangi aşamada, koşullarda, yöntemle ve miktarda olduğunun dergi web sayfasında ve makale yükleme ekranında açık ve net bir şekilde yazılmaması ve makale gönderiminden önce bu koşulların yazarlar tarafından kabul edilip edilmediğinin sorulmaması.
  • Makalesini herhangi bir aşamada geri çekmek isteyen yazara makalesinin iade edilmemesi, askıda bekletilmesi veya yazarın geri çekme talebine rağmen yayınlayarak bir anlamda makaleyi rehin alması.
  • Yazarlardan alınacağı önceden ilan edilen ücretlerde yine önceden ilan edilen indirim koşulları dışında “pazarlık” seçeneğinin bulunması.
  • Makalelerin dış bağımsız hakemler tarafından değerlendirildiğinin beyan edilmemesi ve hakem listesinin en geç senede bir kez dergide ilan edilmemesi.
  • Makalelerin DOI numarası verilmeden yayınlanması
  • Derginin dizinlendiği indekslerin yanıltıcı şekillerde beyan edilerek avantaj sağlanmaya çalışılması ve yazarların yanlış yönlendirilmesi (PubMed’de indekslenmeyen bir derginin PubMed’in çatı kuruluşu olan National Library of Medicine internet sayfasında bulunan ve esasında ISSN’si olan dünya genelindeki her derginin listelendiği katalog kaydını göstermek gibi).
  • Derginin dizinlendiği indeksleri sayıca fazla göstererek cazibe oluşturmak amacıyla akademik yayıncılıkta indeks olarak kabul edilmeyen sistemlerin derginin dizinlendiği indeksler listesinde ilan edilmesi (Crossref, Google Akademik, DergiPark vb.).
  • Akademik yayıncılıkta önemi ve değeri olmayan indekslerde dizinlendikleri bilgisinin öne çıkarılması ve bu indekslerin yanıltıcı ve algı yönetimi yaparak çıkar elde etmeye çalışan verilerinin kullanılması (SCIE veya SSCI’da indekslenmeyen dergi için Impact Factor hesaplaması yapmak ve yayınlamak gibi).
  • Birbiriyle ilgisiz bilim dallarından ve çok farklı konulardan makale yayınlaması, genel geçer bir yayın politikası olması (aynı dergide mühendislik, sağlık bilimleri, güzel sanatlar ve benzeri farklı disiplinlerden makaleler yayınlanması gibi).

Bu olumsuz özellikler göz önünde bulundurulduğunda, YÖK uygulamasında dikkate alınmasını önerdiğimiz önemli hususları aşağıda açıklamak istiyoruz:

  1. Dergi web sayfasında ilan etmek ve makale yükleme aşamasında yazarların onaylarını almak şartıyla, “makale yükleme, yayınlama, renkli baskı, dil kontrolü, istatistik kontrolü vb.” başlıklar altında yazarlardan ücret talep eden her dergi yağmacı (predatör) olarak tanımlanmamalıdır.

    Dergiler ve yasal serbest piyasa ekonomisi koşullarında ve etik kurallara bağlı kalarak profesyonel hizmet sunan yayıncılar bu hizmetlerin karşılığı olarak (yazarları yukarıda ifade edildiği şekilde önden bilgilendirmek şartıyla) ücret talep edebilirler. Bu ücretleri ödeme şekilleri ve kaynakları konusunda yazarları farklı vakıf ve kurum fonlarına yönlendirebilirler.

    Zira yazarlardan ücret talep eden dergiler büyük oranda açık erişim (open access) formatta yayınlanmakta olup bu dergilerdeki makaleleri okumak/indirmek ücretsizdir. Bu açıdan bakıldığında içeriğini ücretsiz olarak sunan dergilerin giderlerini karşılamak için zamanında ve yeterli seviyede bilgilendirmek koşuluyla yazarlardan ücret talep etmesinde etik ve hukuki açılardan bir mahsur bulunmamaktadır. Halihazırda dünya üzerinde bu yöntemle yayın yapan ciddi sayıda üst düzey dergi bulunmaktadır.

    Yazarlardan ücret talep etmeyen dergilerin önemli bir kısmı yayınladıkları makaleleri ticari ürün haline getirerek abonelik yöntemiyle kişi ve kurumlara satmakta ve esasında açık erişimli (open access) dergilerin yazarlardan aldığı yayın ücretinin çok daha fazlasını diğer yazarlardan, okuyuculardan ve kurumlardan almaktadır. “Subscription/Paywall journals” adı verilen bu dergilerin yazarlar ve yapılan bilimsel çalışmalar üzerinden elde ettikleri gelir, açık erişim (open access) dergilerin yazarlardan elde ettiği gelirlerin kat kat üzerindedir.

    Bu bağlamda, “açık bilim” kavramının ülkeler ve kurumlar tarafından giderek daha fazla ilgi gördüğü günümüzde, salt yazarlardan ücret alındığı gerekçesiyle open access dergilere ve “açık erişim” akımına zarar verebilecek uygulamalardan kaçınılmalıdır. Zira yakın zamanda hayata geçmesi planlanan ve Plan S oluşumu altında bir çok önemli uluslararası yayıncılık paydaşının da katkı verdiği proje kapsamında, 2020 yılından itibaren Avrupa Birliği fonlarının desteğiyle yapılan bilimsel araştırmalar “Subscription/Paywall journals” dergilere gönderilemeyecek, sadece open access dergilerde yayınlanabilecektir. Open access dergilerin yazarlardan talep ettiği ücretler de Avrupa Birliği fonlarından karşılanacak olup bu ödemeler için fonlarda bütçe kalemleri oluşturulacaktır.

    Bu bilgilerden hareketle, yanlış olanın yazarlardan ücret almak olmadığı, etik ve şeffaf uygulamalar çerçevesinde dergilerin yazarlardan ücret almasının yasal ve etik açıdan bir sorun oluşturmadığını teyid etmek ve bu konuyla ilgili uygulama ve yönetmeliklerde bu hususu dikkate almak yararlı olacaktır.

    Open access formatında yayın yapmasına rağmen yazarlardan ücret talep etmeyen dergiler de mevcuttur. Bu dergiler giderlerini çatısı altında oldukları kurumların (dernek, vakıf, üniversite, fakülte, hastane vb.) özkaynaklarından karşılamaktadır.

    İlk bakışta en ideal yöntem olduğu düşünülen bu model kurumların mali kaynaklarının her geçen gün azalması nedeniyle uzun vadede uygulanabilir değildir. En önemlisi de var olan ve giderek azalan bu mali kaynaklarla uluslararası düzeyde dergi yayınlamak her geçen gün zorlaşmaktadır. Çünkü akademik dergi yayıncılığı profesyonel bir sektördür, uluslararası düzeyde dergi yayınlamanın kendi has ve sürekli değişen/artan maliyetleri vardır, rekabet koşulları her geçen gün artmaktadır.

  2. Makalelerin dergiler tarafından hızlı değerlendirilmesi ve kabul/ret kararlarının mümkün olan en kısa sürede verilmesi yazarlar tarafından sıkça talep edilen bir durumdur. Dergiler de bu talebi karşılamak adına editöryel kadroları, yayınevi ekibi ve hakemleriyle organize bir çaba içinde olmakta, değerlendirme ve yayımlanma sürelerini kısaltmayı amaçlamaktadır.

    Buna rağmen değerlendirme ve yayın süreci yine de ortalama 2-3 ay arasında ancak mümkün olabilmekle birlikte YÖK kararına esas teşkil eden alt komisyon raporunda yer verildiği şekilde, bir derginin makaleyi alış ve yayınlanma tarihi arasında 1 aylık süre olması o derginin yağmacı (predatör) olduğunun kanıtlanması için yeterli değildir. Ancak dergi tüm makaleleri bu kadar kısa sürede yayınlıyorsa bahse konu dergi için ileri düzey inceleme yapılması elzem hale gelecektir.

  3. Yağmacı (predatör) dergilerin tespiti önemli ve ciddi (maddi-manevi) sorumluluğu olan bir husus olup “yüksek kaliteli – düşük kaliteli” dergi kavramlarıyla “yağmacı (predatör) olan – olmayan dergi kavramlarını birbiriyle karıştırmamak önemlidir.

    Bir dergi “görece” daha düşük kaliteli olabilir (amatörce ve düzenli güncellenmeyen bir web sayfasının olması, editörler kurulunun çok geniş olmaması, sayılarını zamanında çıkaramaması, çok geç değerlendirme ve yayın yapması, daha sıradan makaleleri yayınlaması, makalelerinde imla gramer hatalarının fazla olması vd). Ama bu gibi zayıf noktaları nedeniyle o dergi yağmacı (predatör) olarak tanımlanmamalıdır.

  4. İnternet ortamında yağmacı (predatör) dergilerin listelendiği bazı siteler mevcut olmakla birlikte bu sayfaları oluşturan ve yöneten kişi ve kuruluşların kimliği belli değildir. Ayrıca bu sayfaların yöneticileriyle iletişim kurulamamaktadır.

    Yağmacı (predatör) dergilerde de sık görülen bu şüpheli durumun, o dergileri belirleyip ilan (ifşa) ettiği iddiasıyla yayınlanan internet sayfalarında da tezahür etmesi bu sitelerin de güvenilir olmadıkları, dolayısıyla yağmacı (predatör) olarak yayınladıkları dergi listelerine de itibar edilmemesi gerekliliğini ortaya çıkarmaktadır.

    Ancak özellikle Google arama motorunda “yağmacı dergiler, predatör dergiler, predatory journals” gibi anahtar kelimelerle yapılan aramalarda esasında kendileri de “şüpheli” olan bu sayfaların ön planda çıkması, hatta bu sayfaları referans alarak yazılan diğer bilimsel makalelerin olması sorunu daha karmaşık hale getirmektedir.

    Bu nedenlerle yağmacı (predatör) dergilerin hangileri olduğunun tespiti için internet ortamında bulunan hiçbir listenin referans alınmaması gerektiğini düşünüyoruz. Yağmacı (predatör) dergilerle mücadele etmek ve bu dergilerin akademik yayıncılık havuzunu kirletmesine izin vermemek için YÖK, yayıncılar ve editörlerin katılımıyla oluşturulacak olan bir komitenin bu türden dergilerin tespiti için “tamamen nesnel ve ölçülebilir kriterler” oluşturması önemlidir. “Think.Check.Submit.” ve benzeri uluslararası akademik dergi yayıncılığı paydaşlarının bu konulardaki kılavuz ve yönergeleri incelenmelidir.

Ülkemiz bilimi ve akademik yayıncılığı adına olumlu neticeler doğurması beklenen YÖK uygulamasının amacına ulaşabilmesi için yukarıda bahsedilen hususların da dikkate alınmasının önemli olduğunu düşünüyoruz.

Dergi yayıncılığında 23. senesini dolduran ve halihazırda 30 farklı akademik dergiyi yayınlamakta olan bir yayınevi olarak, bu konudaki görüş ve önerilerimizi sorumluluğumuzun bir gereği olarak paylaşmayı görev addediyoruz. İlgili kişi ve kurumlardan talep gelmesi halinde gereken katkıyı sunmaya hazır olduğumuzu da beyan ederiz.


İbrahim Kara
Genel Yayın Yönetmeni
15 Mart 2019, İstanbul


If asked what is more difficult to comprehend: Harry Potter and the Deathly Hallows or Hemingway’s Old Man and the Sea, a vast majority of people would most probably choose the latter. But – according to this scholarly tool – it’s not.

Shane Snow from Contently decided to conduct an experiment and ran some of the most popular books of all time through ‘reading level analysis’ tools – and the results are surprising, to say the least.

While the Flesch-Kincaid index is the most popular, some scholars argue that other tools (such as Gunning-Fog or SMOG) provide more accurate results. Hence, Snow ran the selected books through five different calculators, and took an average.

How the formula works is it automatically estimates reading level through determining the use of syllables, sentence length and other variables for vocabulary and concept complexity, coming up with the approximate number of years of education one has to complete to comprehend the given text or passage.

Out of curiosity, Snow ran a variety of books and articles through the machines – including crime and romance novelists, political novels, a couple of academic papers, a Seth Godin blog post, the Affordable Care Act, and a children’s book – and here’s what he found out:


The books are categorized color-wise – with grey being reference points, blue – nonfiction, green – fiction, purple – political reads and red – business books that Snow believes to have ‘bought their way’ onto bestseller lists

Unsurprisingly, children’s book Goodnight Moon by Margaret Wise Brown requires the least years of education to comprehend, while the Affordable Care Act, dense with academic and legal terms, demands knowledge equal to that of a first-year university student.

However, Snow notices that comparing fiction to nonfiction is like apples and oranges – and splits the results into more particular categories.

Reading level – bestselling fiction authors


According to the graph, none of the selected authors – not Hemingway, not Fitzgerald, not even Tolstoy – wrote above a ninth-grade level, while Harry Potter and the Deathly Hallowsexceeds The Old Man and the Sea and Pride and Prejudice.

Science fiction and thriller author Michael Crichton leads the chart, is calculated to require at least 9 years of education to fully understand.

Reading level – bestselling nonfiction authors


As we can see, nonfiction is much more difficult, with the minimal education starting from six years, as opposed to fiction’s four.

Business books, categorized by Snow as ‘having bought their way onto bestseller lists’, top the charts – requiring the knowledge equal to a whopping twelve years of education to grasp.

What is perhaps the most striking about the above results is that the works we tend to regard highly or we find difficult are the works that score a rather low ‘reading level’ in the test. Academic documents or nonfiction centered around particular fields of knowledge rank, on the other hand, rather highly in the charts – most probably due to scientific terms and formal register.

Turns out, a majority Americans reads at a very low level – with only a quarter being able to comprehend literature at 10th grade level, and as little as 5% at college level.



The experiment proves that higher reading level does not equal better writing – in fact, it is quite the opposite, as many books that are considered masterpieces score low in the charts.

School teaches us that higher reading level equals credibility, which is why so many of us try to sound more sophisticated when we speak and write. In fact, that’s what most business and academic writers still do: They get verbose and pack their work with buzzwords and heavy diction in order to appear trustworthy.

Turns out, that’s counter-productive.

The experiment proves that simple writing, instead of being discredited, should be embraced. Credibility should not be measured by complexity of a work but rather its clarity and the ability to communicate ideas rather than veiling them with ‘smart-sounding’ vocabulary and impossible to get through grammar.

And finally, it reveals that when it comes to literature, simpler is better.

























Posted by: bluesyemre | May 20, 2019

Emanuel @EmanuelTheMovie


National headlines blazed the story: Churchgoers Gunned Down During Prayer Service in Charleston, South Carolina. After a 21-year-old white supremacist opened fire in the church, nine African Americans lay dead—leaving their families and the nation to grapple with this senseless act of terror.

Forty-eight hours later, in the midst of unspeakable grief and suffering, the families of the Emanuel Nine stood in court facing the killer … and offered words of forgiveness. Their demonstration of grace ushered the way for hope and healing across a city and the nation.

It’s the story that rocked a city and a nation as it happened … and in the days that followed. Marking the fourth anniversary of the event, executive producers Stephen Curry and Viola Davis, co-producer Mariska Hargitay, and director Brian Ivie (The Drop Box) present EMANUEL. The documentary powerfully weaves the history of race relations in Charleston, the significance and impact of Mother Emanuel Church, and the hope that somehow emerges in the aftermath.

Featuring intimate interviews with survivors and family members, EMANUEL is a poignant story of justice and faith, love and hate, examining the healing power of forgiveness. Marking the fourth anniversary, EMANUEL will be in movie theaters across the country for two nights only: June 17 and 19.

Four years ago this summer, the unthinkable happened. Then the amazing followed. Coming to theaters for two days only—June 17 and June 19—EMANUEL tells the true story of the Charleston church shooting. Check out the Teaser Trailer for this inspiring new documentary from executive producers Stephen Curry and Viola Davis, co-producer Mariska Hargitay, and director Brian Ivie (The Drop Box).


Arbella Studios, in association with Juvee Productions and Unanimous Media, presents an SDG and Fiction Pictures Production. Directed by Brian Ivie; Produced by John Shepherd, Mike Wildt, and Dimas Salaberrios; Co-Produced by Mariska Hargitay; Executive Produced by Viola Davis, Julius Tennon, Stephen Curry, Jeron Smith, Erick Peyton, Dane Smith, David Segel, and Tina Segel.

Posted by: bluesyemre | May 20, 2019

#reading #SallyNixon @sallustration



Posted by: bluesyemre | May 20, 2019

The Royal Library, Aarhus, Denmark



Royal Danish Library is a public institution under the Danish Ministry of Culture. In the Aarhus department we solve many kinds of tasks on behalf of students, researchers, lecturers and other staff members at Aarhus University, as well as public libraries, private companies and individuals.

In addition to buying and lending physical and electronic material, we focus on running a business at the forefront of product development.

We participate in both national and international development projects involving cultural communication, digitisation, IT infrastructure, etc.

The main address of Royal Danish Libary in Aarhus is at the university campus.. Our main building at Aarhus University is distinctive because of the tall yellow “book tower”.

Posted by: bluesyemre | May 20, 2019

3 Tips to #read more #Books you’ve never heard before


If you’ve already done the obvious things to read more books, then take these steps next.

It’s not news that reading more and better books will make you smarter. Basically every business icon you hear about regularly on this site, from Elon Musk to Bill Gates to Jeff Bezos, is a huge reader. And because ‘read more’ is such common advice, so are a bunch of obvious strategies to accelerate your reading.

If you’re interested in the topic at all, you’ve probably been told by now that it’s OK to give up on books you’re not interested in to make space for titles you’ll devour. Likewise, it’s probably occurred to you to spend less time browsing social media and more time with books. Maybe you’re even read about the advantages of having a stack of unread books lying around so you’ll always have options to pick up when you finish your last book.

But what if you want to go beyond these entirely solid but pretty well circulated suggestions? Then a new HBR post from author and podcaster Neil Pasricha is for you. In it he offers a host of offbeat but effective ideas to get you reading even more. You’re pretty much guaranteed not to have heard them before.

1. Make your phone less addictive.

A lot of very smart people have spent years working to make the device in your pocket as addictive as possible. But they aren’t the only ones who have the power to engineer your environment to nudge you towards certain behaviors. You can take back your power and reverse engineer your phone to be less addictive, claims Pasricha.

“Move all of the apps off the main screen so it’s blank when you open it. Leave your cracked screen cracked. Move your charger to the basement so it’s an extra step in your low-resilience nighttime and morning moments. If you must have your phone in the room while you sleep, enable “Do Not Disturb” mode to automatically block calls and texts after 7 p.m.,” he suggests.

2. Organize your books by the Dewey decimal system.

Remember back in elementary school when some librarian explained to you that non-fiction books are organized by subject according to the Dewey decimal system? A vague recollection is probably filed away in your brain. Dust it off and use it to organize your own library and you’ll end up reading more (and more diverse) books, according to Pasricha.

“I spent one Saturday organizing my books according to the Dewey Decimal System and, in addition to scratching an incredibly deep organizational itch, I now find books faster, feel like my reading is more purposeful, and am more engaged in what I read, because I can sort of feel how it snaps into my brain,” he reports. (Bill Gates and Elon Musk are also big proponents of making sure you understand how what you read fits in with your existing knowledge.)

All you need to follow Pasricha’s lead is an online reference to give you the Dewey decimal numbers of your books, a pencil to note them on any books that don’t have them, and an app to look up what the numbers mean if you’re ever curious in the future.

3. Choose your next book via podcast or “BookTube.”

OK, Pasricha is the host of a book recommendation podcast so he obviously isn’t objective when it comes to this tip, but it’s a solid idea nonetheless. Most of us get book ideas from friends, algorithms, or browsing bookstores. But all of those limit randomness by basing suggestions on what you already like or what the largest possible slice of the public might like. And when it comes to creativity and inspiration weird is good.

To get off the beaten path, Pasricha points readers to podcasts and “BookTubers.” For podcasts he recommends What Should I Read Next? by Modern Mrs. Darcy and Get Booked by Amanda Nelson at BookRiot. As for BookTube, “some starter channels to get you hooked are Ariel Bissett and polandbananasBOOKS.” (For weird and wonderful suggestions I’m also personally a huge fan of the site Five Books.)

Looking for more offbeat ideas to help you read more? Pasricha’s post has six more great ones.


Thanks to a collaborative project between the Faculty of Science and Libraries and Cultural Resources (LCR), a new digital collection of native Albertan bee species is now available to researchers and bee lovers across the globe.

Dr. Paul Galpern, PhD, associate professor in the Department of Biological Sciences, is interested in understanding bees and other beneficial insects as a means to promote conservation on agricultural and urban landscapes. The majority of the bees in this online resource were collected by members of his research group. Their work since 2015 has grown the university’s physical bee collection to over 100,000 specimens, making it one of the largest in Canada.

“Knowing which bees live in specific areas of our province or country can help answer questions like how to design cities for bees,” says Galpern. “Or how to select the right plants for pollinators in the designs we create.

“Most importantly,” he adds, “it can help us identify and protect endangered bee species like the Gypsy Cuckoo Bumble bee Bombus bohemicus, which was recently discovered in the Canyon Meadows area of Calgary.”

An interdisciplinary project

The first 246 bees were digitized as part of a collaboration between the Faculty of Science and LCR. Funding to add to the digital collection and create a complementary Biodiversity website came from a sub-grant under the project Academic Research and University Libraries: Creating a New Model for Collaboration, led by Tom Hickerson in LCR and funded by The Andrew W. Mellon Foundation. BeeASmartCity is one of several research projects under this unique initiative.

Dr. Mindi Summers, PhD, an ecology and evolutionary instructor in biological sciences, leads the BeeASmartCity project. “We knew we had an incredible collection of native Albertan bees and lots of ideas on how to share this resource with other researchers, teachers and bee enthusiasts.”

A multidisciplinary group from biology, engineering and landscape architecture developed a successful application for the sub-grant that funds both the continued digitization of the bees and development of the website that will launch this summer.

“This website will be a great resource for a lot of different stakeholders,” Summers explains. “Through the website, visitors will be able to explore the digital collection, link to the physical collection’s database, access planting guides for bees and much more.”

Time-intensive digitization process

Rob Alexander manages special projects for Digitization and Repository Services in LCR and is overseeing the creation of this new invertebrate collection. He works with students hired to work on this project.

“We began photographing the bee specimens in January 2018 after I experimented with the photographic process and stacking software for a couple of weeks,” says Alexander. “The bees are shot from three points of view: front, side and from above. Including metadata, editing and upload, each specimen takes around three hours to enter into the collection.”

The collection currently has over 200 bee species with plans to add more and expand into other invertebrates through contributions from undergraduate zoology students.

“Without the advances in computer technology and data storage, the depth of focus that makes these images so detailed wouldn’t have been possible,” Alexander explains. “While the photos in the collection are 16 to 18 megabytes in size, the raw data we need to store for just one bee is 12 gigabytes. The demand on storage capacity is huge.

“It’s a lengthy process but very satisfying,” he adds. “The thrill never wears off. The software starts stacking the images and when you see the final result on the monitor, it’s like the first time. I can’t get over how bees come in these many shapes, sizes and colours.”

Alexander’s favourite bee so far is Megachile latimanus. “It’s just huge, I mean, how does that thing fly?”

Why should we care about bees in Alberta?

“The world is green and many of those green things require pollination,” Galpern explains. “Bees play a key role in the pollination of flowering plants, an integral part of our biosphere. Many things are connected and when one part ceases to function normally, we risk a breakdown in the functioning of ecosystems — at least in the ways we expect them to work.

“There aren’t a lot of us studying bees in Alberta or even Canada. This project will provide information on bee species and their populations to those who are interested in biodiversity such as students, teachers, engineers, government policy-makers and public planners. We all stand to lose a lot if the bees disappear.”

Interested in this content?

The BeeASmartCity project members include Mindi Summers, Tegan Barry, Lincoln Best, Hailey Bloom, Angela Demarse, Marjan Eggermont, Paul Galpern, Emily Kaing, Holly Kerstiens, Dylan McLernon, John Swann, Jessica Theodor, Jana Vamosi, and Jess Vickruck.

BeeASmartCity collaborators in LCR include Christie Hurrell, Kathryn Ruddock, Ingrid Reiche, John Brosz, Justin Anders, Rob Alexander, Andrew Carew and Dung Le.


What is Mesmer?

Mesmer is a system for building lifelike humanoid robots – all the parts that are needed to breathe life into a character.

  • Hardware – Motors, Electronics and Connectors
  • Sensors – Cameras, Depth Sensors, LIDAR, Microphones
  • Firmware – Motor control for speed, position and torque
  • Software – For control of Animation, interaction, audio and lighting

Most importantly all of these components were designed from scratch by Engineered Arts specifically for humanoid robots, so everything fits and works together in perfect harmony. Other companies use a hodgepodge of bits from various vendors that often don’t work well together.

Mesmer is powerful, elegant and cost-effective because you are not paying for multiple profit margins that inflate the price.


“Rapana” is the first street library in Varna, Bulgaria created by a team of young architects and designers.

Nowadays young people’s lives are almost entirely based around the digital era and this decreases the popularity of books among this generation. A team of architects and designers (Yuzdzhan Turgaev, Boyan Simeonov, Ibrim Asanov and Mariya Aleksieva) decided to do what they can to partly solve this issue by building a street library.

Varna is a city located at the seaside and is often called “The marine capital of Bulgaria”. This is the main reason why the chosen concept shape of the library resembles the shell of a sea snail. The design was inspired by nature and its organic shapes. The installation takes into consideration the most important aspects of the city’s identity – the sea and its value to Varna’s citizens. The abstract construction unravels from a single focal point and develops into a semi-circle whilst creating a public space and shelves for placing books at the same time.

“Rapana” was designed using the parametric design tools Rhinoceros 3D and Grasshopper, which give architects the possibility to try different shapes and variations. Using the software, the team tested over 20 variations, changing the number of vertical and horizontal wooden pieces and their width and height. We ended up with the final design, fitting the budget and the open library’s concept, providing easy access for the readers, sitting spaces, plus a tiny stage for street artists and lounge sessions. Using the Rhinoceros 3D tools the construction was divided into pieces, which were produced using a CNC machine from a 250 x 125 cm. wooden sheets. The street library was built using 240 wooden pieces and the full capacity of the library is 1500 books.

#DevrimDanyalileKısaKısa kapsamında, kendi alanlarındaki süreçlerde yeni teknolojileri kullanan kişileri kısaca tanıtan “Geleceğin Teknolojik Öncüleri” serimiz tüm hızıyla devam ediyor #GeleceğinTeknolojikÖncüleri


For the customers, the new Intelligent Material Management System is primarily visible through the clarification of the picking up of reserved material in Helsinki City Library. In the future, reservations can be found based on the shelf number in the pick-up library selected by the customer, and the current model where materials have last pick-up dates will be discontinued. Photo: Risto Rimppi

Helsinki City Library will be introducing an AI-based Intelligent Material Management System on 15.5.2019. With the new system, Helsinki City Library will be adopting a new, floating collection. In the future, books will remain in the library that they were returned to, unless they are needed in other libraries. The system gradually learns which library profile the returned books fit best based on customer loans and returns, and directs the material to the correct location. It takes approximately 1.5–2 years for each library-specific profile to form.

The Intelligent Material Management System increases automation in the processing of returned and reserved books. As the need for logistics work decreases, libraries have the opportunity to focus on their core task, customer service. In addition to this, customers will be influencing the collection at their local library through their activity. The floating collection facilitates a more equal provision of material to customers. Material borrowed from Helsinki City Library is equipped with RFID tags, which enables tote handling. This reduces manual logistics and expedites and eases the collection of borrowing data.

Helsinki already adopted centralised materials selection earlier on. This means that the entire collection of the Helsinki City Library is selected in selection groups that operate in a networked manner. Customers may influence choices by submitting acquisition requests, for example. The acquisition lists are also opened to the public for comments from time to time.

“The adoption of this new kind of technology and AI in libraries’ logistics process makes Helsinki City Library the world’s most functional library of this size. This project has also shown that the library sector can conduct challenging, international development work with several cooperation partners,” says Head of Library Network Services Virva Nousiainen-Hiiri.

Changes to picking up reservations and reservation notifications

For the customers, the new Intelligent Material Management System is primarily visible through the clarification of the picking up of reserved material in Helsinki City Library. In the future, reservations can be found based on the shelf number in the pick-up library selected by the customer, and the current model where materials have last pick-up dates will be discontinued. The shelf number is given to the customer in the e-mail notification concerning their reservation. The shelf number can also be checked by asking the staff, and later on it will also be possible to check it independently at the borrowing machine in the library.

The floating collection also means that reserved books or other material will no longer be handled individually in libraries. A whole boxful of material is checked in to one shelf at a time, and the items are transferred from the box directly onto the shelf. This is why the material will no longer be alphabetised onto shelves individually. The number of items per shelf will remain moderate, however, to ensure that reservations can easily be found on the shelf. Customers may return material to any library in the Helmet area, i.e. in Espoo, Helsinki, Kauniainen and Vantaa, and pick up their reservation in the local library of their choice.

“It will be interesting to see what the collections of the libraries in Helsinki will look like with the floating process. Will there be a specific children’s collection somewhere, for example? I think people might at first be confused by the new way of picking up reservations, but they need not worry, because our staff are there to help everyone. Guidance and presence will be increasing in the future as unloading and logistic work will be reduced,” says Regional Library Services Director Saara Ihamäki.

The e-mail server will also be replaced in connection with introducing the system. The customers that have selected a library located in Helsinki as their local library where they pick up reservations will automatically receive reservation notifications from the new e-mail address. New reservation notifications will be sent from In the transition phase, customers may receive e-mail messages from both the old and the new system, but the double notifications will be stopped shortly after the introduction of the new system.

The Helmet libraries also use a text message service that is subject to a fee, and which is connected to the e-mail server. Because libraries in Helsinki are going to be replacing their e-mail server, the text message service for reservation notifications will be discontinued for those customers who have selected a library located in Helsinki as their local library. Helsinki will be introducing a new, completely free text message service, intended to become available sometime in the autumn of 2019.

A sizable investment to pay off

The IMMS (Intelligent Material Management System) is supplied to Helsinki City Library by Lyngsoe Systems A/S. The interface implemented in the library system Sierra used in Helmet libraries is supplied by Innovative Interfaces Global Limited. The total cost of the project is approximately €900,000. This sum includes the software and the implementation project as well as maintenance for the following four years.

“The Intelligent Material Management System introduced at this time is a sizable investment. The investment will be returned in a few years, as the resources of all libraries are freed for the task of serving customers. Our initial goal was to implement the system before Helsinki Central Library Oodi opened, as we were committed to opening Oodi with no need for further recruitment. I am very happy to introduce the system now, because it will ease the workload in all of our libraries,” says the City of Helsinki’s Library Director Katri Vänttinen.

More information:

Virva Nousiainen-Hiiri
Head of Library Network Services
Helsinki City Library, +358504025813

Saara Ihamäki
Regional Library Services Director
Helsinki City Library, +358503421232

Katri Vänttinen
Library Director
Helsinki City Library, +358405548861

Marjo Haatainen
Communications Specialist
City of Helsinki / Culture and leisure / Communications and Marketing, +358503828150

Posted by: bluesyemre | May 20, 2019

OyuncakTurk (Türkiye’nin Antika #Oyuncak Arşivi)

logo ot

İnternet sitemizin açılış amacı ülkemizde eksik olan eski türk oyuncaklarının bir araya getirilip belirli bir tarih aralığında kataloglamaya çalışılmasıdır. Bu konuda bizimde bilgimizin kısıtlı olduğunu ve de bilgisi olan her türlü koleksiyoner ve hobicilerin bilgisine ihtiyacığımız olduğunu belirtmek isteriz. Sitemizin üyelik ve forum kategorilerinden hepinizin yardımlarını, fotoğraflarınızı, bilgilerinizi paylaşmaya davet ediyoruz. Amacımız bir nebzede olsa Türk oyuncak tarihini kataloglamaktır.

Posted by: bluesyemre | May 20, 2019

Chicago finds a way to improve Public Housing: #Libraries


Images of the Independence Library and Apartments by John Ronan Architects in Chicago.CreditCreditJohn Ronan Architects

Other cities have combined books and subsidized housing, but the outgoing mayor, Rahm Emanuel, has embraced the concept with three striking new projects.

CHICAGO — Cabrini-Green, the Robert Taylor Homes: demolished years ago, Chicago’s most notorious projects continue to haunt the city, conjuring up the troubled legacy of postwar public housing in America.

By the 1970s, Washington wanted out of the public housing business, politicians blaming the system’s ills on poor residents and tower-in-the-park-style architecture, channeling tax breaks toward white flight and suburban sprawl. Now the nation’s richest cities invent all sorts of new ways not to solve the affordable housing crisis.

Is any city doing public housing right these days?

I recently visited three sites that the Chicago Housing Authority has just or nearly completed. These small, community-enhancing, public-private ventures, built swiftly and well, are the opposite of Cabrini-Green and Robert Taylor. With a few dozen apartments each, they’re costlier per unit than the typical public housing developments, and they’re not going to make a big dent in a city with a dwindling population but a growing gap between the number of affordable apartments and the demand for them.

That said, they’re instructive. As Cabrini-Green and other isolated, troubled old mega-sites proved, bigger isn’t necessarily better. These are integrated works of bespoke architecture, their exceptional design central to their social and civic agenda.

And they share another distinctive feature, too: each project includes a new branch library (“co-location” is the term of art). The libraries are devised as outward-facing hubs for the surrounding neighborhoods, already attracting a mix of toddlers, retirees, after-school teens, job-seekers, not to mention the traditional readers, nappers and borrowers of DVDs.

Co-location is of course not a new idea. Other cities today link subsidized housing developments with libraries, New York included, but Chicago’s outgoing mayor, Rahm Emanuel, has made a point of touting the concept, and seeing it through in ways other mayors haven’t.

He leaves office next week with his reputation still tainted by the uproar several years ago following the release of the video of the police shooting of Laquan McDonald. The city’s downtown glistens but poorer residents south and west of downtown struggle with shuttered schools and unending gang violence.

These three new housing projects, on the city’s north and west sides, are clearly part of what Mr. Emanuel hopes will be his ultimate legacy. The projects mix public housing units with heavily-subsidized apartments and, in one case, market-rate ones.


The Taylor Street Apartments and Little Italy Branch Library by Brian Lee, from the Chicago office of Skidmore, Owings & Merrill.CreditTom Harris/SOM


The children’s area of the Little Italy Branch Library has open spaces and flexible furniture.CreditTom Harris/SOM

Mr. Emanuel talked often as mayor about the value of public space and good design. People don’t only need affordable apartments, as he has said. Healthy neighborhoods are not simply collections of houses. They also require things like decent transit, parks, stores, playgrounds and libraries.

Mr. Emanuel extended the city’s subway system, network of bike lanes and popular Riverwalk. He completed the elevated, long-discussed 606, Chicago’s version of New York’s High Line; brought marquee stores like Whole Foods and Mariano’s to grocery-starved neighborhoods like Englewood, and parks like La Villita, replacing a former Superfund site, to communities like Little Village.

He also commissioned leading local architects to design a string of small, civic gems, including two boathouses by Studio Gang and a new branch library in Chinatown by Brian Lee, from the Chicago office of Skidmore, Owings & Merrill, which I have stopped into on a couple of occasions. It’s a neighborhood linchpin and landmark.

Mr. Emanuel’s predecessor, Richard M. Daley, who tore down what remained of Cabrini and began to replace old, debased developments with New Urbanist-style mixed-income ones, gave Chicago Millennium Park and loads of planted flowers. He built cookie-cutter library branches, police and fire stations. I toured the Edgewater library one morning, a two-story, brick-and-concrete box, about as inviting from the outside as a motor vehicle bureau office and ostensibly indistinguishable from one.

The cookie-cutter model was conceived to lower building costs and insure a kind of architectural equivalence across diverse neighborhoods. Library officials tell me the one-size-fits-all design invariably needed some tweaking, from site to site, so it didn’t turn out to be especially economical. And the common denominator obviously did nothing to beautify Chicago or celebrate communities with distinct personalities and desires.

Mr. Emanuel adopted a different model. Capitalizing on the city’s architectural heritage, he touted striking new civic architecture as an advertisement for the city and a source of community pride. Distinguished civic buildings in underserved neighborhoods constituted their own brand of equity. Good architecture costs more but it pays a dividend over time.

The three new housing projects partner the Chicago Housing Authority with the Chicago Public Library system and two private developers, Evergreen Real Estate Group and Related Companies. Working with Eugene E. Jones, Jr., who runs the Housing Authority, Mr. Emanuel persuaded federal officials that public libraries could be co-located with public housing projects without putting federal housing subsidies at risk.

That freed up streams of money for the co-location idea, which was partly strategic: the library helped sway community groups resistant to public housing in their neighborhoods.


The Northtown Affordable Apartments and Public Library, near Warren Park. is a four-story snaking structure, shaped like a twisty garden hose.CreditJames Steinkamp


The interior of the library at Northtown.CreditJames Steinkamp

But co-location was also just plain good urban planning. In cities across the country, branch libraries, which futurologists not long ago predicted would be made obsolete by technology, have instead morphed into indispensable and bustling neighborhood centers and cultural incubators, offering music lessons, employment advice, citizenship training, entrepreneurship classes and English-as-a-second-language instruction. They are places with computers and free broadband access. (One in three Chicagoans lacks ready access to high-speed internet.)

For longtime neighborhood residents and tenants of the new housing projects, the branches at the same time provide common ground in a city siloed by race and class.

A city-run architecture competition in 2016 attracted submissions from 32 local firms. The winners were John Ronan, the architect who did the beautiful Poetry Foundation headquarters in downtown Chicago; Mr. Lee from Skidmore; and Ralph Johnson, who also designed the O’Hare international terminal, from the local office of Perkins + Will.

The libraries share real estate with the apartments but maintain separate entrances. The apartment blocks are designed to command views from a distance; the glassed-in libraries, to command the street.

Mr. Johnson’s project, the $34 million Northtown Affordable Apartments and Public Library, near Warren Park, is a four-story snaking structure, shaped like a twisty garden hose, trimmed in fluorescent green, backing onto a historic bungalow district, along a stretch of avenue that features a Jiffy Lube and Mobil station. It’s meant to be, and is, a beacon and an eye-catcher.

The building’s upper floors include 44 one-bedroom apartments for seniors. They perch atop a bright, glazed, double-height, 16,000 square foot library, which curves around an interior, teardrop-shaped garden, the library’s roof doubling as a terrace for the housing tenants. The apartments I saw looked great, with floor-to-ceiling windows. A community garden in the back helps negotiate the tricky transition between the bungalows and the busy avenue.


The Independence Library is a soaring, two-level affair, with towering concrete columns, a music studio and makers’ workshop tucked into a corner.CreditEvergreen Real Estate Group/John Ronan Architects

Mr. Ronan’s Independence Library and Apartments, in Chicago’s Irving Park neighborhood, a $33.4 million project, tells a similar story. Evergreen is again the developer. The apartments, one- and two-bedrooms, as at Northtown, are all subsidized for 44 seniors and the library occupies the ground floor. The six-story apartment block is a vivid, snowy white tower with rounded corners, clad in corrugated metal, punctuated by multicolored balconies.

The library juts toward the street. It’s a soaring, two-level affair, with a music studio and makers’ workshop tucked into a corner, towering concrete columns, bleacher seats and a mezzanine facing a big, teak-lined roof deck that is accessible from the apartments. The place is welcoming and richly detailed. Light pours in from three directions. Patterned wallpapers, among other touches of color, soften a vocabulary of exposed and striated concrete, with the corrugated metal on the outside serving as radiant paneling for distributing heat inside.

Mr. Lee’s project, the Taylor Street Apartments and Little Italy Branch Library, encountered the fiercest community resistance. The blowback ended up reducing the size of the apartment tower and stepping its mass back from the street.

The $41 million project includes 73 apartments, seven of them market-rate. Related is the developer. At seven stories, clad in Aztec-brick and chestnut-colored panels, the building at once stands out from but also echoes aspects of the neighborhood. There are two floors with glassed-in, single-loaded corridors, the sort of perk you mostly find in high-end residential developments. A double-height library, with a curtain wall and bright orange acoustic baffles, anchors the street.

When I stopped by, moms clustered with toddlers in a bright corner of the library. The place was quiet, dignified and cheerful. Upstairs, views onto empty lots suggested more development coming. The area is gentrifying.

Like the other two, the project seemed both bulwark and boon. This may not be the only way to solve America’s affordable housing problem, but it’s a start.

Posted by: bluesyemre | May 20, 2019

Postmodern #Pazarlama (Editör: Doç. Dr. Gürdal Ülger)


Doç. Dr. Gürdal Ülger, elinizdeki editörlü kitap çalışmasında ekonomiden edebiyata,  sanata kadar her alanda etkilerinin hissedildiği postmodernizm’in, pazarlamaya yansımalarını bölüm yazarlarıyla birlikte inceliyor.

Postmodern anlayış, kimilerine göre modernizmin devamıdır, kimilerine göre ise bir başkaldırıdır.  Kimileri için ise postmodernizm, kapitalizmin kendi içinde yaşadığı bir değişimdir. Çoklu okumaya olanak tanıyan, belki de zemin hazırlayan postmodern yaklaşım tüketime odaklanan yönüyle de, bu söyleme destek verir.

Talebin arzı belirlediği ekonomik düzenin, arzın talebi belirlediği düzene doğru evrilişi, pazarlamaya dikkat çekerken, postmodern kültür içerisinde yaşayan yeni tüketiciyi anlamayı ve anlamlandırmayı da gerektiriyor.

Postmodern tüketici, sınırları keskin olmayan kimliği, karşıtları bir arada taşıyabilen özelliği ve sunulan yeni yaşam tarzlarını deneyimleme arzusuyla pazarlamacılar açısından yelpazesi oldukça geniş bir tüketici profili anlamına gelirken, aynı zamanda kırılgan, kolaylıkla vazgeçebilen tüketiciye de dikkat çekiyor. Postmodern tüketici kendisini merkezde görmek istiyor, ama onun çözümü de zor değil! Çünkü; postmodernizmin önemli bir bileşeni olarak hipergerçeklik, yeni anlamlandırmalara ve sanal mutluluklara yabancı değil!

Postmodern Pazarlama başlıklı çalışma,  postmodernite penceresinden pazarlamayı inceliyor.

Elinizdeki kitapta postmodernizmin kavramsal çerçevesinin yanı sıra postmodern yaklaşım, pazarlama, tüketim, tüketici yapısı ve teknolojiyle etkileşimi boyutları ile çeşitli makaleler bağlamında ele alınıyor, örnekler analiz ediliyor.  Postmodernizmin tartışmalı yapısına ayna tutuluyor!

Sevgili meslektaşım, öğrencim Doç Dr. Gürdal Ülger’in ikinci kitabına da önsöz yazıyor olmak,  benim için bir mutluluk nedeni… Sevgili Gürdal’ı bu çalışması için de kutluyor, kendisine ve yazarlara teşekkür ediyorum.

Prof. Dr. Filiz Balta Peltekoğlu


Önsöz – Prof.Dr. Filiz Balta Peltekoğlu

Kavramsal Çerçevede Modernizmden Postmodernizme Bakış – Doç. Dr. Gürdal Ülger

Postmodernizm ve Halkla İlişkiler – Dr. Emel Tozlu Öztay

Masal, Masal İçinde: “Influencer Marketing”e  Eleştirel Bir Bakış – Dr. Meltem Çiçek

İçerik Üreten Postmodern Tüketici: Tüketicinin Ürettiği Reklamlar – Dr. Ezgi Eyüboğlu

Postmodern Tüketim Pratiklerinde Influencer Pazarlama Girişimleri – Dr.Dilge Kodak

Reklam Grafiğinde Postmodern İzler – Dr. Ayşe Nil Aksoy Kireçci

Küresel Markaların Yerel Yansımaları – Dr.Emel Demir Askeroğlu

Pazarlamanın Lokomotifi: Postmodernizm – Derya Nil Budak

Nostaljinin İdeolojisi – Cansu Kösem

Bir Postmodern Pazarlama Örneği: Evimizin Her Şeyi “IKEA”- Nur Gözde Tayfur

Postmodern Pazarda Yeni Bir Trend: Microtransaction – Ekin Beran Eğüz

Posted by: bluesyemre | May 20, 2019

#Kıbrıs Haber Ajansı


Kıbrıs Haber Ajansı, resmen 16 Şubat 1976’da, Kıbrıs’ın kendi ulusal haber ajansına sahip olmasının gerekli olduğu düşüncesinden yola çıkan dönemin Kıbrıs Radyo Yayın Kurumu (KRYK) Genel Müdürü Andreas Hristofidis’in girişimi ve uğraşları sonucu kuruldu.

KHA’nın resmen 1976 yılında faaliyete geçmesiyle, Hristofidis RIK (CyBC) Haber Bölümü çalışanlarından Andreas Hacıpapas’ı KHA Yazı İşleri Sorumlusu olarak atadı. Andreas Hacıpapas Enformasyon Dairesinin Ajansa sağladığı teknik ve iletişim kolaylıkları sayesinde Reuters ve Non-Aligned News Agencies Pool adlı ajanslara günlük İngilizce haber bültenleri göndermeye başladı.

1984 yılında faaliyet alanını genişleten KHA personel kadrosundaki elemanların sayısını artırarak İngilizce haberlerin yanı sıra diğer dillerde de abonelerine haber iletmeye başladı.

1989 yılında Temsilciler Meclisi Kıbrıs Haber Ajansı’nın habercilik alanında tamamen bağımsız bir kamu kuruluşu olarak faaliyetlerini sürdürmesine olanak sağlayan ilgili yasa tasarısını onayladı.

Bu yasa uyarınca, KHA kitlesel iletişim dalında üne sahip kişilerin oluşturduğu yedi üyelik bir Yönetim Kurulu tarafından yönetilmektedir. Kıbrıs Gazeteciler Cemiyeti, Gazete ve Dergi Yayımcıları Birliği, RIK ve Kıbrıs Enformasyon Dairesi (PIO) Yönetim Kurulunda temsil edilmektedir.

Kıbrıs Haber Ajansı, kamu basın hizmet veren kurum olarak, Kıbrıs ve yurtdışında Kıbrıs’ta bir dizi konular üzerine kamuyu bilgilendiriyor. Yasaya göre, KHA, bağımsız ve otonom, hazırladığı haberlerde etkilemeler kabul etmeyen ve herhangi siyasi, ekonomi veya başka bir grubun çıkarlarına hizmet etmeyen bir kurumdur.

Ajans, görev çerçevesinde, Rumca ve İngilizce haberler abonelik sözleşmesi üzerine, Türkçe ve Arapça haberler ise Ajans’ın websitesinde açık erişimde bulunmaktadır. KHA, kendi fotoğraf hizmetlerini ve aynı zamanda, Kıbrıs, Yunanistan ve dünyadan fotoğraflar sunuyor.

Kıbrıs Cumhuriyeti’nin dünyadaki diplomatik misyonlar için bir bilgi kaynağı olan KHA, söz konusu haberler hükümet yetkilileri, parlamenterler ve diğer yetkililerden değerlendirilmektedir.

Ajans, her gün dört çeşitli bülten yayınlamaktadır: 24 saat haber özeti, Kıbrıs basını ve Kıbrıs Türk basın özetleri ve yurtdışında yaşayan Kıbrıslılar için bülten.  Söz konusu bültenler diyasporada ikamet eden Kıbrıslılar ve diyasporada faaliyet gösteren medyalardan da değerlenmektedir.

Posted by: bluesyemre | May 20, 2019

Dostluğu Hatırlamak (#Belgesel #TRT)

Dostluğu Hatırlamak

Türkler ve Ermenilerin kardeşliğini anlatan “Dostluğu Hatırlamak” adlı belgesel 2011 Sedat Simavi Ödülü’ne layık görüldü.

Tarihi dostluğa gölge düşürmek isteyenlere en anlamlı cevabı yine o ülkelerin halkları veriyor.

Türkler ve Ermeniler yıllarca birarada kardeşçe yaşadılar ve halen yaşıyorlar..

İşte bu bu dostluk TRT’nin “Dostluğu Hatırlamak” adlı belgeseline de konu oldu..

“Dostluğu Hatırlamak” adlı Belgesel 2011 Sedat Simavi ödülüne layık görüldü.

Yapımcı Sevinç Yeşiltaş, “Türkiye’de ve dünyada pek çok tartışmaya, siyasi krizlere neden olan Türk- Ermeni halkları arasındaki ilişkiyi, siyasetten uzak tutarak gerçek insanların hayatına dokunarak onların dostluklarını anlatmaya çalıştım” diye konuştu.

Yapımcı Sevinç Yeşiltaş’ın TRT Haber Kanalı’nda yayınlanan Türk – Ermeni halkları arasındaki dostluğun anlatıldığı belgeselin ödülünü Türkiye Gazeteciler Cemiyeti Başkanvekili Turgay Olcayto verdi.

Belgeselin yayınlandığı TRT Haber kanalına özellikle teşekkür eden Yeşiltaş, ödülünü Buenos-Aires’te yaşayan Nazaret Amca için aldığını belirtti.

Belgeselde, Arjantin’in Buenos-Aires ile Fransa’nın Valance şehrinde yaşayan Diaspora Ermenileri üzerinden halkların dostlukları ve benzerlikleri anlatılıyor.

Dostluğu Hatırlamak

Sevinç Yeşiltaş’ın yönetmenliğini yaptığı TRT Haber kanalında yayınlanan Dostluğu Hatırlamak belgeseli Türkiye Gazeteciler Cemiyeti 2011 Sedat Simavi   Ödülleri’nde  televizyon dalında övgüye değer  bulundu.  Belgeselde Arjantin Buenos-Aires ve Fransa Valance’ta yaşayan Sivas, Kayseri, Malatya gibi Anadolu’nun çeşitli illerinden giden Diaspora Ermenileri üzerinden Türk ve Ermeni Halklarının dostlukları ve benzerlikleri anlatılıyor.

“Dostluğu Hatırlamak” için,  özlemle ve buruk bir neşeyle dile gelen, sadece onların hikâyesi değil, aynı zamanda Anadolu’nun hikâyesi.

Belgeselin kameramanlığını Levent Ahi, kurgusunu Cantekin Cantez, müziklerini ise Ulaş Özdemir yaptı.

Stephanie Riggs

VR and AR are much-discussed in the publishing industry – but few publishers have found a way to translate the new tech in a way that works for books. Stephanie Riggs, one of the pioneers of virtual reality, thinks she knows why. 

An internationally recognised director, producer, creator and speaker whose immersive experiences with Disney, Google, Facebook, Refinery29, Carnegie Mellon, Yale, and NYU have lead the evolution of the VR field, Riggs has just released The End of Storytelling: The Future of Narrative in the Storyplex. The book outlines the history of storytelling and illustrates why familiar storytelling techniques used in books, film, and theatre do not translate very well to new mediums, such as VR and AR, and often leave audiences a little disappointed. Instead, she suggests that we need to stop looking at storytelling in this square box of a book, a stage, a screen and, instead, change the way we think of narrative using these immersive technologies.

We asked her to talk more about the impact of her ideas for the future of books.

Why doesn’t traditional storytelling (such as we find in mainstream books) fit well into VR and AR?

Three fundamental traits of immersive technology undermine the traditional process of telling stories. The first is the absence of a frame. Books are framed by their pages. Theatres by the proscenium. Televisions and computers by the screen. The frame separates pre-scripted content from our naturally interactive reality. And it is ubiquitous. When we work in immersive experiences, the frame disappears, disrupting our expectations of where to look for content. That’s why when people over the age of about twelve experience VR for the first time, they stare straight forward in the headset rather than looking around the world.

The immersive quality of being within the content rather than separated from it, creates the second reason why traditional storytelling doesn’t work in VR and AR: the sensation of presence. A 1998 study by German researchers Regenbrecht, Schubert, & Friedman brilliantly described the differences between how our brains process increasingly sensorial mediums: “When we read an article about a narrow suspension bridge, we would rarely experience any sensations because of the mentioned height, but we have a clear mental model of the described space. When we see the bridge in an action movie and we look down to the bottom of the valley together with the endangered protagonist, it is likely that we feel fear because of the height. However, when users have to walk over that bridge in a virtual environment, many of them will experience physiological symptoms and sensations of fear, because they have a sense of actually being there.”

Finally, authorship itself evolves. Interactive technology supports scripting more akin to gaming than novels. These worlds are able to deliver content that responds to the actions of guests rather than a singular plot line. As people adapt to the first two traits of immersive technology, the absence of frame and the sensation of presence, it will be generative scripting that ultimately demands that writers reconceptualise how a narrative is constructed and evolves the future of our stories.

What does a story need if it is to work well with immersive technologies?

I have seen many traditional screenwriters, authors, and playwrights try to write scripts for immersive experiences using the same techniques that worked for them in their native formats. It rarely creates an experience that is easy for guest in VR or AR to follow or interact with. There are awkward transitions between plot points and interactivity, and guests don’t know where to look because they’re not accustomed to being surrounded by their story. This is one of the reasons that I wrote The End of Storytelling: to share the lessons I’ve learned through decades of working with narratives in immersive environments that can help traditional storytellers “think immersively.” For a story to work well in immersive technology, we don’t start by writing a script. We start with a concept of what we want the guest to experience and then design the flow of interactions based on the psychological experience of the guest.

What do you see as the main challenges facing book authors and publishers who want to exploit these new media?

The technology itself presents a formidable challenge. We lack industry standards in software, hardware, methodology, and even the language we use to describe working in interactive mediums. However, the most significant challenge comes from ourselves. When traditional creators work with immersive technology, they tend to fall back on the well-established paradigm of “storytelling” rather than doing the hard work to understand how and why this medium is different than classical (pre-immersive) mediums.

What do you think are the main opportunities for the book trade in terms of exploiting VR and AR?

Today’s immersive technology readily lends itself to augmenting existing publications. AR isn’t widely and consistently used, so it’s a great time to explore how what’s on the page can come to life and experiment with out-of-the-box ideas.  In the long-term, if we are able to reconceptualise what a narrative is and evolve it beyond just storytelling, the possibilities are endless.

Do you think it’s important for the book industry to harness these technologies or should it stick to the (very different) more traditional reading experience?

The craft of writing powerful characters, moving narratives, and mesmerizing sequences has, for the most part, eluded creators of immersive experiences. Often times, they are so focused on what the technology can do that the story suffers. I believe that there is tremendous opportunity right now for collaboration between the book industry and the immersive industries.

What other emerging technologies do you think have the potential to disrupt the book industry in the next few years?

Going back to your first question, machine learning and artificial intelligence have the potential to profoundly disrupt how authors construct narratives and how guests experience stories regardless of whether the interface to the story is a page, a headset, or a mobile device. I’ve been collaborating with several colleagues on this challenge, and the future that lies ahead of us is incredible!

Posted by: bluesyemre | May 18, 2019

19 Mayıs 100. Yıl Marşı – Kol Kola Sonsuza Kadar !

Bizler, iletişimci, müzisyen, tasarımcı ve iş insanlarından oluşan Samsunlu gençler olarak, bu şehre, 100. Yıl ve sonrasında da coşkuyla söylenecek bir marş hediye etmek istedik ve gönüllülük esasında bir araya geldik. Konusunda uzman arkadaşlarla aylar süren bir çalışma sonunda bu çalışmayı çıkardık. Emeği geçen ve destekleyen herkese çok teşekkür ediyoruz!

100. Yıl Marşı Künyesi

Söz : Ömürden Sezgin

Beste/Seslendiren : Can Mutlu

Aranje : Burak Ertetik

Nefesliler : DC Brass section

Tuşlu çalgılar: Deniz Gömeç

Akustik gitar/ Bas gitar: Taşkın Avcı

Elektro Gitar : Emrah Küçükcanbaz

Davul / Perküsyon: Burak Ertetik

Stüdyo : Drum Clinic

Video/Edit/Kurgu : Adem Bekdemir

Görsel katkı sağlayanlar : Burak Doğan, Alperen Petek, İbrahim Tutkaç, Mustafa Pıçakçı, Murat Sandıkçı, Adem Bekdemir

Medya desteği : 112Dijital Halkla ilişkiler desteği : Sevda Yüzbaşıoğlu

Destekleyenler ve güç verenler: Can Atalay, Ersoy Kaya, Önder Fatih Şenol, Varlık Sezgin , Buğra Çolak, ,Güliz Fiş, Fakir Hüseyin Erdoğan, Hande Abalı, Oğuzhan Akçay,Yusuf Kahvecioğlu, Eren Özata, Alper Aydemir, Umut Çalışır, Raşit Özdoğlar, Barış Büyüktanır.

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