Posted by: bluesyemre | May 20, 2019

Emanuel @EmanuelTheMovie

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

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

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

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

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

ABOUT EMANUEL

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

https://www.emanuelmovie.com/

https://www.facebook.com/EmanuelMovie/

https://www.instagram.com/EmanuelMovie/

https://www.imdb.com/title/tt5948944/

Posted by: bluesyemre | May 20, 2019

#reading #SallyNixon @sallustration

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https://www.etsy.com/shop/sallustration

https://www.boredpanda.com/women-when-nobody-watches-illustrations-sally-nixon/

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Posted by: bluesyemre | May 20, 2019

The Royal Library, Aarhus, Denmark

 

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

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

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

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

http://www.stamerskontor.dk/node/269

https://en.statsbiblioteket.dk/

Posted by: bluesyemre | May 20, 2019

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

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

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

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

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

1. Make your phone less addictive.

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

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

2. Organize your books by the Dewey decimal system.

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

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

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

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

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

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

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

https://www.inc.com/jessica-stillman/3-tips-to-read-more-books-youve-never-heard-before.html?

bee

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

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

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

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

An interdisciplinary project

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

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

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

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

Time-intensive digitization process

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

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

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

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

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

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

Why should we care about bees in Alberta?

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

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

Interested in this content?

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

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

https://cdm22007.contentdm.oclc.org/digital/collection/p22007coll13/search

https://ucalgary.ca/utoday/issue/2019-05-17/digital-bee-collection-launched-university-calgary

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What is Mesmer?

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

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

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

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

https://www.engineeredarts.co.uk/mesmer-entertainment-robotics-technology/

2

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

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

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

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

http://www.bookishbuzz.info/this-street-library-in-bulgaria-encourages-people-to-read/

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

Helsinki

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

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

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

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

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

Changes to picking up reservations and reservation notifications

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

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

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

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

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

A sizable investment to pay off

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

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

More information:

Virva Nousiainen-Hiiri
Head of Library Network Services
Helsinki City Library
virva.nousiainen-hiiri@hel.fi, +358504025813

Saara Ihamäki
Regional Library Services Director
Helsinki City Library
saara.ihamaki@hel.fi, +358503421232

Katri Vänttinen
Library Director
Helsinki City Library
katri.vanttinen@hel.fi, +358405548861

Marjo Haatainen
Communications Specialist
City of Helsinki / Culture and leisure / Communications and Marketing
marjo.haatainen@hel.fi, +358503828150

https://www.sttinfo.fi/tiedote/helsinki-city-library-will-be-introducing-an-ai-based-intelligent-material-management-system?publisherId=60579873&releaseId=69857960

https://www.lyngsoesystems.com/en/our-solutions/library-solutions/intelligent-material-management-system/

Posted by: bluesyemre | May 20, 2019

OyuncakTurk (Türkiye’nin Antika #Oyuncak Arşivi)

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

http://www.oyuncakturk.net

Posted by: bluesyemre | May 20, 2019

Chicago finds a way to improve Public Housing: #Libraries

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

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

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

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

Is any city doing public housing right these days?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The interior of the library at Northtown.CreditJames Steinkamp

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted by: bluesyemre | May 20, 2019

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

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

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

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

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

Postmodern Pazarlama başlıklı çalışma,  postmodernite penceresinden pazarlamayı inceliyor.

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

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

Prof. Dr. Filiz Balta Peltekoğlu

İçindekiler

Önsöz – Prof.Dr. Filiz Balta Peltekoğlu

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

Postmodernizm ve Halkla İlişkiler – Dr. Emel Tozlu Öztay

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

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

Postmodern Tüketim Pratiklerinde Influencer Pazarlama Girişimleri – Dr.Dilge Kodak

Reklam Grafiğinde Postmodern İzler – Dr. Ayşe Nil Aksoy Kireçci

Küresel Markaların Yerel Yansımaları – Dr.Emel Demir Askeroğlu

Pazarlamanın Lokomotifi: Postmodernizm – Derya Nil Budak

Nostaljinin İdeolojisi – Cansu Kösem

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

Postmodern Pazarda Yeni Bir Trend: Microtransaction – Ekin Beran Eğüz

http://www.papatya.gen.tr/postmodern_Pazarlama.htm

https://www.idefix.com/Kitap/Postmodern-Pazarlama/Egitim-Basvuru/Is-Ekonomi-Hukuk/Satis-Pazarlama-Halkla-Iliskiler/urunno=0001815691001

Posted by: bluesyemre | May 20, 2019

#Kıbrıs Haber Ajansı

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

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

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

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

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

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

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

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

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

http://www.cna.org.cy/index-tr.aspx

Posted by: bluesyemre | May 20, 2019

Dostluğu Hatırlamak (#Belgesel #TRT)

Dostluğu Hatırlamak

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

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

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

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

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

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

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

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

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

Dostluğu Hatırlamak

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

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

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

Stephanie Riggs

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

https://www.thebookseller.com/futurebook/there-tremendous-opportunity-right-now-collaboration-between-book-industry-and-immersive#

Posted by: bluesyemre | May 18, 2019

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

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

100. Yıl Marşı Künyesi

Söz : Ömürden Sezgin

Beste/Seslendiren : Can Mutlu

Aranje : Burak Ertetik

Nefesliler : DC Brass section

Tuşlu çalgılar: Deniz Gömeç

Akustik gitar/ Bas gitar: Taşkın Avcı

Elektro Gitar : Emrah Küçükcanbaz

Davul / Perküsyon: Burak Ertetik

Stüdyo : Drum Clinic

Video/Edit/Kurgu : Adem Bekdemir

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

Medya desteği : 112Dijital Halkla ilişkiler desteği : Sevda Yüzbaşıoğlu

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

Servet-i Fünûn

http://www.servetifunundergisi.com/

Posted by: bluesyemre | May 17, 2019

#BeautifulDestinations

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Beautiful Destinations is a source of daily travel and lifestyle inspiration for millions of people around the world. We share stories highlighting the incredible people, the extraordinary places and spectacular experiences all around the globe. We hope to inspire, educate and motivate our community through our storytelling!

https://www.beautifuldestinations.com/

https://www.instagram.com/beautifuldestinations/

https://www.youtube.com/channel/UC08NS8fyPpkYgnhj69fMXLg/videos

Posted by: bluesyemre | May 17, 2019

Milli İstihbarat Teşkilatı Sanal Müze Koleksiyonu

mit

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MİT Sanal Müze Koleksiyonu 90.yıl seçkisinde; operasyonel faaliyetlerde kullanılan malzemeler, görüntüleme ve haberleşme cihazları, dinleme ve telsiz sistemleri, kurumsal malzemeler ile Teşkilat’ın kuruluşundan sonraki sürece ait, bir kısmı Osmanlı Türkçesi’yle yazılmış, dokümanlar yer almaktadır.

Teşkilat’ın köklü geçmişine işaret eden Sanal Müze Koleksiyonu’nda, sergilenen nesnelerle istihbaratın stratejik öneminin daha iyi anlaşılması amaçlanmış ve seçkide yer alan 90 nesneyle ilgili hikayeler, söz konusu istihbari faaliyetin ‘‘gizlilik derecesi’’nin müsaade ettiği ölçüde sunulabilmiştir.

Bu bağlamda katalogda yer alan 90 nesnelik seçki, istihbari faaliyetin ortaya çıkarken ne gibi alanlardan ve malzemelerden yararlandığını göstermekte, aynı zamanda istihbaratın çok yönlü, sistemli bir çalışma olduğuna dikkat çekmektedir. Seçki, operasyonel bir faaliyeti adım adım göstermeyi amaçladığı kadar istihbaratın geleceğimiz açısından önemini gözler önüne seren bir arşiv çalışması özelliği de taşımaktadır.

http://www.mit.gov.tr/emuze/koleksiyon.html

Posted by: bluesyemre | May 17, 2019

What happens to dead #library books

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In my current project (images of Roman emperors in Renaissance and later art) I am using a different variety of books from those that I am used to. And this means, in particular, that they are spread across different libraries in Cambridge and/or, in the case of art books, that they are available only in the ‘non borrowable’ section of the University Library. This has meant that I have tended to look more carefully at the books that might be available to buy. The savings in time might well be worth the exenditure in cash. And I have had quite good luck in finding some pretty arcane things quite reasonably. I tend, I confess, to use AbeBooks, owned by Amazon.

Over the last couple of weeks I found 4 books I really needed on the website: a reprint of the festival book of The Entertainment of Charles II — 1662; an importantant study of an historic house and collection in Nürnberg, Der Hirsvogelsaal in Nürnberg; a collection of essays edited by A. MacGregor on The Late King’s Goods (on the sale of Charles I’s collections); and another reprint of a festival book, commemorating the Ceremonial Entry of Ernst Archduke of Austria into Antwerp, June 14, 1594.

Although it was actually made clear on the website, it was only when these turned up that I realised they were all ex-library books.

Now, I realise that libraries do have to weed books. And the two festival books might be thought surplus to requirements, given the excellent British Library website that ‘publishes’ many of these festival books, including this particular pair (though I still couldnt help wondering what Birkbeck College Library and Toronto Central Library had actually got for their surplus books, as I bought each one for not mch more than £20). I guessed that I could forgive whatever Essex County Library it was that let The Late King’s Goods go (it might be a bit of a niche market and my explorations suggest thst it is widely held in UK research libraries). But the same could not be said for Der Hirsvogelsaal in Nürnberg, which I bought for £12.70 plus p and p.

This had been let go by the library of “Historic England” for a song presumably (else I wouldn’t have bought it so cheap). And, so far as I could see, it is a book that otherwise in the UK is only in the library of the Courtauld Institute (it may lurk elsewhere, but that’s what my quick researches sugest). If so there is something to worry about.. did noone at Historic England realise what a rare book they were flogging for so little? did they not offer it to a major research library (or was it turned down)?

Whatever, it does suggest to me that, while deaccessioning may sometimes be necessary, it might be done with a little more care for the holdngs of the country as a whole, with valuable books not just being made (as I suspect, but dont of course know) part of a job lot to a second hand book shop (excellent as the shop might be).

I guess I have it in my hands now, and probably when I have done with it I should give it to the Cambridge University Library.

https://www.the-tls.co.uk/what-happens-to-dead-library-books/

Posted by: bluesyemre | May 17, 2019

#Cappadocia #Turkey (#JohnnyFPV x #BeautifulDestinations)

Johnny FPV takes you on a rollercoaster ride through Cappadocia, Turkey – home to the iconic hot air balloons, ancient cave towns and fairy chimneys.

Johnny Schaer | FPV Drone Pilot | https://www.instagram.com/johnny_fpv

The Beautiful Destinations Team Tom Jauncey | Creator, Producer, and Director | https://www.instagram.com/tomjauncey Jake Irish | Editor and Visual Effects| https://instagram.com/jakeirish_

The Music “6 Days” | Mahmut Orhan & Colonel Bagshot Instagram: https://www.instagram.com/mahmutorhan/ Ultra Music: https://www.instagram.com/ultramusico…

 

Pam-Sandlian-Smith

Libraries are evolving, leaning outside of our walls, connecting with our communities in new and powerful ways. Defining our “why” requires understanding how to shift our focus from books to people. Our purpose is to support people and their quality of life. While there may be many definitions, community engagement isn’t just about awareness, marketing, and sending staff out into the community. Community is at the center of everything. At Anythink, the public library system for Adams County, Colorado, it is at the heart of everything we do.

Like many libraries, our recent strategic planning research included a purposeful listening tour. We found that our community sees the library as its center, its connector. They asked for the library to become even more focused on creating community. As a result, we have adopted the concept of library as town square.

For me, this brings to mind an Italian piazza—a place where everyone gathers on their own terms. Sometimes people simply want to sit quietly watching the comings and goings. Sometimes they want to be with a friend or family members, learning together or listening to music or a book talk. Sometimes they want to engage in a conversation with a stranger or learn from an expert or share their expertise.

As we continue to develop this concept of town square, below are a few examples of how it is working for our team.

Hire happy people

At Anythink, we employ a hospitality model. We define hospitality as knowing someone is on your side. We hire our team carefully with an eye toward people who are happy, generous, and kind. To be successful in libraries today, you must love people, and be open to developing relationships and being a member of a team. You must be curious and someone who is always learning. An intuitive awareness of how people are feeling translates to a sense of empathy. Of course, you must also love ideas, but you must love people more. Our work is about connecting people with ideas—and staff are our catalysts and connectors.

Ask the right questions

It isn’t about the library. It is about the citizens and their community. When we worked on our strategic plan, we asked people to design their dream neighborhood. It inevitably looked like a Disney main street, complete with a central space for gathering, a coffee shop, a park, cafes and wine bars, a library, a bank, a school, a town hall, a garden. People seek the center, the gathering spaces where they can connect. They want their children to have opportunity, to be successful, have a good education and career. Seniors want continuing education and culture.

Asking the right questions leads us to a deeper understanding of the hopes, dreams, and aspirations of the community. We asked what they loved about our community and what is missing. We asked how the library could support the success of their family and their community. The results of these rich conversations are distilled into the 2018–2022 Anythink Strategic Plan. Our vision is to contribute to our community being healthy, happy, safe, and smart.

Be the place where connections happen

Our community asked for the library to be the connector. Anythink is trusted to provide opportunities for people to gather, to have honest communication on tough topics. Anythink is trusted because we listen and design programs that reflect the community’s needs. For example, a digital photography project has turned into a local digital photography club that has hosted exhibits at the library. The participant becomes the expert.

Recently, we hosted Priya Parker, author of The Art of Gathering. Parker focuses on gatherings that make it safe for people to be authentic and vulnerable. Attendees felt safe enough to discuss personal information with strangers, and we all began to bond as people who cared for each other.

Another program launched last year is Breaking Bread, which connects people and cultures through food. The evening was quite simple: bread/bakers/hosts from five different cultures. Each presenter talked about the bread of their culture, how it developed, what it meant to their families, the importance of sharing bread, etc. Maria Mayo, our adult guide, described it as “cultural speed-dating.” Participants shared their own stories and memories, connecting with strangers around something as simple as a meal.

Reading and books are the historical cornerstones of libraries. Through reading, people become literate about our world and develop a sense of empathy and connection with people who have different life experiences. Community engagement is a visceral extension of this literacy. Creating connections and empathy, creating that space where people are safe to connect with ideas and their neighbors, is at the heart of the library’s mission.

https://www.webjunction.org/news/webjunction/community-engagement-redefining-the-library-as-town-square.html

phLOKLpF

UpSendrom You Tube kanalımıza destek için 28 sanatçı, alfabe harflerini objelerle seslendirerek down sendromlu çocuklara ön eğitim girişimimize destek verdiler ! Her birine sonsuz teşekkürlerimizle !

 

Posted by: bluesyemre | May 17, 2019

#İngiltere yolcusu kalmasın -#ZiyahanAlbeniz

ingiltere-hakkinda-her-sey

New York Times “Varlıklı ve yetenekli Türkler kitleler halinde ülkeyi terkediyor” başlıklı bir haber yaptığında tüylerimiz diken diken olmuştu. Allah’dan Cumhurbaşkanlığı insan kaynakları ofisi hızır gibi yetişti de yüreklerimize su serpti.[1]

Cumhurbaşkanlığı İnsan Kaynakları Ofisi’ne göre veriler hatalıydı. New York Times’ın iddia ettiği gibi ülkeden göç edenlerin sayısı çeyrek milyon değil; bu rakamın yarısı idi.

(TÜİK’in sayfasındaki ara başlık “Türkiye’den yurt dışına 253 bin 640 kişi göç etti” olarak aynı şekilde durmaktadır. Veri kısmında da bu iddia tekrarlanmaktadır. [2])

Peki bu göç neden? Gençlerin çoğu karamsar. Özellikle de son günlerde vuku bulan politik tartışmalar gençleri gelecek ile ilgili daha fazla kaygılandırıyor. Gençler de ne yapsın, en son çıkan ışıkları söndürsün, diyerek bir bir ülkeyi terkediyorlar.

Son katıldığım teknik konferanslardan birinde ayaküstü sohbet ettiğim neredeyse herkesin aklında aynı soru vardı: Yurtdışına nasıl çıkabilirim?

Gençler yurtdışı şirketlerindeki iş ilanlarını takip ediyor, insan kaynakları fuarlarına katılıyor, istihdam ofisleri ile iletişim kuruyorlar. Bu işin de simsarları tabii ki türedi.

İster misiniz bu köşede, mübarek Ramazan ayında size bir güzellik yapayım? Buyrunuz öyle ise…

Yurtdışına, özellikle de İngiltere’ye gitmek isteyenler için çok cazip bir fırsat var. Fakat süre biraz kısıtlı, can kulağı ile dinleyin derim…

Üç taraflı denizle, dört tarafı düşmanla çevrili ülkemiz 1958 yılında kurulan Avrupa Ekonomik Topluluğu’na üye olmak için 1959 yılında başvuruda bulundu. Türkiye AET’na üye değildi, olması için “birkaç fırın ekmek yemesi” lazımdı ama bir işbirliği anlaşması da fena olmazdı. Hem Türkiye’nin ekonomik potansiyeli gelişir; hem de topluluk ülkeleri fırsattan istifade ederek Türkiye’de bir dizi “atılım” yaparlardı. Onlar ortak olurdu, biz de pazar.

Hasılı bir iyi niyet nişanesi olarak Avrupa Topluluğu İşbirliği Antlaşması (ECAA) imzalandı. Bu yazıyı yazmadan önce görüşlerine müracaat ettiğim İngilitere’de eğitim danışmanlığı sahasında hizmet veren Study A Course’un sahibi Ahmet Ferruh Öncü bu antlaşmayı Kasr-ı Şirin antlaşmasından sonra en büyük diplomatik zafer olarak görüyor. Benim favorim hâlâ Lozan’da sağır taklidi yapan İsmet İnönü olsa da Ahmet Bey’in bu nükteli görüşünü de paylaşmak istedim.

Bu antlaşma kapsamında Türkiye Cumhuriyeti vatandaşları Avrupa ülkelerinde iş kurabilecek, bu kapsamda da oturma ve işyeri açma için izin alabileceklerdi.

1973 yılında İngiltere Avrupa Birliği’ne girince o da antlaşmaya taraf oldu.

Ankara Antlaşması’nın ilginç bir yanı var. Teknik olarak Avrupa ülkelerinin tümünde uygulanabilecek bir antlaşma iken, en çok İngiltere özelinde dikkat çekti, en iyi İngiltere’de uygulandı.

Kraliçe kusura bakmasın, ama İngiltere de az değil. Birlik üyesi olmadığı için Türkiye vatandaşlarının bu haklarını kullanması taa 2008 yılına kadar ötelendi. Sonrasında İngiltere’deki bir hukuk bürosu Gürbüz Sanatçı isimli Türk vatandaşının İngilitere’de oturum ve iş kurma hakkı için hukuk mücadelesini kazandı ve örnek bir karar alınmasını sağladılar. İnsanın İngiltere’de kraliçe, pardon, mahkemeler var diyesi geliyor.

Vize duvarları yıkılmıştı.

Gayrı “Ayakkabı boyacılığı yapan bir Türk vatandaşı da İngiltere’de iş kurup, çalışma ve oturma izni alabilir. Yeter ki işini iyi yapsın, iyi bir iş planı olsun. Ankara antlaşmasını iyi bilen avukatların hazırladığı bir başvuru dosyası oluştursun.”

Çok sevinmeyin, bizim çok yaşa dediğimiz üç günden fazla yaşamıyor netekim. İngiltere Avrupa Birliği’nden çıkmak için Brexit’e “Yes” deyince Ankara antlaşması da bağlayıcılığını yitirecek. 31 Mart’da Brexit gerçekleşseydi ben bu yazıyı yazmayacaktım, muhtemelen bitiş tarihi 22 Ekim gözüküyor o tarihe kadar elinizi çabuk tutun, derim.

Bir Türk vatandaşı antlaşma kapsamında İngilitere’ye gidip iş kurabilir. Oturma izni alabilir. Hem de bu iş illa öyle başkalarını istihdam edeceğiniz bir iş olmak zorunda da değil. Restorant işletmeciliği, serbest gazetecilik, yazılım geliştiricilik gibi işler yapabilir; sadece çalışanı siz olduğunuz bir şirket kurabilirsiniz.

Başvurmadan önce şirketi kurmanız gerekmiyor. Sadece bu işi hayata geçireceğiniz bir iş planı ve işi hayata geçirirken gerekecek sermayeyi göstermeniz kafi.

Başvurunuz kabul edilirse siz ve şayet varsa size bağlı aile üyeleri 12 ay süre ile oturum hakkı kazanıyorlar. 1 ay içerisinde İngiltere’ye gidip siz ve aile üyeleriniz için oturum kartlarınızı alıyorsunuz. Çok heyecan verici değil mi? Oturum kartlarını alan başvuru sahibi dışındaki aile üyeleri dilerlerse İngiltere dışına çıkabilir. Fakat sizin 180 günlük üst limit dışında, bu süreyi İngiltere’de geçirmeniz gerekiyor.

Önemli bir nokta, bu 12 aylık süre içerisinde siz başka bir işte çalışamazsınız. Fakat aile üyeleriniz, örneğin başvuru sahibi olmayan eşiniz, İngiltere’de bir işte çalışabilir.

1 yıl bittikten sonra da 3 yıllık bir uzatma daha almak için yeni bir başvuru yapabiliyorsunuz.

Bu uzatma başvurusunda ise vaad ettiğiniz işi ne düzeyde hayata geçirebildiğinize, özetle İngiltere devleti sizin kendilerine yük olup olmadığınıza bakıyor; bir de tabii vergi olarak ifade bulan bir katma değer yaratıp yaratmadığınıza. Haziran 2018’de güncellenen göçmen yasası ile birlikte İngilizce dil yeterliliğiniz ve vatandaş olarak uyumunuza da bakılıyor olacak.

12 aylık süre ve sonrasındaki uzatmalarda İngiltere’de sağlık hizmetlerinden ücretsiz yararlanabiliyorsunuz; varsa çocuklarınız onlar da devlet okulundaki ücretsiz eğitimden istifade edebiliyorlar.

3 yıllık ek bir oturma hakkı aldıktan sonra, bu süreyi 5’e tamamlayarak süresiz oturum izni alabilir; 6. yıla tamamladığınızda da İngiltere vatandaşlığı için başvuru yapabilirsiniz.

Ankara Antlaşması kapsamındaki başvuruları gov.uk sitesinden olduğu gibi İngiltere konsolosluğu üzerinden üstelik ücretsiz olarak yapabilirsiniz. Şayet bir danışmanlık şirketi üzerinden başvuru yapmak isterseniz, ücretler 1500-2000 sterlin arasında değişiyor. Danışmanlık firmaları tüm evrak işlerini sizin adınıza düzenlemeyi ve takibatını yapmayı taahhüt ediyorlar.

Açıkçası bu Türkiye vatandaşları için muazzam bir imkân. İnsanların oturma izni için mülkiyet edinme gibi yollara başvurdukları bir dönemde, kendi yetenekleriniz ile bu hakka Avrupa’nın en güzide ülkelerinden birinde sahip olabiliyorsunuz.

Youtube’da Ankara antlaşması konusunda hazırlanan pek çok video mevcut. Ben yazı esnasında, görüşlerine de müracaat ettiğim, Ahmet Ferruh Öncü ile bu işi bilabedel sosyal yardımlaşma motivasyonu ile yapan Alihan Duran’ın hazırladıkları bir videodan istifade ettim.[3]

Evet sayın okurlar, bu yazı bir yatırım tavsiyesidir.

[1] https://twitter.com/tccb_iko/status/1081556788405825536
[2] http://tuik.gov.tr/PreHaberBultenleri.do?id=30607
[3] https://www.youtube.com/watch?v=kY3Vm_R4rFk

https://www.karar.com/yazarlar/ziyahan-albeniz/ingiltere-yolcusu-kalmasin-10129#

Posted by: bluesyemre | May 17, 2019

Let’s talk about race at the #Library

shutterstock_794015686-e1557807492807

Libraries play a vital role in our society. As institutions of learning, the library collects, preserves, and shares knowledge. Libraries are also spaces of power and privilege that, throughout history, have hurt and oppressed Black lives. The Tougaloo Nine protested the segregation in Jackson, Mississippi and chose the whites-only public library for a read-in in 1961; Pearl Townsend resigned herself to suffering such indignities quietly and waited 73 years to get a library card. The library’s painful legacy continues to affect our communities to this day.

In 2016, I was working as a branch manager of a public library. It was the summer of Alton Sterling and Philando Castille. Before the 2016 election, white people believed in a color-blind post- racial society. But as police brutality played out on social media feeds and TV news, white Americans could no longer ignore the elephant in the room. I saw families…

https://thenorthstar.com/articles/lets-talk-about-race-at-the-library?

Posted by: bluesyemre | May 17, 2019

Istanbul Urban Database (IUDB)

IUDB

Istanbul Urban Database (IUDB) is an interactive sustainable web mapping application for research and the public. IUDB blends a wide range of historical data, and is the most comprehensive online archive of Istanbul’s urban history. The project aims to preserve collective memory, and architectural and urban heritage of Istanbul in an open-access multimedia platform. By implementing ‘interactive deep mapping’ approach, the project presents a set of tools for users to develop historical narratives, uncover hidden cultural and social histories and eventually become part of this digital platform by contributing to it in many forms. Integrating architecture and urbanism into digital and spatial humanities, IUDB explores how emerging spatial and visual tools advance the field of history and urban research.

IUDB is an arts and cultural project, created by Nil Tuzcu.

This project was made possible with the support by architectural and urban historians Professor Sibel Bozdogan and Gul Nese Dogusan Alexander and technology consultant Cagri Hakan Zaman.

BASE MAPS
(Each map has a different zoom level range. If map is not displayed, this means the zoom level is not available)


1821 City Map:

Courtesy of The Harvard Map Collection
Source: Society for the Diffusion of Useful Knowledge (Great Britain)
Publisher: Harvard Map Collection, Harvard College Library
Online Linkage: http://hgl.harvard.edu:8080/HGL/jsp/HGL.jsp?action=VColl&VCollName=G7434_I8_1853_D3

1853 City Map:

Courtesy of The Harvard Map Collection
Source: Society for the Diffusion of Useful Knowledge (Great Britain)
Publisher: Harvard Map Collection, Harvard College Library
Online Linkage: http://hgl.harvard.edu:8080/HGL/jsp/HGL.jsp?action=VColl&VCollName=G7434_I8_1853_D3

1882 City Map:

Courtesy of The Harvard Map Collection
Publisher: Lorentz and Keil (Firm)
Source: Harvard Map Collection, Harvard College Library
Online Linkage:http://hgl.harvard.edu:8080/HGL/jsp/HGL.jsp?action=VColl&VCollName=G7434_I8_1882_S86

1900 Regional Map:

Courtesy of The Harvard Map Collection
Publisher: Volckmann & Wette.
Source: Harvard Map Collection, Harvard College Library
Online Linkage:http://hgl.harvard.edu:8080/HGL/jsp/HGL.jsp?action=VColl&VCollName=G7433_I8_1900_F5

1922 City Map:

Courtesy of The Harvard Map Collection
Title: Plan d’ensemble de la ville de Constantinople.
Publisher: Societe anonyme ottomane d’etudes et d’enterprises urbaines
Source: Harvard Map Collection, Harvard College Library
Online Linkage:http://hgl.harvard.edu:8080/HGL/jsp/HGL.jsp?action=VColl&VCollName=G7434_I8_1922_S6

1913-14 City Map:

Title: 1913-1914 German Blues Map
Publisher: İstanbul: İstanbul Büyükşehir Belediyesi Kütüphane ve Müzeler Müdürlüğü, 2006
Source: Alman mavileri, 1: 1913-1914 I. Dünya Savaşı öncesi İstanbul haritaları / İstanbul Büyükşehir Belediyesi Kütüphane ve Müzeler Müdürlüğü ; yay.haz. İrfan Dağdelen; proj.sor. Ramazan Minder

1946, 1966, 1970, 1982 Aerial Photos:

Publisher: Istanbul Metropolitan Municipality
Source: https://sehirharitasi.ibb.gov.tr

Pervititch Maps:

Georerenced by Nil Tuzcu
Source: Jacques Pervititch sigorta haritalarında İstanbul = Istanbul in the insurance maps of Jacques Pervititch. İstanbul: Axa Oyak. 2000


PHOTOS


1949 Photos:

Source: Lütfi Kırdar, Cumhuriyet Devrinde Istanbul. İstanbul Milli Eğitim Basımevi. 1949


SPACES OF EVERYDAY LIFE


Beaches:

Georeferened by Nil Tuzcu
Source: Various resources

Casinos:

Georeferened by Nil Tuzcu
Source: Various resources

Spaces of Beyoglu:

Drawn by Nil Tuzcu (MIT / Harvard University)
Source: Giovanni Scognamillo, Bir Levantenin Beyoğlu Anıları. Metis Yayınları. 1991.


HOUSING


1960 Squatter Settlements:

Drawn by Nil Tuzcu (MIT / Harvard University)
Source: Kemal H. Karpat, The gecekondu: rural migration and urbanization in Turkey. Cambridge University Press. 1976.


HENRI PROST CITY PLANS


Georeferenced by Nil Tuzcu
Source: Cité de l’architecture et du patrimoine, Archives d’architecture du XXe siècle
Publisher: İmparatorluk başkentinden İstanbul cumhuriyet’in modern kentine : Henri Prost’un İstanbul planlaması, (1936- 1951) = From the imperial capital to the republican modern city : Henri Post’s planning of Istanbul, (1936- 1951). Editors: F. Cânâ Bilsel, Pierre Pinon.


LUIGI PICCINATO CITY PLANS


Georeferenced by Nil Tuzcu
Source: http://www.archivioluigipiccinato.it/?cat=161
Publisher: Archivio Luigi Piccinato


URBAN GROWTH


Drawn by Nil Tuzcu
Source: Various resources

http://www.istanbulurbandatabase.com/

Posted by: bluesyemre | May 17, 2019

Worldwide broadband speed league 2018

turkey 2018

ranking 2018

Based on over 163 million speed tests in 200 countries

The data was collected for the second year in a row across the 12 months up to 29 May this year by M-Lab, a partnership between New America’s Open Technology Institute, Google Open Source Research, Princeton University’s PlanetLab and other supporting partners, and compiled by Cable.

Worldwide broadband speed league 2018

Posted by: bluesyemre | May 17, 2019

TUDİTA (Türkiye Dijital #Tekstil Arşivi)

logo (4)

sumerbank-web

Tekstil ve moda nesnelerinin arşiv ve koleksiyonları, kültürlere ilişkin tarihin ve giysi evriminin tanımlanması, etnografik anlamda koleksiyonların oluşturulması açısından son derece önemlidir.  Bu nesnelerin üretilme biçimleri, kullanılan malzeme ve üretim bilgileri, anlamları toplumların estetik ve tarihsel gelişimine ışık tutar. Bu bağlamda, tekstil nesnelerinin fiziksel açıdan, Türk materyal ve tasarım kültürünün önemli bir parçası niteliğinde koruma altında tutmak, araştırmacılara, öğrencilere ve ilgili kurumlara bilgi paylaşımı çerçevesinde sunabilmek arşivcilik ve müzecilik çalışmaları açısından büyük önem taşır. Türkiye Dijital Tekstil Desen Arşivi (TUDİTA) projesi de tekstil tarihi açısından oldukça zengin bir geçmişe sahip olan ülkemizde üretilmiş yerel ve tarihi desenlerle kültürel miras farkındalığı sağlayacak biçimde tasarlanmıştır. Koruma altına alarak Türkiye tekstil tarihine ilişkin kültürel mirasın gelecek kuşaklara aktarılması, projenin en temel amaçlarından birisidir.

İzmir Kalkınma Ajansı (İZKA) desteğiyle İzmir Ekonomi Üniversitesi Güzel Sanatlar ve Tasarım Fakültesi, Moda ve Tekstil Tasarımı Bölümü’nün yürütmüş olduğu “Dijital Tekstil Desen Arşivi ve Sanal Müze Oluşturulması” başlıklı projenin (TR31/14/BTD01/0044 no’lu proje) amacı, Sümerbank’ın geride bıraktığı desen arşivinin bir bölümünü dijital platforma aktarmak ile başlamıştır. Bu arşiv 2006 yılında Sümerbank’a ait İzmir Halkapınar Basma Müessesesi’nden eğitim malzemesi olarak kullanılmak üzere kurtarılan 1956-2001 yılları arasında üretilmiş Sümerbank desenlerinden oluşmaktadır.

Proje, 26. Aralık.2014 ve 26. Aralık.2015 tarihleri arasında tamamlanmıştır. Aslında ilk aşaması 2006 yılında Sümerbank’ın İzmir Halkapınar Basma Sanayii Tesisleri’nde bulunan ve tahrip olmaya yüz tutmuş pek çok tekstil malzemesinin İzmir İl Özel İdare Müdürlüğü’nün izniyle eğitim malzemesi olarak kullanılmak üzere İzmir Ekonomi Üniversitesi Güzel Sanatlar ve Tasarım Fakültesi Moda ve Tekstil Tasarımı Bölümü’ne bağışlanması ile düzenlenen arşivleme çalışmaları başlamıştır. Bu fikirden yola çıkılarak hazırlanan projeİzmir Kalkınma Ajansı tarafından desteklenmiştir. Proje ekibinde Prof. Dr. Ender Yazgan Bulgun, Prof. Elvan Özkavruk Adanır ve Yard. Doç. F.Dilek Himam Er yürütücüler; Yıldız Berrak Sarı proje koordinatörü, Kardelen Aysel, Nur Ceren Kurt ve Zülal Sevinçler ise proje danışmanları ve teknik ekip olarak yer almıştır.

1930’lu yılların Türkiye’sinin kalkınma döneminde kurulan Sümerbank, yaklaşık yetmiş yıllık bir süreçte Türk ekonomi ve tekstil tarihinin sembol isimlerinden biri olmuştur. Ekonomik kısıtlamalara bağlı olarak sınırlı malzeme ve renk kullanımlarına rağmen Sümerbank kumaşları, özgün desenleri ile ulusal bir tekstil desen üslubu ve moda yaratmıştır. Bir maddi kültür olarak da Sümerbank Türkiye’nin modernizasyon projesinde ekonomik, kültürel ve sosyal açıdan önemli bir rol oynamış, 1930’lı yıllardan itibaren kentsel ve kırsal alanlarda sınıfsal bir bütünleşme sağlamış, yerel üretimi teşvik etmiş, özellikle çoğu kırsal alanda bulunan halkı da eğitmek amacıyla ülke ekonomisini geliştirmeyi amaçlamış bir kurum olmuştur.  1987 yılından itibaren başlayan özelleştirme sürecinden sonra ülkenin neredeyse her ilinde açılmış olan fabrikalar kapatılmış, işletmelerin bir kısmı özel sektöre, belediyelere ve üniversitelere devredilmiş, fabrikalarda yer alan kumaş ve makine parkı gibi malzemelerin birçoğu da tahrip olmuştur. Kurum içinde son otuz yılda hızlı bir şekilde başlayan ekonomik ve sosyal değişim sonucunda, 2000’li yıllardan itibaren tamamen üretimlerini durduran Sümerbank, geriye önemli bir tekstil arşivi bırakmıştır.

İzmir Kalkınma Ajansı ve  İzmir Ekonomi Üniversitesi Güzel Sanatlar ve Tasarım Fakültesi Moda ve Tekstil Tasarımı Bölümü desteğiyle yürütülen Dijital Tekstil Desen Arşivi ve Sanal Müze Oluşturulması başlıklı projenin (TR31/14/BTD01/0044 no’lu proje) amacı da, desenleri Sümerbank tarafından üretilen 1956-2001 yılları arasındaki baskılı kumaşları koruma altına alarak paylaşmak ve bu kültürel mirasın gelecek kuşaklara aktarılması için hazırlanmıştır. Bu kapsamda yaklaşık 7000 desen seçilmiş ve sanal bir müze ve dijital arşiv oluşturulmuştur.  Bu yapı mevcut desen arşivine sektörden yapılacak olan katkı ve alan çalışmalarıyla elde edilecek verilerle genişleyecektir.

Projenin temel hedefi, Sümerbank’a ait İzmir Halkapınar Basma Müessesesi’nde bulunan desen albümlerinin arşivlenmesi, korunması ve incelenmesidir. Var olan kumaş arşivi sınıflandırılarak 7000 desen dijitalize edilmiştir. Bununla birlikte desenler malzeme, dokuma örgüleri, kompozisyon, renk varyasyonu, kullanım amacı ve üretim yıllarına göre  sınıflandırılmıştır. Bu süre içinde literatür taraması, sözlü tarih görüşmeleri ve alana yönelik araştırmalar da titiz bir biçimde yürütülmüştür.

http://tudita.ieu.edu.tr/

Posted by: bluesyemre | May 16, 2019

Andrea Kowch (Symbolist painter) @andreakowch

orig_andreakowch_nocturne_101

Andrea Kowch has been described as “a powerful voice emerging, demonstrating a highly sensitive consciousness that informs a culturally-laced symbolism.” Born in Detroit, Michigan in 1986, she attended the College for Creative Studies through a Walter B. Ford II Scholarship, and graduated Summa Cum Laude with a BFA in 2009, double majoring in Illustration and Art Education. Her paintings and works on paper are rich in mood, allegory, and precision of medium, reflecting a wealth of influences from Northern Renaissance and American art to the rural landscapes and vernacular architecture of her native Michigan.

The stories and inspiration behind her paintings “stem from life’s emotions and experiences, resulting in narrative, allegorical imagery that illustrates the parallels between human experience and the mysteries of the natural world. The lonely, desolate American landscape encompassing the paintings’ subjects serves as an exploration of nature’s sacredness and a reflection of the human soul, symbolizing all things powerful, fragile, and eternal. Real yet dreamlike scenarios transform personal ideas into universal metaphors for the human condition, all retaining a sense of vagueness to encourage dialogue between art and viewer.”

The recipient of many honors early on in her young career, commencing in 2003, at age 17, with seven regional Gold Key awards and two national Gold Medal awards from the prestigious Scholastic Art and Writing Awards, her acceptance into these juried national exhibitions earned her representation at the Corcoran Gallery of Art, Washington, D.C. in 2003 and at the Diane von Furstenberg Gallery in New York in 2004. By 2005, she was granted a National ARTS in the Visual Arts Award from the National Foundation for Advancement in the Arts (now the National Young Arts Foundation), an honor that ranks recipients in the top 2% of American talent. The winning entries were exhibited at the Margulies Collection at the Warehouse, Miami. In 2008, Kowch received the Best of Show Purchase Award from the Northbrook Library’s annual juried international exhibition, and in the same year received an Illustration Faculty Award from the College for Creative Studies.

Kowch has since gone on to receive numerous other Best of Show awards in various juried exhibitions of regional, national, and international caliber, and has exhibited in several solo and group exhibitions at museums and galleries, including New York’s RJD Gallery, the Muskegon Museum of Art, where her solo retrospective Dream Fields debuted in 2013, the Museum of Contemporary Art (MOCA) Jacksonville, the Grand Rapids Art Museum, ArtPrize, Art Basel Miami, the Los Angeles Art Show, ArtHamptons, and SCOPE NYC, who, in 2012, named Kowch one of the top 100 emerging artists in the world. She has also been featured in and graced the front covers of several national and international publications, including SpectrumDirect ArtAmerican Art CollectorCMYKRevueWomankind (AU), .Cent Magazine (UK), Hestitika (ITA), Hi-Fructose, and Southwest Art’s annual competition whose winners take center stage in their Emerging Artist Spotlight issue. Kowch’s work can be found in public collections, among them the Muskegon Museum of Art, Grand Rapids Art Museum, Northbrook Library, Northbrook, Illinois, and the Brooklyn Art Library, Brooklyn, New York; and in many significant private collections worldwide.

Kowch resides and works in Michigan where she paints full-time, and serves as an adjunct professor at the College for Creative Studies. She is represented exclusively by RJD Gallery in New York.

http://www.andreakowch.com/

https://www.facebook.com/andrea.kowch.artist/

https://www.tuttartpitturasculturapoesiamusica.com/2014/08/Andrea-Kowch.html

http://rjdgallery.com/artist/andrea-kowch/

https://manifold.press/andrea-kowch-dunyayi-nasil-boyle-buharlastiriyor

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