Posted by: bluesyemre | May 12, 2021

Rutininin İçinde Değişiklik Yapabilirsin

“Ceteris Paribus”, yani “diğer bütün şartlar sabit kalmak üzere…”

Bu, ekonomide çok kullanılan varsayımlardan birisi. Ben bu döneme kadar bu varsayımı hep sorgulamıştım. Hayatta bütün her şeyin sabit kalıp, sadece “bir” şeyin değiştiğini gördünüz mü? Çevre, kültür, duygularımız, sosyal hayat veya ekonomi ne zaman aynı kaldı ki?

Ama içinde bulunduğumuz dönem, gündelik hayatımızı çoğumuz için “Ceteris Paribus” haline getirdi. Yani, aylardır evden çalışıyoruz, aynı masada kahvaltı yapıp sonra aynı masada toplantı yapıyoruz. Hatta evde üç koltuk olsa da gidip aynı koltukta oturmayı tercih ediyoruz… Kısacası bir rutinin içinde yaşıyoruz. Her günümüz birbiriyle neredeyse aynı. Rutin derken, iş yaşantımızda önceden de rutinlerimiz vardı. Fakat bu rutinlerin içerisinde çalışma arkadaşlarımız, yeni tanıştığımız insanlar veya ailemiz vardı. Şimdi onlarla görüşmelerimiz kısıtlı hatta belki de sadece teknoloji sayesinde ekran karşısında görüşüyoruz. Önceden belki aynı yolu kullanıp işimize ulaşıyorduk veya her sabah aynı spor salonuna gidiyorduk fakat hayatımızda çeşitlilik vardı. Bu çeşitliliği kendi tercihlerimize göre şekillendiriyorduk. Kendi isteğimize göre rutinlerimizi dahi farklılaştırabiliyorduk.

Bu bana sevdiğim filmlerden birisini hatırlattı: ‘Groundhog Day – Bugün Aslında Dündü’. Filmde Bill Murray her sabah aynı güne uyanır. Önceleri bundan keyif alır, sevdiği kadını (Andie MacDowell) etkilemek için bir oyun olarak görür. Aynı güne uyanmak kolayına gelir. Hayatında yanlış giden olaylara, ertesi gün aynı anları yaşarken müdahale etme şansı olur. O da bu müdahalelerle hayatını “mükemmel” hale getirmeye çalışır. Bu süreçte rutin aslında işine gelir. Fakat çok kısa zamanda her gün aynı şeyleri yaşadığı için depresyona girer. Ta ki, yaşadığı olaylar aynı olmasına rağmen, bakış açısını farklılaştırdığında ne kadar çok şeyin değiştiğini keşfedene kadar. Bu bir kırılma noktasıdır onun için. Filmi izlemeyenler olabilir düşüncesi ile daha fazla detay paylaşmıyorum.

Film, bakış açımızı olumluya çevirdiğimizde hem kendimize hem de etrafımızdaki insanlara faydalı olabileceğimiz mesajını veriyor. Ve işte kahramanımız o zaman sevilen adam oluyor, karşısındaki kadından da sevgi görüyor.

Filmdeki gibi, çoğumuzun her sabah aynı güne uyandığı bu pandemi döneminde, hepimizin iniş çıkışlarının olması gayet normal. Tıpkı filmdeki gibi, hepimiz bildiğimiz bir hayatı yaşamayı hayal etmiyor muyduk? Trafikte sıkışıp kalmamayı, soğuk havalarda evden çalışıp hemen mutfaktan kahvemizi hazırlamayı, çocuklarımızla daha fazla vakit geçirmeyi… Hepimizin hayali değil miydi? Ama bu rutine girince bizim de hayatımız “Ceteris Paribus” haline geldi.

Aylardır sıkıldığımız ev hayatı, sosyalleşme olmadan, paylaşmadan, seyahat etmeden geçen günler… İşte bu rutin eğer mutlu etmiyorsa ya rutini değiştirmek ya da bakış açımızı değiştirmek gerekiyor. Bu zorlu pandemi döneminde rutinimizi değiştirmek mümkün olmadığı için, geriye bakış açımızı değiştirmek, pozitif psikolojiye yönelmek kalıyor.

Pozitif psikoloji dendiğinde çiçekler, böcekler, saflık, anlamsız bir iyimserlik ve olumsuz bir “Pollyannacılık” akla gelebiliyor. Aslında “Pollyanna İlkesi”, literatürde olumlu ön yargıyı tanımlayan bir psikolojik ilke olarak tanımlanıyor. Ama maalesef gündelik hayatımızda “Pollyannacılık”, gerçek tanımından çıkarak sabun köpüğü kişisel gelişim kitaplarında kullanılan bir terim haline geldi.

Pozitif psikoloji ise Pollyanna ilkesinden çok daha kapsamlı bir psikoloji ekolü. Farkındalık temelli, olaylara daha geniş perspektiften bakılmasını öngören, yaratıcı ve gerçekçi. Bu konuda dünya çapında önemli çalışmalara imza atan Martin Seligman,

TED konuşmasında psikoloji biliminin yakın zamana kadar sadece hastalık bakış açısından yola çıktığını belirtiyor. Ona göre psikoloji, nispeten sorunsuz, ruhsal bir rahatsızlığı olmayan, “sokaktaki” insanı daha mutlu, daha üretken yapma misyonunu unutmuştu.

İşte pozitif psikoloji bu yorumdan yola çıkarak doğdu. Bu ekol, insanların zayıf tarafları kadar güçlü tarafları ile, kötüyü düzeltmek kadar iyiyi çoğaltmak ile ilgileniyor. Yani pozitif psikoloji, çözüme giden yolda olumsuzluklara değil, yaşamın anlamlı yönüne ve seçeneklere odaklanıyor. “Depresyondan nasıl çıkarım?” yerine “Mutlu olmak için alternatiflerim var mı?  Bu alternatiflerden hangilerini hayata geçirebilirim?” sorusunun cevabını arıyor.

Hani hep aynı hayata uyanıyoruz demiştik ya. Uyandıktan sonra ne yapacağımızın seçimi bize ait, bunu unutmayalım. İşiniz olmasa bile erken uyanıp kendinizi iyi hissetmek için bir amaç arayabilirsiniz. Bugünkü amacınızın sadece temizlik olması sizi üzmesin, yarın İspanyolca öğrenmeye başlayabilirsiniz. Kendinize iş yaratıp, dolu yaşamayı tercih etmek veya bütün gün uyuyarak depresyonunuzu artırmak sizin elinizde. Seçeneklerimizi analiz edip, kendimizi bu yolda yürümeye zorlamamız gerekiyor. Yani bu aslında hayatın olumsuz yanlarını görmezden gelmek değil.

Hayatımızı, bizi pozitif olmaya götürecek seçeneklere odaklamamız anlamına geliyor.

Mükemmeli aramak yerine, bu dönemde diğer bütün koşullar sabitken pozitif psikoloji ile, filmde olduğu gibi biz de hayatımızı değiştirir miyiz sizce? Bence kesinlikle “Evet.” 

https://hbrturkiye.com/blog/rutininin-icinde-degisiklik-yapabilirsin

My daughter joined my Zoom calls. She was not impressed.

Like many other knowledge workers during the pandemic, my days have blurred from Zoom call to Zoom call, with some email, writing, and the occasional phone call in between. I’ve done Zoom calls with publishers, ad agencies, the government, banks, media properties, clients, even the church. Many of these calls are “listen-only,” so a few months into the pandemic I started inviting my college sophomore daughter to sit in on some of them and get a taste of what the work world is like.

I’m starting to think she’s not very impressed.

Set aside the technical difficulties, the bad audio, and the questionable books on the shelves in some people’s Zoom backgrounds, it has been fascinating to watch my 20-year-old small-business-owning student daughter make observations about the business world she’s about to enter. After each call, I ask her three things:

What did you learn?

What were your assumptions going in and how have they changed?

What would you do differently if you were in charge?

Her answers have been a combination of enlightening, depressing, and refreshing. 

She has been amazed to witness “mansplaining” in all of its glory in almost every setting where men are present. All of the tropes she has read about seem to be true. Men reframe the question to ask it in the same way a woman already has. Men will cut women off, tell a joke that is really only meant for the other men on the call, or go into a long explanation for something that a woman could have summed up in a few words. 

She’s also commented on the way middle-aged execs, especially in the creative business, talk about “things the kids are doing” with absolute confidence and a hint of dismissiveness, even though they’re completely wrong about their assumptions. One creative director went on and on about the “monetization” opportunities with TikTok when it was clear to my daughter that he had never really used the platform.

She’s also amazed at how often media people marvel at the phenomenon of kids being connected to their devices, as though it’s a phase that they’ll grow out of.

“We’ve had our devices our whole lives,” she told me. “We don’t know a world without them. We had phones since our parents allowed us, and iPods before that. We had Leapfrog screens when we were 2. We were required to use iPads and Surfaces in school. This isn’t a phase. This is our life.”

Not all of our Zoom calls are filled with the disappointment of hearing smug and dismissive people in power. She has been most impressed by the calls from government agencies, including a frequent small business webinars from the City of Seattle and some great events by the Seattle Public Library. 

The bi-weekly Seattle small business roundup is well-organized and efficient, never going over an hour, featuring heads of relevant departments discussing their plans and changes in the wake of the Covid-19 crisis. More often than not, my daughter has observed, the calls are hosted by young women in the mayor’s office. (Perhaps not coincidentally, Seattle has a female mayor.)

The library, meanwhile, offers webinars about the information and services that the facility has to offer. The breadth and depth of modern libraries in general, and the Seattle Public Library in particular, are mind-boggling. My daughter started her first business last summer, and she was fascinated by all of the information the library manages, from Census data to business publications to industry contact lists. Maybe because the library gets its funding from the general public, and offers education as its mission, the call hosts are never dismissive or demeaning, but, rather, almost grateful that people are willing to devote their time to the resource.

The opportunity to be virtually exposed to the real world has been a great bonding experience for my youngest daughter and me. I think the “real world” is a little less intimidating to her now. And, for better or worse, a little less impressive.

Will Jeakle

I’m an author, entrepreneur, former CNN exec, comedy writer, husband, and father. Tips, quips, advice and jokes on Twitter @willjeakle

https://www-forbes-com.cdn.ampproject.org/c/s/www.forbes.com/sites/williamjeakle/2021/05/10/what-my-college-aged-daughter-taught-me-about-my-zoom-calls/amp/

Posted by: bluesyemre | May 12, 2021

eTextbooks vs. Print Textbooks (#infographic)

Posted by: bluesyemre | May 12, 2021

5 Alternatives to Amazon for Your Books From A Librarian

There are plenty of options when it comes to trying out a new book.

Many people depend on Amazon Marketplace for fast and easy book purchases.

But, many more people are trying to find alternatives to this book giant.

That’s because this tech giant is not always the best option for those who want to be conscious about where they’re spending their money. Amazon not only dominates the market to the extent of causing small, local business owners to close shop, but they have also exercised their monopoly by withholding copies of books from public libraries or charging exorbitant prices for ebooks.

For those who are interested in finding other ways to indulge in their reading passions, there are alternative sites, stores, and organizations to support. It’s completely possible to get access to books without contributing to large companies like Amazon.

Amazon’s Restrictions On Library Purchases

Amazon has been facing criticism lately for the actions they’ve taken to restrict access to their books released through Amazon Publishing. Amazon Publishing has been releasing books since 2009 and its own brands include Lake Union, Thomas & Mercer, and Audible. Books are usually released in print, audiobook, and ebook formats which are then usable for institutions like public libraries to purchase and loan out to the community. However, Amazon has put a halt to some of this by banning library access to ebooks and audiobooks published by Amazon. This means libraries are no longer able to purchase ebooks and audiobooks from many authors that the public is interested in like with Mindy Kaling’s new story collection.

Libraries have agreements in place with publishers in order to access digital copies of popular titles. Oftentimes, libraries are paying more than what a regular consumer would pay for a copy of the ebook- anywhere from 40 to 60 dollars per title and up to 100 dollars for really popular books. In addition to the increased price that libraries end up paying, there are also restrictions in the form of digital locks and set time periods. With these in place, libraries end up having to re-purchase digital copies multiple times.

Most libraries also have a middle man to help them with these negotiations. Overdrive is the company who created the Libby app which is how many libraries buy and distribute their ebooks. This online platform is widely used by library patrons and even Amazon Kindle users. Those with a library card are able to use it to access Libby and check out ebooks through their devices. However, even the executives at Overdrive have had difficulty when it comes to negotiating ebook book usage through Amazon Publishing.

The reasoning behind Amazon withholding its digital copies stem from the unfavorable position it puts the company in. The executives at Amazon also mention the ambiguity of how digital library lending models balance the interests of authors and patrons. While the effects of this Amazon restriction is not completely known, one thing that is for certain is that many library patrons will not have digital loan access to some of their favorite authors and new books.

Alternative Book Shopping

The good news is that there are plenty of other options out there to support if you’re willing to look past the titles that Amazon has restricted. Many independent bookstores, used book shops, and small businesses are happy to welcome you to browse their collections. Plus, local independents are often great partners with their neighborhood libraries. But if you want to shop online, here are five alternatives for books:

Better World Books

Better World Books is another online book retailer that is committed to making positive change in the world. It was created by two college students that saw a need and a market for old books, specifically those on campus that students no longer needed but couldn’t sell for much back to their campus bookstore. Eventually this venture grew into partnerships with local libraries to rescue unused books and use the revenue generated to fund libraries.

So far they have raised millions of dollars while also saving millions of books and creating jobs. They have a huge collection of used and new books as well as a fun “bargain bin” to explore. As a tribute to the website’s history, Better World Books also has a textbook section that is up to 90 percent off for students or anyone else looking to pick up some new knowledge.

Thrift Books

Thrift Books is the place to go if you’re looking for secondhand books. Not only does it carry bestsellers, you can also use the site to find new releases that you are interested in reading. The site carries large collections of books encompassing different genres and topics as well as a section for movies and TV, music, and video games.

It keeps a running blog written by different people that cover trending topics in new releases, reading related topics, and current events. The cool thing about Thrift Books is that supporting this site not only supports books (they save millions of books from being destroyed every year) it also helps support social causes. Thrift Books donates titles to prisons, schools, and literacy programs which means one way or another, these books are getting a second life at bringing joy and knowledge to someone out there.

Bookshop.org

Those looking to move their spending from big corporations to independent bookstores can check out Bookshop.org. This site is dedicated to supporting local bookstores by creating a one-stop shop for book buyers to browse and purchase books to support a specific bookstore or contribute to a community pool that gets distributed to independent bookstores.

The site makes it easy to search for bookstores near you and they’ve raised $13,572,940.64 so far for local shops. There’s endless titles to choose from on the site but for those who need some guidance, there are a variety of created reading lists from “How to Avoid a Climate Disaster” to “Moms Don’t Have Time To Read Books in 2021” created by Bookshop.org.

Libro.fm

Libro.fm is another site dedicated to supporting the independent bookstore but through audiobooks. It offers monthly memberships that equate to one audiobook credit, making it easy for listeners to chip away at their reading list. For those that aren’t daily listeners of books, there is also an “a la carte” option where you can buy as you go.

This small business is committed to supporting other small businesses. Not only does it function as a business, it has goals to enact social change by increasing access to books using technology. Their equity, diversity, and inclusion practices show up throughout their site through AAPI audiobook recommendations and their blog which covers topics such as AAPI-owned bookstores and author interviews featuring authors from diverse backgrounds.

Libraries have always tackled a critical problem that many members of the community face through lending of their digital collections. It is not always feasible for someone to make a physical trip to a library or even afford a book which means ebooks and audiobooks are the way to go. While Amazon’s restrictions may not affect everyone or have much of an effect at all, it does make a statement when it comes to the type of knowledge sharing the company supports. Rather than dropping book titles into your Amazon cart, use socially conscious sites that support local businesses and libraries when you shop.

https://bit.ly/3y8iDar

Posted by: bluesyemre | May 12, 2021

Archival Data Standards: A Short History

Archival description captures and provides access to information about collections of historical records. The primary descriptive tools of archivists have been finding aids, which supply inventories of collections to help with discovering and using archival materials. 

Archival description includes everything from repository guides to catalog cards detailing individual items. Inventories come in various formats but have become more systematic as archivists adopt standards such as MARC and EAD. They also increasingly tend to represent collections. Archives have moved away from the library practice of describing individual items to describing collections, their contents, and their context. When used with a robust archival collections management system (CMS), data standards offer archivists a powerful tool for consistent description. 

The Creation of Standards 

Librarians developed MARC as a descriptive tool for books in online public access catalogs (OPACs). Archivists, recognizing the possibilities and lacking an electronic descriptive standard of their own at that time, adopted MARC as a method for describing collections while maintaining finding aids as the primary descriptive tool. Archives commonly implemented MARC to gain representation in library catalogs to help with subject searching and access. 

MARC has limitations for archives beyond the issues of granularity, extensibility, and technological obsolescence. One problem with MARC is that while it can manage collection-level description, it does not lend itself to the more detailed parts of archival description. It is possible in MARC to associate series level records with one another and with the collection-level record, but it can be cumbersome in practice. 

Some repositories create both EAD-encoded finding aids and MARC records for uncatalogued collections. Though the archival community can question the need for continued MARC cataloging when finding aids are available online, others argue that the benefit of attracting users by including MARC records in local and union catalogs outweighed the added work involved in cataloging.

Data Standards for Finding Aids

Modern-day inventories usually have a combination of standard data elements and narrative notes. Typically, a finding aid consists of a main entry or title, dates covered in the materials, the cubic or linear feet of the collection, a biographical or historical note providing the user with background on the creating entity, a note describing the scope and contents of the collection, and a statement about arrangement. Other components may include a note on provenance, a list of series or subordinate parts (such as correspondence), descriptions of the series, and a container list detailing the contents of each box and folder.

XML-based Standards

The use of XML-based standards is an indisputable advantage for archivists. It is simple to convert from one XML DTD or schema to another, making the reuse of all or part of a finding aid easier. XML also creates an environment where it is easy to completely change the look and feel of finding aids by changing a stylesheet. 

Despite archivists’ reticence to adopt standard methods for describing the materials in their care, best practices suggest the need for following standard data structures and regularizing the data put into these structures. The interoperability of XML has shown itself to help use the data created to fulfill the requirements of one standard, such as MARC, by reusing it in a new standard like EAD.

Standard Adherence 

Archival repositories should capitalize on modern technologies and data standards, enabling the future needs for conversion and reuse of data that archivists have yet to foresee. The use of internationally supported data structure standards also allows archivists to benefit from others’ work by using rules, standards, and conversion tools. 

Adherence to standards is necessary for complete machine-processed conversion, such as transferring data from a legacy system to an archival CMS. The consistent application of data standards makes data clean-up unnecessary or minimized. Using controlled vocabularies in establishing creator names and selecting subject headings saves time while creating EADs, for example, as archivists had already checked entries against authority files. 

Standardization plays a key role in the ability to adapt to technological change. Traditionally archivists have been skeptical of using standards, in part because the unique nature of archival and manuscript materials requires a unique approach with each collection. This approach changed with the adoption of data structure and content standards. In an online environment, standards improve archival descriptions by new groups of users who may be inexperienced in archival research. The use of standards is also crucial for archival institutions to quickly respond to innovative technologies and user demands. 

Margot Note

Margot Note, archivist, consultant, and author is a guest blogger for Lucidea, provider of ArchivEra, archival collections management software for today’s challenges and tomorrow’s opportunities. Read more of Margot’s posts, and register here for her upcoming webinar, “CMS Essentials for Success #5: Export in Standard Formats” on May 19, 2021.

https://bit.ly/3y5B4fE

The past year’s exercises in virtual outreach offer cultural institutions pointers on finessing their digital content creation and delivery. Image: Van Gogh Museum’s 4K Virtual Tour on YouTube

Following the museum sector’s year of accelerated digital transformation, Smartify, in collaboration with Jing Culture & Commerce, presents a guest series spotlighting strategies that cultural institutions can leverage to expand their outreach and enrich their storytelling. Find more from the series here.

This month, Smartify introduces five key takeaways from 2020’s lockdown programming.

What high quality content is

At the beginning of the pandemic, museums created virtual gallery rooms, re-released archive footage from their YouTube channels, and hosted livestreams. While that was okay for the first month of lockdown, many of us quickly reached or exceeded the point of saturation for consuming “content.” A year on, what audiences really value is not more content, but high quality content that is easy to access and search. This takes time, skill, and the right tools and platforms. 

That digital content can make money!

For years, museums made their online activities available for free. The argument went that access to knowledge should be open to all. In practice, simply putting objects online does not create engaging experiences that truly connect with audiences. Fast forward to 2020 and we see London Transport Museum selling out their £20 hidden London tours and the Barnes Foundation making over $650,000 in a single year of online learning. Audiences are willing to pay for things that they a) have time for, and b) find relevant and valuable. The next step is bundling this up into digital membership, which the Museum of Art and Photography Bangalore and Birmingham Museums Trust are already experimenting with. 

How to do transmedia storytellingSmartify's Lessons From Lockdown

The Black Country Living Museum’s TikTok account brings Victorian and World War II eras to life with fun, tongue-in-cheek short videos. Image: Black Country Living Museum on TikTok

Transmedia storytelling is a technique for telling a single story across multiple platforms. This does not mean reusing the same video on Instagram, YouTube, etc, but instead identifying the formats that already work on each platform (YouTube formats are video essays, reaction videos, tutorials) and then creating content that is a complete experience for the channel. Each piece of content should all fit into your overall storytelling goals, and should be satisfying in and of itself. Think about how Star Wars can be translated into movies, mini-series, or even coloring books. Good examples include the Black Country Living Museum, which successfully translated its mission statement to TikTok; and the Adler Planetarium’s comedy sketch show “Wow! Signal” for YouTube. This content stands alone, reaches a very specific audience (not all audiences!), and use the formats already popular on each platform.

What design thinking is

Design thinking has enabled museums to follow simple steps to ensure new content, services, and products meet the needs of audiences. The process starts with field research — talking to audiences, refining a problem statement, rapidly prototyping and testing solutions — and finally, developing the new content, services, or products once it has been endorsed through user testing. Design thinking gives the museum sector a framework not only to make changes, but also to sense how well they are working and iterate on them. It also encourages working in cross-functional teams from across museum departments.

That digital is not the only way to reach people remotely

In June 2020, as part of its Creative Relief Task Force, the Guggenheim Museum’s Education department delivered 1,500 creative kits across the five boroughs of New York City. Image: Guggenheim

Museums reached many new audiences during lockdown. But there are groups that cannot access online programs — for example, people without laptops, tablets, and reliable Wi-Fi, or older audiences or those not confident with technology. Throughout the pandemic, museum teams practiced empathetic audience engagement — working to up-skill and include people. Examples include making phone calls to let groups know about new programs; education teams encouraging participation through opportunities like writing letters, sharing recipes, or photographs; and even delivering creative kits at home. Not all remote programs require a social media plan!

Posted by: bluesyemre | May 11, 2021

Now DeepMind is using AI to transform #football

ANDREW POWELL / WIRED

The Alphabet-owned company is working with Liverpool to apply AI smarts to the high-stakes world of football tactics.

In March 1950, an RAF wing commander and trained accountant called Charles Reep turned his eye for numbers to football. Reep, who had become interested in the sport in the 1930s and was fascinated by Herbert Chapman’s pioneering Arsenal team, had returned from the Second World War to find that the tactical revolution he’d witnessed before had stalled.

Finally, at half-time during a drab Division Three game between Swindon Town and Bristol City during which he watched countless attacks amount to nothing, Reep’s patience ran out. He grabbed a notebook and a pencil and began furiously jotting down what happened on the pitch – he started counting the number of passes and shots, in one of the first systematic attempts to use data to analyse football.

Seven decades later, the data revolution has reached the grassroots – fans are fluent in xG and net spend, and the top teams pluck statistics PhD students straight from university in the search for an edge. Now, defending Premier League champions Liverpool have joined forces with DeepMind to explore the use of artificial intelligence in the football world. A paper by researchers at the two organisations, published today by the Journal of Artificial Intelligence Research, outlines some of the potential applications.

“The timing is just right,” says Karl Tuyls, an AI researcher at DeepMind and one of the lead authors on the paper. DeepMind’s collaboration at Liverpool arose from his previous role at the city’s university (DeepMind founder Demis Hassabis is also a lifelong Liverpool fan and was an advisor on the research). The two groups got together to discuss where AI might be able to help football players and coaches. Liverpool also provided DeepMind with data on every Premier League game the club played between 2017 and 2019. 

In recent years, the amount of data available in football has swelled with the use of sensors, GPS trackers and computer vision algorithms to track the movement of both players ball. For football teams, AI offers a way to spot patterns that coaches can’t; for DeepMind researchers, football offers a constrained but challenging environment for them to roadtest their algorithms. “A game like football is super interesting because there are a lot of agents present, there’s competition and collaborative aspects,” says Tuyls. Unlike chess, or Go, football has inherent uncertainty built into it because it’s played in the real world.

That doesn’t mean you can’t make predictions, though – and that’s one area where AI could prove particularly useful. The paper demonstrates how you can train a model on data about a specific team and lineup to predict how its players will react in a particular situation: if you knock a long ball into the right hand channel against Manchester City, for example, Kyle Walker will run in a particular direction, while John Stones may do something else.

This is known as ‘ghosting’ – because the alternative trajectories are overlaid on what actually happened, like in a video game – and has a range of different applications. It could be used, for example, to predict the implications of a tactical change, or how an opponent might play if a key player goes off injured. These are things that coaches would likely notice themselves, and Tuyls stresses that the aim isn’t to design tools to replace them. “There’s lots of data, lots to digest and it’s not necessarily so easy to handle these masses of data,” he says. “We’re trying to build assistive technology.”

As part of the paper, the researchers also conducted analysis on more than 12,000 penalty kicks taken across Europe in the last few seasons – categorising players into clusters based on their style of play, and then using that information to make predictions about where they were most likely to hit a penalty, and whether they were likely to score. Strikers were, for instance, more likely to aim for the bottom left corner than midfielders – who took a more balanced approach, and the data demonstrated that the optimal strategy for penalty takers was, perhaps unsurprisingly, to kick to their strongest side.

Other models may be able to crunch the numbers on counterfactuals – to estimate how much a specific action like a pass or a missed tackle contributed to a goal, or xG. They could be used in the post-match analysis to demonstrate to players why they should have passed the ball in a particular situation instead of trying to shoot. A model trained on player performance data – strength and fitness – might be able to track fatigue better than human coaches and recommend resting players before they get injured.

There are echoes here of what Reep tried to do in the 1950s – he used his data to (erroneously) calculate that most goals were scored after moves of four passes or fewer, and his analysis helped usher in a style of long-ball football which became the hallmark of the English game for decades. There have been high-profile examples of AI in other domains spitting out answers that are nonsensical or just plain wrong – in the past, AIs trained on video games have won by breaking the rules of the game, or ignoring the laws of physics. An AI trained on football data might decide, like a robot Jose Mourinho, that actually the best way to get results is to let the opponent keep the ball and wait for them to make a mistake.

That’s why it’s important that the findings of the model are mediated by experts, Tuyls says, to ward against faulty reasoning by the AI systems. But an AI could spot a pass that – in the heat of the moment – even the best player might miss. “We’re not trying to build robots, we’re trying to improve human football play,” he says.

AI won’t replace football managers, Tuyls says, but its impacts could be felt within the next decade. “The purpose is to have a seamless system that integrates well with the human player on the pitch and facilitates their work,” he says. “I don’t think you will see big impacts in the next six months or a year, but in the next five years some of the tools will be more developed, and you could see something like an ‘Automated Video Assistant Coach’ that can help with pre and post-match analysis, or can look at the first half of a game and give you advice on what could be changed in the second half.”

DeepMind is hoping to combine computer vision, statistical learning and game theory to help teams spot patterns in the reams of data they’re collecting that they wouldn’t be able to see otherwise. Applying artificial intelligence to football could make players and coaches smarter –now if only it could do the same for the owners.

https://www.wired.co.uk/article/deepmind-football-liverpool-ai

Posted by: bluesyemre | May 11, 2021

What were the most visited #Museums in 2020?

Thanks to a high-profile exhibition, the Tate Modern emerged as the most visited museum in the UK in 2020. Image: Tate Modern installation view featuring “The British Library” by Yinka Shonibare CBE. Courtesy Tate photography (Lucy Dawkins).

Enduring the lines that snake out the doors of the Louvre and the Vatican has long been a rite of passage for summertime vacation-goers. So too, the experience once inside of sharing shoulder room and European masterpieces with hordes of art-loving tourists. Not in 2020. Months of closure, capacity limitations, restricted cross-border travel, and coronavirus-related hesitancy saw museums experience the quietest of years, as this writer can confirm having spent an eerie five minutes utterly alone with Botticelli’s “Birth of Venus” in Florence’s Uffizi Gallery.

But just how devastating was 2020 for art museums? It’s a question addressed by The Art Newspaper’s most recent survey of the world’s 100 most visited institutions, an endeavor the publication has pursued for more than two decades. Most basically, in 2020, surveyed museums welcomed 54 million visitors, down from 230 million visitors in 2019, a year-on-year drop of 77 percent. 

Intuitively, museums located in regions that handled the virus competently fared best: Beijing’s National Museum of China placed second with 1.6 million visitors despite locking down early and maintaining stringent capacity limitations through late summer, and Japan’s 21st Century Museum of Contemporary Art ranked tenth, having closed for a “mere” 66 days. More broadly, museums in Australia and New Zealand drew 53 percent fewer visitors — hardly painless, but not as severe as Europe and North America which saw 72 and 75 percent declines respectively.  

Despite experiencing a 72 percent drop in visitor foot fall, the Louvre still led the world’s museums in attendance in 2020, followed by the National Museum of China and the Tate Modern. Image: The Art Newspaper

The evaporation of globetrotting tourists was a hammer-blow to museums’ financial reliance on ticket sales. New York experienced a 66 percent decrease in tourism numbers and its big four art hubs — the Metropolitan Museum of Art, Museum of Modern Art, the Whitney Museum of American Art, and the Guggenheim Museum — saw attendance fall 80 percent with the Met suffering losses exceeding $150 million. In Paris, a city which received five percent its usual volume of tourists, the major three museums — the Musée du Louvre, the Musée d’Orsay, and Centre Pompidou — saw a 73 percent fall in attendance with the Louvre announcing losses of $106 million. 

Intriguingly, an early and recurrent prediction of 2020’s financial impact upon museums has centered on the impossibility of continuing to stage glitzy, high-profile exhibitions. And yet, as the Art Newspaper notes, those that did benefitted: the Louvre’s once-in-a lifetime Leonardo show drew more than 10,000 visitors a day and ensured the museum remained the most visited museum in the survey. Across the English Channel, the Tate Modern was the UK’s most visited institution — a position held for most of the past decade by the British Museum — largely thanks to an Olafur Eliasson immersive exhibition.

Physical closure led to an unprecedented embrace of digital in the museum sector, a development The Art Newspaper pays attention to in a separate social media-focused survey. Accounting for Twitter, Facebook, and Instagram, the survey shows the most followed 20 museums grew audiences by an average of 8.4 percent. Instagram emerged as the most popular platform for museums with the number of users following the top 100 museums increasing by 30 percent to total 54.4 million compared to Twitter’s 51.5 million and Facebook’s 36.3 million. 

The long-term impacts wrought by a year of cultural lockdowns await to be seen, but with The Art Newspaper finding museums were shuttered for an average of 145 days — adding up to more than a century of museum visits missed — stakeholders certainly hope the newfound success in digital spaces will help audiences rediscover a love for traditional in-person experiences.  

Posted by: bluesyemre | May 11, 2021

#LibraryArchitecture and design: a worldwide guide

Children’s Library at Concourse House
Michael K. Chen Architecture (MKCA), New York City, US

Modern library architecture and design is an evolving craft as technology changes the dynamics of space, yet we will always crave the act of choosing a classic novel from a bookshelf-lined wall with a ladder for top-shelf access. Each project here, from Pereira’s Geisel Library in San Diego, to Toyo Ito’s Tama Art Library in Tokyo is a case study on the modern history – and future success – of the library as a public resource and a place for ideas and contemplation. Jorge Luis Borges once wrote: ‘I have always imagined that Paradise will be a kind of library’ – we’re inclined to agree.

Charles Library at Temple University
Snøhetta, Philadelphia, US

Snøhetta has shelved away its latest library design at Philadelphia’s Temple University. Sitting at the heart of campus, the Charles Library was developed in collaboration with engineering firm Stantec. The layout rethinks conventional library tropes, introducing a wave of technologies and collaborative and social learning facilities to the 39,000-strong student body. Flowing wooden arches, elegant glass volumes and a striking three-storey domed atrium lobby are capped by a 47,300 sq ft green roof, one of the largest in Pennsylvania. This contributes to the site’s stormwater management system, which relocates heavy rainwater to two underground catchment basins. Photography: Michael Grimm

Yan at MIXC
Tomoko Ikegai / Ikg Inc, Shenzhen, China
 
Shenzhen Bay’s MIXC commercial complex plays host to a bookstore design well read in Zen Buddhist philosophy. Realised by Ikg Inc’s Tomoko Ikegai, (who also designed the historically-imbued YJY Maike Centre Flagship in Xian), Yan was conceptualised with the theme of ‘life in the East’. The store’s layout embodies this expression – a rammed-earth wall closes off the interior as a space for personal emotional and mental reflection. The rammed-earth wall is composed of numerous colourful local soils, while mock Italian travertine tiles express the idea of accumulation and experience developed over many years. The store’s slim, golden bookshelves, meanwhile, fade into the wall, implying that visitors are immersing themselves in a sea of books and knowledge (where, in accordance with Buddhist philosophy, we can discover truth for ourselves).

Idea Exchange, Old Post Office
RDHA, Cambridge, Ontario, Canada

A listed masonry post office dating to 1885 has gained a new glazed pavilion that wraps around the existing architecture and cantilevers slightly over the bank of the Grand River. This structure is Canada’s first ‘bookless’ library. Instead of books, it holds a hoard of facilities including maker spaces, a black box theatre, film and audio recording suites, gaming areas, a children’s centre, a floating classroom and outdoor rooftop terrace. The architects struck up a conversation between old and new across the design. Ceramic frit patterns on the glazing were inspired by the texture of the historic stone façade. And as well as the contemporary extension, the historic post office has been carefully preserved and adapted to its new function. Window openings in the old building are now entrances to the Reading Room Café. The exposed roof structure in the attic maker space has been adapted with sleek LED lighting and a new glass ceiling reveals the clock tower in action. Photography: Tom Arban

Children’s Library at Concourse House
Michael K. Chen Architecture (MKCA), New York City, US

Tucked snugly into a mezzanine space, Concourse House children’s library has been designed by NYC-based Michael K. Chen Architecture (MKCA) for story-telling and other book-inspired events. The layered and colourful space was designed to visually stimulate children who are being supported by Concourse House, a Bronx-based charity working to prevent homelessness by providing families with safe transitional housing and social services. Custom-designed solutions created an inspiring, adaptable and neat space for multiple uses. A curved illuminated shelving unit fits into the shape of the barrel vaulted ceiling, providing a creative backdrop and a screen to enclose the library as a cosy environment separate from the double height multi-purpose hall beneath. Variations of texture include a bright carpet and a smooth back-painted glass erasable writing surface on the paneling. As well as being made possible through donations of time, money and books from Sisters Uptown Bookstore, the library was designed pro bono by MKCA who also co-ordinated in-kind donations associated with the project. Photography: Alan Tansey

Tianjin Binhai Library
MVRDV, Tianjin Binhai, China

Within MVRDV’s futurist Tianjin Binhai Library, a rippling wave of cascading bookcases stretches from the floor to the ceiling. These bookcases orbit the luminous ‘Eye’: an enclosed sphere that contains an auditorium space. Of the five storeys, the first two consist primarily of reading rooms, book storage and lounge areas. The upper floors offer meeting rooms, offices, computer and audio rooms and two rooftop spaces. The library is part of a larger framework that sees the city of Tianjin Binhai receive a whole new cultural district. Spanning some 33,700 sq m, the project took only three years to complete following its initial sketch up. It now acts as a junction point for the city’s Central Business District, old town, residential districts, commercial areas and government quarter. Photography: Ossip van Duivenbode. Writer: Luke Halls

Zhongshuge Bookstore
XL-Muse, Yangzhou, China

The writing’s on the walls, ceiling and floors of Yangzhou’s bookshop, where an optical illusion turns an ordinary, rectangular room into a cylindrical tunnel. Created by Shanghai-based studio XL-Muse for book retailers Zhongshuge, a black mirrored floor paired with two walls of arched shelving helps to create a seemingly never-ending funnel of books. The design is inspired by the rich cultural heritage of Yangzhou, said to be a historical gathering place for literati and poets. The lead designer Li Xiang took inspiration from a verse in the classic Chinese romance novel A Dream of Red Mansions, by Cao Xueqin, which is thought to refer to the area in which the shop now stands. (‘Spring flower and autumn moon, green hills and clear water; 24 bridges, relics of the Six Dynasties,’ it reads.) The arched shelving represents the ‘24 bridges’ in Xueqin’s verse, and a swerving line in the ceiling represents the ‘clear water’ or river. Visitors are supposed to flow with the river, swept along by the black mirrored floor, deeper into the bookshop and ‘into the vast ocean of knowledge,’ explains Xiang. Photography: Shao Feng. Writer: Elly Parsons

Qatar National Library
OMA, Doha, Qatar

Completed in 2016, OMA’s Qatar National Library was conceptualised to express the importance of the book in the 21st century. Consequently, its design intertwines study, research, collaboration and interaction. The library is conceived as a single room, bringing together thousands of readers with its million-volume-strong collection, which includes important and rare Middle Eastern manuscripts.  The building’s edges are elevated, which gives it a triangular geometry both inside and out. Rows of shelving are thus topographically expressed, flowing down from above and interspersed with mixed-use spaces. They are also materially linked to the building, rising from its white marble flooring. Six metres below the main level, the library’s heritage collection is housed in a seemingly excavated space, dug out from beige travertine. Photography: Delfino Sisto Legnani and Marco Cappelletti. Writer: Luke Halls
 

Utopia
KAAN Architecten, Aalst, Belgium

Puzzling its way through the Flemish city of Aalst’s irregular streets and stray squares, Utopia (as the building has been named) comprises a sprawling 8,000 sq m structure extending from the shell of a former military school, which now serves a dual purpose as the city’s library and performing arts academy. The building’s renovation has been so sensitive and seamless that it’s difficult to know if you’re standing in the new extension or the old schoolhouse; but outside the distinction is subtly marked by the direction of the ‘Red Aalst’ brickwork – long flat bricks are laid horizontally across the new extension, to counter the vertically-oriented bricks of the old school façade. Photography: © Delfino Sisto Legnani and Marco Cappelletti. Writer: Elly Parsons
 

Tingbjerg Library and Culture House
COBE, Copenhagen, Denmark

COBE’s slender, street-length library and culture house in Tingbjerg is an extension of the local school, and has given the Copenhagen neighbourhood a new lease of life. The firm selected a material palate inspired by the area’s rich modernist lexicon, including yellow brickwork and warm wooden plywood, paying respect to and blending into the surroundings. At its narrowest, the building is only 1.5m wide. The building’s final design is the result of collaboration between not just the Tingbjerg School and COBE, but also the neighbourhood’s residents and social housing corporations fsb and SAB. Fulfilling the needs of a diverse user range resulted in an aesthetic inspired by a typeset case. Onlookers are able to peer into the library’s internal ongoings through a transparent glass façade. Visitors can engage with a number of activities in spaces geared to provide classes, workshops, lectures and musical performances. Photography: Rasmus Hjortshøj. Writer: Luke Halls
 

Tecnológico de Monterrey New Main Library
Sasaki, Monterrey, Mexico

Sasaki was first drafted in by Tecnológico de Monterrey to transform its original 1969 library. The firm was met with a hurdle – the building was in dire need of extremely costly seismic upgrades, which would heavily limit any proposed future development. As a result, the New Main Library now stands in place of its predecessor, and features an open-plan layout that considers future flexibility and today’s larger student body.  The transparent structure expands upon the previous library’s functionality, providing 150,000 books; two special collections; new teaching laboratories and private and group study spaces. Larger study spaces are internally and externally boxed by books, and feature overhead terraces that act as social lounges. At the rooftop level, a sky terrace provides a unique panorama of the university campus and the Cerro de la Silla mountain, its backdrop. Photography: Jorge Taboada. Writer: Luke Halls

Seashore Library
Vector Architects, Nandaihe, China

Vector Architects are the imaginative brains behind this ocean and book-lover’s paradise. Set on China’s Bohai Sea Coast, the modern concrete structure keeps things simple as the dramatic views do all the work. Vector’s lead architect Gong Dong wanted to express a series of complex relationships in the design, negotiating the idea of boundary, the movement of the human body, the shifting light and the ocean view. You may have trouble focusing on your book as panoramic windows are thrown open to let in the sounds of the surf; fortunately, the library’s meditation rooms account for that. Retreat to the top floor, where window slits let in just the right amount of light to illuminate the areas under the curved concrete ceiling. Photography: Xia Zhi. Writers: Daisy Alioto and Frederika Fraser

Vennesla Library And Cultural Centre
Helen & Hard, Vennesla, Norway

In 2011, Norwegian firm Helen & Hard (Siv Helene Stangeland & Reinhard Kropf) completed this distinctive ‘ribbed’ library design. Fins of heartwood pine on the building’s exterior certainly draw the eye, but the true treat is the interior, where 27 pre-fabricated timber ribs wrap the space, becoming part of the seating at ground level. While in lesser hands the wrapping effect might be skeletal, here it is futuristic. And despite the literary merit of a whale’s belly, there is something even more fitting about a library that connotes time travel. Elsewhere, oak parquetry is applied on all floors, and plywood veneer birch is used for fixted fittings. The construction conforms to low energy standards: the interior is kept warm by a single central geothermal heat pump; timber comes from renewable sources; and air is released through a rib ‘add-on’ level, returning through the ribs at the ceiling. Writers: Daisy Alioto and Frederika Fraser
 

Hyundai Card Music Library
Moongyu Choi, Seoul, South Korea

Of course, libraries aren’t just for books. The Hyundai Card Music Library by architect Moongyu Choi hosts over 10,000 vinyls and some 3,000 music-related tomes – 2,600 of which are either extremely rare or out of print. The library is only open to Hyundai Card Holders and guests, but the designers imagine that the attached performance space and murals by the likes of JR will invigorate the local music community.  The project embraces the site’s sloping topography and frames Seoul’s iconic views, such as the Namsan Mountain and the Han River. The building’s geometry creates different levels and a variety of spaces, which aid circulation and offer different views of the building and surrounding environment. Interiors by Gensler, while refined, stick with the theme of urban materials. Writer: Frederika Fraser
 

Library of Birmingham
Mecanoo Architecten, Birmingham, UK

Dutch firm Mecanoo Architecten won the opportunity to design the largest public library in Europe. In a brutalist city, the Library of Birmingham’s ringed facade certainly stands out. But it’s actually a nod to two other city institutions – the steel and metal industries. The core of the design is the Book Rotunda, where elevators ferry visitors across the openings between floors. However, it’s another rotunda on the roof of the building that will catch a theater-lover’s fancy: the Shakespeare Memorial Room from the library’s original Victorian building has been carefully reassembled at new heights. Photography: Christian Richters. Writer: Daisy Alioto
 

The Weston Library
Wilkinson Eyre Architects, Oxford, UK

In 2015, Oxford’s original New Bodleian library reopened as The Weston Library with a redesign by London firm Wilkinson Eyre. The refurb includes nods to original architect Sir Giles Gilbert Scott with lighting reminiscent of his narrow vertical windows. It also incorporates a 15th-century gateway that once stood in London’s Victoria and Albert museum. The architects gutted and then rebuilt the centre of the building to give it a new heart in the form of Blackwell Hall, a 13.5m high space with views in from many of the library’s internal corridors and narrow linear roof lights that echo ‘the long thin repeated vertical windows of many of Gilbert Scott’s buildings,’ states Jim Eyre. Photography: Ben Bisek for Wilkinson Eyre Architects. Writer: Daisy Alioto
 

Dokk1 Library
Schmidt Hammer Lassen, Aarhus, Denmark

Dokk1 exemplifies the new function of the urban and community library as a gathering place for entertainment that goes beyond books. Sitting next to the Aarhus river and above a light rail station, Dokk1 is also a unifying element in a landscape once dominated by dockyards. The creators imagined the building as less of a library and more of a ‘Mediaspace’. In true Danish fashion, Dokk1 will also be an access point for local government services. Set in the heart of Aarhus on a riverside site, Dokk1 is also a regeneration story. An integral element of the drive to link the city’s old docklands to the historic centre, the €280m library comprises a series of stratified layers, starting with a public plaza fronting onto a glazed ground floor, and going on to embrace a multi-storey interior space, with exhibition areas, reading rooms, cafés, and even play areas and a children’s theatre. 

Stormen Konserthus
DRDH Architects, Bodø, Norway

Bodø – a Norwegian peninsula in the Arctic Circle – was significantly damaged during the Second World War. Stormen Konserthus by British firm DRDH Architects is a combination library and concert hall that was central to the city’s reconstruction. Although the building is unlike anything else in the town, the architects still made an attempt to speak the local vernacular, with a ribbed concrete façade that mirrors local timber. Meanwhile, the library’s large windows bring the harbour indoors.  The building also looks towards the city. DRDH cut away corners of the buildings to create spatial relationships with bars across the street, and a subtle inclination in the front façade of the library makes way for a sculpture by Norwegian artist AK Dolven. ‘We wanted to create a street scene in the centre of the city once more,’ says DRDH co-director Daniel Rosbottom. Photography: David Grandorge. Writer: Malaika Byng
 

Tama Art University Library
Toyo Ito & Associates, Tokyo, Japan

Toyo Ito’s library is an example of outstanding campus architecture, thanks to the ingenious structure and spatial organisation. His preliminary design for an underground space was eventually raised above ground; turned upside down, the scooped out volume adopted the arch as the best way of dividing up the space, while simultaneously articulating the exterior of the building. The sloping surface of the ground floor, used for exhibitions, plays and dance performances, stimulates creativity, according to the architect. The most challenging technical element to construct was the 20-centimetre thin curved walls, which contain steel plates for reinforcement in the middle and specially curved glass to keep the façade clean. Photography: Ishiguro Photographic Institute
 

José Vasconcelos Library
Alberto Kalach, Mexico City, Mexico

At the Alberto Kalach-designed José Vasconcelos Library are five distinct reading rooms dedicated to key Mexican intellectuals. Taken as a whole, the project is called the City of Books. The spaces, devoted to Ali Chumacero, Carlos Monsiváis, José Luis Martínez, Jaime García Terrés and Antonio Castro Leal were designed by Jorge Calvillo, JSa Arquitectura, Alejandro Sánchez García Arquitectos, Arquitectura 911sc and BGP Architects respectively.  The west wing of the library is dedicated entirely to the late Carlos Monsiváis, an influential Mexican writer, journalist and political activist. Designed by JSa, the biblioteca holds Monsiváis’ extensive personal collection of literature, uniquely arranged according to the influence of each book on his literary evolution. Among the towering shelves are several works of art from Monsiváis’ compatriot, renowned painter and sculptor Francisco Toledo. Writers: Ellie Stathaki and Romy Van Den Broeke
 

Salt Lake City Public Library
Moshe Safdie
Utah, US

In 2003, Moshe Safdie’s design for Salt Lake City’s public library transformed the city into an architecture destination. Working with local firm VCBO Architecture, Safdie borrowed elements from his Vancouver Public Library (1995) design while staying site-specific. Bustling spaces on the bottom levels give way to quieter areas for reflection on the upper floors, which are oriented around Wasatch Mountain views. According to the library, ‘more than one percent of the construction cost of the Main Library was dedicated to public art.’ This includes immersive artworks in the Children’s Room by German artist Karl Schlamminger who previously collaborated with Safdie on MIT’s Class of 1959 Chapel. Additional on-site spaces include an outdoor piazza and open-air amphitheatre, which is lined by a six-storey walkable wall that leads to a rooftop garden. Photography: BellaOra Studios courtesy of Salt Lake City Public Library

Geisel Library
William Pereira, San Diego, US

So named because it houses the Dr. Seuss collection, the Geisel Library was designed by William Pereira in the 1960s. The tiered Brutalist vision is eight stories, two of which are subterranean. Latvian-American architect Gunnar Birkerts updated the design in the 1990s. Pereira may not have the same name recognition as other mid-century architects, but amidst today’s concrete resurgence, his design is as captivating as ever. California-native John Baldessari also lent his talents to the library in the form of permanent installation READ/WRITE/THINK/DREAM on the ground floor.  The library accommodates 3,000 readers, and originally housed 2.5 million humanities and social sciences volumes over 255,000 sq ft. Its resting site was chosen from a shortlist of 19, and was selected as it displays ‘a sense of place’ and ‘spirit and nobility’. As it’s located at the heart of the campus, the library was elevated so as to not cause congestion at ground level, and also acts as a visual point of reference. Photography: Erik Jepsen and UC San Diego Publications

Beinecke Rare Book & Manuscript Library
SOM, New Haven, US

The Yale campus is practically a who’s who in modernist architecture. Joining buildings by Eero Saarinen and Philip Johnson is Gordon Bunshaft’s (SOM) 1963 home for the school’s rare books and manuscripts. The Beineke Library’s distinctly translucent marble facade serves a double function: filtering through just enough daylight not to damage its delicate wards, and emitting a nightly glow. If that doesn’t charm you, it also features a sculpture courtyard by Isamu Noguchi.  Upon entering, visitors are greeted by a striking glass tower of books that rises through the centre of the building. A mezzanine level can also be found at the library’s heart, hosting rotating exhibits that showcase the expansive collections held within. Housed volumes of particular note include the Gutenberg Bible, the first Western book printed from movable type, and John James Audubon’s Birds of AmericaPhotography: Courtesy of Yale University Library. Writer: Daisy Alioto

https://www.wallpaper.com/gallery/architecture/worlds-most-beautiful-libraries

Avrupa Birliği’nin sağladığı fon kaynaklarını sizlerle paylaşmak için #ProjeFırsatları​ başlıklı bir video serisine başladık. Bu seride Avrupa Birliği programları ve önümüzdeki dönem açılacak çağrılar hakkında sizlere bilgi vereceğim. Girişimciler, fon arayanlar, pazara girmek isteyen ve yenilikçi fikri olanlar için #ProjeFırsatları​ serisinin ilk videosu 2021-2027 döneminde #UfukAvrupa​!

Posted by: bluesyemre | May 10, 2021

#Data is not the Enemy of the #Humanities

Scholars like Jill Lepore misunderstand the nature of the digital threat.


Big data is coming for your books.” It’s been nearly a decade since a writer in the Los Angeles Review of Books opened his case against data in the humanities with this line. He was worried about Google Books and the incipience of computational methods of literary study. The threat was overblown — so far. Google Books handed its digitization project to HathiTrust, a nonprofit, and humanists who use computational methods have settled into a small niche.

But in the last few years, university administrators and philanthropists have begun to direct large sums of money to data science, an interdisciplinary field of study. Miami University, in Ohio, received $20 million for a new data-science building. The University of Pennsylvania received $25 million for the same. The University of Virginia received $120 million, the largest gift in its history, to establish a school of data science. The University of California at Berkeley received $252 million, the largest in its history, to build a data hub dedicated to data science. MIT is investing $1 billion, of which $350 million comes from a founder of Blackstone, an investment company, in a new data-science college.

Data science draws especially from computer science, mathematics, and statistics, but its ambitions sweep across the university. UVa has launched an initiative to hire faculty members with expertise in data science from the natural sciences, social sciences, and humanities. Regardless of their disciplinary home, data scientists have begun investigating literature and culture.

Meanwhile, universities across the U.S. are restricting funding to humanities departments: freezing hiring, increasing reliance on adjunct labor, shrinking grad programs, and even eliminating part or all of entire programs. Big data is, it now seems, coming for your books. Jill Lepore, a prominent public intellectual, Harvard historian, and staff writer for The New Yorker,has taken the threat as the cri de coeur of her latest book, If Then.

Before Cambridge Analytica, there was the Simulmatics Corporation. In the 1960s, Simulmatics pioneered the use of predictive modeling with computers to anticipate how microtypes of voters would respond to political campaigns. Simulmatics also went to Vietnam, where its practitioners attempted to manage the war and failed badly. By 1970, the company was dead. But it had, in the words of If Then’s subtitle, “invented the future.”

For Lepore, the story of Simulmatics is a dark fable. Her characters are vividly drawn. I especially love the story of Eugene Burdick, who “walked with the rubbery gait of a surfer and wore owl’s-eye glasses and smoked a pipe and liked to be photographed sitting at his typewriter, an old Royal, well-used and well-oiled.” Burdick began as a beach boy and Rhodes scholar who was tempted by Simulmatics’ quantification of political science. He ultimately rejected the project, and later became an author of dystopian fiction. He co-wrote two bestsellers, The Ugly American and Fail-Safe, andthen devoted a novel to the dangerous world augured by Simulmatics, The 480.

Simulmatics needed a more enthusiastic quant than Burdick, so they turned to Ithiel de Sola Pool. Lepore’s Pool is tenacious. He is a hopeless scientist but a gifted prophet. He is a deluded shill for the Department of Defense during the Vietnam War. Saul Bellow put him in one of his novels. He is the spiritual father of the MIT Media Lab and an emblem of the worst of data science. Pool and Simulmatics embedded masculinist assumptions in their models. To quote Lepore: “By ‘human behavior,’ they meant the behavior of men; by ‘artificial intelligence,’ they meant their own intelligence — a fantasy of their own intelligence — which they intended to graft onto a machine. They did not consider the intelligence of women to be intelligence.” These assumptions caused and continue to cause untold damage. Lepore argues that Simulmatics set us on the path the led to Amazon, Facebook, and Google, by whom we have become “tormented and trapped.” “The automated simulation of human behavior,” she argues, “became the human condition.” In the process humanistic thought has been severely devalued.

I am skeptical of telling the story of Simulmatics in the form of a “timeworn fable,” to quote Lepore. I could tell another fable. This one could begin with Ida B. Wells. Nikole Hannah-Jones, the investigative reporter and creator of the 1619 Project — not without its flaws — cites Wells as an inspiration: an early data journalist, a Black woman who combatted lynchings by gathering the data, getting the receipts, revealing the systematic nature of the anti-Black violence. My fable could look next to W. E. B. Du Bois, a founder of American sociology, who broke ground in the 20th century with his astounding data visualizations illuminating the depth of racism in the United States. I could lead us to December 2020, just a couple months ago, when Richard Jean So and Gus Wezerek, in a piece published in The New York Times, drew on years of gathered data to demonstrate the persistence of whiteness in the U.S. publishing industry. My fable would depict a data counterforce, a tradition of using data, including predictive modeling, for social justice.

But Lepore’s critique of data goes deeper. She dilated on the danger of data science in conversation with Fran Berman at the Harvard Data Science Initiative in September. (She gave a related talk at Emory University in February — titled, “The End of Knowledge: How Data Killed Facts” — to which I was a respondent.) There she argued that we have proceeded through a series of evidentiary paradigms. Facts came to power with, first, the replacement of trials by ordeal with trials by jury in 1215 and were further installed by the Protestant Reformation, both of which dethroned God as the only true knower of guilt and innocence, of what happens in the world. Mystery gave way to knowledge. Numbers displaced facts as the dominant evidentiary paradigm with the rise of capitalism, democracy, and statistics in the late 18th century, tied to the needs of the state and the replacement of deliberation and discernment with measurement. Data began to displace numbers when tabulating machines calculated the 1890 census, but it didn’t fully come to power until the appearance of the UNIVAC and computation in the 1950s.

“The rise of the age of data,” argues Lepore, “is in a way a return to the age of mystery. The machines are the gods, and the computer scientists are the priests, and the rest of us, we just have to look up and hope that they get it right.” This is how data killed facts and ended knowledge. Lepore acknowledges that this is a provocation, one spurred by the financial priorities of universities. “We have a whole cult of data now, where,” she says “whatever you do, if you say it’s data-driven, somehow you can get money for it.”

She’s not wrong about the elevation of machines and computer scientists, and she’s not wrong about the money. But data in itself is neither good nor bad. Lepore errs on the question of data’s place in the production of knowledge, a question it’s crucial we get right if we want to defend the humanities. She offers a division of knowledge with data-driven science set against the beleaguered humanities. The humanities are, it’s true, catastrophically underfunded. We must vociferously argue not just for their preservation but for their expansion. But it’s a mistake to commit to a false binary whereby data belongs to science, not to humanists.

The idea that data and the humanities are a poor fit for each other is new.

Lepore acknowledges that computational methods and predictive models are “very sensible” for the physical and natural sciences. Such work, she notes, has “saved and improved countless lives.” But these methods and models are a poor fit for the humanities, she argues, where “laws like the law of gravity” do not apply. But almost no one who uses data in the humanities imagines they are pursuing the discovery of natural laws for humanity. Neither is the use of data in the humanities a new thing, as we sometimes hear. Actually, scholars have been gathering and relying on data in the humanities almost since the beginning of the modern research university, if not before. Data has long been integrated into the humanities. The idea that data is a poor fit for the humanities is a new idea.

The story of data’s long history in the humanities is told in a new book by Rachel Sagner Buurma and Laura Heffernan, The Teaching Archive, that has quickly become popular among English professors. Buurma and Heffernan argue that we have misapprehended the history of literary studies by neglecting the centrality of pedagogy. The work professors performed in the classroom not only determined what students learned but also, they show, influenced research practices. They teach us about Caroline Spurgeon, a Shakespearean at the outset of the 20th century, a devout believer in humanistic value who embraced quantitative methods by counting and cataloging Shakespeare’s figures of speech — by treating literature, in Spurgeon’s word, as “data.” They introduce us to Edith Rickert, who employed “methods of code analysis” that she’d learned while working for an office of military intelligence during World War I. In the 1920s, Rickert and, separately but in parallel, I. A. Richards, the latter regarded as a founder of close reading, “demanded from students not carefully crafted interpretations of literary texts, but their cooperation in the process of gathering and organizing bits of data about readers and texts.” It was through this data collection that students and teacher “found themselves discussing an astonishing number of complex questions of poetic form and historical context.”

Buurma and Heffernan tell us about Josephine Miles, an English professor at Berkeley from 1939 to 1978, who taught students “to adopt a perspective on facts, rather than simply report them,” which she believed more crucial than ever “in a modern society and a modern research university that regarded individuals as determined by data.” But that position did not deter her from using data. The opposite: Miles conducted groundbreaking research in computational methods. Already in the 1950s she was using computers to build concordances. She went on to build enormous datasets on the history of poetry that allowed her to trace the rise and fall of figures of speech across decades and centuries, to find unknown ruptures and continuities, to use data to determine facts.

This tradition continues today. Lauren F. Klein, an associate professor of English and quantitative theory and methods at Emory University, uses computational methods toward the recovery of absences in the archival record, especially African American absences. She uses Thomas Jefferson’s letters as data to illuminate the life and labor of Jefferson’s enslaved Black chef, James Hemings. She analyzes 19th-century newspapers to reveal the hidden labor of the first Black woman publisher in North America, Mary Ann Shadd, whose work wasn’t recognized in her time.

It is the case that the humanities have long embraced data and, more recently, have benefited from computational methods and predictive modeling. Where does that leave us? Lepore’s diagnosis is on point. Big tech subjugates us and our attention through our data. And data science’s claim “to have triumphed over all other ways of knowing” threatens “the near abandonment of humanistic knowledge.” This is true.

But data is not the enemy. The reduction of knowledge to economic utility is the enemy. Insofar as the vogue for data science among philanthropists and university administrators belongs to a neoliberal ethos of imagining education in terms of return on investment, we should resist it. And many digital humanists center their work on such resistance. Klein, for example, argues for “data feminism,” “a way of thinking about data, both its uses and its limits, that is informed by direct experience, by a commitment to action, and by intersectional feminist thought.” Data feminists critique data science when it “reinforces existing inequalities” and use data science “to challenge and change the distribution of power.”

Let’s recognize that data affords insights about literature and culture that we couldn’t otherwise see, whether about the history of poetics, the gastronomy of James Hemings, or the editorship of Mary Ann Shadd. In April, the journals Cultural Analytics and Post45 published a joint special issue of data-driven scholarship. Its essays demonstrate how Goodreads is reconfiguring how genres work; how internet content has come to shape such television shows as The Good Place and such novels as George Saunders’ Lincoln in the Bardo; how the Iowa Writers’ Workshop inverted an earlier logic of American regionalism such that, now, writers, including John Irving and Marilynne Robinson, move from the metropoles to the provinces, to Iowa, where they set their novels — an inversion the essay’s authors discovered through data.

Literature and culture are increasingly defined by data itself. Think about the presence of authors in the digital literary sphere. Think about Instapoets — popular poets who reach gigantic audiences on Instagram. Or about the arguably perverse proliferation of genres produced through Kindle Direct Publishing. In 2021, to reject data is to risk alienating ourselves from the ontological and sociological grounding of the works we study. Humanists need to embrace data as one of many objects we study — while fighting against those who would turn data against us.We welcome your thoughts and questions about this article. Please email the editors or submit a letter for publication.

Dan Sinykin

Dan Sinykin is an assistant professor of English at Emory University.

https://www.chronicle.com/article/data-is-not-the-enemy-of-the-humanities?

Posted by: bluesyemre | May 10, 2021

The Mitchells vs. The Machines

A quirky, dysfunctional family’s road trip is upended when they find themselves in the middle of the robot apocalypse and suddenly become humanity’s unlikeliest last hope.

https://www.imdb.com/title/tt7979580/

Posted by: bluesyemre | May 10, 2021

Etymological #map of #Africa

Posted by: bluesyemre | May 10, 2021

Which countries host and send the most migrants?

Posted by: bluesyemre | May 10, 2021

Digital wellbeing of learners

The issue

Digital technologies present many opportunities for new ways of working. Understanding the positive benefits and any potential negative aspects of engaging with digital activities is key to ensuring learner wellbeing.

The impact of technologies and digital services on people’s mental, physical, social and emotional health can be wide-ranging. The challenge for universities and colleges is to keep pace with technology whilst providing learners with the support they need to use digital in a healthy and mindful way.

What you can do

It can be difficult to know where to begin when approaching how digital will impact on individuals. Jisc has developed a model showing the four aspects of digital wellbeing for individuals.

Four aspects of digital wellbeing for individuals model – text version

More information on this model, and briefing papers for both practitioners and senior leaders, can be found on the building digital capability website. These resources provide you with a starting point and outline some good practice principles to help inform your own planning and processes.

Understand your role

Ensuring digital wellbeing involves the responsibility of a number of departments and roles within the organisation, including a certain degree of self-regulation too.

Meeting with students online may cause concerns about breaching boundaries or questions about etiquette. It’s important to ensure that both staff and students are protected and understand how to maintain boundaries online.

It is important to recognise that some students with learning needs and differences may require additional support, supervision or guidance to participate safely online. Staff digital literacy and awareness are key to maximising these student’s digital independence.

You should consider providing a range of straightforward ways for learners to report concerns about their own wellbeing or someone else’s wellbeing.

Read our blog post Are your staff digitally ready to communicate with learners online? which includes top tips on how to maintain boundaries and further resources.

Westminster College provides all learners with an online agreement to sign, covering aspects such as online bullying, privacy and online etiquette, so learners are clear about what is expected of them and know where they can go for further support.

Prevent duty

If you are concerned about learners being radicalised online, Jisc is accredited by the Home Office to deliver the Workshop to Raise Awareness of Prevent (WRAP) as a live online facilitated session.

The Home Office also provides detailed guidance for further and higher education institutions in England, Scotland and Wales on what is expected in order to fulfil the Prevent duty. Our community blog will help you stay up to date with legal and technical requirements.

Provide training

Be clear about what is expected of staff and students in your guidelines and deliver relevant training. Provide a named contact responsible for the policy and procedures contained within so all staff know who to contact for further guidance.

Supporting learners’ digital identity and wellbeing is a key driver for organisations who want to prepare their learners for the digital workplace. Jisc provides an online workshop to explore ways in which technology-enhanced learning can support the development of learners’ digital identity and wellbeing.

Further resources and case studies

https://www.jisc.ac.uk/guides/digital-wellbeing-of-learners

Posted by: bluesyemre | May 10, 2021

Türkiye’yi Yönetenlerin Haritası

Posted by: bluesyemre | May 9, 2021

Cloud Security March 2021 (And other reports)

The National Archives and Records Administration wants to automate its records management processes to limit manual metadata tagging while improving the search function.

The National Archives and Records Administration—the keepers of all government records—manages millions of digital records. But users have trouble finding the records they’re looking for, and the current manual metadata tagging processes aren’t sufficient.

The agency recently held a virtual informational day outlining its goals for integrating artificial intelligence and machine learning into two ongoing projects: personalizing the catalog search function and automating metadata tagging.

The archive’s catalog currently holds more than 120 million digital records, as well as “archival metadata and other types of records, including electronic databases.” However, the system has “an unsophisticated search” function, according to a request for information.

While NARA employees add metadata tags to digital records, “There is a delta between what NARA has been able to describe and the specific information that users want from our records,” the RFI states, asking, “Can AI fill the gap?”

During an informational day held in early April, NARA executives outlined some of the challenge, including a single search returning a flood of results from the same source—making it difficult to sift through to find multiple sources—and difficulty distinguishing between records with similar names, such as a search for “Truman” the president versus “Truman” the aircraft carrier.

The current search function also is not able to return accurate results if the search term input is not exactly the same as it exists in the metadata.

The RFI is seeking feedback on automated solutions that can analyze how users search the digital archives and associate those search terms with the appropriate record.

This effort is also looking at ways to customize the search experience for returning users.

“Can we customize the experience so that the user gets to what they want more quickly? What tools can we use to improve the search experience for the user without requiring additional manual work from our staff?” the RFI asks.

In a similar but separate line of effort, NARA officials are also looking at ways to automate the metadata tagging process to move away from relying on employees to manually tag records.

“To make digitized holdings accessible to users in the catalog, archival descriptions—metadata—must be manually entered by NARA employees prior to being uploaded,” the RFI states. “AI/ML technologies that could automate the creation of these required fields—and possibly more fields than we currently have—could greatly increase the accessibility of digitized holdings.”

The ideal solution would identify useful metadata at the point of ingest—when agencies transmit data to NARA for archiving—and automatically apply those tags as the records are archived. At that point, incoming records would be “self-describing,” rather than relying on manual descriptions.

Both of these efforts focus on answering three key questions:

  • How can NARA make records easier to find?
  • How can NARA make records available more efficiently and quickly?
  • How can NARA ensure its data’s integrity?

The RFI seeks to answer those questions while investigating the best technical solution and acquisition strategy, including:

  • Identifying and addressing data quality issues such as bias.
  • Anonymization versus personalization of user-friendly search.
  • Algorithms, frameworks and tools for creating AI solutions for the use cases, indicating outcome, addressing the strengths and limitations.
  • Comparison of capabilities provided by different cloud providers such as AWS, Azure, IBM, Google, etc.
  • Commercial off-the-shelf or cloud-based versus non-cloud based tools or frameworks.
  • Related licensing costs, operating capabilities and required support.
  • Storage and indexing capabilities agnostic to data format and type.
  • Design of pipeline for development and delivery of AI and ML solution to production.
  • Post-production activity needed such as infrastructure monitoring, debugging, job orchestration, etc.
  • Areas for cost considerations.

White papers addressing the use cases are due by noon on May 10. After reviewing those submissions, NARA officials might opt for virtual follow-up meetings, which would be scheduled after June 9.

https://www.nextgov.com/analytics-data/2021/04/national-archives-wants-use-ai-improve-unsophisticated-search-and-create-self-describing-records/173417/

theVOV is reinvigorating past exhibitions, including 2018’s Art Now: Lisa Brice show at Tate Britain, with extended reality. Image: © Tate 2021

When theorist Donna Haraway declared human beings “cyborgs” back in the mid ’80s, she effectively predicted our digital landscape, which, lately accelerated by the COVID-19 pandemic, feels more and more like a seamless, quiet fusion of man and machine. Silicon Valley has recently coined the term “phygital,” combining the words “physical” and “digital” to reflect this experiential hybridity, one defined by the link between user experience and networking access. App-assisted grocery store pick-up, QR code restaurant menus, targeted ads on Instagram — all of these services exemplify the “advanced anticipation” sales model, a strategy that recalibrates consumer want according to trackable patterns.

The world has spent a year inside and still found ways to turn, and now that venues are starting to reopen, visitors to cultural institutions are primed to expect immersion, engagement, and augmented ease of movement. Virtual reality and tandem digital services are becoming increasingly popular in museological space, not merely for the purposes of “edutainment,” but also as means of reconstituting the archive, enlivening the past with an eye towards the future. 

Art in XR

Installation view of the Andreas Gursky exhibition at Hayward Gallery, 2018. Image: Mark Blower

That’s where theVOV comes in. This new virtual portal, founded by Outset Contemporary Art Fund in collaboration with the London art-science collective Visualogical, will bring noted exhibitions from the past 15 years into the realm of “extended reality.” Launched on April 19 and available for ten weeks, the initiative breathes new life into shows organized by venues like Tate Britain, Yorkshire Sculpture Park, and National Galleries Scotland.

The first part of theVOV program will be housed in Vortic Art, an XR art world platform that specializes in private viewing and art fair booth design. Shows poised to make a comeback on the platform include Chris Burden at the South London Gallery from 2006, the Andreas Gursky retrospective held at Hayward Gallery in 2018, and the blockbuster Ibrahim Mahama: Parliament of Ghosts at Whitworth Gallery in 2019. 

The concept borrows some of its inspiration from a January 2021 five-week convergence between Verizon and the Metropolitan Museum of Art, entitled The Met Unframed, in which mobile users could explore 12 digitally rendered galleries in unparalleled, playful detail. theVOV expands upon this concept, creating a “bespoke virtual gallery for the exhibitions, with some institutions creating exact replicas of their physical gallery to others creating fantastical otherworldly spaces that couldn’t possibly exist in the physical realm,” according to the organizers.

A new virtual ecosystem

Installation view of Tony Cokes’ 2019 solo show UR Reading This It’s 2 Late: Vol.1 at Goldsmiths Center for Contemporary Art. Image: Andy Stagg

Visualogical co-founders Natasha Hersham and Victoria Westerman, conceived of theVOV not merely as a harbinger of the “phygital era,” but a statement of purpose unto itself. “theVOV is a new virtual ecosystem presenting monumental exhibitions… to enjoy live and on demand,” says Visualogical, insisting that the project shows “a united front to generate funds for the creative sector while making culture more accessible than ever.”

This sense of philanthropy is embedded into the technology itself. All content is available for free, but visitors have the option of donating to the participating galleries, unlocking “new streams of income for public arts organizations” during a precarious time for the sector at large.

In addition to “lunchtime tours” with artists and curators and a plan to unveil the “first-ever live drawing class of a digital avatar,” it’s this “ethos of unity” that makes theVOV truly special and singular, providing audiences yet another way to make human connections in the digital space. 

https://www.thevov.art/

Digital storytelling is our topic in focus this month on Europeana Pro, as we hear from the Europeana Network Association’s Task Force on Europeana as a ‘powerful platform for storytelling’. First up, find out why digital storytelling is all the rage in the cultural heritage sector and how it can help you connect and engage with your audiences.

What is digital storytelling?

Humans have always told, retold and listened to stories. They allow us to make sense of the world, to learn, and to empathise and connect with each other.  

Digital storytelling is simply this age-old act of storytelling but using digital media, perhaps introducing elements of images, audio, video and interactivity with the more traditional text or narrative. It is employed widely by cultural heritage institutions to attract, engage and inspire audiences.

Technology supports new ways of telling stories

Visiting a cultural site in the company of a guide who tells fascinating stories about the exhibits becomes a memorable experience. When human guides are a scarce resource – or doors to a museum or gallery are closed as we’ve experienced recently – digital technology offers the chance to bring these experiences to a wider audience as well as provide a welcome invitation to discovery.

Ways of enjoying works of art have been reinvented so that cultural institutions can continue to offer themselves as restorative, but also inclusive, user-centre oriented and participatory environments.  Take for example, Las hilanderas. Una historia en imágenes (Museo del Prado, Madrid) – an interactive image viewer is used to highlight details and reveal the narrative behind a famous painting by Velázquez. And A Picture of Change for a World in Constant Motion (New York Times) – a storytelling text sidebar links to a dynamic image gallery that zooms in on Hokusai’s Ejiri in Suruga Province as you scroll, revealing the details at the same time as you are told about them. 

We all know by now that the current COVID-19 pandemic has motivated cultural heritage institutions to share their collections and stories online, featuring a variety of formats, media and platforms and targeting different segments of the public. A survey from the Network of European Museum Organisations (NEMO) revealed that during the lockdown in Europe, over 60% of museums increased their online presence. The most popular activities, according to ICOM, were live events and online exhibitions, with an increase respectively of 12.28% and 10.88%. And if you’d like to explore some of those, check out Mapping museum digital initiatives during COVID-19, it’s a great overview of various digital initiatives launched by museums during the COVID-19 pandemic.

What makes a story memorable and engaging?

So what’s at the heart of a good story, digital or otherwise? Emotional connection. 

Tapping into our emotions is what creates that powerful experience and a sense of psychological proximity. It makes sense that people are more interested in events that happen to them personally than those that happen to others or to strangers. What skilled storytellers do is create characters and journeys that other people can easily relate to – so that the story is as close to the reader or viewer as possible. The more we empathise with the characters, the more interesting the events happening in the story are to us. When we put ourselves in the place of the characters, psychological proximity is really tight.

Stories about cultural heritage are very effective from this perspective because by connecting the audience to the characters and events of the past, they often trigger our own personal memories, emotions and experiences, generating empathy and fostering that sought-after sticky engagement. For example, take a look at A Closer Look (Louvre, Paris) – this experience invites people to look closely at a high-resolution image of a single artwork, before telling the story of its subject and creation and providing interesting comparisons with other works. And ‘There is a bat in the library’ (Museum of English Rural Life, Reading) – this Twitter thread uses an informal event to entertain and then inform people about bats and their conservation. 

More from the Task Force

At Europeana, we have been thinking about digital storytelling for some time, and in September 2020 were delighted to launch a Task Force on the topic, run by the Europeana Communicators Community with 26 members from 14 countries. We have spent the last six months analysing examples of online digital storytelling from the cultural heritage sector that our members have found and loved. 

In our next posts, you’ll find out more about the longlist of great practice examples we’ve looked at and will be able to explore them yourselves, as well as our three detailed case studies and our seven tips for digital storytelling with cultural heritage. 

We hope that the outcomes of this Task Force – which show that the great digital storytelling we have discovered doesn’t necessarily rely on fancy formats or big budgets – will help Europeana to support institutions to develop their capacity for developing and using digital storytelling practices, whether their final publication place is on Europeana or elsewhere. 

Interested? Then keep an eye on Europeana Pro News for more from the Task Force and register for our webinar on 9 June, when we’ll hear more from the Task Force and are delighted to welcome expert storytellers from the sector to share their experiences. 

And also – check out the Digital Storytelling Festival – a creative competition from Europeana and the Digital Heritage Lab on Medium and social media.

https://pro.europeana.eu/post/storytelling-with-digital-culture-is-booming-find-out-why

Posted by: bluesyemre | May 9, 2021

#PublicLibraries embrace emerging technology

As the definition of literacy evolves to include digital and technological literacy, libraries are also evolving to include new technologies in their offerings to meet a wide range of community needs.

Libraries have long served the role of providing communities with access to important written resources, but patrons are increasingly looking for more than just books.

As community needs evolve, libraries have been forced to evolve alongside, expanding their offerings to include necessary technologies, like Wi-Fi hot spots so people can access the Internet for free. This is often referred to as the “Library of Things,” or LoT.

Libraries in Deerfield, Ill., Concord, Mass., and Altadena, Calif., have expanded their collections to include emerging technologies and other tech tools members of the community can take home.

DEERFIELD PUBLIC LIBRARY

Deerfield Public Library in Illinois has started offering emerging technology to its patrons.

As Multimedia Librarian Ted Gray described, one of the things that librarians are taught in their schooling is to adapt to the needs of the community. The LoT collection at Deerfield Public Library is a good example of that guiding principle, said Gray.

He explained that while some communities may have needs for items like cooking supplies, the Deerfield patrons are very tech-savvy, so it made sense for the library to offer some “tech toys” like VR glasses and drones. This would allow people to try out these technologies for themselves and learn about their uses without having to purchasing them.

During COVID-19, community needs shifted, and so did needs for the LoT. Throughout this past year, Gray said that some of the most popular check-out items were Wi-Fi hot spots, Roku streaming devices, and LED projectors for outdoor movies. Some of the technology is even backed up by tutorials on the library’s YouTube page.

The collection does not have a huge budget, Gray said, but new items are purchased annually. The return on investment comes with most of these items being much higher than that of many books that the library purchases due to the high demand, he explained.

CONCORD FREE PUBLIC LIBRARY

The LoT at Concord Free Public Library in Massachusetts was initially created to help the community access things they needed like Wi-Fi hot spots, eventually growing to include other items and more instructional materials and how-to videos.

The unique thing about Concord’s LoT is that the collection has appeal to two very different demographics at different age ranges, explained Andi Graceson, library innovation and communications specialist. She detailed that assistive technologies and digital conversion technologies have been very popular with the older residents, but the emerging technologies are more geared toward a younger demographic.

In addition to basic VR goggles that connect to a smartphone, Concord’s offerings include a unique collection of coding toys geared towards children. While an adult does need to check these items out, this collection’s toys are recommended for children as young as three years old to gain fundamental knowledge on coding and practice basic science, technology, engineering and math (STEM) skills.

Items will be added as new technologies continue to emerge, Graceson explained, noting the importance of also offering older technologies that are hard to acquire, including the film-to-JPEG converter.

Like any library collection, she stated, the Concord LoT will evolve with the needs of the community.

ALTADENA LIBRARY DISTRICT

In Altadena, Calif., the LoT offerings range from VR goggles to a “ghost hunting kit” for teens, and are especially interesting because the program was launched in response to the COVID-19 pandemic. While offering a collection like this had been a topic of discussion for a while, the pandemic caused the library to “spring into action,” according to Altadena Library District Assistant Director Viktor Sjöberg.

Sjöberg said that the inability to rent out in-demand items — like laptops — during the lockdown was the impetus for the program. He said that some of the items are inexpensive tools intended to help parents enhance learning experiences for their children. Other items in the collection are more expensive, such as the Oculus virtual reality goggles. More complex items — like the telescope — come with itemized lists of parts and components, so a user would only be charged for a missing or broken component.

The library’s team is working on educating the community about the resources available and continuing to develop solutions for some of the program specifics.

Sjöberg said it is important for the library to recognize its role in the sharing economy. For this reason, the library tries to source items from local vendors whenever possible and offer items that specifically help the community’s unique needs.

“Libraries are built around community resource sharing, and we want to extend that further, and also create a more sustainable Altadena,” he said. “We’re really looking to the communities, too, to help us lead this conversation in what they need and how they see this fit in with their aspirations.”


Government Technology is a sister site to Governing. Both are divisions of e.Republic.

Julia Edinger

Julia Edinger is a staff writer for Government Technology. She has a bachelor’s degree in English from the University of Toledo and has since worked in publishing and media. She’s currently located in Southern California.

https://www.governing.com/next/public-libraries-embrace-emerging-technology?

Posted by: bluesyemre | May 9, 2021

How #DigitalArt Collectors are showing art on their TVs

An example of a flat screen TV with a picture frame on it, displaying a piece of digital art.
DESIGNER APPLIANCES

This year has been an iconic one for digital art, thanks to the sale of the artist Beeple’s NFT (Non-Fungible Token) artwork sold at an auction house for $69.3 million.

An NFT gold rush has followed, no doubt. But beyond the monetary value, will this inspire art collectors to finally collect more digital art? And if so, how does one show off digital art at home, now that the idea is becoming more mainstream?

A growing trend in interior design is putting a picture frame around a flat screen TV, and it isn’t as hokey as it might sound.

According to interior design expert John Carey, the founder of Designer Appliances, framing a flat screen TV is becoming more of the norm—and it isn’t just for streaming Netflix shows.

“People are sticking these picture frames on their TVs, as they’re trying to achieve a balance between technology and art in their different rooms,” said Carey, who helps customers decide on their kitchen layout design.

“What I realized was these framed TVs, while they do display art, you can’t hide the fact that it’s a TV. I looked into ways to cover it up and make it truly look like art.”

That led him to finding TV frames to fit a Samsung TV screen (in fact, Samsung sells its own TV frames).

LAS VEGAS, NEVADA – JANUARY 08: Attendees look Samsung televisions that display art when not being used as a television at the Samsung booth during CES 2019 at the Las Vegas Convention Center on January 8, 2019 in Las Vegas, Nevada. CES, the world’s largest annual consumer technology trade show, runs through January 11 and features about 4,500 exhibitors showing off their latest products and services to more than 180,000 attendees. (Photo by Justin Sullivan/Getty Images)
 GETTY IMAGES

“What we’ve been recommending to our customers is getting one of these TVs and custom picture frames that blend technology with art,” said Carey. “To allow customers to design with an aesthetic in mind, rather than just sticking a TV on the wall.”

Now there’s a growing number of companies out there selling custom-made picture frames for flat-screen TVs, like Deco TV Frames, which magnetically attaches to the TV, giving it a clean finish.

Which begs the question: can your flat screen TV dually-function as a place to view artwork, when you’re not watching Netflix? With the Samsung Frame TV, it can be set into “art mode,” where you can choose a static image, a digital artwork, to play in the background.

People always ask: do I want to put a TV in my living space, or do I want to put art?” said Carey. “Even if it was a TV, you don’t want to put it in a corner, like you might with a work of art, which would be an awkward viewing angle. This is giving people the ability to incorporate both. You don’t have to make too many sacrifices.”

A flat screen has a dual purpose, in other words.

“Instead of it being a black screen being in the background, it’s the artwork you’ve selected,” said Carey. “The goal is that when it’s not functioning as a TV, it blends in as a piece of art hanging on your wall.”

“An artwork works as a screensaver when you’re not streaming or watching the news,” he adds.

Carey, who has appliance stores in New York and New Jersey, says that there’s an entire market for affordable digital art, beyond your typical screensaver-type imagery of beaches and landscapes.

Samsung has a monthly subscription which offers access to a digital library of images, from classic art to landscapes. There are also people who want to upload and share their family memories on their flat screens, too, but that’s not where it ends.

In fact, independent artists and designers have caught on and are selling their “TV screen” digital artworks on Etsy and eBay for as low as $5 per digital image. It taps into the growing need for a digital library of unique images.

“There is an underground network of people who are selling their own digital artworks, just search for Samsung TV art on Etsy,” said Carey. “It’s essentially a screen saver for the resolution of the TV.”

There is a wide range of affordable digital art to choose from. The Miuus Studio is one design firm that is selling both digital and printable prints on Etsy, which has a minimalist, modern design look that fits most living spaces. Another one on Etsy is called Hearts in Colors, which sells a variety of images to fit flat screen TVs, including foliage, bouquets and abstract images in neutral earth tones.

Meanwhile, the Alluring View studio sells digital images of landscapes, real and imaginary, including snowy mountaintops and tropical jungles, among other digital paintings.

Samsung calls the Frame “a canvas that reflects your style and what you love.” The screen can self-adjust its brightness for the time of day. “ They’ve done all the technology to make it look like a picture of art,” said Carey. The variety of picture frames ranges from stainless steel to various shades of wood, from light to dark.

“It’s a trend we’ve been seeing, as people tend to like the aesthetic that’s surrounding them,” said Carey. “Different frames come in, from wooden to stainless steel. It creates a cohesive aesthetic that lends itself well to kitchen design and living rooms.”

Digital art has a long history, dating back to the 1950s. It’s more than just digital paintings, as this art movement includes video art, gifs, digital art installations and other types of artworks which are made on a computer. More recently, digital art spaces like “Van Gogh: The Immersive Experience” have become popular, showing the need for more digital art experiences.

And why not use a flat screen TV to showcase your favorite artwork? Unlike digital prints, they take up less room and can be changed on a weekly, if not daily, basis.

“There’s a whole network of art and frames out there, and because of that, there’s a lot of capabilities and its growing in popularity,” said Carey.

“People are interested in creating a bit of texture in their homes and this is one way to do that.”

Nadja Sayej Follow

Nadja Sayej is an arts and culture journalist based in Paris, France. Originally from Toronto, she has lived in New York and Berlin, writing for The Guardian, The Economist and The New York Times. She has interviewed over 200 celebrities, from David Lynch to Salma Hayek, Susan Sarandon and Patton Oswalt, and is the author of five books including The Celebrity Interview Book, and Biennale Bitch, a comedy book about the art world. Nadja is also a photographer who shoots celebrities for Vanity Fair London, V Magazine and Interview Magazine Germany. nadjasayej.com

https://www.forbes.com/sites/nadjasayej/2021/05/01/how-digital-art-collectors-are-showing-art-on-their-tvs/?sh=715b673d38a9

Hatice Muratova Balkanlar’ın sarp dağlarında terk edilmiş bir köyde annesiyle birlikte yaşıyor. Geçimini yabani arıcılıkla sağlıyor, fakat arıların payını da gözetiyor, hatta arılarla konuşuyor, onlara şarkılar söylüyor. Piyasa denen kentli canavara, birden köylerine taşınıp para kazanmak için gözünü arılarına diken aileye ve doğaya karşı büyük bir mücadele yürütmek zorunda. Çekimleri üç yıl süren bu film insan-doğa ilişkisi üzerine düşünmek için önümüze yeni bir ufuk açıyor.

Yönetmen: Tamara Kotevska, Ljubomir Stefanov

Katılanlar: Hatidze Muratova, Nazife Muratova, Hussein Sam, Ljutvie Sam

Yapım Yılı, Ülke: 2019, Kuzey Makedonya

https://www.beyazperde.com/filmler/film-270321/

https://www.imdb.com/title/tt8991268/

During the pandemic, many college professors abandoned assignments from printed textbooks and turned instead to digital texts or multimedia coursework.

As a professor of linguistics, I have been studying how electronic communication compares to traditional print when it comes to learning. Is comprehension the same whether a person reads a text onscreen or on paper? And are listening and viewing content as effective as reading the written word when covering the same material?

The answers to both questions are often “no,” as I discuss in my book “How We Read Now,” released in March 2021. The reasons relate to a variety of factors, including diminished concentration, an entertainment mindset and a tendency to multitask while consuming digital content.

Print versus digital reading

When reading texts of several hundred words or more, learning is generally more successful when it’s on paper than onscreen. A cascade of research confirms this finding.

The benefits of print particularly shine through when experimenters move from posing simple tasks – like identifying the main idea in a reading passage – to ones that require mental abstraction – such as drawing inferences from a text. Print reading also improves the likelihood of recalling details – like “What was the color of the actor’s hair?” – and remembering where in a story events occurred – “Did the accident happen before or after the political coup?”

Studies show that both grade school students and college students assume they’ll get higher scores on a comprehension test if they have done the reading digitally. And yet, they actually score higher when they have read the material in print before being tested.

Educators need to be aware that the method used for standardized testing can affect results. Studies of Norwegian tenth graders and U.S. third through eighth graders report higher scores when standardized tests were administered using paper. In the U.S. study, the negative effects of digital testing were strongest among students with low reading achievement scores, English language learners and special education students.

My own research and that of colleagues approached the question differently. Rather than having students read and take a test, we asked how they perceived their overall learning when they used print or digital reading materials. Both high school and college students overwhelmingly judged reading on paper as better for concentration, learning and remembering than reading digitally.

The discrepancies between print and digital results are partly related to paper’s physical properties. With paper, there is a literal laying on of hands, along with the visual geography of distinct pages. People often link their memory of what they’ve read to how far into the book it was or where it was on the page.

But equally important is mental perspective, and what reading researchers call a “shallowing hypothesis.” According to this theory, people approach digital texts with a mindset suited to casual social media, and devote less mental effort than when they are reading print.

Students work on laptops in high school library
Students are more prone to multitasking and distraction when studying on screens. Erin Clark/The Boston Globe via Getty Images

Podcasts and online video

Given increased use of flipped classrooms – where students listen to or view lecture content before coming to class – along with more publicly available podcasts and online video content, many school assignments that previously entailed reading have been replaced with listening or viewing. These substitutions have accelerated during the pandemic and move to virtual learning.

Surveying U.S. and Norwegian university faculty in 2019, University of Stavanger Professor Anne Mangen and I found that 32% of U.S. faculty were now replacing texts with video materials, and 15% reported doing so with audio. The numbers were somewhat lower in Norway. But in both countries, 40% of respondents who had changed their course requirements over the past five to 10 years reported assigning less reading today.

A primary reason for the shift to audio and video is students refusing to do assigned reading. While the problem is hardly new, a 2015 study of more than 18,000 college seniors found only 21% usually completed all their assigned course reading.

Audio and video can feel more engaging than text, and so faculty increasingly resort to these technologies – say, assigning a TED talk instead of an article by the same person.

Maximizing mental focus

Psychologists have demonstrated that when adults read news stories or transcripts of fiction, they remember more of the content than if they listen to identical pieces.

Researchers found similar results with university students reading an article versus listening to a podcast of the text. A related study confirms that students do more mind-wandering when listening to audio than when reading.

Results with younger students are similar, but with a twist. A study in Cyprus concluded that the relationship between listening and reading skills flips as children become more fluent readers. While second graders had better comprehension with listening, eighth graders showed better comprehension when reading.

Research on learning from video versus text echoes what we see with audio. For example, researchers in Spain found that fourth through sixth graders who read texts showed far more mental integration of the material than those watching videos. The authors suspect that students “read” the videos more superficially because they associate video with entertainment, not learning.

The collective research shows that digital media have common features and user practices that can constrain learning. These include diminished concentration, an entertainment mindset, a propensity to multitask, lack of a fixed physical reference point, reduced use of annotation and less frequent reviewing of what has been read, heard or viewed.

Digital texts, audio and video all have educational roles, especially when providing resources not available in print. However, for maximizing learning where mental focus and reflection are called for, educators – and parents – shouldn’t assume all media are the same, even when they contain identical words.

https://theconversation.com/why-we-remember-more-by-reading-especially-print-than-from-audio-or-video-159522

Vicdan ve serbest piyasaya dair bir film. (2021 versiyonu)
Tasarım ve hammaliye: Ümit Kıvanç.

Bu filmin ilk versiyonu on yıl önce yapılmıştı. Bu, yeni görsel malzeme ve teknikle, yeni formatta, yeniden kurgulanmış 2021 versiyonu. Metin ve seslendirme aynı, estetik farklı.

Eski versiyonla ilgili ayrıntılı bilgi ve ek görseller için: gecetreni.net/16ton_root/index.html

Açık Veri ve Teknoloji Derneği olarak açık veri alanındaki uzman isimlerle yeni bir röportaj serisine başlıyoruz. Röportaj serimizin ilk konuğu Hacettepe Üniversitesi Bilgi ve Belge Yönetimi Bölümü Öğretim Üyesi Doç. Dr. Şahika Eroğlu ile açık devlet kavramını konuştuk.

Hacettepe Üniversitesi Bilgi ve Belge Yönetimi bölümünde lisans eğitimini tamamlayan Dr. Şahika Eroğlu, yine aynı üniversite ve bölümde yüksek lisans ve doktora eğitimlerini tamamladı.

“Türkiye’de kamu verilerinin açık devlet uygulamaları ve belge yönetimi çerçevesinde değerlendirilmesi: Bir model önerisi” başlıklı doktora tezini başarıyla savunan Eroğlu, aynı zamanda Açık Devlet ve Açık Devlet Verisi adlı bir kitap yayınlayarak Türkçe açık veri literatürüne önemli bir katkıda bulundu.

Açıklama: Bu röportaj açık veri gönüllülerimizden Gamze Özçelik ve Gizay Öztürk Akın tarafından yapılmıştır.

Sizin içinde uygun olursa çok klasik bir soruyla başlamak isteriz. Sizi bu konuya yani açık devlet ve açık devlet verisi kavramına ilişkin olarak çalışmaya sevk neden nedir?

Doç. Dr. Şahika Eroğlu: Öncelikle röportaj isteğiniz için teşekkür ediyorum. Bildiğimiz gibi e-devlet uygulamaları 2000’li yılların başlarında itibaren dünyada ses getirmeye başlarken bu süreçte ülkemizdeki kamu kurumları da e-devlet uygulamalarına dahil olmaya başladı ve gerekli altyapı çalışmaları ile sürece başlayarak başarılı örnekler sergilediler. Konu ile ilgili hem uygulamada hem akademik anlamda yapılan çalışmalar sayesinde e-devlette bugün oldukça başarılı bir süreç yönetiminin söz konusu olduğunu söyleyebiliriz.

E-devlet ve kurumsal bilgi sistemleri üzerine tamamladığım yüksek lisansın ardından 2014 yılında doktora çalışmam sürecinde Türkiye takımında çalışmalarında yer aldığım uluslararası bir proje olan InterPARES TRUST (Elektronik Sistemlerde Belgelerin Özgünlüğünün Korunması Üzerine Uluslararası Araştırma Projesi: Hızla Ağlaşan Toplumda Dijital Kayıtlar ve Güven) projesi kapsamında yurt dışında alanın otorite kuruluşlarından Uluslararası Arşiv Konseyi (ICA International Council on Archives) tarafından düzenlenen bir konferansa katıldım ve e-devlet uygulamalarının yanı sıra e-devletin ileri seviyesi olarak tanımlanan “Açık Devlet” kavramından bahsedilmesi ilgimi çekti. O konferansta açık devletle ilgili dinlediğim bütün konuşmalardan sonra bu uygulamaların ülkemizde de olmasının ve önemli olduğunu düşünerek doktora tezimi bu konu kapsamında geliştirmeye karar vererek çalışmaya başladım. Böylece 2017 yılında Türkiye’de açık devlet ve uygulamalarını konu alan tezimi tamamlayarak bu alana yönelmiş oldum.

Açık devlet ve açık devlet veri kavramları bilişim teknolojilerinin gelişmesiyle birlikte günlük yaşantımız içerisinde daha fazla dahil olmaya başladı. Küresel salgının etkisiyle bu kavramın hayatımızdaki yerinin daha çok arttığını düşünüyor musunuz?

Doç. Dr. Şahika Eroğlu: Açık devlet verisi aslına bakarsanız 2009 yılından itibaren dünyada önemini giderek artıran bir konu olmuştur ve uygulamalar bu yönde gelişmektedir. Fakat pandemi ile yön değiştiren hayatlarımızda dijital teknoloji ve bu teknolojilerden daha verimli bir şekilde yararlanmamızı sağlayan verinin önemi hiç bu kadar anlaşılmamıştı diyebiliriz.

Pandemi süreci birçok soruyu beraberinde getirirken bu soruların cevabının da doğru ve güvenilir verilerle karşılandığı ortaya çıkmıştır. Örneklemek gerekirse kriz döneminde politika geliştirmeyi destekleyen tahmine dayalı modelleri beslemekten, Covid-19 test merkezi bulma, risk haritaları geliştirme veya yeni tedavi yaklaşımlarının değerlendirilmesi, akademik çalışmaların veri ile beslenmesi gibi birçok konuda güvenilir veri talebi hiç bu kadar elzem ve acil olmamıştı diyebiliriz.

Dünya Sağlık Örgütü’nün COVID-19 salgını ilan etmesi ve küresel bir kilitlenmenin başlamasından bu yana, bu virüsü anlamak, salgının getirdiği kriz ile başa çıkabilmek için salgınla ilgili verilere odaklanılmaya başlandı. Burada özellikle devletlerin sağlık örgütlerinin tuttukları açık devlet verisi bağlamında değerlendirilebilecek olan ülkesel salgın verileri mahremiyet, kişisel veri ihlali gibi birçok tartışmayı barındırmasına rağmen talep görmeye başladılar. Bu veriler ile yeni vakalar, ölümler, iyileşme oranları, vb. gibi durumları gösteren birçok gösterge uygulamalarının çok sayıda izleyici tarafından izlenmesine tanık olduk.

Peki bu dönüşüm sürecinin sizce başka ne gibi sebepleri olabilir?

Doç. Dr. Şahika Eroğlu: Aslında belki bu süreçte insanlığın veriye dayalı ilk salgınına da tanıklık etmiş olduk diyebiliriz. Pandemi sürecinde neredeyse ihtiyacımız olan her sürecin doğru verilerle yapılandırabildiğini gördük. Dünyanın dört bir yanındaki devletler, COVID-19 testleri, vaka sayıları, hastaneye yatışlar ve ölümlerle ilgili verileri açıkça erişilebilir hale getirdi ve çok sayıda araştırmacı, medya kaynağı ve veri bilimcisi bu verileri toplayarak halkı koronavirüs pandemisinin durumu hakkında bilgilendirmek için kullandılar.

Bunun yanı sıra yapılan çalışmalar ile COVID-19 ile ilgili veriler veriye dayalı yapay zekâ / makine öğrenimi yöntemleri ile farklı senaryolar altında enfeksiyonları, ölümleri, bulaşıcılık oranlarını, hastaneye yatışları ve hastalığın gidişatını tahmin etmek amacıyla hastalık modelleri ile kullanılmaktadır. Bu demek oluyor ki bu verileri ve çeşitli modelleme yaklaşımlarını kullanılarak yapılan çalışmalar, gerçek zamanlı tahminler yapmak için uygulanmaya ve geliştirilmeye devam edecek ve bu modellerde hastalık davranışı hakkındaki bilinmeyenler devam ederken gelecekteki süreçleri tahmin etmek için önemli olacaktır.

Görüyoruz ki gerek günlük hayatımızda sıradan bir vatandaş olarak gerekse profesyonel olarak bu verilerden pandemi döneminde sıkça yararlanılmaya başlandı. Yönetimlerden gelen güvenilir bilgiler, insanların günlük rutinleri hakkında bilinçli kararlar almalarına, kamu güvenini oluşturmalarına yardımcı olmaktadır. Aynı şekilde bu veriler bu kriz sürecini atlatmak adına bilimsel çalışmalarda kullanılırken halk sağlığı politikalarının geliştirilmesinde de karar alıcılara destek olmaktadır. Bu bağlamda veri her zaman önemliydi fakat böyle bir kriz anında daha da önem kazanarak krizden çıkma yollarını aramamıza destek olan en önemli unsur oldu diyebiliriz.

2020 yılıyla birlikte küresel salgın (pandemi) kavramı hayatımıza girdi ve bu zorlu süreçte birçok alan hızla dijitalleşti. Bu dijitalleşme sürecinde açık devlet verisi kavramı sizce evrimleşti mi ve bu kavram bu süreçten ne şekilde etkilendi?

Doç. Dr. Şahika Eroğlu: Pandemi süreci, dijital devlet hizmetleri için yeni ihtiyaçlar ve mevcut hizmetlere daha fazla talebi de beraberinde getirdi. Bu çerçevede mevcut dijitalleşme uygulamalarına ek olarak COVID-19 ile mücadeleye yardımcı olmak için yeni uygulamalar ve hizmetler tasarlanmaya başlandı ya da mevcut hizmetler daha geliştirildi. Bu süreçte gördük ki kapanma zamanlarının da etkisi ile her sürecin uzaktan yürütülmesine yönelik çabalar arttı ve bu doğrultuda dijital devlet hizmetleri aracılığıyla işlemlerin yürütülmesi sağlandı.

Bu süreçte açık devlet verisi daha önce belirttiğim gibi aslında evrimleşmek değil ama oldukça önem kazandı diyebiliriz. Bu önem kazanma durumu ise bize şunu gösterdi; bu verilerden yararlanmanın ön koşulu aslında bu verilerin doğru ve güvenilir bir şekilde sunulmasıdır. Burada özellikle veri yönetimin doğru prosedürlerle gerçekleşmesi gerekliliği ortaya çıktı. Mevcut COVID-19 salgını, verileri açma, paylaşma ve kullanma hakkında önemli soruları gündeme getirmektedir ve veri kullanımıyla ilgili zorlukları vurgulamaktadır. Pandemi sürecinde farklı kurumların veri koordinasyon kapasiteleri su yüzüne çıktıkça, veri toplama ve paylaşmanın temel sorunlarının daha da görünür hale geldiğini görmüş olduk. Bu çerçevede özellikle verilerin toplanması yapılandırılması süreçlerinin bir dizi standartlara dayanması gerekliliği, mahremiyet ve güvenliklerinin sağlanması gibi hâlihazırda literatürde ve uygulamada tartışılan birçok sorunun anlaşılmasına neden oldu. Bu açıdan düşünüldüğünde açık devlet ve açık devlet verisi kavramları ve bunların sorunlarına yönelik farkındalık oluşması açısından önemli bir süreçti diyebiliriz.

2016 yılında bir sosyal medya devi olan Facebook’un kullanıcılarının verilerinin ABD’de son başkanlık seçimi öncesi özel bir şirket tarafından Donald Trump lehine kullanıldığı iddia edildi. Böyle bir olayı açık devlet kavramı bakımından nasıl yorumlarsınız?

Doç. Dr. Şahika Eroğlu: Bahsettiğiniz olay aslına bakarsanız yaşadığımız post-truth (hakikat ötesi) dönemin sembollerinden birisi olarak bahsedilmektedir. Bu dönem gerçeklerin çarpıtılması, manipülasyon ve aslı olmayan yalan haberlerin özellikle sosyal medya araçlarıyla yayılmasını içermektedir. Kamuoyu belirlemede duygular ve kişisel düşüncelerin nesnel gerçeklerin önüne geçmesi durumu olarak nitelendirilen bu dönemde kişisel görüşleri etkilemede verilerden yararlanılmaktadır. 2016 yılında yaşanan bu durumda Facebook verilerinin kullanımı sonucunda bireylerin görüşlerine yön verilmesi ve manipülasyon, yalan haber gibi durumlarla kişilerin görüşlerinin etkilenerek seçimlerin kaderinin değiştirilmesi gibi durumlar söz konusu olmuştur. Verinin gücü bu ve benzeri olaylarla ortaya konmaktadır aslına bakarsanız. Bu durumda doğru kaynaklardan verilerden sunulmasının kamuoyu bilgilendirmede önemi de açıktır. Bu durumda açık devlet verilerinin önemine vurgu yapar.

Peki ya COVID-19 hakkındaki yanıltıcı haberler?

Doç. Dr. Şahika Eroğlu: COVID-19 salgını sırasında da bir dizi yalan haber ve viral aldatmaca dalgası yaşandı. Kötü amaçlı veya yetersiz bilgiye sahip kullanıcılar, sahte haberlerin yayılmasına katkıda buldular ve durum toplumda bir belirsizlik hissi yaratırken daha fazla paniğe de neden olmuştur. Dünya Sağlık Örgütü yöneticisi aşırı ve asılsız bilgi veya haber salgınınının toplumda korku ve paniğe yol açması durumunu “infodemi” terimi ile tanımlarken bu durumun asıl salgını yönetmeyi de zorlaştırdığı vurgulamışlardır. Infodeminin yol açtığı bu paniğin ise güvenilir bilgi kaynakları ile çözümlenebileceği aşikârdır. Açık devlet verilerinin paylaşımı ile salgın dönemine ilişkin gidişatla ilgili ortaya çıkan sahte haber veya bilgilerin yayılmasına da engel olacaktır.

Bunun güzel bir örneği Brezilya Sağlık Bakanlığı tarafından yapılmıştır. Salgınla ilgili kuşkulu haberler toplanarak doğrulama mekanizmalarından geçirilmektedir ve düzenli olarak bakanlık sitesinden duyurulmaktadır. Verilerin açık olması durumunun kendisi aslına bakarsanız otomatik bir doğrulama mekanizması sağlamaktadır. Erişilebilir bir şekilde açılan veriler bireylerin bilinçli karar almalarında ve bu gibi durumların daha az yaşanmasında ve kamuoyu güveninin artırılmasında etkili olacaktır.

Tüm bunlar esasen açık devlet uygulamalarının sunmak istediği açıklık, şeffaflık, hesap verilebilirlik, katılım ve işbirliğinin artırılması gibi süreçlerinin kavramsal öneminden ziyade uygulama da ne denli önemli olduğunun ve iyi bir yönetişimin temeli olduğunu göstermektedir.

Türkiye’de belediyelerin açık veri portalleri açtığını görüyoruz ve bunlar açık devlet verisi uygulamalarının güzel örneklerinden sayılabilir. Bu sayede yönetimlerin şeffaflığa önem verdiği düşünüyoruz. Siz bu platformların daha iyi nasıl kullanılabileceğini anlatabilir misiniz?

Dr. Şahika Eroğlu: 2009 yılında ilk açık devlet veri platformu data.gov’un kurulmasından bu yana gerek merkezi yönetimler gerekse yerel yönetimler tarafından veri portalleri oluşturulmaya başlandı. Bu portaller açık devletin temel ilkeleri olan açıklık, şeffaflık, hesap verilebilirlik, yönetimlere katılımların artırılması gibi ilkeleri desteklerken aynı zamanda veriden değer elde edilip katma değerli hizmetler yaratılması, yenilikçi hizmetlerin geliştirilmesi, ekonominin geliştirilmesi sosyal yaşama katkı sağlanması gibi birçok amaca hizmet etmektedir.

Bu bağlamda düşündüğümüzde farklı birçok veri türü tutan yerel yönetimlerin de bu süreçlere dahil olması kaçınılmazdır. Özellikle akıllı şehirler olgusunun yaygınlaştığı bu dönemde akıllı şehir olgusunun en önemli bileşenlerinden bir tanesinden de söz konusu veri portalleri olduğunu görüyoruz. Yerel yönetimlerde günlük işleyiş içerisinde farklı türde veriler tutmaktadır. Bu verilerin açılması şeffaflık algısını güçlendirirken aynı zamanda günlük yaşam sorunlarına çözüm oluşturabilecek birçok uygulamanın da girişimciler tarafından hayata geçirilmesine olanak tanımaktadır. Dünyada da bu verilerin kullanım örneklerine baktığımızda birçok farklı alanda veriler kullanılarak kitle kaynaklı uygulamaların geliştirildiğini görüyoruz. Vatandaşların da bu veriler kullanılarak yapılan uygulamalara dahil olarak yönetimlere katıldığını görüyoruz.

Bu konuda birkaç örnek verebilir misiniz?

Dr. Şahika Eroğlu: Bugün biliyoruz ki şehirlerin büyümesi ile bazı istenmeyen durumlar da açığa çıkmaktadır. Trafik sorunu, toplu taşıma düzenlemeleri, hava kirliliği, temiz su sorunu, çöp ve atık yönetimindeki sıkıntılar, suç oranlarının artması gibi birçok sorun şehirlerde yaygınlaşmaktadır. Bugün yerel yönetimlerin sağladıkları veriler ile bu sorunların çözümüne yönelik uygulamalar da geliştirilmektedir.

Mesela koordinat verileri kullanılarak geliştirilen uygulamalar ile yapılan uygulamalarda vatandaşlar şehir içinde bir sorunla karşılaştıklarında, yolda bir bozulma, çukurun varlığının tespit edilmesi gibi, bunu uygulama aracılığıyla yerel yönetimin ilgili birimine koordinat bilgileri ve fotoğrafla birlikte iletebilmekte sorunun çözümüne katkı sağlayabilmektedir.

Örneğin Kansas’ta şehir içinde wi-fi noktaları ile yayalardan ve araçlardan veriler toplanıyor. Bu verilerin değerlendirilmesi sonucunda trafik ışıkları beklemeyi azaltacak şekilde otomatik ayarlanıyor, yoğunluk olan yerlere daha fazla polis gönderilerek oluşabilecek karmaşıklıkların önlenmesi sağlanıyor. Aynı şekilde Boston’da yerel yönetimin sunduğu trafik ve konum verileri ile şehirde oldukça büyük bir sorun olan park sorunu çözülüyor. Yapılan uygulama ile boş yerleri gösteren algoritmik hesaplar doğrultusunda talebe göre park ücreti değişen park ayarlamaları ile park sorununa çözüm üretilmiş. Bu örnekler artırılabilir elbette. Burada dikkat çeken nokta bu verilerden belirlenmiş şehir hayatına sorunlarına çözüm üretilmesi çabasıdır.

Son olarak açık devlet verisinin yaygınlaşması konusunda neler söylemek istersiniz?

Dr. Şahika Eroğlu: Açık devlet verisinin yaygınlaşması ile güvenlik, eğitim, sağlık, şehir yaşamı, ulaşım vb. birçok alanda sorunların çözümüne yönelik başarı hikayelerini bizzat yaşayacağız. Bu bağlamda açık veri portallerinin geliştirilmesi oldukça değerli fakat bu portaller geliştirilirken de merkezi sistemlere entegre olabilecek yapıda standartlara uygun, veri yönetim prosedürlerinin doğru bir şekilde yapılandırılması ve aynı nitelikte veri kalitesinin sürdürülebilirliği de son derece önemlidir.

Diğer taraftan paylaşılan veri setlerinin yasal düzenlemelere ve kişisel veri mahremiyeti, ulusal güvenlik gibi konulara uygunluğunun garanti altına alınacak bir yaklaşımla hazırlanması da gözden kaçırılmaması gereken bir diğer unsurdur. Yerel yönetimlerin birbirinden kopuk bir yaklaşım sergilemek yerine standardizasyonu sağlanmış veri mekanizmaları çerçevesinde hareket etmeleri hatta belki de gerekli altyapıları (insan ve teknik kaynaklar olarak) oluşturana kadar ülke portalleri gibi merkezi sistemler içerisinde veri paylaşımları yerel yönetimlerin kaynak planlamaları için avantajlı görülebilir.

Açıklama: Bu röportaj açık veri gönüllülerimizden Gamze Özçelik ve Gizay Öztürk Akın tarafından yapılmıştır.

Posted by: bluesyemre | May 8, 2021

#Kingfisher diving into the water #AlanMcFadyen

It took 6 years, 4,200 hours and 720,000 photos for wildlife photographer Alan McFadyen to get this perfect shot.

https://www.instagram.com/alanmcfadyen/

https://www.boredpanda.com/perfect-kingfisher-dive-photo-wildlife-photography-alan-mcfadyen/

https://wildlifephotographyexperiences.com/

Posted by: bluesyemre | May 8, 2021

Founding vs Inheriting

Founding vs Inheriting

You can found an institution, or you can inherit it.

The East Coast of the United States is about inheritance. That means inherited wealth, like the Du Ponts, Forbes, and Mellon families. It means inherited names, like Kennedy, Bush, and Clinton. But most of all it means inherited institutions, like the media corporations of New York and the government bodies of Washington, DC.

Why call them inherited institutions? Well, the related term legacy institution is in common parlance, and a legacy is a synonym for an inheritance. But the nomenclature is useful because it focuses attention not simply on the age of these institutions (which are indeed old) but on the manner in which they select a new leader: through inheritance.

One way to inherit an institution is to pass it from parent to child, along with the fortune. That’s the model that the Wall Street Journal and the New York Times Company still follow, where the Murdochs and Sulzbergers named their successors from within the family.

A more subtle way to inherit an institution is to win an election. Now, of course someone who attains political office through this route isn’t always a familial heir, though it’s more common than you might think. But when they inherit a seat they have inherited something they could never have built from scratch. In that sense they are a political heir. After all, most folks who assume political office in the modern US do not have the skills to organize anything like the Federal Reserve or the US Military from scratch, unlike George Washington or Alexander Hamilton. Their primary skill is getting elected, which is more like becoming popular on Twitter than creating Twitter. The banks they bail out are too big to fail, and the shoes they inherit are too big to fill.

Read-Only Culture

When an heir inherits an institution, it’s like inheriting a factory. During normal times the factory continues to operate, the widgets keep coming out, and the career managers appointed by the original founder appear to have everything in hand. Nothing seems amiss. But something important has been silently lost, which is the founder’s ability to invent the institution from scratch – or reinvent it in the face of a crisis, like COVID-19. We can also think of this as read-only culture, the ability to repeat what an ancestor has handed down – but not recreate it from first principles.

Read-only culture is similar to partial bilingualism: the ability to understand a language, but not speak or write it, a phenomenon which is common among children of immigrants. If children can’t write the scripts of their parents, if their access to ancestral culture is read-only, then that culture won’t be replicated. This is a microeconomic explanation for how Idiocracy happens slowly. People think the cultural capacity remains because the artifacts surround them…but the culture producers are actually slowly vanishing, and their descendants can only repeat, not create.

It’s the difference between stock and flow. If new books aren’t being written in a language, if the new owners of a factory don’t understand manufacturing, the flow has been cut off. The culture that surrounds us is then just the stock, and it’s being depleted without anyone to replenish it.

What this suggests is that the civilizational equivalent of being able to code from scratch is more important than realized. It’s not enough to simply push a button; we need to be able to build from scratch simply to continue as a civilization, else maintenance – let alone innovation – is impossible.

Now, it might seem like a high bar to ask for the kind of leader who is capable of organizing the Federal Reserve or US Military from scratch. But such people walk the earth. Satoshi Nakamoto created Bitcoin and Vitalik Buterin created Ethereum, developments that in the fullness of time will be seen as on par with what Alexander Hamilton accomplished. As for the US Military, as the saying goes: amateurs talk strategy and professionals talk logistics. And the logistics network built by Jeff Bezos in just a few short decades is more sophisticated than the supply chains of many past and present militaries.

That’s what the West Coast of the United States was about: founding. We use the past tense because technology is now quickly decentralizing away from the West Coast. But in the same way we refer to the Greco-Roman origins of Western civilization, we can refer to the West Coast origins[1] of the technology founder, while recognizing that the concept and its correlates have now spread to virtually every country in the world. Much as the East Coast spread its older, institutional ideology around the world through mechanisms like the Columbia School of Journalism and Kennedy School of Government.

Heirs Failed, Founders Succeeded

That older, institutional ideology is now failing. Over the course of 2020, public health failedpublic schools failedfire departments failed, and police departments failedNationalstate, and local governments failed. Media corporations failed and even the US military failed. Just about every Western institution run by a political heir failed, because it was presented with the unanticipated shock of COVID-19. The widgets these heirs’ factories were cranking out were no longer suited for the occasion. And their failure has caused a crisis of faith in American institutions specifically, and in the postwar order more broadly.

Where heirs failed, founders succeeded. The internet stayed up. The state couldn’t deliver checks, but Amazon could deliver packages. The legacy universities were closed but the MOOC platforms were open. The restaurants were shuttered by the state but the delivery apps were shipping. The media corporations reported that the virus was at best a remote threat while the tech companies prepared for remote work. And the billions spent on military biodefense didn’t do much, but the millions invested in Moderna did.

In other words, the alternative to the East Coast model of simply inheriting institutions has been beta-tested on the West Coast for the last 25 years, and founders took over many of the functions of running American society while the East Coast floundered. Many of the functions – except those still heavily run or regulated by the state, like education, healthcare, police, fire, the management of the economy, and the physical control of a deadly disease.

Now, founding writ large certainly helped in some of those areas, particularly in the form of new biotech companies that created diagnostics and vaccines. But for the most part these regulated functions are not something that can be tackled by a typical startup. You need to be the mayor of a city, or the head of a state. Which leads to the question: how do we go about founding alternatives to the ultimate inherited institutions, namely cities and states?

The West Coast Forked the East to Found

One clue comes from the fact that many of the most prominent people on the West Coast sought it out as an alternative to the culture of the East.

For example, it’s not a coincidence that both Bill Gates and Mark Zuckerberg dropped out of Harvard to go West and become tech founders. They are atypical in many other respects, but not this one. Many tech founders and investors would in another life have become (or remained) professors, jurists, or journalists. This set includes Paul Graham, Larry Page, Peter Thiel, Mike Moritz, Diane Greene, Daphne Koller, Andrew Ng, and many more.

These people had the intellectual horsepower to compete with the best of the East. Yet they chose to found something rather than inherit it. And that’s how tech became a cultural fork of the East Coast. It’s the same root but different branches, like the United States and the United Kingdom.

One reason that tech forked is that computer science collapsed the distinction between the word and the deed, and turned a generation of intellectuals into software CEOs. Another is that top professors and tech CEOs both tend to feel deeply that they should be in charge – and the low cost of registering a domain name gave every professor the opportunity to show just how “easy” it was to be a tech CEO, converting many of them into capitalists as part of the experience.

https://1729.com/founding-vs-inheriting/

Posted by: bluesyemre | May 8, 2021

Children: the tiniest password managers

https://www.wired.com/story/wired-cartoons-week-24/?

METALLICA frontman James Hetfield was a guest on episode 11 of “The Fierce Life” podcast in late March. During the half-hour chat, which can be heard below, James confirmed that he and his METALLICA bandmates have been working on music for the follow-up to 2016’s “Hardwired… To Self-Destruct” album. He said (as transcribed by BLABBERMOUTH.NET): “It’s either touring or writing, so COVID chose for us. There wasn’t a lot of touring going on, so we get to write music.”

Asked if METALLICA is planning to release a new full-length album or just a few songs, Hetfield said: “Well, hopefully a new album. Whatever you call it these days — I guess it’s an album, a CD, a group of songs, a collection, whatever, a stream or however you get your music now. But, yeah, a bunch of songs. We wrote quite a few songs. So we’ll see how many we like first, and then we’ll put ’em out. We’re pretty selfish that way; we like what we write as well.”

James also talked about the METALLICA songwriting process during the coronavirus pandemic, saying: “This time was a little different, for sure. ‘Cause of COVID, just sitting at home and getting a little bit antsy and just feeling creative at the same time and wanting to get together, I started doing a weekly Zoom with those guys just to check in. And then I just told them one time, ‘Hey, I’m gonna write something. I’m just gonna play something and send it to you guys. You do whatever you want with it and see what happens and layer on to it.’ So that’s how we did a version of ‘Blackened’ 2020. I just basically played something. They hadn’t heard it before. They played on it. Then it kind of got layered together. Then we started experimenting with writing on ZoomLars [Ulrich, drums] and I would get together, or Kirk [Hammett, guitar] and Lars, and we would get little bits of time here and there writing. It was difficult because of the delay in the sound, so we couldn’t actually play together, but we would play to a click track and watch each other play. We had our producer, who was running my computer while I was playing. He was running my computer from L.A., and I’m in Vail [Colorado]. And then Lars had an assistant running his computer from L.A. — he’s up here in San Francisco — and we were playing together, and it was pretty bizarre. We started writing. We got about — I don’t know — over 10 songs going that way. And then we finally got together. There’s only so much you can do on Zoom.”

Asked if he thinks METALLICA will do any touring this year, Hetfield said: “I have no clue. It’s not up to me. It really is up to the safety of everyone — not just the fans, but the crew and us. I’m not sure what that means in the future as far as vaccines. I’m a little skeptical of getting the vaccine, but it seems to be rolling out and people are getting it and I’ve got lots of friends that have done it. I’m not totally sure about it. But I hope it doesn’t come to a point where you have to have that COVID stamp in your passport or something to go everywhere. But if it comes down to that, then I’ll make a decision then. We got vaccinated to go to Africa, so it’s not like I’ve never been vaccinated before. But as a kid, I never got vaccinations ’cause of our religion [Christian Science]. So that was the only time I got one — when we were going on safari in Africa.”

“Hardwired… To Self-Destruct” debuted at No. 1 on The Billboard 200 album chart, selling 291,000 copies in its first week of release.

This past January, Ulrich told Classic Rock that METALLICA was making “glacial” progress on the follow-up to “Hardwired… To Self-Destruct”. He made the comments two months after telling Rolling Stone in an interview that METALLICA was nearly a month into “some pretty serious writing” sessions for its next studio album. That same month, Lars told Kara Swisher at the CNBC Evolve Summit that he and his METALLICA bandmates have been working on new music for “the last six [to] eight weeks virtually.” But he admitted that they have encountered a myriad of technical issues which have slowed their progress.

https://www.blabbermouth.net/news/james-hetfield-says-he-is-skeptical-about-coronavirus-shot-hopes-covid-19-vaccine-passports-wont-be-required/

What are the most successful ways librarians have interacted with faculty and students during the pandemic? What are some new channels they used for outreach, and how do they evaluate new resources

As the long-term need for virtual library services and digital resources becomes increasingly clear, these questions have become especially pertinent. This year, at the ACRL (Association of College & Research Libraries) Virtual Conference 2021, we had the pleasure of speaking with librarians and attending virtual librarian-led sessions to learn more about their challenges and successes in supporting STEM students and faculty. 

We also conducted a survey with 41 participants about their experiences of librarian resourcing and outreach in STEM. The respondents identified as working at doctoral universities, master’s colleges or universities, baccalaureate colleges, as well as other academic institutions. Their titles included, among others, liaison librarian (47%), reference librarian (36%), and subject librarian (22%).

Here, we outline some key takeaways from the ACRL 2021 conference, including the results of our survey and insights from various presentations. 

Outreach during the Pandemic: Meetings & Consultations

According to our survey, 1-on-1 meetings and consultations were some of the most effective methods of interacting with faculty during the pandemic, with over 66% of respondents rating them extremely or very successful. Interestingly, these results are similar to those of our 2018 survey of STEM librarians, despite many such consultations being conducted remotely this year. A number of librarians reported using Zoom as their tool of choice — unsurprisingly. 

62% of respondents also indicated that consultations were very or extremely successful for interacting with students, whereas for many, library events such as lecture series saw a relatively poor turnout. “Our usual modes of outreach fared better when simply translating instruction & reference online,” noted one respondent.

How can one effectively translate in-person consultations into virtual formats? In their session Connection in a Time of Isolation: Designing Human Online Services for Students, librarians at Grand Valley State University, Jennifer Torreano (Knowledge Market Manager), Melanie Rabine-Johnson (Digital Student Experience Specialist) and Maya Hobscheid (Instructional Design Librarian), discuss their key takeaways from their experience of creating a virtual version of their collaborative peer consulting service, titled the Knowledge Market

For them, 5 key points to consider are: the core values that support the service, its mission, its essential qualities, Universal Design for Learning principles, and a framework for assessing the service. Consideration of these helped guide the creation of their digital service — they designed a platform that would be able to replicate the ethos of their in-person service, even if it could not embody its physical aspects.  

Outreach during the Pandemic: Library Classes

Library classes for students were by far the most successful means for interacting with students, with 75% of respondents rating these as extremely or very successful. In his presentation Maximizing Zoom in Virtual Library Instruction and its Impact on Active Learning, Jonathan Cornforth, Student Success Librarian and Reference & Instruction Librarian at California State University Fullerton, explained how a library instruction class was made more engaging by dividing it into two sessions, focused on a demonstration and group-based activities respectively (both over Zoom, with the use of breakout rooms for the latter). Student progress in the second session was monitored by assigning tasks such as locating an article and emailing it to the instructor, and students were encouraged to add sources they discovered to a shared database for the course. This helped boost engagement, Cornforth notes.

Interestingly, library classes for students also appeared to provide a helpful channel for interaction with faculty. In her virtual session COVID19 – Lessons from the Pandemic on How to Conduct Outreach and Engagement Online (proceedings available here), Jennifer Joe, Undergraduate Engagement Librarian at the University of Toledo, explained how informing a program director about a library session for students served as a valuable pipeline to faculty within the program. This particular session, an ‘Ask-Me-Anything’ session where attendees could come with any and all questions, was also one of her most successful student outreach events. 

When planning such sessions, Joe also notes, timing them in accordance with student needs is key. For instance, the ask-me-anything session was scheduled shortly after students received their mid-term grades; students who wanted to improve or maintain their grades, Joe suggests, might have been more motivated to attend as a result. 

Resource Evaluation

What are the most important factors considered by librarians when evaluating resources for their STEM users? 87% of respondents indicated that “increased student success in STEM classes” was very or extremely important, followed by the presence of an active learning activity of tool (61%). Nearly 90% of respondents indicated that the input of faculty was an important factor while considering library materials to purchase for STEM users, followed by the input of department heads. 

The presentation Gone, but not forgotten: an assessment framework for collection reviews (proceedings available here), Kristin Calvert (Head of Discovery & Technology Services) and Whitney Jordan (Acquisitions Librarian) at Hunter Library, Western Carolina University provides further insights into factors considered by librarians while reviewing resources. According to their survey of liaison librarians and those involved in collection review decisions, important factors included usability and interface, uniqueness of content and faculty feedback, among other criteria. 

Meeting Outreach and Resource Needs with JoVE

JoVE proudly sits at the center of libraries, scientific research and STEM classrooms. With a library of 13,000+ video resources for science research and education across a wide variety of disciplines, JoVE has been demonstrated to improve student learning outcomes in STEM coursesimprove productivity and reproducibility in the lab, and help faculty save lesson planning time.

Yet, JoVE doesn’t just create high-quality STEM videos—we also provide a seamless integration process for libraries, faculty and researchers. We’ve created a dedicated librarian resource center to support user outreach, along with integration and set-up guides. JoVE Curriculum Specialists can create customized playlists mapped to syllabi or research programs and offer comprehensive technical support, making it easy to embed videos into Learning Management Systems (be it Blackboard, Moodle, Canvas, or others). JoVE videos also come with quizzes to enable interactive learning for students!

Want to learn more about how JoVE can support your institution? Get in touch here.

Want to learn more about how JoVE can support your institution?

Fill out the form below and your JoVE representative will get in touch with you shortly to answer any of your questions.

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https://info2.jove.com/librarians-on-user-outreach-resourcing-takeaways-from-acrl-2021?

Pandeminin en çok etkilediği meslek gruplarından biri de müzisyenler oldu

Pandemiden dolayı 1 yılı aşkındır çalışamayan müzisyenler, 17 günlük kapanma sürecinde de yine mağdur oldu.

Binlerce sigortalı, sigortasız müzisyen devletten destek alamadı. Salgın döneminde 4 müzisyen intihar etti. Evlerine ekmek götürebilmek için müzik aletlerini sattı. Müzik emekçilerinin yaşadığı en acı tabloyu İzmir Müzisyenler Derneği Başkanı Oktay Çaparoğlu, bir fotoğrafla anlattı.

“Çalmıyor artık sazlar” diyen Çaparoğlu, yıllardır kullandığı enstrümanlarını, okuduğu kitapları, müzik CD’lerini ve Kuranıkerimi yatağın üzerine koyarak paylaştı. Müzisyenlerin hayatının aylardır odada geçtiğini anlatan Çaparoğlu, “Bizler artık dayanamıyoruz. Çaresizlik, yalnızlık ve ekonomik sıkıntı bizleri yıprattı. Binlerce müzisyen arkadaşımız evin içerisinde müzik aletleri ile baş başa kaldı. Çaresiziz artık” diyerek “Çalmıyor artık sazlar, bitsin bu pandemi” dedi. Başkan Çaparoğlu, sosyal medya üzerinden bir de yaşadıkları durumu anlatan şiir yazarak paylaştı.

https://www.cumhuriyet.com.tr/haber/pandeminin-en-cok-etkiledigi-meslek-gruplarindan-biri-de-muzisyenler-oldu-1833281

The Energy and Climate Intelligence Unit is a non-profit organisation that supports informed debate on energy and climate change issues in the UK.

Climate change presents important challenges and opportunities to Britons in the decades ahead, while the choices we make on energy have implications for society, the economy and the climate system. We believe that debates on these issues should be underpinned by evidence, and involve the full range of stakeholders.

We support journalists, parliamentarians and other communicators with accurate and accessible briefings on key issues, and work with individuals and organisations that have interesting stories to tell, helping them connect to the national conversation.

Our Advisory Board reflects the breadth of society’s interest in energy and climate issues. It includes climate scientists, energy policy experts and economists, as well as a range of other stakeholders including MPs and Peers.

All of our funding comes from philanthropic foundations. We gratefully acknowledge support from the European Climate Foundation, the Oak Foundation and the Quadrature Climate Foundation; and previously, the Grantham Foundation for the Protection of the Environment, the Climate Change Collaboration and the Tellus Mater Foundation. During 2020, we received £735,000 from ECF and £115,000 from Quadrature Climate Foundation.

https://eciu.net/netzerotracker/map

https://eciu.net/netzerotracker

Posted by: bluesyemre | May 8, 2021

Olta Dayanışma (Tüm albümleri)

Image

Olta; gelirleri zor durumda olan müzik emekçilerine paylaştırılacak bir dayanışma albüm serisidir.

Posted by: bluesyemre | May 8, 2021

Languages To Weave Memories

Languages weaves memories

The intangible heritage of a society, that collective memory that survives the passage of time and is transmitted from generation to generation, could not exist were it not for the “codes” that, like fine threads, help to weave it and keep it solid enough to travel from mouth to mouth and from hand to hand.

Of all such “codes”, the most important is language: the one in which the word, both spoken and written, is expressed. There are others: gestural codes, musical codes, visual codes… However, the richest and most widely used globally, throughout the history of the human species, is linguistic.

Codes are essential

As the many international declarations that deal with the subject point out, languages ​​are essential elements when transmitting the culture and the identity of a society, along with all its remembrances and ideas. The disappearance of the former implies the impoverishment or the loss —generally irreversible— of all the latter. Hence the urgency and insistence with which certain international organizations raise the alarm in relation to endangered languages, while pointing out the need to implement research, recovery, strengthening and dissemination programs.

And yet, the rate of disappearance of words, phrases and sounds on a global level does not decrease; at least, if one pays attention to authorized sources such as UNESCO’s Atlas of the World’s Languages ​​in Danger. In Latin America alone there are more than 650 indigenous languages ​​cataloged as “vulnerable” or “endangered.”

One of the first steps in recovering a vulnerable or threatened language is to document it. Although such a step must be accompanied by other actions —e.g. to reduce or eliminate the pressure it suffers, to support its speakers, to enable means and spaces for expression—, documentation is essential: it works as a kind of security file, and as a very useful element when building foundations.

Before the digital revolution —the one that brought the internet and numerous tools to our daily lives—, linguistic documentation used to move almost exclusively inside scholarly circles. They were materials and processes managed by linguists, anthropologists, ethnologists, historians or sociologists, and in very few cases did they reach the general public. In this way, anyone interested in studying an indigenous language in Latin America used to face incomplete informative texts of the most important (Quechua, Guaraní, Nahuatl) or dense and arid treatises, grammars and lexicographic analyzes, produced by and for specialists. The Internet and the new ICTs changed the distribution of these materials —many university libraries, national organizations and research institutes have digitized their collections and put them online— and even their format and form of production, which no longer remains in the hands of specialists: the speakers themselves have been assuming the research, collection and defense of their own languages.

Digital platforms

The Internet brought much more than channels and platforms: it brought with it a culture. The communities that have flourished within it have developed and / or recovered a series of very interesting values, such as cooperativism and collaboration, open access and open source, plurality of perspectives and approaches, multidisciplinarity, and many more. The combination of such values ​​with academic work has given rise to a series of even more interesting disciplinary movements, among which are those that today are known as “digital humanities”: the use of new tools, techniques, communities, ideas, goals and approaches to work within the framework of the social and human sciences.

An example of how a “community of interest” can use the available spaces and devices to achieve a specific objective in an open and collaborative way in the field of threatened languages ​​is the Curt Nimuendajú Digital Library, working with South American indigenous languages ​​and cultures. It is a Brazilian project in which professional and amateur (ethno)linguists from all over the continent converge to provide bibliography that allows the creation of an open collection of documents related to indigenous languages, whether endangered or not. In this library, a conscientiously organized virtual repository, digital versions of the first grammars and vocabularies of the Jesuit and Franciscan missionaries coexist with the most modern articles on phonology and syntax of Amazonian languages published in specialized magazines. It also includes other documents that may contribute some useful element of debate, research or learning: out-of-print editions, lectures, theses, websites, newspapers, etc.

Although the work of this platform is aimed, above all, at an academic community that can make use of a certain type of material, it also allows access to informative texts that may be useful to a non-specialized public. Be that as it may, it is a free and open window to knowledge that, otherwise, would be confined to the shelves of some archive or library.

Rising Voices

A similar project, but with more open goals, is the Rising Voices initiative, belonging to the multilingual platform Global Voices, an international network of citizen media active since 2005. Rising Voices seeks to connect digital activists and support their ideas: one of them is the preservation of Latin American native languages.

Within the framework of this initiative is the Indigenous Languages ​​project, a network of Latin American digital workers that encompasses an emerging movement of activists promoting the use of indigenous languages ​​on the web, through tweets, Wikipedia articles, podcasts, etc. Rising Voices has facilitated the creation of a community that brings together several of these activists for the exchange of experiences —how they faced a certain problem, how a certain platform or tools allowed them to solve it— and the teaching and learning of new strategies. One of the most interesting results are the spoken dictionaries (in Embera Chamí, Wayuunaiki, Tz’utujil, Uitoto, Yanesha…), elaborated with the collaboration of the Living Tongues Institute for Endangered Languages ​​within the Talking Dictionaries project.

A plan to preserve

Either through digitized documents organized in virtual libraries, through video files or audio tracks, or through a wise and balanced combination of all of them, the multidisciplinary communities concerned with the progressive disappearance of the native languages ​​of Abya Yala are working on their recovery, visibility and dissemination — so the memories of the continent can continue to be woven.

  • The state government agrees that reading books is crucial to the mental health of the public
  • The administration in Kerala has remained positive on the need for bookstores to open

ERNAKULAM : If you can get chocolates, should you not be able to get books too? The question by a Kerala bureaucrat gains significance amid the ongoing tussle between the Centre and the state on what goods and services should be exempt from the lockdown.

Kerala wanted to draw its own list of services that can be deemed as vital, as it moved to ease the lockdown in certain pockets. The move was supposed to allow the resumption of operations of micro and small scale industries within municipal limits, restaurants, motor vehicle repair shops, barbershops and, true to its status as India’s most literate state, book stores.

But the state’s decision was immediately questioned by the Centre, with a Union home ministry spokesperson tweeting that the state “has allowed the opening of activities, prohibited under Consolidated Revised Guidelines”. The tweet had attached a 19 April letter sent to Kerala’s chief secretary Tom Jose, advising it to comply with the orders “without any dilution”. The move forced Kerala to revoke some of the relaxations, but book stores were allowed to operate for two days a week.

In Kerala, nearly everyone agrees that reading books is essential in a pandemic. For instance, when the countrywide lockdown began, one of the firsts things two of the biggest Malayalam movie stars, Tovino Thomas and Manju Warrier, did was to rush out to buy books, said a person who was aware of the purchase, requesting anonymity.

Thomas went to a book store in central Kerala and bought a bag full worth ₹10,000, the person said. Warrier could not get out, so she got home-delivered some of the top-selling titles by Malayalam authors such as Benyamin and T.D. Ramakrishnan, he added.

The publishers are also intensely lobbying to get books into the essentials lists. “It is most essential, not just essential, for Malayalees,” said Ravi DeeCee, managing director of DC Books, a Kerala-based publishing giant. He said the administration has remained positive on the need for bookstores to open. “There are more than 100 publishers in Kerala, publishing more than a thousand titles every year. The readership and sales in Kerala is always on the rise. Even if you look at something like PDF piracy in Kerala, you won’t see that anywhere else in India.”

“Since the lockdown began, we had been flooded with requests from reading groups and individuals asking us if they can buy one book at least. The government has taken note of it and agrees that it is part of the mental health of the public,” said Dee Cee. “We put up this memorandum to the CM Pinarayi Vijayan for book stores to be open and he responded within eight hours.”

https://www.livemint.com/news/india/are-books-essential-in-a-pandemic-everyone-agrees-in-kerala-11587480129965.html

In April 2021, The Rockefeller Foundation launched a $20 million U.S. Equity-First Vaccination Initiative that aims to increase vaccination uptake among communities of color. The initiative supports equity-first models to improve vaccine access and information led by community-based organizations.

To inform the initiative strategy, The Rockefeller Foundation commissioned HIT Strategies, a leading Millennial & Minority-owned public opinion research firm, to survey African American and Latinx adults in the 5 cities – Baltimore, MD; Chicago, IL; Houston, TX; Oakland, CA; and Newark, NJ – to understand current issues facing BIPOC communities.

The initial poll uncovers important new information about contemporary health care issues facing African Americans and Latinx adults that may impact their ability or desire to get vaccinated. The survey found that while an overwhelming majority of survey respondents are willing to get the Covid-19 vaccination when available, barriers to access and present-day discrimination in medical settings must be addressed.

Taking this forward, The Rockefeller Foundation’s Equity-First Vaccination Initiative aims to enable more in-depth analyses of the problem and invest in novel pilots that address systemic issues impacting the health of communities of color across the country.

This report tackles a simple question: how can open access books be more successfully integrated into scholarly libraries? While there are some important practical efforts being made to address this question in a variety of different contexts, we explore the areas where further work is required to progress from a situation in which supporting and integrating open access books often remains a peripheral concern for libraries.

The report draws on desk research alongside a combination of interviews, workshop discussions and pre-workshop surveys with librarians and individuals involved in library consortia. It explores issues such as the discoverability of open access content in library catalogues, the sustainability of open access monograph publishing, the difficulty of articulating the value of open access for supporting universities and the challenge of aligning open access values with those of stakeholders. It also reimagines a more diverse and inclusive system of scholarly communication in relation to open access monographs. As part of this, the report outlines some of the principles that could inform a new open access model/platform aimed at transforming the relationship between open access book publishers and libraries.

https://zenodo.org/record/4501512#.YJVhcrUzZnI

As the proverbial light at the end of the pandemic tunnel comes into view, so does the discussion around whether a library can require its staff or patrons to have a vaccination in order to enter the building. I’ve spent a good deal of time pondering this question, and while I’m not an attorney and not offering legal advice, there are several things to consider, about this and other related issues.

There are already examples (current and past) where certain environments require vaccines as a condition of employment, typically in healthcare-related industries. The Society of Human Resource Management (SHRM) has been abuzz on this topic for months, with webinars and attorneys standing ready to cautiously offer advice that typically falls shy of a firm course of action.

Recently the Equal Employment Opportunity Commission (EEOC) confirmed that employers can require their employees to receive a COVID-19 vaccination as a condition of employment. This decision applies nationwide, and is based on the premise that COVID represents a “direct threat” to others in the workplace.

Nonetheless, just because we are allowed to doesn’t mean we necessarily should. Mandating vaccinations could have implications for persons with health conditions, thereby invoking requests for accommodations under the Americans with Disabilities Act (ADA). Likewise, if a person became ill or died as a result of receiving a vaccine, there could be a disability or death claim under the employer’s Workers Compensation program. And when employers contemplate the possibility of a mandate, they often consider how one group of employees might be mandated while others remain optional due to one group’s susceptibility to disease over another’s. It’s important to note that the Office of Civil Rights has made it clear that nondiscrimination rules remain in force during disasters and emergencies.

Let’s consider some of the issues:

COVID as a “direct threat.” Because COVID is recognized as a “direct threat” to employees and customers, an employee’s request not to be vaccinated as reasonable accommodation under the ADA might be achieved by permitting them to work remotely, take a leave of absence, or work while wearing a mask. Eventually the Centers for Disease Control (CDC) may declare that those who are vaccinated can stop wearing masks, but recommend that those who are not vaccinated continue to wear them. By continuing to wear a mask when not vaccinated, they remain relatively safe and are able to continue working as the majority of the population worked with a mask this past year.

An employer can exert control over behavior in the workplace through established policies and procedures, provided they do not contradict employment laws. Similar restrictions might be required, advised, or simply recommended for members of the public. Customer behavior is a little more difficult to control, however, which is why businesses and libraries look to laws and community rules to guide behavior of those visiting their facility. Here at Kent District Library, the response to initial mandated closings involved providing remote work (mostly training) when the pandemic began. Over time, we have modified staffing strategies to create greater space between workers and, in limited circumstances, have been able to accommodate a few ongoing remote work requests. It should be noted though that, like most libraries, our ability to accommodate requests for remote work is directly related to the type of work the individual performs and the number of people making a similar request. Some employers have had employees who request a medical exemption to wearing masks, and those are often denied. Conversely, if a patron claims “medical exemption” upon entering the building, KDL accepts their explanation.

Religious beliefs. Some speculate that individuals will make requests for accommodations citing genuinely held religious beliefs and there may need to be creative ways to accommodate these individuals (or not). These could include transferring an employee to a location where they are the only person in the room and can work without wearing a mask, allowing them to conduct phone reference from home, or come in after hours and perform shelving tasks by themselves. If remote work is not available (and it is not for many public-facing positions), I would anticipate that the employee would have to make a difficult decision between honoring the safety requirements put in place by their employer or resigning.

Union bargaining. Present thinking is that if a vaccine is a requirement of employment, this may need to be bargained with the union because it represents a condition of employment and the union may wish to see such conditions addressed in the labor agreement. I anticipate labor negotiations throughout the world will have an emerging focus on outlining pandemic clauses that address such things as remote work, compensation during emergency closings, and new layoff language. In fact, I’m aware of an employer whose employees actually were demanding to bargain with management because they wanted to be laid off rather than be at home with simple salary continuation. Being laid off meant some of them would make more money from the government’s supplemental unemployment stipends (since discontinued) than they do in a normal work week. When topics of government stimulus are raised there is a tendency for team members to offer their political views on the subject, but that only serves to contribute to an already challenging and divisive political climate. Rather than focus on the political side of such decisions, I recommend instead focusing on the economics, so that you can implement decisions that make sense to your library and avoid political fallout.

Discrimination. There is caution against mandating masks or vaccines only for high-risk people. Some employers have speculated that, perhaps, it will be important to require masks of older employees since COVID presents a greater threat to life for older populations. However, treating a population of employees differently than the rest can result in claims of age discrimination.

Health care expenses. Many employers will require the vaccine as a means to proactively manage healthcare costs (especially when the average stay in an intensive care unit is around $4,000 per day). Just as one’s personal insurance company might insist on certain precautions being in place so that an individual is eligible for coverage, who is to say employers won’t require a vaccine as a measure of cost-protection against future healthcare expenses? I’m aware of another employer who recently informed their staff, “You’re welcome to not get the vaccine, but if you get COVID, you may not utilize paid sick time.” That may sound like an infringement on a person’s rights, but businesses and libraries need to ensure their future viability and one way to reduce the likelihood of severe illness (and related hospitalization costs) is to prevent people from becoming ill in the first place, which is fundamental to every wellness initiative since employee wellness efforts began.

Where does that leave us? I believe we would be hard pressed to find a legal advisor who would offer clear advice on what to do, as they wouldn’t want their client named in the first legal challenge. While libraries like to be forward-thinking, this might be a time to wisely sit back and let the government work through the details. As it is, several employment laws seem to intersect, government agencies seem to contradict one another at times, and it feels like everyone’s working through this slowly and steadily, waiting for that next piece of advice or confirmation from a larger authority. Most of the leaders I speak with are wisely taking a calculated approach, and that makes sense. We’re all learning as we go.

A COVID takeaway. One of my humbling moments in all of this has been the realization that some decisions are bigger than me—despite feeling like I have the means and ability to make them. Sometimes being a leader means knowing when to follow. We’ve learned quickly that our library leadership, administrators, and trustees have needed to follow directives from local health departments, the Occupational Safety and Health Administration (OSHA), the CDC, and our governmental leaders. “Control what you can, based upon what you know now. Also, listen to staff concerns and anticipate what decisions you may need to consider next.”


Brian L. Mortimore is Director of Human Resources and Organizational Development at Kent District Library and head of Mortimore Consulting, LLC in Grand Rapids Michigan.

https://www.libraryjournal.com/?detailStory=Can-Libraries-require-staff-and-patrons-to-show-proof-of-vaccination

Posted by: bluesyemre | May 7, 2021

P!nk – All I Know So Far (Official Video) @Pink

https://www.pinkspage.com/

https://www.instagram.com/pink/

Yaşar Tonta ve Orçun Madran Akademiden Notlar’ın bu bölümünde Dijitalleştirme ve Telif Hakları başlığı altında bir yayın gerçekleştiriyor.

Yaşar Tonta ve Orçun Madran Akademiden Notlar’ın bu bölümünde Dijital Hakların Yönetimi başlığı altında bir yayın gerçekleştiriyor.

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